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textile arts
ICH Elements 19
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Kiyiz basu - the tradition of making felt
'Kiyiz' is a valuable felt material used by nomads in everyday life since immemorial time. Felt is manufactured from sheep, camel or goat wool by felting. Felt is made from wool using various methods to compress the wool fibers to form a thick, durable and warm material. Felt processing and products remains as one of the most popular crafts in the decorative art of the Kazakhstan steppes and other Central Asian countries. It was the major craft in Kazakh nomadic life as well as a significant work of women. Felt in Kazakhstan used mainly for flooring as a carpet well as covering a yurt. Nowadays one can get also a Kazakh felt souvenir toy. Warm slippers, vests, scarves and much more. Kazakhs used two basic types of felt, which differ in their method of manufacture and function. Kazakhs used coarse felt to cover the yurt and the dirt floor inside. Felt often decorated ornament. There are different methods of ornamentation: applique, ornamental stitch and many others. Skilled workers typically cover the entire surface of the felt track patterns, using a contrasting color. Kiiz is a simple felt carpet made of white, brown or grey wool, used as a foundation for making other products or to cover various parts of the yurt. Syrmak is a floor carpet, made by designing on a basis (kiiz) ornamental aptterns cut out of think multicolor felt which are then adjusted to the basis and sewed with color lace along the contour of the pattern, Tekemet is the Kazakh felt carpet with inserted color pattern on the top of each other before rolling. Different tribes in Kazakhstan each have their designs. Tuzkiiz ia a wall carpet, made by sewing ornamental compositions on felt or solid color fabric like velvet or silk, and then sewing them to the felt basis.
Kazakhstan -
Traditional knowledge related to patchwork techniques ‘Kurak’
Kurak is a Kyrgyz craft of quilting. Quilting is a process of sewing pieces of fabric together, which at the end create a common pattern. Pieces of fabric, leather and felt of various size and color are used for quilting. Kyrgyz people say that kurak is a renewal of the old, creation of something big from something small. Nowadays, kurak is still very popular craft in the Kyrgyz Republic. Quilted items are always included into a bride’s dowry. Many household items such as blankets, pillow cases, wedding curtains, table cloths, spoon bags, tea bags and other items are quilted. The quilting techniques can be divided into two categories: 1.\tquilting that uses triangular and rectangular pieces of fabric of different color arranged in a way that creates sophisticated patterns; 2.\tquilting done with thin strips of fabric of different color. One of the most wide-spread patterns is black triangle on a white background called tumracha (small amulet) or turna (crane). Another ancient ornament used in quilting is a black square put on one of the inside angles of a white square. This ornament is called boto köz (baby camel’s eye). There are more sophisticated patterns. For example, kattama kurak (layered quilting) is a square with triangles going around it. A red square and white triangles make a pattern called alma kurak (apple quilting). A square with diagonals made out of lozenges and triangles is called scissor quilting. It is used to decorate various pillows and cushions.
Kyrgyzstan -
Batik
The word “Batik” means “drawing out with wax”. The coloured and patterned cloth has gained popularity not only in Malaysia but also in international fashion scenes. This fabric normally carries motifs that reflect the flora and fauna, geometry and landscape of nature. Terengganu Batik is renowned for its vibrant colours, bold prints and its versatility. It is soft, light and breezy and very well suited for the summer and tropical climate and its fabric is made into shirts, dresses, crepe de chine, scarves, kaftans, sarongs, pillow cases, bags, table cloths and many more items. There are two types of batik, the hand drawn and the block print. The hand drawn is based on the artist’s imagination and creativity. The artist begins by using a small pen-like container filled with hot-melted wax. It is then hand-drawn onto a white fabric with hot liquid wax creating a design. Brushes are then used to paint dyes within the outlines, thus allowing for the creation of shaded and multihued designs. The gracefulness and speed of their freehand never ceases to amaze one’s attention. It is a beauty of the highest form of traditional batik where each hand-drawn article of clothing is unique. The block print batik uses either a copper or a wooden block that looks like a domestic iron, artistically designed with intricate patterns. The block is dipped in a hot melted wax and press printed on the white cloth, which is then dyed in the colours required, rinsed and dried. Many contemporary designers also incorporate elements of this ancient craft into their colourful creations. Today, batik is not only used for outfits, but innovative commercial uses of this beautiful and artistic textile are made into bags, cushion covers, curtains, slippers etc.
