Cultural Heritage - The Times Of Central Asia

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Cultural Heritage

From Golden Treasures to Looted Burial Mounds: How “Black Diggers” Are Destroying Eastern Kazakhstan’s History

Eastern Kazakhstan has gained international recognition for its extraordinary archaeological discoveries, but alongside that fame has come a growing threat: illegal treasure hunters, known locally as “black diggers,” are destroying historical monuments and depriving future generations of access to invaluable artifacts. Eastern Kazakhstan’s Archaeological Treasures In recent years, the Eastern Kazakhstan has become one of the most important archaeological regions in Central Asia. Researchers have uncovered ancient burial complexes belonging to the Saka, nomadic peoples of the early Iron Age whose sophisticated culture has challenged long-standing assumptions about the civilizations of the Eurasian steppe. Excavations at the Shilikty, Eleke Sazy, and Berel burial mounds have revealed thousands of gold ornaments, clothing adornments, and ceremonial decorations noted for their craftsmanship and artistic sophistication. At the Shilikty necropolis, archaeologists uncovered burials containing unique gold jewelry, including earrings, bracelets, fibulae, and miniature decorative elements used on clothing. Each object demonstrates extraordinary craftsmanship, intricate ornamentation, and meticulous attention to detail. [caption id="attachment_49642" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] At Eleke Sazy, archaeologists found an intact burial containing jewelry, clothing adornments, horse harness ornaments, and other decorative objects associated with a teenage archer who was no older than 18. A heavily looted grave of a girl aged 13 or 14, thought to have been his sister, was found nearby. Berel yielded particularly significant discoveries, including gold and bronze ornaments, clothing fragments, and horse trappings that reveal the high artistic culture of the ancient nomads. Artifacts from Berel were later displayed at the Fitzwilliam Museum in Cambridge, England, as part of the exhibition Gold of the Great Steppe, drawing widespread attention from scholars and visitors. The discoveries quickly gained international recognition and confirmed the sophisticated level of Saka civilization. Equally striking finds emerged from the Kurchum district, where archaeologists uncovered horse equipment, including bits, saddles, and straps, crafted from gold and preserved for millennia. These objects demonstrate that the nomadic cultures of Eastern Kazakhstan possessed metallurgical and jewelry-making skills comparable to the great centers of ancient craftsmanship. Every archaeological discovery offers another glimpse into the past, a chance to better understand the daily life, beliefs, and culture of the Saka. Yet these discoveries remain vulnerable to destruction by illegal excavators. The Rise of the Black Diggers Alongside the archaeological boom has come a darker phenomenon: the rapid growth of illegal treasure hunting. Rather than preserving history, black diggers destroy burial mounds and ancient cemeteries in search of gold and valuables, obliterating archaeological layers and artifacts that could provide scientists with invaluable information about the past. In many cases, illegal diggers arrive at excavation sites before archaeologists have even begun clearing the area. In pursuit of treasure, they use shovels and metal detectors, as well as heavy machinery such as bulldozers and excavators, which strip away entire layers of earth and destroy everything in their path. The scale of the destruction has become alarming. [caption id="attachment_49643" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] [caption id="attachment_49644" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] Last year, more than 200 burial mounds in the Zharma district of Kazakhstan’s...

