The Workshop 2008 for Protection of Cultural Heritageat Tashkent in Uzbekistan
17- 29 October 2008

Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO（（ACCU））

The Workshop 2008 for Protection of Cultural Heritageat Tashkent in Uzbekistan
17- 29 October 2008

Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO（（ACCU））

Edited and Published by
Cultural Heritage Protection Cooperation Office,Asia / Pacific Cultural Centre for UNESCO (ACCU)
Nara Prefectural Government “Horen” Office Ground Floor
757 Horen-cho, Nara 630-8113 Japan
Phone: +81-(0)742-20-5001
F A X: +81-(0)742-20-5701
E-mail: nara@accu.or.jp
U R L: http://www.nara.accu.or.jp
Printed by Meishinsha
䣖 Cultural Heritage Protection Cooperation Office,Asia / Pacific Cultural Centre for UNESCO (ACCU) 2009

Contents
PrefaceⅠ．

Introduction
1. General Information
2. Programme Schedule

3
4

Ⅱ．

Workshop Journal

5

Ⅲ．

Lecturer Paper

21

Ⅳ．

Participants’ Reports

35

Ⅴ．

Appendix
1.
2.
3.
4.

Participants
Lecturers
Interpreters
Collaborators

5. Staff Members, ACCU Nara

53
54
55
55
56

Preface

Navoi Opera and Ballet TheatrePreface
The Cultural Heritage Protection Cooperation Office, Asia/Pacific Cultural Centre for UNESCO(ACCU) was established in August 1999 with the purpose of serving as a domestic centre forpromoting cooperation in cultural heritage protection in the Asia- Pacific region, and will celebrate its
10th anniversary this year. Since its inception, our office has been implementing a variety of
programmes to help promote cultural heritage protection activities, maintaining partnerships withinternational organizations, such as UNESCO and the International Centre for the Study of the
Preservation and Restoration of Cultural Property (ICCROM).
The ACCU Nara’s activities include, training programmes for the human resources development,international conferences and symposia, the training of young leaders in cultural heritage protection
supported by the UNESCO/Japan Funds-in-Trust, our website for the dissemination of information
relating to cultural heritage protection, and the world heritage lectures in high schools. In addition to
those, ACCU Nara Office launched two new programmes last year. One is “the local training
workshop” which dispatches a group of lecturers from Japan and implements the practical training on
cultural heritage protection on sites. The other is the system of “International Correspondent” and we
appointed the correspondents from each country, who will periodically send reports on cultural
heritage protection in their country.
The Workshop 2008 for Protection of Cultural Heritage at Tashkent in Uzbekistan was the second
attempt of ACCU Nara. We were fortunate enough to receive the full cooperation and support from
UNESCO Office in Tashkent as a co-organizer. I would like to extend my sincere gratitude to Ms
Anna PAOLINI, Head of Office, UNESCO Office in Tashkent; Mr Tursunali KUZIEV, Chairman,
Academy of Arts of Uzbekistan; and to all related parties for their cooperation.
The advantages of implementing the local workshop are as follows:
1) A large number of participants from one country can attend the workshop at one time.
ACCU Nara Office has invited a few participants from a single country to the Individual Training
Course held in Nara. However, participation is usually limited to two or three researchers. It would be
extremely efficient to accept a large number of people from one country at one time for providing
opportunities to acquire expertise for the protection of cultural heritage.
2) The working language of the training course is their native language.
As a general rule, the working language used in both group and individual training programmes isEnglish, which sometimes gives difficulty in understanding the content of the training course for someparticipants from Asia-Pacific region. Not all the participants are fluent in English. In order to resolvethis kind of limitation on the communication, we have decided to use Russian for this workshop in
Uzbekistan. We believe that participants can understand the lecture more easily and accurately with
Russian interpretation.
When organizing a workshop overseas, the most important part is the selection of the themes of the
training course. The preliminary survey should be made prior to selecting the appropriate theme which
is most urgently needed for the country. The training programme should also have long-term effect on
the protection of cultural heritage after the workshop has ended. In organizing this workshop, we were
fortunate enough to receive useful information from Japanese researchers who had been engaged infield surveys in Uzbekistan for years.
I wish ACCU Nara will build on this experience of the local training workshop in Uzbekistan for the
next one. Lastly, I would like to express my appreciation to the National Research Institute forCultural Properties, the Nara Prefectural Government and the Nara Municipal Government for theircooperation in dispatching their officials to our workshop. I am also thankful to the Agency for
Cultural Affairs, Japan (Bunkacho) for their support.

NISHIMURA Yasushi
Director
The Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO (ACCU)

Ⅰ. Intoroduction

Fine Arts Research Institute, Academy of Arts of Uzbekistan

1. General Information

The Workshop 2008 for Protection of Cultural Heritageat Tashkent in Uzbekistan- Organized by the Cultural Heritage Protection Cooperation Office, Asia / Pacific Cultural Centre for
UNESCO in Cooperation with UNESCO Office in Tashkent -1. Venue and Country
At the International Caravanserai of Cultures, in the city of Tashkent, the Republic to Uzbekistan[37” A”, Yusuf Hos Hojib St. Tashkent 700031]
2. DateFrom 20 October (Mon.) to 25 October (Sat.) 2008
[Departure from Japan: 17 October (Fri.); Arrival to Japan: 29 October (Wed.)]3. Themes
The measured drawing of archaeological artefacts and the photography for documenting artefacts.
 Introduction to Measured Drawing of Earthenware; Practical Training on Measured Drawing ofEarthenware (whole and shards of earthenware / design layout / a descriptive method of observed
details) Ink Rubbing and its Backing
 Photographic Technique of Artefacts (theory and practice)
4. Schedule
As on another sheet: Schedule of the Workshop for Protection of Cultural Heritage at Tashkent in
Uzbekistan.
5. Participants
Fifteen researchers, engaging in investigation, research and preservation of cultural properties in
Uzbekistan, who belong to research institutes or museums,
6.

Language
The main working language of the training course is Russian.

7. Expenses
All the expenses required for the items listed below shall be born by ACCU Nara Office.
 Dispatching a group of instructors from Japan (four personnel from ACCU Nara and four
instructors)
 Provision of transportation to the venue, accommodations and daily allowances to the participants Preparation of venue for the training Procurement of the necessary tools for workshop (for measured drawing and ink rubbing, etc.)
 Employment of the interpreters Arrangement to rent a car and a phone Publishing the training report

2. Programme ScheduleП . Workshop JournalInternational Caravanserai of Cultures, Academy of Arts of Uzbekistan

Journal of the Workshop 2008
Friday, October 17, 2008
A group of ACCU staff and instructors departed Kansai International Airport by Asiana Airlines via
Seoul Incheon and arrived at Tashkent at 9:30 p.m. local time.
Saturday, October 18
ACCU staff exchanged greetings with Mr Farrukh USMANOV, Director of International
Caravanserai of Cultures, Academy of Arts Uzbekistan; and Mr Tursunali KUZIEV, Chairman of
Academy of Arts of Uzbekistan. Then staff and instructors started work of preparations: setting up“the classroom” for the workshop and sorting the earthenware to be used as teaching materials.

A preliminary meeting with interpreters

Hanging the banner in the classroom

Meeting with Mr Kuzuiev and Mr Usmanov, Director of International Caravanserai of CulturesSunday, October 19
ACCU staff and instructors left for Kanka site, a large urban archaeological site located about 80
kilometers southwest of Tashkent. Upon arriving at the site, they observed and took photographs ofthe shakhristan (town territory) and the citadel site. Mr. SUGIMOTO Kazuki took photographs of themain areas of the site.

Citadel of Kanka site

Monday, October 20
The Opening Ceremony was held at International Caravanserai of Cultures. Opening addresses were
given by Mr Tursunali KUZIEV, Chairman of Academy of Arts of Uzbekistan; Mr NISHIMURA
Yasushi, Director of ACCU Nara Office; and Ms Anna PAOLINI, Head of Office, UNESCO Officein Tashkent. Ms Ismailova Jannat KHAMIDOVNA, the Director of The State Museum of Historyof Uzbekistan and Mr Oqilkhon IBRAGMOV, the Director of the Fine Arts Research Institute,
Academy of Fine Arts of Uzbekistan attended the ceremony to congratulate this regional workshop
for conservation of archaeological artefacts. After the orientation of the programme, the practicaltraining on "Photography of Archaeological Artefacts" was conducted by using earthenware andcoins as the subjects photographed. Mr Sugimoto demonstrated how to set up appropriate lighting
for shooting.

All participants and related parties at the opening ceremonyMs Paolini, Mr Kuziev and Mr Nishimura

Practical training on photography indoors

Tuesday, October 21
Practical training on photography was conducted by using participants as the subjects photographed.
Then a lecture and hands-on training on how to take bird's-eye-view photographs effectively were
given by using various earthenware excavated from the Kampyr-tepe.

Practical training on photography indoors

Practical training on photography outdoors

Wednesday, October 22
Mr OMI Toshihide lectured brief overview of measured drawing of earthenware. He also lectured
on the importance of earthenware in determining the chronological dating of archaeological sites inJapan.

Mr Omi lectured on an introduction to the measured drawing of earthenware

10Thursday, October 23
Mr TATEISHI Kenji lectured on measured drawing of earthenware: why it is necessary to takemeasurements of earthenware. A detailed explanation was given on how to use the measuring tools
such as scales, calipers, Mako etc., most of which were new to each participant.

Mr Tateishi lectured on
the measured drawing of earthenware

Practical training on
the measured drawing of earthenware

Friday, October 24
Practical training on measured drawing of earthenware was given: drawing cross-sections on grid
paper, writing notes onto the earthenware, and measured drawing of earthenware which was restoredfrom fragments. In the afternoon, hands-on practice on how to make ink rubbings of archaeologicalartefacts was given by Mr. Omi. Earthenware, coins, and relief engravings which were excavatedfrom the sites and stored at Caravanserai, were used as teaching materials by courtesy of researchers
and related organisations.

11Practical training on the measured drawing of earthenware

Practical training on taking ink rubbings of artefacts

Saturday, October 25
Mr FURUSHO Hiroaki delivered a summary lecture on measured drawing of earthenware andMs Paolini summarized the whole training workshop. At the Closing Ceremony, she awarded a
Certificate of Completion to each participant.

12

Ms Paolini awarded a certificate to each participant

Ms Iskanderova and Mr Yagodin made speeches onbehalf of all participants

A picture of all participantsSunday, October 26
ACCU staff and instructors left Tashkent for Samarkand, the World Heritage Site in Uzbekistan,for observation and toured major historic monuments and buildings: Registan Square, Tamerlane's
Mausoleum, Shakh-i-Zinda Mausoleum, etc.

