Art and Culture - The Times Of Central Asia

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Silk Road

Silver, Silk, and Forgotten Power: Central Asia’s Islamic Past Comes to London

At Sotheby’s in London, Central Asia comes into view as a world of dazzling craft and taste. The Arts of the Islamic World & India auction on April 29th gathers rare eastern Islamic works that show how the region turned faith, power, and luxury into art. The standout lot is a 12th or 13th-century silver ewer, catalogued as Persian or Central Asian. Most related vessels are brass or bronze. This one is comparable to vessels from the Harari Hoard, a group of 10th and 11th-century silver objects now largely held in the L.A. Mayer Museum for Islamic Art in Jerusalem. The ewer’s presence gives the sale its sharpest point of entry. It is rare, ambitious, and unusually personal. [caption id="attachment_47817" align="aligncenter" width="2447"] A pair of Seljuk gold bracelets, Persia, Khurasan, 12th century; image: Sotheby's[/caption] A 10th-century Nishapur calligraphic dish shifts the focus from metal to script, turning a simple object into a work shaped by the visual grace of the written word. Timurid horse trappings, Qur’an pages, Sogdian silks, golden Mongol cloths, an embroidered robe, and a Shakhrisabz suzani broaden the picture from courtly power to sacred text and textile brilliance, ending in a tradition still closely associated with Uzbekistan. The timing gives the auction added weight. Uzbekistan is building a major new stage for Islamic heritage. The Times of Central Asia reported in April 2026 that its Center of Islamic Civilization has entered the Guinness World Records as the world’s largest museum. TCA asked Frankie Keyworth, a Specialist in Islamic and Indian Art at Sotheby’s, why Central Asia’s artistic legacy is commanding fresh attention now. [caption id="attachment_47818" align="aligncenter" width="8984"] A turquoise-set silver and brass belt buckle, Bukhara, Central Asia, 19th century; image: Sotheby's[/caption] TCA: Why are the artifacts in this auction so important for understanding Central Asia as a center of artistic production, rather than just a corridor between other civilizations? Keyworth: They really reiterate the breadth of artistic production in Central Asia, which is incredibly rich in terms of medium, design and chronology. The works presented here range from the 8th to the 19th century, from textiles to ceramics, metalwork to manuscripts, and they reveal traditions that are distinct to Central Asia, and others that inform and are informed by artistic production in other regions. The impressive silver ewer is a good example of this. Its nielloed decoration on silver is typical of a distinct group of silver vessels produced in Central Asia, but its form would go on to inform examples in other materials, such as bronze or ceramics produced later in Persia. [caption id="attachment_47819" align="aligncenter" width="2560"] A Timurid or early Ottoman tinned copper goblet (mashrabe), Central Asia or Eastern Anatolia, late 15th century; image: Sotheby's[/caption] TCA: Which object best captures Central Asia’s wider historical importance, and what makes it so revealing? Keyworth: It’s hard to pinpoint such a vast artistic tradition to one object, but luxurious textile production is synonymous with the arts of Central Asia. In this sale, we can see one of the earliest...

