Attachments of the show's photos ......
السبت، 6 أغسطس 2011
الأحد، 3 يوليو 2011
الخميس، 19 مايو 2011
Crafts in Uzbekistan: from the past to the future
The history of Uzbek arts and crafts lasts for many centuries, and as result our country has developed truly unique artistic tradition. Almost all types of crafts existed in Uzbekistan since ancient times. Even in the deep ancientry the people living in Central Asia burned clay, drew on the bones, created hardware, weaved carpets and fabrics to decorate their homes and clothes.
The Great Silk Road immensely contributed to the wide international recognition of Uzbek folk crafts. For many centuries caravans were carrying goods between the West and the East through the territory of the present-day Uzbekistan. A substantial part of these goods was produced by the craftsmen. In the 7th century in his "Records of the travel to the Western regions" the Buddhist monk Xuan Zang noted that "Samarkand craftsmen were much more skillful than the craftsmen from the other countries".
Eventually, the unique Uzbek art schools had appeared, where each craft center was developing its own style and original design and technology. Rishtan ceramics, Urgut embroidery, Bukhara golden sewing, Margilan satin, Karakalpak and Khorezm jewelry, Chust scull-caps, Pap encrusted knives became famous.
Numerous kinds of artistic crafts tracing their origins from ancient times currently are being developed by national masters. The national traditions are being preserved carefully and developed creatively by many generations of Uzbek craftsmen. Ceramics is one of the oldest and most valued among the wide variety of Uzbek crafts. The art of ceramics takes its origin at the dawn of human civilization and appeared mostly to satisfy the practical need for kitchen utensils. Later it developed into a part of the cultural heritage of many peoples.
The invention of special paints had a huge importance for the development of ceramics in the Central Asia region. Besides aesthetic value of glassy dyes, their use allowed to create more possibilities for application of various patterns. At first, the alcalic glaze had been discovered. The ornaments then were the simplest ones of geometric character, such as large grids or strips. Then ceramic artisans had mastered bright-green, yellow and brown-black paints. Since IX-X centuries so called “spotty” “marble looking” ceramics became popular.
Ornaments featuring plant patterns had appeared on the basis of observations of surrounding nature. In the patterns, which craftsmen employ till present time, there is the reflection of beautiful world of flora. Thus, the image of a leaf means awakening of nature in spring. Motive of a fruit of almond (“bodom”) is the symbol of happiness, fertility, wealth. The depiction of hot pepper “kalampur” is the amulet against diseases.
Luckily, even nowadays we can enjoy watching numerous glazed ceramic bowls and dozens of clay statuettes of the local gods and fabulous creatures made by craftsmen from legendary Sogdiana. It is possible to distinguish in the patterns used by the ceramists from Tashkent and Samarkand the ancient symbols of earth, water, sky, sun, and stars, whereas statuettes of dragons, horses and goats remind of the terracotta artifacts from the ancient Afrosiab site.
Thousand years ago in the village of Rishtan in the Feghana Valley ceramic home craft was developed. The articles of Rishtan craftsmen-kuzgars, which were covered with bright blue glaze, were in great demand along the whole Great Silk Road. However, with modern technologies arrival and enamels industrially produced by the ceramic factory which was opened in Rishtan in the 1960s, the traditional art of ceramics became almost extinct. It was only thanks to the enthusiasm of the hereditary masters that the art of producing famous blue ceramics was revived, and traditional technology now is being used again.
Metals, including copper, gold and silver, have been mined in the mountains of Sogd already in ancient time, and Sogdian craftsmen developed outstanding skills in metal working. Sogdian knives, daggers, arrow-heads, spear-heads, chain armors, and stirrups for war-horses were popular export items far beyond the bounds of the country. The oldest bronze and copper artifacts found in Uzbekistan date back to the 4th millennium B.C. The skills of Sogdian armourers were highly praised in the Hellenic period. The art of metal working reached the most advanced level during the Temurid period.