Registan Square in Samarkand

Monday, October 27
ACCU staff and instructors visited Institute of Archaeology, the Uzbekistan Academy of Sciences
and met with three researchers participated in this workshop and Mr Bakhriddin BOLIYEV, who
had been in Japan for individual training programme in July to August 2008. They had a facility tourof their laboratories and workplaces under the guidance of ex-participants; discussed outcomes of
the training session; and gave individualized instructions to those with questions. In the afternoon,
they went to Afrasiab Hill and took photographs of the ruined sites.

13

ACCU staff visited Institute of Archaeology (Samarkand) andhad a pleasant reunion with Mr Boliev.

Visiting the conservation laboratory in the InstituteAt the mural restoration laboratory in the Institute

Mr Sugimoto, a photographer, took a number of
pictures in Samarkand

Afrasiab site

The site museum at the Afrasiab site

14

Tuesday, October 28
The entire group of ACCU staff and instructors returned to Tashkent and visited Mr Tursunali
KUZIEV, Chairman of Academy of Arts of Uzbekistan, to appreciate his cooperation for the
successful completion of the workshop before departure. They departed Tashkent at 10:20 p.m. forSeoul Incheon on Asiana Airlines.

Shakhi-Zinda Mausoleum

Mr Sugimoto took photographs of Shakhi-Zinda Mausoleum

Staff and lecturers visited Mr Kuziev to report the successful completion of the workshop and to show their gratitude for his cooperation.

Wednesday, October 29
ACCU staff and instructors departed Seoul Incheon Airport for Kansai International Airport on
Asiana Airlines at 10 a.m. and arrived at Kansai International Airport at 11:40 a.m.

15

Tashkent

SamarkandSamarkandSamarkandSamarkandSamarkandSamarkand

SamarkandSamarkandSamarkand

Tashkent

Samarkand

Tashkent

SamarkandTashkent

Tashkent

Samarkand

Tashkent

Tashkent

Samarkand

Tashkent

SamarkandⅢ. Lecturer Paper

International Caravanserai of Cultures, Academy of Arts of Uzbekistan

Surveying and Recording of Archaeological Sites
ʊ Photographic Techniques for Documentation of Archaeological Materials ʊ

1. Why are photographs necessary for recording archaeological artefacts and sites?
Only photographs can record and convey more detailed information to the third party than descriptions
and drawings can provide.
 Texture of the artefacts
 Configuration and position of the sites
 Atmosphere and sense of reality of the sites
2. The role of photographs as archaeological records
 Photographs can be faithful records of disappearing archaeological sites.
 Photographic records can be utilized as pictorial data.
 However, we should keep in mind that fragile artefacts may be damaged each time they arephotographed in some situations.
3. The general principles for archaeological photography
 We should employ the best techniques and materials available now in order to take high quality
photographs with much information.
 We should choose good reproducible media: Film, printing paper, digital media such as CDs.
4. The requirements for the ideal photograph: Large amount of information.
Ԙ Clear and finely detailed: The photograph should be in focus and free of blurring. Do notskimp on materials used for photography.
ԙ Appropriate angle: Resist the temptation to photograph everything in one picture.
Ԛ Appropriate density and contrast: Avoid coarse-grained pictures, and too little or too muchcontrasts. The pictures with too much contrast are too dark and no light parts and we can notdistinguish the fine details.
ԛ Excellent reproduction of colours: Make sure the colours are balanced.
Ԝ Others: Keep the sense of three-dimensionality and proper perspective.
5. Storage of photographs
 Pay due attention to the storage environment of films, printing papers, and CDs.
 The ideal environment for a long-term storage is the room with low temperature, low humidity, andshielded from sun light.
 There should be full consideration for the organized filing system of the photographs for the sakeof future utilization: The pictures can be integrated into databases with other information such as
drawings of archaeological sites, features, and built structures.

236. Relation with printing
Ԙ It is needed to take photographs good enough for printing and to serve their particularpurpose as records; they will be used in archaeological reports or catalogues.
[The Photographic angle, exposure, lighting, weather, and time of the day]ԙ Many photographs tend to offer a little information; they have poor reproduction of tone,
colour, and texture.
Ԛ Be aware of the role of the photographs; they are different from drawings and diagrams.
ԛ The amount of the information in one picture will differ according to the printed size of thephotograph. One photograph can encompass only limited amount of information, therefore
we should plan ahead the use of multiple photographs per artefact or site.
7. Photography in practiceAt first, recognize the difference between the archaeological photograph and the surveying map. Rightframing, appropriate arrangement of the artefacts and well-suited shooting techniques are required.
Ԙ Photo sensitizer: Sensitivity of films, and characteristics of printing papers.
ԙ Exposure time and lighting: Difference in brightness between the object and the surroundings, theuse of artificial light, and how to decide exposure time.
Ԛ Basic knowledge of equipment for photography: How to handle the camera, lens, and strobelamp.
ԛ Facilities necessary for photography: Photographic equipment in both outdoor and indoor,
lighting equipment, and a photo studio.
Ԝ Basic knowledge of development and enlargement: Film development, equipment fordevelopment and enlargement.
ԝ Equipment for development and enlargement:
Darkrooms, equipment for development, andphoto enlargers.
Ԟ Knowledge for the evaluation of photographic
images: Density and colour development of aphotograph, evaluation with printed image in
mind, and the artificial light source.
ԟ Knowledge of the printing and the publication:
Layout of the pictures and visual effects.
8. Basic knowledge of the camera
The basic structure of the camera: The camera andhuman eyes.
Human eyes and Camera

24Ԙ The role of the lens; various types of lenses and their characteristics.
[Normal lens, wide-angle lens, super wide-angle lens, fish-eye lens, mid-telephoto lens, telephotolens, and super telephoto lens]When the lens is changed from normal to others, the range of the photograph and angle of view
will change accordingly as well as the sense of perspectives. For example, nearby objects shouldlook larger than distant objects, however this sense of distance becomes out of proportion.
ԙ Zoom lens and macro lensA zoom lens allows for continuous adjustment of focal distance with a single lens. Comparedwith it, lens with a fixed focal distance is called “fixed focal length” lens. The main disadvantageof the zoom lens is that its design does not allow bright aperture. Macro lens is designed speciallyfor close-up photography for close range objects.
Ԛ Focus and focal distance
Both the range of photography and thesense of perspective change according
to the types of lens such as wide-angle
or telephoto. This is due to thedifference in the focal distance of the

Focal Length and Distancelens.
ԛ Lens-to-subject distance and depth of field

When the subject is brought into focus, the range around the focal plane also appears to be infocus. The range of focus (distance) differs according to the focal distance of the lens; whether
the lens is wide-angle or telephoto. The range of distance is called “depth of field”.
Ԝ Focal distance and an angle of view
If the subject is photographed from thesame position, the longer the focal
distance of the lens (such as telephoto),
the larger the image we get. However,
the range of the photograph becomesnarrower.

Wide-range

lens

is

the

opposite: the image is smaller, but alarger range.
ԝ Image circle
The lens is circular; therefore, the image

Lens and Image Size

formed on the film is also circular. The

central portion of this circle is taken out to form the image on the film. The peripheral parts of theimage are distant from the centre of the lens and less bright.

25Ԟ Aperture and shutter speed
The aperture is a circular or polygonal hole made by thin overlapping metal plates. The amount oflight onto the film is adjusted by opening or closing these blades. The amount of light can be also
adjusted by changing the shutter speed according to the depth of field to be required. When one
holds the camera by hands for shooting, choose a shutter speed at which blurring will not occur.
ԟ The shutter
The shutter is kept closed to shield the film from light. The shutter opens only during shooting.
There are two types of shutters: The focal plane shutter in front of the film and the lens shutter
integrated into the lens mount.
The amount of light allowed onto the film is adjusted by the length of time that the shutter
remains open, which is called shutter speed. Numbers such as 1/125 and 1/250 indicate thefraction of one second during which the shutter remains open. When the shutter remains open for
long, the shutter speed is referred to as slow. A fast shutter speed means that the shutter is open
for a shorter time. When the shutter speed is taken one stage down, the amount of light on thefilm is halved. For instance, the shutter speed of 1/250 is the half of 1/125. A similar adjustmentof light can be made by opening or closing the aperture.
9. The process of photography
1㧕Image formation
The lens is moved back and forth to form the clear image on the viewfinder (focus adjustment).
2) Recording the image
The amount of light is adjusted (by aperture and shutter speed). Appropriate exposure is needed.
3) Recording media
Monochrome and colour film. CCD(Charge Coupled Device, which is corresponding to a film ina camera. It converts optical information into digital data.)
4) Film development
The image recorded onto the film by shooting does not become visible until it is developed. Thisis called “a latent image”. The film needs to be developed to yield a visible image which is called“a negative”.

In the negative, the light and dark areas are the inverse of the original object. Withcolour film, the colours are also inverted.
5) Printing
In this step, the negative film with brightness and colours being inverted is processed withphotoenlargers and printers to reproduce the image of the original object.

26Differences of “depth of field” by apertures( 35 mm Camera)

50 mm F:4

50 mm F:11.5

Pictures taken by different focal length lens from same location (35mm Camera)

