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The life of the oasis dweller Textile arts of Central Asia - main page

The rivers that began in the mountains of Central Asia filtered down onto the plains and created oases. Towns sprang up at these oases as the Silk Road trade grew and flourished. Travellers stopped for water, food and shelter and traded with the oasis dwellers; in this way goods and ideas were exchanged along the length of the Silk Road. The major urban centres, like Bhukara and Samarkand, were organised as states or khanates and were headed by a khan or chieftain. The settled oasis dwellers were agriculturalists who produced a range of agricultural goods, including grains, fruit, nuts, cotton and silk. Many were also skilled craftspeople, producing metalware, ceramics, and textiles such as ikats and embroideries. These urban products were traded in the bazaars for the nomads' animal products; meat and cheese, and wool rugs and carpets.

Textile arts of the urban oasis dwellers
Ikats
Among the best known textile arts produced in urban centres of Central Asia are ikat-dyed silk, and silk and cotton robes and panels. They were produced by men in workshops. As you could see from the timeline, silk made its way from China into Central Asia via the Silk Road and was embraced by the settled artisans.

Pardah (wall hangings) and men's and women's clothing were predominantly made using ikat silks or abr (meaning cloud). To make ikat, which is known locally as abrbandi, warp threads are tie-dyed before weaving giving the distinctive streaky appearance. There are two main types of ikat in Central Asia:

  • full ikat: the entire warp is tie-dyed and the order of the threads is set at the time of dyeing
  • strip ikat: long skeins are tie-dyed and the pattern is determined by the way these are positioned on the loom, often alternating with plain warps. (Sumner, 1999:30)

Clothing
All over Central Asia, men, women and children wear basically the same thing: shirt/dress and trousers under a coat and a hat. In the urban centres

… ikat-patterned khalats were worn by both men and women, mostly for ceremonial and ritual use…The cut of these brightly coloured robes varied very little but the materials they were made of, the structure of the fabric and the manner of ornamentation were all indicative of the wearer's status. The lowest ranks wore robes of adras (silk and cotton), while the highest wore silk velvet ikat, sometimes embellished with goldwork embroidery. (Sumner, 1999:31)

An essential part of Islamic women's dress was the paranja, which is a veiling garment worn over the head. Strict adherence to custom required that the hair and faces of women were not seen in public.

Detail of Man's khalat
Fig. 3 Detail of Man's khalat
Silk ikat velvet, embroidered cuffs, printed-cotton lining, woven by Uzbek men in ukhara, about 1870. 1220 x 1425 mm 85/1439
Powerhouse Museum Collection.

Embroidery
The other well known urban textile art of Central Asia is the suzani. These are a range of silk on cotton embroidered hangings of different sizes, featuring flowers or cosmological symbols. Suzanis were used as wall hangings, bed covers and room dividers and were made by women as dowry textiles. Once a daughter was born, the women of the family began to embroider suzanis for her dowry. The design was drawn on the cloth by a senior woman of the family and embroidered by several women. Once the embroidery was complete, it was reassembled. Two of the main centres for these embroideries were Bukhara and Samarkand, in what is now Uzbekistan.
The most common stitches were:

  • chain stitch, and
  • basma or Bukhara couching for filling.
Photo: Christina Sumner Photo: Christina Sumner
Photo: Christina Sumner
Photo: Christina Sumner

 

Activity

  • Read the text on nomadic life. Identify the key factors affecting the life of a nomad.
  • Print out the map of Central Asia and track the events identified in the timeline on the map. The timeline summarises the historical events and significant developments in Central Asia and surrounding cultural centres.


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