Exhibition Review: “Glaze and Fire”
Ko‘rgazma sharhi: “Sir va olov”
Sarlavha va pastdagi so‘zlarga qarang. Matn nima haqida bo‘lishi mumkin? Bir daqiqa o‘ylab ko‘ring — bu miyani o‘qishga tayyorlaydi.
Ming yillik Samarqand sopolchiligi tarixiga bag‘ishlangan ko‘rgazmaga sharh.
Kalit so‘zlar
Bu so‘zlar matnda uchraydi va matnda ajratib ko‘rsatiladi. Bosing — talaffuzini eshitasiz.
⏱ O‘qish boshlanganda vaqt o‘lchanadi — oxirida tezligingizni ko‘rasiz.
👆 Istalgan so‘zni bosing — tarjimasi yoki lug‘atga havola chiqadi.
Museum exhibitions about ceramics have a reputation, not entirely undeserved, for being worthy but dull: rows of bowls in glass cases, labels listing dates and dynasties, and a quiet sense that the visitor ought to be more interested than they actually are. “Glaze and Fire: A Thousand Years of Samarkand Ceramics”, which opened last month at the State Museum of Arts in Tashkent, is a triumphant exception. It is intelligent, beautifully designed and, for long stretches, genuinely moving.
Sopolga bag‘ishlangan muzey ko‘rgazmalari, unchalik asossiz bo‘lmagan holda, qadrli, lekin zerikarli degan obro‘ga ega: shisha javonlardagi kosalar qatorlari, sanalar va sulolalar sanab o‘tilgan yorliqlar va tashrif buyuruvchi aslida qiziqqanidan ko‘ra ko‘proq qiziqishi kerak degan jimjit tuyg‘u. O‘tgan oy Toshkentdagi Davlat san’at muzeyida ochilgan “Sir va olov: Samarqand sopolchiligining ming yili” ko‘rgazmasi g‘olibona istisno. U aqlli, chiroyli bezatilgan va uzoq qismlarida chinakam ta’sirli.
The exhibition brings together more than three hundred objects, many borrowed from regional museums and private collections and some never previously shown in public. It is organised chronologically, beginning with the remarkable epigraphic wares produced in Samarkand in the tenth century: white bowls decorated with elegant Arabic inscriptions in dark brown or black slip, often proverbs or blessings such as “Generosity is the disposition of the dwellers of Paradise”. Their austere beauty, achieved with nothing more than two colours and the rhythm of calligraphy, is the first of the exhibition’s many revelations.
Ko‘rgazmada uch yuzdan ortiq buyum jamlangan, ularning ko‘pi viloyat muzeylari va xususiy kolleksiyalardan vaqtincha olingan, ba’zilari esa ilgari hech qachon ommaga ko‘rsatilmagan. U xronologik tartibda tashkil etilgan bo‘lib, X asrda Samarqandda ishlab chiqarilgan ajoyib yozuvli buyumlar bilan boshlanadi: to‘q jigarrang yoki qora angob bilan nafis arabcha yozuvlar, ko‘pincha “Saxovat — jannat ahlining xislati” kabi maqollar yoki duolar bilan bezatilgan oq kosalar. Faqat ikki rang va xattotlik ritmi bilan erishilgan ularning sodda go‘zalligi ko‘rgazmaning ko‘plab kashfiyotlaridan birinchisidir.
Subsequent rooms trace the transformation of the craft under the Timurids, when the city became the capital of an empire and ceramics moved from the table to the walls. Here the curators have made a bold and successful decision: rather than displaying only individual tiles, they have reconstructed a full-scale section of a tiled portal, using fragments recovered during restoration work combined with carefully marked modern replacements. Standing beneath its glowing turquoise and cobalt surfaces, one gains a sense of scale that no photograph of the Shah-i-Zinda necropolis can convey.
Keyingi xonalar Temuriylar davrida, shahar saltanat poytaxtiga aylanib, sopol dasturxondan devorlarga ko‘chgan paytdagi hunarning o‘zgarishini kuzatadi. Bu yerda kuratorlar jasur va muvaffaqiyatli qaror qabul qilishgan: faqat alohida koshinlarni namoyish qilish o‘rniga, ular ta’mirlash ishlari paytida topilgan parchalarni ehtiyotkorlik bilan belgilangan zamonaviy almashtirishlar bilan birlashtirib, koshinli peshtoqning to‘liq o‘lchamdagi qismini qayta tiklashgan. Uning porlab turgan feruza va kobalt sirtlari ostida turib, Shohi Zinda maqbaralar majmuasining hech qanday fotosurati bera olmaydigan ko‘lam hissini olasiz.
The exhibition is equally strong on technique. A central room, designed almost as a workshop, explains how clay was prepared, how glazes were made from local minerals and plant ash, and how kilns were fired, with short films showing contemporary potters from Rishtan and Gijduvan at work. Crucially, these films are not presented as a nostalgic epilogue but as part of a continuous story, making the point that the tradition is not a museum piece but a living practice.