Malaysia -
GULDUZI
Embroidery, needlepoint of ornaments with cotton, silk and wool threads on the fabrics. Each ornament has symbolic interpretation. Gulduzi needlework is used in decoration of costumes, curtains, covers and etc.
Tajikistan -
Traditional knowledge related to piled carpet technique
Today, piled weaving is vividly demonstrated in the patterned piled carpets that are distinguished by their quality and durability. Sheep, caprine or camel hair is used for base of the carpets. Piled carpets are original and colorful as are other items of the applied and decorative arts of the Kyrgyz. Kyrgyz piled carpets, are weaved on a simple horizontal machine – ‘dyukoun’. Instruments of masters also include wooden comb – ‘tokmok’, which is used to nail picks and piles, a knife – to cut piled threads, and scissors – to trim the piles. Geometrical shapes are prevailing in the Kyrgyz piled carpets. These are: squares with jogged edges or elongated endings – ‘omurtka’, triangles – ‘tumarcha’, cross shaped figures – ‘chaidosh’, simple or stepped rhombs – ‘it taman’, star shaped forms – ‘jyldyz’ as well as various octangulars and etc. Plant and horn shaped motifs are also present in the ornaments such as ‘toguz doubou’ (nine hills), ‘alma kouchout’ (apple pattern) and etc.
Kyrgyzstan -
Embroidery art
Embroidery is a type of needlework. Beauty of Uzbek embroidery, ancient origins of its patterns and diversity of techniques applied indicate to the fact that this craft has passed a lengthy process of historical development, and has rich traditions. Large-sized decorative embroidery can be divided into several types: suzani (wall-mounted panels; literally - "needle"), nimsuzani (literally - "half of suzani"), ruyidjo, joypush yakkandoz and choyshab (bedspreads and bedsheets), takyanpush (pillow coverlet), oy-palak and gulkorpa (Tashkent versions of suzani), sandalipush (coverlet for sandal), zardevor, dorpech or kirpech (embroidery used for decorating upper parts of walls), joynamoz (prayer rug), bugdjoma (coverlet for blanket), beshikpush (coverlet for cradle), etc. Embroidered items of small size are represented by oyna-khalta and shona-khalta (sacks for keeping mirror and comb), qiyiqcha, miyonband, chorsu and belbogh (versions of men's waist kerchiefs), doppi (skullcap), sarpokkun, qoziqlungi and tanpokkun (long towels with embroidered ends), bugjoma (linen used for wrapping dress), sarandoz and romoli-peshonaband (types of head shawls and headdresses for women), dast romol (handkerchiefs), jiyak (embroidered edges used for decorating certain elements of a dress), etc. Ornamental pattern and composition of embroidery depended on its practical purpose (i.e. for what purposes it was used). Main embroidery motifs are symbols of cosmogonic origin (i.e. sun, moon, stars in the form of large and small rosettes), vegetative and geometric patterns, stylized images of animals and birds. For embroidery of Uzbekistan peculiar is application of distinct technique of sewing, i.e. complete sewing of large surfaces of the pattern, and leaving (relatively) small area for the background. Also, different types of one-sided satin-stitch and chain-stitch are used, which fill motifs of an ornament completely. Satin-stich can be of two types, i.e. "bosma" and "kanda-hayol". There are different types, patterns and traditions of embroidery, depending on their belonging to their respective regions: Bukhara, Fergana, Shakhrisabz, Nurata, Tashkent, Fergana, etc.
