The Rakhimov Ceramics Studio: the tree of life

– Shokhrukh, tell us your secret – how do you manage to achieve so much and win so many awards at such a young age?

– I don’t remember when I first sat at the potter’s wheel, but it was early childhood, around four or five years old. To become a true professional, I devoted all my time to this craft. Today, ceramics are made by me, my father Alisher, and my grandfather Akbar Rakhimov, who is already seventy-five – three generations. My grandfather still creates clay masterpieces! By the way, according to family tradition, it’s always the grandfather who teaches the boy the art of ceramics – not the father.

– How did you realize you would continue the family business? Did you ever want to try something else?

– Of course, no one forced me to do ceramics. Grandfather Akbar has ten grandchildren, but I’m the only one who continues the family work – the others chose different careers. Among us are a doctor, an architect, an event organizer, a teacher, an art historian, and a designer.

The most important thing is that I was taught to love creativity from childhood. To preserve and enrich traditions is a great honor for me. My great-grandfather Mukhitdin Rakhimov created a kind of encyclopedia of Uzbek artistic ceramics, developed methods for restoring mosaics and majolica on our country’s architectural monuments. His works were sold in Paris, London, and other world capitals. He was honored with many awards, including the title of People's Artist of Uzbekistan, and he even passed away at the potter’s wheel. Such love for work and art was always present in our home, and I felt how important it was not to lose the history of our tree and to preserve the heritage for future generations.

– Why is the family craft continued only by men?

– Traditionally, ceramics in the family is done by men because it’s physically demanding work, but women are not prohibited from participating. My mother, Dilbar Rakhimova, helps with painting in her free time, and my sister draws sketches and may become a designer in the future.

– When we hear the words “ancient family secrets” or “traditions passed down through generations,” it conjures up an image of a sealed tome locked in a vault. How is knowledge really passed down?

– Traditions are, of course, passed down practically – as I said, from grandfather to grandson. In our family, love for clay is instilled from childhood, traditional patterns are studied, and original ones are created. In the workshop, you can see a wall decorated with patterned tiles – we call it the “Wall of History.” It contains more than eighteen directions we work in. It’s both studio decor, a kind of “wall of honor,” and a cheat sheet for beginners.

My great-grandfather Mukhitdin also studied patterns and pigments as a scholar and compiled a book titled “The Artistic Ceramics of Uzbekistan,” first published in 1961. It was later republished in English with the support of UNESCO, and in September a new edition was presented in Uzbek and Russian.

– Shokhrukh, tell us more about your beautiful home. Is it just a workshop, or do you live there too?

– Our studio was built in 2006 and consists of three main parts: a workspace where red clay items are made, a garden full of inspiration, and an exhibition hall where we hold all our shows. It’s our family home – my grandfather Akbar and I live on the second floor. The rest of the family lives nearby, in the same mahalla. We’re often visited by ceramicists from around the world – Japan, Germany, France, the USA – for cultural exchange and collaborative collections and exhibitions. They stay right here, live and work in the same space.

– What types of ceramic works are born within your workshop walls?

– We make literally everything: bowls, plates, jugs, vases, lagans, large collections for exhibitions including installations, and also special items like bird toys and even clay paintings. By the way, that was my first experience working with clay at over 1250°C (usually the temperature doesn’t exceed 900°C).

– At markets, factory ceramics start at a couple of dollars. How much do original works cost?

– Prices for our original items start from ten dollars for a bowl, then from sixty for plates. The maximum price for which a collection was sold – forty thousand dollars. We try to sell in complete collections because separately, the pieces are not as interesting and don’t form a unified, thoughtful composition.

Some collections are simply priceless – they’re not for sale and stay in the family museum. For example, our “Black Velvet Ceramics” collection made of black clay and wood elements, or my installation “Tragedy of the Aral Sea,” dedicated to one of the main ecological problems of our time.

– What kind of clay do you use and how long does it take to create a piece?

– We use clay from different regions of Uzbekistan, but mainly we work with local Tashkent clay. On average, the production process takes from a couple of weeks to several months. For example, my forty-piece collection “The World Created by Dot,” done in dot technique, took four months.

Every item is unique and requires a special approach and state of mind, so we don’t rush or set deadlines. For the same reason, we never accept commissions. Sometimes we sculpt the form first, other times we immediately start painting patterns inspired by the moment. Occasionally, a clay blank will wait in the studio for decades for its time and our inspiration. We take pride in every piece and try to convey a part of our soul and creative energy through each one.

– We saw dishes on your shelves with cracks and chips…

– That’s a separate part of our collection alongside excavation artifacts. Damaged items can’t be sold or gifted, as in popular belief they symbolize death. But we keep them for their uniqueness and character.

– Do you use modern paints and dyes, or do you follow traditional methods?

– We prepare all our glazes and pigments ourselves using old family recipes, while constantly experimenting and improving quality. Our main minerals include quartz, kaolin, cobalt, lapis, lazurite, copper, and various iron oxides. They’re fired at 1500°C.

– Do you use traditional Uzbek patterns, or do you modernize your work?

– The patterns are traditional, but of course ceramic art evolves and includes authorial elements. For example, our family created a black clay collection called “Black Velvet Ceramics,” which is considered the future of 21st-century ceramics. These are completely black vases with birds glazed in the same color, looking like hieroglyphs.

