Монография представляет собой исследование традиционной вышивки

tumor amulets, where altars 
with burning fire (
chor-chirog’ motifs) are set before depictions of gods/ planets 
(round oy medallions). The preservation of echoes of planet worship in Jizzak 
suzanis testifies to the persistence of folk belief in the cleansing, fertilizing power of 
the sun, moon, and other heavenly bodies.

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207
summary
Astral symbolism also dominates the 
palaks of Tashkent (“Tashkent Palaks: 
Parade of the Planets”). The original name of the basic elements of 
palaks has been 
preserved – 
oy – which again links the design components with the heavenly, divine 
world, stars and planets. Embroideresses reckoned that these ornaments provided 
magical protection – a fecund power was attributed to the heavenly bodies, which 
is why 
palaks were obligatory at weddings. In their turn, the flowering bushes on 
embroidered coverings (
gulkurpa) were supposed by the law of sympathetic magic 
to transmit the power of their blooming to the newlyweds and ensure the bride’s 
fertility. The ornaments of 
zardevors and dorpechs are connected to the decoration 
of early Middle Age ossuaries.
The embroidery of the Ferghana Valley is examined as a distinct phenomenon 
resulting from its well-known geographical isolation (“The Ferghana Valley: Steppe 
Reminiscences in Urban Embroidery”). Popular local compositions and motifs are 
analyzed, and the influence of semi-nomadic culture is discussed. 
To judge by the homogeneity of the designs of Surkhandarya 
suzanis, it 
appears that this type of domestic handicraft began to spread among the local 
sedentary population only from the beginning of the 20th century (the section 
“Surkhandarya: Archaism and Modernism of Provincial Style”). The ornaments 
of local 
suzanis – oy (moon) rosettes, or lola (tulip) – simultaneously reflect both 
the aforementioned astral cult and the cult of nature with its characteristic festival 
of flowers (
guli surx) celebrated during the days of Navruz. The active adaptation 
of “alien” compositions (such as 
suzanis with deer) testify to the naturalization 
of large-scale embroidery in Surkhandarya, a region traditionally dominated by a 
different sort of textile art – carpet weaving.
Surkhandarya and Kashkadarya are also examined as regions where the 
embroidery of semi-nomadic Uzbek tribal groups can be found (the section 
“The Embroidery of Semi-Nomadic Tribes: Symbols and Rituals”). This section 
analyzes the specific visual elements and decoration of Lakai and Kungrat 
embroideries. Attempts to decode the designs indicate that nomads’ small-scale 
textile productions were directly related to cultic shamanist practice. One of the 
characteristic features of the embroidery of the Kungrats is its love of stylized 
vegetative motifs.
The research demonstrates that it was certainly not so long ago that embroidery 
was associated with ritual family practices and the everyday and holiday life of the 
people. Its designs embodied conceptions about the magic of fertility; they also 
make it possible to appreciate precisely which sacral ideas and conceptions were 
important and lasting in the general consciousness – the defense of newlyweds, the 
continuation of the race, protection by natural forces and ancient heavenly gods 
and totems, and ensuring the prosperity of the new family.
Social changes at the turn of the 20th century led to old traditions being 
forgotten and the magical and cultic significance of decoration being lost. Therefore 
it is of great importance to rediscover the meaning of ornaments and preserve their 
diversity. 

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