Uzbek square suzani
The word suzani is derived from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries. The primary use of a suzani was within the yurt, as a protective wrapping panel for textiles and belongings. They were also used as prayer mats, as bed sheets and for seating. Suzanis had a symbolic significance, too. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Motifs such as leaves, vines, fruits (especially pomegranates), and occasionally fish and birds. These motifs were believed to imbue the suzanis with spiritual powers, offering protection or strength to their owners. During Soviet rule in the 19th century the use of suzanis were used as tablecloths, tea-cosys, napkins, and shawls.
In every authentic Suzani, you will find a small deliberate fault or unfinished area, as a reminder that man is not without mistakes, and also expresses the dream of the mother that her daughter will be then be inspired and want to “finish” creating the Suzani and thus continue the art of Suzani embroidery.
The Soviet era and industrialization that came with it put hand embroidery on hold. Soviet girls went to schools, universities to study and to work. That left little time for embroidery, especially in big cities. The industrialisation also gave rise to a machine embroidery. The Soviet era had a huge impact on textiles and the communities that made them. From their centuries old history connecting mothers and daughters through spiritual stories, the suzani was then mass produced for the tourist market using synthetic materials and machines.
This piece was sewn together from two separate embroidered pieces, as you can see from the slightly wonky joining down the centre. Cotton embroidery onto cotton square. Running stitch thick border.
Late 20th century.
Some marks and stains due to age shown in photos above.
160x145cm
The word suzani is derived from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries. The primary use of a suzani was within the yurt, as a protective wrapping panel for textiles and belongings. They were also used as prayer mats, as bed sheets and for seating. Suzanis had a symbolic significance, too. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Motifs such as leaves, vines, fruits (especially pomegranates), and occasionally fish and birds. These motifs were believed to imbue the suzanis with spiritual powers, offering protection or strength to their owners. During Soviet rule in the 19th century the use of suzanis were used as tablecloths, tea-cosys, napkins, and shawls.
In every authentic Suzani, you will find a small deliberate fault or unfinished area, as a reminder that man is not without mistakes, and also expresses the dream of the mother that her daughter will be then be inspired and want to “finish” creating the Suzani and thus continue the art of Suzani embroidery.
The Soviet era and industrialization that came with it put hand embroidery on hold. Soviet girls went to schools, universities to study and to work. That left little time for embroidery, especially in big cities. The industrialisation also gave rise to a machine embroidery. The Soviet era had a huge impact on textiles and the communities that made them. From their centuries old history connecting mothers and daughters through spiritual stories, the suzani was then mass produced for the tourist market using synthetic materials and machines.
This piece was sewn together from two separate embroidered pieces, as you can see from the slightly wonky joining down the centre. Cotton embroidery onto cotton square. Running stitch thick border.
Late 20th century.
Some marks and stains due to age shown in photos above.
160x145cm
The word suzani is derived from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries. The primary use of a suzani was within the yurt, as a protective wrapping panel for textiles and belongings. They were also used as prayer mats, as bed sheets and for seating. Suzanis had a symbolic significance, too. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Motifs such as leaves, vines, fruits (especially pomegranates), and occasionally fish and birds. These motifs were believed to imbue the suzanis with spiritual powers, offering protection or strength to their owners. During Soviet rule in the 19th century the use of suzanis were used as tablecloths, tea-cosys, napkins, and shawls.
In every authentic Suzani, you will find a small deliberate fault or unfinished area, as a reminder that man is not without mistakes, and also expresses the dream of the mother that her daughter will be then be inspired and want to “finish” creating the Suzani and thus continue the art of Suzani embroidery.
The Soviet era and industrialization that came with it put hand embroidery on hold. Soviet girls went to schools, universities to study and to work. That left little time for embroidery, especially in big cities. The industrialisation also gave rise to a machine embroidery. The Soviet era had a huge impact on textiles and the communities that made them. From their centuries old history connecting mothers and daughters through spiritual stories, the suzani was then mass produced for the tourist market using synthetic materials and machines.
This piece was sewn together from two separate embroidered pieces, as you can see from the slightly wonky joining down the centre. Cotton embroidery onto cotton square. Running stitch thick border.
Late 20th century.
Some marks and stains due to age shown in photos above.
160x145cm