Visit Uzbekistan Issue 33 by Visit Uzbekistan Magazine

2022 • No. 33

Life Is a Journey

2022 • No. 33

EDITOR'S NOTE

Editor-in-chief Dinara Dultaeva Editor Megan Eaves Project Manager Sabina Odinaeva Graphic Designer Genessa Wright Sales & Distribution Madina Abdukadirova PR Department Ekaterina Ustinenko

Summer offers a quaint, colourful life. It is the time to enjoy, relax and discover. Whether with family or friends, summer is an opportunity to create memories that stay with us for a long time. This issue brings together many colourful features about summer activities. On p.16 you'll find the best picnic spots and on p.22 you can read more about Uzbek suzani patterns and how to use them to decorate your home. For art lovers, there is a feature on Turkestan avant-garde art on p.30 – we’re sure you’ll be inspired to visit the Savitsky Museum in Nukus. For a deeper immersion into Uzbekistan's culture and heritage, read about the tea ceremony on p.32 and learn about the stunning details and peculiarities of Uzbek architecture on p.12.

Contributors Shodiya Khamidullaeva, Setora Kholikova, Valeria Galikhanova, Fatima Abdieva, Victoria Yalanskaya, Munis Nur, Dmitriy Kostyushkin, Karomat Gaffarova, Sophie Ibbotson, Kamola Makhmudkhodjaeva, Nadira Khidoyatova, Umida Qodirova, Danat Mingachev, Megan Eaves, Madina Rajabova, Sabina Odinaeva Photography Feruz Rustamov, Andrey Arakelyan, Canoniy, Mukhiddin A Lee, Danat Myngachev, Sophie Ibbotson, Rustam Sharipov, Ekaterina Briksina, Yuriy Korsuntsev

We also feature two talented photographers in this issue: Feruz Rustamov (p.42) and Danat Mingachev (p.46), who share the best shots of their travels in Zaamin and Tashkent.

Visit Uzbekistan magazine 2022, No. 33 Official partner The Ministry of Tourism and Cultural Heritage Dinara Media Relations PC

This issue’s stunning cover was created by master photographer Rinat Karimov and one of the country’s leading fashion designers, Dildora Kasimova. We think this beautiful image shows a fresh look at Uzbekistan, a country which always offers something new to discover.

Dinara&Co. Trademark Tel.: +998 (93) 500 55 65 www.dinara.co • info@dinara.co

We wish you a summer full of happiness and colourful, warm days!

The magazine is registered by Press and Information Agency of Uzbekistan on 12.05.2017. Registration number No. 0915 | ISSN 2181-9254

Dinara Dultaeva

@dultaeva

CONTENTS

ISSUE NO. 33

HERITAGE

The Leaning Tower of Samarkand

VISIT UZBEKISTAN

CONTENTS 8

How a minaret in the Registan was saved from toppling By Viktoriya Yalanskaya

CULTURE

Patterns of Life

Suzani ornaments and Uzbek ornamental motifs By Karomat Gaffarova

CULTURE

Teahouse Traditions Drinking tea is an integral part of our cultural heritage By Shodiya Khamidullaeva

CONTENTS

ISSUE NO. 33

STORY

A Star is Born

VISIT UZBEKISTAN

CONTENTS 36

On the life of Sara Ishanturaeva, gem of the Uzbek stage By Nadira Khidoyatova

STORY

Memories of a New City

Photographer Danat Mingachev’s compelling images of Tashkent By Danat Mingachev

photographer rinat karimov designer dildora kasimova model mayya skripchenko make-up yulduz yusupova

COVER

INFO

2022 • No. 33

Travelling in Uzbekistan: What to know for your trip Frequently asked questions about the ‘Safe Travel GUARANTEED’ programme

What health and safety regulations do I need to follow? When meeting or gathering with other people, it is recommended to avoid direct contact and keep a minimum distance for health and safety.

Can I visit entertainment complexes, such as amusement parks, attractions, museums and theatres? All entertainment complexes are open throughout the country. Sanitary conditions in these places comply with national requirements, including temperature controls and social distancing measures.

Do I have to wear a mask?

What do I need to know about travelling on public transport (any new requirements or changes in schedules/tickets)? Passengers are recommended to wear masks while on transportation. Trains and flights are operating with more limited timetables.

What precautions should be taken while entering Uzbekistan? Due to COVID-19 precautions, all public items are treated with antiseptic agents several times a day. When entering a hotel or other public space, your temperature is taken and an antiseptic is provided. In public dining areas, chairs and tables are located a safe distance apart.

As of 1 March 2022, Uzbekistan removed its mask mandate. However, travellers are still recommended to wear masks in:

The official website of the Ministry of Tourism and Cultural Heritage has detailed information about the COVID-19 programme for visitors: www.uzbekistan.travel or contact the One-Stop Call Center at 1173.

→ public transport;

More information about flights: www.uzairways.uz

→ large shopping centres;

More information about trains: www.railways.uz

→ educational institutions;

The information provided here was current at the time of publication and is subject to change.

→ state and non-state institutions; → mosques, theatres, cinemas, museums, palaces of culture and other places where people gather in closed spaces.

HERITAGE

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text VICTORIA YALANSKAYA

photos MUKHIDDIN A LEE

ven more cultural clout came from Ulugh Beg (Amir Timur’s grandson and famous astronomer), who, in the 15th century, ordered a madrasa (school), khanaka (Sufi retreat temple), mosque and caravansarai be built here. Unfortunately, not all of the original structures were preserved through time – only the madrasa (on the west side of the square) remains, which is where Ulugh Beg taught astronomy.

There is no doubt that one of Uzbekistan’s callingcard sights is the iconic and beautiful Registan in Samarkand. It is a square that has seen it all over the centuries: rulers, soldiers, noble people, craftsmen, merchants, Silk Road travellers from faraway lands and local visitors alike. Millions of people have arrived here for different reasons. Starting from the ninth century, this busy part of the city was marked out as a bazaar on sand and pebble, from which it got the name Registan (meaning ‘sandy place’).

In the 17th century, by the order of the ruler of Samarkand, a new madrasa was constructed on the east side of the square. Adorned with a mosaic facade, it was named Sher-dor, which means ‘decorated with tigers’. This madrasa was immortalised by Russian artist Vasily Vereshchagin in his 1872 work, They Are Triumphant, now on display in the Tretyakov Gallery in Moscow. The madrasa, together with the Friday Mosque, was built in the middle of the square, continuing the plan to make it a centre of education. Seated in between the two on the square’s north side is the Tilya-Kori Madrasa, which means ‘made from gold’, referring to its magnificently gold-adorned interior. In 1918, merchants who often did business in the square began to notice that the eastern, front minaret had started to lean. But hoping the leaning would stop soon, they didn’t rush to share this information with the city administration. Unfortunately, the tower continued to move, and finally, a group of jewellery merchants decided to alert the curator of Samarkand’s historical monuments, Vasiliy Vyatkin. Vyatkin invited regional architect Mikhail Mauer to visit the Registan, and together they declared that the minaret was leaning and required urgent attention, otherwise, it risked falling down.

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Vyatkin also invited engineer Boris Kastalsky, who loved Samarkand and was also an ethnographer. For several days, the team measured the minaret’s tilt angle and soon realised that its slant was worsening quite quickly. At this, they alerted the administration of the city. Despite a poor financial situation, the administration gave Vyatkin, Mauer and Kastalsky materials, including ropes and wood for scaffolding. Over several days, the minaret was framed in scaffolding and ropes tethered it to the ground in an effort to stop the minaret from leaning. It also created a chance to observe the minaret’s movement. For several years, the minaret stayed at its angle, with the ropes kept so tight they looked like guitar strings. During storms, the strings made a wild sound that locals said was the devil playing the guitar.

For several years, the minaret stayed at its angle, with the ropes kept so tight they looked like guitar strings. During storms, the strings made a wild sound that locals said was the devil playing the guitar. Finally, the scientists decided to align the minaret. First, they moved the traders’ market out of Registan Square, giving them chance to excavate the area, during which they found a jar with coins dating back to the 16th century. The excavations also showed that, before Chinggis Khan’s invasion, there had been a small marketplace and craftsmen lived there.

classroom that joined the minaret. Each brick was carefully numbered to aid in reconstructing the building later. The same year, a frame (something like a jack for cars) was used to slightly lift the minaret and the broken part to be repaired. The tower was then rotated a bit and put back on a new foundation.

In 1927, a factory in Moscow produced a special metal reinforcement for the minaret designed by Soviet engineer Vladimir Shukhov (who built the water tower in Bukhara and the radio tower in Moscow).

Today, the minaret still stands tall thanks to the work of the Soviet engineers, and visitors have a chance to admire the architectural beauty of Registan square and the minaret which might otherwise have fallen down a century ago.

