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✨ 🇺🇿Abu Ali ibn Sinoni jahonga mashhur tabib qilgan asar

Qomusiy bilim sohibi, dunyo sivilizatsiyasi rivojiga ulkan hissa qo‘shgan siymo, jahon tibbiyot ilmining daholaridan biri Abu Ali ibn Sino bir-biriga o‘xshash kasalliklarni farqlay olgan.

Masalan, u teri berchligi kasalligining moxovdan farqini ko‘rsatib, bunga aniqlik kiritgan. Plevrit bilan zotiljam (o‘pka yallig‘lanishi)ning alomatlarini bir-biridan farqlab berib, meningit xastaligini mufassal bayon etgan. Hozirgi paytda ham ko‘p uchrab turadigan meʼda yarasiga aniqlik kiritgan.

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✨ 🇷🇺Произведение, прославившее Абу Али ибн Сину

Обладатель энциклопедических знаний, человек, внесший большой вклад в развитие мировой цивилизации, один из гениев мировой медицинской науки Абу Али ибн Сина хорошо различал схожие между собой болезни.

Например, он объяснил разницу между кожной сыпью и проказой, различил симптомы плеврита и пневмонии, подробно описал менингит и язву желудка, которая до сих пор часто встречается среди населения. Кроме того, описал сахарный диабет, неврологические и психические заболевания, их диагностику и методы лечения.

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✨ 🇬🇧The work that made Abu Ali ibn Sina famous

A man of encyclopedic knowledge, a person who made a great contribution to the development of world civilization, one of the geniuses of world medical science, Abu Ali ibn Sina clearly distinguished between similar diseases.

For example, he explained the difference between skin rash and leprosy, distinguished the symptoms of pleurisy and pneumonia, described in detail meningitis and stomach ulcers, which are still common among the population. In addition, he described diabetes, neurological and mental illnesses, their diagnosis and treatment methods.

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✨ 🇺🇿Ganjaviyning asarini eronga kim olib kelgan?

Nizomiy Ganjaviyning «Mahzan ul-asror» dostonining qo‘lyozma nusxasi Ba'zi noma'lum sabablarga ko‘ra, mazkur to‘plam safaviylar Eroniga jo‘natiladi, u yerda 1610—1620 yillarda kitobning zarvarag‘iga isfahonlik mashhur Rizo Abbosiy uslubida nafis tarzda bezalgan juft sahifa biriktiriladi.
Shu bilan birga unga safaviylar uslubidagi yangi charm muqova qoplanadi. Keyinchalik qo‘lyozma yana qo‘ldan qo‘lga o‘tib, ehtimol, hind amaldoriga tuhfa qilingan bo‘lishi mumkin.
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✨ 🇷🇺Кто привез произведение Гянджеви в Иран?

Список персидской поэмы «Махзан ал-асрор» («Сокровищница тайн») Низами Гянджеви по какой-то неизвестной причине том был отправлен в сефевидский Иран, где в 1610–1620 гг. в начале книги был вставлен двойной развернутый фронтиспис с миниатюрами в стиле знаменитого Исфаханского художника Риза Аббаси.
В то же время был добавлен и новый кожаный переплет в сефевидском стиле. Позже рукопись снова отправилась в путешествие и, вероятно, была подарена некому индийскому сановнику. у.
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✨🇬🇧Who brought Ganjavi's work to Iran?

For some unknown reason the Persian poem Makhzan al-asrar (the Treasure of the Secrets) by Nizami Ganjavi was sent to Safavid Iran, where in 1610 – 1620 was added a nice painted double page at the beginning of the book, in the manner of the famous Riza ‘Abbasi of Isfahan.
At the same time a new leather binding in Safavid style was added. Just afterwards, the manuscript travelled again: probably given to some Indian Mughal dignitary as a present. During the reign of Emperor Jahangir (1605 – 1627) it seems to have entered the Imperial library. Both paintings signed by Mahmud were restored with some transformations, specially faces of people. .

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🇺🇿 ✨Do‘ppilardagi zoomorfik naqshlar

Do‘ppilardagi naqshlar kashtado‘zlarning ajoyib mahoratini, milliy o‘ziga xoslikni namoyish etib, xalqning ruhiyati, hayotga va tabiatning yorqin ranglariga bo‘lgan muhabbatini, jozibali anʼanalarda atrofdagi olam ranglarini gavdalantirishga bo‘lgan intilishini ifoda etadi.
Do‘ppilarni bezashda islimiy, zoomorfik, handasaviy, epigrafik naqshlardan foydalanilgan. Zoomorfik bezaklar orasida kuch, jasorat, himoya timsoli bo‘lgan qo‘y shoxlari ko‘p uchraydi. Ilon izi naqshi yomon ko‘zdan asrash vazifasini bajaradi. Baliq tasviri ayollar serpushtligi ramzi bo‘lgan.O‘simliksimon naqshlar orasidagi olachipor qushchalar xalqning baxt-saodat haqidagi tasavvurini ifodalaydi.

