News

Inbound Tourism – as an crucial factor of the industry’s advancement

(Farhad Rasulev, head of commission on inbound tourism under O’zbekturizm NC):

“It is widely known that inbound tourism can play no less important role both in national and regional economy. It is rather essential source inland revenues, provides the employment of small business and creates numerous workplaces. Nowadays, inbound tourism is the most widespread and highly profitable type of tourist activity. Statistics show the number of foreign tourists visiting our country grows year by year. If in 1993 we received 92, 35 thousand persons, then in 2010, according to prognosis, this number will increase to 410 thousand persons.
In this connection the sphere of inbound tourism needs constant modernization in order to meet international standards. Today, there are certain issues concerning this sphere the solution of which will promote the further successful development of tourism. The purpose of creation of the commission on inbound tourism – by means of tourist industry’s entities to offer the vision how to turn Uzbekistan with its huge tourist potential into the principal direction of this sphere in our region.
Our task is to analyze the situation, determining priorities in developing measures that will favor the development of inbound tourist streams in our country. For this purpose we have worked out suggestions including the issued list and the ways of their solving. We represented these suggestions to NC O’zbekturizm for reviewing.
Thus, in our opinion, the chosen mechanism of solving the issues should be mutually attractive for both the government and private sector. It will allow to prepare favorable ground for bilateral introduction of new elaborations and ideas meant for the sphere perfection.
As the development of tourism is interfaced with work of other organizations and departments, it is necessary to consider the tourist activity as interaction of all structures in one mechanism.
Especially it concerns the works on simplification of incoming, boundary and other tourist formalities, interactions with bank sphere, transportation, communication and others.
The suggested transformations will undoubtedly bear presumable results, namely the substantial growth of incoming tourist streams. As, our country possesses the considerable tourist potential represented by bewitching nature, rich historical and cultural heritage capable to satisfy requirements of majority of traveling connoisseurs.

17.08.2010
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O’zbekturizm National Company introduces a new scheme for government and private sector partnership in the travel area

The national tourism administration, in cooperation with private travel businesses, public institutions and stakeholders, has set up seven commissions to facilitate progress in the sphere. Uniting the professionals in working groups aims at elaborating proposals on modernizing the travel sector and promoting the image of Uzbekistan as a solid tourist destination.
The commissions are to focus on issues and prospects of incoming, outgoing and internal tourism; expansion of travel options in the sphere of adventure recreation in Uzbekistan; perfection of the regulatory framework in the sector; promotion of our country’s travel brand; attraction of investment and improvement of infrastructure; and working toward aptness in training, retraining and advanced training of personnel in the sphere.
Initial meetings of commissions have revealed the willingness of our country’s travel businesses to address pressing issues in the sector. Specification of tasks and powers is the way to effective cooperation and advancement, members of commissions believe.

30.06.2010
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In the Land of Goitred Gazelle – living in the kingdom of sandy sea

Looking at endless steppes of the Qizilqum Desert a question rises: what does it attract numerous academics with, especially the small part of the sandy sea? That small area is the reserve zone known to the scientific world as Ecology Center Jeyran, thanks to which the endangered kind of wonderful antelopes was saved.
Goitred gazelles, graceful fragile animals with gentle and devoted look, were included into the Red Book of Uzbekistan and International Red Book long ago. The Ecology Center Jeyran is the only center in the world reproducing these rare animals.
The total number of goitred gazelles in Uzbekistan is currently reaches 8-10 thousand. Hand-rearing is the most reliable way of saving them. Besides the nursery that was erected for this purpose, goitred gazelles are kept in Qizilqum and Qoraqum reserves. The goitred gazelles nursery was founded in May, 1977, when they bred 42 goitred gazelles, three Przewalski horses and four onagers. At that very time they defined the principal tasks of the ecology center: preservation, breeding and reproduction of goitred gazelles, other rare kinds of animals and their study.
There is a sawdust mat on the nursery entrance. “This is for disinfection,” the center workers explain. Endless desert space comes into view as absolutely lifeless area. However, looking closely, one can see several traces on the sand…
Scientific worker Natalia Soldatova tells about biological diversity in Jeyran center and Qizilqum Desert:
“Besides goitred gazelles, famous Przewalski horses, onagers, wild rams and more than 260 species of birds live on that land. According to the last animal calculation, a total of 902 goitred gazelles, 67 onagers, 21 Przewalski horses inhabit the ecology center.
How does the rehabilitation of the endangered species take place? Every day in the end of April and the beginning of May workers of the reserve travel all around the desert at night, trying to stay invisible, and find out the newborn goitred gazelles. One of two newborns is taken to the so-called children’s ground in the open-air cage. If only one goitred gazelle was born it is left with his mother. The grown-up goitred gazelles are awaited in zoos in different countries. Before this happens, workers of the center become “mothers” for little goitred gazelles for hundred days and feed them with the goat milk from the bottle. People spend all the time near the animals, sleep under the mosquito net in the desert and do their best not to allow these beautiful animals to disappear from the face of the earth.”
As the 33-year experience of the ecology center’s activity shows, the concern about the problems of ecological balance in the Central-Asian region raises from year to year. This can be proved by the fruitful cooperation with the World Wide Fund for Nature, French National Nature Study Center, allied organizations of CIS countries, Institute of Zoology of Tashkent, Samarqand branch of the Academy of Sciences, the Bukhoro State University and many others.
Workers of the Ecology Center Jeyran annually accept young ecologists there: members of ecology clubs, students of ecology departments and journalists to popularize careful treatment of nature.

