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Applied ceramics were widely used in traditional architectural ceramics of Uzbekistan. Numerous details of buildings and constructions were faced with majolica and mosaic. This art reached its zenith in medieval times (madrasa, mosques, mausoleums of Samarkand, Bukhara and other cities) and almost stopped its development to the end of the 19 th c. In the 20 th c it was used in construction of monumental buildings and has great perspectives of development at present time due to the revival of cultural traditions. Glazed tiles and bricks are produced now for restoration of medieval architectural monuments.
Utilization of ceramic material for decorative purposes is understandable: Uzbek people assimilated production of pottery very early. They applied their rich experience in the field of architecture, all the more so since the materials for production of architectural ceramics were close at hand. Loess paste in its raw condition – is very accessible, and its use was assimilated in the 1 st c B.C. – the period of the appearance of ceramic architectural decor. During excavations of palace constructions the fragments of big ceramic details in the form of three-staged merlons, circles with cross cuts in the center (palace building of Khanakatepa near Denau as well as Aktepa near Tashkent) were found by archaeologists. Analogous findings were excavated in Kyrgyzstan. The halls of the palace of ancient Nisa in Turkmenistan were decorated with different terracotta details of complicated forms and artistic decorations of very good quality.
Carved terracotta tile (43 cm in diameter) was found during excavations of Varakhsha palace in the 6 th -8 th cc. Large panels made of ceramic tiles in raw brick constructions of the 19 th c were found recently. Thin faintly burnt rectangular and hexagonal tiles as well as burnt bricks were used for floor covering.
Archaeological excavations revealed that in the 8 th c ceramic fireplaces served the daily needs, cult and decorative purposes of people.
In the 9 th c burnt bricks and facing ceramic tiles became normal wall materials. Constructions of early period were built of adobe bricks facing with burnt ones, and very often in combination with carved gypsum. Only a few unique buildings such as the Samanid Mausoleum in Bukhara and Arab-ata Mausoleum were completely made of burnt bricks.
The simplest kind of ceramic facing were burnt bricks of the same format as adobe ones in masonry. At the same time decorative facing of main buildings was developed. Bricks played a major role in facing, the usual masonry of which was replaced by figured, ornamental, plain and relief works. So , additional figure elements became customary among facing details . These elements were produced of the same bricks with further cutting out, breaking up and adding of gypsum details.
Firstly, smart facing covered all elevations of constructions, then, decor concentrated on facades, which were transformed later into portals. Interiors of buildings were decorated as for example the Samanid Mausoleum in Bukhara or Sultan-Saodat in ancient Termez. Ceramic facings of interiors (well protected from climatic factors) were replaced by paintings on gypsum plaster and carved gypsum.
• Combination of relief masonry of ceramic details with gypsum was used for decorative completion of empty places as well as for separate ornamental gypsum motives. Gypsum ornament is made by carving, and in rare cases through dyes. The best example of such facing is the Arab-ata Mausoleum (10 th c A.D).
• Combination of relief brick masonry with figure ceramic details, forming ornamental panel – was a technique widely used in Uzbekistan in the 11 th -12 th cc. 12 th c Minarets in Bukhara and Vabkent settlement, the lower part of the minaret in Kusam ibn Abbas Mausoleum (Shakhi-Zinda complex), the western wall of the 12 th c Namazgoh Mosque and Magoki-Aggari in Bukhara, and Sultan-Saodat Mausoleum in Termez have the same type of facing.
• Terracotta with carved epigraphic and decorative ornaments, used in combination with more simple facing of polished and sometimes figured bricks, formed borders and separate decorative motives of Bukhara and Vabkent, Djarkurgan and Termez minarets of the 12 th c.
All techniques of facings in different variants illustrate the complicated and perfect system of ceramic art of the 11 th -12 th cc. At this time concrete traditions were formed: different techniques were developed and preserved until rapid development of ceramic mosaic replaced all previous forms of ceramic decor.
The Mongol conquest in 1220s stopped the development of building in Central Asia. New buildings with exact dates of construction appeared only from the mid-14 th c (Bayan-Kuli-Khan Mausoleum in Bukhara, a number of mausoleums of Shakhi-Zinda complex in Samarkand).
The 14 th c became a period of rapid development, and it seemed that master-ceramists tried to implement new creative ideas. The development of architectural ceramics reached its peak in the last quarter of the 14 th c and was connected with the reign of Amir Temur. Major types of facing ceramics at that period were carved glazed details, which reflected traditions of 12 th c carved terracotta.
From the mid-14 th c except for glazed ceramic tiles and many-colored majolica on clay background faience appeared on the facing of buildings. At first it took the form of relief bands and square tiles (Khodja-Akhmad Mausoleum of Shakhi-Zinda complex), later – large tiled details of combined panels (Shadi-Mulk Mausoleum of Shakhi-Zinda complex).
