Tashkent: A Stroll Along Anhor Canal

Turkiston summer concert hall

Strolling along the banks of the Anhor canal is a lovely way to relax in Tashkent, regardless of the season.

Tashkent is situated at an elevation of 450 to 480 metres in the Chirchiq river valley, west of the Chatkal Mountains, and is intersected by a series of canals from that river.

The beautification of the Anhor canal area in central Tashkent was triggered by the construction of Tashkent's newest, and largest, mosque - the Minor mosque, which opened in November 2014.

Broad promenades were created and trees planted - given only a few years, they will form a shaded canopy on even the hottest August days.

In the evenings, families stroll along the banks, children ride skateboards, lovers walk hand-in-hand and fishermen try their luck. An Uzbek version of Italy's passeggiata.

Museum of Olympic Glory

Start your promenade by descending the stairs at the bridge near the Turkiston Palace concert hall, Alisher Navoi street, and turn right.  Only a few metres later you will see the extraordinary outdoor summer concert hall - a marvel of Soviet architecture. Performances are regularly held there in summer.

Further along on your right, hidden behind dense trees, is another wonderful example of Soviet era architecture.

Previously it was the Museum of People's Friendship; in 1996 it opened as the Museum of Olympic Glory, a one-of-a-kind museum in Central Asia.

The goal of the museum is to organize exhibitions and events that show the achievements of national athletes in the Olympic Games and international competitions.

Tashkent's Minor Mosque

The museum's collection counts more than 2000 exhibits, 1000 of which are permanent exhibitions. Here you can see medals, cups, prizes, stamps, coins and other items linked to the Olympic and Asian Games, World Championships and other prestigious competitions. The museum is open Monday - Saturday from 10:00 - 17:00, with a lunch break from 13:00 - 14:00. Near the museum is a cafe, overlooking the canal - ideal for a rest stop.

Continue along the canal promenade, under the metro bridge, and soon you will see the domes of the new Minor mosque and Tashkent's TV tower.

The largest mosque in Uzbekistan, Minor mosque is fabulous. Finished in white marble, it gleams under Tashkent's skies. With a capacity of around 2,400 worshippers, the mosque is divided into an open front section with terraces and a big round hall with a gold-plated mihrab adorned with writings from the Koran. Around the mosque are park-like gardens with plenty of seating.

Now cross Amir Timur street , keep walking straight untl you reach Tashkent's TV tower,  which started operating in 1985. At 365 metres, it is the tallest building in Central Asia. As well as transmitting radio and TV programs,  the tower also serves as a complex hydro-meteorological station.

The architects responsible, D Semashko and N Terziev-Tzarukova, were tasked with coming up with a design capable of withstanding earthquakes up to 9.0 on the Richter scale, and their solution was the lattice-style trunk supported by three inclined slips, which ensure the building's steadiness and give an impression of lightness.

The tower’s foyer is decorated with mosaic panels of semi-precious stones, marble and metal. The tower is open to visitors daily from 10:00 - 17:00 - remember to bring your passport to enter. High speed lifts take you to the observation deck and there are also two restaurants.

Anhor canal, autumn. Image: Alla Gajeva

Now head back to your starting point - this time on the other, more residential, side of the canal.

Note: In May 2019 I walked along Anhor canal. Unfortunately there is a lot of construction that blocks part of the canal and makes the walk rather unpleasant.

Related posts:
Tashkent: A City of Refuge
48 Hours in Tashkent
Tashkent's Churches
Tashkent's Small House Museums
What's On in Tashkent

The Silk Road Inspires Piaget's Secrets and Lights Collection

Piaget Emperador Tourbillon Miniature enamel watch. © Photos - Piaget

The latest brand to draw inspiration from the Silk Road is Piaget, the Swiss luxury brand of watches and jewellery.

The "Secrets and Lights" collection highlights two of the most important Silk Road cities - Samarkand and Venice.

The Samarkand watches include enamel faces inspired by the mosaic tiles of Samarkand's monuments, the Registan ensemble and caravanserais along the Silk Road.

Watchmakers adopted enamelling from the 15th century. However, during the 20th century it was rarely practised.

Piaget decided to revive the prestige of enamelling and now continues this tradition of miniature painting (still widely practised in Uzbekistan) thanks to a traditional technique.

The enameller begins by crushing and cleaning raw enamels to obtain a very fine powder, which is then mixed with essential oils to achieve the colour palette. The enamel is applied with a brush in successive fine layers, each of which is oven-fired at temperatures exceeding 800 °C.

Piaget Polo Tourbillon Relatif enamel watch. © Photos - Piaget

Each enamelled piece requires nearly twenty firings in the oven. The enamel and its colours are then set forever.

The Secrets and Lights collection is a collaboration of Piaget’s Haute Joaillerie and Haute Horlogerie departments - as well as the 38 watch designs, there are 93 luscious jewellery pieces.

Sapphires from Sri Lanka, rubies from Mozambique and emeralds from Columbia all come together to evoke the splendour of the mosaics that adorn Samarkand's monuments.

The pieces include a long necklace with cascading turquoise beads contrasted by emerald-heart flowers and a scattering of diamonds throughout. A four-leaf flower-ring is centered with a cushion-cut emerald (7.29 cts), 12 marquise-cut diamonds (1.20 cts), four turquoise beads (approx. 0.50 ct) and 130 brilliant-cut diamonds (3.12 cts).