Art and Culture

Life After the Water: Uzbekistan Brings the Aral Sea Story to Milan

Uzbekistan made its debut at Milan Design Week 2026 on April 20, with When Apricots Blossom, an immersive exhibition at Palazzo Citterio exploring how craft and design can respond to environmental crisis. Running through April 26, the project is organized by the Uzbekistan Art and Culture Development Foundation (ACDF), commissioned by its chairperson, Gayane Umerova, and curated by Kulapat Yantrasast, founder of WHY Architecture. It marks the country’s first major presentation at one of the world’s leading design platforms. At the center of the project is Karakalpakstan, a region in northwestern Uzbekistan that has experienced one of the world’s most severe environmental crises. Over the past six decades, the shrinking of the Aral Sea has transformed the area’s landscape, economy, and way of life. Once a vast inland body of water, the sea has largely disappeared, leaving behind desert, salt plains, and struggling communities. [caption id="attachment_47478" align="aligncenter" width="926"] The Garden Pavilion at Palazzo Citterio, indicative render: Lightweight latticed framework ‘deconstructed yurt’ by Kulapat Yantrasast. When Apricots Blossom, Milan Design Week 2026. Courtesy of ACDF and WHY Architecture[/caption] When Apricots Blossom traces this transformation while also looking ahead. “The Aral Sea is both a cautionary tale and an opportunity to offer a blueprint for other regions facing extreme environmental change,” Umerova said ahead of the opening. She emphasized that design and craft are not separate from these challenges, but part of the response. “They begin with people and knowledge.” Inside Palazzo Citterio, the exhibition unfolds as a journey through the region’s past, present, and possible futures. The main gallery features an installation of reed-like structures that evoke the landscapes of Karakalpakstan. Within this setting, visitors encounter objects and ideas connecting everyday life with broader environmental questions. A key focus is on three traditional practices: bread-making, yurt-building, and textile crafts. These are presented not as relics of the past, but as systems of knowledge shaped by generations of adaptation. [caption id="attachment_47534" align="aligncenter" width="8192"] Bethan Laura Wood at Palazzo Citterio - When Apricots Blossom - commissioned by ACDF. Image courtesy of ACDF[/caption] Twelve international designers have worked with Uzbek and Karakalpak artisans to create new pieces inspired by these traditions. Among them are custom bread trays and stamps (chekich), reflecting the central role of bread in Uzbek culture. Made from materials such as wood, felt, ceramics, and reeds, the works reinterpret familiar forms while remaining rooted in local techniques. Alongside these contemporary designs are artifacts selected by participants of the Aral School, an international postgraduate program that treats the region as a site for creative and critical exploration. The exhibition also premieres Where the Water Ends, a new film by filmmaker Manuel Correa and architect Marina Otero Verzier, offering a closer look at landscapes and communities shaped by the Aral Sea’s decline. [caption id="attachment_47480" align="aligncenter" width="976"] The main gallery interior, indicative render: Reed-link forms by WHY Architecture. When Apricots Blossom - Milan Design Week 2026. Courtesy of ACDF and WHY Architecture[/caption] Together, these elements form a broader narrative about how people adapt to...

TCA Interviews

From From Global Streaming to International Productions: Kazakhstan Filmmakers Go International

Makpal Kursabayeva is a sound engineer whose work has increasingly extended beyond Kazakhstan’s local film industry. Over the years, she has contributed to projects with international teams, from working alongside The Matrix cinematographer Bill Pope to taking part in series produced for global streaming platforms. Her career highlights the expanding role of Kazakhstani professionals in international production and shows that local crews can compete with their Western counterparts. Her work includes on-set recording, post-production, and sound capture in environments ranging from military airbases and nighttime steppes to urban locations. In an interview with The Times of Central Asia, she discusses how the industry works and why crews from Kazakhstan are competitive in international productions. TCA: You are a highly experienced sound engineer, but most of your work has been on local projects. Do you think Kazakhstani specialists are competitive in the global market? Makpal: I have no doubt about it, however confident that may sound. Recently, we worked on an international series filmed in Kazakhstan by Turkish filmmakers. Many department heads were Turkish, but I led the sound department. We worked and communicated seamlessly; there were no barriers at all. And that’s always the case. I also worked on a commercial project for Chevron, where the cinematographer was Bill Pope, who shot the legendary film The Matrix, the Ant-Man films, Shang-Chi, and more. TCA: Was the entire crew international as well? Makpal: The second director was American. Playback equipment was brought from Moscow. It was a mix, bringing together the best. The Russian team even said that such sound equipment isn’t available in Moscow. Technically, we are not lagging behind at all. We also have plenty of talented and highly skilled professionals. TCA: Were they at all arrogant? Makpal: Not at all. Bill Pope was great to work with. He’s like a rock star, very open, loves music. We talked about ethnic music; I let him listen to the band Turan. He even asked me to play the dombra. I was a bit nervous because the executive producer was very strict, and I thought she might say I was disrupting the workflow. But he went to her himself and asked, and then she was the one chasing me to make it happen, so the question isn’t whether we can work at a Western level; we already do. TCA: You’ve also worked with German teams on Emir Baigazin’s films, and with French teams on projects by Yermek Shinarbayev and Akan Satayev’s epic Myn Bala: Warriors of the Steppe? Makpal: Yes. There was an interesting experience with one Western specialist, I won’t say from which country. I thought they had a different school and that I could learn from him. But while he was good on set, he wasn’t very strong in post-production. It even got to the point where I was teaching him, explaining how to properly edit sound and the technology behind it. Sometimes I would suggest something, and the next day those ideas would be presented as his own....

