ARTISTIC AND TECHNOLOGICAL CHARACTERISTICS OF CERAMICS FROM THE COLLECTION OF THE “SAMARKAND” STATE MUSEUMRESERVE

Abstract

The purpose of this article is to conduct a comprehensive study of ceramic artifacts from the collection of the “Samarkand” State Museum-Reserve as an important source for examining the artistic and technological traditions of Central Asia in the 10th–12th centuries. The analysis focuses not only on the characteristics of the collection itself and its cultural and historical context, but also on a detailed examination of the materials and manufacturing techniques, in particular earthenware and stonepaste, as well as the features of form-making, decorative ornamentation, and iconography that define the uniqueness of these ceramic artifacts. Particular emphasis is placed on identifying the artistic and stylistic characteristics of 12th-century blue-glazed oil lamps from Afrosiab, which combine the utilitarian function of illumination with the profound symbolic meaning of light as a metaphor for knowledge and divine truth in Islamic culture. In this context, the role of lamps in the educational environment of madrasas is examined, as well as their connection to religious and philosophical concepts, particularly those reflected in Sura An-Nur. Special attention is given to the analysis of 10th-century ceramic bowls and cups from Afrosiab, executed using the technique of engobe painting (black, ochre, and white) under a transparent glaze, featuring depictions of birds and calligraphic inscriptions. The study aims to identify the iconographic features of zoomorphic motifs, the semantics of ornamentation, and the role of epigraphy as an important artistic and semantic element of decoration. The main objective of this study is to determine which technological, artistic, and cultural-religious factors shaped the iconographic system of ceramics in the Samarkand region during the period in question, and how these factors are manifested in specific museum artifacts. In this context, it is important to trace the interaction of local traditions with broader artistic processes in the Islamic world, including influences from Iran and other cultural centers. Among the key objectives of the study are to identify the technological features of the production of these artifacts (material structure, types of glaze and decoration), to determine their functional purpose and symbolic significance, and to establish the place of these artifacts in the development of medieval decorative and applied arts in Central Asia. It is also important to analyze ornamental and calligraphic compositions that combine aesthetic and semantic functions, as well as to identify parallels with artifacts from other art forms. A separate examination of specific artifacts from the museum collection allows us to trace the artistic diversity of 10th–12th-century ceramics and identify the distinctive features of local interpretations of pan-Islamic stylistic trends. The fulfillment of these objectives contributes to a deeper understanding of the technologies and artistic practices of medieval ceramics, and also underscores the significance of the collection of the “Samarkand” State Museum-Reserve as a vital source for the study of cultural interactions and the transformation of artistic traditions in Central Asia