Every Thursday and Sunday, flocks of shared taxis and minibuses make their way from the centre of Margilan to the Kumtepa Bazaar, the city's largest market and one of the most important in Uzbekistan's Fergana region.

每個周四和周天，許多的拼車出租車和小巴都會從馬爾吉蘭市中心開往庫姆特帕集市，這是該市最大的集市，也是烏茲別克斯坦費爾干納地區(qū)最重要的集市之一。
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Summer mornings are especially busy, with people getting in early to strike a deal before the blazing sun reaches its highest point in the sky.

夏天的早晨尤其忙碌，人們很早就到這里，趕在烈日升到最高點之前達成交易。

From fresh produce to car parts, the labyrinthine alleys lix the stalls of Kumtepa to provide goods for all. But this bustling bazaar is not just a space for buying and selling—here, the legacy of the Silk Road comes alive, inviting you to explore a market where past and present converge in a symphony of sights, sounds, and stories.

從新鮮農(nóng)產(chǎn)品到汽車零件，迷宮一樣的小巷將庫姆特帕的攤位連接起來擺放商品，為所有人提供商品。但是，這個繁華的集市并不僅僅是一個提供買賣的地方--這里，絲綢之路的遺產(chǎn)栩栩如生，邀請你探索一個市場，在這里，過去與現(xiàn)在交匯，形成一場視覺、聽覺和故事的交響樂。
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According to local folklore, the city of Margilan was founded by Alexander the Great in the 4th Century BCE, following his conquest of Persia. While such a story is not backed by archaeological evidence, the city flourished as a trading centre a few centuries later, after the Silk Road opened, providing a connection between Europe, the Middle East, and Central Asia.

根據(jù)當(dāng)?shù)孛耖g傳說，在公元前 4 世紀(jì)，亞歷山大在征服波斯后建立了馬爾吉蘭城。雖然這種說法沒有考古證據(jù)支持，但幾個世紀(jì)后，絲綢之路開通后，這座城市作為貿(mào)易中心繁華起來了，為歐洲、中東和中亞提供了連接紐帶。


Margilan, along with other cities like Kokand and Namangan, became a major centre for silk production. Silk and silk products were highly valued commodities along the Silk Road and Margilan's contribution to silk production played a crucial role in the economy of the region. This is still the case today, as anyone who steps into the Kumtepa Bazaar will immediately notice.

馬爾吉蘭與科坎德（Kokand）和納曼干（Namangan）等其他城市一起，成為絲綢生產(chǎn)的主要中心。絲綢和絲綢產(chǎn)品是絲綢之路上價值很高的商品，馬爾吉蘭的絲綢生產(chǎn)在該地區(qū)的經(jīng)濟中發(fā)揮了至關(guān)重要的作用。時至今日，依然如此。任何走進庫姆特帕集市的人都會立馬注意到這一點。

Margilan's textiles are not just any textiles. The rolls of colourful fabrics on display at the market are the result of an ancient weaving technique that has survived the collapse of empires and khanates thanks to the Uzbek artisans keeping the tradition alive. Known as Ikat—meaning "to bind, tie, or wind around" in Malay-Indonesian—the most valuable product on sale at Kumtepa comes to life through painstaking manual dyeing and weaving of individual threads that combine forming vibrant patterns unachievable by modern printing.

馬爾吉蘭的紡織品并非普通的紡織品。市場上陳列的一卷卷彩色的織物是一種古老紡織技術(shù)的成果，這項技藝經(jīng)歷了帝國和汗國的崩潰，依然由烏茲別克工匠們傳承下來。它被稱為伊卡特（Ikat），這個詞在馬來語-印度尼西亞語中意味著“捆綁、系緊或纏繞”——在庫姆特市場上最具價值的產(chǎn)品，通過繁瑣的手工染色和織造每一根紗線來展現(xiàn)生機，這種方式形成的生動圖案是現(xiàn)代印刷技術(shù)無法達到的。

To create a coveted Ikat cloth, yarns are stretched out on a frx, with sections tightly bound with a resist material, such as rubber bands, plastic strips, or natural fibers, to prevent the dye from penetrating the yarn in those areas, creating the pattern. The tied yarns are dipped into dye baths multiple times before being set up on the loom for weaving. The accuracy of each step is crucial, as any mistake can alter the intended design.

為了制作一塊珍貴的伊卡特布料，紗線被拉伸在框架上，部分區(qū)域被用橡皮筋、塑料條或天然纖維等抗染料材料緊緊綁住，以防止染料滲透到這些區(qū)域，從而形成圖案。綁好的紗線會多次浸入染料浴中，然后再布置在織布機上進行織造。每一步的精確度都至關(guān)重要，因為任何失誤都會改變原本的設(shè)計。

Ikat-dyed fabrics are believed to have existed in India as early as the 2nd Century BCE. From there, the technique was brought into China, Japan, and South East Asia together with Buddhism via the networks of commercial routes that came to be known of the Silk Road.

據(jù)說，早在公元前 2 世紀(jì)，印度就有了伊卡特染色織物。從那里開始，這種技術(shù)與佛教一起，通過后來被稱為 “絲綢之路 ”的商路網(wǎng)絡(luò)傳入中國、日本和東南亞。

When Silk Road trade reached its peak between the 3rd and 8th Centuries, merchants traveled westward across China from oasis to oasis, crossing the harsh terrain of the Taklamakan Desert to reach the fertile valleys of Fergana. Here, Ikat caught on. Not by coincidence—an indigenous variety of silk, known as adras or atlas and prized for its cloud-like softness, turned into the ideal medium for Ikat dyeing.