22.06.2010
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Traditional Belt For All Occasions the Uzbek men’s belbog’ strap

The national traditional clothing has always been distinguished for its high practicality and versatility grounded on the century-old people’s experience. Humans have always been tending to look for clothing protecting them from cold and heat, was comfortable and beautiful. However, the versatility and details of the costume were important as well. Belbog’ that was worn by Uzbek men of yore met all abovementioned requirements.
Belbog’ has been serving a compulsory element of the national dress throughout the centuries. Men belted their quilted gowns with it in winter and wide shirts in summer. The Uzbek sash is the embroidered shawl that was shaped at an angle and bound around the waist. On weekdays they wore waistbands made of satin, and on holidays jigits decorated themselves with belts made of silk, atlas satin and adras. Belbog’ for solemn aristocracy ceremonies was especially spruce: it was made of velvet, luxuriously embroidered and decorated with silver pendant.
Waistbands have always been distinguished with brightness and brilliance: craftswomen embroidered red, blue, yellow and green fabrics with colorful threads. A side of a square shawl was about one meter in length; its folds played the role of pockets where they kept all handy things. A peasant working in remote fields could wrap some flat cake or tobacco into his waistband; a merchant hid his daily receipts there, and urban craftsman put small instruments into the waistband. Belbog’ was often used as a tablecloth far away from residential areas: having put it off and unfolded, men turned it into the mobile table.
Every Uzbek bride’s dowry comprised many embroidered articles, and several waistbands were compulsory there. A bride decorated them with fanciful patterns herself. They were destined for being gifted to the future bridegroom, his father, brothers and other male relatives. Each region of Uzbekistan has its own traditions of decorating the belbog’ that have been established for centuries. As a rule, a fabric is covered with the vegetable pattern embroidered with the satin stitch. Cotton or silk threads were dyed manually by natural stuff, the formula of which is still kept in the memory of hereditary craftswomen. The pattern spreads along the edge and corners of the waistband, the favorite images of flowers, delicate sprouts, vortical rosettes and endless waves can be discernible in main lines. Embroiderers often use the ornament with a magic sense wishing their men some wisdom, strength and longevity. So they decorate waistbands with the blossoming almonds, sheep’s horns and hot pepper.
The Uzbek men’s waistband was not only the universal element of dressing, many symbols and customs were connected with it. A gift of belbog’ has always been a display of a special respect and attention. In old times it was presented to the winners of national competitions or used as suyunchi – the award for good and happy news. They solemnly tied a waistband around a pupil’s waist during the ceremony of his consecration into the master rank and since that time he received a right to work independently.
The hospitable tradition of gifting dear and honorable guests with commemorative sets of the national men’s dress comprising an Uzbek gown, skullcap and belbog’ has been preserved in Uzbekistan up to the present days. The waistband pattern symbolizes a running cool mountain stream, blossoming poppies in the vast steppe, long song sounding over the valley. That is why the handmade traditional belbog’ continues decorating the men’s dressing and encouraging contemporary designers for its unique and innovative application.