TCA Interviews

“Ornament Is a Language”: How a Tattoo Artist from Almaty Turns Culture into Art on Skin

Almaty-based tattoo artist Saltanat Kuanova, known under the pseudonym tana.creator, is among those reinterpreting traditional culture through contemporary art. In her work, Kazakh ornaments become more than decorative elements, they form a complex system of symbols, personal stories, and cultural memory. The Times of Central Asia spoke with her about why Kazakhstanis are increasingly choosing national motifs, how attitudes toward tattoos are changing, and whether tattooing can serve as a means of preserving identity. Path into the Profession TCA: When and why did you start practicing tattoo art? Saltanat: I became interested in tattoos at around 14. Even then, I had a clear sense that it was “mine.” It wasn’t just curiosity, I immediately knew I wanted to become a professional in this field. At 16, I began tattooing. By that time, I had already studied the theory, watched videos, and understood the process, so I was well prepared for formal training and quickly started working. After completing my training, I was offered a position at a studio. That was important because it provided a steady flow of clients, and my work stood out. I worked there for about three years before moving into independent practice. I have now been working independently for more than five years. I’ve gained experience in different studios, and today I have my own private workspace in Almaty and manage bookings through Instagram. TCA: Do you remember your first work? Saltanat: Of course. It was a small tattoo with Roman numerals that I did for a friend during my training. She came as a model to support me, and honestly, I was more nervous than she was. My first paid piece left an even stronger impression it was a wolf with a dreamcatcher. That was the moment I first felt real responsibility toward a client. At the same time, I was surprised that I could actually earn money from this. Even now, years later, I don’t feel like I’m “already a pro.” It’s an ongoing process; there is always room to grow. [caption id="attachment_46606" align="aligncenter" width="225"] @instagram.com/tana.creator[/caption] Working with Kazakh Ornaments TCA: When did you start working with Kazakh ornaments? Saltanat: It happened gradually. At some point, I realized that ornament is not just a pattern, it’s a full-fledged language. It has structure, logic, even “grammar.” Everything matters: the shape, the number of elements, the color. Even a small detail can completely change the meaning of a piece. TCA: Who usually comes for such tattoos locals or foreigners? Saltanat: Primarily Kazakhstanis and, more broadly, representatives of Turkic peoples, Kyrgyz, Uzbeks, Tatars. But there are also many foreigners, and their number is growing. I tend to group them into categories. The first group includes people who come to Kazakhstan for work or travel and want a lasting memory of the country. The second consists of those who have a partner from Kazakhstan. They come together and, through tattoos, connect with each other’s cultures. The third and most touching category is people who were adopted abroad as...

Kazakh Diaspora

Poems by the Kazakh Poet Abay Recited in Paris in Nine Languages

The legacy of the Kazakh poet Abay Kunanbayev recently brought together representatives of different nations in Paris. His works were recited in Kazakh, French, Russian, Chechen, Buryat, Kalmyk, Ingush, Tuvan, and Yakut. The Association of Kazakh Women in France, “QazElles,” thus supported the recently announced proposal to include Abay’s work Words of Admonition on the UNESCO World Heritage List. “As you know, UNESCO’s headquarters are in Paris, so the news that one of Kazakhstan’s most significant literary monuments could officially become part of UNESCO’s World Heritage List is very personal to us. How can we support this? By bringing together those who are not yet familiar with Abay’s work and introducing them to his major poetic masterpieces. This year, Abay’s works will be presented in the languages of various diasporas living in France with whom we are friends,” said Madina Kulmanova, president of the “QazElles” association, in an interview with The Times of Central Asia. [caption id="attachment_46355" align="aligncenter" width="225"] QazElles photos archive[/caption] The monument to Abay, located in the Poets’ Square of the French capital, has become a regular meeting place for admirers of his work since its unveiling in 2021. For Kazakhs living in France, it has become a tradition to hold the “Abay Readings” annually at the poet’s bust to promote the legacy of the founder of Kazakh written literature. This time, Abay in Paris brought together not only Kazakh and French people, but also representatives of the peoples of the Caucasus, as well as Buryat and Kalmyk associations in France. Said Musa Batyrgereev, a representative of the Chechen diaspora: “I am here representing the Association ‘Guardians of Mountain Cultures in France’ and as a representative of the Chechen people. Today we have gathered at the monument to Abay Kunanbayev to honor his memory. Abay was a great poet and a wise man who taught kindness, respect, and humanity. And today I would like to thank the Kazakh people from the bottom of my heart for the help and support they provided to the Chechen people in 1944. We will never forget this.” Representatives of the “Peuple du Baïkal” association, which unites representatives of the peoples of Russia’s Baikal region, thanked the “QazElles” association for the invitation to the annual readings of Abay Kunanbayev’s poems. In the poem they chose to read, “Quiet Night Under the Moon” (“Jelsiz tünde jaryq ai”), the poet lovingly describes the beauty of nature and the tenderness of relationships. [caption id="attachment_46356" align="aligncenter" width="225"] QazElles photos archive[/caption] Radmila Boyer, a representative of the association, noted that listening to Abay’s poem immerses one in a world of beauty and love. “This poetic morning brought us, different peoples, closer together, gave us a wonderful mood, the joy of communication, and inspiration for future joint cultural projects,” she said. Tulips were laid at the Abay monument in honor of the readings. This served as a reference to another project by the “QazElles” association, which, with the support of the Shymkent city authorities, the Embassy of Kazakhstan in...

