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TEXTILE ODYSSEY

of THE STEPPE

By The IK Foundation

September 23^rd, 2021

Yurts and textiles, natural dyes and trade along the wide-ranging caravan routes all provide important traces of traditional everyday life. One early observer of these textiles was the Linnaeus’ apostle and naturalist Johan Peter Falck, who lead one of the Imperial Academy of Sciences’ natural history expeditions in 1768 to 1774 – from when he kept a detailed travel journal. The nomadic and semi-nomadic peoples were often in focus. This visual story is one branch of the ongoing IK Foundation project BRIDGE BUILDER EXPEDITIONS – RUSSIA, KAZAKHSTAN & KYRGYZSTAN in Natural & Cultural History, which aims to establish links to 18th century records of various textile traditions, stretching both earlier in time as well as up to present-day.

Our odyssey over the endless steppe shows a rich selection of pictures on beautiful textiles, landscapes and meetings with fascinating people.

NOMADIC PEOPLES

TEXTILE ODYSSEY

Nomadic peoples lived in a wide geographical area during the 18th century – stretching through present-day Siberian Russia, Kazakhstan and the northern parts of Kyrgyzstan. Some areas even kept up the same nomadic or semi-nomadic traditions for a further two hundred years up to the 1960s; for instance the inherited knowledge of how to survive Siberian winters assisted by the most suitable textile materials. Over many centuries, families made their yearly travels on the boundless steppe up to 1500 kilometres in various directions – without any limitations of recent geographical borders – culture as well as language were closely related. Until the early 20th century, the Russians and Europeans referred to Kazakhs and Kirghiz as Kirghiz, and Johan Peter Falck (among others) used Kirghiz throughout his journal. Consequently, his observations of the Kirghiz peoples’ divisions into three groups was in accordance with the long oral history of this region. The Silk Road and its many branches in the south as well as routes along the Orenburg Line (Orenburg, Petropavlovsk, Omsk, Semipalatinsk) in the 18th century, as well as earlier and later in history, had an enormous significance for raw materials and ready-made textile wares alike.

An image included in the publication Les peuples de la Russie... printed in Paris 1812-1813 – demonstrates an ‘Interior of a Kalmuk yurt‘, which gives a view of the size and interior of a circular yurt from the perspective of a travelling European.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

Few traces of textiles once used during the 18th century are extant today. The nomadic everyday life was evidently tough on fabrics, used and re-used until wear and tear meant that clothing etc was replaced with new materials of the same or similar types. Even if some cloths and furs lasted for many years or were re-made and added with new embroideries, restitched to children’s clothes or for other uses through the generations – it is still rare to locate interior textiles as well as garments older than of late 19th century origin. Furthermore, a surprisingly large amount of textiles in visited museum collections of today was produced as late as in the 1940s to 1960s. It may also be emphasised that exact dating is difficult or even impossible in many cases, as spinning by hand and natural dyeing with plants were in common use up to the mid-20th century. These circumstances give proof for that fabric and clothing were produced after long-lived traditions – and were similar in material as well as design over a long period of time. A few signs of “late” production may be: added borders of corduroy stitched on by machine, garish colours of chemical dyeing on fabric or yarn, machine-made cords or embroideries revealing the year it was made.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

The Kyrgyz heroic epos Manas strengthens the unanimity of 18th century observations and the nomadic textile traditions centred to the home or yurt and its very long history. The English translator of this epos, Walter May, also noted that three time-scale theories about this oral tradition exist. He regarded the oldest origin as most probable, and estimates its dating to ‘The VII-X century, when the Kirghiz lived near the Yenesei’. A few lines about the interior in a wealthy newly-wedded couple’s 41 yurts, have similarities with for example Johan Peter Falck’s journal notes on the same subject:

‘Treasures from old Meshked she’s found,

Persian carpets are spread around.

Velvet, satin, and silk she spread

Round the walls, and overhead,

Feather cushions she ordered to bring,

Covered in silk and crepe-de-chine!

Six hundred blankets she called for too,

Red and yellow, and green and blue.

Sheets of finest linen, or lawn,

Cambric, cotton, of thread fine-drawn.’