135 mm

90 mm

50 mm

35 mm

28 mm

27


ɂɫɫɥɟɞɨɜɚɧɢɟ ɢ ɮɢɤɫɚɰɢɹ ɚɪɯɟɨɥɨɝɢɱɟɫɤɢɯ ɩɚɦɹɬɧɢɤɨɜ
- Ɍɟɯɧɢɤɚ ɮɨɬɨɝɪɚɮɢɢ ɞɥɹ ɮɢɤɫɚɰɢɢ ɚɪɯɟɨɥɨɝɢɱɟɫɤɢɯ ɦɚɬɟɪɢɚɥɨɜ 1. ɉɨɱɟɦɭ ɮɨɬɨɝɪɚɮɢɹ ɧɭɠɧɚ ɞɥɹ ɮɢɤɫɚɰɢɢ ɚɪɯɟɨɥɨɝɢɱɟɫɤɢɯ ɚɪɬɟɮɚɤɬɨɜ ɢɩɚɦɹɬɧɢɤɨɜ?
Ɏɨɬɨɝɪɚɮɢɹ ɦɨɠɟɬ ɩɟɪɟɞɚɬɶ ɫɜɟɞɟɧɢɹ, ɤɨɬɨɪɵɟ ɬɪɭɞɧɨ ɡɚɮɢɤɫɢɪɨɜɚɬɶ ɩɢɫɶɦɟɧɧɨ ɢɥɢɱɟɪɬɟɠɨɦ: 1) Ɏɚɤɬɭɪɚ ɦɚɬɟɪɢɚɥɨɜ, 2) Ɏɨɪɦɚ ɢ ɪɚɫɩɨɥɨɠɟɧɢɟ ɦɚɬɟɪɢɚɥɨɜ, 3) Ⱥɬɦɨɫɮɟɪɚɢ ɱɭɜɫɬɜɨ ɩɪɢɫɭɬɫɬɜɢɹ ɦɚɬɟɪɢɚɥɨɜ.
2. Ɋɨɥɶ ɮɨɬɨɝɪɚɮɢɢ ɤɚɤ ɚɪɯɟɨɥɨɝɢɱɟɫɤɨɣ ɮɢɤɫɚɰɢɢ Ɏɨɬɨɝɪɚɮɢɹ ɬɳɚɬɟɥɶɧɨ ɮɢɤɫɢɪɭɟɬ ɢɫɱɟɡɚɸɳɢɣ ɚɪɯɟɨɥɨɝɢɱɟɫɤɢɣ ɩɚɦɹɬɧɢɤ.
 ɇɨ ɧɚɞɨ ɢɦɟɬɶ ɜ ɜɢɞɭ, ɱɬɨ ɧɟɤɨɬɨɪɵɟ ɚɪɬɟɮɚɤɬɵ ɩɨɪɬɹɬɫɹ ɩɪɢ ɤɚɠɞɨɣ ɮɨɬɨɫɴɟɦɤɟ.
 ɇɭɠɧɨ ɫɨɯɪɚɧɢɬɶ ɮɢɤɫɚɰɢɸ, ɤɨɬɨɪɭɸ ɦɨɠɧɨ ɢɫɩɨɥɶɡɨɜɚɬɶ ɤɚɤ ɢɡɨɛɪɚɡɢɬɟɥɶɧɵɣ
ɦɚɬɟɪɢɚɥ.
3. Ɉɫɧɨɜɧɵɟ ɩɪɢɧɰɢɩɵ ɚɪɯɟɨɥɨɝɢɱɟɫɤɨɣ ɮɨɬɨɝɪɚɮɢɢ ɉɪɢɦɟɧɹɹ ɥɭɱɲɢɟ ɦɟɬɨɞɢɤɢ ɫɴɟɦɤɢ ɢ ɮɨɬɨɦɚɬɟɪɢɚɥɵ ɞɚɧɧɨɝɨ ɜɪɟɦɟɧɢ,ɧɟɨɛɯɨɞɢɦɨ ɫɧɢɦɚɬɶ ɜɵɫɨɤɨɤɚɱɟɫɬɜɟɧɧɵɟ ɮɨɬɨɝɪɚɮɢɢ ɚɪɯɟɨɥɨɝɢɱɟɫɤɢɯ ɚɪɬɟɮɚɤɬɨɜɢ ɩɚɦɹɬɧɢɤɨɜ, ɬ.ɟ ɫ ɛɨɥɶɲɢɦ ɤɨɥɢɱɟɫɬɜɨɦ ɢɧɮɨɪɦɚɰɢɢ.
 ɉɪɢ ɫɴɟɦɤɟ ɮɨɬɨɝɪɚɮɢɢ ɢ ɟɟ ɫɨɯɪɚɧɟɧɢɢ, ɧɚɞɨ ɜɵɛɢɪɚɬɶ ɫɪɟɞɫɬɜɚ (ɮɨɬɨɩɥɟɧɤɭ,ɮɨɬɨɛɭɦɚɝɭ, ɷɥɟɤɬɪɨɧɧɵɟ ɧɨɫɢɬɟɥɢ, ɤɚɤ ɤɨɦɩɚɤɬ-ɞɢɫɤ) ɫ ɜɵɫɨɤɢɦ ɤɚɱɟɫɬɜɨɦ
ɜɨɫɩɪɨɢɡɜɨɞɫɬɜɚ.
4. ɑɬɨ ɧɭɠɧɨ ɞɥɹ ɫɴɟɦɤɢ ɢɞɟɚɥɶɧɨɣ ɮɨɬɨɝɪɚɮɢɢ: ɛɨɥɶɲɨɟ ɤɨɥɢɱɟɫɬɜɨ
ɢɧɮɨɪɦɚɰɢɢ
1) ɑɟɬɤɨɫɬɶ ɢ ɬɳɚɬɟɥɶɧɨɫɬɶ: ɮɨɬɨɝɪɚɮɢɹ ɞɨɥɠɧɚ ɛɵɬɶ ɜ ɮɨɤɭɫɟ ɢ ɛɟɡ ɬɪɹɫɟɧɢɣ.
ɇɟɥɶɡɹ ɫɤɭɩɢɬɶɫɹ ɧɚ ɦɚɬɟɪɢɚɥɵ ɞɥɹ ɮɨɬɨɝɪɚɮɢɢ.
2) ɉɨɞɯɨɞɹɳɢɣ ɭɝɨɥ ɡɪɟɧɢɹ: ɇɟɥɶɡɹ ɫɧɢɦɚɬɶ ɛɨɥɶɲɨɟ ɤɨɥɢɱɟɫɬɜɨ ɩɪɟɞɦɟɬɨɜ ɜ ɨɞɧɨɣ
ɮɨɬɨɝɪɚɮɢɢ.
3) ɉɨɞɯɨɞɹɳɢɣ ɬɨɧ ɢ ɤɨɧɬɪɚɫɬ:ɇɟɥɶɡɹ ɫɧɢɦɚɬɶ ɝɪɭɛɵɟ, ɛɥɟɞɧɵɟ, ɫɥɢɲɤɨɦ ɩɥɨɬɧɵɟ ɢɥɢ ɦɚɥɨ-ɤɨɧɬɪɚɫɬɧɵɟ
ɮɨɬɨɝɪɚɮɢɢ. ȿɫɥɢ ɮɨɬɨɝɪɚɮɢɹ ɫɥɢɲɤɨɦ ɤɨɧɬɪɚɫɬɧɚ, ɬɨ ɫɜɟɬɥɵɟ ɦɟɫɬɚ ɜ ɧɟɣɢɫɱɟɡɚɸɬ. Ⱥ ɟɫɥɢ ɮɨɬɨɝɪɚɮɢɹ ɫɥɢɲɤɨɦ ɩɥɨɬɧɚɹ, ɬɨ ɧɟɜɨɡɦɨɠɧɨ ɢɡɨɛɪɚɡɢɬɶ ɞɟɬɚɥɢ.
4) ɏɨɪɨɲɟɟ ɜɨɫɩɪɨɢɡɜɟɞɟɧɢɟ ɰɜɟɬɨɜ: ɰɜɟɬɚ ɞɨɥɠɧɵ ɛɵɬɶ ɫɛɚɥɚɧɫɢɪɨɜɚɧɵ.
5) ɋɬɟɪɟɨɫɤɨɩɢɱɧɨɫɬɶ ɢ ɩɟɪɫɩɟɤɬɢɜɚ
5. ɏɪɚɧɟɧɢɟ ɮɨɬɨɝɪɚɮɢɢ ɇɚɞɨ ɨɛɪɚɳɚɬɶ ɜɧɢɦɚɧɢɟ ɧɚ ɭɫɥɨɜɢɹ ɯɪɚɧɟɧɢɹ ɮɨɬɨɩɥɟɧɨɤ, ɮɨɬɨɛɭɦɚɝɢ,28ɷɥɟɤɬɪɨɧɧɵɯ ɧɨɫɢɬɟɥɟɣ, ɤɚɤ ɤɨɦɩɚɤɬ-ɞɢɫɤɢ.
 Ⱦɥɹ ɞɨɥɝɨɫɪɨɱɧɨɝɨ ɯɪɚɧɟɧɢɹ ɮɨɬɨɦɚɬɟɪɢɚɥɨɜ, ɢɞɟɚɥɶɧɨ, ɯɪɚɧɢɬɶ ɢɯ ɩɪɢ ɧɢɡɤɨɣ
ɬɟɦɩɟɪɚɬɭɪɟ, ɧɢɡɤɨɣ ɜɥɚɠɧɨɫɬɢ ɢ ɛɟɡ ɞɨɫɬɭɩɚ ɫɜɟɬɚ.
 ɇɟɨɛɯɨɞɢɦɨ ɩɪɢɜɨɞɢɬɶ ɮɨɬɨɝɪɚɮɢɢ ɜ ɩɨɪɹɞɨɤ, ɢɦɟɹ ɜ ɜɢɞɭ, ɢɯ ɞɚɥɶɧɟɣɲɟɟ
ɢɫɩɨɥɶɡɨɜɚɧɢɟ ɜ ɛɚɡɟ ɞɚɧɧɵɯ ɫ ɩɥɚɧɚɦɢ ɩɚɦɹɬɧɢɤɨɜ, ɪɚɫɤɨɩɚɧɧɵɯ ɦɟɫɬ ɢ ɞɪ.
6. Ɏɨɬɨɝɪɚɮɢɹ ɞɥɹ ɩɟɱɚɬɢ
1) ɇɟɨɛɯɨɞɢɦɨ ɫɧɢɦɚɬɶ ɮɨɬɨɝɪɚɮɢɢ ɫ ɭɱɟɬɨɦ ɢɯ ɩɪɢɦɟɧɟɧɢɹ, ɬ.ɟ. ɞɥɹ ɩɟɱɚɬɢ ɜ ɨɬɱɟɬɚɯɢɥɢ ɤɚɬɚɥɨɝɚɯ. Ⱦɥɹ ɷɬɨɝɨ, ɧɚɞɨ ɢɦɟɬɶ ɜ ɜɢɞɭ ɫɥɟɞɭɸɳɢɟ ɮɚɤɬɨɪɵ: ɭɝɨɥ ɡɪɟɧɢɹ,ɷɤɫɩɨɡɢɰɢɸ, ɫɜɟɬ, ɩɨɝɨɞɭ, ɜɪɟɦɹ.
2) ɑɚɫɬɨ ɜɫɬɪɟɱɚɸɬɫɹ ɮɨɬɨɝɪɚɮɢɢ, ɜ ɤɨɬɨɪɵɯ ɦɚɥɨ ɢɧɮɨɪɦɚɰɢɢ, ɬ.ɟ. ɤɨɬɨɪɵɟ ɧɟɜɨɫɩɪɨɢɡɜɨɞɹɬ ɬɨɧ, ɰɜɟɬ ɢ ɮɚɤɬɭɪɭ ɦɚɬɟɪɢɚɥɚ.
3) ɇɭɠɧɨ ɩɪɚɜɢɥɶɧɨ ɩɨɧɢɦɚɬɶ ɪɨɥɶ ɮɨɬɨɝɪɚɮɢɢ. ɋɭɳɟɫɬɜɭɸɬ ɨɬɥɢɱɢɹ ɨɬ ɱɟɪɬɟɠɚ.
4) Ʉɨɥɢɱɟɫɬɜɨ ɢɧɮɨɪɦɚɰɢɢ ɜ ɨɞɧɨɣ ɮɨɬɨɝɪɚɮɢɢ ɡɚɜɢɫɢɬ ɨɬ ɪɚɡɦɟɪɚ ɮɨɬɨɝɪɚɮɢɢ ɞɥɹɩɟɱɚɬɢ. Ɉɞɧɚ ɮɨɬɨɝɪɚɮɢɹ ɦɨɠɟɬ ɩɟɪɟɞɚɬɶ ɨɝɪɚɧɢɱɟɧɧɨɟ ɤɨɥɢɱɟɫɬɜɨ ɢɧɮɨɪɦɚɰɢɢ,ɩɨɷɬɨɦɭ ɧɚɞɨ ɩɪɟɞɩɨɥɚɝɚɬɶ ɢɫɩɨɥɶɡɨɜɚɧɢɟ ɧɟɫɤɨɥɶɤɢɯ ɮɨɬɨɝɪɚɮɢɣ ɞɥɹ ɨɞɧɨɝɨ
ɚɪɬɟɮɚɤɬɚ ɢɥɢ ɩɚɦɹɬɧɢɤɚ.
7. Ɏɨɬɨɝɪɚɮɢɹ ɧɚ ɩɪɚɤɬɢɤɟ
ɉɪɟɠɞɟ ɜɫɟɝɨ, ɧɚɞɨ ɩɨɧɢɦɚɬɶ ɪɚɡɧɢɰɭ ɦɟɠɞɭ ɚɪɯɟɨɥɨɝɢɱɟɫɤɨɣ ɮɨɬɨɝɪɚɮɢɟɣ ɢɱɟɪɬɟɠɨɦ. Ⱦɥɹ ɮɨɬɨɝɪɚɮɢɢ ɧɭɠɧɵ ɩɨɞɯɨɞɹɳɚɹ ɤɨɦɩɨɡɢɰɢɹ, ɪɚɫɩɨɥɨɠɟɧɢɟ ɨɛɴɟɤɬɚ
ɫɴɟɦɤɢ (ɚɪɬɟɮɚɤɬɚ ɢ ɞɪ.) ɢ ɩɨɞɯɨɞɹɳɢɟ ɩɪɢɟɦɵ ɫɴɟɦɤɢ.
1) ɋɜɟɬɨɱɭɜɫɬɜɢɬɟɥɶɧɨɫɬɶ
ɋɜɟɬɨɱɭɜɫɬɜɢɬɟɥɶɧɨɫɬɶ ɮɨɬɨɩɥɟɧɤɢ, ɫɜɨɣɫɬɜɚ ɮɨɬɨɛɭɦɚɝɢ.
2) ɗɤɫɩɨɡɢɰɢɹ ɢ ɨɫɜɟɳɟɧɢɟ
Ɋɚɡɧɢɰɚ ɹɪɤɨɫɬɢ ɦɟɠɞɭ ɨɛɴɟɤɬɨɦ ɢ ɮɨɧɨɦ. ɂɫɩɨɥɶɡɨɜɚɧɢɟ ɢɫɤɭɫɫɬɜɟɧɧɨɝɨ ɫɜɟɬɚ.
ɋɩɨɫɨɛ ɪɟɲɟɧɢɹ ɷɤɫɩɨɡɢɰɢɢ.
3) Ʉɚɤ ɢɫɩɨɥɶɡɨɜɚɬɶ ɮɨɬɨɚɩɩɚɪɚɬ ɢ ɞɪɭɝɢɟ ɩɪɢɧɚɞɥɟɠɧɨɫɬɢ
ɋɩɨɫɨɛ ɢɫɩɨɥɶɡɨɜɚɧɢɹ ɮɨɬɨɚɩɩɚɪɚɬɚ, ɨɛɴɟɤɬɢɜɨɜ, ɮɨɬɨɜɫɩɵɲɟɤ ɢ ɞɪ.
4) ɇɟɨɛɯɨɞɢɦɨɟ ɨɛɨɪɭɞɨɜɚɧɢɟ ɞɥɹ ɮɨɬɨɫɴɟɦɤɢ
Ɉɛɨɪɭɞɨɜɚɧɢɟ ɞɥɹ ɮɨɬɨɫɴɟɦɤɢ ɧɚ ɨɬɤɪɵɬɨɦ ɜɨɡɞɭɯɟ ɢ ɜ ɡɚɤɪɵɬɨɦ ɩɨɦɟɳɟɧɢɢ.
Ⱥɩɩɚɪɚɬɵ ɞɥɹ ɨɫɜɟɳɟɧɢɹ. Ɏɨɬɨɫɬɭɞɢɹ.
5) ɉɪɨɹɜɥɟɧɢɟ ɢ ɭɜɟɥɢɱɟɧɢɟ ɮɨɬɨɝɪɚɮɢɢ
ɉɪɨɹɜɥɟɧɢɟ
ɮɨɬɨɩɥɟɧɤɢ.
ɉɪɢɛɨɪɵ
ɞɥɹɩɪɨɹɜɥɟɧɢɹ
ɮɨɬɨɩɥɟɧɤɢ
ɢɭɜɟɥɢɱɟɧɢɹɮɨɬɨɝɪɚɮɢɢ.
6) ɉɪɢɛɨɪɵ ɞɥɹ ɩɪɨɹɜɥɟɧɢɹ ɩɥɟɧɤɢ ɢ ɭɜɟɥɢɱɟɧɢɹ ɮɨɬɨɝɪɚɮɢɢ
Ɍɟɦɧɚɹ ɤɨɦɧɚɬɚ. ɉɪɢɛɨɪɵ ɞɥɹ ɩɪɨɹɜɥɟɧɢɹ ɩɥɟɧɤɢ ɢ ɭɜɟɥɢɱɟɧɢɹ ɮɨɬɨɝɪɚɮɢɢ.
7) Ɂɧɚɧɢɹ, ɧɟɨɛɯɨɞɢɦɵɟ ɞɥɹ ɨɰɟɧɤɢ ɢɡɨɛɪɚɠɟɧɢɹ ɮɨɬɨɝɪɚɮɢɢ