24.05.2010
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Genuine Assistant. From the history of domestication and breeding of dogs

From the far past, the dog among other animals was the most staunch friend of the man. And this argument is backed by the findings of the archeologists and the whole range of petroglyphs with the scenes of hunting with dogs for wild animals in the Mountains of Tyan Shyan and Pamir-Alai. The ancient Uzbek land is the place of domesticating of dog along with such animals as camel and Karakul sheep.
In the figure of dog depicted in the petroglyph near Kho’jakent settlement in 80 kilometers from Tashkent it is not difficult to recognize the ancestor of wide-spread contemporary herders due to its short massive head, short trunk and thick tail covered by hair. The dog is depicted running: back legs are bent and front legs are drawn forward. The figures of the dog and the hunted goat are outlined. Both are dynamic and realistic enough. On these pictures the ancestors of contemporary greyhounds is recognized by their long legs, thin tail bent only at the end, long standing ears and general slight delineation of a trunk. Along with herders such dogs have been breeding in Central Asia since the ancient times.
In sacred Zoroastrian book Avesta where the events happened in the first half of the first millennium BC at the banks of great Central Asian river Amudaryo are described, the dog is considered the primordial domestic animal. It is significant that at the beginning of our chronology in barrows of the Central Asian nomads along with the stock one find the skeleton of horse and dogs which, as it was considered, are necessary to their owner in his afterlife.
The ancient Uzbek land along with breeding of local dogs, the foreign breeds of dogs had been brought by the routes of the Great Silk Road. It is known that at the first quarter of the 7th century the Chinese emperor Gaozu was offered the dogs of particular Byzantine breed from Central Asia. After this the breeding of Byzantine dogs became usual in China.
In Central Asia in the Middle Ages to present the governors hunting dogs were considered rather good gift. The hunting hugely developed during the Temurids ruling. In the 15th century the sovereign of Samarqand and great astronomer Mirzo Ulughbek was reputed to be the inveterate hunter. The dogs took part in falconries where they were obliged to find out the game, or overcome the goitered gazelle or another big prey kept by hunting birds.
The thoroughbred dogs were estimated very high. One good dog could be exchanged for a couple of camels. Such dogs were highly estimated in neighboring to Central Asia regions. For example, it is known that in the 17th century, different breeds of dogs from ancient Uzbek towns were kept at the court of the Boburids dynasty in India. During solemn audiences these dogs were taken to be demonstrated worn in small red blankets.

13.05.2010
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Secrets of Magic Patterns – Mysteries of symbols in the ancient Uzbek ornament

The national Uzbek ornament is extremely rich and rather beautiful, it is significant and deep in its essence, as the most ancient symbolism lies on its basis. The key to its solution is in certain cases already lost, but thanks to laborious work of the Uzbek scientists-art-historians and national masters preserving the ancestors’ heritage, the magic patterns reveal some of their secrets.
The word “ornament” from the Latin means “decoration”, these are the patterns which cover various products of national handicraftsmen, architectural constructions, clothes and home appliances. Today each type of the applied art in Uzbekistan is rich with the special drawings and the interlacing patterns, all ornamental motifs have the ancient national name. As a rule, patterns reflect the environment surrounding us, plant and animal kingdom, everyday life of people, their dreams and wishes. For instance, the principal ornament of the traditional Uzbek embroidery is the magnificent blossoming garden – the symbol of fertility, the wish of happiness and well-being. Fragrant and bright flowers owing to skills and imagination of national female artists pass from gardens and steppes to a cloth. The pattern of each flower has its symbolic meaning: cornflower designated the young man, scarlet poppy – the young girl, the rose symbolized peace and beauty, while tulip – innocence and cleanliness.
The ornaments, decorating samples of the folk art, often have images of plants which, according to our ancestors, possessed some salutary property, brought blessing, or served as amulets. The symbol of health and long life are fruits of noble almonds, the image of cayenne means cleansing and should save from evil, red grains of ripe pomegranate embody the riches, abundance and fertility. In lush of leaves, among the blossoming buds and graceful grapevines the bright birds are depicted that embody the ciphered wish of family happiness. The motley plumage of peacock, pheasant, or cock feathers aimed to protect from the bad eye, and the pattern “trace of the snake” of the same purpose. The applied art of Uzbekistan widely applied symbolical images of other animals as well: the turned mutton horns meant force and courage, while the image of nightingale – the highest wisdom.
Masters often sated their fanciful patterns with ancient national symbols of Sun, Earth, Moon, stars and sky. The Universe had its symbolic image as well and depicted as “life tree” in the shape of fantastic bushes or colorful bouquets in intricate vases. The wavy and streaming patterns embodying streams of life-giving water gifting life are linked with the agricultural cult of fertility.
In the depths of the ancient ornament among ingenious patterns the images of simple articles from everyday life were hidden: trays, jugs, chains, teapots. However these drawings as well had their implication. For instance, knives depicted in order to protect from envy and evil spirits, and lamps – to clear space of dark forces. Sometimes pattern compositions included inscriptions in Arabic, modern samples of the national applied art are decorated with images of historical monuments and architectural constructions of Uzbekistan. Such pictures are the bright symbol of honoring the ancient history and the pride of today’s achievements.
Thin, laced and attractive ornaments concealing the centuries-long mysteries and hidden signs personify the talent and poetic soul of the Uzbek people. One could look at these patterns infinitely, they bewitch with their spirituality, fancifulness and national color, being kept in mind with all their magnificence.

