The Embroidery of Uzbekistan

Throughout the centuries, the people of Uzbekistan have been noted for cre­ating unique decorative and applied arts. One of the most ancient and most popular forms of Uzbek craftsmanship is embroidery. Embroidery has played an intricate role in the rich history of Uzbekistan. The production of cotton and silk thread has been developed for centuries in Central Asia, allowing embroidery to be a central part of many traditional cus­toms and ceremonies.

Although modern Uzbekistan has not inherited examples of its ancient and medieval embroidery, evidence of its existence can still be found. For example, woolen curtains were found in the ancient burial tomb of a Hun Leader in Northern Mongolia, supposed­ly embroidered by ancient Bactrians in 2nd century ВС. In addition, ancient murals in the Palace of Kings of Khorezm in Toprak-Kala (3rd century AD), the Temple Baliq Tepe in the Surhaddariya region (5th century AD), and Varakhsha in the Bukhara region (7th century AD) provide us with glimpses of early medieval embroidery. Magnificent examples of miniature paintings illustrating books from the 14th and 1 5th centuries also provide insight as to the high level to which the art of embroidery had been developed in late medieval period. In particular, the well-known Middle Eastern miniature-painter Bekhzad (1467), in his illustration "Zafarnoma" portrays Tamerlane sitting in a marquee covered with decora­tive fabric sewn into ornamental medallions.

Uzbek embroidery has always been closely linked to the traditional life of the people. According to Muslim law, women were required to spend most of their time at home; how­ever, they did have opportunities to express their dreams, imagination, and creativity through such customs as decorating the interiors of their homes, preparing their daughters and granddaughters for marriage, and embroidering certain symbols to preserve their fam­ilies from evil. At the age of six or seven, girls were taught to sew and embroider by their mothers or grandmothers. From the age of nine or ten they took weaving and cooking lessons. When girls reached the age of twelve or thirteen, they were often asked to marry. They were expected to arrive at their husband's home with a large dowry, including many hand-embroidered articles.

For more than one hundred years, traditional Uzbek embroidery has reflected the histori­cal, political, social, economical, spiritual and cultural changes that have taken place in Uzbekistan. From 1850 to 1910, when a stable feudal system was in place and neighbor­ing clans enjoyed amicable relations, only a relatively small amount of embroidery was produced. A palette of seven or eight natural colors was generally used. The themes were embroidered in great detail, and the pieces from this era are noted for their high level of technical skill.

Between 1910 and 1917 the feudal system developed into a trade economy where the middle class began to set tastes and trends. The materials and techniques used for embroi­dery, as well as the volume of production, all changed. Hand-woven background material was replaced by red calico, sateen, and other factory-made fabrics. Natural dyes that required complicated processing were replaced by brighter synthetic dyes that were easi­er to use. Traditional silk thread was replaced by partially synthetic threads. At the same time, the quality of sewing deteriorated, many of the minute details of the previously-used patterns were simplified, and the chain-stitch became very popular because it saved thread and accelerated the work process.

From 1917 to 1960, the development of embroidery virtually ceased. Traditional embroi­dery patterns were replaced by Soviet symbols, such as portraits of Soviet leaders. Between 1970 and 1990, many traditional crafts were revitalized, and many local centers for national arts were restored. The subsequent independence of Uzbekistan has brought many new opportunities for restoring national arts and improving the status of national craftspeople. Embroiderers are now once more experimenting with hand-woven fabrics, silk thread, natural dyes, and traditional patterns.

The ornamental wealth of traditional Uzbek embroidery demands special attention. Commonly repeated symbols and themes include expressions of happi­ness, luck, well-being, and fertility. Embroidery seldom includes portrayals of animals or people.

One very old and popular theme is a cir­cle combined with plant forms. The circle served as symbol of the moon which Central Asian farmers used to worship. Bouquets of flowers were a symbol of splendid, blossoming gardens. Flowers have always been a favorite pattern and mainly used in embroidery from Nurata, Shakrisabz, and Fergana. Flowers resem­bling tulips are very often found in embroidery from Fergana Valley.

Another symbol common to all varieties of Uzbek embroidery is the pomegranate, which represents fertility. Other often repeated themes are the almond (bodom) or pepper (kalampir) which can be found in many different forms and which functioned as defense from evil, disasters, diseases and misfortune. Embroidery also commonly included repre­sentations of household items such as jugs and teapots (kungon).

Triangular shaped pendants called tumor were also often represented in embroidery. Women often wore tumor necklaces containing prayers written on a small piece of paper worn as defense from misfortune.

Uzbek embroidery is not just a symbol of the past, but also reflects the present and future hopes as well. The strength of traditional Uzbek embroidery lies in the richness of its traditional design, the exquisite work of master artisans, and a national desire to preserve this unique heritage for future gener­ations.