29Ɉɰɟɧɤɚ ɩɥɨɬɧɨɫɬɢ ɫɜɟɬɨɬɟɧɢ ɢ ɩɪɨɹɜɥɟɧɢɹ ɰɜɟɬɨɜ. ɉɪɟɞɜɚɪɢɬɟɥɶɧɚɹ ɨɰɟɧɤɚ
ɮɨɬɨɧɟɝɚɬɢɜɚ, ɩɪɟɞɩɨɥɚɝɚɹ, ɤɚɤ ɛɭɞɟɬ ɜɵɝɥɹɞɟɬɶ ɮɨɬɨɝɪɚɮɢɹ ɜ ɩɟɱɚɬɚɧɨɦ ɜɢɞɟ.
ɂɫɬɨɱɧɢɤ ɫɜɟɬɚ ɩɪɢ ɨɰɟɧɤɟ ɮɨɬɨɝɪɚɮɢɢ.
8) Ɂɧɚɧɢɹ ɨ ɩɟɱɚɬɢ ɢ ɢɡɞɚɧɢɢ
Ɋɚɫɩɨɥɨɠɟɧɢɟ ɮɨɬɨɝɪɚɮɢɣ. ȼɢɡɭɚɥɶɧɵɣ ɷɮɮɟɤɬ.
8. Ɉɫɧɨɜɧɵɟ ɡɧɚɧɢɹ ɨ ɮɨɬɨɚɩɩɚɪɚɬɟ
Ɉɫɧɨɜɧɚɹ ɫɬɪɭɤɬɭɪɚ ɮɨɬɨɚɩɩɚɪɚɬɚ.
ɮɨɬɨɚɩɩɚɪɚɬɨɦ.

ɋɪɚɜɧɟɧɢɟ

ɫɬɪɭɤɬɭɪɵ

ɝɥɚɡɱɟɥɨɜɟɤɚɫ1) Ɏɭɧɤɰɢɢ ɨɛɴɟɤɬɢɜɚ; ɪɚɡɧɵɟ ɜɢɞɵɨɛɴɟɤɬɢɜɨɜ ɢ ɢɯ ɫɜɨɣɫɬɜɚ
Ɋɚɡɧɵɟ ɜɢɞɵ ɨɛɴɟɤɬɢɜɨɜ: ɧɨɪɦɚɥɶɧɵɣ
ɨɛɴɟɤɬɢɜ, ɲɢɪɨɤɨɭɝɨɥɶɧɵɣ ɨɛɴɟɤɬɢɜ, ɫɜɟɪɯɲɢɪɨɤɨɭɝɨɥɶɧɵɣ ɨɛɴɟɤɬɢɜ, ɨɛɴɟɤɬɢɜ «ɪɵɛɢɣ
ɝɥɚɡ», ɫɪɟɞɧɟ-ɬɟɥɟɨɛɴɟɤɬɢɜ, ɬɟɥɟɨɛɴɟɤɬɢɜ, ɫɜɟɪɯɬɟɥɟɨɛɴɟɤɬɢɜ.
ɉɪɢ ɡɚɦɟɧɟ ɧɨɪɦɚɥɶɧɨɝɨ ɨɛɴɟɤɬɢɜɚ ɧɚ ɞɪɭɝɨɣ
ɝɪɚɧɢɰɵ ɮɨɬɨɝɪɚɮɢɢ, ɬ.ɟ. ɭɝɨɥ ɡɪɟɧɢɹ,ɢɡɦɟɧɹɸɬɫɹ. ɉɟɪɫɩɟɤɬɢɜɚ ɮɨɬɨɝɪɚɮɢɢ ɬɨɠɟɢɡɦɟɧɹɟɬɫɹ. ɉɪɢ ɢɫɩɨɥɶɡɨɜɚɧɢɢ ɧɨɪɦɚɥɶɧɨɝɨ
ɨɛɴɟɤɬɢɜɚ ɧɚɯɨɞɹɳɢɣ ɛɥɢɠɟ ɨɛɴɟɤɬ ɞɨɥɠɟɧ
ɛɵɬɶ ɛɨɥɶɲɟɝɨ ɪɚɡɦɟɪɚ, ɱɟɦ ɧɚɯɨɞɹɳɢɣ ɞɚɥɶɲɟ
ɋɪɚɜɧɟɧɢɟ
ɫɬɪɭɤɬɭɪɵ
ɝɥɚɡɨɛɴɟɤɬ. ɇɨ ɩɪɢ ɢɫɩɨɥɶɡɨɜɚɧɢɢ ɞɪɭɝɨɝɨ ɜɢɞɚɱɟɥɨɜɟɤɚ ɫ ɮɨɬɨɚɩɩɚɪɚɬɨɦ
ɨɛɴɟɤɬɢɜɚ ɬɚɤɨɟ ɨɳɭɳɟɧɢɟ ɧɟɩɪɨɩɨɪɰɢɨɧɚɥɶɧɨ
ɪɚɫɫɬɨɹɧɢɸ.
2) ɉɚɧɤɪɚɬɢɱɟɫɤɢɣ ɨɛɴɟɤɬɢɜ ɢ ɦɚɤɪɨ ɨɛɴɟɤɬɢɜ
ɉɚɧɤɪɚɬɢɱɟɫɤɢɣ ɨɛɴɟɤɬɢɜ ɦɨɠɟɬ ɧɟɩɪɟɪɵɜɧɨ ɦɟɧɹɬɶ ɮɨɤɭɫɧɨɟ ɪɚɫɫɬɨɹɧɢɟ. Ⱥɨɛɴɟɤɬɢɜ, ɮɨɤɭɫ ɤɨɬɨɪɨɝɨ ɹɜɥɹɟɬɫɹ ɧɟɩɨɞɜɢɠɧɵɦ, ɧɚɡɵɜɚɟɬɫɹ «ɨɛɴɟɤɬɢɜ ɫɮɢɤɫɢɪɨɜɚɧɧɵɦ ɮɨɤɭɫɧɵɦ ɪɚɫɫɬɨɹɧɢɟɦ».
ɉɚɧɤɪɚɬɢɱɟɫɤɢɣ ɨɛɴɟɤɬɢɜ ɢɡ-ɡɚ ɫɜɨɟɣ ɤɨɧɫɬɪɭɤɰɢɢ ɢɦɟɟɬ ɧɟɞɨɫɬɚɬɨɤ: ɜɟɥɢɱɢɧɚ
ɞɢɚɮɪɚɝɦɵ ɨɝɪɚɧɢɱɟɧɚ ɢ ɧɟ ɦɨɠɟɬ ɞɚɬɶ ɞɨɫɬɚɬɨɱɧɭɸ ɹɪɤɨɫɬɶ.
Ɇɚɤɪɨ ɨɛɴɟɤɬɢɜ ɫɩɟɰɢɚɥɶɧɨ ɫɤɨɧɫɬɪɭɢɪɨɜɚɧ ɞɥɹ ɤɪɭɩɧɨɩɥɚɧɨɜɨɣ ɮɨɬɨɝɪɚɮɢɢ,ɫɧɢɦɚɸɳɟɣ ɤɪɚɣɧɟ ɛɥɢɡɤɢɣ ɨɛɴɟɤɬ.
3) Ɏɨɤɭɫ ɢ ɮɨɤɭɫɧɨɟ ɪɚɫɫɬɨɹɧɢɟ
Ƚɪɚɧɢɰɵ ɫɴɟɦɤɢ ɢ ɟɟ ɩɟɪɫɩɟɤɬɢɜɚ
ɢɡɦɟɧɹɸɬɫɹ ɜ ɡɚɜɢɫɢɦɨɫɬɢ ɨɬ ɜɢɞɚɨɛɴɟɤɬɢɜɚ, ɧɚɩɪɢɦɟɪ ɲɢɪɨɤɨɭɝɨɥɶɧɵɣ
ɨɛɴɟɤɬɢɜ ɢɥɢ ɬɟɥɟɨɛɴɟɤɬɢɜ. Ɍɚɤ ɤɚɤɎɨɤɭɫɧɨɟ ɪɚɫɫɬɨɹɧɢɟ