26.04.2010
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“Golden Cradle”

This is what the wise men used to refer to Uzbek folk epic poetry, a source of national culture Folklore is reasonably considered each nation’s most invaluable riches. The ancient verbal literature of Uzbeks includes such imperishable treasure as the national eposes, the special place among which belongs to the poetic legend Alpomish. The most ancient eposes are deservedly considered the great heritage of the Uzbek people. Throughout thousands years they were passed on from mouth to mouth, reflecting history, destiny and soul of the nation. Born by human imagination and talent in the remote antiquity the poems were processed and perfected by the best national storytellers – bahshi, owing to them the pearls of oral creativity have remained in the memory of people. The fact that many generations of unknown storytellers managed to bring to our days the most ancient folk heroic epos Alpomish developed by the Uzbek people in the 10th-11th centuries, is considered the true phenomenon. This poetic narration was performed everywhere across Uzbekistan: in Samarqand and Bukhoro, in Farghona Valley and in Tashkent region, Surhondaryo and Qashqadaryo. It was sung by the best and renowned bahshi, yet the fullest (14 thousand verses), perfected and classical version has been recorded in the performance of the unique storyteller and poet Fozil Yo’ldosh and published in 1938. The epos tells about wrestlers from the tribe qo’ngrod, lived in the territory of modern Uzbekistan, about their leader Alpomish – courageous, powerful and fair hero, about his love for beautiful devoted Barchinoy, as well as about indefatigable struggle against enemies and evil. The poem consists of two parts closely linked with each other, first of which narrates about heroic marriage proposal of the noble hero to Barchinoy. The athlete outstrips other grooms-claimants in the most difficult competitions – horse-racing, shooting, archery and wrestling. Having overcome contenders by the help of the staunch ally, the athlete Qorajon and his improbable heroic horse Boychibor, Alpomish wins the heart and hand of the bride and with the victory returns home. In the second part, the glorious warrior campaigns against the severe governor of the Toychakhon and because of rashness imprisons for long seven years. However, he manages to escape from the dungeon. Having released, the athlete defeats the enemy and triumphantly returns home, where under his impartial ruling he brings the tribe together.
Not only the man, but also the woman becomes the hero of the national epos Alpomish, who hand in hand with him overcomes the most difficult vital tests. The legendary image his beloved Barchinoy fully corresponds to powerful Alpomish. Besides beauty and merits she personifies intellect, heroism and fearlessness. Gently loving her chosen one and being faithful, with her love she inspires the athlete on deeds and displaying great courage. They both struggle for happiness, freedom of the native land as well as independence of their people. Love and fidelity, friendship and selflessness, support and help to relatives, respect for adults and gentle care about younger are the display of centuries-old principles and traditions of the Uzbek people. Many generations bahshi revealed and sang these themes with extreme warmth and bright expressiveness, the poem reflects the wisdom of many generations and subtle knowledge of life. The epos develops the true picture of life of the Uzbeks, however, by tradition, the narration does have elements of fabulousness. The inexhaustible imagination and talent of folk poets created wonderful magic motifs.
Throughout many centuries the poetic legend on Alpomish is considered the anthem in honor of love for the country and family, respect for people and relatives. The epos about the heroic athlete of the sunny country, the defender, the fighter and the fair ruler lives for centuries in the hearts of Uzbek people.