From ancient times blacksmiths from the Ferghana Valley made excellent sabres, daggers, arrow-heads and spear-heads. According to the 10th century historian Ibn-Haukal, "the iron weapons from Ferghana were universally used from Horasan to Baghdad". At the beginning of the 18th century the armourers switched to producing mostly traditional knives. Such a knife in a leather sheath is an integral part of Uzbek national costume. Today the craft of making knives is still widely practiced in Kokand, Shakhrikhan and other towns of the Ferghana Valley. Yet the most famous are the smiths from the town of Chust. They make over 15 different types of knives. The knife (pichok) made by a Chust craftsman is always a beautiful work of art, with its elegantly curved sharp blade and lovingly carved wooden, bone or horn handle.
In the middle of the 19th century regional schools of metal chasing developed in Bukhara, Khiva, Kokand, Samarkand and Tashkent. They differed in technologies of making cast and forged containers and trays, in methods of decoration and in ornamental patterns.
According to the Chinese chronicles of the 1st century B.C., the residents of Bactria and Sogdiana were highly skilled in wood and stone carving, building activities, weaving and silk embroidery. Within several centuries Uzbek craftsmen acquired advanced mastery in the art of buildings decoration. Up till now we can adore fascinating samples of stone, wood and ganch-stucco carving once decorating the palaces and temples in ancient Termez (Surkhandarya) and palace in Varakhsha near Bukhara. In some dwelling houses of Bukhara, built in the 19th and early 20th centuries, carved panels and water sinks made of Gazgan and Nurata marble still can be found. The beautiful samples of contemporary stone carving decorate the facade of the Theatre of Opera and Ballet named after Alisher Navoi in Tashkent.
The patterns used in wood carving are stylistically similar to those of ganch-stucco and stone carving. One of the oldest remaining carvings on wood dates back to the 11th century. This is an epigraphic frieze in frame ornament decorating Kusam-ibn-Abbas mausoleum - the oldest part of Shakhi-Zinda architectural ensemble. The facades of many buildings in Uzbekistan have been for centuries decorated with wooden fretted columns, panels and doors. The wood carvers of the Temurid period left us unique monuments of the medieval cultural heritage. Among them are the famous fretted doors to Temur's mausoleum and to Kusam-ibn-Abbas mausoleum in Samarkand, and the Seifiddin Bokharzi cenotaph in Bukhara. In the 18th century Khiva became the centre of wood carving craft.
While the walls of a traditional Uzbek house were decorated with embroideries, the floor had to be covered with carpets. Woolen, silk and gold-embroidered carpets from the royal workshops in Khiva, Bukhara and Samarkand were very much valued at the Silk Road bazaars. Having visited Central Asia, Marco Polo pointed out: "You should know that the finest and most beautiful carpets in the world are made here". In the course of time the production of labor-intensive and rather expensive carpets declined and early in the 19th century it was terminated. The unique craft has been only recently revived.
Uzbekistan is one of the largest silkworm cocoons producers in the world and more than 85% of silk in CIS countries is manufactured in republic. Raw silk and cocoons are exported from Uzbekistan to China, India, Bangladesh, UAE, Turkey, Russia, Iran and South Korea. Uzbek silk carpets are famous due to their high quality and unique design. The main silk carpets producers in Uzbekistan are “Afghan-Bukhara-Samarkand” JV, “Bars International Company”, “Edgorlik” Ltd., “Ibrohimjon Gilamlari”.
To support the development of Uzbek decorative, folk and applied art, on March 31, 1997 President of Uzbekistan issued a Decree "On measures of state support for the further development of Uzbek decorative, folk and applied art". Thanks to this document the Hunarmand Association was created. It unites more than 12000 artisans representing all Uzbekistan regions. Association members create fascinating works in 40 forms of traditional folk art. A number of nongovernmental organizations and funds actively promote teaching arts and crafts to the youth through the system "Usto va shogird" ('Master and Apprentice'). As well, banking sector of our country provides considerable support to Uzbek artisans. In particular, Agrobank is taking active part in the support of outwork, craftsmanship and national home crafts and the stimulation of family entrepreneurship in Uzbekistan. The bank granted preferential credits worth 1.728 million soums for further development of outwork during the first half 2010. The revival and further development of ancient Uzbek crafts is very important, not only for the sake of new jobs creation, but also for the cultural advancement of Uzbekistan and preserving its historical heritage.
