Central Asian Textiles

Embroidery is one of the most popular kinds of traditional art in Uzbekistan
which holds a very important place in wedding rituals. The monograph examines
embroidery in its many different forms, and the features that differentiate
local ornamental styles. Special attention is paid to revealing the connection
between embroidery and the ritual and religious practices that have prevailed at
different stages of the society’s development, and to uncovering the meaning of
compositions and designs.

Summary
The carpet weaving on the territory of modern Uzbekistan in 19 - 20 centuries has been practiced among the Dashti-kipchak Uzbek tribal groups, the Uzbeks-Turkman living in Nurata's region, Karakalpaks and Arabs (Kashkadarya, Surkhandarya). Flat weave main carpets, different kind of bags and other household utensils prevailed. All they can be divided into two groups regarding their technology: flat weave and embroidered. Each group, in turn, also consisted from different types, each one had its own technical and art features. At the same time, all carpets are united by a common style and ornamental base.
Such types of traditional flat weave carpets of Uzbekistan as a kokhma, terma, gadjari, sumakh, takir, kilim, besh-kashta, ok-enli, kiz-gilam, their technical features of weaving, and also a decor are considered in this article.

Keywords: flat weave carpets, kokhma, terma, gadjari, sumakh, takir, kilim, besh-kashta, ok-enli, kiz-gilam.


На протяжении 19 – 20-х вв. поизводством ковров на территории Узбекистана занимались узбекские племенные группы дашти-кипчакского происхождения, узбеки-туркманы, проживающие в районе Нурата, каракалпаки, арабы Кашкадарьи и Сурхандарьи, отдельные группы местного туркменского населения. Ковроткачество было представлено ворсовыми и безворсовыми коврами. В статье рассматриваются безворсовые ковры, которые  классифицируются на гладкотканые и вышитые. Каждая группа, в свою очередь, подразделяется на
определенные типы, для которых характерны собственные технические и художественные решения. Все ковры, вместе с тем, объединяет общность стиля, единая декоративная база. В статье демонстрируются такие типы традиционных безворсовых ковров Узбекистана, как кохма, терме, гаджари,
сумах, такир (килим), беш-кашта, ок-энли, киз-гилам, их технические характеристики переплетения, художественное оформление.

This study focuses on the dye analysis of 26 ikat textiles present in the collection of the Arthur M. Sackler Gallery and originally collected by Dr. Guido Goldman with the aim to gain additional information about their provenance and dating. The investigation exploits the full potential of a multi-analytical approach, starting with a non-invasive survey of all the colors using fiber optic reflectance spectroscopy (FORS), which revealed the presence of indigo and insect-based red dyes. These data were used to select areas from which samples were taken and analyzed by high performance liquid chromatography diode array detector (HPLC–DAD). These results enabled most of the natural sources of dyes to be fully identified, including American cochineal (Dactylopius coccus), madder (probably Rubia tinctorum), lac (probably Kerria lacca), larkspur (Delphinum semibarbatum), pagoda tree flower buds (Sophora japonica), grape vine leaves (Vitis vinifera), indigo and tannins. Complex mixtures of...

This study focuses on the dye analysis of 26 ikat textiles present in the collection of the Arthur M. Sackler Gallery and originally collected by Dr. Guido Goldman with the aim to gain additional information about their provenance and dating. The investigation exploits the full potential of a multi-analytical approach, starting with a non-invasive survey of all the colors using fiber optic reflectance spectroscopy (FORS), which revealed the presence of indigo and insect-based red dyes. These data were used to select areas from which samples were taken and analyzed by high performance liquid chromatography diode array detector (HPLC–DAD). These results enabled most of the natural sources of dyes to be fully identified, including American cochineal (Dactylopius coccus), madder (probably Rubia tinctorum), lac (probably Kerria lacca), larkspur (Delphinum semibarbatum), pagoda tree flower buds (Sophora japonica), grape vine leaves (Vitis vinifera), indigo and tannins. Complex mixtures of...