14.04.2010
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From the history of national headwear

The national clothing, as the mirror, reflects the outlook and originality of people. The traditional costume becomes a peculiar chronicle of the ancestors’ life. Headwear is one of the most expressive and vivid component of the traditional national dress.  The women of the East have always been directed to cover their head, and particularly the married representatives of the gentle sex. On one hand, the tippet or a kerchief with long tails running down the back protected a face and a body from burning sun and wind, and helped keeping the whiteness of the face. According to ancient customs, appearing before relatives or public with uncovered head was considered absolutely inappropriate.  In former times the headwear demonstrated the social and marital status of its proprietress, it evidenced about the age and
the place of birth. Traditionally the headwear consisted of one or two kerchiefs, a cap and a turban. Hair was covered with a big scarf, it was covered with the smaller tied kerchief, which was folded bias. Then a turban was winded round. Shawls diversified depending on the region, season and occasion. Women covered their heads with the white muslin or cotton kerchief on common days and they decorated themselves with silk or gauzy tippets on festivities. More solvent ladies could afford dressing headscarves with flower decorations or embroidered with silver or gold tinsel. Women warmed themselves with cashmere shawls in the cool time of the year. A shawl has been a good and valuable gift in all times in Uzbekistan, it was considered a sign of a special attention and it symbolized purity and morality. According to a tradition, seeking in a marriage to a girl, a bridegroom sent her a white kerchief, and she covered her head with it on the wedding day. National Uzbek skullcaps made by craftswomen from silk, velvet or brocade gained a big popularity among women by the beginning of the 20th century. Women quilted two or more cloth layers, and then embroidered the skullcaps with colorful and intricate pattern of silk or gold thread. Girls and young women preferred tetrahedral or round caps, and venerable and elderly ladies did not wear those caps. The skullcaps from different regions varied in their form, range of colors and the pattern motive. The skullcaps from Bukhoro are still famous for their rich gold and silver trimmings on the velvet smooth surface; those from Shahrisabz resemble small fragments of the colored weaved carpet with the cross-stitch pattern, the Boysun skullcaps have very bright and rich colors and they are covered with the relief ribbed embroidery. The ritual headwear bosh, which is inherent only in women from Surkhondaryo stands out of the national women’s headwear diversity. It had several functions at a time: it protected head from both heat and windy cold. Besides, they used to place various small household things like pins, brushes, and sewing. Nowadays the light Uzbek shawl of natural silk with bright national pattern is a beautiful and stylish accessory for the dressing of the most exacting women of fashion in East and West. The pattern refinement, fineness and unique diversity of the embroidery brought world fame to the Uzbek skullcaps. New patterns of glass beads, bugle beads and eyelets add the currency to the ancient headwear. National Uzbek headwear is not just a special souvenir, but also a worthy complement to any suit, which adds an element of the delightful exotics and inimitable coloring to the image of a modern lady.

05.04.2010
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Traditional Open-Air Uzbek Circus performed under the dome of blue sky