The Great Silk Road immensely contributed to the wide international recognition of Uzbek folk crafts. For many centuries caravans were carrying goods between the West and the East through the territory of the present-day Uzbekistan. A substantial part of these goods was produced by the craftsmen. In the 7th century in his "Records of the travel to the Western regions" the Buddhist monk Xuan Zang noted that "Samarkand craftsmen were much more skillful than the craftsmen from the other countries".
Eventually, the unique Uzbek art schools had appeared, where each craft center was developing its own style and original design and technology. Rishtan ceramics, Urgut embroidery, Bukhara golden sewing, Margilan satin, Karakalpak and Khorezm jewelry, Chust scull-caps, Pap encrusted knives became famous.
Numerous kinds of artistic crafts tracing their origins from ancient times currently are being developed by national masters. The national traditions are being preserved carefully and developed creatively by many generations of Uzbek craftsmen. Ceramics is one of the oldest and most valued among the wide variety of Uzbek crafts. The art of ceramics takes its origin at the dawn of human civilization and appeared mostly to satisfy the practical need for kitchen utensils. Later it developed into a part of the cultural heritage of many peoples.
The invention of special paints had a huge importance for the development of ceramics in the Central Asia region. Besides aesthetic value of glassy dyes, their use allowed to create more possibilities for application of various patterns. At first, the alcalic glaze had been discovered. The ornaments then were the simplest ones of geometric character, such as large grids or strips. Then ceramic artisans had mastered bright-green, yellow and brown-black paints. Since IX-X centuries so called “spotty” “marble looking” ceramics became popular.
Ornaments featuring plant patterns had appeared on the basis of observations of surrounding nature. In the patterns, which craftsmen employ till present time, there is the reflection of beautiful world of flora. Thus, the image of a leaf means awakening of nature in spring. Motive of a fruit of almond (“bodom”) is the symbol of happiness, fertility, wealth. The depiction of hot pepper “kalampur” is the amulet against diseases.
Luckily, even nowadays we can enjoy watching numerous glazed ceramic bowls and dozens of clay statuettes of the local gods and fabulous creatures made by craftsmen from legendary Sogdiana. It is possible to distinguish in the patterns used by the ceramists from Tashkent and Samarkand the ancient symbols of earth, water, sky, sun, and stars, whereas statuettes of dragons, horses and goats remind of the terracotta artifacts from the ancient Afrosiab site.
Thousand years ago in the village of Rishtan in the Feghana Valley ceramic home craft was developed. The articles of Rishtan craftsmen-kuzgars, which were covered with bright blue glaze, were in great demand along the whole Great Silk Road. However, with modern technologies arrival and enamels industrially produced by the ceramic factory which was opened in Rishtan in the 1960s, the traditional art of ceramics became almost extinct. It was only thanks to the enthusiasm of the hereditary masters that the art of producing famous blue ceramics was revived, and traditional technology now is being used again.
Metals, including copper, gold and silver, have been mined in the mountains of Sogd already in ancient time, and Sogdian craftsmen developed outstanding skills in metal working. Sogdian knives, daggers, arrow-heads, spear-heads, chain armors, and stirrups for war-horses were popular export items far beyond the bounds of the country. The oldest bronze and copper artifacts found in Uzbekistan date back to the 4th millennium B.C. The skills of Sogdian armourers were highly praised in the Hellenic period. The art of metal working reached the most advanced level during the Temurid period.
From ancient times blacksmiths from the Ferghana Valley made excellent sabres, daggers, arrow-heads and spear-heads. According to the 10th century historian Ibn-Haukal, "the iron weapons from Ferghana were universally used from Horasan to Baghdad". At the beginning of the 18th century the armourers switched to producing mostly traditional knives. Such a knife in a leather sheath is an integral part of Uzbek national costume. Today the craft of making knives is still widely practiced in Kokand, Shakhrikhan and other towns of the Ferghana Valley. Yet the most famous are the smiths from the town of Chust. They make over 15 different types of knives. The knife (pichok) made by a Chust craftsman is always a beautiful work of art, with its elegantly curved sharp blade and lovingly carved wooden, bone or horn handle.
In the middle of the 19th century regional schools of metal chasing developed in Bukhara, Khiva, Kokand, Samarkand and Tashkent. They differed in technologies of making cast and forged containers and trays, in methods of decoration and in ornamental patterns.
