Among Zoroastrian burial items, there is a camel-shaped zoomorphic OSTADON lying there. It was found…
Musical art reaches its peak in the second half of the 15th century in Herat under Husayn Bayqara and Alisher Navoi.
The typical features of the musical culture of that epoch include universalism; an expanding sphere of professional musical activity; the co-existence and interaction of secular and religious tendencies; democratization of the forms of music distribution; availability of scientific knowledge about music; a highly-developed culture of emotional and aesthetic perception of music; synthesis between the Persian and Tajik, and Turk and Uzbek traditions.
The striving for musical and even artistic universalism was encouraged by patrons of music, and gradually became a part of their cultural life. Oftentimes musicians would play several instruments, or both sing and play simultaneously. They also combined performing with writing, created plays in different genres and even combined creative and scientific thought expressed in a variety of scientific treatises on music.
Many musicians did not limit their professional activity only to music, but also mastered other arts and crafts. Some of these individuals were decent poets, or poets fond of music who played musical instruments and composed melodies, which was consistent with the cultural atmosphere. Sometimes it is impossible to distinguish a clear line between poetry and music. For example, a young man from Bukhara named Maulana Kaukabi, who attracted the attention of Alisher Navoi as a novice poet, later became a prominent musician and author of treatises on the science of music.
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 "The Cultural Legacy of Uzbekistan".
The general sponsor of the project is the oilfield services company Eriell-Group.