Circus art has at all times been breathtaking for every person. It is accessible and clear; it unites people irrespective of their age, nationality or riches. It is known that its roots go as long ago as antiquity. Even then people were able to entertain themselves with such circus genres as juggling, training, and acrobatics. This argument is backed by rock paintings and monuments dating back to the last centuries B.C. and the beginning of A.D.
Traveling through steppe roads and caravan tracks, vagrant actors performed in towns and settlements, they even warmly welcomed by governors in the khon (ruler) palaces, as well as ordinary people during festivals. Circus arrival always became the true holiday because for many it was the most cheerful and amazing show in their life.
The vagrant circus appeared on central squares next to a market as from the hat of a conjurer, artists performed on the open air on the improvised stage right on the ground. In the center of the stage they set up dor – a construction from the trunks of poplar and the ropes, meant for performance of equilibrists – dorbozs (rope-walkers). The forthcoming show was announced all around by blares of karnays and sunrays (Uzbek national wind instruments), and sonorous roll of drums and tambourines. Invocatory sounds of national musical instruments ceased only for some minutes as the showman could greet spectators and declare the first performers.
As a rule, the program began with fascinating performance of rope-walkers. Ropewalker appeared on a thin rope over the heads of spectators, performing difficult and risky acrobatic stunts. At dizzy height about 25-30 meters, the dorboz, without safety equipments, walked, ran, did the splits on the rope, as well as blindfold and other various stunts.
The performance was continued by simboz, the master of walking on a springing rope, which stretched below rope level, to perform on which was much more difficult. People gathered on a market square, observed those smooth and graceful movements of a performer. He was required be well-balanced in order not to be thrown aside from the springing rope. And at that time spectators with bated breath, watched with admiration the performance of rope-walkers demonstrating strength, boldness, dexterity and virtuosity.
In the pride of the holiday lithe acrobats ran out to the stage surrounded with a dense ring of spectators. Under staccato rhythms of tambourine and drum they executed series of difficult stunts, somersault and acrobatic leaps. They were replaced by virtuous jugglers who dexterously threw up burning torches, porcelain plates, copper jugs, balancing with them on their heads and rolling on them from head to foot. The public specially admired of the effective dance with tray filled with burning coals. During this number the performer put the heated tray to his head, then, skillfully moved it on a back, and after an easy jump the tray again moved on the head of the juggler. Then illusionists appeared in the center of the arena the performance of whom caused sincere amazement of the public. The performance was continued by yog’ochoyoqs – actors on stilts, who adroitly and virtuously moving on entertained spectators with songs and dances. Any performance was not organized without appearance of animal trainers, athletes-polvons bewitching the public by their power and dexterity. Yet performances of masqarabozes and qiziqchi – improvisators, wisecrackers and comedians enjoyed greater popularity among people. By the tradition, they accompanied the performance of other circus artists with comments, verses and jokes. Their comic sketches and competitions in wittiness, ability to play upon words and subtle sense of humor gave special color and cheerfulness to each performance of the circus. People could not stay indifferent; they laughed, empathized, and applauded the performers with all their heart.
The modern Uzbek circus started emerging in the end of 19th and the beginning of the 20th centuries. In 1904 the first professional troupe was created in Uzbekistan. In various towns of the republic shapito mobile circuses started to be built, but the first permanent building was constructed in 1914 in Tashkent. In 1942, the Uzbek circus troupe was formed, and in 1976 a new comfortable building of circus decorated with the blue dome and the national ornament was constructed in the capital. Today, Uzbek artists take part in prestigious international festivals of circus art, they receive deserved rewards, and they are applauded by spectators in the countries of Europe, Asia, and Africa. Representatives of the oldest circus dynasties and new talented artists perform on the arena carefully preserving the experience and traditions of many generations. Thanks to it the secrets of ancient and original art was not lost, and on the opposite, the national traditions of the Uzbek circus remain, passing on from generation to generation, they reveal in new colors and become complicated, helping to discover capabilities of a person, beauty of his/her body and spirit.

23.03.2010
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Ages-old Traditions of Uzbek Sports

