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Painted in 1967, the work balances intimacy with symbolism. A young woman (a bride) sits on a deep red carpet, turned slightly sideways while meeting our gaze head-on. She has medium tan skin, thick dark eyebrows, and dark eyes set in a calm, composed expression. Her luminous clothing is a long white dress with pale gold embroidery across the chest, and a blue headscarf (draped over her hair and shoulders) patterned with small gold accents and edged with striped bands. One hand cradles a bright red pomegranate, its rounded form echoing circular motifs behind her. The background is richly ornamented with bands of geometric patterning and large round medallions to accent an interior defined by craft, tradition, and careful design.

The unidentified bride’s direct gaze resists the idea of a purely decorative “type,” giving her interiority and presence. She is shown as a person within a cultural world, not an object within it. The restrained palette of white fabric, saturated blue, and the single vivid red makes the pomegranate feel deliberate like a compact emblem of fertility, abundance, and continuity, but also something held in her own hand, on her own terms. The patterned wall behind her conveys heritage and ornament as identity while her quiet stillness suggests a threshold moment mixing youth and expectation with duty and possibility. In that tension, “Kelin” becomes less a scene and more a state of becoming, where tradition surrounds her, yet she remains unmistakably centered.

In 1967, artist Ro‘zi Choriyev was fresh from the Repin Institute in Leningrad (graduated 1965) and beginning his early professional years in Tashkent, where he taught at the Tashkent Pedagogical Institute (1966–1973). This period sharpened his focus on portraits and scenes that carry a “national spirit,” translating Uzbek customs, textiles, and everyday dignity into modern easel painting.

Painted in 1967, the work balances intimacy with symbolism. A young woman (a bride) sits on a deep red carpet, turned slightly sideways while meeting our gaze head-on. She has medium tan skin, thick dark eyebrows, and dark eyes set in a calm, composed expression. Her luminous clothing is a long white dress with pale gold embroidery across the chest, and a blue headscarf (draped over her hair and shoulders) patterned with small gold accents and edged with striped bands. One hand cradles a bright red pomegranate, its rounded form echoing circular motifs behind her. The background is richly ornamented with bands of geometric patterning and large round medallions to accent an interior defined by craft, tradition, and careful design. The unidentified bride’s direct gaze resists the idea of a purely decorative “type,” giving her interiority and presence. She is shown as a person within a cultural world, not an object within it. The restrained palette of white fabric, saturated blue, and the single vivid red makes the pomegranate feel deliberate like a compact emblem of fertility, abundance, and continuity, but also something held in her own hand, on her own terms. The patterned wall behind her conveys heritage and ornament as identity while her quiet stillness suggests a threshold moment mixing youth and expectation with duty and possibility. In that tension, “Kelin” becomes less a scene and more a state of becoming, where tradition surrounds her, yet she remains unmistakably centered. In 1967, artist Ro‘zi Choriyev was fresh from the Repin Institute in Leningrad (graduated 1965) and beginning his early professional years in Tashkent, where he taught at the Tashkent Pedagogical Institute (1966–1973). This period sharpened his focus on portraits and scenes that carry a “national spirit,” translating Uzbek customs, textiles, and everyday dignity into modern easel painting.

“Kelin (Bride)” by Ro‘zi Choriyev / Ruzy Charyev (Uzbek) - Oil on canvas / 1967 - Arts & Culture Development Foundation (Tashkent, Uzbekistan) #WomenInArt #RoziChoriyev #Choriyev #ACDFUzbekistan #PortraitofaWoman #Bride #bridal #1960s #artText #art #BlueskyArt #UzbekArt #CentralAsianArt #UzbekArtist

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Beyond the Yurt: Rethinking Nomadism in Kazakh Contemporary Art - The Times Of Central Asia At a moment when Kazakhstan is building new cultural institutions and asking bigger questions about what contemporary art should do, one curator has been

Latest from our Ola's Kool Kitchen as Kazakh art gains global attention, curator Akmaral Kulbatyrova argues nomadism should be read as living history not cultural branding https://ow.ly/LWRX50Y5mqG #Kazakhstan #ContemporaryArt #GlobalArt #NomadicArt #CentralAsianArt #ContemporaryKazakhArt

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📅 Part of an immersive exhibition featuring four films, open Wed-Sun 10:00-18:00
📍 Level 3 Gallery
Free entry, donations welcome
#BalticGateshead #SoadatIsmailova #AsWeFade #CentralAsianArt #ContemporaryArt

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This richly colored portrait depicts a Turkmen woman, veiled and cloaked in traditional attire, evoking a sense of quiet dignity and contemplation within a dimly lit interior.

