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FINE ART OF TAJIKISTAN.
Monuments of the culture of the earliest Central-Asian radical settled East Iranian population and the nomadic tribes are still preserved in Tajikistan. Location of Tajikistan on the commercial routes between the East and the West, its cultural and economic ties with Iran, India, East Turkestan, China, Mediterranean countries, and also tribes and peoples of Eurasian steppes – all these promoted development of ancient and medieval art of Tajikistan. Ancient population of Tajikistan greatly contributed to the art of Bactria, Kushan kingdom, Soghd, Toharistan and Fergana, as well as to the artistic cultures of neighboring peoples (e.g, the art of East Turkestan was formed and developed under the strong impact of Soghd and Tokharistan arts).
Prehistoric and Ahemenid period. (art of ancient period). On the territory of Tajikistan there were discovered the earliest monuments of the depictive art:
• Cave drawings made by ocher in a grotto of the mine (40 km southwest from the settlement Murgab, East Pamirs), which go back to the Mesolithic period (XV - X millennium BC);
• The settlements of Neolithic Hissar culture on the ancient settlements close to Nurek town (Tutkaul, Sai-Sayod – VI - V millennium BC) and the settlement Dangara (Kui-Bulien, the late neolith).
During the epoch of developed and late bronze (middle II - early I millennium BC) there were dated numerous settlements (sometimes area approx. 10 ha) with signs of dwellings (length up to 20 m, width of 12-15 m) in Kairakkum district, rough plastic ceramics with geometric patterns, and also the simplest forms of jewelry articles (North Tajikistan). In South Tajikistan, in Vakhsh and Bishkent valleys, in the tombs of nomadic cattle-breeding tribes of bronze epoch there can be found plastic and potter engobe ceramics (pots, basins, cylindrical containers, middle – second half of the II millennium BC), bronze knives, daggers, mirrors, pins. During the second millennium BC there was the primitive schematic clay sculpture of a man from the burial of bronze epoch in the area Tandyr- Yol (near Regar). There are also discovered the remainders of ancient Bactrian dwelling made of raw brick, with the rectangular rooms (VI - IV centuries BC - the epoch Ahemenids) – settlement Kalai]- Mir in Nasir Khisrav area. Gold and silver jewelry articles of the so called Amu- Darya treasure show us the fine art of that time. An integral part of the artistic culture of Tajikistan of that time was the art of the nomadic saki tribes (bronze boilers with sculptural decor, cast figured plates with images of animals, findings in the burial mounds of Pamir; petroglyphs – North and Central Tajikistan, West Pamir).
Hellenism. Descriptions of the antique authors show us the existence of Hellenistic towns fortified with defensive walls and the regular planning in IV - III centuries BC on the territory of Tajikistan. To Greek-Bactrian (III - II centuries BC) and Kushan period (I - IV centuries AD) refer the ruins of towns in South Tajikistan (Saksan-Ohur, Shakhrinau, Munchak-Tepe, Yavan, Kay-Kobadshah, Kuhna-Kala settlements), which in many respects preserved the features of Hellenistic construction culture, and also Pamir fortresses Kahkaha, Yamchun and others on GBAO area. The found rock tetrahedral capitals with the turns of volutes and acanthus leaves, basements and columns (Saksan-Ohur, Munchak-Tepe, etc.) testify usage of an order system based on the assimilation of Hellenistic elements in the local construction tradition. In general, the art of this period in Tajikistan is the compound mixture of local artistic traditions and Hellenistic elements. This is indicated by excavations remainders of the architectural construction (a complex Saksan-Ohur of a palace-temple type, Central Asian type of planning - yard with four-column ayvan and bypassing corridor, with Hellenistic components of architectural order), works of architectural- decorative sculpture (capitals with high-relief images of people and animals from Shahrinau settlement), toreutics (an earring in the form of sphinx protomai and copper gilded locket with high-relief bust of Dionysus from Dushanbe settlement), corroplastics and ceramics (terracotta statuettes and engobed ceramic vessels from Saksan-Ohur, Kay-Kobadshah, Uzbekon-Tepe, Yavan settlements). The findings from Tulharskiy tomb in Bishkent valley (II - I centuries) represent us the art of the nomadic tribes of that time; an earring in the form of amphora, drop-birds. In the tomb Ittifok near Parhar there was found the embroidery with depictive and ornamental motives.