A flower-shaped 18 carat pink gold bracelet follows the eastern arabesque pattern and is decorated with marquise-cut diamonds, turquoise beads and brilliant-cut diamonds.

Piaget diamond and turquoise bracelet © Photos - Piaget

You can see more of Piaget's Secrets and Light collection by scrolling down its website and swooning.

To read about other designers who have been inspired by Central Asian patterns and history, click on the related links below.

Related posts:
Valentino Haute Couture Meets Suzani
Oscar de la Renta's Love Affair with Uzbek Ikat
Basso & Brooke Meet Ikat on the New Silk Road Project
Fashion's Obession with Central Asian Design
Hermes - Ikat Porcelain Tableware

Side view of Samarkand's Registan ensemble on Piaget's Polo Tourbillon Relatif enamel watch. © Photos - Piaget

Kyrgyzstan: Uzgen's Eternal Treasures

Lilya Kas'yanova

Lilya Kas'yanova, one of Kyrgyzstan's finest guides, is passionate about the history, art and craft of her country. She regularly contributes articles to this website. A graduate in Linguistics and Intercultural Communications from I. Arabaev Kyrgyz State University, she is also a keen photographer and hiker. In this article Lilya takes us to the ancient settlement of Uzgen, in the south.

Compared to Uzbekistan, Kyrgyzstan has few architectural monuments - its extraordinary peaks and valleys are natural, spectacular monuments.

However, Uzgen settlement, situated in the Osh region of southern Kyrgyzstan, boasts a splendid architectural complex.

The town sprang up on the trade route from Kashgar to Samarkand at the beginning of the Christian era. From the 7th century A.D. up to the beginning of the 16th century, Uzgen experienced exponential growth. When the maritime routes overtook Silk Road land trade, impacting economic and diplomatic cooperation in Central Asia and China, Uzgen slumped.

1994 Kyrgyz 50 som note, featuring Uzgen complex

In the 8th - 9th centuries, the settlement had been fully walled. Archaeological and topographical data reveal the town covered an area of 20-30 hectares, large by the standards of those distant times.

The Uzgen settlement was positioned on the high bank of the Kara-Darya river. It was divided into several areas: the citadel (central, fortified stronghold), three shahrestans (residential quarters of the rulers and nobles), and the rabad (suburb represented by workshops, shops etc,  the centre of economic life).

The whole settlement was enclosed by abundant orchards and fields secured by “puddle clay” walls from east and west. Uzgen became the capital of the Karakhanid empire in the 12th century A.D.

Detail from an Uzgen mausoleum

Later, the town fell into ruins, and now mainly hills and earthworks remain. However, in the grounds of one of the shahrestans, a minaret and three mausoleums - one-of-a-kind architectural monuments of medieval Central Asia - survived the test of time.

These historical and architectural landmarks are considered to be classic man-made creations of the Karakhanid era ( end of the 10th – beginning of the 13th centuries A.D.).

The monumental elements of the architectural complex are conventionally known as Northern (1152 – date of substantial completion), Middle (beginning of the 11th century) and Southern (1187).

Prominent figures of the Karakhanid era are buried in the mausoleums. Each mausoleum’s architectural style is different, reflecting the date of its construction.

The structures abound in floral and geometric motives, elegant engraved Arabic inscriptions, delicate fretwork and terracotta tiles. Thus the complex reflects the step-by-step refinement of Central Asian architectural style and concepts.

The detached minaret, built from burnt bricks bound by clay and gypsum mortar, consists of three sections: octagonal foundation, middle section – a tapering cylinder adorned with ornately shaped bands, and the upper part - crowned by a lantern (with arched windows), which was reconstructed in 1923-24.

Uzgen minaret prior to the 1927 restoration

An earthquake destroyed the original upper part of the minaret in the 17th century. According to archaeologists, the minaret was originally 47 – 50 metres. Today it stands at 27.5 meters. It is dated to the middle of the 11th century A.D.

A cathedral mosque, with its nearby madrassah, adjoined the minaret. Unfortunately, the cathedral mosque did not survive.

Uzgen minaret, which was constructed almost one hundred years later than its northern brother Burana, shows more exquisite technique and delicate décor: its body is finely embellished by brick masonry belts in combination with embossed ganch, a mixture of gypsum and clay.

The minaret was used for azan, the Muslim call to ritual prayer made by a muezzin.   (As an aside - Jarkurgan minaret, in Termez, Uzbekistan, was also built in the early 12th century by the Karakhanids).

The Uzgen architectural complex is considered to be one of the finest examples of Central Asian dome and portal architecture of the Muslim Renaissance.  Soviet experts restored the complex in the 1920s and again in 1976 - 1983.

In the near future, it may be listed as a UNESCO World Heritage Site. Its structures frequently adorn Kyrgyz banners and stamps and appear on the Kyrgyz 50 som note.

A visit to Uzgen is not included in Uzbek Journeys tours to Kyrgyzstan. However, a trip there can be arranged either before or after your tour.

Contact Lilya on: lolya.87(at) mail (dot) ru
Read all Lilya's articles.

Detail of exquisite fretwork at the Uzgen complex

Related posts:
Burana, Kyrgyzstan: Central Asia's Oldest Minaret
5 Reasons to Visit Kyrgyzstan
Kyrgyzstan's Petroglyphs #2 - Inner Tien Shan and Osh
100 Experiences of Kyrgyzstan

Khiva: Bread Making Master Class

Zulkhumor preparing the dough in her kitchen

Seattle-based  globetrotter Carol Willison recently travelled with Uzbek Journeys to Kyrgyzstan and Uzbekistan. 