Uzbekistan -
Traditional knowledge related to embroidering and making of 'Tush kiyiz’
Tush kiyiz represents intensely embroidered ornamental carpet used to decorate the house. It is of a rectangular shape and embroidered on different types of fabrics. Initially it was used for insulating purposes in the yurt. Most probably, the first wall carpets were made of felt, which is evident from its name: tush – meaning “outer” or “in front”, and kiyiz – meaning “felt.” tush kiyiz is an example of Kyrgyz embroidery. Embroidery is one of the most ancient and most wide-spread crafts of Kyrgyz people. During the centuries Kyrgyz women have developed their own ornamental style, which is dominated by vegetative and zoomorphic motifs such as the ornaments of leafs, branches, flowers as well as round and spiral patterns. Kyrgyz embroidery leaves a lot of room for artistic expression and improvisation. Some Kyrgyz women embroider without stencils based on their own memory and imagination.
Kyrgyzstan -
Maedeupjang (Decorative Knotting)
National Intangible Cultural Heritage, Republic of Korea There are several types of strings used to make decorative knots. Circular strings used in accessories or pouches are called dongdahoe. Wide and flat strings used in waist belts are called gwangdahoe, whereas knots used in attire or ceremonial accessories are called gyeokdap or gyeolja. It is not easy to clarify precisely when and where the knot, a field of Korean traditional crafts, originated. However, it is speculated that Korea's knots and tassel decorations were influenced by China due to frequent exchanges between the two countries. And it is presumed that the knot craft in Korea affected that of Japan. Chinese knots are characterized by their variety and their extravagant style, whereas Japan focused on the functionality of the string rather than the decorativeness of the knot itself. In contrast, Korean traditional knots are characterized by pursuing proportional and rhythmic beauty by forming a shape using monochromatic strings and hanging tassels underneath. In addition, there are many forms and names derived from animals and plants, such as the lotus bud knot, chrysanthemum knot, and dragonfly knot. It can be stated that the Korean knot is not only functional but also plays a decorative role that highlights the subject but is expressed in elegant elegance rather than in extravagance. During the Joseon Period, the government designated knot craftsmen. As for the materials used to make knots, there are threads made of silk, ramie, mulberry, hemp, and woolen yarn. Knot shapes vary depending on the color, thickness, and methods used for tying. The names used to call them differ from region to region. The names were based on household items, flowers, or insects, such as ginger piece, butterfly, dragonfly, chrysanthemum, etc. Tassels were attached to the lower end of the decorative knots used for musical instruments, vehicles, or Buddhist ceremonies. There were diverse types and levels of tassels depending on their use, i.e., whether they were for the Royal Palace or ordinary households.
South Korea -
Bumthang Yathra: Woolen textile of Bumthang
Yathra weaving is found in six gewogs (Chungphel, Zhurey, Kertsho, Bhim, Terzoe and Yeerangbi) in Chummey village. The raw material or fabric for Bumthap Yathra is traditionally sheep wool and yak hair. However, the importation of raw material from India is a result of the decline in sheep population. In addition, wool from Bhutan was considered to be of higher quality, but the prices are unusually high. For this reason, Indian wool is now in demand because of its cheaper price. The cheapest made-up and bleached wool costs Nu 300 per kg in India, while the highest quality wool costs Nu 1,200 per kg. To keep production costs low, Yathra manufacturers rely on imported wool. Yathra factory owners receive between Nu 10,000 and Nu 15,000 for weaving 15 pieces of yathra. People in Bumthang are forced to use yathra as bedding, raincoats, and jackets due to the long, bitter winters in the region. Likewise, yathra is one of the most sought-after commodities in the local handicraft industry, as yathra can be hand-woven as jackets and floor coverings because it is warm. Recently, Yathra products are becoming popular worldwide through Bhutan's digital fashion site such as Bhutan Street Fashion. In addition, Yathra coats and other pieces of fabric made from Yathra are used as costumes in fashion events because of their intricate patterns. The global and local levels of the economy are interdependent, with the lives of locals of Chummey village, known for Bumthap Yathra, being improved by international tourists buying Yathra as souvenirs and fashion items despite its high price. The economic activity of Bhutanese goods like Yathra locally and globally leads to a financial landscape where money flows across borders and generates revenue for the country.