Early middle ages. During V- early VIII centuries on the territory of Tajikistan there appeared towns, based upon walls with towers, shahristan, every quarter was filled with houses which together make a large, residential area (Penjikent). Rich houses were divided into the living rooms and the ceremonial area, with the four-pillar hall decorated with wall painting and wood carving that was illuminated through the hatchway of the cupola-ruzan. Palaces were characterized by large ceremonial halls, with throne ayvans decorated with painting and carving (columns, raftered ceilings, doors - Penjikent], settlement and temple Kalai-Kahkaha in Shakhristan – the supposed medieval city Bunjikat). On the line of urban walls or out of the city there was placed the citadel. In rural area there grew separate fortified suburbs estates, guarding constructions, castles - keshki (Munchak-Tepe, Chilhujra, Tirmizak-Tepe, Urta-Kurgan, Kalai-Mug, Gardani-Hissor). In the cult architecture of the early medieval Tajikistan there can be distinguished separate types of buildings belonging to different beliefs (temples in Penjikent, monastery Ajina-Tepe, Buddhist temple in the fortress Kalai-Kafirnigan near the settlement Isambay of Lenin district).
The early medieval fine art of Tajikistan developed within artistic cultures of Soghd, Ustrushan and Toharistan is characterized by the formation of local styles on the basis of local versions of early feudal culture, reconsideration of Hellenistic and Kushan traditions and relations with the art of North India and Afghanistan.
These features in the different versions appeared in the sculpture of Ajina-Tepe, plastics of Penjikent (in both monuments - plastic clay, often painted statues and high-reliefs, placed in the niches or along the walls), in the sculptural carved wood of Shahristan settlement, Penjikent, fortress of Kalan-Kafirnigan. The Buddhist wall painting of[Toharistan (Ajina-Tepe, Kalai-Kafirnigan) more greatly gravitates towards the paintings of temples of Afghanistan and East Turkestan. The painting of Ustrushan that partly absorbed North Afghan and East Turkestan traditions, is characterized by mute pale yellow- blue coloring, the finest linear figure, half-tone volumetric modeling. In painting the impact of local Central-Asian traditions can be seen more than in sculpture. In the paintings of Penjikent the researchers distinguish several stages. To the earlier, near middle VII century, belongs a large composition related to the cult of the epic hero Siyavush who personifies the image of the dying and reviving forces of nature. Painting depicts the burial and mourning scene of godly adolescent. Painting is executed by paints on the plant glue directly on the clay plastering. Warm coloring is built on the combination of red tones of spectrum. The picture is sufficiently strong and confident, but line is angular and deprived of smoothness and refinement. Painting as a whole is of planar nature. However, lack of abstract background and the principle of the arrangement itself and alternation of rich red and light yellow color spots create the feeling of unique spaciousness.
The late stage - end of VII and early VIII centuries - includes a large part of painting, discovered in Penjikent. Paintings of this period are also found in the temples, but mainly they decorated the halls of houses of well-known people. Painting is placed into several levels; complex multi-figured compositions proceed from one wall to another, making sequent picture. Penjikent paintings are characterized by richness of the topical content. Together with the religious ceremonies there are depicted the scenes from the epos: the solemn feasts of Soghd feudal lords dressed in the figured tightened in the waist caftans; battles of knights in armors, bones game, harpist, etc. The fragmentariness of the preserved paintings hampers their comprehensive interpretation. They combine the mixture of secular and cult- mythological subjects. In the painting of one of the halls the researchers can see the image of the legendary exploits of Rustam, legend about whom subsequently entered “Shahname” after Firdousi.
