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DOI: https://doi.org/10.37547/history-crjh-02-06-12 
ISSN 2767-472X 
©2021 Master Journals 

   
  Accepted 23th June, 2021 & Published 28thJune, 2021  

 

 
 

 

CURRENT RESEARCH JOURNAL OF HISTORY                           
ISSN – 2767-472X 

53 

   https://masterjournals.com/index.php/CRJH 

 

HISTORICAL ANALYSIS OF THE ART OF EMBROIDERY IN THE UZBEK NATIONAL 
CRAFT 
 

Gayrat Abdulkhakimovich Mamarajabov 

Senior Lecturer, Department Of World History, Termez State University, Uzbekistan 

Fazliddin Jovlievich Izzatullaev 

4th Year Student, Faculty Of History, Termez State University, Uzbekistan 

 

INTRODUCTION 

The material and spiritual culture of the Uzbek 
people, with its nationality, naturalness, 
harmony of nature and society, makes a worthy 
contribution to world civilization. Most 
importantly, the examples of our national 
spiritual culture, which are currently attracting 
fans of world culture, are of particular 
importance. The art of embroidery, which is 
reflected in the world-famous craftsmen of the 
Uzbek people and in the national fabrics created 
by them, has found its place in the world national 
art with its brilliance, variety of colors, Islamic 
conditions. Although our national embroidery 

has been perfected over the centuries and is 
distinguished by its beauty, diversity and 
regional differences, in turn, they complement 
each other. It should be noted that the 
Surkhandarya oasis has its own peculiarities in 
the development of embroidery, which 
distinguishes it from other regions. As noted by 
the President of the Republic of Uzbekistan Sh. 
Mirziyoyev; “The spirituality of any people or 
nation cannot be imagined without its history, 
unique customs and traditions, vital values. 
Naturally, spiritual heritage, cultural riches, 
ancient historical monuments are one of the 
most important factors in this regard.” [1]  

Surkhandarya region, which has a worthy place 
in world civilization and a special reputation for 

ABSTRACT  
 
The art of embroidery, embodied in the world famous masters of the Uzbek people and the national fabrics 
they create, with its brilliance, variety of colors, Islamic conditions has found its place in the world national 
art. Although our national embroidery has evolved over the centuries and is distinguished by beauty, 
diversity and regional differences, in turn, they complement each other. The word kashta comes from the 
Persian-Tajik language and means "kashida", which means to pull, sew. Embroidery is an important branch 
of the applied arts of the Surkhandarya oasis. Among the embroidery items of the population of the oasis are 
suzana, zardevor, borposh, sandalposh, jainamaz, lolabolish, belars (belt), kettle, bag for salt, bag for spoons, 
glass bag, brick, towels designed to cover beds. 
 
 
KEYWORDS: - Handicrafts, national fabrics, embroidery, suzana, zardevor, borposh, sandalposh, rugs, belts, 
belts, teapots, salt bags, spoons, glasses, bricks, towels. 



CURRENT RESEARCH JOURNAL OF HISTORY 2(6): 53-57, June 2021      
DOI: https://doi.org/10.37547/history-crjh-02-06-12 
ISSN 2767-472X 
©2021 Master Journals 

   
  Accepted 23th June, 2021 & Published 28thJune, 2021  

 

 
 

 

CURRENT RESEARCH JOURNAL OF HISTORY                           
ISSN – 2767-472X 

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its contribution to the material and spiritual 
culture, is a region that collects and preserves 
the samples of material and spiritual culture 
from the past to the present. From the first years 
of independence, Uzbekistan has made a serious 
effort to restore and repair the samples of our 
national culture, to once again glorify the world 
of embroidery of our national culture, created by 
our ancient ancestors. The love of the Uzbek 
people for embroidery is based on the beauty of 
the nature of my homeland, beautiful charming 
hills, natural vegetation, a world of colorful 
plants, and most importantly, hardworking, 
humble, generous, open-hearted, generous, 
hospitable people, brave, courageous, brave 
people. served as. “We will mobilize all the forces 
and capabilities of our state and society to 
develop and be happy as people who think 
independently, have high intellectual and 
spiritual potential and do not lag behind their 
peers in any field in the world.”   “If we don't 
have independent-minded people, if we don't 
restore the history of our state, our people, our 
nation, if we don't write it objectively, others will 
write it differently,” he said. If it is limited to 
writing, it will try to guide our growing 
generation, even our scientists ... You create the 
true history of our nation, so that it gives our 
people spiritual strength and pride.” [2.30.]  

