Traditions of art crafts in Uzbekistan are constantly developing, and their progress reflects changes that take place in the society. And the art of wood-carving is no exception. Today this kind of art is filled with new content. Great experts work in this domain of art, preserving the experience of the past and bringing innovations into their work. Among these recognized masters is usto Abdugani Abdullaev, the representative of the Kokand school of wood-carving, whose works are known both in the country and abroad. He has mastered to perfection many different wood-carving techniques, including a very complexone of three-dimensional architectural compositions called mukarnaskori that is used to decorate columns and cornices, as well as the technique of deep carving with multi-plane relief.

Samarkand came into history of world culture as a capital of Amir Temur’s empire. The city was surviving difficulties after disintegration of the empire, but could keep a status of the largest center of culture and art crafts. The original Samarkand embroidery excites especial interest. Despite the close neighbourhood of the large centers of embroidery – Bukhara, Nurata and Shahrisabz, which gravitate to general Bukhara school, the Samarkand school has preserved own style, captivating by monumental solutions, laconic colour and dynamic forms.

By the end of the 19th century, a number of local schools of embroidery had developed in Uzbekistan. On the one hand, they had much in common as regards the nature of their compositions and ornamental decor; on the other, they differed because of their own, unique features and the variety of ways in which decorative motifs and colouring were handled. The embroidery of Shahrisabz (Kashkadarya Region), one of the oldest towns in Central Asia, is of particular interest. It was given its name, which means “green town” “thanks to the abundance of greenery and eye-dazzling flowers” (1, p.20). Shahrisabz was the property of the Barlas clan, to which Amir Timur belonged.

In the medieval period, glass manufacture had rather complicated technology and developed mainly in cities. Archeological materials excavated on the territory of Bukhara contain significant sets of glass artifacts. From ancient times, our forefathers knew secrets of glass production and transferred them through generations. First evidences for glass production in Central Asia were found in the Chinese chronicle “Beishu” which informs that in 424 high – skilled glass – blowers coming from the domain of Yuichi-chi by means of rock mass melting manufactured colored glass that by properties overcame all things exported from “the west countries”.

The water was of important significance in conditions of a hot and droughty climate of Central Asia. From ancient times, in this region was practicing the irrigation farming with the irrigation system well developed.

Today we have to discover again that in the past the ornament had not only a decorative function, but served as the universal graphic “language”, which differed from the script and was accessible to the wide circles of the population. Separate signs formed the elements of this “language”, symbolically expressing basic properties of micro and macro cosmos. Compositions of signs formed symbolical “text”, which “perusal” enlights knowledge of ancient culture, frequently being beyond the other scientific methods.

The oriental miniature is a unique source for the study of history of the ancient costume. The miniature gives not just models of the costume, which had lost because of its temporality but, moreover, allows defining of aesthetic taste of the people, their local originality and behavior.