Painting of this time most perfect. Paintings are made on white alabaster plaster, thus making colors richer, brighter and cleaner. Technical methods of writing were complicated, there appeared new paints, in particular precious lapis-lazuli. The whole color system of painting became more complex. Artists began to use mixed paints, whitening them, aiming to create refined and brave combinations of tones. According to the observations of researchers in some halls one can notice the tendency toward the integrity of color composition, to which colorful spots of separate images were subordinated. All this testifies high and developed picturesque perception of Penjikent craftsmen.
In the paintings of VII - VIII centuries figures were depicted on a single-color background. Artists did not attempt to create the feeling of spaciousness. Here the contrast of abstract background to the colorful richness of smart picturesque cloths, gold utensils, carpets and adornments creates large decorative effect. Thus, a slim half-naked body of harpist is clearly distinguished against the cold black background. This basic contrast is enriched by spots of green and yellow-gray tones of its clothing and orange-pink tapes. In other paintings the silhouettes placed against red or orange-yellow background and are encircled by red or black outline. Linear image acquires great significance. Precise line, revealing the outlines of human body and depicted objects, emphasizes their plastic form.
Painting of VII - VIII centuries reflects the aesthetical standards of feudal society with its strict regulation and it is subordinated to canon to a considerable degree. Artists follow the general steady ideal of the human beauty: a tall figure of regular proportions, long feet, thin waist, oblong oval face with small mouth and inward slant of the eyes. But despite this conditionality this painting represents a high and ripe stage. Its canonicity, still deprived of lifelessness and schemes is the result of a long selection of the essential and vital features of plastically integral artistic image.
In spite of stylistic proximity, the late paintings of Penjikent are characterized by the variety of manners and methods that indicate the presence of various artistic directions in Soghd art being in bloom.
Sculpture was less wide developed in Panjikent than painting. However, in one of the temples there were found fragments of the clay panel implemented in high relief. On the background of a river (or a sea) waves, painted in the view of spiral and horizontal strips, there are located human (or anthropoid) figures, fantastic water creatures and fish. The majority of figures was probably painted in various colors. The depth of relief is not everywhere identical; the ways of shaping are diverse. All this demonstrates the frieze, the picturesque mixture of light and shade. The content of composition was the descriptive reflection of Zeravshan river cult as the godly source of water. According to the subject and nature of meaning Penjikent panel has common features with sculptural works of India and Afghanistan in IV - V centuries.
VII - VIII centuries include the excavated monuments of carved wood: architectural ornament, figured, relief carving and almost round sculpture. All these objects were preserved by chance, since they were charred during fires. Special interest is represented by three large fragments of uniform female figures which reach approximately three fourths of the full size. About these statues, depicting dancers, one can judge by one of them, comparatively less damaged. Topless figure is slim and flexible; her proportions are stretched. One can see a characteristic and graceful position of the dancer who stands with her lags crossed and her arm leaning on her hip. Plastic body, the cloth and jewelry are distinguished by softness and grace. The refined image of this statue is close to picturesque paintings and primarily to “Harpist”.
