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| Filles sur un tapchane, peinture de Farruck Negmat-Zade, 2012. |
Saïd workshop is a big room at the ground floor of an old building. The place smells the wood. All the cabinetmaking tools are there, well ordered in their tool holder. Sketches hung on the wal as well floral motifs profiles, grinding discs, various items that form a motley and evocative set. Two old battered workbenches, one divan and a few armchairs derived from the recovery are the only furniture. A kind of nicely sculptured column capital is suspended from the ceiling. In the oval mirror of a small metallic cabinet appears the portrait of an indigenous woman who looks like an Ethiopian hétaïre, a hand on hips and the other one behind the head. I came here with the person in charge of the cultural association Art Colony. Lola speaks with great zest. She is a quick-witted woman, almost excited, who speaks to Saïd in Russian with heat. When we arrived, it was all about hugs, exclamations and laugh. Saïd, with whom she seems to have a great complicity, is quite her opposite. In his 50s, greying, a goatee, gentleness. He apologizes for the mess and serves us pirojkis (little meat pies).
- The patterns, he says, come from former Samarkand, at the Sogdiane era, in 6th century. There are spirals, shapes inspired by nature or geometrical figures.
Islam prohibits idolizing which consists of erecting statues of divinities which would compete with God. That is why the arts development in Islamic lands favours the calligraphy and an aesthetic based on the stylization. In the architecture and the design, arabesques and geometrical patterns are going to impose in Central Asia on the Persian, Chinese and Turkish influences. The arabesque comes from the stylisation of the plant forms. The geometrical shape resulted from the influence of mathematics during the days of Avicenna, Ulugh Beg and Al-Khwarizmi, the father of algebra with Diophante of Alexandria. We can see these patterns on the facades and the ceilings of buildings, tea sets, materials, carpets, furniture, and to a lesser extent, on the tapshans. Claire Martin, in his beautifully illustrated work Motifs d'Asie Centrale, counted nine paterns : rosette, ram horn, elephant foot, frieze, etc. Many of these patterns are used for the weaving and the embroidering materials such suzanis and in the architecture of historical monuments. Tapshans, like the rest of the furniture, are enriched thanks to the work of skillful cabinetmakers with ornaments which differ depending on where you are, on the requirements of customers and their wealth. The craftsman has only a little surface to express his art. Feet consist of straight parts and turned parts or, more simply, a straight part with a wooden ball on the top. The shaping is hand-made with a hollow chisel and a carving knife.
- Pattern are never repeated identically, tells Saïd. I try to combine the traditional style with a more modern style. About the word "kat", to enrich your terminology, you have to know that the word "aïwane" is also used when there are columns and a canopy. We also find the word "chafkhan" in the South of the country.
Farrukh workshop is in the Painters House. The State is the owner of the building and grants the room for free, only the loadinqs are owed by the occupant. In the Farrukh paintings, the characters are sketched without becoming abstract, the colors are soft, made with delicate touches, the atmosphere is seraphic. He draws before me two girls on a tapshan and sketches variations on this same theme.
- It is the Turks who invented the tapschan, claims the painter.
He will not say any more. Farrukh suggests to create a painting based on his drawing. The girls would be from the back, dreaming, facing towards the distance. The painting that it will send me a few months later will be quite different.
- The patterns, he says, come from former Samarkand, at the Sogdiane era, in 6th century. There are spirals, shapes inspired by nature or geometrical figures.
Islam prohibits idolizing which consists of erecting statues of divinities which would compete with God. That is why the arts development in Islamic lands favours the calligraphy and an aesthetic based on the stylization. In the architecture and the design, arabesques and geometrical patterns are going to impose in Central Asia on the Persian, Chinese and Turkish influences. The arabesque comes from the stylisation of the plant forms. The geometrical shape resulted from the influence of mathematics during the days of Avicenna, Ulugh Beg and Al-Khwarizmi, the father of algebra with Diophante of Alexandria. We can see these patterns on the facades and the ceilings of buildings, tea sets, materials, carpets, furniture, and to a lesser extent, on the tapshans. Claire Martin, in his beautifully illustrated work Motifs d'Asie Centrale, counted nine paterns : rosette, ram horn, elephant foot, frieze, etc. Many of these patterns are used for the weaving and the embroidering materials such suzanis and in the architecture of historical monuments. Tapshans, like the rest of the furniture, are enriched thanks to the work of skillful cabinetmakers with ornaments which differ depending on where you are, on the requirements of customers and their wealth. The craftsman has only a little surface to express his art. Feet consist of straight parts and turned parts or, more simply, a straight part with a wooden ball on the top. The shaping is hand-made with a hollow chisel and a carving knife.
- Pattern are never repeated identically, tells Saïd. I try to combine the traditional style with a more modern style. About the word "kat", to enrich your terminology, you have to know that the word "aïwane" is also used when there are columns and a canopy. We also find the word "chafkhan" in the South of the country.
Farrukh workshop is in the Painters House. The State is the owner of the building and grants the room for free, only the loadinqs are owed by the occupant. In the Farrukh paintings, the characters are sketched without becoming abstract, the colors are soft, made with delicate touches, the atmosphere is seraphic. He draws before me two girls on a tapshan and sketches variations on this same theme.
- It is the Turks who invented the tapschan, claims the painter.
He will not say any more. Farrukh suggests to create a painting based on his drawing. The girls would be from the back, dreaming, facing towards the distance. The painting that it will send me a few months later will be quite different.
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| Outils dans l'atelier de Saïd, artiste ébéniste à Douchanbé. |
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| Le peintre Farruck Negmat-Zade dans son atelier de la Maison des Peintres. |
- The tapshan (he pronounces the word with using the final nasal vowels /ã/), begins Sokiboy that I meet at the Tajik State Pedagogical University where he teaches philosophy, is omnipresent in the Uzbek and Tajik living environment. In gardens, mahalla and chaykhani. Aksakals sit on kurpachaho to drink tea and hold their meeting. They spend a lot of time there, to discuss problems, and even, sometimes, to solve them ! Topics of discussion are not political but ethical. Their opinion is very respected. The tapshan is a place of wisdom. A long time ago, the tapshans were some simple terraces in earth or stone. In villages, there are tapshans in all houses. We chat, we dream by looking at the moon and the stars. Time is suspended. The tapshan is a poetic place. For the weddings, a tapshan is sometimes installed in the garden. The guests take place there to eat cakes and to drink wine. The tapshan is a festive place. It is associated with the pleasures of the palate. There is nothing better that a good plov on the tapshan on a sweet spring day. It is associated with the pleasure of debate and with the seduction. With the pleasure of the rest and with the sensual delight. The tapshan is an epicurean object.
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| Musique et danse, mosaïque à Douchanbé, 2006. |
More photos Duchanbe
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