Siavouch under Fire, 17th century.

Miniature from Shahnameh

(Book of Kings) by Ferdowsi.

Institute of Oriental Studies of the Academy

of Sciences of Uzbekistan, Tashkent, Uzbekistan.

 

 

The modern miniaturists and their successors

 

In the 17th century, a mutual exchange of artistic techniques between artists of Central Asia and India is evident. In works by Avaz Muhammad and Mullo Behzad one can discern characteristic traits of Hindu miniatures, like relief of the figures, distancing levels by using perspective, the introduction of typical Hindu details of everyday life in the composition.

 

In the beginning of the 18th century, the art of the miniature disappeared almost entirely, and the creation of illustrated manuscripts ceased completely during the second half of the 19th century, as the printed book became widespread in Turkestan and in the Transcaspian provinces.

 

The Renaissance of thematic painting in Central Asia only came about in the 20th century. The rich archaeological discoveries of monumental painting dating back as far as the pre-Islamic period have given modern painters the opportunity to get in touch with ancient pictorial traditions. This heritage has proven to be extremely fruitful for many artists. We can cite the work of Chinghiz Aitmator as an example based on the theme of the Sogdian wedding decorating the cafe of the resting area of the cable factory in Tashkent, where the workmen organised meetings and family celebrations.

 

The painter drew inspiration from works of Afrasiab and Panjikent. The composition, which covers three walls, is painted in golden shades combining strokes of vivid blue here and there.

 

The ancient painting of Central Asia will likely interest modern painters for many years to come. These contemporary artists include monumentalists, easel-painters, masters of etching in black and in colour.