Copper Metal Embossing In Uzbekistan

Decorative, Applied Arts, and Handicrafts in Uzbekistan

The copper embossing (or toreutics) is the oldest of artistic metalworking done with coins and hammers. Assumingly it rooted in the Bronze Age when masters and artists covered plastic metal with elaborate patterns. Further on the finest miniatures on jewelry, all sorts of relief ornamental compositions and even large monumental works began to appear with the development of toreutics technique.

Along with other low-melt metals copper was one of the first to use for embossing. It was one of the first mastered by man due to the softness and plasticity. Generally embossed copper decorations and household items were ritual and religious for it was believed the metal endowed them with magical healing features ​​and served as "protective armor". For deep inner light it was assumed to be sacral. Alchemists considered copper a metal of Venus. Artisans, who practiced toreutics were treated like magicians possessing hidden knowledge.

The art of copper embossing in Uzbekistan is valued for its’ advanced years and almost perfected technique. This folk craft of Uzbek masters is congruent with ceramics only - the oldest art, which dates back thousands of years.

The first embossed cooper items found in modern Uzbekistan dated the fourth millennium  BC and belong to the Bronze Age. A small number of samples found during archaeological excavations. These were the simplest knives and jewelry. In the XV century - during the reign of Tamerlane - Amir Timur  and the Timurid dynasty toreutics becomes more complex. The spectrum of chased items expanded significantly - masters began to make jugs, plates, bowls, trays, caskets, smoking appliances. They were not only used for cooking but adorned the dwellings of the nobility as a symbol of prosperity and luxury.

The peak of metal chasing dates to the 18th-19th centuries AD. Plates and jugs, some of which are almost two hundred years old became treasure trove of historical and ethnographic museums of Uzbekistan and other countries. Most of them are now in the Uzbek State Museum of the National History, the State Art Museum of Uzbekistan in Tashkent, and the Hermitage in St. Petersburg.

Metal embossing is practically drawing a delicate pattern on a complex and whimsical material. It’s a very laborious task, requiring patience and concentration. To create a masterpiece chasers collaborated with coppermakers (misgars), who made a mold for the sample, and melters producing vessels and parts for them.

Floral and geometric ornaments were prevailing. The favorite technique was "islimi" -  interwoven flower stems, leaves and buds.

Tools for metal engraving remain very simple. They are: “kalam” - a thin pen for applying small details of a pattern, and a small hammer. The final touch in the manufacture is grinding. It fixes the ornament and gives the metal a dazzling brilliance.

In XIX century local artisans formed a number of schools of toreutics. They were active in different regions of Uzbekistan, and each introduced its vision, technique, ornaments and recognizable style. The centers for Uzbek metal chasing - Bukhara, Khiva, Kokand, Samarkand, Karshi, Fergana, Shakhrisabz and Tashkent - offered their own approach on the depth of embossing and ornamental motifs.

Artisans from Bukhara and Khiva performed deep copper embossing called "kandkori". It was perhaps the most recognizable and widespread. Restrained decor, classical well balanced proportions, strict elegance - these are the specifics of Bukharian chased goods. Khivan masters mostly preferred deep, and less often - fine embossing. They preferred to leave the background smooth and undecorated. Less depth and, at the same time, the clarity and purity of the pattern characterized the work of the chasers from Kokand and Fergana. Masters from Karshi and Shahrisabz were inclined to greater splendor and luxury - they decorated their products with the finest details, semiprecious stones, turquoise in particular, styled them with colored glass, and variously tinted the background. Samarkand school considered to be the most conservative. For its’ style and design of utensils and household items was close to the ancient traditions. Meanwhile, it was in the Samarkand products that one could see the image of the four-leafed clover.

Floral and geometric ornaments remained the leading ones in the decor of the chased items. Seldom one can see animalistic motives on copper utensils. Mostly these were separate elements. For example, "chashmi bul-bul" - nightingale's eye, "kuchkorak" - mutton horn, "pashti balik" - fish scales.

The production of chased items is still one of the leading in handicraft life of Uzbekistan. High tea vessels, water and wine jugs, teapots, fruit bowls, lyagans and plates, whole sets, as well as souvenir products can be purchased at major Uzbek bazaars and in the original handicraft shops across the country. Images of ancient buildings, architectural monuments and other famous sights of Uzbekistan are often ornaments for the fine and radiant works of artisans.

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