With fellow travellers, she participated in a bread making master class in Khiva, arranged as an optional activity on the tour.  This is her story about the class.

It is still dark when five of us, flashlights and bread stamps in hand, slip out of our hotel and wind our way through the narrow streets of Khiva. We are on our way to make bread.

We arrive at the guest house, remove our shoes and move quietly into the small, warm, cosy kitchen.

Our host, Zulkhumor, does not speak English, but her son, Jaloladdin, is there to translate. First a plastic cloth is laid out on the floor and a large pile of flour and other ingredients added.  It seems like a huge amount, but then I realize she is making bread for a few days, for those staying in the guest house and for our group's dinner tonight.

Carol (centre) and friends working with the dough

After she mixes the dough and kneads it, it is put into a very large bowl and gently wrapped in quilts and put to rest.  Then, per Uzbek hospitality, we have to sit down and eat.

Of course we are served tea, and also jam, bread, and honey - then we head back to our own hotel (for breakfast!), scheduled to return in another hour or so after the dough has risen.

Back we go, this time it is light and we all slide into the kitchen where we break off chunks of the dough and begin kneading it and making small balls. These all go back in the large bowl to rise again.

The kitchen is small and the oven is tiny, where are we going to bake the bread?  At this point, Jaloladdin starts to make a fire outside in the tandyr oven. Since nothing goes to waste in Uzbekistan, he hauls down bundles of dried cotton plant stalks to fuel the fire.

The oven, made of mud, straw and bricks, is a dome-shaped structure with a round hole in the top. It  will last up to 4-5 years. We realize that the key is getting the temperature of the fire just right. We now take the balls out of the bowl and flatten them out into the size of medium size pizzas, then the stamping begins. Stamping the dough is also critical: not too light, not too heavy.

Zulkhumor at the tandyr oven behind her house

Zulkhumor then works quickly with a large hand mitt to slap the bread against the sides of the tandyr oven walls.

Our first few circles of bread are slightly burnt because the oven is really hot. Then the next batch is perfect. They come out golden brown and hot - of course we have to eat them.

Family members bring out butter and honey and we are eating for the third time in the space of 3 hours!

We are laughing and somehow communicating with a group of women who do not share a common language, except that of being together and producing food for others.

This is an experience that cannot be found by just moving from one historic landmark to the next or by visiting museums.  These are the women of this household, who are sharing their craft and culture with us.

We are sent back to the hotel with a few hot loaves, knowing that the rest of our group will be eating the bread we made at dinner tonight.

The result - delicious!

Here is our bread, straight from the tandyr!

Related posts:
The Glory of Uzbek Bread
Chekichs: Uzbek Bread Stamps
Khiva's Sunday Markets
A Glimpse of Khivan Woodcarving 1937 

Kyrgyzstan: Edelweiss and the Legend of the Broken Heart

Lilya Kas'yanova

Lilya Kas'yanova, one of Kyrgyzstan's finest guides, is passionate about the history, art and craft of her country. She regularly contributes articles to this website. A graduate in Linguistics and Intercultural Communications from I. Arabaev Kyrgyz State University, she is also a keen photographer and hiker. 

Kyrgyz nomads recite a wonderful, but sorrowful love story about a broken heart and edelweiss.

In the twilight of time, a maiden, who was as fair as a rose, dwelt in the southeastern part of the Issyk-Kul’ hollow. The time was ripe for her to be married, and she was mobbed by a great many eligible suitors.

The young woman, spoilt with exuberant and constant attention, decided to delay marrying. At first, just for the fun of it, she wanted to test the bachelors’ mettle, and she found the means of doing it.

Edelweiss felt brooch from Tumar Studio, Bishkek. Image: Lilya Kas'yanova

“I will marry the man who can find a rare and splendid edelweiss for me!” she announced.

The maid knew for sure that it would not be simple to comply with her wish. Edelweiss grow in difficult to access places, high in the mountains, on forbidding crags.

The bachelors gave up without even going flower hunting. Some did not have enough courage; some turned their attention to other desirable alliances.

Only one youth took up the challenge of obtaining an edelweiss and thereby finding a way to the heart of the inaccessible beauty. That venturesome man also caught the fancy of the radiant, wilful beauty.

However, she was determined to follow through with the challenge: “He has to obtain an edelweiss for me, and then I will reveal my soul to him and become his wife!”

The love-struck man set out in search of the mysterious flower of love, and never returned.

Edelweiss in a wall mosaic, Tamga sanatorium. Image: Lilya Kas'yanova

Many days passed. The maiden waited the return of her young man. Time and again she blamed herself for sending her beloved to his doom. She could not endure his absence any longer: with her loyal friends she went in search of him.

They searched for a long time, and, ultimately, found him. The brave youth was dead: he was like an ice statue, having died of exposure. But in his frozen hand, there was a snowy edelweiss - symbol of triumphant love.

Only then did the maiden fully understand that she would not be able to withstand the bitterness of eternal parting with her beloved.

She could not imagine her life without him.

Heavy with sorrow, the unfortunate maiden ripped her heart out of her chest, and it turned into a splintered rock.

Broken Heart rock in Jety-Oguz valley

In Kyrgyzstan’s Jety-Oguz valley the Broken Heart rock still stands today.

And the magnificent snow-white edelweiss still blooms in the mountains above the valley – a symbol of sorrow and love.