Nomadic or semi-nomadic life in yurts never totally vanished, but generally it may be noted that many families were forced or persuaded with promises of a better and more comfortable life to abandon their long-lived traditions, due to political aims of the Soviet Union (1922-1991) in the period leading up to the 1960s. The nomadic hunter and gatherer society was seen as unproductive whilst permanent residence, collective farming and industrial work were regarded to give better prospects for the future. Compulsory schooling also became an obstacle for a nomadic lifestyle. The complexity of changing so many peoples’ way of living in such a vast geographical area became a slow process however, the strength and desire to keep up the long-lived traditions were shown in numerous ways. One of the practises which had multiple functions for the daily life, was the women’s rich embroidery traditions – in particular the multi-coloured tambour stitching. Such bedcovers, bolsters and other interior textiles once used in the yurt, are preserved in quite large numbers in present-day Kazakhstan and Kyrgyzstan. Furthermore, some examples were still embroidered and used past the mid-20th century, as on the illustrated fabric dated “1964” in a private collection. These often immensely complex designs, have sometimes been added with motifs in the same tambour embroidery technique, by several generations over a period of 50 years or longer. The technique, named Saima in Kyrgyzstan is stitched exactly in the same way.

TEXTILE ODYSSEY

The State Museum of Arts in Almaty has also published an extensive catalogue of the museum’s ethnographical collection in 2010, where the same type of embroidered wall-covers and other uses for clothes/daily life objects of similar designs demonstrate the multitude of patterns and the enormous amount of work behind every single piece of such decorative textiles. For festive occasions and in wealthy homes, velvet and silk qualities were preferred. Even if the knowledge and traditions of making these tambour embroideries existed in a large nomadic area, the technique is regarded as the most common in regions of present-day northern and eastern Kazakhstan, where the local practise of making woven carpets never developed to the same extent as in more southerly regions.

One may assume that large numbers of tambour embroidered wall hangings – primarily dating from the first half of the 20th century are kept in private homes today – judging by piles of such textiles sold in a museum shop at the National Museum .

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

Demonstration of tambour stitching in Kazakhstan.

TEXTILE ODYSSEY

’Carpet maker at Dzhailau’ painted in 1950 by Abylkhan Kasteev (1904-1973) at the State Museum of Arts of the Republic of Kazakhstan in Almaty, who already in 1944 received the title “People’s Artist of the Kazakh SSR”. The depiction gives an informative view of the relationship between a nomad family and visiting Soviet Union representatives – “The Old and New Life” which was a recurring theme in several of his paintings. From a textile perspective, the yurt as well as the woman’s work with a felted woollen carpet, or a so-called Shyrdak or Syrmak is represented.

TEXTILE ODYSSEY

The Shyrdak/Syrmak is made from thick felted wool in various sizes, on these often quite large carpets, ornamental patterning of cut woollen cloth, velvet or silk fabric pieces are applied, stitched on with a strong thread through the thick felted wool ground. Each and every edge of the applied fabrics are further strengthened with a plaited cord of wool in either a matching or differing colour. These carpets are warm, beautiful, well-made, practical and durable – the combination of patterns is diversified and decorative. The plaited woollen cords, which are needed in a surprising amount of meters to cover the edges of every applied ornamental pattern detail, may also give clues to when it was made. For instance on the examples of later date, from mid-20th century, these cords were often machine-made and of synthetic material, whilst similar textiles from the earlier part of the century were still decorated with hand plaited narrow woollen cords. Museum collections in Nur-Sultan and Almaty have substantial numbers of such objects, also including a “simpler” technique, with pieces of coloured wool placed in desired patterns on the naturally grey wool ground during the felting process. This practise does not include the applied embroidery with its plaited cords and due to this became a much quicker way to make a durable as well as decorative and warm carpet. The State Museum of Arts in Almaty keeps more than 300 examples of these two sorts of felted carpets.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

The Craft Council with associated organisations in Bishkek in their work organise more than 1000 women in Kyrgyzstan who produce Shyrdak and other embroideries of the highest qualities after long-lived traditions. Furthermore, they use hand-made plaited woollen cords, to be able to reach a genuine quality in each and every detail – from the felted ground, the ornamentally applied cut cloth pieces, the stitching thread and plaited decorations which additionally strengthen and prolong the durability of the carpets. Of the same importance is the women’s technical skill of all these steps in the production, the artful design and the meaning/knowledge of chosen motifs alike. ‘Kyrgyz heritage is represented in the UNESCO List of Intangible Cultural Heritage’ – Shyrdak and yurts are included as important parts of this heritage.