The middle ages. After Arab conquest and propagation of Islam new types of construction connected with the Moslem cult, mosques, minarets, medreses, mausoleums, hanaka can be seen in the architecture of Tajikistan. Small cities were gradually replaced by large commercial and handicraft urban formations, which were developed, due to the expansion of old shahristan and citadel by new commercial and handicraft suburb area - rabad. In the fortress (Kalai-Bolo near Isfara), palace (Hulbuk, the X - XII centuries) and memorial constructions there were kept the early middle ages features. Basic construction materials were still raw materials (minarets in the settlements of upper Zeravshan - Aini, Rarz, Fatmev) and pahsa. Since IX - X centuries there was used burnt brick (floors, lining). In the architectural decor of buildings with the arched- domelike constructions (mausoleums: Hodja Nahshran near Regar - XI - XII centuries, and Hodja -Mashhad in the settlement Sayed) there was widely used figured brickwork, carved terracotta and painted carving. Unique model of architectural decor - carved clay mihrab of the X – XI centuries from the mosque in Asht settlement. In the buildings with the flat bridging adapted to the local wooden order whose basis composed the column, either straight with deeply inclined carved ornament, or figured with plastic grooved carving (carved wooden components of columns of IX - XII centuries were found in the settlements of upper Zeravshan - Obburdon, Rarz, Fatmev, Urmitan). The carved decor covering all elements of order like a carpet included the local pre-Islamic beliefs, depictive motives: plant patterns, epigraphic friezes (portico of mausoleum Hazrati- Bobo in Chorku village near Isfara, XII century). The portal of Mohammed Bashsharo, the mausoleum with magnificent decor (carved terracotta and other) testify the achievements of Tajik monumental architecture of XIV century. At the end of XIV - XV centuries the monumental architecture of Tajikistan as well as other regions of Central Asia, was in high bloom. One of the unique construction of medieval Tajikistan - mausoleum Mir-Seid-Hamadani (XIV – XVII centuries) in Kulyab, initially a three-portal with domelike hall and the tomb with carved decor (later amended by several domelike dwellings). In XVI - XVII centuries there were built cult construction with one or several square domelike halls, sometimes embraced by L-shaped arched gallery (mosque of Abdullah-Han, namazga type in Navgilem village 2 km to the east from Isfara; mosque- mausoleum of sheik Muslihiddin in Khojent, mausoleum Mahdumi Azam in Hissar; mosque Kok-Gumbez, mausoleum Baba-Tago, mausoleum and building of Ajina- Han in the ensemble of Sari-Mazar in Ura-Tyube and other).
New time, art in the ethnographic monuments. In XVIII - early XIX centuries towns preserved the structure established in XII century. Cult buildings are built according to the traditional plan, but they are modest in the scales and the decor (medrese in Hissar). The features of national Tajik architecture are further developed in the architecture of mass public buildings (quarter and rural mosques, bath houses) and in people’s dwellings. The houses of Northn Tajikistan (two-room, with the anteroom and the column ayvan) are characterized by increased decorativeness of the interior (ganch and wood carving and painting, niche with scalloped arches). For the houses of southern regions there are characteristic clay plastered walls, grassy double slope surface roofs and ayvans on the simple columns. Dwellings of mountain inhabitants - square buildings with the hatchway- chimney in the timbered jogged cupola on the columns. In the fine art of Moslem period there occurs the process of ornamentalization: image losing its meaning of independent artistic image becomes the element of the ornamental composition where plant, geometric and epigraphic motives become increasingly developed. In some monuments there remain the traditions of the early middle ages fine art (high-relief figure of lion from Sayat settlement, Kulyab area, the knock (IX - X century); carved knock from Hulbuk with the interlaced images of fantastic creatures and beasts into the ornament (XI - XII centuries); carved wooden capital columns from Obburdon village (IX - X centuries), and mihrab from Iskodar village (X - XI centuries). The new bloom of descriptiveness is connected with development of gerat school of miniature painting in XV century, and in XVI - XVII centuries - Central-Asian schools of miniature painting art. As separate late monuments show the miniature art underwent development in mountain Tajikistan (miniature of the manuscript “Yusuf and Zuleyha”, 1797-1798, from Darvaz – still kept in Hermitage).
