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Graduation Thesis for Undergraduate Students of Yunnan University opening report

Title：The Revitalization and Recovery of Traditional Industries — A Case Study of Bukhara Carpet Industry in Uzbekistan

Name： SUGDIYONA SAFARALIEVA

School： Tourism Management and Business Administration

Major： Business Administration

Instructor (title)：

Time： 07.01.2022

The Academic Affairs Office of Yunnan University

Topic source	1．Teacher designation 2．Teacher and student agreed 3. Students choose
1. Selection basis Bukhara rug” (Uzbek: Bukhoro)—also spelled “Bokhara”—is a term widely, though erroneously, used in the West to refer to carpets and rugs made by various Turkmen tribes of Central Asia, such as Tekke and Ersari rugs. During the early 1900s, the name of Bukhara, a city in Uzbekistan, was applied to these rugs. In fact, few Turkmen live in or around Bukhara, which has a population made up principally of Tajiks and Uzbeks. The city did serve as a transit point for some Turkmen rugs on their way to the West (especially those of the Ersari tribe). The city of Bukhara is well-known for its production of the embroidered Tajik textiles known as suzanis. Bukhara rug designs have originated from the Samarkand and Bokhara Region. Bukhara rugs in ancient times were hand-woven by peoples of Russian Turkistan (Turkmenistan and Uzbekistan). Bukhara rugs were primarily the product of Tekke Turkmens but also were made by Sailors, Sarqs, Yomuts, and Ersaris. These famous Bukhara designs also come from eastern Iran, Afghanistan, and Pakistan. Bukhara rugs hold a high place in history and compete with the best in the world. Bukharas are a traditional piece of art suitable for any interior decor. Bukhara rug popularity has been on the increase in recent years and the quality are workmanship very consistent with ancient methods. Bukhara rugs (also known as Bokhara) were once mistakenly thought to have been woven near the Uzbek city of Bukhara. Bukharas, famous ‘red rugs’ of Central Asia, were and are woven by nomadic tribespeople who relied primarily upon the madder plant for the tremendous variety of red and red-brown hues that characterizes By the late 19th century, they came in odd, small sizes and peculiar shapes, and began to find their way to the West. Bukhara rugs have small, repeating geometric designs and are normally fine quality. A popular Bukhara design, the elephant foot and octagonal ‘gul’ motifs tend to look best in smaller sizes that make the most of the intricate pattern. Bukhara rugs are not the hardest wearing rugs. Bukharas are recommended more for decorative use than high traffic areas. Bukharas usually come in greens, reds, whites, and browns. You’ll hear these referred to as Beshir, Turkoman, or Samarkand. Bukhara artisans would incorporate a weave cotton warp and weft (old Turkomans were almost always on wool foundation) in a huge variety of qualities, from really bad rugs with fewer than 50 knots per sq. in. to very tightly woven pieces with over 288 knots per sq. in. Most have wool pile, but some have “silk” inlay (a common market name for this type is “Jaldar”). This “silk” is almost always artificial silk–cotton mercerized to look like silk. Ones with artificial silk inlay are usually not very good quality. They are made of finely spun, soft wool. New Zealand wool is commonly used, and this can make a shiny, glossy finish that almost looks like silk. Fine examples are often closely clipped (so that their intricate designs are crisp and clear), but some are left especially thick for their quality. Red and rust fields are most common colors, but can have ivory, navy, green, slate, teal, peach, rose or orange backgrounds. The most common design consists of rows of “Tekke” guls or medallions (the Tekkes were one of the Turkoman tribes who wove a design so distinctive as to become essentially a totem of the tribe). Other designs also related to Turkoman styles are found, and like Tekkes, these are usually named after the Turkoman tribal group which made the kind they most resemble (examples are Yomud, Salor, and Ersari).