A few years later, in 1932, the engineers decided to demolish and rebuild the

After Uzbekistan’s independence, the Registan was transformed into a lovely,

landscaped square where people of all ages come to relax and enjoy the view. And since 1997, every two years, the Sharq Taronalari International Music Festival is held here, drawing people from more than 50 countries. One of Uzbekistan’s most incredible events, it is a colourful, beautiful, emotional array of musical performances from around the world. But we will never forget the brilliance of three men: Vyatkin, Mauer and Kastalsky, who gave a second life to the falling minaret. ◆

INFO

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Visa-Free Uzbekistan The Visa-Free Countries for Uzbekistan have been allowed different periods of exceptions such as 90-day stay, 60 days, and 30-day stay.

90 days

Georgia, Kazakhstan, Moldova, Russia, Armenia, Ukraine, Azerbaijan, Belarus

60 days

Kyrgyzstan only

30 days

Australian Union, Republic of Austria, Republic of Argentina, Bosnia and Herzegovina, The Vatican, Grand Duchy of Luxembourg, Hungary, The State of Brunei-Darussalam, State of Israel, The Republic of Greece, Ireland, Iceland, The Italian Republic, Canada, The Principality of Andorra, The Principality of Liechtenstein, The Principality of Monaco, The Kingdom of Belgium, The Kingdom of Denmark, The Kingdom of Spain, Kingdom of the Netherlands, The Kingdom of Norway, Kingdom of Sweden, The Republic of Latvia and others. For more information, visit www. uzbekistan.travel.

not more than 7 days

People's Republic of China, including Hong Kong Special Administrative Region of the PRC

about e-visa

When passing the State Border of the Republic of Uzbekistan and while staying in the country, foreign citizen must present a valid travel document (passport) and electronic visa in printed or electronic form. In order to apply for an e-visa, a foreign citizen sends an application to the official e-visa portal of the Republic of Uzbekistan at www.e-viza.gov.uz. For consideration of the application for an e-visa, a consular fee of $20 is collected via integrated into the portal international payment systems. In this case, the applicant does not have to be a cardholder. The amount of the consular fee is charged only for consideration of the application for an e-visa and is not refundable. A foreign citizen may be denied an e-visa in cases established by the legislation of the Republic of Uzbekistan. In this case, the corresponding refusal notice is sent to the e-mail address of the foreign citizen.

SELF PROMO

2022 • No. 33

The book 10 Reasons to Visit Uzbekistan is perfect for those who are yet to discover this country, but want а glimpse of an ex traordinary and authentic land surrounded bу legends. Masterpieces of photography bу talented Ernest Kurtveliev reflect the true spirit of Uzbekistan with its ancient and majestic architecture, breathtaking nature, and openhearted people. This book will inspire you to see these unique places with your own eyes, and once you do, we are sure that you will have many more reasons to visit Uzbekistan again.

Preview and order: UZBEKISTANBOOK.DINARA.CO

For wholesale orders call: +998 (93) 390-00-98

Bookstore Tashkent: +998 (71) 252-74-99

ARCHITECTURE

Clockwise from top left: Portal, Dome, Octagon, Four, Minaret

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ARCHITECTURE

2022 • No. 33

Symbols of Uzbek Architecture photos

MUKHIDDIN A LEE

Uzbek architectural historian Munis Nur explains some of the symbols of Islamic architecture most often seen in Uzbekistan.

ith the spread of Islam across Central Asia in the 7th and 8th centuries came significant changes in architecture. Geometric harmonisation of spatial structures and architectural and artistic forms (studied in detail by academician M. S. Bulatov) became the main method of transmission of the Islamic worldview. Each form in architecture acquired sacred meaning and conveyed the Islamic notions of beauty and cosmopolitanism. These features are seen across many regions influenced heavily by Islamic design and are more broadly referred to as Persian architecture. They characterise some of Uzbekistan’s most prominent and recognisable buildings, including the Shah-i-Zinda necropolis and Registan in Samarkand and the many ornate madrasas of Bukhara. Here are some features to look for. DOMES The most characteristic element of Islamic architecture is the dome. We know from architectural history that domes were used in ancient Mesopotamia, Persian, Hellenistic, Chinese, Byzantine and Italian Renaissance architecture. The dome is

an allegory of the sky above the Earth. The origins of this allegory go back to Tengriism, a medieval religion of the Turkic peoples. Domes in Uzbek architecture are often painted and carved ornately using many of the techniques below. PORTALS Another distinctive feature of Islamic architecture in Central Asia was the peshtak, a rectangular entrance portal with a lancet arch, which was used in medieval mosques, madrasas, mausoleums and caravanserais. The peshtak always faced Mecca, and in mausoleums, it isolated the tombs from prying eyes. The peshtak always featured a rich concentration of decoration. FOUR The number four has sacred significance, hence the presence of quadrangular shapes in the architecture and garden art of Islam. For example, charbagh (meaning "four gardens") are quadrilateral gardens divided into four parts by walkways or flowing water. The number four represents the four cardinal directions, the four elements, the four seasons and the four rivers of paradise from water, milk, wine and honey. A cube is a three-dimensional form of the →

ARCHITECTURE

VISIT UZBEKISTAN

Clockwise from top left: Ornamentation, Sacred honeycomb, Colours, Plasterwork

number four, representing threedimensionality or the Earth. Uzbek architecture features many forms of multiples of four (rectangular or square in plan or shape, such as the peshtak, or a cubic form found in mausoleums, etc.). OCTAGONS As a multiple of four, the same sacred meaning is given to the number eight and the octagon. A prominent example is the unknown octagonal mausoleum in the Shah-i-Zinda complex in Samarkand. It is also mentioned in the Qur'an that the heavenly throne of Allah is an octagon supported by eight angels. MINARET Minaret, from the Arabic word manara, means ‘a place to light a fire, a beacon’. A minaret is a tower containing a staircase facing upwards, forming a metaphorical ‘route to Heaven’ – a symbol of connection with the cosmos and the link between Muslims and Allah. Building a minaret symbolised the incorporation of the surrounding land into the world of Islam, and the structure itself became the spiritual guardian of a city. ORNAMENTATION Islam prohibits the depiction of people and animals, so ornamentation plays an important role in Islamic culture as a means of artistic expression. It is divided into two types: girih or geometric ‘knots’ – a continuous geometric pattern that has a net-like structure; and islimi, a vegetal (plantlike) pattern. Girih is meant to conjure the structural order of the universe; it is an expression of sacred beauty. Islimi,

on the other hand, brings the viewer closer to nature and conjures the feminine nature of the universe. Some scholars have identified calligraphy as a third type of ornamentation. It is often combined with girih or islimi to form arabesques (intertwining plants and abstract curving motifs) of incredible beauty, a synthesis of science and art. SACRED HONEYCOMB Muqarnas, or stalactite vaults resembling a honeycomb, are found in traditional Islamic interiors or entryways. They were primarily used to visually transition between straight walls and domed rooms. Muqarnas convey a fractal reproduction of a primary element through its smaller parts, or the concepts of macrocosmos and microcosmos. Muqarnas conjure the idea of honey-making as abundance achieved by hard work. PLASTERWORK Ganch is a type of ornamental carving of wood or plaster at shallow depth into detailed patterns. It originated in Central Asian architecture and is seen very often

in wall panels in Uzbek madrasas and mosques. Though sometimes carved into wood, ganch is most often a form of plasterwork that is carved once it is dry. Sometimes it is left white, while other times it is painted in bombastic colours. COLOURS Because of the aforementioned prohibition on depicting people and animals in Islam, colour takes on particular importance in Islamic art. For example, gold is a symbol of wealth, fame and success. For example, Amur Timur’s Gur-i-Amir tomb in Samarkand is lavishly adorned in gold. Green is a symbol of Islam – it was considered sacred (the prophet's green flag) and symbolised an oasis, nature and life. Blue and turquoise are the colours of heaven and are used as a reflection of God, divine grace and paradise. These colours are often seen in domes and decorative majolica. ◆

SELF-PROMO

2022 • No. 33

EMPIRES OF SILK A historical novel

A novel that reveals the history of the peoples of Uzbekistan and the region from a new perspective. Published for the first time in Uzbekistan. The author of the book is Akbar Khakimov, a famous art scholar, an academician of the Academy of Sciences and the Academy of Arts. The book tells about the origin of silk art and the importance it had in the fate of the civilizations of the East and West.

Empires of Silk is available for purchase at Book World (Книжный мир) in Tashkent and can also be purchased by calling +998 (93) 390-00-98 or emailing info@dinara.co. Note: At the time of writing, Empires of Silk was only available in Russian.