Related posts:
Kyrgyzstan: Jety-Oguz and One-of-a-Kind Health Resort
Jamilia: A Kyrgyz Love Story
Kyrgyzstan's Fairy Tale Canyon
Kyrgyzstan: A Tale of Burana Tower
Kyrgyz Blues

Fashion's Obsession with Central Asian Design

Osman Yousefzada's ikat gown

It seems the fashion industry's fascination with Central Asian designs is unquenchable. The recent New York and London collections were peppered with ikat and suzani motifs.

Although the origins of ikat are unknown, it is in Central Asia's Ferghana Valley that this weaving technique, practised and refined for generations, is flourishing.

Ikat differs from tie-dyeing in that the pattens are dyed onto the threads before the fabric is woven. (In tie-dyeing, the fabric is woven first and then the resist bindings are applied to the fabric which is later dyed). 

British designer Osman Yousefzada's spring 2016 collection recently graced London Fashion Week.

In his trademark sculptural style, Osman's collection was striking. His pieces included bold evening gowns, mini dresses and shirts.

Over in New York, Reem Accra's gorgeous luxe evening wear had taken inspiration from suzani patterns.  

Suzani derives from the Persian word for needle. However, for textile lovers, the word is synonymous with the glories of Uzbek embroidery. Stitched cooperatively by women and girls for centuries as part of their dowries, suzanis today remain a significant decorative and cultural art in Uzbekistan.

In home wares, ikat has moved beyond cushions and upholstery and is now decorating floors in gorgeous ikat and suzani patterned carpets.

Since Oscar de la Renta introduced ikat into his 2005 collection, Central Asian patterns have demonstrated remarkable staying power - undoubtedly because the beauty of the design and workmanship is timeless.

Josephine Keir Ltd suzani carpet

Related posts:  Ikat Porcelain Tableware
The Story of Uzbek Silk Production: Step by Step
Ferghana Valley Silk Ikats: Tying the Clouds
Symbols in Stitches: Uzbek Suzanis
Valentino Haute Couture Meets Suzani
Suzanis as Upholstery: the Brilliance of Bokja Design
The Silk Road Inspires Piaget's Secrets and Lights Collection
The Fantasy World of Uzbek Textile Artist Dilyara Kaipova 

Samarkand: Exploring the Aman Kutan Valley

Using the ancient forest pathways of Aman Kutan

Uzbekistan is an agricultural country: the majority of Uzbeks live in villages and work the land. Villagers keep house and farm the way it was done centuries ago: women cook on open fires, weave, spin yarn, bake bread, milk cows. Men farm, shepherd livestock and build simple houses of stone, rocks and clay.

It is always rewarding to spend time in Uzbek villages. And not far from Samarkand's famed turquoise domes, it is possible to hike through a beautiful forest and enjoy a village home stay.

Overview of Aman Kutan region

About 45 kms east of Samarkand, on the road to Timur's home town of Shakrisabs, lies the very pretty Aman Kutan valley, dotted with small settlements.

The area is perfect for a day hike, an enjoyable lunch stop after a visit to Shakrisabs or an overnight village home stay.

Since ancient times this region has played a major role in the life of Samarkand. It was the only road connecting the Surkhandarya oasis with the Zarafshan river valley, i.e. the shortest path from ancient Bactria to Sogdiana (the ancient name for Samarkand).

The armies of Alexander the Great, Genghis Khan and the Persians all marched across this way. Later this route formed a section of the Great Silk Road with considerable economic and cultural importance.

Terraces in the forests of Aman Kutan

Aman Kutan was also the first area of mountain afforestation in Central Asia; it was initiated by N.I. Korolkov, the Governor of Turkestan 1879 –1883. These works were carried out because the then tsarist Russian government was forced to react after mudslides devastated the area causing significant economic hardship.

In autumn 1879 thousands of seedlings were planted. The main species were black locust, American ash, walnut, mulberry, Crimean pine, apricot and almond. Later, trees were planted on horizontal terraces designed by N.I. Korolkov. As well as preventing soil flows, long-living walnuts produce an important crop for locals to harvest and sell.

Several of the original trees still stand and local families keenly monitor the forests to ensure that no illegal felling occurs. The Aman Kutan forest area covers 2158 hectares today.

Archaeological findings

David Natanovich Lev was the leading investigator of the Stone Age in Central Asia, and a professor at the University of Samarkand. In 1947, his expedition discovered many ancient tools and the remains of a young Neanderthal man. These were dated roughly to 100,000 to 40,000 years ago, and are the earliest known human remains in Central Asia.

Entrance to Lion's Cave, Aman Kutan

The cave where the remains were found is known as Lion's Cave ( lion is the English translation of "Lev"). The cave's length is 80 metres and can be visited. (However, if you wish to visit more than the first two halls, you will need proper caving gear).

Hiking

It is possible to arrange a one or two day hike in the area, with picnic lunches and home cooking.

Particualrly in summer, Aman Kutan's cooler climate - usually about 8 degrees Celsius less than Samarkand - is ideal for hiking.

Accompanied by a guide, you can hike through the forest, enjoying the seasonal flora. The guide will also point out where the 19th century Russian barracks were and other remnants of the afforestation team's work.

After inspecting the Lion's Cave you can picnic nearby then head back to Aman Kutan village via the old Soviet pioneer camp. Alternatively, you can make a bigger loop by hiking through the pass and back to the village.

Either way, the scenery is spectacular and the history interesting. After your hike, you can enjoy a delicious meal on a tapchan under the trees, listening to the river and rustle of leaves.

