One of the favourite motifs among Uzbek embroiderers is the pomegranate pattern. The pomegranate has long been interpreted as a symbol of life, abundance, fertility and love. The pomegranate bush is peculiar and original in the work of Madina Kasimbaeva. She has a keen sense of colour. For each new work she dyes threads herself.

The artisan considers herself not only a traditional master, but also a designer of innovative direction, seeking to adapt to modern requirements and expanding the range of functional purposes for embroidery products. For her decorative cushions, she borrows a fragment of ornamentation from classical samples of Uzbek embroidery, sometimes adding new details to the patterns.

Since ancient times, the tree of life or the motif of a vase with flowers was endowed with sacred properties. In Zoroastrianism, the motif of a vessel with a plant growing out of it acquires cosmological meaning, symbolising Lake Vourakasha, a symbol of all living things (the embodiment of a vessel, water) and the tree of life, Haoma, an all-healing tree with seeds of all plants of the world. Over time, the motif of a vase with flowers gradually lost its original meaning, becoming a widespread decorative motif whose multifaceted symbolism comes down to the idea of beauty of the real world.

The Tashkent school is also represented by Pskent, located several tens of kilometres from the capital, and is distinguished by its vivid originality. This type of embroidery, called oy-palak, depicts a stylised picture of the universe, with sun and moon symbols.

Embroidered chapans in the traditional style are a highlight of Madina Kasimbaeva's clothing collections. In this chapan one can see the patterns of Nurata embroidery, but in a new colour scheme, not typical of the traditions of the old masters.