VISIT

VISIT UZBEKISTAN

In the warm, Central Asian sun, Uzbekistan has the perfect climate for a summer picnic. Here are some top spots to bring a basket of local treats and enjoy good weather and beautiful nature. text SETORA KHOLIKOVA

Samarkand region

Buyuk Ipak Yuli Street 39 In the centre of Tashkent Ecopark, there is a small, artificial reservoir with a bridge leading to a miniature island. The park features a spacious picnic area on a leafy area of lawn, perfect for laying out your picnic blanket and enjoying snacks. Paths lead through the park and a variety of sports grounds offer places to enjoy football, volleyball, tennis and badminton, work out on simulators, run, rollerblade or cycle. Bicycles and scooters are available for hire. For kids, there are playgrounds with slides, swings, labyrinths and rope ladders, and in summer, kids can play with kinetic sand or magnetic construction sets.

The nature of Samarkand is unique and diverse, with fascinating and magnificent landscapes. A wide range of recreation areas cater to travellers looking for outdoor delights, mountain recreation and picnics. Several large visitor sites cater to family travellers in Akbuyra Village. These make for good places to relax in nature with a picnic, as well as take in the fresh air, admire the scenery, try Uzbek cuisine prepared from organic products, go wild swimming in a river or a summer pool, and walk along mountain paths.

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Kashkadarya region Kitab is one of Uzbekistan’s most unique natural monuments. Located in the Kashkadarya region in the southern part of the country, it is a place to explore the history of the ancient world, and see the course of the formation of the planet. There are many beautiful places in the Kitab, such as the Khodzha-Kurgan Gorge, where trees, shrubs, and herbs grow alongside rushing waterfalls and plenty of wildlife to look out for. There couldn’t be a better place for a picnic on a hot summer day.

Jizzakh region Stunning landscapes, pure mountain air, a variety of fauna and flora, ancient places for pilgrimage, and a unique national health resort – Zaamin National Nature Park has all this and more. In summer, temperatures stay much lower than in neighbouring regions due to the local flora. It’s the perfect place to get out and explore Uzbekistan’s beautiful nature, go hiking and organise a picnic while you’re at it.

Yunusabad District Amir Temur Prospect 107 near the UzExpoCentre The Japanese Garden in Tashkent is a garden in the centre of the capital, which has become one of the most magical sights – a kind of Japanese retreat in the middle of a big city! Pavilions, a cosy tea house, a lake, wooden bridges and a variety of birds all create a truly Japanese atmosphere. Come for a walk surrounded by majestic greenery and birdsong, and pack a picnic to enjoy on the grass. The garden is located next to the Anhor Canal, which provides a cool breeze on hot summer days.

Yunusabad district Bogishamol St 232b beside Tashkent Zoo Tashkent Botanical Garden is known as an ‘ecological pearl’ of the capital, being the second-largest botanical garden in the CIS. The garden’s collection is estimated at 6000 species, forms and varieties of plants. Scientists, citizens and visitors all come to study and enjoy the flora. Here you can have a picnic under leafy trees in the fresh air. What could be better than an outing to the pathways of the botanical garden, away from the noisy city?

HERITAGE

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HERITAGE

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UZBEKISTAN: CROSSROADS OF RELIGIONS

Dmitriy Kostyushkin is a Programme Officer and Translator at the UNESCO-supported International Institute for Central Asian Studies and is an Academic Guide for Veres-Vert Travel Company. In this series, Dmitriy takes an in-depth look at Uzbekistan’s rich religious history and cultural legacy.

From left to right: Mural painting in Kara-Tepe, Dmitriy Kostyushkin

uddhism arose in the middle of the first millennium BCE in India among wandering philosophers and hermits. This emergence is traced to the moment that Siddhartha Gautama (the Buddha) attained Enlightenment and achieved freedom from physical existence and its sufferings (parinirvana). Scholars disagree about the exact date of the Buddha’s death – some argue for 563 BCE, others for 483 BCE, or somewhere in the period of 430–350 BCE. Over time, his teachings began to spread outside of India across Asia, facilitated by the 3rd century BCE Indian emperor Ashoka and later by the rulers of the Kushan Empire (1st century), part of which covered the Surkhandarya and Fergana regions of modern Uzbekistan. Buddhist teachings (dharma) also spread along the caravan routes of the Silk Road, and by the 7th century, had reached Sri Lanka, modern Afghanistan, Southeast Asia, Central Asia and all the way to Tibet, China, the Korean Peninsula and Japan. Unlike other world religions, Buddhism has no concept of an almighty dietycreator. The world is not considered to have been created or controlled by anyone and the question of whether the world has a beginning is considered unanswerable. Buddhism maintains that people have no eternal soul, so there is no need for atonement, unconditional faith, belief in supernatural powers or an absolute devotion to a religious organisation like the Christian church. Buddhist practitioners form groups of monastic communities →

HERITAGE

– sangha – which do not make up a formal organisation. There is also no single canon of texts or dogma common to all Buddhist schools, nor is there a single universe, but rather an infinite number of worlds. SPREAD OF BUDDHISM ACROSS CENTRAL ASIA Scholars are still unclear about when Buddhism reached Northern Bactria, an ancient historical and cultural region now divided between Uzbekistan, Tajikistan and Turkmenistan. A number of authoritative researchers suggest that this could have happened as early as the 1st century BCE.

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Archaeological excavations of Buddhist sites show that southern Uzbekistan was a centre from which Buddhist teaching spread across Central Asia to the west, and even to East Turkestan (now western China).

In Central Asia, archaeologists most often categorise a site as Buddhist based on the presence of decorative wall paintings or sculptures. Rare manuscript fragments also indicate connections to other regions of the Buddhist world. A vast number of these are early Chinese sources, particularly the notes of Chinese pilgrims who travelled from China across Central Asia to India to visit holy places. The protection and support of the Kushan Empire played a key role in the spread of Buddhism throughout the region. However, trade was the most important factor. More than just a trade route, the Silk Road was a method of cultural exchange. Artisans, artists, musicians, monks and missionaries moved down it, along with goods and merchant caravans. Chinese historical chronicles have preserved the names of many Buddhist missionaries that made it to China. People from Sogdia, Bactria and Parthia (now northeastern Iran and southern Turkmenistan) are mentioned as Buddhist teachers, artists, sutra translators and temple builders who travelled there along the Silk Road. BUDDHISM IN UZBEKISTAN Archaeological excavations of Buddhist sites show that southern Uzbekistan was a centre from which Buddhist teaching spread across Central Asia to the west, and even to East Turkestan (now western China). Numerous and diverse architectural plans and monuments have been found here, most of which belong to the Kushan era (1st–4th centuries). The largest

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Clockwise from top left: Buddha statue found in Fayaztepa excavations, Fayaztepa Buddhist temple complex, Buddha statue, The Great Silk Route map

of these were the monumental complexes near Termez, which houses more than two dozen large monasic structures, including Karatepa and Fayaztepa. Karatepa was a hilltop temple in Old Termez (Northern Bactria), near the banks of the Amu Darya. The complex included dozens of cave-terrestrial complexes and a large monastery believed to date from the beginning of the 2nd century. There is a similar site at Fayaztepa Hill in the northwestern part of Old Termez, a kilometre northeast of Karatepa. Prior to excavation, a large hill towered above the surrounding area, on the eastern side of which was a pyramidal mound, built in regular rows of mud bricks. In the Fergana Valley, a single Buddhist temple was excavated at Kuva revealing materials that suggest close ties between Fergana and the Kingdom of Khotan (modern-day Xinjiang) and the spread of Vajrayana Buddhism. The medieval region of Bactria-Tokharistan (covering parts of modern Uzbekistan, Tajikistan and Afghanistan) was central to Buddhism in Central Asia, with at least ten Buddhist structures discovered here in the middle

of the 1st century BCE until the middle of the 8th century. For number of internal reasons as well as external factors, such as the conquest of western Bactria by the Sassanids and subsequent destruction of monasteries, Central Asian Buddhism entered a period of crisis and decline. In BactriaTokharistan, many Buddhist buildings were destroyed or abandoned in the 4th century, though other archaeological materials show that Buddhism continued to maintain its influence for hundreds of years. In the 11th–13th centuries, new buildings were still being erected and the remains of a Buddhist manuscript written in the Brahmi script were discovered in the castle of Zangtepa in Kashkadarya. The document is highly fragmented and preserves passages from the Vinaya – a text containing the rules and procedures that govern the Buddhist monastic community. In Sogdia and Fergana, Buddhism also survived until the 7th–8th centuries. The existence of Buddhist religious buildings in Sogdia is noted in the records of Chinese monk Xuanzang, who visited Samarkand around 630, finding abandoned Buddhist

temples and only one monk. Moving south, Xuanzang headed towards the Pamir Mountains, descended to the Amu Darya and entered Termez, where he noted a large community of a thousand monks. Khoy Chao also visited Samarkand later, in 726. It seems that the last of the region’s Buddhist monasteries were destroyed as Islam was established in the 8th–9th centuries. The contribution of Buddhism and Buddhist art to the culture of Uzbekistan is enormous. Its spread also established and ensured close contact between the civilizations of China, India and Central Asia in between and ensured the permanent importance of the Silk Road. ◆

Ornaments are folk patterns that adorn artisan objects, architectural structures, clothing and household items, reflecting the centuries-old traditions of the Uzbek people.

text KAROMAT GAFFAROVA photos OPEN SOURCES

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t has been said that ornaments are storytellers. The history of ornamentation has its roots in the imagery of nature, flora and fauna, and today, Uzbekistan’s national ornamental styles hold deep, magical meanings that reflect the culture and religion of the people. Ornaments are found on embroidery, clay, woodcarving, fabric, architecture, jewellery and carpets. In each example, the ornament’s placement takes on significance; for example, it is believed that a knife protects the bearer from evil spirits, while a flowering garden is a symbol of fertility. The cornflower denotes a young man, a red poppy suggests a girl, a tulip means innocence and a rose conjures beauty. Almonds symbolise longevity and pomegranates mean wealth. The ram elicits courage; the nightingale, wisdom.