🇷🇺 ✨Зооморфные орнаменты в декоре тюбетеек

Орнаменты на тюбетейках демонстрируют удивительное мастерство вышивальщиц, национальную самобытность, передают дух народа, любовь к жизни и ярким краскам природы, стремление воплотить в цвете образы окружающего мира, какими они видятся в поэтической традиции.
В декоре тюбетеек используются растительный, зооморфный, геометрический, эпиграфический орнаменты. Среди зооморфных орнаментов чаше встречается изображение бараньих рогов – символа силы, мужества, защиты. Узор илон изи (след змеи) играет роль оберега. Рыба символизирует женскую плодовитость. Пестрые птички среди растительных узоров олицетворяют народные представления о счастье.

🇬🇧 ✨Zoomorphic ornaments in the decor of skullcaps

The ornaments on skullcaps demonstrate the amazing craftsmanship of embroiderers, national identity; convey the spirit of the people, love for life and the bright colours of nature, the desire to embody images of the surrounding world in colour as they are seen in the poetic tradition.
Ornaments are plant, zoomorphic, geometric and epigraphic. Among the zoomorphic ornaments the image of ram horns is often found – a symbol of strength, courage, protection. The ilon izi pattern (snake’s trace) plays the role of an amulet. The image of fish symbolizes female fertility. Motley birds among plant patterns personify folk ideas about happiness.

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🇺🇿 ✨Husayn Boyqaro va Alisher Navoiy davrida Hirot musiqa san’ati qanday farq qilgan? (II qism)

Diniy va dunyoviy intilishlar, ba’zi hollarda ularning o‘zaro uyg‘unligi Husayn Boyqaro va Alisher Navoiy davri madaniyati uchun xosdir.

Xususan, Qur’on o‘qish (tajvid) o‘sha paytda dunyoviy san’atlar, xususan, musiqa va kuylash san’atiga ancha yaqin turgan. Ularning aksariyati ziyolilar qatlamining serqirra, savodli vakillari bo‘lishgan.

Dunyoviy yo‘nalishdagi musiqaga ruhoniylar, tasavvuf shayxlari ham tez-tez murojaat qilishgan. Fors-tojik shoiri va mutafakkiri, Alisher Navoiyning ustozi Shayx Nuriddin Abdurahmon Jomiy ham musiqa haqida alohida ilmiy risola yozgan, kuylar bastalagan. Xususan, uning «Naqshi Mullo» nomli kuy bastalagani ma’lum.

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🇬🇧 ✨How was the musical culture of Herat different under Husayn Bayqara and Alisher Navoi (Part II)

The coexistence of secular and religious (spiritual) tendencies and, in some cases, their mutual enrichment, is characteristic for the culture of the period of Husayn Bayqara and Alisher Navoi.

It is curious that the profession of “reader of the Quran” is combined with the mastery of secular arts, especially music and singing. These were often people educated in many areas, who belonged to the intellectual community. Secular music was also used by clerics and major Sufi sheikhs. Shaikh al-Islam ‘Abd al-Rahman Jami, the Persian-Tajik poet and Navoi’s teacher, compiled a scientific treatise on music; he composed music, and authored, among others, the work Naqsh-i Mulla.

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🇺🇿 ✨Samoviy himoya: Mo'g'il ko'ylagi

Tilsimli ko‘ylakka bitilgan Qurʼoni karim Qo‘lyozmalar bo‘limi kolleksiyasidagi eng noyob ashyo hisoblanadi.

Matn arab tilida, mayda chiroyli nasx xatida yozilgan. Sanasi yo‘q, lekin yozuv uslubi va boshqa x ususiyatlariga ko‘ra, bu yodgorlikni Boburiylar sulolasining so‘nggi davri – XVIII asrga oid, deyish mumkin. Yozuvlar shaffof bo‘lmagan akvarel va siyohda paxta (kraxmallangan, maxsus ishlov berish jarayonidan foydalangan holda yengil yaltiratilgan yoki silliqlangan) matoga bitilgan. Ko‘ylak to‘g‘ri bichimda, bo‘yin o‘mizi kichik, dumaloq, old tomoni yirmochli, yenglari kalta va keng. Ko‘ylakning bo‘yin o‘mizi, old yirmochi, yenglari, yon yirmochlari va etagi chekkalariga to‘q ko‘k rangdagi jiyak tikilgan. Yenglardagi ikkitadan va yon tomonlardagi bittadan tikilgan olti juft tasmalar uchun ham aynan shunday mato ishlatilgan.

