Silk Road Treasures - The Times Of Central Asia

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Historical Research

Opinion: Scents of the Silk Road – Recreating the World of 1001 Nights

Editor’s note: This guest essay is by Efim Rezvan, editor-in-chief of Manuscripta Orientalia and a researcher involved in the Essences of the 1001 Nights project. What was the most valuable cargo carried by medieval caravans crossing Central Asia, or aboard Arab-Muslim ships transporting goods through the Indian Ocean and the Red Sea to the Middle East and Europe? Silk? Porcelain? Yes, in terms of overall volume, that is true. But if we compare volume or weight with value, prized incense and aromatic resins rank among the most valuable goods, with some varieties often compared with gold. Historical data and modern zoological studies suggest that a Bactrian camel in a Silk Road caravan could carry about 150 to 300 kilograms. Aromatic resins and other incense materials were often compared with gold, which helps explain why a relatively small load could represent extraordinary value. Of course, merchants would not treat gold and incense as identical cargo: the caravan system, refined over centuries, prioritized the safety and preservation of goods. As today, wars and epidemics influenced trade conditions, but the pricing trend remained the same. Why did people value incense so highly for thousands of years? Answers to this and many other questions may emerge through the scientific and exhibition project Essences of the 1001 Nights, the launch of which was announced by the international academic journal Manuscripta Orientalia. Researchers from the International Center for Islamic Studies at the Kunstkamera and Saint Petersburg State University are studying the history of Eastern fragrances in an effort to “bring medieval manuscripts to life” and, for the first time, present the public with the olfactory dimension of the legendary tales. Modern research now makes it possible to imagine more clearly what scents might have filled, for example, the bedroom of Scheherazade or the library of Shahryar, the protagonists of One Thousand and One Nights. The project promises not only comprehensive academic research. It will also take the form of an innovative exhibition, a journey through time and space, from the oases of Hadramaut in Yemen to the evergreen region of Dhofar in Oman, long associated with frankincense production and trade; from the streets and mosques of Bukhara and Samarkand to the shores of Sumatra and Java; from manuscript libraries to the offices of historians, chemists, and pharmacologists. The project’s main artistic innovation is the use of olfactory storytelling; narrative through scents. Organizers plan to present ten aromatic compositions that will serve as guides into the world of the Islamic Golden Age. [caption id="attachment_50999" align="aligncenter" width="1200"] Incense seller. Sanaa, Yemen.[/caption] Scents of the Islamic Golden Age Why scents? The corpus of One Thousand and One Nights had largely taken shape by the early 16th century. Its oldest roots and many of its plots originated in India. Persian culture served as a bridge between India and the Arab world. It was the Persian collection Hezar Afsaneh (“A Thousand Tales”) that became the direct precursor of One Thousand and One Nights. The framing story of King Shahryar and the...

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...

Silk Road

The Artistic Brilliance of Central Asia Takes Center Stage at Sotheby’s

On October 29, Sotheby’s will host its Arts of the Islamic World and India sale, featuring a dazzling selection of manuscripts, ceramics, metalwork, and jewelry that together trace the creative reach of Central Asia across six centuries. The auction highlights how the region’s artists shaped Islamic visual culture from the early medieval period to the Timurid age. Among the most important works is a rare page from the monumental Baysunghur Qur’an, produced around 1400 in Herat or Samarkand. Another piece connects to the earlier Samanid Dynasty, whose rule from Bukhara and Tashkent fostered a flourishing of calligraphic pottery in the ninth and tenth centuries. The Arab geographer al-Maqdisi once praised the “large bowls from Shash,” an early name for Tashkent, noting their reputation throughout the Islamic world. [caption id="attachment_38298" align="aligncenter" width="1797"] A line from the 'Baysunghur Qur'an', attributed to 'Umar al-Aqta, Herat or Samarkand, circa 1400; image: Sotheby's[/caption] Two colorful Timurid mosaic tiles from the fourteenth or fifteenth century illustrate the architectural splendor of Samarkand and Herat. Their glazed patterns in cobalt, turquoise, and white once formed part of vast decorative panels in mosques and mausoleums. The geometric interlace and stylized foliage that define them became a visual signature of Timurid architecture, a style that spread from Central Asia to Persia and India. [caption id="attachment_38301" align="aligncenter" width="1346"] A Golden Horde turquoise and pearl-set gold belt or necklace, Pontic-Caspian Steppe, 14th century; image: Sotheby's[/caption] The Times of Central Asia spoke with Frankie Keyworth, a specialist in Islamic and Indian Art at Sotheby’s, for a closer look. TCA: How did manuscripts like the Baysunghur Qur’an serve as symbols of power and faith in the Timurid court, and what does its immense scale - a Qur’an so vast it took two people to turn a page - reveal about the empire’s ambition, artistry, and self-image? Keyworth: The manuscript was a hugely ambitious and challenging project, even just by the tools it would take to create, with monumental sheets of paper measuring 177 by 101cm., and a large pen whose nib would have to measure over 1cm. Displayed on a magnificent marble stand, the manuscript would be a staggering visual representation of the patron’s wealth and piety. Their subsequent use during public recitation reinforced the elite’s religious aspirations. The fact that this manuscript is unsurpassed by any other medieval Qur’an and remains so valued centuries after it was produced at the turn of the 15th century reveals the key role manuscripts played in the establishment of the Timurid dynastic image. [caption id="attachment_38299" align="aligncenter" width="1346"] A Timurid brass jug (mashrabe), Herat, Afghanistan, 15th-early 16th century; image: Sotheby's[/caption] TCA: A brass jug from Herat shaped like a Chinese vase, a ceramic bowl from Tashkent inscribed in Arabic script - these objects tell of traders, scholars, and artists linking worlds from Samarkand to Beijing long before globalization had a name. What can you tell us about how this trade transpired, and are there similarities to modern transport corridors? Keyworth: Trade via the so-called Silk Road endured for...