View of the garden and tandyr oven at the home stay 

The family that manages the Jahongir B & B in Samarkand can make all the arrangements for you. The accommodation is simple and comfortable. The garden is pretty and a good night's sleep guaranteed.

The family can send you itineraries as well as Google Earth coordinates for the region.



Related posts: 

Katta Langar's Masterpieces of Islamic Architecture - Near Shakhrisabz
Uzbekistan - A Rural Homestay in Hayat, the Nurata Mountains
Uzbekistan: Pearl of the Sands - a New Documentary 

Materials source: Man-made Green Monuments of Central Asia

Samarkand - The Splendour of the Sharq Taronalari Music Festival

Evening at Samarkand's Registan square during the festival

For some years, visiting Samarkand's world music festival - Sharq Taronalari - has been on my bucket list. This year I finally made it.

Held every two years at the end of August, Samarkand's Registan - called "the noblest square in the world" by Lord Curzon in the 19th century - morphs into a musical melting pot, resonating to sounds, song and dance from around the globe.

The festival, an initiative of Uzbek President Islam Karimov, and under the patronage of UNESCO, aims to foster international cooperation by building close contact between artists and musicians from different countries.

This year,  musicians from 66 countries participated in the 10th staging of the event. Groups came from Africa, New Zealand, Central Asia, South East Asia, Latin America, South Asia, the Caucasus, the Middle East and Europe.

Truly, Samarkand was once again the crossroad of civilizations. The late summer weather was perfect for performances, most of which started around 5:00 p.m. Some evenings the music continued until after 11:00 p.m. As a bonus, the Registan's fabulous new sound and light show was screened. The majestic buildings came alive as the history of this extraordinary city unfurled.

I particularly liked the Georgian group Didgori, whose goal is to revive ancient, Georgian folk traditions. As well as classical, traditional music there were interesting fusions sounds such as the Pakistani group Surur and a combination entry from Spain and Indonesia. The Uzbek singers and musicians, in dazzling costumes, were sensational.

Pakistan's Surur group

Didgori from Georgia

An 8-member international jury awarded China's Jiangsu Women's Orchestra the Grand Prix and Japan's Shamisen  won 1st prize. Poland and Estonia shared 2nd prize and Costa Rica won 3rd prize.

It was clear talking to the musicians that to perform in such a venue was like a fairy tale. And of course the festival provided many opportunities for musicians to play together, experiment and exchange musical experiences.

Practical information about attending the Sharq Taronalari music festival

Sher Dor madrassah at the Registan Square

If a visit to the Sharq Taronalari festival is on your bucket list too, here is some practical information:

1.     Book your accommodation at least 6 months in advance.
2.     If you plan to travel by the super fast Afrosiab train, also book your tickets in advance. The train, which takes just 2 hours and 10 minutes to/from Tashkent, was fully booked for a week after the festival ended.
3.    You must have a ticket to gain entry to the festival. This year tickets were issued free of charge to tourists at the Sharq Taronalari office at the Afrosiabs Hotel. You must present your passport when applying for a ticket and again when you enter the festival.
4.    Tickets to the opening and closing ceremonies are issued by Uzbek Tourism to specially-invited guests, diplomats etc. It is very difficult for tourists to obtain those tickets.
5.   There are no food or drink stalls in the festival grounds - make sure to bring water and snacks.
6.     Because of security and festival preparations, the Registan is closed to visitors during the day for about a week leading up to the festival. Bear this in mind if you are planning a trip to Samarkand in that week - there were many disappointed tourists. Also keep in mind that during the festival many roads are closed.

Finally, for a taste of the festival, enjoy this 2-minute video prepared by Euronews. (If this does not appear on your device, please go directly to: http://www.youtube.com/watch?v=qMTg0yvDuvM )

Related posts:

Samarkand's Musical Traditions

Strolling Through Samarkand in 1930 

Omar Khayyam in Samarkand and Bukhara

Felted Carpets of Kyrgyzstan - Part #2

Gorgeous shyrdaks. Image: Rosemary Sheel

This article, written by Lilya Kas'yanova and Penelope Price, was first published in the September 2014 edition of Embellish - the Australian magazine for textile arts. 

Part #1 provided background information on Kyrgyz felting and patterns. This installment looks at the process of making the carpet.
 
Shyrdaks and Ala-Kiyiz are Kyrgyz felt carpets, handmade using patterns and sewing techniques handed down through generations.

The exceptional expressiveness of Kyrgyz felts is marked by the singularity of pattern arrangement and combination of colors. These carpets are listed on UNESCO’s list of Intangible Heritage of Humanity.

On an Uzbek Journeys tour we visit the home of famed felter Mairam Omurzakova, a founding member of the Altyn Kol cooperative, Kochkor, in the northern province of Naryn.  After a delicious lunch in her home, Mairam steps visitors through the felting process.

Her cooperative mainly use fleece from Karakol sheep.  This wool is quite coarse, however, it is well suited for making felt carpets. Sheep are usually fleeced in autumn: the wool from the autumn shearing is considered to be finer and more valuable.

Beating the fleece. Image: Lilya Kas'yanova

Steps in making a Kyrgyz felt carpet

1.   First the fleece is placed on a cow’s hide. Then it is beaten with special metal sticks. This helps to separate the fibres evenly, to make the wool fluffy and, to some extent, clean it.

2.   The wool fibres are then laid out on a chii (reed mat) in several layers.

3.   Next, the wool is dampened by hot soapy water, and this is followed by rolling up the reed mat, then tying the mat in several places.