According to the Chinese chronicles of the 1st century B.C., the residents of Bactria and Sogdiana were highly skilled in wood and stone carving, building activities, weaving and silk embroidery. Within several centuries Uzbek craftsmen acquired advanced mastery in the art of buildings decoration. Up till now we can adore fascinating samples of stone, wood and ganch-stucco carving once decorating the palaces and temples in ancient Termez (Surkhandarya) and palace in Varakhsha near Bukhara. In some dwelling houses of Bukhara, built in the 19th and early 20th centuries, carved panels and water sinks made of Gazgan and Nurata marble still can be found. The beautiful samples of contemporary stone carving decorate the facade of the Theatre of Opera and Ballet named after Alisher Navoi in Tashkent.
The patterns used in wood carving are stylistically similar to those of ganch-stucco and stone carving. One of the oldest remaining carvings on wood dates back to the 11th century. This is an epigraphic frieze in frame ornament decorating Kusam-ibn-Abbas mausoleum - the oldest part of Shakhi-Zinda architectural ensemble. The facades of many buildings in Uzbekistan have been for centuries decorated with wooden fretted columns, panels and doors. The wood carvers of the Temurid period left us unique monuments of the medieval cultural heritage. Among them are the famous fretted doors to Temur's mausoleum and to Kusam-ibn-Abbas mausoleum in Samarkand, and the Seifiddin Bokharzi cenotaph in Bukhara. In the 18th century Khiva became the centre of wood carving craft.
While the walls of a traditional Uzbek house were decorated with embroideries, the floor had to be covered with carpets. Woolen, silk and gold-embroidered carpets from the royal workshops in Khiva, Bukhara and Samarkand were very much valued at the Silk Road bazaars. Having visited Central Asia, Marco Polo pointed out: "You should know that the finest and most beautiful carpets in the world are made here". In the course of time the production of labor-intensive and rather expensive carpets declined and early in the 19th century it was terminated. The unique craft has been only recently revived.
Uzbekistan is one of the largest silkworm cocoons producers in the world and more than 85% of silk in CIS countries is manufactured in republic. Raw silk and cocoons are exported from Uzbekistan to China, India, Bangladesh, UAE, Turkey, Russia, Iran and South Korea. Uzbek silk carpets are famous due to their high quality and unique design. The main silk carpets producers in Uzbekistan are “Afghan-Bukhara-Samarkand” JV, “Bars International Company”, “Edgorlik” Ltd., “Ibrohimjon Gilamlari”.
To support the development of Uzbek decorative, folk and applied art, on March 31, 1997 President of Uzbekistan issued a Decree "On measures of state support for the further development of Uzbek decorative, folk and applied art". Thanks to this document the Hunarmand Association was created. It unites more than 12000 artisans representing all Uzbekistan regions. Association members create fascinating works in 40 forms of traditional folk art. A number of nongovernmental organizations and funds actively promote teaching arts and crafts to the youth through the system "Usto va shogird" ('Master and Apprentice'). As well, banking sector of our country provides considerable support to Uzbek artisans. In particular, Agrobank is taking active part in the support of outwork, craftsmanship and national home crafts and the stimulation of family entrepreneurship in Uzbekistan. The bank granted preferential credits worth 1.728 million soums for further development of outwork during the first half 2010. The revival and further development of ancient Uzbek crafts is very important, not only for the sake of new jobs creation, but also for the cultural advancement of Uzbekistan and preserving its historical heritage.
Vyacheslav Luchkin, Senior Financial Analyst, AFS-Research
Korean Ceramics – Traditional Yet Contemporary
by
by
One of the highlights of this year’s Korean festival is likely to be the exhibition at Air Gallery in Dover Street — juxtaposing the work of contemporary British potters with the work of modern Korean ceramic artists. Stephanie Seungmin Kim, curator of the show, explains.
There’s something rather comforting about traditional Korean ceramics. And this long and authentic tradition of Korean ceramic techniques is revitalized by modern ceramic artists to reveal the very best of the Modern Korean ceramics. These creations are now on show in London for a week, ensconced in the world of British contemporary arts. A week away from the land where its very own earth clay shaped them developed into a mission for me as some sort of a quest: reinventing the tradition. These art works are more than just objects in an exhibition. They are the representations of the Korean culture, enabling the British public to see something they have not yet discovered but will be fascinated to explore. Here’s why.