絲綢之路貿(mào)易在公元 3 至 8 世紀(jì)達到頂峰時，商人們向西旅行，穿過中國的一個又一個綠洲，穿越塔克拉瑪干沙漠的惡劣地形，到達肥沃的費爾干納山谷。在這里，伊卡特流行起來。這并非巧合--一種被稱為阿德拉絲（adras）或阿特拉斯絲（atlas）的土生土長的絲綢，因其云朵般的柔軟而備受贊譽，成為伊卡特染色的理想媒介。

Fergana's Ikat, characterised by bright yellow, red, deep blue, and green patterns echoing elements of nature, was used instead of medals to commend royals in the 12th Century. When it boomed internationally in the 19th Century, it become a luxurious possession only the elite could afford to wear. Ikat silk made in the Fergana Valley was exported to Iran, Turkey, Russia as well as in the Khanates of Khiva and Bukhara, which received nearly 200 tonnes of Margilan silk carried by 1000 camels in the 1860s.

費爾干納的 “伊卡特 ”圖案以明亮的黃色、紅色、深藍色和綠色為主，與自然元素相呼應(yīng)。19 世紀(jì)，伊卡特在國際上蓬勃發(fā)展，成為只有精英階層才穿得起的奢侈品。費爾干納河谷生產(chǎn)的伊卡特絲綢出口到伊朗、土耳其、俄羅斯以及希瓦汗國和布哈拉汗國，19 世紀(jì) 60 年代，希瓦汗國收到了 1000 頭駱駝馱來的近 200 噸馬爾吉蘭絲綢。

Despite Soviet industrialisation in the 20th Century, Margilan has managed to keep the craft intact over the centuries. The Kumtepa Bazaar still sells the largest variety of hand-tied Ikat textiles in Central Asia and hundreds of artisans continue to produce fine fabrics manually in the city's local workshops. In 2008, London's V&A museum dedicated a show to this ancient Central Asian tradition, which then featured in Gucci's catalogue in 2010.

盡管蘇聯(lián)在 20 世紀(jì)進行了工業(yè)化改造，但幾個世紀(jì)以來，馬爾吉蘭仍成功地保留了這一工藝。庫姆特帕集市（Kumtepa Bazaar）仍在出售中亞品種最多的手工扎染伊卡特織物，數(shù)百名工匠仍在該市的當(dāng)?shù)刈鞣焕锸止ぶ谱骶赖目椢铩?008 年，倫敦 V&A 博物館專門為這一古老的中亞傳統(tǒng)舉辦了一場展覽，2010 年，Gucci的產(chǎn)品目錄中也出現(xiàn)了這一展品。

Yet, Ikat is only one of the crafts that have come to shape Fergana Valley's identity as a thriving cultural hub in Uzbekistan. While Margilan traded in fabrics, Rishtan, 50km west, grew as one of Central Asia's key nodes for ceramics production and commerce.

然而，伊卡特只是塑造費爾干納谷作為烏茲別克斯坦繁榮文化中心身份的工藝之一。在馬爾吉蘭從事織物貿(mào)易的同時，位于西部 50 公里處的里什坦，也發(fā)展成為中亞陶瓷生產(chǎn)和貿(mào)易的重要節(jié)點之一。


Kilns dating as far back as the 1st Century BCE have been unearthed by archaeologists in the area, and over two millennia, Rishtan has continued to create stunning ceramics recognisable from their blue, turquoise, and aquamarine patterns. Today, Rishtan is home to over 100 master potters who keep busy adorning ceramics with heavenly scenes using a blue glaze called ishkor, which combines colourants from quartz with ashes obtained by burning plants specifically sexted for this purpose. The clay used in Rishtan ceramics is sourced from the local red clay deposits, giving the pottery a distinct earthy quality.

考古學(xué)家在該地區(qū)發(fā)掘出的窯爐可追溯到公元前 1 世紀(jì)，兩千多年來，里什坦（Rishtan）依然延續(xù)著創(chuàng)造令人驚嘆的陶瓷工藝，憑借其藍色、綠松石色和水藍色的圖案而聞名于世。如今，里什坦是 100 多名陶藝大師的家園，他們一直忙于用一種名為伊什科爾（ishkor）的藍色釉料來裝飾陶瓷，伊什科爾釉料通過將石英中的色素與專門為此目的燃燒植物獲得的灰燼結(jié)合而成。里什坦陶瓷使用的黏土來自當(dāng)?shù)氐募t土礦床，使陶瓷具有獨特的泥土質(zhì)感。


In recent years, the Rishtan International Ceramics Center has been established to showcase the work of local potters and promote the region's ceramic heritage. The centre features workshops, shops, and a museum dedicated to the history of pottery making in the Fergana Valley. Visitors can watch skilled artisans at work, learn about traditional techniques, and purchase one of the handmade ceramics developed thanks to centuries of exchanges and encounters along the Silk Road.

近年來，里什坦國際陶瓷中心已經(jīng)成立了，主要為展示當(dāng)?shù)靥账嚰业淖髌?，并宣傳該地區(qū)的陶瓷遺產(chǎn)。該中心設(shè)有工作室、商店和一個博物館，專門介紹費爾干納谷的制陶歷史。游客可以觀看技藝高超的工匠工作，了解傳統(tǒng)工藝，還可以購買幾百年來絲綢之路上的交流和碰撞所產(chǎn)生的手工陶瓷。

Margilan and Rishtan invite the intrepid, curious traveller to explore their rich cultural heritage, where the past and present intertwine in a celebration of craftsmanship and tradition.

馬爾吉蘭和里什坦邀請勇敢、好奇的游客探索其豐富的文化遺產(chǎn)，在這里，過去與現(xiàn)在交織成一場對工藝與傳統(tǒng)的慶典。