The Revival of Uzbek Crafts
O‘zbek hunarmandchiligining qayta tiklanishi
Sarlavha va pastdagi so‘zlarga qarang. Matn nima haqida bo‘lishi mumkin? Bir daqiqa o‘ylab ko‘ring — bu miyani o‘qishga tayyorlaydi.
An’anaviy hunarmandchilikning yo‘qolish xavfi va uni qayta tiklash yo‘llari haqida.
Kalit so‘zlar
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In a narrow workshop in Rishtan, in the Fergana Valley, a potter dips a brush into a glaze made from the ash of desert plants and paints a pattern that his great-grandfather would have recognised. The deep turquoise and cobalt blue of Rishtan ceramics have been produced in this town for centuries, using local red clay and mineral glazes whose recipes have been passed down from master to apprentice. Yet for much of the twentieth century, it seemed entirely possible that this tradition, along with many others, would disappear.
Farg‘ona vodiysidagi Rishtondagi tor ustaxonada kulol mo‘yqalamni cho‘l o‘simliklari kulidan tayyorlangan sirga botirib, katta bobosi taniy oladigan naqshni chizadi. Rishton sopolining to‘q feruza va kobalt ko‘k ranglari bu shaharchada asrlar davomida ustadan shogirdga o‘tib kelgan mahalliy qizil loy va mineral sir retseptlari yordamida ishlab chiqarilgan. Biroq yigirmanchi asrning katta qismida bu an’ana boshqa ko‘plari bilan birga yo‘qolib ketishi mutlaqo mumkindek tuyulgan.
The pressures were considerable. Industrial production made cheap ceramics, textiles and metalwork widely available, undercutting the prices that handmade goods could command. Many workshops were absorbed into large state enterprises, where standardised designs replaced individual creativity and production targets mattered more than quality. The traditional system of “ustoz-shogird”, in which a young apprentice lived and worked alongside a master for years, learning not only techniques but also an ethic of craftsmanship, was weakened, and in some crafts the chain of transmission was broken entirely.
Bosimlar ancha jiddiy edi. Sanoat ishlab chiqarishi arzon sopol, to‘qimachilik va metall buyumlarini keng ommabop qilib, qo‘lda yasalgan mahsulotlar talab qila oladigan narxlarni pasaytirib yubordi. Ko‘plab ustaxonalar yirik davlat korxonalariga qo‘shib yuborildi, u yerda standartlashtirilgan dizaynlar shaxsiy ijodkorlikni almashtirdi va ishlab chiqarish rejalari sifatdan muhimroq bo‘ldi. Yosh shogird yillar davomida usta bilan birga yashab va ishlab, nafaqat texnikani, balki hunarmandlik axloqini ham o‘rganadigan an’anaviy “ustoz-shogird” tizimi zaiflashdi va ba’zi hunarlarda bilim uzatish zanjiri butunlay uzildi.
Since independence, there has been a remarkable revival. Families who had quietly preserved their knowledge through difficult decades began to open private workshops, often in their own homes. In Margilan, the production of hand-woven silk and cotton fabrics using the ikat technique, in which threads are dyed in sections before weaving to create blurred, flame-like patterns, has been revitalised, and visitors can now watch every stage of the process, from boiling silkworm cocoons to dyeing and weaving. In Bukhara and Samarkand, artisans have revived the embroidery of suzani, large decorative hangings once made by brides and their families as part of a dowry.
Mustaqillikdan beri ajoyib tiklanish yuz berdi. Og‘ir o‘n yilliklar davomida o‘z bilimlarini jimgina saqlab kelgan oilalar ko‘pincha o‘z uylarida xususiy ustaxonalar ocha boshladi. Marg‘ilonda iplar to‘qishdan oldin bo‘laklab bo‘yalib, xira, olovsimon naqshlar hosil qiladigan abrband texnikasida qo‘lda to‘qilgan ipak va paxta matolarini ishlab chiqarish qayta jonlandi va tashrif buyuruvchilar endi pilla qaynatishdan tortib bo‘yash va to‘qishgacha bo‘lgan jarayonning har bir bosqichini tomosha qilishlari mumkin. Buxoro va Samarqandda hunarmandlar bir paytlar kelinlar va ularning oilalari sepning bir qismi sifatida tikkan katta bezak osma matolar — so‘zana kashtachiligini qayta tikladilar.
Tourism has been a powerful driver of this revival, providing both income and recognition. Foreign visitors are often willing to pay prices that reflect the many hours of skilled work in a single piece, and international exhibitions and festivals have brought Uzbek crafts to new audiences. Government support, including tax exemptions for artisans and the creation of craft centres in historic buildings, has also played a role.