TCA Interviews

Uzbekistan’s New Visual Language: How OZBE Reimagines Culture Through Streetwear

Uzbekistani fashion is increasingly moving beyond traditional interpretations of national motifs. A new generation of local brands is engaging with cultural heritage through streetwear, using the visual language of youth culture and contemporary identity to resonate in Uzbekistan and internationally. The Times of Central Asia spoke with Raupjon Eshtemirov, a representative of the Uzbekistani streetwear brand OZBE, about how Uzbek ornaments, symbols, and cultural references are being transformed into modern fashion, why young people are rediscovering their cultural roots, and whether Uzbekistan’s fashion scene can gain greater international visibility. TCA: Please tell us a little about the OZBE brand. How did it begin, and what idea did it grow from? Raupjon: OZBE emerged as a local streetwear brand based on the idea of expressing the modern perspective of a new generation through clothing. We started with small drops, and gradually a community formed around the brand. TCA: How would you describe the philosophy of OZBE? Is it more about fashion, culture, self-expression, or a new interpretation of Uzbek identity? Raupjon: For us, OZBE is a combination of all these things. We use fashion as a tool for self-expression and for a contemporary reinterpretation of local culture and identity. TCA: OZBE is often seen as a brand that speaks to young people in a modern visual language. How do you see your audience? Raupjon: Our audience consists mainly of teenagers and young people for whom self-expression through style, visual culture, and clothing is important. At the same time, our audience also includes tourists and people who want to represent modern Uzbekistan through a local brand and its aesthetic. [caption id="attachment_49659" align="aligncenter" width="1200"] @OZBE[/caption] TCA: Why did you choose streetwear as the main form for working with culture and local identity? Raupjon: Streetwear is a modern form of fashion that remains timeless and extremely popular among young people and tourists. It is one of the easiest ways to combine style, culture, and a contemporary view of Uzbekistan. TCA: Uzbekistan has a strong visual tradition, including ornaments, architecture, crafts, and patterns. How do you work with this heritage in your collections? Raupjon: We draw inspiration from local aesthetics, but we try to adapt them to a modern visual context through forms, graphics, details, and presentation. TCA: For you, it is important not simply to use national motifs, but to reinterpret them. What does that process involve? Raupjon: Traditional patterns, ornaments, and cultural elements always remain recognizable and popular. For us, it is important not just to copy them, but to adapt them to modern styles and make them relevant for a new generation and for global streetwear culture. TCA: How can Uzbek patterns, symbols, and cultural references be made to look modern and organic for younger audiences? Raupjon: Through reworked design, modern presentation, and the use of bright, memorable phrases that attract the attention of young people and bring cultural elements closer to contemporary streetwear aesthetics. TCA: Which aspects of Uzbek culture inspire you most: ornaments, language, urban life, music, history, or everyday...

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...

World Nomad Games

Horses, Eagles, and Fire: The Steppe Awakens as the 2026 World Nomad Games Return to Kyrgyzstan

On the shores of Lake Issyk-Kul, where mountains drop sharply into the water, and horses and cars are found in almost equal measure, Kyrgyzstan will host the World Nomad Games 2026 from August 31 to September 6, with The Times of Central Asia reporting from the ground. Since their launch in 2014, the Games have grown well beyond their origins, drawing competitors and audiences from across the world. This year’s emblem, the snow leopard, captures that idea with unusual precision. It has been adopted as the national symbol of Kyrgyzstan in recent years and has long been central to the country’s conservation diplomacy, including its role in establishing October 23 as International Snow Leopard Day. Presented as a representation of strength, clarity, and endurance, it reflects both the terrain and the mindset that fortifies the event. [caption id="attachment_46882" align="aligncenter" width="1280"] Image: International Secretariat of the World Nomad Games[/caption] The Games have expanded beyond the region, but are now returning home again. Kyrgyzstan hosted the first three editions before they went to Turkey in 2022 and Kazakhstan in 2024. Their homecoming now carries greater international weight, reinforced by UNESCO’s support, recognizing their role in preserving intangible cultural heritage. This year’s experience is mostly set in the Issyk-Kul region, around three hours from Bishkek, where the mountainous landscape will form the backdrop to the lakeside venues. The opening and closing ceremonies are scheduled to take place in the capital’s Bishkek Arena. In Cholpon Ata, the hippodrome will host horse racing and Kok Boru, while the nearby sports complex stages wrestling competitions. The Rukh Ordo Cultural Center brings together strength events and traditional tournaments alongside parts of the cultural program. In Kyrchyn, the Ethno Village will become the core of the experience, where archery, falconry, crafts, performances, and food sit within a setting that reflects nomadic life. [caption id="attachment_46886" align="aligncenter" width="2560"] Kok Boru at the Bishkek Hippodrome, 2014; image: Stephen M. Bland[/caption] Forty-plus sports disciplines will be spread across competitive and demonstrative formats, with more than 100 medals at stake. Kok Boru is fast and unforgiving, played on horseback as riders grapple over what was traditionally a headless goat carcass (now a synthetic dummy or serke), surging and colliding before hurling it into the opponent’s goal. [caption id="attachment_46885" align="aligncenter" width="1280"] Image: International Secretariat of the World Nomad Games[/caption] Horseback archery demands precision under movement, with riders standing in the stirrups or twisting at full gallop to fire arrows at distant targets. Eagle hunting illustrates a partnership between human and bird refined over generations, as trained golden eagles launch from the arm to track and strike prey across open ground. [caption id="attachment_46887" align="aligncenter" width="1200"] Woman with a bird of prey, World Nomad Games, Astana, 2024; image: Stephen M. Bland[/caption] Wrestling styles such as Alysh and Kurash emphasize balance and control rather than brute force, with fighters gripping belts and using timing, leverage, and footwork to unbalance their opponent. The Times of Central Asia spoke with the International Secretariat of the World Nomad Games to...

