| Summary/Abstract |
In some Central Asian oasis towns, the patron saints of craftsmen, known as pirs, have continued to be venerated, despite the repression of Islam and changes to the industrial structure during the Soviet Era. This paper analyses the social function and individual significance of pir veneration in the modern era, using ethnographic observations and interviews conducted in a ceramics town in Uzbekistan. Today, many old customs practised in pottery studios have become mere formalities, and the controlling role of the pirs over ceramist groups is declining. However, this is not necessarily indicative of an immediate decline in the pirs’ power. Some ceramists believe their highly skilled masters to be quasi-pirs and that the pir provides them with desirable goals, in addition to an ideal form to which to aspire.
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