Looking at the mosaics on the # 111 kindergarten walls, one thing comes to mind: “The world through children’s eyes.” Paper planes, ships that are simple and inelaborate, soap bubbles, their favourite pet cat and dog – all that a child needs in his childhood world. “Children frequently approach the building and look at the mosaic. We often use our mosaic. For example, recently, children copied their drawings from the mosaic for drawing on asphalt competition,” said the director of the kindergarten. Built in 1985, the kindergarten is a Dushanbe textile mill property, which was intended for textile mill workers ‘ children. The kindergarten is on a wide area where narrow paths connect separate buildings. Nowadays, the kindergarten still retains many elements typical of the kindergartens of the Soviet era, such as wooden cottages, a path that passes through old tires, and of course mosaics. The mosaics are on two separate buildings, a path runs along each of the buildings opening a panoramic view of the mosaics to the viewer. The author of these mosaics is Aloviddinov Salokhoddin, a muralist who was born in 1955 in the Tajik SSR district of Hissor. He is also the author of the mosaics at the textile mill.
During the meeting at his workshop in Hissor, a town west of Dushanbe, the author recalled how, after decorating the textile mill walls with mosaics in 1983, he was invited to make mosaics on the kindergarten buildings. He made the first mosaic, with a boy being the main character, between 1982 and 1983, according to Aloviddinov. From 1984 to 1985, he made the second mosaic in which the main character is a girl. The artist said in an interview that the mosaic storyline was based on “Happy Childhood” theme. “Full of soap bubbles and rainbows, a happy childhood should be light and aerial,” he added. And in fact, the theme of childhood and children is obviously close to the heart of the author. The numerous portraits of children — his grandchildren — are one of the first things that catch the eye when entering his workshop. The author is now a prominent and sought-after artist whose artwork is on display not only in museums in Dushanbe, but also in some major sites in Tajikistan.
On kindergarten buildings the storyline of both mosaics has a similar concept and color scheme. Yellow and blue shades dominate the colour of the mosaics. On the one hand, selecting such a colour scale is correlated with typical colours associated with children’s world, but on the other hand, it is created in accordance with the traditions of socialist realism (ideological art movement in the U.S.S.R.) and was intended to inspire optimism in viewers and instill hope for a bright future. The author has divided and highlighted the story lines into separate fragments by using different color scales. If you pay attention to details, you can see many circles in which the author has placed a tree, a blooming flower, or some of his characters.
In the background of mosaics there are many circles as well, roughly superimposed on each other.
The first mosaic to be made is telling the story of the childhood world of the boy. The author has portrayed paper boats and airplanes, soap bubbles and balloons on this mosaic-all so familiar to Soviet kids. The main character in the mosaic is a boy who is walking confidently along the path with arms raised towards the sky. A multi-coloured rainbow stretched over him with waves illuminates his path. There are also other heroes in the storyline: a young cosmonaut, soaring high in the sky, a boy flying a paper plane, and two young men playing the flute enthusiastically. As the author pointed out: “Monumental art often uses symbols to communicate meaning to the viewers.” And indeed, this particular mosaic is full of rich symbolism: pigeons, trees, roads, a rainbow, and an astronaut, all of which were sacred symbols in monumental Soviet art. All these symbols speak and communicate to the viewer a certain idea and atmosphere. And so the pigeons personify the world, the tree and the rainbow symbolize the beginning of a new life, and progress is expressed by the astronaut. If you look at the characters and their features closely, you can easily notice that their eyes are directed up somewhere. Gazing into the distance was often used in socialist realism to show that there is hope and faith in a better future. Mr Aloviddinov admitted in a conversation that he wanted to show spring in the storyline, and spring is always the beginning of a new life. And the road the boy is walking on is the symbol of his life’s path.
"Ҷаҳон аз назари кӯдакон"
Боғчаи кӯдакони №111, кӯчаи Мушфиқӣ