The reed mat with the wool inside is then wrapped up in a fabric. (This fabric protects the mat from being damaged during the dragging and kneading process).

4.   Family members then kick the roll or tie it to a horse to drag.

This activity, the main stage in felting, helps to meld the fibres together.  It is done for at least an hour.

Family members kick the rolled wool. Image: Berry King

5.   Next the roll is unwound and the wool is kneaded manually; it is rolled back and forth, from wrists to elbows and back to wrists.

Kneading the wool

6.   Then the wool is turned over and the opposite surface is processed in the same way. This process, which takes some hours, is repeated several times to ensure the felt is absolutely firm and the edges are finished.

7.   Finally, the finished felt is rinsed in cold water and put out to dry.

To produce a felted piece measuring 3 x 1.5 metres, 12 kilograms of wool are required. After kneading, the finished felt weighs no more than 6 kilograms.

Mairam and her daughter cut the pattern. Image: Berry King

Maraim’s family also uses appliqué techniques on shyrdaks. These are based on creating positive/negative visual images.

The felt is cut into pieces, then two contrasting coloured layers of felt are placed on top of one another. A design is drawn freehand in chalk on the top layer, cut out, then stitched so that the background and the pattern are contrasting colours.

The results are stunning. What is also impressive is the joyful atmosphere the women create as they work together in Mairam’s sunny courtyard. Lots of gossiping and laughter.

Ala-kiyiz carpets are less durable than shyrdaks - the latter should last up to 50 years. However, ala-kiyiz items are faster to produce and are made by pressing and rolling patterns into the felt. The pattern is marvellously vague and the carpets warm and soft to walk on. This technique is also popular for home decorations.

Ala-kiyiz carpet. Image: Lilya Kas'yanova

As well as visiting Mairam’s family and watching this process, other felt studios are included on an Uzbek Journeys tour. e.g., a visit to Aidai Asangulova’s, a cutting edge contemporary felter who specialises in nano felting.

Related posts:
Felted Carpets of Kyrgyzstan - Part #1
Kyrgyz Chii - Yurt Screens and Mats
Elechek - Kyrgyz Traditional Headdress
Kyrgyz Blues
Kyrgyzstan's Bus Stops 

Felted Carpets of Kyrgyzstan - Part #1

Kyrgyz shyrdak carpet detail. Image: Berry King

This article, written by Lilya Kas'yanova and Penelope Price, was first published in the September 2014 edition of Embellish - the Australian magazine for textile arts. 

Background

Kyrgyzstan is a small, Central Asian republic, almost entirely mountainous, lying within the Tian Shan mountain range.

The Kyrgyz were traditionally nomads, travelling each year with their herds of cattle, sheep and horses from high mountain pastures to the lowland winter pastures. Although collectivised in Soviet times, traditions remain strong in this remote and beautiful country, often called the Switzerland of Central Asia. 


The yurt, made from an expanding wooden circular frame covered in felt, was the traditional Kyrgyz dwelling and even today many rural families assemble yurts in their backyards or in the mountains, and pass the summer there.

Kyrgyz yurts are highly decorated: the tent bands, furnishings and felt carpets, made by women, were key indicators of the position and status of the owner. Felted items have always been symbols of family, handed down from mother to daughter.

In the wake of the Soviet disintegration in 1991, Kyrgyzstan was hit hard: the economy went into free fall, unemployment climbed exponentially and families struggled to meet ends.  Enterprising rural women, with the assistance of development agencies such as Switzerland’s Helvetas, learned how to sell their felted carpets, to produce different felted items for international markets (often incorporating contemporary designs) and to value the glorious heritage of their craft.

Kyrgyz yurts - in the high pastures for summer. Image: Lilya Kas'yanova

Felting Techniques

Today Kyrgyz women use three felting methods to produce their items:
1.    wet felting, which requires soapy water for wool dampening, and kneading to meld the wool together. This type of felting is traditional and used for creating flat items;
2.    dry felting, in which the wool is pierced by needle with notches to join wool fibres together. This technique is suitable for making felt jewellery, decorations, and interior pieces;
3.    nano felting, a type of wet felting, which makes it possible to fuse felt with other fabrics such as silk.

 

Patterns and dyes

Originally, felted items were produced in natural combinations of white, black, brown and grey. Plant extracts were also used for colours; however, this has gradually given way to synthetic dyes. Kyrgyz like strong, bold combinations, though there has recently been a resurgence in natural colours to meet tourists’ preferences.

The designs are as symbolic as they are decorative. The application of ornaments is based on vegetative, geometric and animal motives. Some examples:

Rhombus pattern shyrdak carpet detail

• tulip patterns represent the arrival of spring
• rhombus patterns mirror a yurt's diagonal lattice work 
• dog tails symbolise friendship and
• birds in flight design convey the wish that your dreams come true.

The Altyn Kol Women's Cooperative in Kochkor have assembled an informative sheet of the meanings of Kyrgyz carpet symbols.

The next installment of this post will focus on the steps in creating a Kyrgyz carpet.

Related posts: 
Felted Carpets of Kyrgyzstan - Part #2
Kyrgyzstan - the Felted Dolls of Erkebu Djumagulova
Yurts of Central Asia Part #1
Yurts of Central Asia Part #2
Kyrgyz Chii - Yurt Screens and Mats
5 Reasons to Visit Kyrgyzstan

 

Homage to Savitsky

Cover of the new publication Homage to Savitsky

In the far away city of Nukus, in the desert of northwestern Uzbekistan, is the Karakalpak State Museum of Art. This extraordinary museum, which houses the second largest collection of Russian avant garde art in the world, is the life's work of Igor Vitalyevich Savitsky.