Fame of Uzbek wrestlers, equestrians and masters in other types of sport contests takes its root from the remote past.
The athlete from ancient city of Khiva Pahlavon Mahmud who supposedly lived between 1254-1326 used to be a prominent wrestler in the Middle Ages. Legends about him have reached us in our days.
The wrestler from Khiva invariably defeated the contenders in Afghanistan, India, Iran, Iraq and other countries of the East. Only once Mahmud lost. It was happened when the athlete has learnt that his rival was threatened with a death penalty in case of defeat.
After the athlete’s death, a mausoleum was built on his tomb. Admirers of the renowned wrestler come from remote places in order to visit the mausoleum and pay tribute the son of an ordinary furrier who glorified his Motherland all across the East. His descendants with dignity continue tradition of the ancestor – to defeat the opponent by all means.
Pahlavon Mahmud became famous not only as a wrestler, but also as a talented poet. He, who was also called as Umar Khayyom of Khiva, left more than three hundred ruboi (verses). The part of them can be read on walls of his mausoleum. Although he wrote them more than seven centuries ago, the verses still sound fresh and topical: “Man of power goes uphill, the weak walks around foothill. Never stand still – even moon and stars move.”
Local people were famous not only by muscles, but also great intellect. The question is about chess. This game came to the ancient Uzbek land from India approximately two thousand years ago, and here it found its modern look. Great commander and statesman Amir Temur was also an outstanding chess player. It should be noted that he brought some improvements to chess playing.
Chess was quite popular game in Movaraunnahr. From the high-ranking nobility to ordinary artisans used to play chess. Therefore, not without reason the chess was called in the East as “The game of palaces and bazaars”. This was backed up by figures discovered by archeologists that were made not only from ivory, but also from the simplest materials: edges of pets, ceramics, glass, and metal.
Through the Great Silk Road the chess reached the Europe and became the property of the mankind. Today, Uzbek masters represent the country in this type of contest with dignity.
Horse polo has its links with the ancient Uzbek land from where this type of sports spread world-wide. Here this team game with wooden ball and sticks emerged in an extreme antiquity. The process of playing of this game depicted in ancient miniatures. One can see in illustrations to Alisher Navoiy’s Hamsa (Quinary), that each team has four horsemen. Players of the team differ on color of horses. Sticks had mooned ends. Mesh bags were served as the goal.
Horses from Central Asia were considered the best for playing horse polo, especially, those from Farg’ona Valley and Samarqand.
In old days, horse polo was considered as the noblest type of contest. In the East the game has extended up to Korea and Japan, and in the West – to the countries of the South America. In this continent it turned into one of the most favorite sports type of the population.
For last several years not only in our country but abroad our aged sports game – uloq – has been gaining wide popularity. The purpose of the competition consists in the ability to take away a carcass from the contender and be the first to bring it to finish. Keen mind, strength, dexterity and genuine ability to ride a horse bring indubitable victory.
Activists of this equestrian sport have founded national and international sports federations, new game rules for regulating international competitions were accepted, and thus it started functioning. Athletes of many states have already entered the international federation. Along with sports fans of Central Asian countries representatives of Pakistan, China, Turkey and even France entered it.
Another type of Uzbek sports – kurash – has also come to the international scene with triumph. Competitions on this type of wrestling for the first time were officially presented on the Asian Games on Martial Arts in Thailand and on the Asian Indoor Games in Vietnam.

02.03.2010
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Unusual Pumpkin. It turns into art object in the hands of craftsmen

The original art of Uzbek artisans reflects national traditions, customs and special features of the life of this nation. Manufacture and decoration of various items from the pumpkin is a superb trade that embodies unique talent and rich imagination of national masters.

In the old days our ancestors made various bowls and containers from pumpkin in order to store water and sour-milk products. In such vessels the products as in natural thermos remained cool even in summer heat, the pumpkin ware was irreplaceable on trips and campaigns. These days, masters in Uzbekistan make every possible vessels, house wares, wall ornaments, snuffboxes, and souvenir small bottles for spices from these golden-like crops. They are both beautiful and incredibly durable. Such products vary in shape, color and sizes, and frequently have original decorations. Masters manufacture them from specially cultivated crook-necked pumpkins; this type of pumpkin resembles a pear by its form, color and size.
Rare masters are capable to create the true work of art from an ordinary pumpkin. Skills of processing and decorating the crops with carving, painting, and glazing pass on from generation to generation, as this craft is of those few ones where both men and women of a family can be engaged. As a rule, they cultivate them from ordinary pumpkin seeds and in October when it is time for gather the crops, they pick up green fruits. The peel of the pumpkin turned into yellow becomes dried and for softening it is necessary to soak it in water for some hours. Then, master puts contours of the future pattern with a sharp knife, cutting the peel approximately into a millimeter. After this, the top peel is removed and on a green surface of the pumpkin intricate yellow drawing appears. It can be national ornament having ancient magic sense, or the image of subjects, animal, birds and magic creatures. Quite often vessels are covered with simply graphic ornament shaping spirals, rhombuses and triangles. Such method of drawing of the ornament is called “pust-naqsh”. After glazing in the heated clay furnace the master wipes pumpkins with sand and polishes them to shine. Such vessel of amber-yellow, elegant-cherry or golden-brown color looks surprisingly beautiful and noble.
In the store of the Uzbek artisans there are other ways of decorating pumpkin as well. For instance, “chizma-naqsh” is the method when the smooth surface of the peeled pumpkin is engraved and filled with black dye. The way of creation of a relief ornament is as follows – the pumpkin at a ripening stage is put into a special form with the drawing on it. The method “qalami-naqsh” is also quite known, using this method the master covers crook-necked pumpkins with gentle drawing using color dyes and special varnish. Today for giving their works special chracteristics the artists paint them in the style of ancient eastern miniatures. Quite often plots from the Uzbek literature are borrowed, or ethnographic motives are used.
Tying up a ripening pumpkin with a strong thread, the master can give the future products the most fanciful shapes: from an ideal sphere to intricate silhouettes. Sometimes for getting unusual shapes artisans put stones under the ripening crop and as a result get the pumpkin that resembles the bend “goose” neck. Or, they load it from above in order to get flattened-shape pumpkin. , from such fruits the oblong or extended vases are born. From such pumpkins masters create oblong and elongated bowls. The big impression is made by Figures of people, animals and birds made of a pumpkin and covered with paintings evoke great impression. Modern Uzbek masters and artists decorate their products with original add-ons from leather and wool, making them bright and refined. Traditional decorative items of pumpkin, storing the power of the earth and the energy of the southern sun, today become an exotic ornament of interiors and a worthy gift for the most tempted connoisseurs of the beauty.