Firstly, as artifacts and heirlooms they will become as extraordinarily beautiful as their predecessors are. The vogue for the black lacquer wares, the Bernard Leach tradition of pottery, and the arts and crafts movement are all evidence that the British know the significance of supreme quality in handcrafted craft. For centuries, people have adapted the Oriental arts to sublimate an inventive technology into art. Earlier in the 18th century, in Britain, we saw the vogue for Chinoiserie, followed by Japonism in the later part of the century. Something foreign had inspired artists and arts in Europe and modernism was shaped by the arts from the Far East. Something the majority of the British public has not discovered yet is that Korean ceramics history was regarded by Chinese and Japanese as something unique, beautiful and extraordinary. Since this exhibition is a rare opportunity to convey how this tradition has influenced and is now represented by Contemporary artists in Korea, the exhibits, I believe, have a lot to offer.Secondly, these techniques are amazingly diverse and unique. Josiah Wedgwood was a potter who went into inventing various new techniques after his leg was injured and was no longer able to throw using the potter’s wheel. His effort to convey the beauty of the Roman Cameo technique resulted in the first successful invention of his house with the celebrated Wedgwood porcelain production line. I believe that British ceramics history stands out from the ceramics industries elsewhere in Europe such as Sevres and Royal Copenhagen, which benefited from Royal patronage. Korean potters, too, possessed individualism and various regional kilns that resulted in superb techniques. When the vogue in Europe was to collect Chinese porcelain, potters were under severe pressure to produce “white porcelain”, and those who were successful were regarded as alchemists. In the Far East, the situation was similar: when Japan laid waste to Korea in the Imjin War (1592-98), the plunderers were careful to take home with them hundreds of Korean ceramists, who became foundations for the Arita kiln, the first porcelain production site in Japan. In this exhibition, the secrets of jade-coloured celadon, the Confucian essence of white porcelain and various other techniques will enable the public to follow how the techniques evolved and developed. Their history has roots that can be discovered in some of the national collections in U.K. The current exhibition offers their counterpart in the present, and demonstrates how the tradition continues.
Thirdly, the exhibition is an attempt to cross-fertilize an exchange between British and Korean artistic traditions. British crafts shows such as Collect and Chelsea Craft Show displayed curatorial endeavours that have placed London at the centre of artistic diversity and at the forefront of the design and arts industry. Similar efforts are happening in Korea with World Ceramics Biennales and competitions sponsored by the World Ceramics Exposition Foundation. The Foundation has achieved a remarkable amount since its creation in 2001 through enormous investment in engaging international artists and scholars. Nevertheless, despite the high quality of the exhibits and exhibitors, events put on by the World Ceramics Foundation brought criticism that they could only be viewed by a limited audience due to the geographical limitations. One could therefore recognize the need to establish on-going events in London. My role is to link two countries whose love for the crafts and celebrating talents continues till today.A controversial book by Eric Hobsbawm called Inventing Tradition argues that many of the traditions which we think of as very ancient in their origins were not in fact sanctioned by long usage over the centuries, but were invented comparatively recently. This book led me to think that the opposite is true of Korean culture. The tradition of Korean ceramics has been recognized only by relatively few scholars. However, the culture can only be seen in a clear light when compared with other cultures. I believe that is why Korean ceramic works have to be judged more in an international setting. Works exhibited here will be auctioned in the Contemporary Ceramics auction in November. The highlights of this sale are always works by Bernard Leach and Dame Lucie Rie. International auction catalogues provide opportunities for collectors to see work an international context, and I believe the inclusion of Korean ceramic works among them is important for self-criticism and development. Without going into details about why this is important, I will tell you a story: a potter was window-shopping in a Korean market in the late 18th century. He happened to spot the most exquisite piece of porcelain to bring back to Britain. 
This white moon jar was given to Dame Lucie Rie, whose descendant donated it to the British Museum. Currently a Chosun dynasty moon jar can fetch $1 million at auction, and other ceramics can achieve six figure sums. The price fetched by a simple moon jar is not just a reflection of general inflationary times: it reflects a peak of technical supremacy that modern technology is unable to recapture.