To celebrate the centenary of Savitsky's birth this month, the Friends of the Nukus Museum funded the English-language publication Homage to Savitsky.

Originally published in Russian to accompany the exhibit at the Galayev Gallery in Moscow, this marvellous book presents selected works from the museum's holdings and private collections in Moscow. It sheds new light not only on the achievements of this remarkable man, but also on some of the artists whose legacy he preserved.

Correspondence between Savitsky and artists (or their heirs) is included. So too are notes and articles by Igor Savitsky in which he outlines his views on assembling an art collection and developing an art museum.

Savitsky first visited the region in 1950 as a member of the famous Khorezm Archeological and Ethnographic Expedition led by Sergei Tolstov.

Subsequently, having moved from Moscow to Nukus, Savitsky began collecting Karakalpak nomads' carpets, jewellery and textiles.  At the same time, he began collecting the drawings and paintings of artists linked to Central Asia, including those of the Uzbek school, and, during the late-1950s/early-1960s, those of the Russian avant garde. These works were banished or destroyed by Soviet authorities because avant garde art did not conform to the officially prescribed Soviet "socialist realism".

Igor Savitsky - early days in Karakalpakstan

Savitsky was able to persuade the local (communist) authorities that Karakalpakstan needed an art museum and, in 1966, he was appointed founding director of the Nukus Museum of Arts.

He was able to make his dream of a unique and unusual museum - not just a copy of the Tretyakov in Moscow - come true. Given its distance from Moscow and its remoteness in Uzbekistan’s Kyzl Kum desert, Nukus was an ideal location for Savitsky’s purpose.

New buildings are underway to display more of the 90,000+ objects in the museum's collection. The first building is set to open in September 2015.

A new film - Passion - about the life of Savitsky from renowned film maker Ali Khamraev - will be premiered at the museum on 4 September. An earlier film, Desert of Forbidden Art, introduced many foreigners to the Savitsky collection.

Australian broadcaster SBS also made a fascinating 15-minute program about Nukus and the Savitsky collection in 2002. You can watch Keepers of the Lost Art below on YouTube [If this does not appear on your device, please go directly to https://www.youtube.com/watch?v=pxu357CRKk8].

Homage to Savitsky is available for purchase at the museum and online  through major booksellers. If you have visited Nukus, you will be delighted by the publication. It is a high-quality edition published by Arnoldsche Verlagsanstalt. A one-day visit to the Savitsky collection in Nukus is a highlight of an Uzbek Journeys tour.

Related posts: 
London Book Launch: Biography of Igor Savitsky
Alexander Volkov: Of Sand and Silk, an Exhibition at Christie's, London
Desert of Forbidden Art screens at Venice Biennale
Sotheby's London Exhibition: Contemporary Art from Central Asia & the Caucasus
Central Asia in Art: From Soviet Orientalism to the New Republics  

Kyrgyzstan - the Felted Dolls of Erkebu Djumagulova

Lilya Kas'yanova

Lilya Kas'yanova, one of Kyrgyzstan's finest guides, is passionate about the history, art and craft of her country. She regularly contributes articles to this website. A graduate in Linguistics and Intercultural Communications from I. Arabaev Kyrgyz State University, she is also a keen photographer and hiker. 

Let me introduce you to a remarkably talented artisan Erkebu Djumagulova, who lives in Bishkek, Kyrgyzstan. She is the leader of a jewel-box workshop that produces felt dolls and felt accessories The workshop, which includes a team of eight handicraft workers, snuggles within a former Soviet industrial estate.

This is a story of a success-oriented, assiduous self-made woman, who has devoted her life to the research, revival, support and development of authentic Kyrgyz applied arts and handicrafts.

"Happy Childhood" felted toy, winner of UNESCO award

A graduate of Frunze Arts College, Erkebu eje majored in textiles, fabric painting, weaving production practices and felt making technologies. In 1975, as the result of a postgraduate work assignment, Erkebu eje started work with Kiyal, the National Association of Folk Artistic Crafts.

During her three years with Kiyal, she focused on textile ornaments design, master pattern creation and textile printing. Then, the young specialist transferred to the scientific-research laboratory arm of Kiyal. 

There, she was involved in a new project aimed at researching traditional culture and folk crafts. This included a challenging two-month expedition to the Naryn and Osh provinces of the Kyrgyz Republic.  Accompanying the expedition were distinguished figures in art history such as E. K. Sorokin and A. Akmataliev. Careful surveys and systematic studies of saima (embroidery) shyrdaks (mosaic thick felt carpets), ala-kiyiz (motley felt carpets) resulted in the creation of one-of-a-kind art, drawing and sample book. It is a mine of information on handicraft processes and the interpretation of patterns and colours.

When her maternity leave was over, Erkebu eje left Kiyal, and embarked upon a career as a freelance artisan. That period was followed by bitter trials and hardships caused by the break-up of the Soviet Union; it was a time when Erkebu eje, like many others, was battling to survive.

 Erkebu eje (centre), with two of her team members

She designed and produced a number of embroidered wall hangings of high artistic merit, some of which were purchased by the Museum of Fine Arts in Bishkek and exhibited there. Other pieces are now found in private collections.

These creative activities helped her to overcome many difficulties and challenges, keep her feet firmly on the ground, and motivated her to set up her own business.

