Akbar Hakimov: The Presence of Valuable Uzbek Artifacts in Kuwait is a Significant Event

During their working visit to Kuwait, a delegation led by Firdavs Abduholiqov, Director of the Center of Islamic Civilization in Uzbekistan, visited the Tareq Rajab Museum in Kuwait City alongside Uzbekistan’s ambassador to Kuwait, Ayubkhon Yunusov.

The Tareq Rajab Museum, located in Kuwait’s capital, houses over 30,000 ancient and modern items from a private collection. Founded in 1980 by Kuwaiti entrepreneur Tareq Said Rajab, the museum is renowned for its unique exhibits.

Among its artifacts are exceptional examples of calligraphy and masterpieces of decorative art representing various eras and regions of the Islamic world. Particularly striking are the jewelry items linked to Uzbekistan, which can truly be regarded as extraordinary discoveries.

“Certainly, the fact that this museum of rare Islamic artifacts also contains valuable exhibits from Uzbekistan is a significant event,” said Akbar Hakimov, academician of the Academy of Sciences of Uzbekistan and art historian.

– These jewelry pieces consist of ornate and technological styles typical of Middle Eastern (Arab) countries, including large and majestic adornments for the neck and chest. Some elements, such as pomegranate-shaped and circular components, resemble Turkmen and Karakalpak jewelry, but overall, they are crafted in a distinctive Arab jewelry tradition.

Unfortunately, the full view of the items preserved in the museum is not available, which makes them a novelty for antiquarians and art historians. The center of one exhibit features two large pendants resembling those used for the neck and chest, which are characteristic of Arab jewelry art.

Based on the style of the gold or silver belts and amulets (the intricacy of the patterns and the use of beads), we can observe a connection to Central Asian jewelry traditions.

In women’s hanging jewelry, the central piece, known as a “tumor” or “haykel,” is flanked by smaller, structurally similar elements called “zebigardon” or “zebisina,” which are typical chest ornaments of Bukhara jewelry.

Among the jewelry in the exhibit, there are traditional earrings typical of the Bukhara school, as well as bracelets known as “bilakuzuk,” which belong to Turkmen jewelry art. The “tillaqosh” pieces closely resemble those produced in Bukhara, Samarkand, Tashkent, Kokand, and Margilan. They can confidently be identified as products of the Uzbek jewelry tradition.

The presence of these artifacts on the territory of Uzbekistan is beyond doubt. Their exquisite craftsmanship indicates that they belonged to jewelers serving the courtly arts of Bukhara. If these items were reproduced as replicas on order, they could significantly enrich the exposition of the “Era of Uzbek Khanates” galleries at the Uzbekistan Center for Islamic Civilization.

Bukhara’s Jewelry Craftsmanship – Ancient and Unique Art Forms

Among various types of Uzbek folk applied decorative arts, jewelry holds a special place as a unique form of ornamental craftsmanship. Jewelry art reflects the material and spiritual life of the Uzbek people, their everyday lifestyle, rituals, customs, traditions, values, and aesthetic preferences. These ornaments are not only decorative but also serve as talismans and amulets. The shapes, patterns, and symbolic elements embody the people's beliefs, perceptions of the world, and connections to nature and the material world.

In the 16th century, the Toqi Zargaron (Persian for “Dome of Jewelers”) trading center, specializing in the sale of jewelry, operated in Bukhara

In 1872, Indian jewelers such as Shangura and Kurdali, as well as Abdullojon, worked in Bukhara. The presence of Dagestani artisans in Bukhara is also noteworthy. Their high professional skills are evidenced by the fact that many of them worked in the palace workshops of the Ark alongside the finest local craftsmen. Among them were: Master Usto Khoja Shodiy, who crafted a belt in 1270; Master Alikhoja Kanaev, who worked in Bukhara in 1946 (a belt of his creation is preserved in a museum); Usto Nagdiy, known for his belts displayed in museum collections; Obid-Zargar from the Dagestani village of Unchukat, Lakskiy District, who worked in Bukhara, Kogon, and Chardzhou; later known as Lazgi-Boshi. Other notable figures include Abid-Zargar, head of Dagestani jewelers, and Khoji Abakar, both of whom worked in Bukhara by order of the Emir.

These ornaments belong to various schools, including Turkmen, Indian, and Afghan. This diversity is explained by Bukhara’s role as a major trading hub.

These ornaments were secured at the back using a hook connected to a chain and adorned the chest area. Examples include “Tumor,” “Bozband,” “Haikel,” “Zebigardon,” “Nozigardon,” “Tapishi Dil,” “Jevak,” and others. For instance, “Nozigardon” consists of a central element (turunj) flanked by four square and two triangular shapes connected by chains. All elements are decorated with enamel in floral patterns and sometimes adorned with stones. The central turunj often features the image of two birds spreading their wings toward each other.

In Bukhara, temporal and forehead ornaments known as “Bibishak” were popular. These consisted of three parts: the upper part was round, teardrop-shaped, or rhombus-shaped and adorned with turquoise and corals; the middle part resembled a crescent moon and was decorated with stones; and the lower part featured long chains with pendants. Each part was connected by chains, forming a solid construction.

A forehead decoration called “Bolo Abro” resembled the shape of an eyebrow and was attached to headgear with a hook. Its elements were adorned with small metal leaves and stones.

“The museum left a deep impression on us,” said Director of the Center Firdavs Abdukholikov. “In particular, the jewelry from Bukhara, ancient clothing, weapons, handicrafts, textiles, and glassware among the exhibits left us astonished. Displaying the artifacts from the Tareq Rajab Museum at the Center’s exposition would not just be an ordinary event but a significant achievement.” This museum houses invaluable artifacts of Uzbekistan’s cultural heritage, such as 14th-century manuscript copies of Avicenna’s Canon of Medicine, jewelry belonging to the Emir of Bukhara and his relatives, miniatures from the Sheibanid era, and many other treasures. These rare artifacts are sure to captivate both art historians and visitors to the center.

During the meetings in Kuwait, a facsimile copy of the Great Langar Quran and a replica of a letter bearing the seal of Prophet Muhammad (peace be upon him), inscribed on papyrus by calligrapher Habibulloh Solih, were presented to the museum director Ziyad Rajab.