Atlas of Central Asia artistik crafts and trades. Vol. IV. Tajikistan

173 Pages·2017·15.59 MB·English

The Project head and Scientific Editor
Kadicha Tasbbaeva,
Director of lnternational lnstitute
for Central Asi.an Studies
The supervisor of volume authors:
Askarali Radjabov
The editor of the volume
Larissa Dodkhudoeva
The photographer
Djamsbed I(bolikov
Translated into English
Aigerim Toktomatova
rsBN 5-638-021.72-8
@ International Institute for Central Asian Studies
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135 Appendix 2.
Glossary of the traditional arts of the tajiks
(compiled W Larissa Dodkhudona)
138' Appendix
3.
The handicraft centers (koni kasabakho)
on the territory of rnodern Tajikistan
139', Appendix 4.
' Localizatlron of centers of artistic crafts
in Tajikistan
l4O Appendix
5.
' References:
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has not stopped and continued despite the reign of
Turkic dlmasties in Cenfral Asia since the 11'h century.
In the 19'h century the Tajiks took out the
Russian citizenship and accepted the new forms of
the development. The culture of the Tajiks has gained
new features, having fused together the European
and oriental traditions. In 1991 Tajikistan gained the
political independence and became the sovereign state.
The modern Tajikistan, located in the heart of Central
Asia, is divided by the highest mountain ridges into several
historical-geographical regions. The northern region
occupies the western part of Fergina valley, where the
ancient towns of the great Sogd (l(hudzhand, I(anibadam,
Isfara) and Ustrushan (lstaravshan, Zarnin, the site of
ancient settlement IGlai IGhkak (ancient Bundjikat), etc.)
are located. In south-eastern Tajikistan there is Gorno-
Badal<hshan autonomous oblast, which has retained the
monuments of ancient Saka tribes. The south-western
regions are occupied by I(hatlon oblast, where in the
past the legendary Bactria (Tokharistan) and famous
I(huttal prospered. In the Gissar valley, in the ancient
land of Greco-Bactria, the capital of the counfry - city
of Dushanbe is located. The valley of Zerevshan goes out
to the legendary center of the Tajik culture Samarkand,
and further - to the ancient localities, inhabited by the
sedentary Tajik populafion, such as Bukhara, Nur Ata,
Choust, Merv and others. Now these regions are the parts
of other countries (Uzbekistan and Turkmenistan).
The culture of Tajikistan, the country of mountains,
rivers, lakes, glaciers and diverse nature, has been forming
during many millennia in the area where the mountains
and valleys were the main environment for human
habitation, and routes of the Great Silk Road allowed to
develop the wide economical and creative relations. All
this promoted the preservation of ethnic originality of the
Tajiks, their arts and crafts, interchange with other cultures
(lranian, Greco-Roman, Indian, Chinese and others).
The monuments of arbistic and arbisan production of
Tajikistan from neolithic age up to present have been the
organic part of the objective environment, with which the
human being touched every day, and at the same fime
they belong to the spheres of spiritual and material values.
They are based on the deep understanding of the reality
and a person in the world, high spirituality, inexhaustible
imagination, special connection with the written culture,
which had existed up to now more than two millenia.
During the Islam spreading on the territory of
Mawarannahr and Khurasan the common new cubure
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6
activities, pilgrimage to the sacred places of Islam involved
many nations into the united movement and promoted
the exchange of commodities and arhistic values.
A town in Central Asia of the 9-'l'Z'h centuries
prevailed over the agricultural districts as a political
basis, being the administrative and economical center,
since the significant part of big landowners lived in
towns, being at the same time occupied with trading
activities. The growth of craft production and trade
has led to the concenfration of big capitals in the
hands of urban upper ten, and also has created the
numerous stratum of craftsmen and work-hands which
had been absent before (Bolsbal<ov, 1'973, P. 112).
The medieval town was divided into mahallas
(microdistricts) and guZars - blocks (administrative-
domestic sections of the town, where the representatives
of the same class or profession have lived from generation
to generation). More often g:uzars were inhabited on
the productive-craft basis, and this was reflected in their
names: zargaron (the biock of jewellers), kulolon (the
block of potters), etc. Very often the blocks bore the
names of those places from which the craftspeople had
come: Krudzhandi - from Khudzhand, Bulcbai - from
Bukhara, etc. Formation of first mahalias and g.uzars
related to the period of Samanids (9-L0'h centuries),
when the craft has actively started developing and all
cultural terminology has started forming. In Samarkand,
for example, in the end of the 19'h century there were
96 guzars, in Bukhara - 1.97, in Istaravshan - 69, etc.
In guTars, mahallas there were located numerous trade
and handicraft enterprises, small shops, bazaar. Bazaar
performed not only purely utilitarian funcfion, but also
it was the center of active informational, commercial
and handicraft life, exchange of ideas and goods. Quite
often in towns the seasonal fairs were held - they
enriched the local market with highly arbistic goods and
products of claily demand. Sometimes up to 10 thousand
merchants and craftsmen parbicipated in them. Fairs
promoted the formation of regional and local trading
centers where the craft production was gathered.
The earliest mentions about the specializafioru of the
craftsmen according to the producfion features are met
in the works of representatives of the philosophical group
Ihvan as-Safa (second haH of the 9'h century). The author
combined them into several groups, indicating the advantages
of some crafts compared to others: 1) by the material from
which the goo& were made (here the advantage belonged to
goldsmiths and perd:mers); 2) by the complexity of articles
production (here the first place was given to the precise
toolware mastets, for example, those who made astrolabes);
10