19.02.2010
http://www.ut.uz

Uzbekistan:  Land of Unique Breeds of Animals distinct with their rarest qualities

Breeding rare species of the camel, horse and sheep used to be among our ancestors’ major accomplishments in animal reproduction. These animal groups are distinct with their phenomenal qualities.

In the interfluves of great Central Asian rivers – Amudaryo and Sirdaryo – a desert kingdom of Qizilqum is located. According to scientists, this area can boast to have home-bred the two-humped camel Bactriana whose name indicates its Central Asian origins. In the old days, the extensive territories through the mid- and upstream Amudaryo were called Bactria. These lands, as scholars have asserted, were home to one-humped camel Dromedary.
Valuable data on the origin of unique breed was received by Uzbek-Polish expeditions to Qizilqum Desert, the first results of which was published in the scientific work “Neolithic Monuments of Central Qizilqum” that was issued by Warsaw university. To a great extent, petroglyphs on rocks of remains of ancient mountains in Qizilqum area helped in restoring the history of domestication of a camel. By rock paintings scientists have retraced the stages of domestication of this wonderful animal. Owing to it the people received the unique means of transportation which for many centuries had provided contacts between civilizations of three mainlands – Asia, Africa and Europe.
The caravan of camels, loaded with silk and other goods, passed 20-30 kilometers per day. The same distance was between the most ancient hotels – carvonsaroys. Wells have also been dug on a way. Usually, the caravan consisted of several dozens of camels. The way to one and a half thousand kilometers was overcome in 50-60 days.
Its unusual qualities and, first of all endurance helped the camel to become the main vehicle on the Great Silk Road. A secret of its endurance is the ability acquired during the evolution, to sustain the body’s optimal temperature at the poor use of water. Besides, the camel is able to change a body temperature in a wide range.
Very long ago our fellow countrymen had also bred wonderful races of gallopers. Farg’ona Valley was famous for them up to the beginning of a new era. For those racehorses in the year of 128 BC the first embassy of the Celestial Empire had arrived in Dawan – so the Chinese called the Valley at that time. Primarily they could not come to a deal about sale of heavenly horses as the Chinese called them. But after some time, the sale of bloodstock became the important income item of people of Farg’ona.
For expansion of purchases of horses by the Chinese emperors some specialized markets – peculiar zones of free trade had been created in the country. Residents of Farg’ona and representatives of other regions of the ancient Uzbek land were among vendors there. The best horses were depicted by artists on walls of the emperor’s palace.
Time has preserved a well-known Karakul sheep that was bred by ancestors of Uzbeks. This breed, as a result of centuries-old selection is well-adapted for the life in severe conditions of the desert of Qizilqum.
Karakul sheep is true national riches of Uzbekistan. From time immemorial its fur was in a great demand in the international market, as caught people’s fancy by its unique and diverse colorings.
Many countries tried to breed the Karakul sheep, yet not always it was possible. The matter is that this sheep is capable to produce fur of full value only in conditions close to its home land – the Qizilqum. Here in search of forage the sheep passes about 30 kilometers a day. Even 50 degree centigrade is nothing to the sheep. This unpretentious animal finds the forage even there where other animal would die of starvation. Water containing ten grams of salts in a liter is even suitable for this unusual sheep. Only in such severe conditions the sheep feels perfect and produces such a fine fur. Today, the work of national breeders is continued by fellows of the Scientific Research Institute in Samarqand.

09.02.2010
http://www.ut.uz

Posted by: admin | 05-21-2008 | 12:05 AM