XX century. For a short period of time the architecture passed the way of development from the single-story clay or raw houses to the well-organized towns and cities developed according to the general plans (Dushanbe, Leninabad - 1939, architect V. G.Veselovskiy and other, 1968 - architects V. G. Veselovskiy, S.N. Samonina; Kulyab - 1939, architect A. I. Andrzheykovich, 1960-ies. - architect V.A. Bugaev, Kurgan – Tyube - 1939, architect I. E. Tkachev, 1960-ies - architect H A. Zuhuriddinov), and comfortable contemporary residential and public buildings. In the town construction of the 30-ies - early 40-ies there was used the principle of perimeter construction. In the architecture of public buildings there prevailed classic forms in the connection with elements of medieval Central-Asian architecture. For the architecture of mass residential and other buildings 1-2- storeyed buildings are characteristic. In the 30's old construction materials (raw brick, clay, stone, wood) are gradually displaced by new (burnt brick, concrete and reinforced concrete). The rates of construction which were reduced during war grew considerably in 1945-55-ies; in construction of cities the basic position was taken by standard 2-3- storeyed apartment houses made of brick. During the second half the 50-ies in connection with increase of cities under the conditions of mountain landscape and high seismicity of Tajikistan there appears the problem of increase in the height of buildings, which is resolved by introduction of industrial methods of building. After 1960 architects of Tajikistan proceeded to the creation of city microregions with contemporary system of maintenance and the many-storeyed (from 4-5 to 9) large-panel and brick apartment houses with sun-protecting devices (general plan of the reconstruction of Dushanbe, Leninabad and other cities). In the context of broad development of industry there are built new towns (Nurek, Regar, Yavan). The first frame-and-panel constructions are erected, and the searching for the most effective earthquake resilient constructions continues. In the 60-ies – early 70-ies in the architecture of Tajikistan contemporary design forms are organically combined with traditional decor, ornamental paintings and ganch and wood carving made by national craftsmen.
With the formation of Tajik SSR (1929) Dushanbe becomes the center of the artistic life of Tajikistan. At the end of the 20-ies - early 30-iesthe following artists arrive in Tajikistan to work here: E.G. Burtsev, M.G. Novik, P.I. Falbov and other, who managed to establish an organizational bureau of the Artists Union of the republic. The first republic exhibitions showed active work of artists E. G.Burtsev, A. Ashurov, A.N.Kamelin, P.I.Falbov, M. Khoshmukhamedov. Artists strove for reliability and social acuteness of the depicted phenomena, searched for the ways of the realistic generalization of vital material, typification and reflection of local specific features, they mastered the method of socialistic realism. At the end the 30-ies artists G.N. Timkov, B.G.Shahnazarov, theatrical artists E.G. Chemodurov, V.I. Fufygin arrived in the republic; in the artistic life of republic participate Moscow artists V.L. Sidorenko and I. A. Ershov. Preparation for the 1st decade period and the exhibition of Tajik art in Moscow (with the participation of Moscow theatrical artists V. F. Ryndin, K. F. Kuleshov and repeatedly arriving in Tajikistan the graphic painter P. N. Staronosov, painter N. G. Kotov and others) promoted the new raise of creative skills. Artists of Tajikistan addressed the large subject pictures, monumental multi-figure compositions.
At present Tajikistan, as well as all countries, which have ancient civilization, belongs to post-peripheral states of the third world where art has bi-cultural identity, i.e. it preserves original and western values. Here art remains still rather efficient because of inexperience, directness of its citizens who are hardly familiar with achievements of the world culture.
The fine art of post-Soviet Tajikistan considerably differs from the previous period in view of several reasons. At the same time it preserves many common features with other CIS countries. These are the mosaic structure and the eclectism of ideological orientations characteristic for the whole post-Soviet space, address to the national founding bases, desire to revive historical memory of people and enter transition period in the context of “large national tradition” considered as the catalyst of development. Simultaneously with this as earlier the creation of artists attempts never to answer the calls of time and to find its own methods of solution of problems.
Analyzing the processes, proceeding in the contemporary mass consciousness of Tajik population we should specify a contradictory combination, a contrast of alternative conflicting tendencies: collective and individual beginnings, fundamental, conservative and secular tendencies. Formation and development of democratic society, new reforms are often connected with perception of truly western values, standards with refusal of its own traditional Tajik people ideals. Therefore the freedom of conscience and choice, the observance of democratic right became key in the social and cultural policy of the country after the Civil War. Transition to the free market proved to be difficult for all forms of art, since a large part of the creative workers possesses insufficient knowledge regarding commercial relations, financial management. They lack knowledge about alternative sources of income, funds. Artists feel themselves lost in this vicious circle of lack of resources. Paradoxical situation occurred. Only in Dushanbe with the population of approximately million people live and work about two hundred artists. But the artistic market itself is small and consists of two personal galleries and showroom of the Artists Union.