Milan Design Week

From a Vanishing Sea to Milan’s Spotlight: When Apricots Blossom, a Lost Sea Speaks

From April 20 to 26, 2026, Uzbekistan will present one of its most ambitious cultural projects to date at the Milan Design Week. Titled When Apricots Blossom, the exhibition will take place at Palazzo Citterio in Milan’s Brera district, transforming the historic space into a multi-layered exploration of craft, memory, and environmental change. Organized by the Uzbekistan Art and Culture Development Foundation, the exhibition is commissioned by its chairperson, Gayane Umerova, and curated by architect Kulapat Yantrasast, founder of WHY Architecture. Bringing together twelve international designers and Uzbek artisans, the project explores how traditional knowledge can help societies respond to environmental crises. At its core lies Karakalpakstan, an autonomous region in northwestern Uzbekistan that has experienced one of the world’s most severe ecological disasters. A Story Rooted in Loss and Resilience The exhibition takes its name from a poem by Hamid Olimjon, written in the 1930s as a reflection on hope and renewal. Today, that symbolism carries renewed relevance. For decades, the Aral Sea has been shrinking. Once one of the largest inland bodies of water in the world, it has lost more than 90% of its volume since the 1960s, largely due to irrigation policies that diverted its feeder rivers. The result is a transformed landscape of desert, salt plains, and fragmented ecosystems, with communities forced to adapt to rapid environmental change. [caption id="attachment_30520" align="aligncenter" width="2560"] Moynaq. Aral Culture Summit 2025; image courtesy of Iwan Baan and ACDF[/caption] Rather than focusing solely on loss, When Apricots Blossom highlights how communities continue to live, create, and adapt. Visitors enter through a façade transformed by a large textile installation by British designer Bethan Laura Wood, created in collaboration with Uzbek artisans. Drawing on decorative elements used in nomadic yurts, tassels, ribbons, and woven patterns, the work creates a vivid and tactile threshold. Inside the courtyard, an installation of apricot trees by Uzbek floral artist Ruben Saakyan sets the tone. The apricot, both a symbol of hospitality and a key Uzbek export, also reflects resilience, continuing to grow even in the harsh conditions of the Aral Sea region. Further inside, a “deconstructed yurt” designed by WHY Architecture serves as a central gathering space, reflecting the adaptability of nomadic shelter traditions. Craft as Knowledge, Not Decoration For Umerova, this distinction is central. “Craft in Karakalpakstan is more than tradition, it is a system of knowledge,” she told The Times of Central Asia. “It has evolved over centuries in close relationship with the land.” [caption id="attachment_46319" align="aligncenter" width="1440"] Handwoven textiles on a traditional loom at “When Apricots Blossom”; image: ACDF[/caption] Umerova notes that materials such as wood, silk, felt, ceramic, and reed reflect a deep understanding of local ecosystems. These practices are passed down through generations, carrying both technical skills and cultural knowledge. In the context of the Aral Sea crisis, this knowledge takes on renewed importance. “The communities there have long developed ways of adapting to changing environments,” she told TCA. “Their craft traditions embody this resilience.” For Umerova, sustainability is as...