30ɤɚɠɞɵɣ ɨɛɴɟɤɬɢɜ ɨɬɥɢɱɚɟɬɫɹ ɮɨɤɭɫɧɵɦ ɪɚɫɫɬɨɹɧɢɟɦ.
4) Ɏɨɤɭɫɧɨɟ ɪɚɫɫɬɨɹɧɢɟ ɢ ɝɥɭɛɢɧɚ ɪɟɡɤɨɫɬɢ
Ʉɨɝɞɚ ɢɡɨɛɪɚɠɟɧɢɟ ɨɞɧɨɝɨ ɨɛɴɟɤɬɚ ɫɬɚɥɨ ɜ ɮɨɤɭɫɟ, ɬɨ ɢ ɢɡɨɛɪɚɠɟɧɢɹ ɞɪɭɝɢɯ
ɨɛɴɟɤɬɨɜ, ɤɨɬɨɪɵɟ ɧɚɯɨɞɹɬɫɹ ɜ ɨɛɥɚɫɬɢ ɩɟɪɟɞ ɢ ɩɨɡɚɞɢ ɧɚɯɨɞɹɳɟɝɨɫɹ ɜ ɮɨɤɭɫɟ ɨɛɴɟɤɬɚ,ɪɟɡɤɨ ɜɢɞɧɵ. Ƚɥɭɛɢɧɚ ɬɚɤɨɣ ɨɛɥɚɫɬɢ ɡɚɜɢɫɢɬ ɨɬ ɮɨɤɭɫɧɨɝɨ ɪɚɫɫɬɨɹɧɢɹ ɨɛɴɟɤɬɢɜɚ: ɤɚɤɨɣ
ɨɛɴɟɤɬɢɜ ɢɫɩɨɥɶɡɭɟɬɫɹ, ɲɢɪɨɤɨɭɝɨɥɶɧɵɣ ɨɛɴɟɤɬɢɜ ɢɥɢ ɬɟɥɟɨɛɴɟɤɬɢɜ. Ɉɧɚ ɧɚɡɵɜɚɟɬɫɹ
«ɝɥɭɛɢɧɨɣ ɪɟɡɤɨɫɬɢ».
5) Ɏɨɤɭɫɧɨɟ ɪɚɫɫɬɨɹɧɢɟ ɢ ɭɝɨɥ ɡɪɟɧɢɹɉɪɢ ɫɴɟɦɤɟ ɨɞɧɨɝɨ ɢ ɬɨɝɨ ɠɟɨɛɴɟɤɬɚ ɢɡ ɨɞɧɨɝɨ ɬɨɝɨ ɠɟ ɦɟɫɬɚ
ɬɟɥɟɨɛɴɟɤɬɢɜɨɦ,ɬ.ɟ
ɮɨɤɭɫɧɨɟ
ɪɚɫɫɬɨɹɧɢɟ
ɨɛɴɟɤɬɢɜɚ
ɞɥɢɧɧɟɟ,ɩɨɥɭɱɟɧɧɨɟ
ɢɡɨɛɪɚɠɟɧɢɟ
ɭɜɟɥɢɱɢɜɚɟɬɫɹ. ɇɨ ɬɨɝɞɚ ɝɪɚɧɢɰɵ
ɫɧɹɬɨɣ ɮɨɬɨɝɪɚɮɢɢ ɭɠɟ. ɉɪɢ ɫɴɟɦɤɟ
ɲɢɪɨɤɨɭɝɨɥɶɧɵɦ ɨɛɴɟɤɬɢɜɨɦ, ɧɚɨɛɨɪɨɬ,ɢɡɨɛɪɚɠɟɧɢɟ ɦɟɧɶɲɟ, ɚ ɝɪɚɧɢɰɵ
ɮɨɬɨɝɪɚɮɢɢ ɲɢɪɟ.
ȼɢɞɵ ɥɢɧɡ ɢ ɪɚɡɦɟɪ ɢɡɨɛɪɚɠɟɧɢɹ
6) Ʉɪɭɝ ɢɡɨɛɪɚɠɟɧɢɹ
Ɏɨɪɦɚ ɥɢɧɡɵ ɨɛɴɟɤɬɢɜɚ ɹɜɥɹɟɬɫɹ ɤɪɭɝɥɨɣ; ɩɨɷɬɨɦɭ ɢɡɨɛɪɚɠɟɧɢɟ, ɤɨɬɨɪɨɟ ɨɛɪɚɡɭɟɬɫɹɧɚ ɮɨɬɨɩɥɟɧɤɟ, ɬɨɠɟ ɤɪɭɝɥɨɟ. ɇɚ ɮɨɬɨɩɥɟɧɤɟ ɫɪɟɡɚɧɚ ɥɢɲɶ ɰɟɧɬɪɚɥɶɧɚɹ ɱɚɫɬɶ ɷɬɨɝɨ
ɤɪɭɝɚ. ɉɨ ɤɪɚɹɦ ɢɡɨɛɪɚɠɟɧɢɹ ɤɨɥɢɱɟɫɬɜɨ ɫɜɟɬɚ ɦɟɧɶɲɟ, ɬɚɤ ɤɚɤ ɪɚɫɫɬɨɹɧɢɟ ɨɬ ɰɟɧɬɪɚ
ɥɢɧɡɵ ɛɨɥɶɲɟ.
7) Ⱦɢɚɮɪɚɝɦɚ ɢ ɫɤɨɪɨɫɬɶ ɡɚɬɜɨɪɚ
Ⱦɢɚɮɪɚɝɦɚ ɹɜɥɹɟɬɫɹ ɤɪɭɝɥɵɦ ɢɥɢ ɦɧɨɝɨɭɝɨɥɶɧɵɦ ɨɬɜɟɪɫɬɢɟɦ, ɫɞɟɥɚɧɧɵɦ ɢɡ ɬɨɧɤɢɯ
ɥɟɠɚɳɢɯ ɨɞɧɚ ɧɚ ɞɪɭɝɨɣ ɦɟɬɚɥɥɢɱɟɫɤɢɯ ɩɥɚɫɬɢɧɨɤ. Ʉɨɥɢɱɟɫɬɜɨ ɫɜɟɬɚ ɩɨɩɚɞɚɸɳɟɝɨ ɧɚɮɨɬɨɩɥɟɧɤɭ ɱɟɪɟɡ ɨɛɴɟɤɬɢɜ ɪɟɝɭɥɢɪɭɟɬɫɹ ɨɬɤɪɵɬɢɟɦ ɢ ɡɚɤɪɵɬɢɟɦ ɷɬɨɝɨ ɨɬɜɟɪɫɬɢɹ.
Ɍɚɤɠɟ ɤɨɥɢɱɟɫɬɜɨ ɫɜɟɬɚ ɦɨɠɧɨ ɪɟɝɭɥɢɪɨɜɚɬɶ ɫɤɨɪɨɫɬɶɸ ɡɚɬɜɨɪɚ. ɋɨɨɬɧɨɲɟɧɢɟ
ɞɢɚɮɪɚɝɦɵ ɢ ɫɤɨɪɨɫɬɢ ɡɚɬɜɨɪɚ ɧɟɨɛɯɨɞɢɦɨ ɭɫɬɚɧɨɜɢɬɶ ɫ ɭɱɟɬɨɦ ɬɨɝɨ, ɱɬɨ «ɝɥɭɛɢɧɚ
ɪɟɡɤɨɫɬɢ» ɢɡɦɟɧɹɟɬɫɹ ɜ ɡɚɜɢɫɢɦɨɫɬɢ ɨɬ ɫɬɟɩɟɧɢ ɞɢɚɮɪɚɝɦɵ.
ɉɪɢ ɫɴɟɦɤɟ ɫ ɮɨɬɨɚɩɩɚɪɚɬɨɦ ɜ ɪɭɤɚɯ, ɞɨɥɠɧɚ ɛɵɬɶ ɜɵɛɪɚɧɚ ɬɚɤɚɹ ɫɤɨɪɨɫɬɶ ɡɚɬɜɨɪɚ,ɱɬɨɛɵ ɧɟ ɩɪɨɢɫɯɨɞɢɥɨ ɬɪɹɫɟɧɢɹ.