Bhutan -
Songket
Songket is a traditional Malaysian handwoven fabric. It is woven on two-pedal floor looms by the Malay women In Malay Peninsula (West Malaysia) and in Sarawak (East Malaysia). The term Songket is derived from the technique employed to make it: inserting gold or silver thread in between the weft and warp threads. Songket is woven using the Malay weaving loom called 'kek'. Songket is woven as the supplementary weft method, a decorative weaving technique in which extra threads "float" across a colourful woven ground to create ornamental effect. The delicate piece of Songket is the result of many months of skilled handloom weaving by expert craftsmen who learn the art from their ancestors. The identity is traced by its design patterns that use geometry and elements of nature such as flowers, birds and insects. The motifs of tampuk manggis (mangosteen calyx), tampuk kesemak (persimmon), bunga pecah lapan (eight-petal flower), bunga bintang (star-patterned flower), pucuk rebung (bamboo shoots) and awan larat (trailing clouds) are among the most frequently used. These traditional patterns continue to be used, especially in aspects of separation and placing the various parts of the cloth such as the centerfield, main panel and end borders. Unlike the old days, Songket is only worn by royalty and their families. But todays, it is mostly worn as traditional Malay ceremonial costumes during royal installations, wedding, birth, Malay festive occasions and formal state functions.
Malaysia 2021 -
Tekemet-kiyiz - tradition of making felt carpet
Tekemet is the Kazakh felt carpet with inserted color pattern on the top of each other before rolling. Different tribes in Kazakhstan each have their designs. Tekemets similar to syrmak (another type of felt carpet), but has a vague and soft forms in connection with the peculiarities of production technology. Tekemets decorated by double horns ("qos muyіz") - horn curls arranged in a cruciform shape, usually within a rhombus and oval. White or grey ornaments were selected, which bursted on the brown main background of felt. In West Kazakhstan can be found "eki tekemets" (“ekі tekemet"), which are decorated on both sides. Patterned felting is one of the oldest types of Kazakh ornamentation. It is handmade from one color of felt (light or dark), combined with the natural color of camel's wool. Masters of Central Kazakhstan felt ornaments in different colors.
Kazakhstan -
Baskur, Bau, Tuskiiz rugs - key elements of yurt decoration
Colorful yurt tent bands (baskur, bau, zhel bau) are made using combination-technique (flat and pile weaving). Yurt bands are an integral part of yurt and easy to produce; they are woven in every region of Kazakhstan. Both the bands and flat-woven carpets are woven on a special narrow loom which is also employed to weave a number of narrow strips that would then be sewn together to create alasha rugs. To achieve the dynamic look of a carpet, alasha were either made from strips of different colors or with designs and pile reliefs. The basic production material is sheep’s wool, goat wool and horse hair, natural cotton and silk fibers. It is also common to add camel or goat wool to warp yarn to add durability. Yurt decorations are best understood starting from the dome or uppermost region of the structure, which was traditionally adorned by patterned baskur and bau bands, and colorful shashak tassels. The baskur strips tied up the roof poles (uyk and kerege) of a yurt and its latticework (kerege) around the perimeter and decorated the joints between the kerege and the dome. The bau bands ran diagonally under the wooden poles and were fastened to outer felt covers. In addition to their functionality, they also served as decoration for the dome of the yurt. The bau and baskur bands were made using a variety of techniques and colors. The shashak tassels were also an important decorative and protective item. Like twinkling stars they shimmered, moved by air entering the yurt through the shanyrak - a circular opening at the top that symbolized the limitless eternal sky. Wall rugs are another significant decorative aspect of Kazakh yurts. These include pile items (tukti kilem, or kaly kilem) and flat-woven textiles (takyr kilem, takta kilem, taz kilem, araby kilem, beskeste kilem, badnas kilem, alasha, and many others). There are also rugs made using chain stitch (loop-type stitches in a continuous row )- tus kilem, biz kilem, and ilme kilem. Carpets adorned the walls of a yurt and served as insulation. They covered its floors and were also used as covers for loaded camels during migration. In addition, they were an indispensable part of a bride's dowry, were given as presents to guests at celebrations, and were used to wrap the dead before burial.
Kazakhstan