This white moon jar was given to Dame Lucie Rie, whose descendant donated it to the British Museum. Currently a Chosun dynasty moon jar can fetch $1 million at auction, and other ceramics can achieve six figure sums. The price fetched by a simple moon jar is not just a reflection of general inflationary times: it reflects a peak of technical supremacy that modern technology is unable to recapture.The Air Gallery exhibition demonstrates the efforts by contemporary Korean ceramists to revive the spirit of the past: a moon jar by Park Young-sook was achieved only after 10 years of trial and error. Come to the gallery to discover the finest pieces of Korean ceramics to have made the journey to London in recent years. Then go to see the antiques which inspired them at the V&A and British Museum.
الثلاثاء، 18 يناير 2011
Bahla....Oman's Traditional Pottery Town
Any day of the week – except Friday – it is easy to find a metal worker tooling next to his red-hot furnace, or a weaver assembling a goat hair cloak. But the king of craft in Bahla is pottery.
This exceptional art is famous throughout the Sultanate and beyond. It is said that the potters of Bahla – apart from being born of land containing very special clay – are born with magic in their fingers. The fruits of this magic can be seen in modest homes through to top hotels from Mutrah to Mikonos.
The clay used in these vessels comes from the wadi floor, and to make it pliable enough to be worked on the wheel, men trample upon it. Any workshop in Bahla worth its salt has at least one dining-table-sized slab of clay covered in footprints fresh from its latest stamping. It is a time-honoured way to soften the clay before it is worked and reworked into a thing of beauty.
Making magic
A potter working at his wheel is oddly like creation itself. As long strokes are performed time and time again on the damp clay, shapes and sizes start to emerge. Patterns being seemingly woven into the air transpose themselves onto the object. Slowly and patiently rims develop and spouts appear as the magic fingers mould and curve the softened earth. While the electric potter's wheel is in wide use, it is possible to find a traditionalist or two who continue to cling to their much loved kick wheel.
It's a mesmerising vision so don't be surprised to suddenly realise an hour has passed just watching the potters' hypnotic performance. After this ritual of creation, the objects are packed carefully into a huge kiln to be fired.
Cool kilns
Over the years kilns have changed significantly in Bahla from the original small dome-shaped oven that was a little more than a metre wide to huge multi-level structures that, while still very traditional, are stacked and only sealed and fired up when they have dozens of pieces inside.
Bahla has literally hundreds of potters and the region has always been considered a market leader when it comes to cottage industry. However, as fine workmanship became more widely known, demand increased and many industries have gone from simple backyard businesses to thriving industries.
In fact, the elaborate kilns that dot the lovely landscape flatly show that the pottery pursuit for many has surpassed the 'cottage' cliché. The most contemporary type of kiln is large and square with four posts at each corner acting as chimneys. It is easy to not realise what these edifices are until to you get too close to one in action. The heat can be felt from several metres away and a mirage radiates around them. While most of these ovens are still fed traditional palm fronds, the voracious appetites of more recent arrivals require fronds and a rich supply of firewood.
In Bahla a small bowl will cost as little as 100 baisa while a large decorative pot has a price tag of RO12.
Cottage industry cliché
One business – the Alladawi Clay Pots Factory – typifies the growing nature of traditional pot making. Four industrial size kilns are in constant use and each oven produces about 100 large pieces a month. The grounds of the factory are connected to current and defunct pits from where the clay was drawn. It also has its own industrial mixer that saves time and money on the immense task of creating the clay by hand.
The end result is a seemingly endless source of bukure burners, bowls, water holders and storage urns. The current factory has been operating since 1993 but its earlier life as a backyard business is evident when you observe the different styles of architecture as buildings have been added on.
At the entrance to Bahla is a small pottery works that was developed by the government with some help from Chinese experts. In fact, Beijing has donated a lot of equipment and provided some technology to help further establish Bahla as a pottery capital. Shards of brightly coloured Chinese pottery have recently been excavated on Omani sites.
While Bahla is historically known for its genies and alchemy, it seems the best magic is in the beautiful care taken when establishing the souk, which is in the town square and shaded by a huge tree. In this souk, arguably like every souk in the Sultanate, the magic of the potters' paw is for sale in solid clay.
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