Each region of the country is distinguished by a separate style of ornamentation with special patterns and weaves. Each also has its own history and meaning. SUZANI ORNAMENTS Ornaments are most commonly used in suzani – the traditional embroidered fabrics produced in Uzbekistan and other parts of Central Asia. The word suzani comes from the Persian word suzan, which means needle. Suzanis are used for all sorts of things, from seat cushions to wall decorations, wrappings and prayer mats. They have also become widely popular internationally as decorative elements. One example of this is found in an article in House & Garden, entitled, “Antique of the week: why every interior should have a suzani”. The author, Jane Audas, writes:

“Textiles impart pattern, warmth and texture to interiors, whether they are simple and understated or colourful and highly decorative. There should be room for both kinds in any space, and if you want to move beyond these and layer in some fantastic, fantastical textiles then a suzani is a wonderful way to do that.” In the article, textile merchant Susan Deliss discusses the prices and features of suzani, relaying that these needlework pieces traditionally hail from: Tajikistan, Kazakhstan, Afghanistan and Uzbekistan, where most of the good work comes from. “They were traditionally made by women before they married and then presented to the groom on the wedding day, representing the coming together of two families. A proper antique suzani, from the 19th century, could cost you (probably at auction) upward of £5,000 and nearer £10,000. You would probably hang such a suzani on the wall, should you be lucky enough to have one, as they are valuable enough to be considered as an artwork, and might not stand up to →

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everyday wear and tear if you choose to use them for upholstery.” The motifs used on suzanis differ depending on where they come from, and even within Uzbekistan, there are a variety of regional styles and ornaments that can relay where the suzani was made. Large flowers, curling leaves, geometric patterns, medallions, stars and moons and even fruits are common motifs. Thanks to Uzbek artisans, these national ornaments have never lost their relevance and are widely popular even today. Uzbek artisans carefully and faithfully hold the traditions and treasures of ornaments because each one is believed to be the personification of the soul of the people and the bearer of history. ◆

ANOR DARAKHTI The pomegranate ornament is often used in the suzani embroidery of Nurata. The most popular version of the composition is ‘yak mohu, chor shoh’ (four branches, one moon) – an image of a solar or star motif in the centre with flower bushes or bouquets at the corners. Sometimes Nurata embroiders introduce ornaments in inconspicuous places, such as stylised images of birds, animals, humans or household items, calling them the common word ‘surat’ (drawing). This is how the artisans imagined the Garden of Eden – the prototype for gardens of the nobility.

KALAMPIR NUSKHA Two types of ornaments are mainly used in the decoration of Kashkadarya suzane: rosettes and freely placed patterns with floral motifs. These include the chilli pepper pattern. The chilli pepper is one of the most common ornaments in Uzbekistan, often used to decorate the national duppi hat. Capsicum is considered a symbol of life, family happiness and a protective talisman to ward off the evil eye.

YULDUZ PALAK Sometimes called an ‘asterisk’ pattern, this symbol of Tashkent and Pskent is very popular in embroidery. Panels with rosettes containing a star-shaped ornament (‘yulduz’) personify the starry sky and evoke concepts of the cosmos and rotation of the night sky. The term ‘yulduz palak’ literally means ‘starry sky’ – a combination of ‘yulduz’, meaning star and ‘falak’ meaning firmament.

ADVERTORIAL

2022 • No. 33

A Destination for Art & Inspiration

We all want to do something out of the ordinary sometimes: create something with our own hands, draw or invent something. You don't have to be an expert to do this, you just have to find the time and put your heart and soul into it.

text SETORA KHOLIKOVA

unique place where you can enjoy a multitude of art-related activities is the Shamu Fantasy Room, which has been running since 2020. In this studio, people have the opportunity to both mentally relax by turning on their imagination and to seriously prepare for art school, depending on the kind of art they want to master. The best part is that no matter your experience or age level, all visitors (adults and children alike) are welcome. The instructors at the studio teach drawing and painting from beginner to more advanced skill levels. The studio provides masterclasses and art courses for children designed to help develop motor skills. They also offer space to host birthdays in the studio with masterclasses on any topic of choice. The studio can also be hired for art-themed parties, stag or hen nights, art co-working, photography sessions and corporate masterclasses with colleagues or friends. They also offer interior design services with special resin and watercolour paint. You can also commission bespoke paintings from the artists to your exact specifications. To elevate your artistic skills and have an enjoyable time while you’re at it, Shamu Fantasy Room is definitely the place to go!

Shamu Fantasy Room Mirzo Ulugbek District Buyuk Ipak Yuli st, 152 +998 (99) 803 47 14 shahina.muhamedova@bk.ru @by.shamu

COURSES & MASTERCLASSES → Watercolor → Academic drawing → Arabic calligraphy → Resin art → Children's workshops → Fashion sketching → Anime illustration → Clothing customisation (sneakers, jeans, t-shirts)

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Tomb of the Four Saints Exploring Bukhara’s peaceful Chor-Bakr necropolis text VALERIA GALIKHANOVA photos MUKHIDDIN A LEE

ot far from Bukhara, at Sumitan (modern-day Kalaya), there is a necropolis called ChorBakr. Known as the ‘city of the dead’, it is considered a truly sacred place full of buried saints. This beautiful architectural monument was listed as a UNESCO World Heritage Site in 2008. Every year, thousands of pilgrims and tourists visit to pay homage to the tombs and admire the architecture. The name ‘Chor-Bakr’ (meaning ‘four brothers’) is in honour of four sheikhs from the Bukharan Shaybanid dynasty who are buried here: Mohammad, Saad, Fazl and Tojiddin Hasan. They belonged to the Djuibar seyids, who occupied the major state posts in Bukhara during the Samanid Empire (9th and 10th centuries). They were considered descendants of the Prophet Muhammad and held an important place in the religious and political life of the Bukhara region. No decision was made without their knowledge. Their power was perhaps even greater than the nominal rulers of the time. The necropolis as an architectural ensemble was built in the 16th century.

In 1560, the ruler Abdullahan II ordered chinara (plane) and cypress trees to be planted and a mosque, madrasah and khanaka (dervish monastery) to be built in honour and recognition of his teacher, Juybar Sheikh Khoja Muhammad Islam. He died in 1563 just as the complex was completed. Surrounding the dynastic tombs, new quarters gradually grew into a complex alongside the family crypts. Initially, only men were buried here, and it was only in the 19th century that the rules of burial changed to allow women to be laid to rest next to their departed male relatives. The funerary structures here, called khazira, consist of a courtyard surrounded by huge walls with entrances. Each entrance corresponds to one or two generations of the dynasty that are buried here. Chor-Bakr is still managed by a keeper of the necropolis – a wise man who often regales visitors with interesting facts and stories about this place. As a pleasant bonus to the tour, the keeper offers you the chance to feed the resident peacocks and dozens of noisy, cooing pigeons.

It’s free to visit Chor-Bark, and there is a functioning mosque here, where Muslims come to pray. The khanaka, madrasahs and mausoleums are open to tourists and believers from morning to evening. Visiting with a tour guide offers the best opportunity to understand the deep history and intricate details of each tomb. It’s important to remember that, as the necropolis is a working mosque and sacred burial site, it should be respected as a place for quiet meditation. Noise and haste do not suit this place. The atmosphere is especially beautiful in the dusk hours, when the sun gradually sets, casting shadows on the khazira and long brick corridors. As an ancient Bukharan belief goes: if you have time to pray at the tomb of the four saints in one day, then all the desires of your heart will be fulfilled. ◆

2022 • No. 33

Chor-Bakr is still managed by a keeper of the necropolis – a wise man who often regales visitors with interesting facts and stories about this place. As a pleasant bonus to the tour, the keeper offers you the chance to feed the resident peacocks and dozens of noisy, cooing pigeons.