318) Ɂɚɬɜɨɪ
Ɉɛɵɱɧɨ ɡɚɬɜɨɪ ɡɚɤɪɵɜɚɟɬɫɹ, ɱɬɨɛɵ ɡɚɳɢɬɢɬɶ ɮɨɬɨɩɥɟɧɤɭ ɨɬ ɫɜɟɬɚ. Ɉɧ ɨɬɤɪɵɜɚɟɬɫɹ
ɥɢɲɶ ɩɪɢ ɫɴɟɦɤɟ. ɋɭɳɟɫɬɜɭɟɬ ɞɜɚ ɜɢɞɚ ɡɚɬɜɨɪɚ: ɲɬɨɪɧɵɣ ɡɚɬɜɨɪ, ɤɨɬɨɪɵɣ ɧɚɯɨɞɢɬɫɹ
ɩɟɪɟɞ ɮɨɬɨɩɥɟɧɤɨɣ, ɢ ɥɢɧɡɨɜɵɣ ɡɚɬɜɨɪ, ɤɨɬɨɪɵɣ ɜɫɬɚɜɥɟɧ ɜ ɨɛɴɟɤɬɢɜ.
Ʉɨɥɢɱɟɫɬɜɨ ɫɜɟɬɚ, ɩɨɩɚɞɚɸɳɟɝɨ ɧɚ ɩɥɟɧɤɭ, ɪɟɝɭɥɢɪɭɟɬɫɹ ɜɪɟɦɟɧɟɦ ɪɚɫɤɪɵɬɢɹ
ɡɚɬɜɨɪɚ. ɗɬɨ ɧɚɡɵɜɚɟɬɫɹ ɫɤɨɪɨɫɬɶɸ ɡɚɬɜɨɪɚ. ɑɢɫɥɚ 1/125 ɢɥɢ 1/250 ɨɛɨɡɧɚɱɚɸɬ ɞɨɥɢɫɟɤɭɧɞɵ ɜɪɟɦɟɧɢ ɨɬɤɪɵɬɨɝɨ ɡɚɬɜɨɪɚ. ȿɫɥɢ ɡɚɬɜɨɪ ɨɬɤɪɵɬ ɞɨɥɶɲɟ, ɬɨ ɫɤɨɪɨɫɬɶ ɡɚɬɜɨɪɚ
ɦɟɞɥɟɧɧɚɹ. Ⱥ ɜɵɫɨɤɚɹ ɫɤɨɪɨɫɬɶ ɡɚɬɜɨɪɚ ɨɛɨɡɧɚɱɚɟɬ, ɱɬɨ ɡɚɬɜɨɪ ɨɬɤɪɵɜɚɟɬɫɹ ɤɨɪɨɱɟ.
ȿɫɥɢ ɫɤɨɪɨɫɬɶ ɡɚɬɜɨɪɚ ɭɦɟɧɶɲɢɬɶ ɧɚ ɩɨɪɹɞɨɤ, ɬɨ ɤɨɥɢɱɟɫɬɜɨ ɫɜɟɬɚ, ɩɨɩɚɞɚɸɳɟɝɨ ɧɚɮɨɬɨɩɥɟɧɤɭ, ɫɬɚɧɟɬ ɜ ɞɜɚ ɪɚɡɚ ɦɟɧɶɲɟ. ɇɚɩɪɢɦɟɪ, ɫɤɨɪɨɫɬɶ ɡɚɬɜɨɪɚ 1/250 ɪɚɜɧɹɟɬɫɹ
ɩɨɥɨɜɢɧɟ ɫɤɨɪɨɫɬɢ 1/125. ɉɨɯɨɠɟɟ ɪɟɝɭɥɢɪɨɜɚɧɢɟ ɫɜɟɬɚ ɦɨɠɧɨ ɩɪɨɢɡɜɨɞɢɬɶ ɨɬɤɪɵɬɢɟɦɢɥɢ ɡɚɤɪɵɬɢɟɦ ɞɢɚɮɪɚɝɦɵ.
9. ɉɪɨɰɟɫɫ ɮɨɬɨɝɪɚɮɢɢ
1) Ɉɛɪɚɡɨɜɚɧɢɟ ɢɡɨɛɪɚɠɟɧɢɹ
Ɉɛɴɟɤɬɢɜ ɞɜɢɝɚɟɬɫɹ ɜɩɟɪɟɞ ɢ ɧɚɡɚɞ ɞɥɹ ɨɛɪɚɡɨɜɚɧɢɹ ɱɟɬɤɨɝɨ ɢɡɨɛɪɚɠɟɧɢɹ ɧɚɜɢɞɨɢɫɤɚɬɟɥɢ (ɮɨɤɭɫɢɪɨɜɚɧɢɟ).
2) Ɏɢɤɫɢɪɨɜɚɧɢɟ ɢɡɨɛɪɚɠɟɧɢɹ
Ʉɨɥɢɱɟɫɬɜɨ ɫɜɟɬɚ ɪɟɝɭɥɢɪɭɟɬɫɹ ɞɢɚɮɪɚɝɦɨɣ ɢ ɫɤɨɪɨɫɬɶɸ ɡɚɬɜɨɪɚ. ɇɭɠɧɚ ɩɨɞɯɨɞɹɳɚɹ
ɷɤɫɩɨɡɢɰɢɹ.
3) ɋɪɟɞɫɬɜɚ ɮɢɤɫɢɪɨɜɚɧɢɹ ɢɡɨɛɪɚɠɟɧɢɹ
ɑɟɪɧɨ-ɛɟɥɚɹ ɮɨɬɨɩɥɟɧɤɚ ɢɥɢ ɰɜɟɬɧɚɹ. ɉɁɋ (ɩɪɢɛɨɪ ɫ ɡɚɪɹɞɧɨɣ ɫɜɹɡɶɸ, CCD),ɤɨɬɨɪɵɣ ɢɦɟɟɬ ɬɭ ɠɟ ɮɭɧɤɰɢɸ, ɱɬɨ ɢ ɮɨɬɨɩɥɟɧɤɚ. ɉɁɋ ɩɪɟɜɪɚɳɚɟɬ ɨɩɬɢɱɟɫɤɭɸ
ɢɧɮɨɪɦɚɰɢɸ ɜ ɰɢɮɪɨɜɭɸ ɢɧɮɨɪɦɚɰɢɸ.
4) ɉɪɨɹɜɥɟɧɢɟ ɮɨɬɨɩɥɟɧɤɢ
Ɂɚɮɢɤɫɢɪɨɜɚɧɧɨɟ ɧɚ ɮɨɬɨɩɥɟɧɤɟ ɢɡɨɛɪɚɠɟɧɢɟ ɧɟ ɜɢɞɧɨ ɞɨ ɩɪɨɹɜɥɟɧɢɹ ɮɨɬɨɩɥɟɧɤɢ.
Ɉɧɨ ɧɚɡɵɜɚɟɬɫɹ ɥɚɬɟɧɬɧɵɦ ɢɡɨɛɪɚɠɟɧɢɟɦ. ɉɨɫɥɟ ɩɪɨɹɜɤɢ ɩɨɥɭɱɚɟɬɫɹ ɜɢɞɢɦɨɟ
ɢɡɨɛɪɚɠɟɧɢɟ, ɤɨɬɨɪɨɟ ɧɚɡɵɜɚɟɬɫɹ ɧɟɝɚɬɢɜɨɦ. ɇɚ ɧɟɝɚɬɢɜɟ ɫɜɟɬɥɵɟ ɢ ɬɟɦɧɵɟ ɦɟɫɬɚ
ɨɪɢɝɢɧɚɥɶɧɨɝɨ ɨɛɴɟɤɬɚ ɩɨɤɚɡɵɜɚɸɬɫɹ ɧɚɨɛɨɪɨɬ. ɇɚ ɰɜɟɬɧɨɣ ɮɨɬɨɩɥɟɧɤɟ ɰɜɟɬɚ ɬɨɠɟɩɨɤɚɡɵɜɚɸɬɫɹ ɧɚɨɛɨɪɨɬ.
5) ɉɟɱɚɬɶ ɮɨɬɨɝɪɚɮɢɢ
ɉɟɱɚɬɶ – ɷɬɨ ɜɨɫɩɪɨɢɡɜɟɞɟɧɢɟ ɨɛɴɟɤɬɚ, ɩɨɤɚɡɚɧɧɨɝɨ ɧɚ ɧɟɝɚɬɢɜɟ ɜ ɩɪɨɬɢɜɨɩɨɥɨɠɧɵɯ
ɫɜɟɬɨɬɟɧɹɯ ɢ ɰɜɟɬɚɯ, ɩɪɢ ɩɨɦɨɳɢ ɮɨɬɨɭɜɟɥɢɱɢɬɟɥɹ ɢ ɩɪɢɧɬɟɪɚ ɜ ɨɪɢɝɢɧɚɥɟ.






32

Ɋɚɡɧɢɰɚ «ɝɥɭɛɢɧɵ
«ɝɥɭɛɢɧɵ ɪɟɡɤɨɫɬɢ»ɪɟɡɤɨɫɬɢ» ɜɜ ɡɚɜɢɫɢɦɨɫɬɢ
ɡɚɜɢɫɢɦɨɫɬɢ ɨɬɨɬ ɞɢɚɮɪɚɝɦɵ
ɞɢɚɮɪɚɝɦɵ (35(35 ɦɦɦɦ ɤɚɦɟɪɚ)ɤɚɦɟɪɚ)Ɋɚɡɧɢɰɚ

50 mm F:4

         

50 mm F:11.5

ɉɪɢɦɟɪɵ ɮɨɬɨɝɪɚɮɢɣ, ɫɧɹɬɵɯ ɢɡ ɨɞɧɨɝɨ ɦɟɫɬɚ, ɢɫɩɨɥɶɡɭɹ ɥɢɧɡɵ ɪɚɡɧɵɯ
ɮɨɤɚɥɶɧɵɯ ɪɚɫɫɬɨɹɧɢɣ (35 ɦɦ ɤɚɦɟɪɚ)135 mm       

90 mm

50 mm

       

35 mm

28 mm


33

Ⅳ. Participants’Reports

Timur Museum

Sayipjan Tilabaev
Institute of History
Academy of Sciences of Uzbekistan [Tashkent]

I am Sayipjan Tilabaev and I work for the Institute of History of the Academy of Sciences of
Uzbekistan. I participated in the workshop on cultural properties protection from October 20 to 25,
2008. It took place at International Caravanserai of Cultures and was organized by Cultural Heritage
Protection Cooperation Office of the Asia/Pacific Cultural Centre for UNESCO [ACCU Nara] and the
UNESCO Office in Tashkent.

