Читать книгу Central Asian Art - Vladimir Lukonin - Страница 9

The cultural heritage of Central Asia in the 19^th century and at the beginning of the 20^th century kept what the centuries and millenia of its earlier history has been able to transmit to us: examples of great constructions. The diversity of architectural types and decorative techniques are present in the habitations of the upper middle class, in the mosques of the villages and in the country. They differ due to regional climatic conditions rather than old architectural traditions. The important towns of Central Asia had regional decorative schools which were formed on the basis of local tradesmen’s corporations. In spite of similarities in decorative composition principles, the artistic techniques of these centres were different, in the wood carving as well as in the details of ornaments and colours. Thanks to an exuberant wealth, sculpted columns, carved doors, “claustras”, and perforated stucco panels, painted walls and ceilings, gave great beauty to the insides of the houses and mosques.

From the establishment of the Soviet power a vast program of urbanisation was set up in Central Asia. One of the tendencies of modern architecture drew upon the national heritage. In the first place, the modern architecture, which borrowed traditional planning from medieval architecture took into account the natural conditions particular to each region (aeration systems, principles of orientation, antiseismic measures). Many elements common to the old architecture were introduced with great success in the planning of the edifices, such as the ogival arches, the vaulted iwans or the stalactites with monumental forms which may protect from the sun. Modern urban architecture takes its inspiration mainly form traditional decoration. An original inspiration in the technique of glazed earthenware tiles was realised in 1927 on the pedestal of the Lenin monument at Achkhabad, where the majolica shapes imitate the motifs and colouring of a Turkman carpet.

The perforated panels of geometrical motifs adorned the Uzbek and Tajik pavilions at the National Agricultural Exposition of Moscow in 1937.

They were executed by popular artists. The great Navoï Theatre, built in Tashkent from 1940–1947, is a real laboratory of artistic co-operation between Soviet architects and the best craftsmen of Uzbek applied arts.

During the last decade, traditional architecture, ornamental sculpture and monuments have often been used by popular Uzbek, Tajiks, and Turkmen artists (the artists of Kyrgyzstan preferring national motifs worked in felt or leather appliqué) for the decoration of public establishments, museums, cultural palaces, rural clubs, and metropolitan stations.

Crowned head, 8^th or 9^th century. Limestone, height: 30 cm. Khalili Collection.