Other Handcrafts Greenish-brown slip decoration is characteristic of glazed pottery made in Karatag and Denau, where glazed terracotta toys are also produced. Origi-nally they were small whistles modelled in the shape of fantastic lions or horses, but now these animal figurines can be up to forty centimeters high. They are favorite creations of the famous ceramic artist Gafur Khalilov, who lives in Ura-Tiube. Particularly well known are his dragons, painted with colored dots and strokes on a white background. Embroidery has also been a popular art in Tadjikistan. Large decorative panels, stylistically similar to Uzbek suzani work, with large formalized floral designs and roundels, are embroidered in Ura-Tiube and Leninabad In the mountainous regions women's blouses, men's loincloths, cradle accessories, and headdresses are profusely adorned with embroidery Very attractive festive dresses are made and embroidered in Kuliab, Karategin, and Kalaikhumb. The richest embroidery appears on the sleeves, with the bodice and the lap following in importance. The designs are worked on white, yellow, or red foundations, in brightly colored cotton or silk thread of predominantly violet or crimson tones. The needlewomen show considerable skill in subordinating the ornamentation to the cut and style of the article. In this respect Tadzhik skullcaps are worthy of note. Their embroidered rosettes, flower arrangements, stars, zigzags, roses, and tulips form concentric com-positions consisting of three or four parts depending on the cap's shape; both the designs and colors of these compositions are arranged in full conformity to the rules of symmetry and rhythm. Each region has its own varied stock of shapes, color schemes, and ornaments. The favorite style in the Pamirs is a flat-bottomed skullcap with a broad capband and embroidered geometric ornamentation. Bridal veils formerly used in the Pamirs are of exceptional artistic value. Their ornamentation consisted predominantly of images and motifs reflecting early, pre-Islamic beliefs and included Trees of Life, roosters, and peacocks. They were usually worked in satin stitch with crimson silk on a white foundation material. Pairs of roosters flanking a Tree of Life appeared in the center and along the borders. Their crimson color was not arbitrary: it symbolized fire, which was thought to scare evil spirits away from the bride. Jewelry was an important accessory for Tadzhik women's costumes. Women in such centers as Bukhara, Kuliab, and Gissar made some orna-ments themselves, especially earrings, rings, bracelets, brooches, necklaces, neckbands with beadwork, and amulets sewn onto garments. On the whole, Tadzhik ornamentation, which includes plant, zoo-morphic, and other motifs, is rich and varied. In character and composition it has much in common with Uzbek arts, although it is also closely related to the arts of the nomadic world. Tadzhik arts and crafts display considerable affinity with the cognate handicrafts of Afghanistan, Iran, and other Eastern countries, with whom they share a number of common features. Nevertheless, just as Tadzhikistan developed its national identity, its folk art acquired distinctive traits and originality.