Further development of faience facing materials in the 14 th c is the tracking in six-colored carved ceramic mosaic (Shirin-Bek-aka Mausloeum). The rich facing of the Tuman-aka Mausoleum dates from the beginning of the 15 th c and is a logical continuation of the development of mosaic facings. Tuman-aka Mausoleum is a culmination point in the development of ceramic mosaic in the whole Central Asian region.
In the 14 th -15 th cc there was much construction of huge and grandiose buildings. The Mosque of Temur in Samarkand famous under the name of Bibi-Khanum, the Ak-Saray palace and Djakhangir Mausoleum in Shakhrisyabz, Akhmad-Yassavi Mausoleum in Turkestan are still amazing in size and unusual richness of ceramic decor. Gur-Emir Mausoleum in Samarkand, Tumank-aka Mausoleum of the Shakhi-Zinda complex, Zengi-aga Mausoleum near Tashkent are also related to this period.
In the first half of the 15 th c a lot of huge buildings with ceramic facings very similar to those of the 14 th c were constructed by Ulugbek in Bukhara, Samarkand, Shakhrisyabz. Utilization of carved stone in combination with faience and clay ceramics – was a new direction in the facing of buildings of this period. Vivid colors of glazes, rich gilding, large surfaces covered with different ceramics are characteristic features of architectural decor of the late 14 th – early 15h cc.
In the 16 th c the center of cultural life of Central Asia moved to the capital of theUzbek state of the Sheibanids – Bukhara. During this period the city was build up with monumental constructions: madrasas, mosques, burial-vaults. Much building was done during the reign of Abdulla-khan (Abdulla-khan madrasa, Kujkeldash, part of Chor-Bakr ensemble and others).
In the 16 th c a lot of monuments were built in Tashkent: Barak-khan madrasa, Kukeldash, Mukhammad Abu-Bakr Kaffal-Shashi Madrasa. In the 16 th c a number of buildings were repaired and the burial-vault of Sheibanids Childukhtaran was erected.
In comparison with the 15 th c the application of glazes decreased, and polished facing bricks became customary. During this period facings from polished terracotta with faience incrustation were widespread, but they didn't possess the quality of the original facings of the second half of the 15 th c. We also see the degradation of carved ceramic mosaic, the patterns of which lost the grace of lines and colors, and only in some samples is it up to the quality of earliest ones.
In the 17 th c the following monuments were built: Nadir-Divan-begi ensemble, Abdulaziz-khan madrasa, Djuibari-Kalyan madrasah, several vaults on Chor-Bakr cemetery, Namazgoh mosque and Khoja-Akhrar madrasa, Shirdor and Tilla-Kari madrasas on Registan square, Khodja Abdu-Birun mausoleum.
The buildings of Bukhara, apart from Abdulaziz-khan madrasa, are not completely covered by ceramics. For example, ceramic mosaic could be found only on the portal of Djuibari-Kalyan madrasa, and the main elevations of Nadir-Divan-begi ensemble are poorly decorated with ceramics. Application of faience rapidly decreased . It was used only for mosaic; tiles and majolica were made of clay. Glazes acquired yellow, green and blue colors.
Ceramic decor of Samarkand buildings, especially Shirdor, is very close to the earlier quality. Mosaic facing of main portals has very deep blue, white, green, black, golden-brown colors, which range from the lightest to the darkest shades. Graceful ornament and shiny glazes of the madrasa's walls remind one of the best samples of the 14 th -15 th cc. Majolica was also produced according to the traditions of the 15 th c.
In the 18 th c building slowed down. This changed by the end of century and lasted up to the beginning of the 20 th c. Khiva, destroyed by numerous wars, was erected afresh, a lot of buildings were constructed in Bukhara as well as in a number of small cities. The attempt of revitalization of 12 th c carved terracotta and 14 th c carved glazed ceramics was made in the construction of the Khodjamni Kabri mausoleum of the 18 th c in Namangan. However, in spite of the successfully made carving, the master covered it with glazes of dark-green, orange-red and blue colors, which destroyed the general harmony of the facing.
The entrance portal of the palace of the last Bukhara emir Sitorai-Mokhi-Khosa (1914-1917) is covered with mosaic and faience tiles, raspberry-red glazes dominating here, which is very unusual for Central Asia.
One of the biggest constructions of the second half of the 19 th c Khudoyar-khan in Kokand has solid ceramic facing made of small majolica tiles. Common facing style (terracotta and majolica on clay-ceramic background) is typical only for Khiva buildings of the 19 th c. In most cases majolica was covered with white glaze, contours of ornament were painted with black, separate elements of ornament were made with blue and green glazes. Some facing details of a later period show the high skill of the master. Masters assimilated the technique of ceramic production, developing traditions of predecessors, imported technological and creative changes. In the 19 th c, imitation of ceramics could be observed, since carved ceramic mosaic was not applied after the 17 th c. For example, the entrance portal of Khazrat-Khizr mosque in Samarkand and minaret are covered with gypsum plaster painted in different colors in imitation of tiled facing.
Facing ceramics are carefully preserving on some ancient architectural monuments of Uzbekistan, samples of which are investigated in detail with the view of revitalization of ancient traditional techniques using modern technologies.
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