Turizm bu tiklanishning kuchli harakatlantiruvchi kuchi bo‘lib, ham daromad, ham e’tirof keltirdi. Chet ellik tashrif buyuruvchilar ko‘pincha bitta buyumga sarflangan ko‘p soatlik malakali mehnatni aks ettiradigan narxlarni to‘lashga tayyor va xalqaro ko‘rgazmalar hamda festivallar o‘zbek hunarmandchiligini yangi auditoriyaga tanishtirdi. Hunarmandlar uchun soliq imtiyozlari va tarixiy binolarda hunarmandchilik markazlarini tashkil etishni o‘z ichiga olgan davlat yordami ham rol o‘ynadi.
The revival, however, raises difficult questions. Dependence on tourism makes artisans vulnerable to sudden drops in visitor numbers, as the pandemic painfully demonstrated. There is also a risk that crafts become frozen into a souvenir version of themselves, reproducing a narrow range of designs that tourists recognise as “authentic” rather than evolving as living traditions always have. Mass-produced imitations, sometimes imported and sold as local handicrafts, undercut genuine artisans and mislead buyers.
Biroq tiklanish qiyin savollarni ham tug‘diradi. Turizmga qaramlik hunarmandlarni tashrif buyuruvchilar sonining keskin kamayishiga zaif qilib qo‘yadi, buni pandemiya og‘riqli tarzda namoyish etdi. Hunarlar jonli an’analar doimo qilganidek rivojlanish o‘rniga, sayyohlar “asl” deb taniydigan tor doiradagi dizaynlarni takrorlaydigan esdalik nusxasida qotib qolish xavfi ham bor. Ba’zan import qilinib, mahalliy hunarmandchilik buyumlari sifatida sotiladigan ommaviy ishlab chiqarilgan taqlidlar haqiqiy hunarmandlarni zarar ko‘rishga majbur qiladi va xaridorlarni chalg‘itadi.
Some of the most interesting work is being done by younger artisans who refuse to see tradition and innovation as opposites. A new generation of designers is combining ikat fabrics with contemporary fashion, using traditional ceramic glazes on modern tableware, and selling directly to customers around the world through social media. Several craft schools have also been established to formalise the training of apprentices, ensuring that skills no longer depend on the survival of a single family.
Eng qiziqarli ishlarning ba’zilarini an’ana va yangilikni qarama-qarshi deb bilishni rad etadigan yosh hunarmandlar qilmoqda. Dizaynerlarning yangi avlodi abrband matolarini zamonaviy moda bilan uyg‘unlashtirmoqda, an’anaviy sopol sirlarini zamonaviy idish-tovoqlarda ishlatmoqda va ijtimoiy tarmoqlar orqali butun dunyodagi xaridorlarga bevosita sotmoqda. Shogirdlarni tayyorlashni rasmiylashtirish uchun bir nechta hunarmandchilik maktablari ham tashkil etildi, bu esa ko‘nikmalar endi bitta oilaning omon qolishiga bog‘liq bo‘lmasligini ta’minlaydi.
The potters of Rishtan have a saying that a pot remembers the hands that made it. Whether these crafts thrive in the coming decades will depend on whether new hands continue to be trained, and on whether buyers, both at home and abroad, are willing to value the difference between an object that has been manufactured and one that has been made.
Rishton kulollarida idish uni yasagan qo‘llarni eslaydi, degan maqol bor. Bu hunarlar kelgusi o‘n yilliklarda gullab-yashnaydimi-yo‘qmi, yangi qo‘llar o‘qitilishda davom etadimi va xaridorlar ham mamlakat ichida, ham chet elda zavodda ishlab chiqarilgan buyum bilan qo‘lda yasalgan buyum o‘rtasidagi farqni qadrlashga tayyormi, shunga bog‘liq bo‘ladi.
Tushundingizmi?
Javob topa olmasangiz, «O‘qish» bosqichiga qaytib, matnga qarang — bu ham mashq.
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Asosiy g‘oya
1 What is the main idea of the article?
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2 What happened to many workshops during the twentieth century?
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3 What is the ikat technique?
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4 What risk of dependence on tourism does the writer mention?
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5 What are younger artisans doing, according to the article?
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 Most tourists buy ceramics rather than textiles.
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2 Visitors are not allowed to watch silk production in Margilan.
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3 Rishtan ceramics are made from imported white clay.
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4 Rishtan glazes use ash from desert plants.
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5 The ustoz-shogird system was officially banned.
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6 Craft schools have been set up to train apprentices.
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7 Industrial production made handmade goods harder to sell at good prices.
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8 The saying about pots is known throughout Central Asia.
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9 All crafts sold as local handicrafts are genuine.
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10 The government has offered tax exemptions to artisans.
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11 Some families preserved their knowledge through difficult decades.
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12 Suzani were once made as part of a bride’s dowry.
So‘zni ma’nosi bilan juftlang
Chapdan so‘zni, o‘ngdan uning ma’nosini tanlang. Hammasi juftlansa, natija chiqadi.
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