VISIT

From 6-8 May 2022, an electronic music, arts and science festival was held in Karakalpakstan. Tourism Ambassador to the UK in Uzbekistan Sophie Ibbotson talks about what it was like to be there this time. photos FERUZ RUSTAMOV SOPHIE IBBOTSON

2022 • No. 33

EVENT

tihia means ‘force of nature’ and as the rain poured down and winds whipped up the sands of the Aralkum, it seemed that Mother Nature was understandably angry. The climate change which causes this kind of weather in Karakalpakstan is a direct result of the shrinking of the Aral Sea, arguably the worst man-made environmental disaster of the 21st century. Stihia Festival takes place annually in Muynak, a once-prosperous fishing port which is now far from the water’s edge. Electronic music lovers from across Uzbekistan and beyond come here to rave with the dystopian backdrop of the Ship Graveyard and the absent sea, but also, critically, to learn about the environmental and social-economic impact of the Aral Sea disaster. This year’s festival included the Stihia N+1 Forum, sponsored by German development organisation GIZ, highlighting conservation and development issues in the Aral Sea region. With hundreds of other festival-goers, I flew to Nukus and then drove north into the Aralkum, the world’s newest desert. The sky was threateningly dark, but the outfits were bright and there was an air of excitement as we approached the festival site. Muynak’s lighthouse had been given a jaunty black-and-white makeover. A glass art installation made from a photograph of the Aral Sea taken by Nikita Makarenko, juxtaposed against the desert, was a poignant reminder of what has been lost. Throughout the weekend, electronic music artists took to Stihia’s two stages from late afternoon until the early hours of the morning. Uzbek DJs like DJ Soft – who looked incredible in a traditional chapan woven with a Darth Vader pattern by textile artist Dilyara Kaipova – shared the programme with international artists from Georgia, Italy, the Netherlands and Russia, including Vladimir Dubyshkin and Wata Igarishi. Local families from Muynak joined in the party, making it a truly multicultural event. ◆

With hundreds of other festival-goers, I flew to Nukus and then drove north into the Aralkum, the world’s newest desert. The sky was threateningly dark, but the outfits were bright and there was an air of excitement as we approached the festival site.

ART

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The term avant-garde, which translates from French as ‘forefront’, refers to the modernist movements in European art at the turn of the 19th and 20th centuries. In a broad sense, the term refers to pioneering currents that break with academism and modernity. In a narrower sense, the most radical movements that turned to non-objective and nonfigurative art.

Alexander Volkov Caravan

TEXT MUNIS NUR

Oganes Tatevosyan Komsomol Brigade

urkestan avant-garde or, as some specialists call it, ‘Central Asian’ avant-garde, is a relatively new term in art history. It describes a phenomenon that emerged in the visual art of Central Asia (for the most part in the area of contemporary Uzbekistan) in the late 1920s and 1930s. It has also been called the ‘eastern wing of Russian avant-garde’. After all, its founders were Russian artists who, by the will of fate, arrived in Turkestan and brought with them traditions of European art. Artists like Aleksei Isupov, Alexander Volkov, Michail Kurzin, Aleksandr Nikolaev (aka Usto Mumin), Oganes Tatevosyan, Viktor Ufimtsev, Nina Kashina, Elena Korovai, Ural Tansykbaev and others stood at the origins of Turkestan avant-garde. Today

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In the 1930s, these vivid innovations, based on a symbiosis of Western avantgarde and local traditional arts, were severely criticised for their formalism and were halted. Creative experimentation was replaced by the dictatorship of Socialist Realism and its ideas. Nonetheless, by that time the foundations had already been laid for the formation of a national school of fine art in which Realism had the decisive weight. Most Turkestan avant-garde is now in private collections, but the best place to see it is at the Savitsky Museum in Nukus, and there are also several pieces in the Museum of Arts of Uzbekistan in Tashkent.

Usto Mumin The Road of Life

works of Russian and Turkestan avantgarde are kept in the Savitsky Museum in Karakalpakstan, nicknamed the ‘Louvre in the Desert’ because of its rich collection, particularly of Soviet art. Turkestan avant-garde is an example of synthesis between East and West. It was the genesis of this movement that combined the experience of European and Russian avant-garde with the artistic cultures of the Middle East. For the artists who came here to grasp the East ‘from within’, Turkestan became a promised land where they experienced an atmosphere of the ancient world, Eastern life and cultures, folk art, monumental Islamic architecture and the colour and light that made their paintings unique and inimitable. Representatives of Turkestan avantgarde can be divided into two groups: those influenced by Post-Impressionism

Vladimir Lisenko The Bull

and those who followed the ideas of Cubo-Futurism (Russian Futurism) and Suprematism. Alexander Volkov, for example, synthesised Cubist traditions with traditional forms of folk art in works like Pomegranate Teahouse, Caravan and Rest on the Road. The influence of icon painting, oriental miniatures and the arts of carving and ganch painting can be seen in Usto Mumin’s works, including The Road of Life, The Bridegroom and The Boy of the Water-carrier. Oganes Tatevosyan combined European PostImpressionism and miniatures in his canvases (for example, Guests in the Old Town, Sale of Scones and At the House). The early works of Ural Tansykbaev – one of Uzbekistan’s first national artists – are influenced by Impressionism, Fauvism and folk paintings (Rest, Crimson Autumn and Heat of the Sun are examples). The painting The Bull by Vladimir Lysenko is a symbol of Nukus. ◆

CULTURE

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Teahouse Traditions text SHODIYA KHAMIDULLAEVA photos CANONIY

Tea drinking is an integral part of the cultural heritage across the countries of Central Asia. A steaming cup of tea is best enjoyed with friends and intimate conversations in a special place called the chaikhana.

CULTURE

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he word chaikhana (also spelt “chaykhana” or “choykhona”) literally translates to “tea house”. Its etymology is Persian and consists of two words: “choy” or “chai” (tea) and “khona” (room). Teahouses were popular all across Asia and tea was traded down the Silk Road and across maritime routes from Asia to Europe, with a resulting variety of teahouse traditions the length of the continent. In Central Asia, this tradition originated as local populations transitioned from nomadic existence into a settled way of life.

stops for weary travellers to take a meal or even to spend the night.

The rise of the Silk Road brought the chaikhana firmly into Central Asian tradition. Initially, tea rooms opened at bazaars and near caravanserais, where traders stopped off on long Silk Road journeys, or to sell and collect goods. Caravanserais became full-service rest

Chaikhanas came in all types and styles, ranging from single, small rooms to multiroom establishments with live music. Tea rooms were built in the shade of trees and near ponds. In summer, visitors moved into the courtyard and sat on tapchans (large, reclining table-beds). There would

Historically, many travellers along the Silk Road wrote about their vivid experiences in Central Asia’s tea rooms. Some of these descriptions place the chaikhana on a hidden corner of a quiet street and describe it as a gathering point for men who lived in the neighbourhood – a place where they would go to share the latest happenings, play backgammon and, of course, sip endless cups of tea.

always be piles of shoes at the doorstep of teahouses, as one had to enter barefoot. Every chaikhana also had its own samovar (urn to keep water hot), which gave visitors a clue about the status of the chaikhana. The chaikhana is an integral part of society and culture across Central Asia today. Teahouses continue to be places where people come not just to eat and drink tea, but also to converse about life, spend time with loved ones or celebrate memorable events. Time seems to stand still in a teahouse. Though the years go by and places change with time, the chaikhana remains the best place to enjoy the rich cuisine of Central Asia and relax with a cup of tea and a good chat. ◆

text FATIMA ABDIEVA

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photos RUSTAM SHARIPOV

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he romanov palace is a onestorey, late Modernist residence near Tashkent’s Amir Temur Square. It was built in 1891 for the Grand Duke Nikolai Konstantinovich Romanov, the grandson of the Russian Emperor Nicholas I. He had been exiled to the Turkestan region in 1877 by order of the royal family after he allegedly stole his mother’s diamonds to give to his mistress. Known locally as “Knyaz” (Prince) Romanov, he lived there until his death in 1918. The residence was built in the fashionable Modernist style of the time: an elegant house richly adorned with carved lattices, unusually shaped windows, towers and other decorative elements. The duke was a passionate hunter, so the front entrances to the mansion were outfitted with bronze figures of deer and hunting dogs. The back of the building exited into a large garden laid out by the famous Tashkent botanist and pharmacist I. I. Krause. Special attention was paid to the interior decor of the palace. The halls were lined with dark oak and decorated with carved cornices and gold paintings. Three doors led from the main hall to the apartments

of the duke and his wife. On the left side of the house was a billiard room, library and dining room, and on the right, a greenhouse and a Japanese garden. In one of the wings, the Russian prince arranged a menagerie in which wild animals endemic to the area were collected. On Sundays, the menagerie was open to the public. Nikolai Konstantinovich was extremely popular among the locals. He opened the first cinema “Khiva” in the city, as well as a bakery, and built a princely soldier's settlement in the centre of Tashkent. He installed irrigation canals and owned several enterprises, including a soap factory, photographic workshops, a rice processing factory and cotton manufacturers. During his years spent in Tashkent, the duke amassed a unique collection of antiques and books, which he later bequeathed to the city.

once, and later, it became the Museum of Antiques and Jewelry of Uzbekistan. After Uzbekistan gained independence, the building was renovated and used as a reception House for the Ministry of Foreign Affairs.

