Threads of Beauty Amid Hardship
In contrast to the bleak legacy of war, the practice of embroidery brings delicate beauty and vibrant color to the most unexpected of places. Today we explore the origins and techniques of this trademark of Afghan artistry.
(AFP)
Situated in the heart of south-central Asia, Afghanistan has long been a nexus of cultural and artistic exchange. The Silk Road, an ancient trade network, once thread through the country, facilitating the exchange of goods, language, religious and political ideas. The legacy of the Silk Road can be seen in the multiethnic and cultural composition of Afghan society. Embroidery serves as a reflection of provincial identity, with stitches and patterns often corresponding to specific regions.
Embroidery is a labor-intensive practice traditionally carried out by women. From a young age, girls are taught stitching techniques that have been passed down for generations. For some, this may be the only education they will ever receive. In a society where women are often cloistered in their homes, embroidery offers economic opportunity and a means of artistic expression. In her book Embroidering within Boundaries, Rangina Hamidi, founder of Kandahar Treasure, writes,
“Embroidery is the one sphere of women’s lives that men do not control. Its precision, delicacy, and beauty stand in stark contrast to the imperatives of a typical Afghan woman’s life.”
Embroiderers customarily use silk, wool, or cotton thread which is hand-dyed using natural pigments and stitched onto raw textiles such as cotton or wool. In recent years, rayon floss has gradually replaced silk as a more accessible and affordable option. Embroidery can be used to decorate a variety of garments including clothing, bedsheets, curtains, handkerchiefs, kufis(skull caps worn by men), as well as blankets for horses and camels.
Each region has its distinct variation on the practice. But perhaps the most visually striking is khamak, an intricate form of embroidery originating in Kandahar, Afghanistan’s second-largest city and cultural center of the Pashtun people. This technique utilizes silk thread, which is meticulously counted and finessed into elaborate geometric patterns. The precision of these stitches is so fine that one may find it difficult to believe they are made by hand.
Kandahar Treasure
Joe Coca
Another distinctive embroidery design is suzani, stemming from the Persian word suzan meaning, needle. Uzbekistan is considered the primary location for suzani production; however, many northern Afghan communities have developed their own versions of suzani panels and commercialized versions are sold in Kabul. Suzani embroiderers utilize four stitches——ilmok, basma, tambur, and kanda-khayöl——to create a variety of patterns inspired by the natural world. Motifs such as fruits (especially pomegranates), birds, flowers, and vines are commonly depicted.
Suzanis have both functional and symbolic uses——serving as prayer mats or given as dowry. The oldest surviving examples date back to the late 18th and early 19th centuries. However, descriptions of embroidered textiles bearing resemblance to modern suzanis were described by Ruy Gonzáles de Clavijo, Spanish ambassador to the court of the Turkic conqueror, Timur, in the early 15th century.
The elaborate designs and impressive precision of Afghan embroidery are a testament to the skill and keen aesthetic eye of artisans. Embroidery was and remains a celebration of Afghan craftsmanship and the virtue of creating beauty amid hardship.