The material and spiritual culture of the peoples 
of Uzbekistan is unique, its traditional populist 
aspects are still preserved. It is our duty to 
cherish the values we inherited from our 
grandmothers. Therefore, in addition to learning 
the secrets of embroidery, embroidery schools, 
embroidery secrets, types of embroidery, 
embroidery stitches, color preparation for dyeing 
yarn, yarn dyeing processes in the regional 
museums of local lore, archeology, Boysun. Visit 
to the UNESCO Museum of Crafts, Sanobar 
Oripova, 3rd generation embroiderer, Shursoy 
mahalla, Boysun district; I did a scientific 
analysis based on my research. Uzbekistan is a 

country with a rich material and spiritual culture, 
which has made a worthy contribution to world 
civilization, and its unique cultural and applied 
art monuments are a clear proof of this. [3]  

From time immemorial, the Uzbek people have 
been hardworking, humble, worthy of their 
descendants, and have preserved the homeland 
like a blackbird. That is why our ancestors have 
left to future generations worthy cultural 
samples, and most importantly, national 
traditions that will never disappear or become 
obsolete. One of these economic traditions is 
embroidery, which has become a national honor 
and profession of every Uzbek household. The 
word kashta is derived from the Persian-Tajik 
language and means "kashida", which means to 
pull, to sew. An important branch of applied art 
in the Surkhandarya oasis is embroidery. The 
embroidery items of the oasis residents include 
suzana, zardevor, borposh, sandalposh, 
jaynamaz, lolabolish, belqars (belt), teapot, salt 
bag, spoon bag, glass bag, brick, towel, designed 
to cover the beds. In addition, embroidered items 
are Surkhandarya embroidered skullcaps, 
ribbons on the clothes of the people of the oasis. 
[4]  

METHODS 

Embroidery was developed on the basis of silk. It 
is one of the most developed handicrafts in all 
regions of Uzbekistan, including the 
Surkhandarya oasis. Through this profession, 
which has been passed down from generation to 
generation for centuries, women's creative 
abilities, dreams, love for nature and beauty have 
been demonstrated. The girls were taught the 
craft from a young age so that they could be good 
embroiderers. In the Surkhandarya oasis, women 
sewed embroidery for their families. Legend has 
it that when the groomsmen came to the house 
with their daughter, they asked her if she knew 
how to embroider, and after reviewing the 



CURRENT RESEARCH JOURNAL OF HISTORY 2(6): 53-57, June 2021      
DOI: https://doi.org/10.37547/history-crjh-02-06-12 
ISSN 2767-472X 
©2021 Master Journals 

   
  Accepted 23th June, 2021 & Published 28thJune, 2021  

 

 
 

 

CURRENT RESEARCH JOURNAL OF HISTORY                           
ISSN – 2767-472X 

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embroidery she had sewn, she was given a large 
sum of money. The reason for this is that the 
housewife, who became the bride of the girl, or 
her family, was convinced that she could provide 
for the family economically with her profession 
when the family was in a difficult economic 
situation. There is also a saying that embroidery 
is hard work, and a girl or a woman will be 
patient, kind to people, striving for beauty. Most 
of the surviving embroideries date back to the 
mid-nineteenth and early twentieth centuries. 
These embroideries are distinguished by their 
beauty, elegant sewing style, color balance, 
ancient decorative patterns. According to 
experts, embroidery reached a high level during 
this period. Depending on the appearance, shape, 
size, base (tag fabric), patterns, sewing style of 
different embroideries, their place in the 
marriage is determined. The suzannas (height 
230-280, width 170-200 cm) hanging on the 
walls, covering the beds of the youngsters, had a 
whole look with a central bloom and a border. 
Borposh (takmonposh), which is used to cover 
the beds made of takman, differs from suzana by 
its small size (height 170-250, width 120-150 
cm). The sandals were square in shape, with the 
four sides the same size (160-160 or 180-180 
cm). The item sewn to decorate the top of the 
room is zardevord. It is decorated with recurring 
flowers. Height 50 to 350-400 cm wide. It is 
bordered by a “village” and decorated with 
“chicken coop” patterns. [5]  

It took a long time to sew the big suzani. 
Previously, the flower-printed fabric was divided 
into pieces, each sewn separately. These pieces 
are then joined together to form a whole. As a 
result, some patterns did not match.  