Before his death in 1918, the duke donated his palace to the city of Tashkent on the condition that a museum be established in the palace. For a long time, it operated as the Museum of Arts of Uzbekistan, with the extensive and attention-grabbing European and Russian paintings collected by the former owner. However, the fate of the house has changed more than

In 2020, the President of the Republic of Uzbekistan, Shavkat Mirziyoyev, signed a decree for another restoration of the mansion. International experts and UNESCO specialists have been involved in the study of the cultural heritage site and its restoration. There are plans to open a branch of the State Museum of Art upon the building’s completion. ◆

STORY

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A Star Is Born Soviet Uzbek actress Sara Ishanturaeva was considered a gem of the Uzbek stage, but behind her shining public figure was an intriguing past. Here the actress’ granddaughter, Nadira Khidoyatova, uncovers the path to stardom for this strong Uzbek woman.

orn in the hamlet of Beshbuloq in the Namangan region of Uzbekistan, Sara Ishanturaeva (1911–1998) was a celebrated Soviet theatre and cinema actress, public figure and People's Artist of the USSR. During her active years, she was a member of the Supreme Soviet of the Republic and was the leading actress in the Khamza Uzbek Academic Theatre. She was also my grandmother. In 1922, Ishanturaeva was sent to the now-gone Zebunisso boarding school for girls. Established by the Jadids (Muslim modernist reform group), in particular the poet and playwright Abdurauf Fitrat. The school taught all the necessary subjects for secondary education, with much attention paid to spiritual development and handicrafts. There was a drama club headed by Ali Ibragimov (Ardobus), a future People's Artist of Uzbekistan and Karakalpakstan. At that time, the Soviet Hudjum movement was gaining momentum in Turkestan and women were being campaigned to stop wearing the Muslim veil and to fight for equal rights. Preparations for International Women's Day were underway, and for the occasion, the Zebunisso school was staging one of Fitrat’s plays, Orphan. Sara Ishanturaeva was cast in the leading role and was to take to the stage at Tashkent’s Coliseum Theatre on 8 March 1922. Social activists Sobira Kholdorova and Tojikhon Shodieva were particularly prominent at that time and were also involved in the performance. The huge hall was completely packed

STORY

2022 • No. 33

At the end of the play, the auditorium was filled with applause and the drama club head, Ali Ibragimov, praised her, saying, “Well done Sara, you are a born actress. I will send you to study in Moscow.”

with women when the beautiful Sobira Kholdorova came on stage in a red headscarf, fervently agitating women to take off their paranja (Muslim women’s outerwear gown with long false sleeves and a hair net covering the face). Finally, the performance began and Sara Ishanturaeva – then only age 11 – performed her first role on stage. During one poignant scene when Ishtanuraeva’s character, the orphan, goes to her mother's grave and complains about her unhappy lot, the audience broke down sobbing and Ishanturaeva herself cried genuinely. At the end of the play, the auditorium was filled with applause and the drama club head, Ali Ibragimov, praised her, saying, “Well done Sara, you are a born actress. I will send you to study in Moscow.” My grandmother did eventually go to Moscow, nearly three years after that fated first performance. But during the intervening years, she and her friend Tursunoy Saidazimova were invited by Ibragimov back to the Coliseum Theatre, where they played background roles in crowd scenes.

At that time, the Coliseum had become the main stage for progressive Jadids, a social, political and intellectual movement among Muslim (mainly Turkic) peoples in the Russian Empire in the late 19th and early 20th centuries. The Jadids used the Coliseum to promote their ideas of enlightenment to general audiences. It was also at that time that the first serious theatrical productions began at the Coliseum, among them Leyli and Majnun, Iblis and Arshin Malalan, all written by Azerbaijani authors. Abror Khidoyatov and Maksuma Kariyeva were the headline actors of the time, although none had theatrical education. In 1920, the Bukhara People's Soviet Republic was proclaimed in Bukhara, headed by an enlightened Jadid and one of the richest men in Turkestan – Faizullo Khojaev. On 18 May 1923, an educational decree was issued for the Bukhara House of Enlightenment, and 400 young men and women were selected to receive higher education in Moscow. The Ryabushinsky Mansion at Spiridonovka 17, in the centre of Moscow (currently the Reception House of the Russian Ministry of Foreign Affairs),

Clockwise from opposite page: The Choice Between First Love and the Stage (1926), The First Certified Actors at the Beginning of the Journey (1927), Rising Star (1937), Conquering the Stage by Jadids (1919)

was allocated for the students from Turkestan. It was there that a foundation was created for the future creative and scientific intelligentsia. Seventeen students from the programme were eventually certified as actors, including the young Sara Ishanturaeva. And a star of the Uzbek stage and screen was born. ◆

INTERVIEW

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Food PAiRinG text

KAMOLA MAKHMUDKHODJAEVA

Wines for Every Uzbek Dish

photos

ANDREY ARAKELYAN

Many of us have a basic knowledge of how to pair food and wine. There are well-established combinations of international and European dishes with certain types of wine that have been successful for many years. But how suitable is Uzbek cuisine with wine; or is it appropriate at all? I sat down with Oleksandra Lukyanova, a specialist assistant at the Uzumfermer family winery, just outside Tashkent, to find out.

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ine goes well with Uzbek dishes because we love unexpected combinations,” says Oleksandra. “For example, lagman (pulled noodles with meat) or any spicy dish goes well with semi-sweet wines like riesling or muscat.” It is Uzbekistan’s scorching sun that makes semi-sweet wines a success here – the extra warmth increases the concentration of sugar in the grapes.

pilaf cooked in broth), is best eaten with more acidic wines, which balance the high fat content in the dish. So, for example, a New Zealand sauvignon blanc paired with plov offers a very pleasant tasting experience. For a more local varietal, a dry riesling is a great choice with plov. Kebabs and grilled meats, meanwhile, pair best with barrel-aged wines, particularly reds like cabernet sauvignon, pinot noir and saperavi.

But Uzbek cuisine is diverse enough that almost any type of world wine can find its food pair here. Plov, the national dish (rice

Uzbekistan’s cuisine is full of hearty dishes, like dymlama (meat and vegetable stew), khanum (steamed dough roll stuffed with→

Golden Rules of Pairing There are countless options for combining wine with Uzbek food – always trust your own tastebuds first. But there are a few general rules that can inform the best pairings:

Dry white wines should be paired with salty and spice-heavy dishes

High-acid wines, like sauvignon blanc or riesling, go best with fatty foods, soups and Uzbekistan’s famous pastries

Barrel-aged wines and ripe reds pair well with grilled meats

Sweets, such as halva (local confection) and fruit go well with semi-sweet wines like muscat

INTERVIEW

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Oleksandra Lukyanova’s Top 3 Uzbek Food & Wine Pairings №

PLOV + SAUVIGNON BLANC

№

potato, onion, seasonings and tomato), and manti (dumplings). These are best matched with white wines, particularly the local Bayan Shirey varietal. Likewise, soups, such as mastava (meat and rice soup) and shurpa (lamb and vegetable soup), go well with an aged white wine like chardonnay. The presence of acidity in this type of wine helps balance the meat-based broth. Oleksandra says that a wine should be chosen to complement, rather than spoil, the taste of the dish itself. “Something sweet shouldn’t be combined with a sour wine, because it would flatten the flavour. So, we can’t pair highly acidic wines with sweets. Likewise, if we're talking about salty or spicy dishes, then dry white wines work nicely. And for fatty, meat-based dishes, acidic wines are best,” she explains. The range of wines already available in Uzbekistan, including many locally produced varietals, is so diverse that there is no end to choosing dishes to match. In Uzbekistan, the potential for wine

Uzbek cuisine is diverse enough that almost any type of world wine can find its food pair here. production is very great, as the country has a dry, sunny climate well-suited to winemaking. “As interest in Uzbek-made wine grows around the world, there are continued opportunities to showcase our national wines at the international level. It is a point of pride that more and more people abroad are interested in wine from Uzbekistan,” says Oleksandra. “We hope that, in the near future, Uzbekistan will be famous for making some of the best wines in the world. ◆

KAZAN KEBAB + CABERNET SAUVIGNON

№

LAGMAN + SEMI-SWEET RIESLING

INFO

2022 • No. 33

Learn

Useful Phrases in Uzbek

Hello/Hi: [salom]

Еnjoy your meal: [yoqimli ishtakha]

Good morning: [khayrli tong]

Thank you: [rakhmat]

Good afternoon: [khayrli kun]

How are you? [qalaysiz?]