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🇬🇧 ✨Garment of Heavenly Protection: The Great Mughal Shirt

The grandeur of Islamic art and faith is embodied in this unique artifact – a talismanic shirt from the Manuscript Department's collection.

Created in the 18th century, during the reign of the Great Mughals, this shirt showcases the highest caliber of calligraphy, executed in the *nasakh* script in Arabic. The shirt, with its straight cut, short wide sleeves, and a small opening in the front, is crafted from cotton fabric that has been treated for smoothness. Elegant dark blue edging adorns the neckline, opening, sleeve edges, and hem. Six pairs of ties secure the shirt to the body, providing comfort and ease.

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🇺🇿 ✨Movarounnahr tarixi qiziqqan fransuz kollektsiyachisi

XIX asrning ikkinchi yarmida Sharq qo‘lyozmalarining eng katta fransuz kollektsiyachilaridan biri bo‘lgan Sharl Shefer (1820—1898) nafaqat arab, fors va turkiy tildagi matnlarga qiziqqan, balki naqshlangan va suratlar bilan bezatilgan qo‘lyozmalarni ham to‘plagan. Shefer — sharqshunos va tarjimon, 1871 yildan keyin esa Sharq tillari frantsuz maktabining professori va direktori ham bo‘lgan. Ziyoli olim sifatida u Yaqin Sharqdagi ko‘plab mutafakkirlar bilan yozishmalar olib borgan; ularning ba'zilari unga qiziqarli qo‘lyozmalar jo‘natganlar.
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🇷🇺 ✨Французский коллекционер, интересовавшийся историей Мавераннахра

Один из крупнейших французских коллекционеров восточных рукописей второй половины XIX в. Шарль Шефер (1820–1898) интересовался не только арабскими, персидскими, тюркскими и турецкими текстами, но собирал также и иллюстрированные манускрипты. Шефер был востоковедом и переводчиком, а после 1871 г. – профессором и директором Французской школы восточных языков. Будучи эрудитом, он переписывался со многими учеными по всему Ближнему Востоку; некоторые из них присылали ему любопытные рукописи. Например, в 1890 г.
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🇬🇧 ✨French collector interested in the history of Mawarannahr

One of the biggest French collectors of Oriental manuscripts in the second half of the 19 century, Charles Schefer (1820 – 1898) was not only interested in Arabic, Persian, Turkic and Turkish texts but also collected illuminated and illustrated volumes. Schefer was an orientalist, interpreter and later, after 1871, professor and Director of the French School of Oriental languages. Erudite scholar, he was in correspondence with many scholars in the whole Middle East; some of them sent him interesting manuscripts. For example, in 1890, Mr Müller, a teacher at Tashkent High School, sent the current manuscripts Supplement turc 1189 and Supplement turc 1190 of the BnF, through a certain Mr Bonvalot, to Charles Schefer.
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🇺🇿 ✨ Аlisher Nаvoiy «Kulliyot»idа miniаtyurаlаr

Uning nazmiy asarlari to‘plami (devonlari) va besh dostondan iborat «Xamsa» («Beshlik») majmuasi ancha mashhur. Doston-masnaviylar Nizomiy va Xusrav Dehlaviy dostonlariga o‘xshash syujetli, ular tomonidan yaratilgan asarlarga o‘xshatma-nazira ko‘rinishda yozilgan. Navoiy va boshqa shoirlarning asarlari ko‘pincha alohida kitob qilib ko‘chirilgan, biroq baʼzida turli asarlardan to‘plam-kulliyotlar ham tuzilgan.
Ushbu qo‘lyozma, shubhasiz, to‘liq emas. U anʼanaviy tarzda «Chixil hadis» («Qirq hadis» va «Nazm ul-javohir» («Javohirlar tizmasi»dan boshlanadi, undan keyin «Xamsa»ning to‘rtta dostoni keladi: «Hayrat ul-abror» («Yaxshi kishilar hayrati»), «Farhod va Shirin», «Layli va Majnun» va «Sabʼai sayyor» («Etti sayyora»). Beshinchi doston mavjud emas.