TRADE IN TEXTILES

TEXTILE ODYSSEY

18th century silk, velvet fabric pieces or garments in museum collections in present-day Kazakhstan are very rare, due to the nomadic lifestyle as mentioned earlier. The wide-stretching and long-traditions of trade along the caravan routes – later named the Silk Road – was however of vital importance to the extensive commerce of such luxury materials. This introductory image visualises the often hard travel conditions with two men and their pack-train of camels in the snow-covered mountains on the outskirts of Samarkand, on a photograph taken circa 1905-1915. Whilst a few of the extant garments, stitched from such imported qualities are kept at the National Museum of the Republic of Kazakhstan. Firstly the illustrated coat model (see below), of a deep red velvet fabric (possibly of Chinese origin) added with silk embroidery, gold threads, silver spangles and other costly decorations. The complex ikat dyed fine cotton quality on a bright yellow ground used as a lining was another desired trading article, but this particular type of fabric was purchased via the caravan routes from Uzbekistan. The sleeveless waistcoat was most probably sewn of a Chinese silk brocade; including extensive amounts of gold thread and wide separate borders made from gold thread (spun around a silk cord). The costliness demonstrates that these garments once were worn by someone from one of the wealthiest nomadic or semi-nomadic families.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

The Regional Museum of History in Petropavlovsk keeps two fabric lengths of comparable exclusivity, but probably originating in the 19th century. The ground on both pieces are of velvet, somewhat worn and designed with satin stitch of raised effect to emphasise the gold and silver threads in the expensive embroidery. Other decorations are pattern-woven ribbons of harmonising gold and silver threads to further stress the portrayal of luxury in these fabrics.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

Knotted-pile carpets – on a woollen or cotton warp – have a rich and very long tradition in the southern parts of present-day Kazakhstan, Kyrgyzstan and in most areas of Central Asia. Variations of patterns are almost endless and uses were varied within the nomadic everyday life: besides for practical or ritual functions, these types of textiles were foremost necessary for saddle bags and durable covers as protection for chests and other storage. Museums in the region keep substantial collections of such knotted-pile carpets woven on a loom, once adjusted in various sizes for each and every possible use.

TEXTILE ODYSSEY

Coarse rep-woven woollen carpets or blankets were groups of textiles used in the nomadic or semi-nomadic household. These may also be named “horse blankets” – preferably designed with stripes or simple symmetrical patterns, woven by hand in quite wide-size looms. Another technique was the finely patterned carpet or wall-decoration called shim shi in Kazakh, a complex as well as a time-consuming technique where thin woollen threads are wound around a type of coarse grass. Ornamental patterns are gradually formed, whilst many such wrapped grasses are plaited together for interior textiles in various sizes for the yurt. This tradition and special skill is regarded as especially finely developed in the region of Almaty, but weaving/plaiting of this type is also common in present-day northern Kyrgyzstan and other areas.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

Warm and durable camel hair socks, sold by a hawker in one of the many backstreets in Petropavlovsk.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

The cultivating of cotton in the Bukhara area, had a long tradition already at the time of the naturalist Johan Peter Falck’s observations around year 1770 and cultivation of the useful and much sough-after raw material continued during succeeding centuries. Even if the production had been of great significance in Uzbekistan and its trade for hundreds of years, the yield increased during the time of the Soviet Union, primarily due to strictly controlled collective farms.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

The earlier mentioned artist Abylkhan Kasteev depicted cultivation and handling of cotton in at least these two representations from the southern parts of present-day Kazakhstan in 1936 (at the Art exhibition at the State Museum of Arts of the Republic of Kazakhstan, Almaty). One shows a nomad family’s work with sorting and drying cotton, in a small-scale production using traditional methods. Whilst the second oil on canvas demonstrates the “New Era” in a large-scale collective farm assisted by machinery, giving the desired increased efficiency for one of several southern areas of the extensive Soviet Union, where the climate for cotton was favourable.

FESTIVITIES AND EVERYDAY LIFE

TEXTILE ODYSSEY

Just as Johan Peter Falck in the 1770s had emphasised the similarities between the Kazakh and Kirghiz traditions and the fact that their clothes in many details were identical – even if local differences occurred, especially if mountain areas with difficult access hindered people from making contact and trade. Numerous reasons obviously dependent on each individuals’ or group of people’s way of dressing in a particular area: climate, financial realities and commerce, remaining long-lived traditions in isolated regions, social factors, other geographical limitations, local variations within various nomadic groups, the hunter-gatherer society’s knowledge about how to best use fur and skins just as personal taste must have been relevant to some extent. Other local differences were based on if a woman was married or unmarried, decorative preferences within the family or if a garment had a ceremonial or symbolic meaning. Just as the extreme temperature changes from one season to the next in Siberia and more southerly mountain areas, made it necessary either to use fur-lined clothes or quilted winter outerwear in several layers to keep out the cold, as opposed to the fine cotton or linen garments preferred during hot summer days.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