2. The academic or practical significance, main content and innovation points of the research (design) Bukhara carpets are probably the best known of all Oriental carpets. Their history is a curious one, telling us a lot about how hand-woven carpets spread through Asia and then Europe. Today, Bukhara carpets are produced in different regions of the world, maintaining the style that has made these prestigious carpets famous. Bukhara carpets take their name from the city of the same name in Uzbekistan. Unlike other Persian and Asian cities, which have given their names to weaving styles or specific types of carpet, Bukhara has never been a centre in which production was concentrated. On the contrary, the city of Bukhara, due to its strategic location near the borders with Afghanistan, Turkmenistan and Tajikistan, established itself as the most important commercial centre in the area. From here carpets soon reached the West and began to decorate homes and public places. Bukhara carpets have a clear link to tribal tradition. The colours, symbols and construction techniques are typical of carpets produced in this area. The classic Bukhara carpet, made of wool and with an intense red colouring, immediately catches the eye and becomes the star of the room. How does a Bukhara carpet differ from other carpets? On paper, a Bukhara carpet has characteristics that are quite similar to those of other types of carpet that have been produced in the Turkmen region. But there are certain details that make this carpet unique and instantly recognisable. For example, one characteristic common to all older Bukhara carpets is the colouring. If we are talking about an antique Bukhara carpet, there is no doubt that we are looking at a red carpet with geometric patterns. There is also a frame, which defines the limits of the carpet's field. The wool, used for the weft and warp, is another key feature. The pile has a medium thickness and good softness, due to the use of high quality fibres. The most common motifs are the gul, repeated throughout the field of the carpet, and other tribal symbols, which are stylised representations of subjects inspired by the daily life of the local people. More recently, Bukhara carpets have been offered in other colours, while maintaining their distinctive characteristics. Russian carpets are currently considered to be the best bukhara carpets made in modern times. Bukhara carpets made in Afghanistan, Iran and Turkmenistan are equally popular.
3. Technical route and expected goals of research (design) The carpet center is established in a caravanserai – simultaneously revitalizing an ancient trading post as well as an ancient craft of the old Silk Road. Tourists will be able to see the traditional carpet making process and take classes on centuries-old traditional techniques of carpet making and natural dyeing. Bukhara is an attractive tourist destination famous for its UNESCO World Heritage historic center, mosques, and madrasas. A leading trading center along the Silk Road, the city has long served as a center of trade, scholarship, and culture and is a well-known medieval center of carpet weaving. Wideoyster’s special Edition on Central Asia(link is external), an online travel magazine, supported by USAID, welcomes tourists to discover the five countries that form Central Asia, including Uzbekistan(link is external). Bukhara remains a top travel destination for visitors from around the world and is a renowned carpet weaving hub. The coronavirus pandemic has disrupted travels globally keeping much of the world’s population at home. Before the pandemic, all shops in the city’s old town were open bustling with tourists – the ancient city of Bukhara was alive. The Bukhara Traditional Carpet Center looks forward to welcoming its first tourists and ensuring an ancient craft survives for generations to come. USAID has selected 35 innovative ideas across Central Asia from among concepts submitted by 150 companies and contributed one-fourth of the total cost of almost $8 million to turn these ideas into budding businesses. Winning ideas ranged from the first charter flights between Tashkent and Lake Issyk Kul to boost tourism, to establishing a pilot cooperative of small farmers from Tajikistan to export their watermelons to Lithuania. Inspiro, the charter company will fully fund the flights in 2021 to become a feature during the tourism season going forward, while consumers enjoyed the watermelons so much that the farmers are expanding production from 12 to 50 hectares. USAID’s Competitiveness, Trade and Jobs activity facilitates trade and employment in horticulture, tourism, transport, and logistics across the five Central Asian economies. By incentivizing firms to become more regionally competitive and by addressing cross-border impediments to trade, USAID helps to develop a more diverse and competitive private sector and generate export-driven growth.