Ko‘rgazma texnika bo‘yicha ham xuddi shunday kuchli. Deyarli ustaxona sifatida loyihalashtirilgan markaziy xona loy qanday tayyorlangani, sirlar mahalliy minerallar va o‘simlik kulidan qanday qilingani va xumdonlar qanday yoqilganini tushuntiradi, Rishton va G‘ijduvonlik zamonaviy kulollarning ishini ko‘rsatadigan qisqa filmlar bilan. Eng muhimi, bu filmlar nostalgik xotima sifatida emas, balki uzluksiz hikoyaning bir qismi sifatida taqdim etilgan va an’ana muzey eksponati emas, balki jonli amaliyot ekanini ta’kidlaydi.
My reservations are few, but worth mentioning. The labels, available in Uzbek, Russian and English, are informative but occasionally assume a level of specialist knowledge that general visitors will lack; terms such as “slip” and “underglaze” deserved a word of explanation. The later sections, covering the nineteenth and twentieth centuries, feel rushed in comparison with the richness of what precedes them, and the impact of industrial production on the craft is mentioned only briefly. Finally, the lighting in the first rooms, though atmospheric, is so low that some of the finer inscriptions are difficult to read.
Mening e’tirozlarim kam, lekin eslatib o‘tishga arziydi. O‘zbek, rus va ingliz tillarida mavjud bo‘lgan yorliqlar ma’lumotli, lekin ba’zan oddiy tashrif buyuruvchilarda bo‘lmaydigan mutaxassis bilimi darajasini nazarda tutadi; “angob” va “sir osti” kabi atamalar bir og‘iz tushuntirishga loyiq edi. XIX va XX asrlarni qamrab olgan keyingi bo‘limlar o‘zidan oldingi boylik bilan taqqoslaganda shoshilinch tuyuladi va sanoat ishlab chiqarishining hunarga ta’siri faqat qisqacha tilga olinadi. Nihoyat, birinchi xonalardagi yoritish atmosferali bo‘lsa-da, shunchalik pastki, nozikroq yozuvlarning ba’zilarini o‘qish qiyin.
These are small complaints about an exhibition that sets a new standard for museums in the region. The accompanying catalogue, with essays by leading specialists and excellent photography, is expensive but worth the price. For anyone with an interest in the history of Central Asia, in Islamic art or simply in beautiful objects made with extraordinary skill, “Glaze and Fire” is essential viewing. It runs until the end of March, and I would strongly recommend allowing at least two hours for a visit.
Bular mintaqadagi muzeylar uchun yangi standart o‘rnatgan ko‘rgazma haqidagi kichik e’tirozlar. Yetakchi mutaxassislarning maqolalari va a’lo darajadagi fotosuratlari bilan birga keladigan katalog qimmat, lekin narxiga arziydi. Markaziy Osiyo tarixiga, islom san’atiga yoki shunchaki g‘ayrioddiy mahorat bilan yasalgan chiroyli buyumlarga qiziquvchi har bir kishi uchun “Sir va olov” albatta ko‘rish kerak bo‘lgan ko‘rgazma. U mart oxirigacha davom etadi va tashrif uchun kamida ikki soat ajratishni qat’iy tavsiya qilaman.
Tushundingizmi?
Javob topa olmasangiz, «O‘qish» bosqichiga qaytib, matnga qarang — bu ham mashq.
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Asosiy g‘oya
1 What is the reviewer’s overall opinion of the exhibition?
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2 What decorated the tenth-century Samarkand bowls?
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3 What bold decision did the curators make?
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4 Why does the reviewer praise the films of contemporary potters?
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5 Which of these is one of the reviewer’s criticisms?
True / False / Not Given
True — matnda aynan shunday deyilgan. False — matn aksini aytadi. Not Given — matnda bu haqda ma’lumot yo‘q.
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1 The reconstructed portal uses only original fragments.
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2 The reviewer says the catalogue is worth its high price.
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3 The reviewer thinks the nineteenth and twentieth century sections are the richest.
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4 Visitors can try making pottery themselves in the exhibition.
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5 The exhibition will travel to other countries after March.
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6 Ceramics moved from tableware to wall decoration under the Timurids.
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7 Some objects in the exhibition had never been shown in public before.
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8 The reviewer thinks ceramics exhibitions are often seen as dull.
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9 The labels are available in three languages.
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10 The films show potters from Rishtan and Gijduvan.
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11 The exhibition is organised by region rather than by period.
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12 The tenth-century bowls were made for the royal court.
So‘zni ma’nosi bilan juftlang
Chapdan so‘zni, o‘ngdan uning ma’nosini tanlang. Hammasi juftlansa, natija chiqadi.
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