WOODWORKING TRADITIONS IN KHIVA’S ARCHITECTURAL HERITAGE

Аннотация

This study investigates the enduring woodcraft traditions practiced in Khiva and its environs, tracing their historical evolution and current conservation issues. The research particularly highlights sustainable approaches for preserving and revitalizing this distinctive artisticheritage. Keywords: Khwarezmian woodcarving, Khivan artisans, traditional joinery, ornamental carving, architectural woodcraft, arabesquemotifs (islimi), geometric designs (girih). Аннотация: В статье рассматриваются многовековые традиции художественной обработки древесины, сложившиеся в Хиве и прилегающих территориях, анализируются этапы их формирования и современные проблемы сохранения. Особое внимание уделено перспективам возрожденияэтого уникальноговидадекоративно-прикладного искусства. Ключевые слова: Хорезмская школа резьбы по дереву, мастера Хивы, плотницкое ремесло, художественная резьба, архитектурные деревянные конструкции, растительный орнамент(ислими), геометрическиеузоры (гирих). INTRODUCTION:Today, the Ichan Qala Museum-Reserve in Khiva, which embodies national traditions, is also recognized as a center for the preservation of various traditional crafts such as decorative painting, carpentry, blacksmithing, and pottery. In particular, carpentry and wood carving have been refined and developed over centuries, continuing to enhance the beauty of Khiva’s architectural monuments to this day. These architectural landmarks encapsulate the traditionsof woodworking and craftsmanship. LITERATURE REVIEW: The issue under consideration is based on a number of important sources. Notes recorded by master artisan A. Boltayev contain essential information about woodworking traditions and the master craftsmen who continue the classical craft heritage in the Ichan Qala Museum-Reserve [5]. Additionally, the scholarly research conducted by D. Bobjonov and M. Abdrasulov presents detailed information on the construction of monuments located within the Ichan Qala area, as well as their subsequent historical development [4]. K. Khudoyberganov, known for his scientific studies on the history and rich heritage of the Ichan Qala Museum-Reserve, also provides valuable and unique insights into Khiva’s architectural monuments[10]. METHOD: Throughout the research process, a wide range of scientific methods typical of historical studies were employed. The data presented in the sources were subjected to in-depth comparative analysis, identifying similarities and differences across various accounts. Events were examined within their historical context and circumstances, adhering to the principle of historicity. Strict chronological order was observed, with all occurrences organized according to their temporal sequence. The information from sources was critically evaluated to verify its credibility and authenticity. The findings were synthesized and systematically concluded, ensuring thestudy’s academic noveltyand practical relevance. https://ijmri.de/index.php/jmsi volume 4,issue5,2025 674 DISCUSSION: In the last century, during the colonial era, national traditions faced severe damage and the survival of cultural values was under threat. Despite this, local master artisans managed to preserve the classical handicraft heritage passed down through generations. Master designer A. Boltayev provides information about prominent woodcarvers such as Ota Polvonov, Abdulla Bobojonov, and Safo Bogbekov, who carried forward the traditions of woodcarving schools. He also mentions Vays Usta and Atomas Shaykhov, who worked on restoring the ceilings oftheancient Ark [5,8–9]. Researchers of Uzbekistan’s architectural and decorative art, such as B.N. Zasypkin and N.M. Bachinskiy, note that Khorezm art is distinguished by its dynamic and expressive spiral patterns, intricately carved with numerous intersecting and entwined lines. The use of spiral motifs in Khorezm folk applied art has very ancient roots. These patterns, found in some historical monuments of ancient Khorezm—such as the 3rd-century rooms of the Topraq Qala palace— haveevolved into various combinationsin medieval architectural monuments[9, 8]. The master-apprentice tradition holds a special place in the development of craftsmanship. According to the Russian researcher A. Kun, who conducted fieldwork in Khorezm in the mid- 19th century, the inheritance of a craft from father to eldest son after the father's death was accompanied by a specific ceremony [7, p. 57]. This traditional ceremony in Khiva followed a strict order: first, mutual consent between master and apprentice was required; second, at the end of the ceremony, the apprentice would ceremonially present a robe (chapan) to the master; third, itwas customary to gift ashirt tothehead oftheworkshop [6,p.302]. The Khorezm school of woodcarving is distinguished by its artistic delicacy, colorful patterns, and unique style. Islamic floral (islīmī) and geometric (girih) motifs dominate in the school’s artworks, featuring intricate lattice-line compositio