Among Zoroastrian burial items, there is a camel-shaped zoomorphic OSTADON lying there. It was found…
Dozens of well-known and anonymous writings on musical science created in Bukhara, Khorezm, Maverannahr, India, Iran and the Ottoman Empire contain references or citations from Kaukabi‘s works.
His “Treatise on Music” and musical and poetic works were particularly popular in Central Asia (Bukhara and Khorezm). Kaukabi’s “musical” poems (Kulliyat, Masnavi, separate quatrains from the “Treatise on music,” etc.) can be found in Bukhara and Khorezm bayazes (collections of poetic texts for performers of Shashmaqom and Khorezm maqoms), in anthologies of Bukhara poets and in other sources as well. Some of Kaukabi’s poetic works are even still included in the repertoire of maqom performers in Bukhara, Uzbekistan and Dushanbe, Tajikistan.
The demand for his compositions can be explained by the laconic form through which he expressed some of his postulates and ideas as the basic values of musical culture in the Late Middle Ages. Some of them, for example, his poetic Kulliyat or his maxim of musical tones as a divine mystery, acquired the status as a certain kind of musical symbol for the epoch.
You can learn more about the topic in the book-album "The Musical Legacy of Uzbekistan in Collections of the Russian Federation" (Volume VI) from the series "Cultural legacy of Uzbekistan in the world collections".
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