Preserving traditional arts requires more than safeguarding old works in museums; endangered techniques must continue to be practised, taught, and adapted for future generations, Uzbek master artist Davlat Toshev told Gulf Times. Toshev, an artist in residence at the Museum of Islamic Art (MIA), has devoted much of his career to preserving the artistic heritage of Bukhara, including the revival of the nearly forgotten Abru-Bahor, or “Spring Cloud”, paper-marbling technique. It is a centuries-old Uzbek art form combining paper marbling and miniature painting, with deep roots in the cultural heritage of Bukhara, Uzbekistan. “Abru-Bahor is far more than a technique for creating patterns upon paper, it is a delicate and singular thread within Bukhara’s cultural heritage,” Toshev said.He became involved in reviving the technique after recognising how close it had come to disappearing in its historical homeland. Working with researchers from Bukhara State University, he reconstructed the traditional recipes and methods used to create the distinctive marbled patterns. “The truest way to preserve a vanishing tradition is not to enshrine it as a museum piece, but to give it life once more: to practise it, to study it, and to pass it on to younger generations,” he said.For Toshev, the importance of Abru-Bahor goes beyond the survival of a particular artistic technique. “In reviving Abru-Bahor, we preserve not only a technique, but a fragment of our ancestors’ worldview – their aesthetic sensibility, and the richness of their creative imagination,” he said.His wider preservation work includes miniature painting, classical calligraphy and the restoration of historic books and manuscripts. More than 100 students are currently learning these disciplines under his guidance at the Ustoz-Shogird Centre, where Toshev seeks to combine preserving traditional knowledge with the creative freedom of younger artists. He said one of the biggest challenges is attracting young people to artistic disciplines that demand patience, concentration and years of practice.“We live in an age of speed and information, while miniature painting, calligraphy and the manuscript arts ask instead for careful attention and quiet devotion,” Toshev said.Another challenge is ensuring that master artists’ accumulated knowledge is transferred directly to the next generation. “Traditional arts cannot be learned from books alone – the hand, the eye, the accumulated experience and the spiritual approach of the master matter immensely,” he said.This is why Toshev sees his centre’s mission as extending beyond technical instruction.“The true mission of the Ustoz-Shogird Centre is not simply to teach tradition, but to keep it alive,” he said. The artist believes that the survival of Bukhara’s artistic heritage ultimately depends on young artists making the traditions their own and introducing them to new audiences. “If young artists continue to carry forward the traditions of Bukhara miniature painting, calligraphy, the manuscript arts and Abru-Bahor, and introduce the culture of Uzbekistan to the world through their own creativity, I would consider that my greatest achievement of all,” he said. Toshev, whose work has been exhibited in cultural centres across Europe, the US and elsewhere, said his greatest legacy would not be the artworks he leaves behind, but the knowledge and love of art he passes on to those who follow. He also hopes Bukhara’s artistic traditions will increasingly be recognised beyond their national context. “I hope that the art of Bukhara will continue to be recognised and cherished – not only as part of Uzbekistan’s heritage, but as part of the shared cultural heritage of all humanity,” he said.For Toshev, that legacy ultimately comes down to helping younger generations remain connected to their roots. “We must never forget our roots,” he said. “Only those who understand their history and culture deeply are truly capable of shaping the future.”