My grandfather Akbar follows the traditional school, while my father and I often experiment – we glaze only certain parts, creating a mix of matte and glossy textures. Another example – I use geometric elements that are not typical for traditional Uzbek painting.

– We were enchanted by the elegance and originality of your Time Tree series – we even made it the title of this article, as it's our first association with your dynasty: time – tree – tradition. Do your collections carry philosophical meaning?

– Always! Every collection has deep meaning – these are not just pretty patterns but encoded messages. On one hand, Time Tree is flowing time, vases shaped like hourglasses. On the other hand, the “Sunny Uzbekistan” painting style – warm weather and bright colors, fluttering birds. So it all connects: birds – tree – family – tradition – the family tree.

In my already mentioned collection “The World Created by Dot,” I conveyed the idea that life and the universe began after the Big Bang, when all matter and energy were concentrated in a single point and then expanded. The dot symbolizes the origin of all things, as well as a base unit for creating complex forms. The collection conveys the idea that the whole world and universe were created from tiny fragments and moments, forming a complete picture.

– We recently spoke with Elena Ladik from the HAPPY BIRD gallery in Samarkand – birds are everywhere there too, and we noticed the same recurring motif in your work. Why birds?

– Yes, birds are one of our favorite subjects. In many cultures, birds are messengers of higher powers and symbols of life’s meaning. Sailors look for birds to find land, wanderers in the desert – to find water. Birds always lead to where life is.

The idea for my grandfather Akbar Rakhimov’s exhibition “The Soul of Birds” came from a beloved and often quoted Hadith from the Quran: “Paradise is for those whose hearts are like birds.” In our family museum, you can see works from that exhibition, combining various shapes, ornaments, techniques, and colors. Each piece features sirins, peacocks, swallows, nightingales, and in the center – the legendary bird Humo, or Simurgh – an ancient symbol of wisdom, freedom, happiness, and a kind of talisman of Uzbekistan.

My favorite piece featuring birds is the lamp “Dancing Birds,” made of red Tashkent clay, showing dozens of cranes heading toward the light across a rough black surface.

– You mentioned that you try to infuse each work with your energy. Today, energy is a popular topic – how to gain it, maintain it, avoid losing it. What’s your take – do the emotions and thoughts of a master pass into the clay and then on to the user?

– Ceramics really can be receptive to energy and emotion. When we work with clay, our mindset and feelings can transfer to the object and to those who later use it. If we create with positive emotions and inspiration, that will be felt in the final result.

– Where do you get your inspiration and positive energy for your work?

– First and foremost, from travel. Every month, my father, grandfather, and I take a few days, hop in the car (we believe the best way to travel Uzbekistan is by car), and explore the country. We visit villages and mahallas, talk to locals, especially elders – the keepers of stories and legends. Our favorite place is the Fergana Valley, where history has been preserved in its purest form.

Inspiration also comes from working with children in our studio. Their eyes are not dulled, their creativity has no boundaries. A few weeks ago, a five- or six-year-old girl visited us and decided to make a tiny teapot. After it was fired, we realized she hadn’t made a hole in the spout. She made another one, but we kept the first – it looks like a little elephant.

Music also helps me focus and feel inspired. I often listen to music while I work. Podcasts and audiobooks broaden my mind and spark new ideas. Sometimes, I prefer silence to fully immerse myself in the process. Either way, the studio atmosphere – especially with national music playing – inspires creativity.

– What other activities does the studio offer besides ceramics?

– There are many, but the main ones are creating ceramics and holding exhibitions. We’ve already hosted about ten exhibitions: “A Thousand and One Candles,” “Pomegranate – Symbol of Paradise,” “Almond Blossom,” “Forty Beauties,” “The Tree Connecting Heaven and Earth,” “Petroglyphs of Contemporary Ceramics.” We also run a children’s school for ages six to twelve and hold regular workshops.

Five reasons why you should consider collecting artisanal ceramics:

1) Buying ceramics like this supports a centuries-old local craft and helps it survive and evolve into new, modern art forms. It’s a show of respect for yourself, others, and the culture of the country.

2) These are soulful items with positive energy. As Shokhrukh said, the master’s emotional state transfers into the clay and to the final owner. Wouldn’t you want to know who made the plate you eat from, or the cup you touch every day?

3) You’re buying something thoughtful – born not from mass-market trends but from the soul, contemplation, and inspiration of the artist. Every piece has a story – be sure to ask about it.

4) It’s a contribution to your own education – you’ll always learn something new about ceramics and its history.

5) Author’s patterns can’t be copied with the same detail or quality. A creator – not a copier – is always in demand and beyond competition.

Rakhimov Family Ceramics Studio

Address: 15 Kukcha Darvoza Street, Shaykhontokhur District, Tashkent
Phone: +998 (90) 987-20-63, +998 (90) 992-44-01
Website: ceramic.uz
Instagram: instagram.com/rakhimovs_studio

Visits must be arranged in advance by phone. During the tour, you’ll see the workshop where painting and masterclasses take place, Akbar Rakhimov’s creative room, and the kiln room. Outside, there’s a garden where you can sit and take photos – that’s also where the family museum is located (photography inside is not allowed). The average tour lasts about 30 minutes. Please note that Rakhimov family ceramics are sold exclusively at their studio.