Silk Road Treasures

Ninety One: Revolutionizing Kazakh Music and Fighting Stereotypes

Ninety One revolutionized Kazakhstani pop music by pioneering the Q-pop genre. With their vivid images, deep lyrics and courage in expressing themselves openly. They broke gender stereotypes and inspired a new generation of artists. How it started Ninety One were founded in 2014, based on the "K-Top Idols" project, which sought to create Kazakhstan's first idol group. Initially, the jury selected two participants: A.Z. (Azamat Zenkaev) and Zaq (Dulat Mukhamedkaliev). Later, after additional auditions, they were joined by Bala (Daniyar Kulumshin) and Alem (Batyrkhan Malikov). The fifth member was Ace (Azamat Ashmakyn). The producer of the group, Yerbolat Bedelkhan, sought not only to create a new musical team, but to lay the foundation for the development of a new genre - Q-pop (Qazaq pop) - to unite Kazakh culture with modern pop music and bring it to an international audience. [embed]https://www.youtube.com/watch?v=A9QIgf50sh4&ab_channel=GAKKUTV[/embed] A challenge to society and initial successes Released in 2015, Ninety One's debut music video for the song “Ayyptama” (Don't blame me), was a breakthrough. The daring style of the members - bright clothes, makeup and skirts - caused heated debates in still conservative Kazakhstani society. Many criticized the group for being “unconventional,” but young people quickly accepted the new format, seeing in it the freedom of self-expression. Despite pressure, canceled concerts and criticism, Ninety One continued to make steady progress. Their work has been recognized both at home and abroad. The hits “Qalay Qaraisyn” (How do you look at it?), “Su Asty” (Underwater) and “Taboo” (with Irina Kairatovna) gained popularity, and the group's albums became a cultural phenomenon. In addition to music, the band found time to test themselves on the silver screen. On August 24, 2017, the film, Ninety One, dedicated to the history of the group and their path to success, was released. The film was directed by Askar Uzabaev, and the producers were Asel Sadvakasova and Erbolat Bedelhan. The picture entered the top three leaders at the Kazakhstan box office, reaping 32,672,000 tenge on the first weekend of its release alone. [embed]https://www.youtube.com/watch?v=sciYs_H0Ifo&ab_channel=1kino.kz[/embed] Contributing to the fight against gender stereotypes Ninety One broke stereotypes about how men should look and behave in Kazakhstani society. They showed that a colorful apparel, experimentation with fashion and openness to new ideas are not a weakness, but a strength. The group inspired young people to boldly express themselves, overcome the fear of judgment, and break with outdated stereotypes. They became an inspiration for new artists, playing a key role in the development of the Q-pop industry. Ninety One's fan base grew so large that they gave themselves the nickname “eagles” after the symbol which was the band's signature gesture: crossed palms representing a bird, the symbol of the national flag of Kazakhstan. Today, Ninety One remain one of the most successful musical groups in Kazakhstan, actively touring, releasing new albums and continuing to attract the attention of international audiences. In 2023, the group released the album GAP, which became a huge hit. Among the most popular tracks is “АPEREM AI”...