In the exhibition hall of the Artists Union of Tajikistan artists can exhibit their works with no lease payment and taxes. To sell works in the gallery of the Artists Union they can only under payment of the required national tax.
The problems of survival, until now, sharply confronting people prominent in cultural issues, make artists work for the consumer market, and sometimes even please public. Many of them begin to be oriented toward the taste of tourists and foreigners, creating numerous variations on the theme of eastern exotic character. The situation when an independent talented specialist works for market, another artist changes profession since he does not have funds for his work.
The artists of various directions deal mainly with painting and graphics, i.e. they work in those spheres where works meet demands of buyers. Graphic painters do not make designs for books, monumentalists do not create frescoes, mosaics, paintings because of lack of demand. Exception is the national art which is now greatly famous and of significant demand in view of enthusiasm for tradition to assert national and cultural identity.
Thus far in the fine art of Tajikistan a traditional technical equipment is still used. For example, such directions in the world artistic culture as conceptual skill, installation, skill of minimalizm do not have a basis that is caused by absence of a dialogue with other countries in the field of culture, financial resources thanks to which Tajik artists could actively work abroad, and also by low innovation speed, lack of computer technology. But among Tajik masters there are refined and thinking masters who work in traditional genres and forms.
Works of Tajik artists represent the whole palette of artists and painters of Tajikistan, reflect high level of their skills.
They work in various styles, and this is excellent.
A special place in the art is taken by mountains, because Tajikistan is a country of mountains and is famous for them. Judging artists’ works the nature is magic and stimulates to create actively. Thus, the landscapes glorifying the beauty of nature of the native country, its traditions, bright national diversity of the people, present days and eternity – all these are reflected in the pictures of young talented artists of Tajikistan.
The works demonstrating the rich spiritual world of Tajik nation, its character are of great interest.
Tajik paintresses demonstrate the world of flowers and music to spectators. Their works reflect internal world and women’s soul.
Tajikistan is the country carefully saving national traditions; it is ready to share its culture and history.
For the recent decade there was accumulated significant artistic material requiring understanding; appeared a pleiad of rather peculiar and interesting artists and artistic groups of new formation with their plastic language, specific perception and coloring. On May 12, 2006 the first exhibition of modern art “Parallel” was held in Tajikistan. Almost all types of modern art were demonstrated there: installation, video-art, performance, computer design, happenings, actions, kinetic movement and animation. The exhibition fully reflected peculiarity of Tajikistan in the context of actual schools of art in Central Asia.
The legislative base. Fundamental law in this sphere is the law “On culture”adopted on September 3,1997, determining the cultural rights of population, methods of using cultural values, opportunity to discover new establishments of culture and art, forms of their activity and many other. In 1996 the Government of the Republic of Tajikistan adopted the Resolution (¹ 393) concerning museum meetings with stipulation of the legislatively fixed responsibilities and rights of museums, which had to conduct the calculation of the existing funds and accept jewelries from the citizens that were plundered during the military actions. In 2001 there was adopted the “On the order of import and export of cultural values” that made it possible to stop illegal trafficking of the works of the national property. It also regulated the principles of organization of exhibitions of works of Tajik collections for their demonstration abroad, there also were determined the legislative standards for exchange of cultural values with the foreign countries on the temporary basis, etc. The activity of creative unions, for example, Artists Union of Tajikistan, is based on the law of the Republic of Tajikistan “On creative associations”. Furthermore, whole commercial activity of art unions is implemented on the basis of state tax- legal legislative base.
Article is based on the materials of the Great Soviet Encyclopedia.
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