“Painted” Rock, “Mulberry” Paper, “Silk” Scissors: The Entertaining World of Ethnic Crafts in Uzbekistan

In America our passion for artisanal workmanship has suffered in the face of growing technology, but in Central Asia ethnic craftsmen provide visitors with the ability to see firsthand how products are made. These crafts have fostered a growing economy and the preservation of ancient traditions. Practices of paper making came from the attempted Chinese colonization of Uzbekistan, ceramic painting is decorated with national patterns and are used to restore the integrity of buildings from the 15th century. The uses of silk are wide reaching and to do proper justice to this topic it deserves another post with more detail than what will be covered in this blog. These ethnic crafts attest to a lasting desire to preserve traditions, and the reasons why tourists are so attracted to a country with these strong connections to its past. Of the various masters we learned from, the traditions of ceramic, paper, and fabric were central to our understanding of Uzbekistan’s development as a country.

Uzbekistan is decorated in hundreds of ancient mosques, minarets, and madrasas most of which are covered in intricate tile work. Many of these buildings have withstood centuries of weather and war but as a result are losing structural and ornamental integrity. In order to restore the life in these ancient buildings, ceramic masters have begun to fire up their kilns and practice mixing paints and glazes in hopes of preserving the history of generations of tourists and Islamic practioners. In Samarqand we learned about tile making as a four step process:

• Pattern making: This is typically done using paper and pencil to sketch out the desired print or pattern. If done for the purpose of restoring old ornaments the pattern follows the surrounding tile. If the product is intended for sale the pattern often takes the form of national symbols, and even ancient traditions like Zoroastrianism.
• Cutting of clay or stone: Once the pattern is outlined, the paper is laid on top of clay or stone and cut into various shapes which will then be fused together in the firing process.
• Glazing: The evolution of glazing ceramic in Central Asia takes two forms, chemical and natural. For brighter colors like the blues seen in traditional ornaments chemicals are combined to achieve the desired shade. For neutral tones like traditional pottery colors, organic elements like plants and minerals are ground together into a fine powder and then mixed with oils. 
• Firing: In natural kilns made of mud, straw, and brick ceramics are fired at temperatures between 50-70℃ (122-158℉) for several days. 

Another ancient crafting technique we observed in Samarqand is the process of making paper. The manufacturing of paper originates from China, but in 751 after a failed Chinese colonization attempt 20,000 soldiers were captured by the ruler of Samarqand and in order to be freed they had to reveal the secrets of papermaking. Soon after Samarqand became a major branch of paper manufacturing throughout the world. The Chinese originally made paper from bamboo, but bamboo does not grow in the climate of Uzbekistan. As alternatives, paper manufacturers first experimented with silk and cotton fibers but eventually found the wood from the mulberry tree to be strong, ink proof, and easy to work with. 

The flesh of the tree naturally fights of pests and was soft and malleable like silk but was resistant to ink leakage making it the ideal material for paper production. The process of making the paper has remained fairly simple and consistent since the 700s. After being harvested the mulberry wood soaks until soft enough for the bark to be separated from the inner white flesh. This white material then soaks for another six to seven hours in large cauldrons. Once the fibers have been softens enough to beat into a paste they are transferred to bowls which sit under a large wooden arm. Powered by a water mill the wooden arms descend on the bowls in a rhythmic manner, pounding the fibers until they combine and become mushy. After the paste is created it is placed into a large container of water where the fibers can separate and be sifted by a sieve into an even rectangular layer resembling the standard 8” x 11” sheet of paper. These sheets are dried and placed on wooden planks until solid enough to press. In groups of 100, the semi-dry sheets are placed under a large rock and left to dry for another two days. The last step distinguished Samarqand paper from other manufacturers, polishing. Using the horn of a ram, the flat side of a shell or an agate a worker pushes one of these objects across the surface of each sheet for a few hours. This produces a wax like effect on the surface, it makes the material incredibly soft but most importantly, it absorbs ink without leaking through to the other side. The paper can then be used for various purposes including being dyed and designed into products like wallets and dolls.

The process of dying materials and decorating the products extends beyond paper. The most intricate crafting element we studying throughout our travels was silk. Silk is the softest material in the world and must be treated with extreme care making the production of fabric one of the longest, physically intensive arts still done almost entirely by hand in Uzbekistan. In Tashkent we met with a fabric maker who has dedicated countless hours to the crafting of silk carpets, scarfs, clothing, and more. In my blog post on the Silk Road and its legacy in Uzbekistan I dive into detail about these specific silk products so please refer to that for more information! By hand, the process of making silk fabric is a combination of 33 different steps taking years to perfect. Dying the silk threads alone can take up to a month to achieve all the desired colors which will be used in a single design. After a pattern is created it can be sown into various shapes and products but if you wanted to purchase just the fabric it will cost just 20 USD a meter! Some of the product get a bit pricier but the quality is undeniable.

The number of artisans in Uzbekistan are endless, and the traditions they preserve are countless. The desire to continue teaching the techniques and opening up small masterworks to the public illustrates the fight against colonization and modernization. Despite generations of change in government, economy, and demand, the industries have persisted and continue to sell their work in markets across the country. With every purchase of a piala (small bowl for drinking tea), silk scarf, or notebook you also get to experience the traditions and national pride associated with the craftsmanship, and that is priceless!