Participants in the program were researchers, graduate students,

archeologists and numismatists specialized in the ethnic history of Central Asia. At this program, weshared our experiences in researching historical properties. We also analyzed and photographedarchaeological artefacts, and measured artworks and historical materials.
In the classes, I learned about the skills and professionalism of the world of archaeology, and thetechnological progress of modern archaeology. I was particularly moved by the experiences andknowledge of the lecturers from the Nara Cultural Heritage Protection Cooperation Office of the
Asia/Pacific Cultural Centre for UNESCO. In this seminar, I learned how to record archaeologicalartefacts, measure unearthed artefacts, photograph historical materials and record historical objects indetail.

The classes conducted by the lecturers of ACCU Nara will be very beneficial to my future

research activities. I learned many new things. What I learned will be useful towards archeological,
numismatic and historical research in Uzbekistan, and research into the cultural heritages of mankind
and their protection.
UNESCO and their offices worldwide are doing a great job researching the histories of the world’s
ethnicities and researching and preserving historical sites. I pray for their success in their future
activities.  I was very happy that this program was offered in Uzbekistan. And, I would like to thankthe lesson organizers for this. I strongly hope that this kind of program can be implemented on aregular basis.

37

Muhtor Shamsiev
Institute of History
Academy of Sciences of Uzbekistan [Tashkent]

I am Muhtor Shamsiev and I work for the Institute of History of the Academy of Science ofUzbekistan. I would first and foremost like to express my appreciation to all of the organizers,
UNESCO, the lecturers, the experts who came from Japan, and Mr NISHIMURA Yasushi, Director of
the Cultural Heritage Protection Cooperation Office. It was an honor to have been selected toparticipate in this international training program. It was very urgent because I had been busy for
preparations for the jubilee of our beloved city, Tashkent.
I learned much in this program and it was an honor to do so. The content of the program was very
interesting and practical. It gave me the opportunity to take photographs, ink rubbings and measuring
artefacts. I particularly liked measuring artefacts. It was difficult work, but that also made it interesting.
Measuring demanded much attention, but when finished and looking at what I produced, I felt very
content with myself. I also had a rewarding experience and learned useful things, therefore I want toconvey them to my colleagues and apply them in the field.

The tools that the Japanese researchers

used in the training program were the latest and practical. They shorten the work time and open up the
possibilities for deeper, more detailed research.

I was very happy after training with Mr SUGIMOTO

Kazuki. I learned a great deal both the theory and practice of photographing of artefacts, and thepractical work gave me new experiences and taught me much. I would also like to mention the Mr
OMI Toshihide class on ink rubbings. I was able to try out a very interesting field of study.

Suggestion:
I would like this kind of training workshop to be conducted at excavation sites since we have many
cultural heritage in Uzbekistan.

38

Timur Ochilov
Institute of Archaeology
Academy of Sciences of Uzbekistan [Samarkand]I work at the Department of Important Cultural Properties in the Institute of Archaeology. My work
responsibility is to photograph the archaeological artefacts and objects brought to our institute fromvarious sites. This is because photographs are important elements in preparing cards and models ofarchaeological artefacts, and publishing information and reports of our institute.
Therefore, participation in this workshop was very useful to me. I learned many interesting things andgained many practical experiences for my job from the lecturers, especially concerning thephotography of archaeological artefacts and the field of ink rubbings consisting of various figures andpatterns. Unfortunately, the time allotted to photographing artefacts was short. I also enjoyed theclass on measuring earthenware, because I do not need to do this in my work, and it was the firstexperience for me to try it. I can already do surveys from a professional perspective and can prepare
tables of earthenware for publications.
In conclusion, I hope as follows: ࡮That seminars will be held periodically.
 ࡮That seminars will be longer.
 ࡮That diverse themes will be offered, especially on making cards of archaeological artefacts, andhow to use the latest equipment, programs and techniques for archiving artefacts, archaeologicalobjects and data.
Finally, I would like to express my sincere appreciation to the lecturers and organizers for holding
such a wonderful workshop and for being so considerate and generous to us. I pray for everyone’s
good health and success with their endeavors, as well as the development of the Nara Cultural
Heritage Protection Cooperation Office of the Asia/Pacific Cultural Centre for UNESCO.

39

Marina Reutova
Institute of Archaeology
Academy of Sciences of Uzbekistan [Samarkand]

I work for the Artefacts Preservation Department of the Institute of Archaeology. Our work is not only
about restoring artefacts but also recording them. Therefore, this training workshop which I
participated for the first time was very useful to my work. One of the important stages of my work is
the photographing of archaeological artefacts. Photographs provide us with useful information when
we restore paintings, sculptures and other materials. In the photography class taught by Mr
SUGIMOTO Kazuki I learned many new and useful techniques. I want to apply this experience to mywork. Another very useful class was the introduction to ink rubbings. In my work, I have to record
pictures carved into rocks, of which we have many in Uzbekistan. With advanced methods and tools,
we can capture the content and style of paintings in a very accurate and easy to understand manner.
In the class, I tried measuring for the very first time. It was of course difficult to do. But, the lecturers
explained every aspect of the procedure in a very simple and pleasant fashion. In conclusion, I want
to express my appreciation to the seminar organizers for providing us with this wonderful training
program. To achieve this, the organizers dedicated a lot of effort and shared the experiences of theirprecious work. I wish this kind of seminar were held more often in our country. It will prove very
useful towards efficiently recording our invaluable archaeological artefacts. We have a large numberof such artefacts in the museums of Uzbekistan and our Institute of Archaeology. I thank theorganizers of this workshop.

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Margarita Kondrikova
Institute of Archaeology
Academy of Sciences of Uzbekistan [Samarkand]Our work is to collect, manage and preserve unearthed artefacts. The task is not easy and requires a lotof work. In the training program, I learned many new ways to manage archaeological artefacts by thelecturers from Japan who were very kind. What interested me in particular were the methods formeasuring and categorizing artefacts. The class on ink rubbings was also interesting. Everything wasdone on a high level. I would like to express my appreciation to the organizers of the program andespecially to the lecturers Mr SUGIMOTO Kazuki, Mr OMI Toshihide, Mr TATEISHI Kenji and Mr
FURUSHO Hiroaki.

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Ilhom Ubaydullaev
Institute of Archaeology
Academy of Sciences of Uzbekistan [Samarkand]I am a graduate student at the Institute of Archaeology of the Academy of Science of Uzbekistan. It
was an honor to participate in this training program as the first step in my career in archaeology. Thatis because I compiled numerous experiences, in these classes, that will serve my work in the future. I
say this because the ability to measure and photograph unearthed artefacts is necessary forarcheologists. Therefore, this first-ever training program for me has been very valuable to my work inmany ways.
In this program, I learned many new methods for managing archaeological artefacts. The lecturers
from Japan were very kind. Everything was taught on a very high level. I am indebted to all of theorganizers, and especially the lecturers, Mr SUGIMOTO Kazuki, Mr OMI Toshihide, Mr TATEISHI
Kenji and the Nara Cultural Heritage Protection Cooperation Office of the Asia/Pacific Cultural Centre
for UNESCO. I was particularly interested in the measured drawing and categorizing of artefacts. I
also found the class on ink rubbings interesting.

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Jassor Gofurov
Institute of Archaeology
Academy of Sciences of Uzbekistan [Samarkand]I am doing graduate studies at the Institute of Archaeology of the Academy of Sciences of Uzbekistan.
I was very fortunate to be amongst the fourteen researchers chosen to participate in training under thetheme of documentation of archaeological artefacts. I gained many experiences that will be useful forme in my work, therefore I feel like it was the first step in my career. As an archaeologist in themaking, I must know how to manage and measure archaeological artefacts, and how to photographand record archaeological objects. For this reason, the training program was very important to mywork. In this training program, I learned and experienced many new methods to manage
archaeological artefacts. The instructors from Japan were highly-trained professionals and also verykind. Everything was done on a high level. I thank the organizers of this program and especially thelecturers from the Nara Cultural Heritage Protection Cooperation Office of the Asia/Pacific Cultural
Centre for UNESCO.

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Vadim Yagodin
Institute of History, Archaeology and Ethnography
Academy of Sciences of Uzbekistan (Karakalpak)

I want to express my sincere feelings of appreciation to the considerate lecturers. They were very kind
to convey their work experiences to us in such detail. I also would like to thank the organizers for sucha high level training program. I work as a restorer. I am particularly involved with the restoration ofmural paintings. I also restore earthenware, coins, textiles and wooden objects besides taking
photographs for documentation and writing reports. For that reason, this training program was very
important for me.
It was very interesting to learn and compare the work techniques of our colleagues in Japan. I wasparticularly interested by the methods of measuring and categorizing earthenware. This is because theydiffer from the methods we use. The class on ink rubbings was also very interesting. The method ofphotographic recording was similar to that I use, but it was interesting in every aspect. I was especiallydrawn by the use of auxiliary lighting to photograph artefacts. What I learned will be useful towards
doing higher quality work in the future.

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Aysulu Iskanderova
Institute of History, Archaeology and Ethnicity,
Academy of Science of Uzbekistan (Karakalpak)

I work for the Division of Archaeology and Ethnography, the Archaeology Department of the Instituteof History, and collect archeological, anthropological and ethnic artefacts in collaboration with theAral Sea Museum of History. In my work, I am involved with recording archaeological artefacts andbuilding a database of that information, as well as archaeological research into the Aral Sea area.
I wish to express my deep appreciation to the lecturers and organizers of this training program. They
conveyed the experiences of their work to us and provided us with high level training. I learned many
new and useful things about photographing archaeological artefacts in the photography class taught by
Mr SUGIMOTO Kazuki.
The method used by Japanese archeologists Mr OMI Toshihide, Mr TATEISHI Kenji, and Mr
FURUSHO Hiroaki, to measure unearthed artefacts was much different from the approach we use. I
greatly value what I have learned in this program. What aroused my interest in particular were themethods used to measure and categorize artefacts. Similarly, the class on ink rubbings was also very
interesting.
I wish to thank the seminar organizers for this wonderful opportunity to study. They dedicated muchtime to doing this and brought a great deal of their work experiences to the program. It would be great
if this kind of seminar could be held more frequently in my country. It would be tremendously usefultowards the efficient recording of archaeological artefacts housed in our local archeological instituteand the museum storages

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Dilzoda Alimkulova
Fine Arts Research InstituteAcademy of Arts of Uzbekistan [Tashkent]

An international workshop on cultural properties protection was held in Tashkent in 2008 by the Nara
Cultural Heritage Protection Cooperation Office of the Asia/Pacific Cultural Centre for UNESCO.
Tashkent is the second city to have this international professional workshop and I was fortunate toparticipate in the program.
First of all, what I must point out is that the training was top-rate, as it was conducted by lecturers
from the center involved in all of the major aspects of archaeology. Mr FURUSHO Hiroaki, Mr OMI
Toshihide, Mr SUGIMOTO Kazuki, and Mr TATEISHI Kenji, shared the secrets of their skills andtheir professional experiences with the participants from Uzbekistan. I studied a variety of subjects
over the six days, but what I found particularly important were the classes on archaeological artefact
photography (theory and practice) and practical training in ink rubbings.
I hope this workshop will be the unforgettable event both on the history of Japan and the cultural andethnic history of Uzbekistan.

