Echoes of the Past: Discovering the treasures of Central Asia

The text below is the excerpt of the book Central Asian Art (ISBN: 9781783107971), written by Vladimir Lukonin and Anatoli Ivanov, published by Parkstone International.

The palette of the ceramic surfaces became more and more varied, with a predominance for turquoise blue. Under Timur, in the 1470’s, Samarkand experienced a great development in architecture, which is a testimony to the power of the self-named Emir, or commander.

The edifices of this time are remarkable for their monumental conception intended to strike people’s eyes and hearts. The variety of decorative techniques, glazed bricks, majolica tiles, and sculptured baked clay are proof of a great artistic mastery. With similar ideas concerning the edifices meant for worship, buildings for different purposes were also erected for the comfort of the population: takis and tims or copula galleries for trading caravanserai; public baths, bridges, and sardobas or water-cisterns. The latter were of more modest proportions and surfaces.

Tilya-Kori Madrasah, 17th century, central asia — Tilya-Kori Madrasah, 17th century. Samarkand, Uzbekistan.

These traditions continued for two centuries, under the Uzbeks of the Cheibanid Khanate and the Ashtarkhanid dynasties. But the weakening of the economic and political links outside Central Asia, victim of feudal internal wars, led to a great social crisis at the end of the 18th century.

The effect was deeply felt on cultural activities in every region except in khanate of Khiva where the economic and political conditions remained favourable. It was only during the following century under the Emirate of Bukhara, the khanates of Khiva and of Kokand that culture knew its new Golden Age. It was at the same time, as these two khanates were integrated to the Russian Empire, that the territories of Central Asia took the names of Turkestan and Transcaspian Province.

Following historic destiny of Central Asia, its creative activities knew another sumptuous rise which was followed by a decline.

However, despite the period, it was through architecture, craftsmanship and illuminated design of manuscripts that the Uzbek, Turkman, Tajik, and Kyrgyz artists gave the best of themselves. After the October Revolution, Central Asia was integrated into the autonomous Soviet Socialist Republic of Turkestan, which was later, conforming to the principle of national Leninist politics, was divided into four Independent Soviet Republics, until the dismemberment of the empires and their integration in the Central European Initiative (CEI).

New forms of art appeared at this time, such as easel painting, graphic arts, and theatre decoration as well as monumental paintings and sculpture, abandoned years and years before, now enjoying an encouraging renewal. A powerful impulse was also given to the development of traditional applied arts, where modernity combined with the heritage of a faraway past, which was always present.