In ancient times, embroiderers used to draw 
with a thin reed pen, which was called “pencil” or 
“drawing”. They memorized many patterns, 
created new types of ornaments, and determined 
the color of embroidered flowers. The penman 
has been using the types of patterns that have 

been preserved for centuries as the basis of his 
works, enriching it with his own creative 
innovations. In particular, peppers, almond 
replicas, balls or daisies, which are considered to 
be one of the most ancient types of patterns in 
embroidery, are notable for their charm. 
Whereas in the past the pen used mainly reed 
pencils, bowls, bowls, bowls, plates to draw the 
patterns of suzana, modern pencils use pencils or 
pens, compasses, rulers or centimeters. In the 
early twentieth century, suzans were sewn on a 
thick fabric of white carbos (gray) or yellow. 
These embroideries can be explained by their 
charm, variety, delicate stitching method and the 
charm of silk threads in natural dyes. Later, 
purple, blue, and brown fabrics produced by 
artisans were used as the basis for embroidery. 
In the embroidery of the Surkhandarya oasis it is 
typical to sew flowers by filling them with fabric 
with printed and walking stitches. There are two 
styles of print: Iraqi and Kandahar. The Iraqi 
style is fine stitching. The stitches are almost 
perpendicular, sewn slightly more curved than 
the longitudinal thread on the fabric, and each 
row of stitches is separated from each other. This 
creates a straight row of stitches with beautiful 
flowers on the front of the suzani. On the back, 
rough seam rows are formed than on the front. 
This stitch is also divided into two: an elegant, 
beautiful small stitch and a large stitch that gives 
a rough look.  

RESULTS AND DISCUSSION 

Boysun embroidery in the Surkhandarya oasis is 
of high quality compared to the villages. The skill 
and art of the embroiderers of the Surkhandarya 
oasis is vividly reflected in the suzans. Various 
shapes and patterns sewn on dark red, orange or 
black silk fabrics with silk and cotton threads 
have their own meaning. Represents the colors of 
a particular object, rod, plant part, Moon, Sun, a 
specific part of the Earth. The silk threads used in 
embroidery come in bright colors. The center of 



CURRENT RESEARCH JOURNAL OF HISTORY 2(6): 53-57, June 2021      
DOI: https://doi.org/10.37547/history-crjh-02-06-12 
ISSN 2767-472X 
©2021 Master Journals 

   
  Accepted 23th June, 2021 & Published 28thJune, 2021  

 

 
 

 

CURRENT RESEARCH JOURNAL OF HISTORY                           
ISSN – 2767-472X 

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the suzana is in the form of a circle, the rest is 
decorated with patterns such as “tarkgul”, 
“oygul”, “topbarggul”. Embroidery, which has 
been passed down from generation to generation 
through the grandmothers' bisoti, is now 
enriched with new lines, shapes and images. In 
modern suzannas one can find images of plant 
leaves, roses, various flowers growing in the 
oasis, clearly and vividly depicted. Neighbors and 
village craftsmen take part in the process of 
choosing colors and images for sewing suzana in 
Boysun district. This process is an important 
tradition in embroidery. According to Z. 
Nosirova, a member of the Boysun scientific 
expedition, who studied the embroidery of the 
Boysun applied art, the embroidery of this region 
has a very ancient history. According to the art 
historian, the scientific expedition studied the 
history of embroidery in more than 50 villages of 
Boysun, its Buddhist features, and during 
conversations with masters, got acquainted with 
the style of work of craftsmen, coloring 
technology, interpretation of patterns. Based on 
this research, it became clear that the main 
theme in embroidery is associated with spring, 
Navruz, weddings. This was evident in the 
patterns of the suzans common in Boysun 
embroidery. As noted by the art historian, in the 
words created by Boysun embroiderers, human 
thinking was formed, and the endless concepts of 
heaven, natural beauty, happiness and love, 
which the embroiderer imagined, found their 
bright expression. The images in Boysun's words 
can be of several types. Zoomorph - image of 
animals, artromorph-human and plant image, 
patterns consisting of petals, plant-like patterns. 
Large suzannas are sewn mainly using “petals”. 
The rest are decorated with patterns such as 
“almond”, “almond”, “tulip”, “daisy”, “horn”. It is 
noteworthy that the pattern in the form of leaves 
reflected in the petals is sacred and is called 
“tumor”. In the remote villages of Gumatak and 
Dugoba in Boysun, it was customary to sew line-

