Tashkent, Uzbekistan (UzDaily.com) — A single chapan, crafted by true masters, can tell the story of Uzbekistan more vividly than dozens of colorful brochures. Visiting a gallery filled with authentic handmade items, where one can admire an exquisite collection of suzani, chapans, national headwear, and jewelry, can become an unforgettable experience for tourists. One such place is the Happy Bird gallery in Samarkand.

In Tashkent, I had the opportunity to meet and speak with its director, designer Elena Ladik. She recently presented an exhibition in the capital dedicated to the art of block printing—a unique technique that has gained special significance in modern times. Today, as the value of authenticity and adherence to traditions grows, such projects play a crucial role in preserving Uzbekistan’s national identity.

The exhibition featured chapans and suzani adorned with block printing—the signature style of Happy Bird. Foreign tourists are particularly drawn to this ancient technique for its uniqueness. Every piece created by the gallery’s artisans is more than just an item; it is a true work of art. Every detail, every stitch is imbued with the spirit of Uzbek traditions, rooted in the legacy of past masters and enriched by the ideas of contemporary artists and designers.

Thanks to this approach, products made in Uzbekistan are easily distinguishable from the crafts of neighboring countries such as Kyrgyzstan and Tajikistan. This authenticity, along with the country’s impressive historical monuments, attracts visitors from all over the world. And, perhaps most importantly, many tourists not only admire the traditional chapans but also purchase them, taking home a piece of Uzbek culture and delighting their friends and family with a genuine work of art.

A key figure in creating unique pieces for Happy Bird is master craftsman Vladimir Akhatbekov, one of the few specialists in block printing. Preserving and developing this rare technique is of great importance, as losing such knowledge would diminish the country’s cultural heritage.

The activities of the Samarkand gallery not only support Akhatbekov’s craftsmanship but also inspire other artisans to learn and refine the block printing technique while developing other forms of authentic art.

Handmade craftsmanship and ancient techniques are treasures that must not only be carefully preserved but also passed down to future generations. Unlike architectural monuments, textile art can be revived again and again, as traditions are handed down from master to apprentice.

Without support for artisans, craftsmanship risks shifting towards mass production, losing its soul in the process. And if that happens, there will be nothing left to showcase—to foreign tourists or even to future generations. People visit Uzbekistan for unique experiences, for things they cannot find anywhere else.

A simple analogy: we take pride in Uzbek plov and strive to preserve its uniqueness. Imagine if, instead of real plov cooked in a kazan, guests were served microwaved canned food. The same applies to textile art—losing its authenticity would be a true catastrophe.

Today, it is not only important to preserve traditions but also to support those who dedicate their lives to this art, like Elena Ladik. Losing artisans is easy; restoring traditions afterward would be much harder.

If you want to show guests the true essence of Uzbek culture, take them to the Happy Bird gallery in Samarkand. Their eyes will light up with admiration, and some may even take home a piece of Uzbekistan—a unique chapan, created by an entire team of master artisans under Ladik’s guidance.

Each element—be it the handwoven base, quilted lining, block printing, or its painting—requires a dedicated specialist.

Such collective craftsmanship results in unique collections, which the gallery presents twice a year.

These collections have already brought international recognition to Uzbek art, resonating in the hearts of sheikhs and becoming part of their private collections. They offer visitors to Samarkand unforgettable impressions, making their stay in the ancient city even more memorable.

Thanks to the gallery’s convenient location near Registan, it is accessible to both tourists who are in the city for just a day and those staying longer. Such places encourage visitors to extend their stay in Uzbekistan, boosting the tourism industry, creating new jobs, and strengthening the country’s economy.

President of Uzbekistan Shavkat Mirziyoyev has placed special emphasis on supporting such initiatives. At the local level, it is essential to support galleries like Happy Bird, as they not only preserve cultural heritage but also contribute to the growth of the creative economy.

The more such projects emerge, the richer and more vibrant Uzbekistan’s image will become in the eyes of the global community. Supporting local artisans and elevating the prestige of craftsmanship will ensure sustainable growth in the country’s cultural and tourism appeal.

Our shared mission is to create conditions where young talents can flourish and traditional crafts can thrive. It is galleries like Happy Bird that help preserve the unique soul of Uzbek art for future generations and the world.