Islamic Civilization Center

Uzbekistan’s Islamic Civilization Center Enters Guinness World Records as Largest Museum

The Center of Islamic Civilization in Uzbekistan has been officially recognized as the world’s largest museum dedicated to Islamic civilization, receiving a Guinness World Records title on April 13. The recognition was confirmed by Guinness World Records adjudicator Şeyda Subaşı Gemici, who attended the ceremony alongside project architects, designers, and members of the Center’s Scientific Council. The award followed a detailed verification process. The recognition comes as Uzbekistan continues to invest in large-scale cultural infrastructure as part of a broader effort to present its historical narrative and reshape its international image. “As an official Guinness World Records adjudicator, I can state that every corner of the museum and every exhibit possesses its own uniqueness and cultural value,” Gemici said. “The evaluation process strictly followed established procedures… every exhibit was recorded and verified by specialists in Islamic archaeology, art, and science.” She added that the scale and depth of the project left a strong impression, describing it as “an outstanding achievement” and, in Guinness terminology, “Officially Amazing.” The Center is a large-scale scientific, educational, and museum complex initiated in 2017 under the leadership of President Shavkat Mirziyoyev and completed on March 17, 2026. It was conceived as a platform combining research, cultural heritage, and modern technologies, aimed at showcasing the history and contributions of Islamic civilization. The project reflects a wider policy under Mirziyoyev of positioning Uzbekistan not only as a historical center of Islamic scholarship but as a modern platform for its study and interpretation. Chief architect, Abdukakhor Turdiev, said the project reflects Uzbekistan’s historical and cultural legacy. “The uniqueness of the Center lies in the fact that its architecture reflects the rich culture and heritage of Uzbekistan,” he said, adding that the country is increasingly positioning itself as an active participant in global cultural dialogue. Across Central Asia, governments have increasingly used large cultural projects to reinforce national identity and attract international attention, but Uzbekistan has placed particular emphasis on linking heritage with scholarship and global engagement. According to officials, the complex has quickly become one of the most visited cultural sites in the region, receiving up to 5,000 visitors daily, including both locals and international tourists. That scale suggests the Center is intended not only as a museum, but as a flagship institution shaping how both domestic and international audiences understand the region’s intellectual and cultural history. Director Firdavs Abdukhalikov described the award as recognition of years of work by hundreds of specialists. He said the Center’s primary goal is to support scientific and educational projects while preserving and promoting Uzbekistan’s cultural heritage. Beyond its record-setting size, the Center reflects Uzbekistan’s broader effort to reclaim and reinterpret its place in the history of Islamic civilization. By combining scholarship, state backing, and public accessibility, it positions cultural heritage as both a foundation of national identity and a tool of international engagement.

Cultural Heritage

Bukhara Demolitions Resurface as Developer Faces Financial Trouble

Concerns over demolition works linked to the “Eternal Bukhara” tourism project have resurfaced following renewed questions directed at Uzbekistan’s Cultural Heritage Agency, as the project’s main developer faces financial difficulties. In 2024, The Times of Central Asia reported that construction of the large-scale tourism complex near the historic center of Bukhara had drawn criticism from local residents and UNESCO. The project, located in the buffer zone surrounding the ancient city, was seen as a potential threat to the integrity of one of Central Asia’s most significant cultural sites. According to Uzbek outlet Uzdiplomat, the issue was raised again during a recent briefing, where journalists questioned officials about the consequences of last year’s demolitions. The project’s main investor, Enter Engineering, has since encountered financial problems and is reportedly selling assets to repay debts to banks, the government, and employees. While construction has slowed, concerns remain over the damage already caused to the cultural environment. The demolitions carried out in 2024 sparked strong reactions from the public, architects, and international organizations. Several buildings, including administrative and social facilities in central Bukhara, were reportedly demolished as part of preparations for the tourism complex. At the time, international heritage group Alerte Héritage called for a halt to the process, arguing that it could contradict global preservation commitments. Responding to questions, a representative of the Cultural Heritage Agency said the works were conducted outside UNESCO’s core protected area and instead took place in the buffer zone. According to the agency, all required documentation, including a master plan and impact assessments, was submitted, and UNESCO was informed of the process. Officials also addressed criticism over the demolition of buildings that, while not officially listed as cultural heritage, were considered by some to have historical value. Deputy head of the agency Tursunali Kuziyev said the agency can only intervene in cases involving officially registered heritage sites. He added that granting such status requires a formal scientific review and legal procedure. Questions about whether the agency could take a broader stance in defense of the public interest were met with similar responses. Officials reiterated that decisions regarding non-listed buildings fall under the authority of local governments and urban planning bodies.