4. Work schedule Contents 1 Etymology and usage 2 Types 2.1 Woven 2.2 Needle felt 2.3 Knotted 2.4 Tufted 2.5 Others 3 Fibres and yarns 3.1 Nylon 3.2 Polypropylene 3.3 Wool and wool-blends 3.4 Polyester 3.5 Acrylic 4 History 4.1 Afghanistan 4.2 Armenia 4.3 Azerbaijan 4.4 China 4.5 India 4.6 Pakistan 4.7 Persia Iran 4.8 Scandinavia 4.9 Turkey 4.10 Turkmen 4.11 Uyghur 4.12 Europe 5 Modern carpeting and installation 6 Disposal 7 In culture and figurative expressions 8 References
5. Conditions and implementation measures required to complete the research (design) Projects for the restoration of traditional handicrafts, taking into account local properties, should be directed to the exact address, and concretely outline the development in the future. First of all, a sharp difference between the original state of the product produced for the market and further innovations cannot be allowed. Currently, there are problems associated with the development of arts and crafts. The accumulated experience shows that the problems are associated with the development of arts and crafts. The main problem lies in the issue of management, that is, there are no optimal conditions for the development of this art in the republic, insufficient attention is paid to the activities of the masters. In this situation, it is necessary to coordinate the activities of masters, art historians, managers, sponsors and the media, on which the perspective of arts and crafts depends. Of course, the uniqueness of traditional art should not be overlooked. Since "folk art does not reflect in itself a peculiar style and historicity, nationality and peculiarity of a particular society. "The effectiveness of projects aimed at supporting and developing traditional handicrafts can be seen in meeting the requirements of consumers who buy products of folk crafts, since the main goal of the projects is this. Therefore, regardless of who made the product and what quality and type it is, the main goal is its implementation. According to the indicators of the current artistic process, handicraft products are increasingly used in everyday life. Initially, these items are made for the collection of museums. It should be noted that foreigners are the main consumers of handicraft products, a certain part of the intelligentsia related to traditional culture also widely uses goods of this type, since there is low demand for handicraft goods in local markets, craftsmen try to export their products abroad. Ceramic and textile products are exported to Kazakhstan, Russia and European countries. In this way, they not only sell their products, but also represent the culture of Uzbekistan. Promotion of the development of style and taste to the public in local markets does not include handicrafts. The market, as in former times, is an accurate indicator showing the development of handicrafts. Today, there is a great demand in the markets for textile products (embroidery, carpets, fabrics, gold-weaving products, gold -embroidered robes, skullcaps), ceramics, as well as bags, wallets, cosmetic bags, hand-embroidered pillowcases, clothes made from the national fabric of perfect design, margilan silks. A new type of fabric - batik, created by artisans of our region, made of traditional silk, mainly with a creative approach to Margilan silk, soon became a hot commodity. The UNESCO Quality Mark program notes the need for modern handicraft products to comply with labor laws, high quality, innovation, ecology, and market requirements.
6. References 1. Farmonovna, E. A., Matyakubovna, K. M., Нabibulloevna, K. S. (2020). The role of the tourism national crafts in Bukhara region. European science, (1 (50)). 2. Farmonovna, E. A., Mirjonovna, T. A., &Aminovna, J. G. (2020). National handicrafts and tourism. Вопросынаукииобразования, (9 (93)). 3. Ergasheva, A. (2021). A HANDICRAFT AND TOURISM INDUSTRY. ЦЕНТР НАУЧНЫХ ПУБЛИКАЦИЙ (buxdu. uz), 3(3). 4. https://www.loveyourrug.ca/area-rug-blog/all-about-bokhara-rugs/ 5. https://qaleen.com/blog/the-story-of-bokhara-rugs-and-what-makes-them-special 6. https://www.nodusrug.it/en/blog/bukhara-rug-what-is-it 7. https://www.britannica.com/art/Bukhara-rug 8. https://www.euronews.com/travel/2014/11/25/bukhara-and-the-art-of-trade 9. https://www.abc-oriental-rug.com/bokhara-oriental-design.html
7. Instructor's opinion (it is necessary to clarify whether you agree to open the question) Instructor (signature): year month day
8. Comprehensive opinions on the examination of the question opening (it is necessary to clarify "agree to open the question", "disagree to open the question" or "open the question after modification") Auditor (signature)： year month day
9. Opinions of the College Graduation Thesis (Design) Leading Group Team leader (signature)： year month day