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🇬🇧✨ Miniatures for “Kulliyat” by Alisher Navoi

The most famous are his collections of lyric poems (divan) and a cycle of five poems, the Khamsa (Quintet). Mathnavi poems were created as imitations-nazira on similar stories of the poems by Nizami and Amir Khusraw Dihlavi. The works of Navoi and other poets were often copied in separate books, but sometimes kulliyat collections were made from different writings.
The Kulliyat is certainly not complete. It begins traditionally with “Chihil Hadith” (“Forty Hadith”) and “Nazm al-Javahir” (“Threading of Pearls”), it is then followed by four poems of the Quintet: “Hairat al-Abrar” (“Amazement for the Pious”); “Farhad va Shirin”; “Laili va Majnun” and “Sab‘a Sayara” (“Seven planets/travelers”). The fifth poem is missing.
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✨Открытие самобытности школ Мавераннахра на Западе

Как известно интерес к рукописям Востока во Франции и в западных странах в целом – давняя традиция, особенно этот интерес начинает широко распространяться только с последней трети XIX в.

На начальном этапе ученые стремятся собрать все возможные тексты – научные, исторические, литературные и религиозные – и изучить их содержание. Лишь после этого они начинают как-то классифицировать материал. Самобытность школ Мавераннахра была определена благодаря подготовке каталогов и организации выставок, самая ранняя из которых прошла в 1910 г. в Мюнхене («Meisterwerke Muhammedanischer Kunst» – «Шедевры исламского искусства»).
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✨Movarounnahr maktablarining o'ziga xosligini G'arbda ochilishi

Ma’lumki, Franstiya va boshqa G‘arb mamlakatlarida Sharq qo‘lyozmalariga qiziqish azaldan yuqori bo‘lgan. Ayniqsa, bu qiziqish XIX asrning so‘nggi choragida keng tarqalgan.

Dastlabki bosqichda olimlar barcha ilmiy, tarixiy, adabiy va diniy matnlarni to‘plashga va ularning mazmunini o‘rganishga intilgan. Shundan keyingina ular to‘plangan materiallarni tasniflashni boshladilar. Ilk marta 1910 yilda Germaniyaning Myunxen shahrida o‘tkazilgan («Islom san’ati durdonalari») ko‘rgazma kataloglarini tayyorlash va ko‘rgazmani tashkil etish jarayonida Movarounnahr maktablarining o‘ziga xos xususiyatlari aniqlangan.

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✨Discovery of the identity of Mawarannahr schools in the West

The interest in manuscripts from the East in Western countries and in France is an old tradition but the fascination for their illuminated decor and especially for their paintings developed in the public only during the last third of the 19th century.

At the initial stage, scientists try to collect all the possible texts, scientific, historical, literary and religious, and to study their content. Only then a certain classification of the collected material occurs. The originality of Mawarannahr schools was revealed thanks to the preparation of catalogues and the organization of exhibitions, the oldest of which is that of Munich in 1910 (‘‘Meisterwerke Muhammedanischer Kunst’’).
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🇷🇺✨Бухарская мечеть в Санкт-Петербурге: наследие Абдулахад-хана

Часть средств на ее возведение также принадлежала эмиру, остальное он обязал внести бухарских купцов. Мечеть должна была стать одним из великолепных зданий столицы и самой крупной в Европе. Абдулахад-хан лично присутствовал при ее торжественной закладке в 1910 г. Это был его последний приезд в столицу. В конце того же года он скончался в Кермине, где проживал с 1894 г., после ссоры с бухарским духовенством. В отличие от других бухарских эмиров, он был похоронен на местном кладбище.

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🇺🇿✨Sankt-Peterburgdagi Buxoro masjidi: Abdulahadxon merosi

Masjid qurilishi uchun amirning o‘zi biroz mablag‘ sarfladi. Qolganini esa Buxoro savdogarlari zimmasiga yukladi. Reja bo‘yicha masjid poytaxtning eng chiroyli va hashamdor imoratlaridan biriga va Yevropaning eng yirik masjidiga aylanishi kerak edi. Abdulahadxon 1910 yilda masjid qurilishiga tantanali ravishda birinchi g‘isht qo‘yilishida shaxsan ishtirok etdi. Bu uning poytaxtga oxirgi safari edi. O‘sha yilning oxirida u, 1894 yili Buxoro ulamolari bilan janjaldan so‘ng kelib yashagan manzili – Karmanada vafot etdi. Boshqa amirlardan farqli ravishda shu yerga dafn etildi.

