Samarkand ceramics – artist-ceramist Haydar Baturov (1949-2018)

One of the oldest and most interesting types of applied art in Uzbekistan is artistic ceramics. Pottery in this region has more than three thousand years of history. Its first samples, discovered by archaeologists in the republic, were large plates, platters, bowls and salad bowls, vases, jugs, pitchers of various sizes – from huge to miniature, comfortable to use, and at the same time exquisite in form. For many centuries until today, Uzbekistan’s ceramics are in great demand. They are distinguished by high craftsmanship, the beauty of forms, the magic of decorative solutions, the harmony of a bold imagination, a sense of proportion in the use of colour.

Perhaps one of the oldest centres of Uzbekistan’s pottery art was established in the Samarkand region several thousand years ago. Until our times, on the ruins of Afrasiab, glazed ceramic bowls and many clay figurines of local deities and fantastic animals, created by the hands of the masters of the legendary Sogdiana, have been preserved. The style developed here reflects the characteristic features of the artistic tradition of the entire era, known as the “Muslim Renaissance” (early 13th century), which influenced many pottery centres in the region. The results obtained during the archaeological work in the settlement of Afrasiab prove the existence of entire quarters of pottery masters, producing both ordinary and unique products.

Glazed ceramics from Afrasiab are distinguished by artistic and technical excellence, as evidenced by the high quality of chips, glazes and paints, the completeness of forms and decorations. The prepared dishes were open and closed. Closed ones are pot-shaped jugs and bowls, open ones – various dishes (plates, bowls, salad bowls, cups). Decoration of products is characterised by grace and a subtle sense of colour. It was applied to the central part and the neck of the jug with horizontal stripes. Basically it is a floral or geometric ornament, sometimes stylised images of birds, animals and people. They refer to local symbols and folklore representations. The number of glazed vessels with open shapes significantly exceeded the number of jug-shaped products.

The new bloom of glazed ceramics in Samarkand is closely related to the Timurid era. At that time, in the 14th-15th centuries, Samarkand is still the largest centre for the production of ceramics in the region. It is here, in the capital, that a new style of ceramic decoration is taking shape, which has had a decisive influence on the pottery of other centres – Tashkent, Bukhara, Ferghana, Shachrisabz, Merv, Nysa and others. In contrast to the ceramics from Afrasiab, the design of which was dominated by epigraphy and geometric patterns, the new style is characterised by the domination of the realistic principle. The bowls and dishes show images of birds and plants, rendered with convincing craftsmanship and authenticity. The colours of the paintings are also changing – the complex of white, red or dark brown and green under dim glazes is replaced by a blue-white range of colours or an elaborate black ornament under light blue glaze. Some Timurid vessels were made under direct Chinese influence. But over time, local masters abandon imitation, creating their own style, introducing new themes.

At the end of the 19th and the beginning of the 20th century, due to the active development of industrial production, traditional types of arts and crafts were disappearing, mainly in large cities. Thus, during this period, there were only 14 pottery workshops in Samarkand. With the development of factory production, the traditional types of Samarkand glazed ceramics virtually completely disappeared, and by the mid-1970s and 1980s, in fact, they were completely changed – instead of dishes, craftsmen focused on ceramic figurines.

Thus, the famous Samarkand master Umar Dzhurakulov, who first produced traditional ceramics, later laid the foundations for a new direction – small decorative ceramic figurines, which are now successfully developing in Samarkand. The most actively developed aspect of Samarkand artists are small terracotta compositions on the topics of contemporary national life, customs and holidays. Today we recognise the ancient symbols of the earth, water, sky, sun or stars in the products of Samarkand ceramics, covered with brown glaze with yellow and green painting. The students and followers of master Umar Dzhurakulov create original forms of dishes, candlesticks, ashtrays, decorated with molded decorations in the form of fantastic dragons, and the miniature terracotta bowls of Samarkand emit a “crystal sound” when touched.

One of such students of master Umar Dzhurakulov was Haydar Baturov.

He was born in 1949 in the village of Galaosiyo near Samarkand. After graduating from high school, in 1966 he went to work in the Samarkand Art Fund ceramics workshop, where the famous Samarkand master, People’s Artist of Uzbekistan, Umar Dzhurakulov, whose name is associated with the revival of the Samarkand ceramics school, worked as a master.

Working in a ceramics workshop, in 1969-1975 Haydar Baturov studied at the history department of the Samarkand State University, which gave him a rich knowledge of the history of ancient Samarkand.

Therefore, he chose the traditional forms of ceramics and restored the lost forms and patterns of ceramics from Afrosiab. The work of Haydar Baturov is characterised by a bright personality. Studying the archeological ceramics of Afrosiab, creatively rethinking the experiences accumulated over generations, Haydar boldly experiments, creating bright and original works that occupy a worthy place in museum collections in Uzbekistan and abroad. His works are in the resources of the most famous Uzbek and foreign museums, as well as in many private collections.

From 1968, young Haydar began to work independently and participate in various regional, republican, Soviet Union-wide and foreign exhibitions. Since 1970, he has participated in exhibitions organised in Germany, France, the Netherlands, Belgium, Denmark, Hungary, Poland as part of the Uzbekistan Culture and Art Days, as well as the EXPO-70 exhibition in Japan. In 1973 he was admitted to the Union of Uzbek Artists, and in 1997 he was elected a member of the Uzbekistan Art Academy.

He constantly participated in various prestigious art exhibitions in Uzbekistan and abroad. His works are kept in many museum funds, such as the Uzbekistan State Cultural History Museum, Uzbekistan State Art Museum, Uzbekistan State Museum of Applied Arts, Moscow State Museum of the East, St. Petersburg Museum of Applied Arts, Belarusian State Museum of Art History, etc.

Haydar Baturov died in January 2018 in Samarkand.

 

Compiled by Rahim Kayumov