Music

A Synthesis of Sounds: How the Silk Road Became the Melting Pot of Music in the Soviet Empire

As a DJ, radio podcaster and music enthusiast, I love discovering hidden retro gems like Nuggets-style compilations. There is an unspoken agreement on an era’s sounds depending on the artist’s breaking into the mainstream at the time. Then there are the obscure cuts and one hit wonders that for some reason didn’t make it big upon release, but dated well or were ahead of their time and found an audience at a later date. On other occasions, it’s about geography; if it had been premiered in a different part of the world, it would have been successful or far more celebrated than it was. In my search for such sounds, I feel it shouldn’t be limited by location; good music has no boundaries. [caption id="attachment_25764" align="aligncenter" width="950"] Yalla band, commemorative stamp, Uzbekistan, 2021 [/caption] There are many compilations touching upon niche genres and moments in time which can transport one to sonically experience a particular era. As a Westerner trying to peek behind the Iron Curtain to gauge the music and arts scene of the 1970’s and 80’s, what flickered across the Cold War barriers seemed controlled, state-approved, and mostly a mystery. It was a delight to learn that under this supposed monochromic blanket, a dynamic underground music scene was flourishing in regions that had a long history of cultural fusion. SYNTHESIZING THE SILK ROADS: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Crimean Tatar Jazz from 1980s Soviet Central Asia features musicians from countries such as Uzbekistan, Tajikistan, and Kazakhstan, who were creating a unique sound that stood apart from anything else being produced in the USSR. TCA spoke to Ostinato record label boss Vik Sohonie about the release. TCA: How does this statement by Peter Frankopan quoted in your liner notes - “The bridge between east and west is the very crossroads of civilization” - relate to or define the music you chose? The music itself is the greatest evidence we have to this argument, because you can hear the cultures of Europe, South Asia, East Asia, West Asia - the Middle East - all mixed into it. Indeed, Central Asia was influenced by all of these regions musically given its unique geography, but it has also influenced the cultures of so many of those parts of the world. During the era of the Silk Roads and the "golden age" of the region, its musical theory, as stated in the liner notes, influenced the music of Europe. [caption id="attachment_25766" align="aligncenter" width="2172"] Natalia Nurumkhamedova album cover[/caption] TCA: How did World War II and Stalin create the circumstances behind the Tashkent and Uzbekistan scene? When the Nazis invaded the Soviet Union, Stalin put the best and brightest minds on trains bound for Soviet Central Asia, mainly Uzbekistan and its capital, Tashkent. There were recording engineers on board who went on to set up one of the biggest press plants in the Soviet Union that produced millions of records. A little-known story of World War II - the evacuation from the Eastern...

Silk Road Treasures

My First International Competition – Anara Ashimova, Silver Medalist in Shaolin Wushu

I was never a big sports person, but working at the computer and not moving much eventually made me realize I needed some kind of physical activity to cheer myself up and to recharge my body. After all, I wanted to be healthy and active in my maturity - I don’t want to call it old age. I had doubts about my physical abilities, but I was resolute, so I decided to go for a sport with exercises that are possible for and improve the health of people of age. Therefore, I took up the sport of Wushu, starting in a large group under the guidance of Gaini Kypshakbai, a master of the art. The first few months were challenging, but I slowly developed new skills. A lot of people quit during this time, and eventually only three of us were left in the group. Gradually, I developed an obsession with the classes as a way to strengthen my body and spirit. Our coach, Gaini, deserves a separate piece to be written about her for her patience and mentoring, but for now, I will just say that I'm grateful and full of respect for her. Laoshi (coach in Chinese) Gaini gently introduced us to the Tai Chi community, an association of enthusiasts who are passionate about what they do. In my third year of classes, I wanted to broaden my horizons, watch the masters, and show off my modest skills. So, after participating in the Championship for the Republic of Kazakhstan, we went to China for The 13th Zhengzhou China International Shaolin Wushu Competition. [caption id="attachment_25561" align="aligncenter" width="1280"] Team Kazakhstan; image: A.Ashimova[/caption] Our team consisted of twelve people of different ages ranging from 30 to 65; it was the first international competition for all of us. Some of us were leaving Kazakhstan for the first time, but I'd been to Urumqi 20 years before. Everything that awaited us upon our arrival in China impressed and delighted us. The first thing that pleased me was how clean and organized everything was. People were friendly and willing to help, and, most importantly, it was completely safe. The cities we visited were very green with beautiful trees and lots of flowers; the parks were well-maintained, and the air was clean and fresh. Almost every city had the same level of population as Kazakhstan, but it never felt crowded. Everything was organized, clear, and accessible. For us, the myth that the Chinese do not speak English was also dispelled. If we encountered a language barrier, it was easily overcome by modern online translators. The youth of China were very bright, independent, and open. The Opening Ceremony of the festival was an indescribable delight. The small town of Danfeng welcomed us alongside representatives of 65 schools of Tai Chi. The competition was a festival celebrating the different styles of Wushu. We couldn’t contain our excitement as we took pictures on our smartphones and greeted the young athletes from the windows of the bus as thirty-five...