Good evening: [khayrli kech]

Have a good day: [kuningiz khayirli utsin]

My name is… [mening ismim…]

It’s ok (alright): [khammasi yakhshi]

What is your name? [ismingiz nima?]

No problem: [muammo yoq]

Nice to meet you: [tanishganimdan khursandman]

Don’t worry: [khavotir olmang]

What time is it? [soat nechi buldi?]

No, thank you: [yoq, rahmat]

Of course: [albatta]

I don’t understand: [tushunmayapman]

How much does it cost? [narxi qancha?]

Can you help me, please? [menga yordam bera olasizmi, iltimos?]

You’re welcome! [khush kelibsiz!]

Can you repeat it, please? [takrorlay olasizmi, iltimos?]

Just a moment: [bir daqiqa]

Who (What) is it? [kim (nima) bu?]

Please wait a moment: [kutib turing, iltimos]

I’m hungry: [men och qoldim]

Excuse me: [kechirasiz]

Now: [khozir]

I'm listening to you: [eshitaman]

Later: [kechroq]

Exit: [chiqish]

Let’s go to a… (café, theatre, museum): [(cafega, teatrga, muzeyga)... boraylik]

Entrance: [kirish] How can I get to the address? [qanday qilib manzilga etib borsam buladi?] So amazing: [juda ajoyib] Very beautiful view: [juda chiroyli manzara]

I feel bad: [uzimni yomon his qilyapman] What street is it? [bu qaysi kocha?] Goodbye: [khair]

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2022 • No. 33

PHOTO STORY

The Story of One Photo: Feruz Rustamov

“Photography can only represent the present. Once photographed, the subject becomes part of the past.” Berenice Abbott text SABINA ODINAEVA

very photographer cherishes their favourite photographs, including travelling photographer, Feruz Rustamov. Very talented at what he does, his work has depth and elegance of line. The Guardian mentioned Rustamov in a feature on Uzbekistan and Hertfordshire Press recognised him as one of the best photographers in Central Asia, featuring his work on the cover of The Silk Road: Revisited by Nick Rowan. Feruz has been a professional photographer for nearly a decade. His aim is to show and tell about the most beautiful places in Uzbekistan – sights, national customs, nature and people. FROM THE AUTHOR "This picture was taken in 2018. I was invited to a photographer's camp in Zaamin. We stayed there for a few days, going through competitions and training programmes for photographers. One night, we went to photograph the starry sky. The hills were lit up by light from a nearby city. Against the background of the sky and the stars, the tractor fit perfectly into the frame and produced such a mysterious picture. Our world is built on the processes of transmitting information. Photography is one way of communicating it. That's why it's important to capture history in the frame. A photograph is a document. It preserves the memory of phenomena and confirms that events happened. It reminds humanity that life is made up of moments." ◆

GASTRONOMY

If you want to taste the “king of Uzbek meals” you should try plov. If you want to be as brave as Amir Timur’s army you should eat plov. text UMIDA QODIROVA photos ANDREY ARAKELYAN

legend goes that the great leader Amir Timur (Tamerlane) sent his armies out on an expedition to gain new territory. On the long journey, unforeseen events and hardships caused the soldiers to lose their strength. Timur thought about how to feed them with few ingredients and decided on plov as the most delicious, nourishing and bulky dish to give them strength. Many have speculated that this dish gave special force to Timur’s military when they were in a tight spot or that it helped them win in battle. Even the 10th century polymath Ibn Sina (Avicenna) said that plov can unite people, give strength and fortify immunity.

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GASTRONOMY

2022 • No. 33

There are more than 100 different types and styles of plov (also sometimes called ‘osh’), corresponding to almost every region and local area of Uzbekistan. In its simplest form, plov (or pilaf) is a ricebased dish that is cooked together with vegetables and/or meat and simmered in broth. Similar dishes have been exported all along the Silk Road, from China to Europe, even as far as Spain, where paella is a dish cooked with rice and ingredients not unlike plov. But arguably the best plov in the world comes from Uzbekistan. In ancient times, plov was not eaten with cutlery but by hand. This was not due to a lack of spoons, but rather because cooking plov was considered an art, and it was a dish to be treated delicately. Eating by hand is also believed to be healthy. Some say that when food is consumed with the hands the flavours go directly from the fingertips to the nervous system, producing a large amount of gastric juice (digestive acid), aiding in digestion. Today, before a wedding, an Uzbek groom feeds his friends sweets by hand, too. There are more than 100 different types and styles of plov (also sometimes called ‘osh’), corresponding to almost every region and local area of Uzbekistan. In the Fergana Valley, there is kovatok palov cooked with grape leaves, while Tashkent’s version – t’oy oshi – has raisins and chickpeas. In Khiva, suzma plov is differentiated b y the rice being cooked separately, rinsed with cold water and then combined with the rest of the ingredients. Making plov is an integral part of tradition in Uzbekistan. At every special event, from weddings to baby celebrations, anniversaries and holidays, you can be sure that a giant, steaming kazan (cauldron) of plov will be prepared. So, if you want to experience the history of Uzbekistan for yourself, just gobble down a spoonful (or handful!) of plov. ◆

Clockwise from bottom left: Samarkand plov, Fergana plov, Bukhara plov, Tashkent plov

STORY

VISIT UZBEKISTAN

Memories of a New City The story of my trip to my homeland wasn’t planned; however, I ended up in the sunny city of my childhood for a few weeks in March. How had the city changed during my twenty years away? Parks, squares, skyscrapers, new developments. With my camera in hand, I went to explore a Tashkent totally new to me.

HAZRATI IMAM ENSEMBLE This complex of madrassas, mosques and museums has been built near the tomb of Hazrati Imam, a scholar, expert in the Koran and Hadith, poet, craftsman, and one of the first preachers of Islam in Tashkent. In addition to the sacred buildings, there is a library of Oriental manuscripts and the Quran of Caliph Uthman.

text and photos DANAT MINGACHEV @MINGACHEV1

grew up in Tashkent until I was eight years old and left in 2000, and returning, I was curious to see the changes that had taken place during my years of absence. I tried to spend my days immersed in the everyday life of an ordinary Tashkent resident. I went to the cinema, saw the sights, strolled through parks and bazaars and rode the capital's metro. I noticed how much the city’s parks have been improved and landscaped. But what hadn’t changed were the people and their hospitality and friendliness. Come along with me on a stroll through the sights of Tashkent through my photos.

TASHKENT TV TOWER The Tashkent TV Tower is one of the most beautiful and tallest television towers in Central Asia. The height of the tower is 375 metres. At night, it shimmers with thousands of lights and mesmerises with its beauty and grandeur. NEAR BROADWAY STREET On one of the days of my trip to Tashkent, it rained heavily. At that time, I was near Amir Temur Square. The city became incredibly romantic and I managed to capture a girl with an umbrella. TASHKENT METRO The first metro line in the capital opened in 1977. Today there are 29 stations in Tashkent, each of which has its own unique architectural look: marble and granite trim, rows of columns, colourful bas reliefs and ganch. Each Tashkent metro station is an architectural and artistic masterpiece. Pictured here: M ustakillik Maydoni station on the Chilonzor Line.

APARTMENT BLOCKS WITH MOSAICS One stunning architectural feature of Tashkent was created by the Zharsky brothers. Like many other specialists, Nikolai and Pyotr came to rebuild Tashkent in 1966 after a tragic earthquake levelled much of the city. The Zharsky brothers created many original ornamental mosaic panels in a uniquely Soviet Uzbek style. Their patterns decorate the facades of numerous buildings around the capital. MEMORIAL COMPLEX OF MEMORY OF REPRESSION VICTIMS Rising 27 metres, this memorial complex devoted to the victims of Stalin's repression consists of eight marble columns topped with a round, turquoise dome. Under the dome, precisely in the middle of the rotunda, there is a memorial tombstone oriented towards Mecca. An inscription in three languages (Arabic, English and Uzbek) is engraved with the words: “The memory of those who died for their fatherland will live forever.” There are so many places in Tashkent where you can immerse yourself in the beauty of the city. I have only captured a few of them here. With my photographs, I tried to convey life through a modern lens. I was happy to find that the city is getting more beautiful over the years. ◆

2022 • No. 33

Clockwise from bottom left: Apartment Block with Mosaics, Hazrati Imam Ensemble, Tashkent Metro, Near Broadway Street, Tashkent TV Tower, Memorial Complex of Memory of Repression Victims

EVENT

VISIT UZBEKISTAN

Navrus in London The rooms of the embassy were draped in colourful suzani textiles and decorated with beautiful ceramics and artwork from Uzbekistan.

n 24 March, H. E. Said Rustamov, Ambassador of Uzbekistan to the UK, invited prominent members of the Uzbek-British community in London, including business people, writers, cultural professionals and students to celebrate the Navruz Spring Festivity at the Embassy of the Republic of Uzbekistan in London.

