Among Zoroastrian burial items, there is a camel-shaped zoomorphic OSTADON lying there. It was found…
Gold embroidery is an urban and court craft, developed in Bukhara.
he State Museum of Arts has assembled a unique collection of festive men’s and women’s robes, children’s clothing, shawls and other items made using this technique.
The golden age of gold embroidery falls at the end of the 19th– beginning of the 20th centuries. From historical sources it is known that in the second half of the 19th century there was a gold embroidery workshop at the court of the Emir of Bukhara, where only men worked. They embroidered the clothes of the court nobles with gold and silver threads, robes, men’s belts, shoes. In women’s costumes, they used gold embroidery to decorate peshonaband (headdress), sarandoz, rumol (head shawls or wraps) kultapushak (headdress of a married woman), kurta (dress), zokhi-kurta (gold-braid, framing the front neckline), kaltacha (women’s outerwear robe), duppi (skullcap), poychazarduzi (women’s trousers), and makhsi (velvet or cloth boots with soft soles).
Gold embroidery was also used for decorating small household items: bags for money, tea, signets, sheaths for knives. Some pieces were also embroidered: zinpush (bailer), dauri (blanket), yolpush (saddle cover), as well as joynamaz (prayer rug) and tahmonpush (bedspreads).
For the production of gold embroideries and clothes, dense fabric was used, such as velvet or brocade. Adras, alotchu, and satin could also be used. First, the future product was cut out, then the painter created the approved patterns, and only then did the gold embroidery begin. The compositions were divided into several types: zarduzi-zaminduzi – continuous sewing of background patterns, zarduzi-gulduzi – embroidering of disparate patterns, using patterns cut from paper, zarduzi-gulduzi-zaminduzi – combined sewing technique, zarduzi-pulyakchaduzi – embroidery with gold or silver threads in combination with sequins. In the art of gold embroidery, plant patterns prevailed, and, more rarely, geometric patterns. The main motifs were rosettes, palmettes, bushes, trees, branches, flowerpots, almonds, and pomegranates.
You can learn more about this topic in the book-album “The Collection of the State Museum of Arts of Uzbekistan” (Volume XIII) from the series “Cultural legacy of Uzbekistan in the world collections”.
The general sponsor of the project is the oilfield services company Eriell-Group.
