A priceless masterpiece of Uzbek art returned from Britain is on display at the museum

Bird-shaped vessel. Central Asia, 13^th-14^th centuries

A bird-shaped ceramic vessel brought to Uzbekistan from the prestigious DAVID AARON Gallery in the United Kingdom has become one of the most valuable and meaningful works in the exhibition of the Islamic Civilization Center. This rare artifact dating to the 13^th-14^th centuries vividly demonstrates the high artistic and philosophical level of Central Asian pottery, as well as the priceless legacy of craft schools that flourished during the era of Amir Timur.

The form, color harmony, and delicate decoration of this unique artifact reflect the high technical mastery, refined compositional taste, and deep philosophical outlook of potters of that period. The era of Amir Timur occupies a special place in history not only as a time of political power, but also as a period of rapid development in science, architecture, art, and applied crafts. It was precisely during this time that, alongside carpet weaving, wood carving, gold embroidery, metalworking, and stone carving, the art of pottery rose to a new level. Cities such as Samarkand, Bukhara, Tashkent, Khiva, and Old Urgench became major centers of craftsmanship.

Archaeological findings testify to the high level of pottery techniques, formal solutions, and decorative culture in these regions. This artifact, brought from the world-renowned DAVID AARON Gallery in the United Kingdom, is a product of such a refined artistic environment.

The bird image on the artifact was not chosen by chance. In Central Asian art, the bird has long symbolized spiritual freedom and the aspiration for elevation; flight represents the pursuit of knowledge and perfection, while clay symbolizes human labor and connection with the earth. Thus, this object expresses the harmony between the divine and the worldly realms of human existence.

Rustam Jabborov, scientific secretary of the Islamic Civilization Center in Uzbekistan:

“This work was created using the polychrome technique, that is, with the use of several colors. This method was one of the most advanced achievements of pottery art in the Movarounnahr region in the 13^th-14^th centuries. The harmony of red, white, and blue gives the object elegance and vitality. At the same time, these colors carry deep symbolic meaning: white represents purity and spiritual cleanliness, blue symbolizes the heavenly and the divine, while red signifies life, strength, and dynamism. The harmony of color and form transforms the vessel into not only an aesthetically attractive object, but also a work of art rich in spiritual meaning.”

According to sources, several pottery schools were formed in this region in the 13^th-14^th centuries. The Samarkand school was distinguished by its refined ornamentation and glazing, the Bukhara school by its richness in geometric decoration, and the Khorezm school by its mastery in creating vessels in the shapes of animals and birds.

Researchers believe that this vessel reflects the spirit of the Khorezm pottery school. This style later spread to other regions and became an integral part of the general Uzbek pottery tradition.

This bird-shaped vessel, an ancient example of Eastern pottery art, is on display in the “Second Renaissance” period section of the Islamic Civilization Center. It holds symbolic significance not only for the study of past culture, but also for modern Uzbekistan. Every object created by ancient masters is a product of the people’s intellectual potential and aesthetic thinking, continuing to inspire today’s generation.