In attendance were Visit Uzbekistan’s Editor, Megan Eaves, and Uzbekistan’s Tourism Ambassador, Sophie Ibbotson, as well as members of the British-Uzbek Society, among many distinguished guests and friends of Uzbekistan. The rooms of the embassy were draped in colourful suzani textiles and decorated with beautiful ceramics and artwork from Uzbekistan, including a display of the book 365 Days of Sun, published by Dinara&Co,

in which Chef Bahriddin Chustiy and talented food photographer Andrei Arakelyan travelled around the country in search of Uzbek cuisine. The event was filled with delicious food catered by Uzbek street food restaurant Osh Paz (www.oshpaz.co.uk), as well as Uzbek sweets and pastries, drinks and live music from amazing performers and more. Guests were treated to a fascinating presentation about Navruz traditions from cultural attaché Shokhruz Samadov. Everyone was delighted to be able to gather again in celebration of spring, particularly after two years of lockdowns and restrictions across the UK. The guests expressed special excitement that they will soon be planning trips to visit Uzbekistan in person. ◆

EVENT

2022 • No. 33

Writing the Silk Road Events will include: →Talks and discussions by high-profile local and international speakers, which will be attended by an in-person audience and livestreamed. Video recordings will be made available afterwards.

In September, writers, publishers and lovers of the written word from around the world will converge in Uzbekistan for the first-ever Silk Road Literature Festival.

→A programme of “talking walks” will introduce small in-person audiences to a particular place and/or theme. →Interactive children’s activities designed to encourage a love of literature and the development of creative skills. →Professional development workshops for writers, translators and publishing professionals led by national and international experts.

Confirmed speakers (more to be added): Peter Frankopan (UK) - The Silk Roads: A New History of the World Joanna Lillis (UK) - Dark Shadows: Inside the Secret World of Kazakhstan Rollan Seisenbayev (Kazakhstan) - The Dead Wander in the Desert Zohra Saed (USA) - Langston Hughes in Turkestan Azamjon Abidov (Uzbekistan) and Aigerim Tazhi (Kazakhstan) - Contemporary poets Andrew Staniland (UK) and Nazeela Elmi (Afghanistan) - Translating the poetry of two 19th-century women poets from the Fergana Valley Shavkat Dostmuhammad and Rushana Ziyadullayeva (Uzbekistan) -Founding members of Pegasus Publishers

or the first time ever, a major international festival of literature is being planned in Uzbekistan to identify, promote and celebrate the best writing from and about Central Asia with workshops, lectures and literary prizes. The first edition will take place in Uzbekistan from 17–22 September 2022. Approximately 50 events will be held in Tashkent and Bukhara showcasing the cultural and tourism offerings of these two cities and supporting Bukhara’s bid to become a UNESCO City of Literature. Talks will be free and the events will be simultaneously translated into English, Russian and Uzbek.

The workshop series will include classes on writers' residencies (led by Aazamjon Abidov and Jennifer Steil), creating a literary community (Samantha Knights), finding an agent (Kelly Falconer), PR for writers and publishers (Martha HalfordFumagalli) and working with translators (Andrew Staniland and Avazkhon Khaydarov), amongst other topics. Find out more at www.silkroadlitfest.com or on Twitter, Facebook and Instagram @silkroadlitfest. ◆

GASTRONOMY

Tandoor: Taste of a Lifetime text MADINA RAJABOVA photos ANDREY ARAKELYAN

VISIT UZBEKISTAN

GASTRONOMY

2022 • No. 33

zbekistan is a land of great diversity. No matter where you go, you find special customs, traditions, dialects and natural wonders. And this is especially true of the food: Tashkent's naryn (horse-meat noodles), Khorezm's tukhum barak (special dumplings with eggs), the samsa of Jizzakh, Syrdarya's fish and Samarkand's bread. There are oodles of Uzbek dishes worth sinking your teeth into. Most people will tell you that these dishes are particularly delicious in their local regions, meaning you have to travel to taste them all. And for that reason, carnivores head to Kashkadarya to savour its famed tandoor meat. A calling card of the desert-oasis city, no wedding or celebration would be complete without tandoor meat. The dish is incredibly simple, made only from meat and spices. A tandoor (or tandyr) is a traditional clay oven in which the meat is roasted. Mutton or lamb is most typical in Kashkadarya, although you will occasionally also encounter beef. The meat is usually spiced with juniper, paprika, cumin, salt and black and red pepper.

Tandoor meat is popular here because Kashkadarya is traditionally a livestockbreeding region. The ingredients are entirely organic, with no preservatives or chemicals added. Kashkadarya’s tandoor is famous throughout Uzbekistan and is often ordered for special occasions in other regions. There are different views on the origin of this dish. A legend says that once, there was a severe thunderstorm and a forest fire broke out, killing and cooking many creatures. Afterwards, the shepherds of that land ate the meat and came to enjoy the taste. They learned to cook a similar dish by roasting meat in a clay oven. If you go to Kashkadarya, make sure to sample the tandoor meat. It’s easy to find in every restaurant, teahouse and home, and the taste will stay with you for a lifetime. ◆

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Hand-painted Batik Art at Autograph T

he history of batik goes back to southeast Asia about 2000 years ago. The main purpose of this art form was to decorate and embellish everyday life. Since then, batik has become an art form beloved all over the world. The main peculiarity of batik is that it incorporates several fine-art techniques together: watercolour, stained glass, pastel, graphics and even mosaic. Every batik is one-of-a-kind because it is created by hand using an original, unique drawing on fabric. Batik also comes at a high cost because the creation of the pattern is time-consuming and requires expensive natural dyes along with the diligence and imagination of a master artist. At AUTOGRAPH Art Gallery, you can browse and buy batik scarves, shawls, stoles, souvenirs and decorations made of natural silk and wool, including works made by renowned Uzbek masters. Whether expressive landscapes, picturesque still lifes or touching floral designs, each batik is extraordinarily beautiful, subtle and colourful. Nature, seasons and mythological and traditional themes offer sources of inspiration. Beautiful interior decor, such as decorative cushions, chair seats, curtains and wall panels, or elegant clothing is creatively painted in exquisite detail. Batik clothing is an exclusive but affordable luxury. You may opt for stunning individual pieces or accessories to complement your wardrobe, or splurge on a complete batik outfit that is both eye-catching and unusual. Colourful batik gives personality to any look. And at AUTOGRAPH, you will always find something to your special taste or that of a loved one. ◆

@autograph.uz

1, Ataturk Street, Tashkent Near the Academic Russian Drama Theatre +998 (71) 203 00 33 +998 (71) 203 00 34

2022 • No. 33

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INFO

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Useful Addresses

Hilton Hotel

Hampton by Hilton

Kitob Olami Bookstore

2, Islam Karimov Street, block 5 Tashkent Tel: +998 (71) 210-88-88

17, Istiqbol Street Tashkent Tel.:+998 (71) 205 22 00

6/7, Mustakillik Avenue Mirzo Ulugbek District, Tashkent Tel.:+ 998 (71) 232 11 44

www.tashkentcity.hilton.com

www.hampton.com

www.knigamir.uz

Begim Parfum Gallery

Autograph Gallery

Shamu Fantasy Room

7, Shahrisabz Street Yunusabad District, Tashkent Tel: +998 (71) 233-84-84

1, Ataturk Street Mirabad District, Tashkent Tel: +998 (71) 203-00-33

152, Buyuk Ipak Yuli Street Mirzo Ulugbek District, Tashkent Tel.:+ 998 (99) 803 47 14

www.parfumgallery.uz

@autograph.uz

@by.shamu

National Bank of Uzbekistan

Cambridge International School

Museum of Applied Art of Uzbekistan

101, Amir Temur Street Tashkent Tel.:+999 (78) 148 00 10

1-A, Kichik Halka Yuli Street Tashkent Tel.:+ 998 (71) 209-66-69

15, Rakatboshi Street, Yakkasaray District, Tashkent Tel.:+998 (71) 256-40-42

www.nbu.uz

www.cisedu.com

www.artmuseum.uz

2022 • No. 33

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