This study focuses on the dye analysis of 26 ikat textiles present in the collection of the Arthur M. Sackler Gallery and originally collected by Dr. Guido Goldman with the aim to gain additional information about their provenance and dating. The investigation exploits the full potential of a multi-analytical approach, starting with a non-invasive survey of all the colors using fiber optic reflectance spectroscopy (FORS), which revealed the presence of indigo and insect-based red dyes. These data were used to select areas from which samples were taken and analyzed by high performance liquid chromatography diode array detector (HPLC-DAD). These results enabled most of the natural sources of dyes to be fully identified, including American cochineal (Dactylopius coccus), madder (probably Rubia tinctorum), lac (probably Kerria lacca), larkspur (Delphinum semibarbatum), pagoda tree flower buds (Sophora japonica), grape vine leaves (Vitis vinifera), indigo and tannins. Complex mixtures of dyes were present in most samples, as a result of both the ikat making process itself and traditional dyeing practices. Synthetic dyes were identified in 9 of the textiles. Samples were re-analyzed using HPLC-DAD coupled to mass spectrometry (HPLC-DAD-MS). Malachite green (basic green 4, C.I. 42000), fuchsine (basic violet 14, C.I. 42510), rhodamine B (basic violet 10, C.I. 45170) and methyl violet (basic violet 1, C.I. 42535) were identified, and a few other tentatively identified synthetic dyes (probably orange I, II and IV, rhodamine 6G, patent blue V and alizarin yellow GG) were detected. As the first synthesis of early synthetic dyes is well documented, their presence was used to refine the dating of these textiles. The contextualization of the results also appeared to support the stylistic assumption that more intricate and colorful designs with a higher level of complexity are dated earlier than simpler, larger and more graphic ones. The overall information acquired reveals a dynamic scenario and an interesting window into the dyers' experiments and adjustments to the economic and technological changes of the nineteenth century.

Ковровая карта позднесредневековых узбекских ханств была весьма разнообразна, при этом ковроткачество было распространено в ареалах обитания скотоводческого населения. Наряду с узбеками выделкой ковров занимались также местные туркмены, арабы, каракалпаки, киргизы, казахи, уйгуры, таджики. Общность этногенетических корней, совместное проживание способствовало закономерному культурному взаимообмену: распространению единых технических приемов, мотивов орнамента. В контактных районах подчас сложно выявить происхождение того или иного изделия. Вместе с тем, некоторые ковры несут в себе четкую идентификацию, что делает их сразу узнаваемыми. Что касается собственно узбекского населения, то ковроткачество развивалось у узбеков-туркман (Нурата) и этнических групп дашти-кипчакского племенного объединения, сохранивших скотоводческий тип хозяйствования, в первую очередь кунгратов, локаев, кипчаков, туяклы, минг, найман, а также других, менее крупных племен. Участие перечисленных племен в этногенезе не только узбеков, но и иных народов-соседей, обусловило общность традиций прикладного искусства, в том числе ковроделия.

The cemetery of the Olon dov located in 7 km away in north east from the Khotont soum center, Arkhangai province, Mongolia; and in 12 km away in west from the capital Karabalgasun of the Uighur Empire. In 2010-2012 the Expedition of the Department of Archaeology and Anthropology of the Mongolian National University has excavated 31 medieval burials. These burials placed by groups in many numbers in the eastern slope of the mountain located near Karabalgasun and according to building materials and bricks, which used in many numbers for constructing these burials, and also by materials which are possible to identify the date, this cemetery is probably can be a part of the cemetery of the Uighur’s capital citizens of VIII-IX century. In 2011, a tomb No.26 was excavated from Olon dov cemetery. New textiles found in Uighur period was discovered from this tomb which was built by bricks and has one room. The dress consists of the cap with gold flower and robe. The Clothing has separated parts including short jacket, skirt and apron. There were many kinds of bow ribbon or strings. The Dress was made by silk with designs of birds and floral patterns, which was originated from Tang Dynasty of China, the middle of VIII century. Design of the dress is unique. This artifact is the first substantial cloth finding from territory of Mongolia and related to Uighur Period.