In 2005, GIZ, the German development company, entered into an agreement with representatives of the “Ainur” electronic industry enterprise to lease a unit of its factory for five years as part of a business incubator project. Thus, Erkebu eje‘s workshop moved to new premises: ten years on, she and her close-knit team are still there.

Over the past eleven years, Erkebu eje has participated seven times in the International Folk Art Marketin Santa Fe, in the United States. Her first time there triggered a “second wind” and greatly enhanced the subsequent development of her small enterprise.

Erkebu eje’s work has garnered many awards. Among them, she was awarded the 2005 UNESCO Crafts Prize for an outstanding contribution to creativity in the making of felt dolls. In 2007 she was awarded the Seal of Excellence for Handicrafts, Central Asian Region for her “Summer” decorative felt cushions. In 2012 two further UNESCO awards were bestowed: Awards of Excellence for Handicrafts, Central Asian Region for “Happy Childhood” felt toy and “Heirs” felt toys composition.

Kyrgyz mother wearing elechek headress

Now Erkebu eje is engaged in creating new styles, processing orders, quality control and the procurement of dyes, threads, glass beads, and felt in particular, as it is the basic material for doll making.

Felt is stocked up in advance for the upcoming winter season. (There are sayings in Kyrgyz culture such as “Repair your cart in December; in July your sledge remember” or “Make provision for a rainy day but in good time”).

Erkebu eje’s outstanding team consists of eight permanent staff at the workshop and a fluctuating number of “outworkers”, depending on the number of orders. Her younger sister is in charge of accountancy and executing customers’ orders in due time.

The family business also involves Erkebu eje’s niece, who manages the workflow of the staff who work at home, such as felt cutters.Her daughter, a music master, deals with foreign clients.

The staff classified as “outworkers” are craftswomen and mothers of large families; some of the outworkers are talented graduates of art colleges. They specialise in making clothes for felt dolls, accessories, and a variety of decorations, as well as assembling cute, little felt animals. A mother and her two sons supply round, elongated work pieces (blanks) to be used as heads, bodies, hands and legs of felt dolls.

All parts of the prospective dolls are assembled within the workshop as this intricate and delicate process has to be supervised by the chief artisan – Erkebu Djumagulova. One more significant and complicated stage of doll making has to be mentioned here: the creation of doll faces - distinctive, easily recognizable Kyrgyz features (cheerful, sweet, kindled with happiness). Two talented mistresses of needlework carry out this process. Erkebu notes: “The making of dolls’ faces is a prerogative of a very limited number of craftswomen; this skill is exceptional”.

Erkebu eje has proudly represented her works at Santa Fe

This is one-of-a-kind enterprise, managed by a brilliant and creative artisan and businesswoman, which embraces her family members, friends, industry peers and individuals. It makes an indispensable contribution to the region’s economy, ensures cultural sustainability, and helps to revive and keep the rich and flamboyant practices of felt making alive.

I would like to wish Erkebu eje continued success and prosperity in her all future endeavors!

Note: A visit to Erkebueje’s workshop is included in an Uzbek Journeys tour.

If you wish to visit Erkebueje’s workshop independently, please contact her on email: workshop_erke(at) mail (dot) ru

Contact Lilya on: lolya.87(at) mail (dot) ru
Read all Lilya's articles

Related posts:
Kancha - Design for Urban Nomads
Elechek - Kyrgyz Traditional Headdress 
Yurts of Central Asia
Kyrgyz Chii - Yurt Screens and Mats 
Felted Carpets of Kyrgyzstan

Explore Uzbekistan and Kyrgyzstan in 2016

Details of Samarkand's Registan. Image: Richard Marshall

Details of Uzbek Journeys 2016 one-of-a-kind, small group tours to Uzbekistan and Kyrgyzstan are now available.

The 16-day Uzbek tours, scheduled for the very best seasons in Uzbekistan, focus on the architecture, art, craft and history of this fascinating section of the Silk Road.

Explore the architectural masterpieces of the ancient cities of Samarkand, Shakhrisabz, Bukhara and Khiva.

Visit artisans’ workshops to meet families who have practised their craft for generations and contemporary artists who are fusing ancient techniques with modern style.

Roam the bazaars, lounge around in tea houses and spend the night in a yurt in the Kyzyl Kum desert. Learn about the intrigues of the Great Game between Britain and Russia and view the extraordinary collection of avant garde art in remote Nukus.

The majesty of Kyrgzystan's landscape

The 8-day Kyrgyz tours combine the majestic, rugged landscapes of snow-capped mountains and lush valleys, with visits to craft co-operatives, design workshops, felt carpet makers and yurt makers. 

Travelling around shimmering Issyk Kul lake, with the towering Tien Shan mountain range in view, you will understand how nomadic traditions are still at the core of the Kyrgyz people, who take immense pride in their heritage.

There are opportunities for hiking, picnics by streams, and listening to traditional musicians and bards in private homes. You will have the chance to see a kupkari (buzkashi) match and an eagle hunt. The tour also includes a visit to Sunday's Karakol livestock market.

Kyrgyzstan is a beautiful country, often called the Switzerland of Central Asia, and makes a marvellous contrast to the landscapes of Uzbekistan.

Why not discover this fascinating region in 2016?

View the 2016 Kyrgyzstan tours.
View the 2016 Uzbekistan tours.

Magnificent felt work from Aidai  Asangulova's workshop, Bishkek, Kyrgyzstan