The superfluous amount of silver on males as well as the female dress has a long history, not only for purposes of decoration or status, but silver in all shapes were particularly significant for the bartering trade. The wide belt worn by men is the most visible proof of the value of silver, as pieces or decorations could be removed or added during an exchange of wares within the wealthy nomadic families. | Exhibition at the Regional Museum of History in Petropavlovsk.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

The wool or hair from goat, sheep and camel were all important for nomadic families’ possibilities to keep warm, for clothing as well as the yurt and its interior textiles. Coats of various designs were indispensable and useful as warm outerwear. Festivities or everyday use could also vary in what way particular garments were combined – leather, skin, fur, felted wool, camel hair, imported silks and velvets, practical cotton qualities, all materials had their specific uses. Mourning, weddings, introduction of hunting or war were other occasions which developed particular traditions for combinations of dress. Children were usually dressed in miniature sizes of adult garments, but differences for boys and girls as well as for various ages were visible in smaller details, just as the worn combination of garments for all members of a family was of great significance. For instance, women within the nomadic families in the Siberian area traditionally used an embroidered long shirt, sleeveless tunic, a piece of fine fabric to cover the opening at the front of the linen or cotton garment. It was also this combination of garments decorated with an expensive modesty fabric piece, often with fringes or woven ribbons of silk and gold, additionally fasten as many silver jewellery as the wearer could afford that gave the barer a unique as well as traditional costume.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

Some traditions live-on up to this day – like the long sleeveless embroidered tunic, often worn by middle-aged and older ladies working at museums, whilst the white felted high hat (Kalpak) was observed during a walk through the central areas of Bishkek, used by elderly men belonging to the family of a newly married couple. In the summers of 2014 and 2016 the World Nomad Games i Cholpon-Ata, in northern Kyrgyzstan was also celebrated – where traditional clothes and life in the yurt had a central and significant role. No traditions stay the same, but links between centuries back and present-day are not hard to find in present-day Russia and Kazakhstan.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

A large number of people and organisations in Russia, Kazakhstan, Kyrgyzstan, England and Sweden have been involved in this work, a project which is still ongoing. In conclusion, this story will visualise some further reflections from the journeys…

Seminar in Nur-Sultan, Kazakhstan on 6 June 2017. ”The Linnaeus Apostles Bridge Builder Expeditions - Sweden, Kazakhstan, Kyrgyzstan & Russia. Including Launch of The Explorer’s Field Guide”.

TEXTILE ODYSSEY

Swedish representatives just outside the entrance to The National Museum of Kazakhstan as part of the seminar ”The Linnaeus Apostles Bridge Builder Expeditions - Sweden, Kazakhstan, Kyrgyzstan & Russia. Including Launch of The Explorer’s Field Guide”.

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

TEXTILE ODYSSEY

IDEA & TEXT BY

VIVEKA HANSEN

CONTRIBUTORS

I am grateful to the help given by the following individuals and organisations – during fieldwork periods. A warm thank you to everybody who generously shared their deep knowledge in wide-ranging fields of subjects.

The patrons to this project Thora Ohlsson Foundation, Lund, Sweden and The af Jochnick Foundation, Vaduz, Liechtenstein.

...

Embassy of Sweden in Nur-Sultan, Kazakhstan. | Ambassador Christian Kamill with family.

Administrative officer of the Embassy of Sweden in Nur-Sultan, Kazakhstan. | Gulmira Abidkhozhaeva.

Honorary Consulate of Sweden in the Kyrgyz Republic. | Honorary Consul Nourlan Mamyrov.

S.I.Vavilov Institute for the History of Science and Technology of the Russian Academy of Sciences, Russia. | Researchers Alexey Sobisevich, Aleksandrovskaya Olga Andreevna, Vera Shirokova and Olga Romanova.

Field assistant, Dan Hansen. | Transporter, Nikita Neschanskiy.

Embassy of Sweden in Moscow, Russia.

The Russian Geographical Society in Moscow, Russia.

Swedish Academy. Bo Ralph. | Swedish Culture Abroad. Lars Bergman. | Interpreter. Bengt Eriksson.

Craft Council, Cacsa Trade etc organisations, Bishkek, Kyrgyzstan. | Director: Asel Aldasheva.

National Academic Library of the Republic of Kazakhstan, Nur-Sultan. | General director: Munalbayeva Umutkan Daurenbekovna & Librarian: Irina Shubina.

National Art Museum, Bishkek, Kyrgyzstan.