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Sunnatulla Panjiev
Fine Arts Research InstituteAcademy of Arts of Uzbekistan [Tashkent]I am Sunnatulla Panjiev and I participated in the workshop on cultural heritage protection in Tashkent.
The program was organized by the Nara Cultural Heritage Protection Cooperation Office of the
Asia/Pacific Cultural Centre for UNESCO and cosponsored by the UNESCO Office in Tashkent.
Classes were taught on the themes of measuring archaeological artefacts and photographing artefacts
for documentation.

I greatly appreciate what all of the lecturers did. For one week, they showed us

the secrets of their skills and shared the experiences of their professions. I particularly appreciatedtraining in the theory and practice of photography centered on archaeological artefacts. The lecturers
were Mr NISHIMURA Yasushi, Mr NAKAI Isao, Mr SUGIMOTO Kazuki (photography), Mr OMI
Toshihide, Mr TATEISHI Kenji, and Mr FURUSHO Hiroaki, Mr KINOSHITA Wataru and Mr
YAMASHITA Tsutomu. I sincerely thank all of them. I hope that this kind of workshop can be offeredagain.

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Akmal Ulmasov
Fine Arts Research Institute,
Academy of Arts of Uzbekistan [Tashkent]

I work as a painter and restorer for the Research Department of Fine Arts Scientific Research Instituteand teach at the National Institute of Fine Art & Design named after K. Bekhzad.

The preservationof cultural properties is not only a local issue but an even more important global issue of all mankind.
Rapid urbanization, climate change, environmental problems and human activity are all having anegative impact on cultural properties. For those reasons, the time has come for mechanisms ofcultural properties preservation. In that interest, the workshop staged in Uzbekistan has stimulated thepreservation of tangible culture. This project was cosponsored by the Cultural Heritage Protection
Cooperation Office of the Asia/Pacific Cultural Centre for UNESCO and the UNESCO Office in
Tashkent.
Program: Themes important to Uzbekistan were selected for the workshop program. I have always
been interested in archiving, photographing and measuring archaeological artefacts as an importantelement of the archaeology. In addition to that, the project demonstrated its significance by having 14
experts from different regions partake. During the one-week period, participants compiled theoreticaland practical experiences in their fields of specialty.
Impression: I was happy to learn how to date and identify sites through studies of unearthed artefacts.
And, I was able to digest the content easily owing to the careful detailed explanations of our lecturers
and the very seasoned interpreters we had.
Conclusion: The workshop was very successful and deeply meaningful, and I am quite satisfied with
it. And, thanks to this workshop, we were able to get to know each other and share our wisdom.
Acknowledgments: I would like to express my appreciation to the organizers, lecturers, interpreters
and all of the others who were involved with this training program. I want to thank in particular Mr
NISHIMURA Yasushi, Director of the Asia/Pacific Cultural Centre for UNESCO and Ms Anna Paolini,
Director of the UNESCO Office in Tashkent. I wish everyone the best of health, success andhappiness.
Supplement: I would like to suggest the themes for the following workshop programs.
 ࡮Tracing using CAD (computer-aided design) programs ࡮Restoration and preservation of clay figures, mural paintings, manuscripts, etc.
 ࡮Creation of artefact databases and subsequent archiving and entry48

Anastasia Krol
State Museum of the History of Uzbekistan
Academy of Sciences of Uzbekistan [Tashkent]

My name is Anastasia Krol. I am employed as a restorer by the Museum of the History of Uzbekistan.
I took part in the training program sponsored by the Cultural Heritage Protection Cooperation Officeof the Asia/Pacific Cultural Centre for UNESCO and the UNESCO Office in Tashkent.
Thanks to this program, I was able to practice photographing, recording and measuring archaeologicalartefacts. I learned about the history and methods of artefact management in Japan. From theseexperiences, I am certain that we can apply the methods learned under the Asia/Pacific Cultural Centre
for UNESCO to artefact management in Uzbekistan.

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Otabek Aripdjanov
State Museum of the History of Uzbekistan
Academy of Sciences of Uzbekistan [Tashkent]I would like to express my appreciation to the Cultural Heritage Protection Cooperation Office of the
Asia/Pacific Cultural Centre for UNESCO for holding this workshop. I very much enjoyed taking partin it in Tashkent. For six days, staff and lecturers from the Asia/Pacific Cultural Centre for UNESCO
taught us about photographing and measuring artefacts, and ink rubbings of decorations.
I am involved with archaeology; therefore I want to apply what I learned during the program tomeasuring and photographing artefacts. Japanese method of measuring earthenware, bone and metal
objects, was very effective and valuable. That is because sizes and contours of measured objects mustbe accurately reported. I would like to thank Mr FURUSHO Hiroaki, for his very interesting class on
categorizing Japanese earthenware, as well as Mr SUGIMOTO Kazuki, and especially Mr OMI
Toshihide and Mr TATEISHI Kenji. It is very important for researchers of Uzbekistan to acquire thesepractical techniques and methodologies for archeological work.
I would like to thank the Asia/Pacific Cultural Centre for UNESCO for giving me the opportunity toparticipate in this workshop. I hope that workshops on the restoration, preservation and cleaning ofarchaeological artefacts will be held more frequently in the future.

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Ⅴ. Appendix

State Museum of the History of Uzbekistan, Academy of Sciences of Uzbekistan

1. Participants
 Institute of History, Academy of Sciences of Uzbekistan [Tashkent]
Sayipjan Tilabaev
Muhtor Shamsiev
 Institute of Archaeology, Academy of Sciences of Uzbekistan [Samarkand]
Timur Ochilov
Marina Reutova
Margarita Kondrikova
Ilhom Ubaydullaev
Jassor Gofurov
 Institute of History, Archaeology and Ethnography [Nukus]
Vadim Yagodin, Restorer
Aysulu Iskanderova
 Fine Arts Research Institute, Academy of Arts of Uzbekistan [Tashkent]
Dilzoda Alimkulova,
Sunnatulla Panjiev
Akmal Ulmasov
 State Museum of the History of Uzbekistan, Academy of Sciences of Uzbekistan [Tashkent]
Anastasia Krol
Otabek Aripdjanov
 International Caravanserai of Cultures [Observer]
Bakhadir Madaminov53

2. Lecturers
OMI Toshihide
Senior Researcher
1st Archaeological Research DivisionArcheological Institute of Kashihara, Nara Prefecture
1 Unebi-cho, Kashihara, Nara 634-0065 JAPAN
Tel: (+81) 744-24-1101
Fax: (+81) 744-24-6747

SUGIMOTO Kazuki
Archeological Photographer
Photographic Data Section,
Department of Planning and Coordination,
National Research Institute for Cultural Properties, Nara
2-9-1 Nijo-cho, Nara 630-8577 JAPAN
Tel: (+81) 742-30-6838 (Photographic Data Section)
E-mail: higeji@nabunken.go.jp

TATEISHI KenjiGroup Leader
Heijo Palace Site Exhibitions
Association for Commemorative Events of
the 1300th Anniversary of Nara Heijo-kyo Capital
757 Horen-cho, Nara City 630-8113 Japan
Tel: (+81) 742-26-2010 Fax: (+81) 742-23-2500
E-mail: tateishi-kenji@1300.jp

FURUSHO Hiroaki
Lecturer
Department of History, Faculty of Letters
Komazawa University
1-23-1 Komazawa, Setagaya-ku
Tokyo 154-8525 Japan
Tel: (+81) 3 3418 9110
E-mail: furusho@komazawa-u.ac.jp54

3. Interpreters
Mariya KOBIJAEVA
Interpreter (Freelance)/ Tourist Guide
Master of Japanese Literature
Tashkent State Institute of Oriental Studies

Ekaterina SLAVINA
Student
Department of Japanese Language
Tashkent State Institute of Oriental Studies

4. Collaborators
 UNESCO Office in Tashkent [Co-organizer]
Anna PAOLINI, Head of Office
Sanjar ALLAYAROV, Staff
 National Commission of the Republic of Uzbekistan for UNESCO
Alisher IKRAMOV, Secretary General Academy of Arts of Uzbekistan
Tursunali KUZIEV, Chairman
Jalolitdin MIRTADJIEV, Vice-Chairman
Akbar KHAKIMOV, Main Scientist Secretary International Caravanserai of Cultures, Academy of Arts of Uzbekistan
Farrukh USMANOV, Director
 Fine Arts Scientific Research Institute, Academy of Arts of Uzbekistan
Mahmud ISRAILOV, Director
Oqilhon IBROHIMOV, Former Director
Mavlyuda YUSUPOVA, Former Director
Olim BEKOV, Deputy Director on Sciences
Edvard RTVELADZE, Chief of Department

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Jangar ILYASOV, Senior Researcher
Konstantin SHEYKO, Tokharistan Archaeological Expedition
 Institute of Archaeology, Academy of Sciences of Uzbekistan
Shakirdjan PIDAEV, Director
 State Museum of the History of Uzbekistan
Jannat ISMAILOVA, Director
 General Office of Scientific-Production for Preservation and Utilization of Objects Cultural Heritage

Server ASHIROV, Head Inspector
 Embassy of Japan in Uzbekistan
HIRAOKA Tsutomu, Ambassador
TAKAHASHI Masakazu, First Secretary National Research Institute for Cultural Properties, Tokyo
YAMAUCH Kazuya, Head of Regional Environmental Section
 Japan Institute for Studies of Cultures of Afghanistan
MAEDA Kosaku, Director
 Department of Historical Heritage, Kyoto University of Art and Design
HAGA Mitsuru, Professor

5. List of Staff Members, ACCU NaraNISHIMURA Yasushi, Director
NAKAI Isao, Director of International Cooperation Division
KINOSHITA Wataru, Associate Director of International Cooperation Division
YAMASHITA Tsutomu, Chief of International Cooperation Section
Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113 JAPAN
Office Phone: (+81) 742-20-5001 Office Fax: (+81) 742-20-5701
URL: http://www.nara.accu.or.jp E-mail: nara@accu.or.jp

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57
Group Photo at the opening ceremony (20 October 2008)

58
Memorandum of Understanding