Uzbekistan
Hello, I'm Dilnoza
Yusupova
I work with the geometric language of Timurid architecture — the same mathematics that built the domes of Samarkand. I bring that precision to silk.
Born in the shadow of Samarkand’s Registan, Dilnoza Yusupova creates designs that echo the mathematical perfection of Islamic geometric tilework and the opulence of Silk Road trading cities. She draws her palette from lapis lazuli, saffron, and the turquoise domes of Tamerlane’s era — colors that defined luxury for a thousand years of trade.
The first time I stood in front of the Registan in Samarkand and really looked — I mean really looked, not as a tourist, but as someone trying to understand — I started crying. Not from emotion. From recognition. The mathematics of those tilework patterns are the same mathematics my grandfather used to plan his ikat warps. The same grid. The same logic of interlocking diamonds. Someone in the 14th century and my grandfather in 1970 arrived at the same answer independently. Or perhaps not independently. Perhaps it is just the logic of repetition, of the hand finding the most perfect form. I have been studying kelaghayi resist technique for two years now, practising with small stamps I carved myself. The paraffin resist is different from the wax I know from batik. It is harder, more brittle. The edge it leaves on silk is sharper, more architectural. I want that architectural edge for the Registan geometries. Narmin Hasanova has that edge in her hands. She has been building it for thirty years. I have been waiting my whole career for a collaborator with that precision.
— Dilnoza Yusupova, Samarkand, Uzbekistan
The motif
Registan geometric — Timurid tilework
Samarkand, Uzbekistan · 14th century · lapis lazuli
The Registan Collection
The Registan Collection
Ikat geometric patterns on silk · 12 pieces
12 pieces
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