National Museum of the Republic of Kazakhstan, Nur-Sultan. | Head of Textile: Ryskul Iskendirovna.

Management of culture, archives and documentation of the akimat of the North Kazakhstan region. | Mambetalinov Rakat Mazhikenovich.

Regional Museum of History, Petropavlovsk, Kazakhstan. | Museum Director and assistants.

State Museum of Arts, the Republic of Kazakhstan, Almaty.

The Central State Museum of the Republic of Kazakhstan, Almaty. | Deputy Director: Beken Smagulovich.

The National Library of the Kyrgyz Republic, Bishkek, Kyrgyzstan. | Director: Jyldyz Bakashova.

Astana Opera, Nur-Sultan, the Republic of Kazakhstan.

SOURCES OF ILLUSTRATIONS

Pictures by Lars Hansen, The IK Foundation, London (unless stated otherwise).

See information & credits for these pictures, in the respective section below.

NOMADIC PEOPLES

[Picture 4 & 5] Library of Congress, Washington. US, Prints & Photographs Division, Prokudin-Gorskii Collection, LOT 10338, no. 209 & LOT 10338, no. 208.

TRADE IN TEXTILES[Picture 1] Library of Congress, Washington. US, Prints & Photographs. Division, Prokudin-Gorskii Collection, Lot 10338, no 244.

FESTIVITIES AND EVERYDAY LIFE

[Picture 2, 3 & 4] Illustrations showing local dress, from Johan Peter Falck’s travel journal. (see bibliography for full titles) Aleksandrovskaya, O.A., Shirokova, V. et al… (pages: 233, 234 & 235). Additionally: Black and white engravings in the original edition: Falck, Johann Peter, Beyträge… | The coloured engravings were originally used in a rare book of the same edition, presented circa 1786-1796 to Catherine II (the Great) the Emperor of Russia, today kept in the Russian State Library in Moscow.

BIBLIOGRAPHY

Aleksandrovskaya, O.A., Shirokova, V.A., Romanova, O.S. & Ozerova, N.A, Альбом-исследование «М. В. Ломоносов и академические экспедиции XVIII века», Moscow 2011/2014.

Alimbay, Nursan, Scientific editor, Series of Ethnographical Collections – Kazakh traditional garments, Scientific catalogue, Almaty 2009.

Falck, Johan Peter, ‘13 brev 1763-1766 till Linné från Johan Peter Falck.’ Bref och skrifvelser af och till Carl von Linné I-X 1907-43, 1912.

Falck, Johan Peter, Beyträge zur topographischen Kenntniss des Russischen Reichs. Herrn Johann Peter Falck, Kayserl. Akademie der Wissenschaften vol. 1-3, St Petersburg 1785-1786.

Hansen, Lars, ed. The Linnaeus Apostles – Global Science & Adventure, 8 volumes, London & Whitby, 2007-2012 (Volume Two: Falck’s journal pp. 63-752).

Hansen, Viveka, Textilia Linnaeana – Global 18th-century Textile Traditions & Trade, London 2017.

Kadyrov, V., Saima – Kyrgyz embroidery, Kyrgyzstan 2012.

Manas – The Kyrgyz heroic epos in four parts (translated by Walter May), Part I-II, Bishkek 2004.

Ministry of Culture and Information of the Republic of Kazakhstan, Kazakh Folk Applied Art, Almaty 2010.

Ministry of Culture and Information of the Republic of Kazakhstan, The Central State Museum of the Republic of Kazakhstan – Museum Guide, Almaty 2013.

National Commission of the Kyrgyz Republic for UNESCO, Shyrdak – The Kyrgyz Felt Carpet, Bishkek 2015.

NOTICE

The capital of Kazakhstan was named Astana during the period at the time of the textile fieldwork and main research 2016 to 2018, since then Astana has been renamed to Nur-Sultan in March 2019, used throughout this visual story.

Visit at the nature reserve Tengiz-Korgalzhyn lakes some hours journey west of Nur-Sultan, part of the vast steppe area in the north of Kazakhstan. An area designated as a wetland of international importance (Ramsar Sites), with the Korghalzyn State Nature Reserve, which forms shallow lake systems, attracting an infinite number of migratory birds as a stop over place – including pink flamingos, pelicans, eagles and other species. In combination with gravel or sand roads across the endless steppes. The Steppe so often described by the naturalist Johan Peter Falck, not only when it was related to natural history and travel obstacles, but just as often the traditions of nomadic peoples who lived their lives in Siberia as well as in what today is Kazakhstan.

TEXTILE ODYSSEY

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