based, bird-shaped, zoomorphic, “peacock” 
suzanas. In the villages of Avlod and Kochkak, 
suzana is sewn in a different way. The suzanna 
patterns found in these rural homes are sewn on 
a bright red-based fabric. The suzanna has 6 
large white-yellow, black petals with dense and 
dark patterns, each with petals interspersed with 
flowers, with intermediate floral patterns. The 
outer border is in the form of a “village”, and the 
inner border is a plant-like pattern called an 
altar, almond blossoms.[6]   Zardevors are 
mainly made in the form of long, wide ribbons. 
Such frieze strips are used to decorate the upper 
part of the transverse and longitudinal walls of 
the room. There are many types. They differ from 
each other in the location of patterns, copy, 
sewing style.  

The jewels on a red base, which are 
distinguished by the charm of the patterns, the 
harmony of colors, and the style of sewing, 
belong to the works of Sherabad masters. Such 
balls are placed 14 balls. Mainly sewn with blue, 
brown, gray threads. Due to the presence of star-
shaped petals, such ornaments are typical of the 
Surkhandarya school of embroidery. Sherabad 
embroidery school is also typical of the Sherabad 
embroidery school, which is made of various 
threads with plant-like patterns, reminiscent of a 
rectangular shape. [7]  

Sozans are true works of art. The silk 
inscriptions on the plain fabric tell unique stories 
about the rich history of our nation, human 
dreams, love and happiness. In the past, girls and 
women used to sew their tongue expressions on 
their suzannas while embroidering. For example, 
“Let's be happy”, “I love you”, “Let the war 
disappear”, If I say mother - a cold melt stone, if I 
say father - a mountain and a saddle”.  

CONCLUSIONS 

Another work of art created by the embroiderers 
of the Surkhandarya oasis is the bogjoma. It is 



CURRENT RESEARCH JOURNAL OF HISTORY 2(6): 53-57, June 2021      
DOI: https://doi.org/10.37547/history-crjh-02-06-12 
ISSN 2767-472X 
©2021 Master Journals 

   
  Accepted 23th June, 2021 & Published 28thJune, 2021  

 

 
 

 

CURRENT RESEARCH JOURNAL OF HISTORY                           
ISSN – 2767-472X 

57 

   https://masterjournals.com/index.php/CRJH 

made in the form of a square. Only the visible 
side of it is decorated with patterns. Patterns 
come in a variety of, elegant, geometric 
(geometric) forms. The dresses, which are placed 
in a bag, are also sewn with two decorative 
handles (belbes) to tie the beds together. The 
edges of the bojoma are decorated with thin 
stripes (called talismans), and the corners where 
the pattern is drawn are decorated with pops. In 
contrast to suzana, zardevor or dress 
embroidery, completely different patterns can be 
observed in the embroideries. It uses patterns 
such as “tarkgul”, “knife tip”, and “lamb's flower”, 
which represent the four corners of the world. 
Bojoma patterns are distinguished by stitching in 
dark colors - dark blue, dark red, dark green, 
white. As a specific type of folk applied art, it is 
sewn in different ways and in different patterns 
in different parts of the Surkhandarya oasis.  

REFERENCES  

1. Speech by President of the Republic of 
Uzbekistan Shavkat Mirziyoyev at the 
opening ceremony of the Public Library 
under the President of the Republic of 
Turkey in Ankara on 20 February. February 
19-20, 2020. 

2. I.Karimov. High spirituality is an invincible 
force. Tashkent. Spirituality Publishing. 2008. 
p.30. 

3. S.Tursunov., T.Pardaev., N.Makhmadiyorova 
“Surkhandarya - ethnographic space”. 
Tashkent. Akademnashr. 2012. 

4. B.Juraev, S.Tursunov “Mahalla - the backbone 
of an independent country.” Tashkent 
Muharrir Publishing House, 2012. 

5. S.N.Tursunov., T.R.Pardaev., G.U.Axmedova., 
N.Maxmadiyorova,. N.Narzullaeva., 
N.M.Tursunova “History of cultural and 
national art monuments in the southern 
regions of Uzbekistan”. Surkhannashr 

Publishing House, 2017. 

6. Tursunov.S.N. Boysun. T., “Akademhashr”. 
2011. 

7. D.Eshmurodova. “Surkhandarya - the cradle 
of values.” Tashkent-2015., “Tafakkur” 
publishing house. 

 