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🇬🇧✨Bukhara Mosque in St. Petersburg: the legacy of Abd al-Ahad Khan

Part of the funds for its construction belonged to the Emir; the rest he was obliged to collect from the Bukhara merchants. The mosque was supposed to be one of the capital’s magnificent buildings and the largest in Europe. Abd al-Ahad Khan was personally present at its ceremonial laying in 1910. This was his last visit to the capital. At the end of the same year, he died in Karmana, where he had lived since 1894, after a quarrel with the Bukhara clergy. Unlike other emirs of Bukhara, he was buried in the local cemetery.
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✨Формы тюбетейки

Первоначально тюбетейки имели коническую форму и широкие борта. Начиная с 1920-х гг. формы меняются, становятся разнообразными: островерхие, конусообразные, полусферические, круглые, четырехгранные. Они могут иметь высокий или низкий бортик, отделанный вышитой или однотонной тесьмой, лентой из шелка, бархата и других тканей, иногда добавляются длинные или короткие кисточки.

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✨Do‘ppi shakllari

Dastlab do‘ppilar konus shakli va keng yonga ega bo‘lgan. 1920-yillardan boshlab, do‘ppi shakllari o‘zgarib, turli tuman bo‘la boshladi: uchli, konussimon, yarimdumaloq, aylana, to‘rtqirrali. Ular kashta yoki bir tusli jiyak, shoyi tasma, baxmal va boshqa matolar tikib bezatilgan, baland yoki past yonli, baʼzan uzun yoki qisqa popukli bo‘ladi.

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✨Skullcap shapes

Originally skullcaps had a conical shape and wide sides. Since the 1920s, the forms of the skullcap have changed, becoming varied: peaked, cone-shaped, hemispherical, round, quadrangular. They can have a high or low side trimmed with embroidered or one-collared tape, a ribbon of silk, velvet and other fabrics, sometimes long or short tassels were added.
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✨Ruler bibliophile Ubaydullah Khan ibn Mahmud

He was also a bibliophile, a collector of books, and a patron of calligraphers and artists. In 1533, Ubayd-Allah became the supreme ruler of the Shaybanids. In 1535, after numerous attempts to capture Herat, he once again raided the renowned city and plundered it.

As a result, there were several waves of artists and manuscripts moving from Herat to Bukhara, hence the formation of the classical Bukharan style of manuscript decoration in the 16th century also unfolded in stages. By the time of Ubaydullah Khan's death in 1540, this style, inheriting the traditions of Herat and Behzad himself in combination with the local Maverannahr tradition, had reached a high level of development.

📚You can learn more about the topic in the book-album "Illustrated manuscripts from Mawarannahr in the collections of France" (Volume XXIX) in the series "The Cultural Legacy of Uzbekistan"

✨Правитель-библиофил Убайдулла-Хан ибн Махмуд

Он также был библиофилом, коллекционером книг, покровителем каллиграфов и художников. В 1533 г. Убайдулла стал верховным правителем Шейбанидов. В 1535 г. после многих попыток захватить Герат вновь совершил набег на знаменитый город и разграбил его.

Таким образом, было несколько волн перемещений художников и рукописей из Герата в Бухару, поэтому формирование классического бухарского стиля оформления рукописной книги XVI в. также происходило в несколько этапов. К моменту смерти Убайдулла-хана в 1540 г. этот стиль, унаследовавший традиции Герата и самого Бехзада в сочетании с местной мавераннахрской традицией, находился на высоком уровне развития.

📚Подробнее ознакомиться с темой можно в книге-альбоме "Иллюстрированные рукописи Мавераннахра в собраниях Франции" серии "Культурное наследие Узбекистана в собраниях мира" (XXIX том).
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Firdavs Abdukhalikov appointed Director of the Center of Islamic Civilization

As the Chairman of the Board of the World Society for the Study, Preservation, and Popularization of Cultural Legacy of Uzbekistan (WOSCU), he continues his mission to preserve and promote the country’s rich cultural heritage.

Thanks to the large-scale reforms initiated by President Shavkat Mirziyoyev, Abdukhalikov authored and initiated the project “Cultural Legacy of Uzbekistan in World Collections.” He played a key role in publishing the 70-volume series “Cultural Legacy of Uzbekistan in World Museums,” 20 books-albums of the series “Architectural Epigraphy of Uzbekistan,” and over 10 exclusive publications on cultural themes and facsimile copies of ancient and medieval manuscripts. These projects have significantly contributed to the preservation and study of Uzbekistan’s cultural heritage, making it accessible to contemporary society and future generations. All this work would not have been possible without the personal support and great attention of the President of the Republic of Uzbekistan, Shavkat Mirziyoyev, to the in-depth study of the cultural heritage of the people of Uzbekistan and its transmission to future generations. WOSCU has found support from public and state organizations, academic circles, and socially responsible businesses.

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