This lyagan is made on a mechanical modelling machine from red clay and coated with white engobe by the pouring method. After the initial firing, it is dusted with a damp sponge and covered with a decor sketch in pencil. The style of the decor is inspired by Bukhara traditional ceramics of the 18th and 19th centuries. The decor is then applied with manganese and copper oxides with the Bosma and Kalami methods with the Pahtali-Bosma tool.

In 2007, Abdulvahid Bukhoriy Karimov and his wife in Bukhara found the fragment of a large conical tagora vessel, used for making dough. This fragment is dated from the middle to the end of the 18th century. After years of trial and error, when the recipe for glaze was finally found, this work was made in 2015. It was fired several times. In 2020, at the initiative of the master himself, all elements were edged in gold. The decor is applied with oxides of manganese, copper and cobalt with the Kalami method or the Siyoh-Kalam Muikalam brush.

This lyagan is turned on a mechanical modelling machine from red clay and coated with white engobe by the pouring method. After the initial firing, dust was applied with a damp sponge, and then the design was sketched in pencil. The style of decoration is inspired by Bukhara traditional ceramics of the 18th and 19th centuries. Diamond-shaped decor represents the sun, the turquoise rim with a brown frame is life-giving water.

This is one of the creative works inspired by the ceramics of the 9th and 11th centuries. On the edges in dark green (copper oxide) there is the inscription 'Love'. The lyagan is covered with a turquoise glaze and after the second firing at 980°C it was decorated with gold. In the middle of the lyagan, in Arabic handwriting, is a saying by Rumi.

The Eastern ceramics of the 9th to 12th centuries are important. This piece, Consideration, strict and luxuriously flowered with split letters and inscriptions in Kufi handwriting, captured his imagination. He scrupulously studied the technique of calligraphy on ceramics based on fragments of the mentioned period. The result was a series on Epigraphic decoration in the style of the Samanid period. He managed to understand the principle, technique and what tools and brushes were used by the Samanid masters.