Download Central Asian art by Vladimir Lukonin, Anatoly Ivanov PDF

By Vladimir Lukonin, Anatoly Ivanov

The stern prohibition at the illustration of the human shape has channeled creative construction into structure and architectural ornament. This booklet is a mystical travel via valuable Asia - Khirgizia, Tadjikistan, Turkmenia, and Uzbekistan - a cradle of historic civilisations and are pository of the Oriental arts encouraged by means of Buddhism and Islam. There are incredible, full-colour pictures of the deserted towns of Mervand Urgench, Khiva, the capital of the Kharezm, with its mausoleum of Sheikh Seid Allahuddin,and, the Golden highway to Samarkand, the Blue urban, a middle of civilisation for 2,500 years.
form has channeled inventive production into structure and
architectural ornament. This ebook is a paranormal tour
through imperative Asia - Khirgizia, Tadjikistan, Turkmenia,
and Uzbekistan - a cradle of historic civilisations and a
repository of the Oriental arts encouraged by way of Buddhism and
Islam. There are remarkable, full-colour images of the
abandoned towns of Mervand Urgench, Khiva, the capital of
the Kharezm, with its mausoleum of Sheikh Seid Allahuddin,
and, the Golden street to Samarkand, the Blue urban, a
center of civilisation for 2,500 years.

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Extra info for Central Asian art

Sample text

Kunya-Urgench, Turkmenistan. (p. 35) 36 centuries at Uzgen, the Sanjar Mausoleum at Merv (mid-12th century), the Fakhr alDin al-Razi Mausoleum at Kunya-Urgench (12th century), the coupled mausoleums Hodja-Machad at Saëd (12th century), to feel all the artistic richness of the buildings of that period. Predominance of religious art Mausoleums and mosques are present in all Muslim towns. The great mosques are particularly sumptuous. They are distinguished by their important dimensions, their portals, their large courtyards surrounded by a gallery having a portico with columns, the iwan, at its central point.

Modern urban architecture takes its inspiration mainly form traditional decoration. An original inspiration in the technique of glazed earthenware tiles was realised in 1927 on the pedestal of the Lenin monument at Achkhabad, where the majolica shapes imitate the motifs and colouring of a Turkman carpet. The perforated panels of geometrical motifs adorned the Uzbek and Tajik pavilions at the National Agricultural Exposition of Moscow in 1937. They were executed by popular artists. The great Navoï Theatre, built in Tashkent from 1940-1947, is a real laboratory of artistic co-operation between Soviet architects and the best craftsmen of Uzbek applied arts.

During this period local architectural schools appeared and proved their originality even in the elaboration of traditional artistic themes. The variations in the handling of volumes and the diversity of decorative solutions gave each edifice an aspect of its own. Tilya-Kori Madrasah, 17th century. Samarkand, Uzbekistan. It suffices to compare the groups of karakhan mausoleums of the 11th and 12th Main façade, Nadir Divan-Begi Madrasah, 17th century. Bukhara, Uzbekistan. (p. 34) Portal, Turabek-Khanym Mausoleum.

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