With all the geometrization of the decor of Uzbek carpets , several groups of ornamental motifs can be distinguished :
- signs of cosmogony : medallions in the form of crosses , simple , stepped and jagged rhombuses , eight-pointed stars , squares ( habitable space , protected area ), vortex swastika ( solar symbol ), meander ( water , fertility , continuous life ). This is the most popular group and is the basis for carpet decor . The motifs are somehow connected with the amiable ideas , promise protection of gods , eternal life , hope for fertile seasons , children .
- zoomorphic motifs : mainly the image of ram horns , the main totemic symbol of the steppe people , various geometric elements with animal names : thuya buin ( camel ’ s neck ), itizi ( dog footprint ), kurbaka ( frog ), okuzkuzi ( bull ’ s eye ), keklik- tush ( chest of chukar ), azhdaho ( dragon ), etc . All of them have one thing in common : the initial connection with totemism . The motifs of this group are intended to convey the animal in a typical steppe artistic tradition ‘ whole by part ’ - parsprototo . This technique testified the initially cult nature of animals - totem , the family patron , which had to be portrayed indirectly , encrypted , through characteristic symbols .
- plant motifs : they are found mainly in embroidered carpets ( Enli group ). They appear quite late , as a reflection of those processes in the life of nomads , which were associated with the transition to a sedentary lifestyle and the adaptation of motifs typical for agricultural cultures . Such motifs are also associated with fertility .
- subject motifs : basically , these are items of nomadic life , which at the same time have magical significance . Among them are kerege - the lattice base of the yurt as a symbol of home , magical protection , kuigur - a leather vessel for kumis ( fertility ), pichak uchi - the edge of a knife ( amulet , protection ), tarak - a comb ( amulet , protection ), tumor , tumorcha - a triangular amulet and etc . This group also includes tamga signs ( signs of tribal recognition ), which were often based on the image of household items .
- service elements - small geometric shapes serving to link larger decor motifs , dotted , wavy stripes , broken lines , etc .
Almost all mentioned motifs are traditional for the carpet art of Central Asia and for countries with Turkic-steppe peoples .
We will focus on the semantics of the most popular motif of carpet decor , occurring in the art of nomadic peoples in the past . It is an equilateral cross at the bottom and hornlike elements at the ends .
Ok-enli Uzbeks-kungrats . Surkhandarya region , first quarter of the XX century , Akbar Khakimov ’ s Collection , Bukhara .
The cross itself is an archetypal , most ancient motif in all cultures of the world , initially distinguished by its polysemantic nature . There is the idea of harmony , the union between the heavenly ( vertical ) and earthly ( horizontal ) being ; at the same time vertical was understood as spirituality , masculine principle , horizontal as materiality , feminine principle . Researchers also consider the cross as a kind of coordinate system , a kind of conscious space with distinct sides .
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