Almost lost in the folds of detailed, woven fabric, the unidentified woman stares into the distance with concern or consideration in her eyes. Turkmen academician and artist Durdy Bayramov wanted to accentuate the beauty of traditional clothing and practices. The woman’s attire includes a long green scarf covering her hair and neck. A Turkmen practice known as “yashmak” involves covering the mouth with one end of the scarf. At present, out of respect for their elders, married women in Turkmen villages are still expected to cover their mouths in front of their husband’s parents and elder brother, and other elderly men they encounter. The painting evokes feelings of mystery and traditional cultural significance.

Bayramov (also known as Durdy Baýramow or Дурды Байрамов) was awarded the highest honorary title in his country: "People's Artist of Turkmen SSR". In his native Turkmen language, Durdy Bayramov's name is simply "Durdy Bayram" (without the Slavic-style "ov" suffix added to “Russify” names during the Soviet era). The name "Bayram" means "celebration" in Turkic languages.

During his career, Bayramov created more than 5,000 works of art, including oil paintings and works on paper. He was also a passionate photographer, though he considered this a part of his artistic process and never attempted to exhibit his photographs.

After his passing in 2014, the Durdy Bayramov Art Foundation was established in Toronto, Canada in 2015 to advance his legacy in art and education plus opening the Bayramov Museum which contains the world's largest collection of the artist’s works.

Today, Bayramov is widely recognized as one of Central Asia's most important painters. His art can be found in many private collections, as well as in museums, galleries, and cultural institutions around the world.

This richly colored portrait depicts a Turkmen woman, veiled and cloaked in traditional attire, evoking a sense of quiet dignity and contemplation within a dimly lit interior. Almost lost in the folds of detailed, woven fabric, the unidentified woman stares into the distance with concern or consideration in her eyes. Turkmen academician and artist Durdy Bayramov wanted to accentuate the beauty of traditional clothing and practices. The woman’s attire includes a long green scarf covering her hair and neck. A Turkmen practice known as “yashmak” involves covering the mouth with one end of the scarf. At present, out of respect for their elders, married women in Turkmen villages are still expected to cover their mouths in front of their husband’s parents and elder brother, and other elderly men they encounter. The painting evokes feelings of mystery and traditional cultural significance. Bayramov (also known as Durdy Baýramow or Дурды Байрамов) was awarded the highest honorary title in his country: "People's Artist of Turkmen SSR". In his native Turkmen language, Durdy Bayramov's name is simply "Durdy Bayram" (without the Slavic-style "ov" suffix added to “Russify” names during the Soviet era). The name "Bayram" means "celebration" in Turkic languages. During his career, Bayramov created more than 5,000 works of art, including oil paintings and works on paper. He was also a passionate photographer, though he considered this a part of his artistic process and never attempted to exhibit his photographs. After his passing in 2014, the Durdy Bayramov Art Foundation was established in Toronto, Canada in 2015 to advance his legacy in art and education plus opening the Bayramov Museum which contains the world's largest collection of the artist’s works. Today, Bayramov is widely recognized as one of Central Asia's most important painters. His art can be found in many private collections, as well as in museums, galleries, and cultural institutions around the world.

“Woman in Kurta” by Durdy Bayramov (Turkmen) - Oil on linen / 1991 - Durdy Bayramov Art Foundation (Toronto, Canada) #WomenInArt #art #Turkmen #artwork #PortraitofaWoman #DurdyBayramov #Bayramov #WomensArt #BayramovMuseum #OilPainting #ArtText #kurta #TurkmenArt #CentralAsianArt #beauty #BlueSkyArt

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Central Asian Perspectives Take Center Stage in Milan - The Times Of Central Asia A pale Milanese dawn draped the city in shifting greys, as visitors crossed the threshold into the space of Fondazione Elpis, a foundation created to promote

Central Asian artists reimagine identity, resilience, and history in the groundbreaking exhibit YOU ARE HERE at Milan’s Fondazione Elpis timesca.com/central-asia... #CentralAsianArt #MilanExhibits #ArtAndIdentity #FondazioneElpis #ContemporaryArt #ArtExhibition #IdentityThroughArt #YouAreHere

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Amre Kashaubaev and the Mystery of an Old Photograph - The Times Of Central Asia In Kazakhstan, the musical talent of Amre Kashaubaev is well known. Thanks to him, European audiences were introduced to the live melodies of Kazakh music

Amre Kashaubaev, the voice that brought Kazakh music to Europe, remains shrouded in mystery as a rare photograph emerges, hinting at his untold story.
timesca.com/amre-kashaub... #History #CulturalHeritage #ArtandCulture #CentralAsianArt #KazakhArt

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Asia Now Creating a Market for Central Asian Art in Paris - The Times Of Central Asia When we think about spreading knowledge of Central Asian art in Europe, we might think of exhibitions, of festivals, of panels and talks, not necessarily of

Asia Now Creating a Market for Central Asian Art in Paris timesca.com/asia-now-is-... #CentralAsianArt #AsianArt #ContemporaryArt #ArtMarket #ArtInParis #Paris #France #ArtSceneParis #Eurasia #CentralAsia

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