Since when did Armenian women do needlework, what did it mean, how lives were saved thanks to needlework? We talked about this ethnographer, candidate of historical sciences Karine Bazeyan with.
– Since when did Armenians do needlework?
– Embroidery has an ancient origin. Since it is an organic material, the thread and cloth decay very quickly, and we do not have documented ancient examples of it, but there are sources that prove that embroidery has existed among Armenians for several thousand years. In all cases, in the first book translated into Armenian, the Bible, embroidery already exists as a term, and this means that it was known. It was a predominantly women’s occupation.
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From the Middle Ages, we know for sure that embroidery was widespread and a craft in great demand. Workshops where men worked, donations were made to the church, particularly the Mother See of St. Etchmiadzin.
We have evidence that embroidery reached a high level of perfection in the early Middle Ages, and this shows that it is much older, because it takes a long way to reach perfection.
– Did they find the oldest fabric from Ani?
– Until recently, it was from Ani, but a large collection of fabric came out of the Areni excavations, and a small piece of embroidery was found. It appears to be a piece of clothing made of woolen threads. In other words, it is completely folk embroidery. It dates back to the 7th-9th centuries of our era. This is the oldest example that was found in Armenia, and Ani’s was found earlier, it came to light during the excavations of Mar and Orbelu, and it is elite, because the embroidery is with gold threads, the fabric is silk, it is from the burial outfit of a girl child of a relative of Tigran Honents. Both the dress is silk, and the cover thrown over the face and under the head, which are also embroidered and represent the elite embroidery of the 13th century.
– Is there a difference in decorative patterns between the samples found during the excavations?
– Folk embroidery is a bit simpler both in terms of material and technique. it is made with wool thread, the texture is a bit stiff. We see patterns in both carpets and rugs. And as for the clothing found in Ani, it is gold thread embroidery, flat. The other one is the one made by twisting gold and silk thread, which was widely used in Western Armenia. In Cilicia, in Upper Hayk, this technique was widespread until the end of the 19th century, the beginning of the 20th century. If you compare the patterns, you can see that there is a similarity, especially in the part of the tree of life. It is more expressed in the clothing complex of the High Hayk woman.
– For example, there were other ornaments in Syunik, Artsakh․ They embroidered a star flower, a jug.
– Of course, this is what makes our embroidery interesting, that it is very diverse, and every region has its own ways of expression. The materials, threads, objects, the combination of colors are different. You clearly build which ornament should be where, because meaning is placed in all of them.
– The dragon, snake ornament was widespread․ what does this mean?
– Our people have snake worship in their ancient beliefs. A little later, the snake turned into a dragon, because there is no real dragon, it is a mythical snake, which is bigger and has a different function. It has a double meaning in Armenian mythology. positive and negative. It represents both evil and good power. Dragon stones were placed in water sources in Armenia, they protected the water and in this sense they are connected with the water element.
And the snake is still used in our vocabulary. they say “it is as cunning as a snake”, but the preserved and recorded ethnographic materials from almost all regions of the RA show that the snake was considered an animal that brings success to the family, protects it, and ensures well-being. The people have always said: “The house is the house”, and the snakes that have come and lived in the barns for a long time, the aunties even fed those snakes, they put milk in bowls so that the snake would come, eat the milk and leave.
– Is it true that Armenians used to keep snakes in their apartments?
– Not that they kept the snake, but the snake came. He comes by himself, you don’t go to fetch. The snake chose, went to the pantry, because the food was there, they noticed, because the ground was made of soil, the trajectory could be seen. That winding had to go later, it was manifested in our jewelry, in the form of the Armenian capital letter T. We see this image in rugs, carpets, embroidery, and this shows that it was placed in the given object to protect the given family. Not every family had a snake, so a pictorial snake was used in the house. They covered something with it, for example, a chest, threw it on bread, etc. What is interesting in our embroidery? that they are usually found in borders.
– Did the ornaments have a sinister meaning?
– They had different meanings. The snake in the ornament is protective. It is also related to fertility.
The Tree of Life, which is the tree of life itself, symbolizes growth, fertilization, and wealth. The main support of Artsakh towels is the ornament. Only the Tree of Life with the pair of birds on it. Fertility is expressed in that way here. That is why this ornament is made on festive, ceremonial towels.
In Vaspurakan, Syunik, Artsakh, we have a custom when before Easter, on Good Friday, two types of protective functions were performed. On the one hand, blacksmiths quietly and silently made iron rings and bracelets, which were then worn by children and newly-wed women as amulets, and in the case of embroidery, on Good Friday, mothers made images of the Tree of Life with small beads on the backs of their children. In other regions, an image of a snake or a scorpion may be made to protect the child. It was already a bulwark, it would protect against all kinds of damage.
– What did the colors mean?
– The main colors were red, blue and green. A little more yellow. Red symbolizes life, green symbolizes fertility. green road, vegetation… Our wedding ceremony is completely related to red and green. We have types of embroidery that are done only in white, and in this case it is of purely territorial, local significance.
– The traditions of which embroidery school continue to this day?
– There came a time when embroidery declined, and this was due to a number of circumstances: both political and socio-economic. Until the beginning of the 20th century, when our people lived in their cradle, continued to create, carried that culture.
After the Armenian Genocide, they left the cradle. For Armenian women, embroidery is a sign of identity. Diaspora-Armenian women tried to keep their Armenianness through needlework and continued to create for that reason.
As a result of the genocide, a large number of Armenian women who appeared in European and Middle Eastern countries were able to support their families in a completely new, unfamiliar environment, without knowing the language, with manual labor. It was the grace of their hands, with which they were able to find a living for the children. Not only did they keep the children, but also by selling the handicrafts, they gave the children education in different countries.
In other words, it was a lifeline for our women, a very important sign of identity, that’s why they keep it to this day. And it was due to this that Syrian-Armenian women, coming to Armenia, popularized the embroidery culture.
Unfortunately, having mastered almost all technical means, we have separate embroidery schools, which no longer exist today. We have masters who try to restore and make copies, but we don’t have the people to deal with it en masse. That was the problem that Aintap’s embroidery seemed to be left out. There must be a demand. Unfortunately, there is no Artsakh school. The masters also copy, but that is a completely different thing. The same applies to Vaspurakan, particularly the Van seam and the works made with it are also gone today. There are many masters working with Urfa, Marash needlework.
– How do you feel about modern approaches?
– Positive, because times, culture, people’s demands, life conditions are changing. Today there is a demand for other subjects. He went more into the field of market relations. They make souvenirs that are easy to buy. They also do things to order, and in this case, they do it as the client wanted, and there are some changes here. The important thing is that the masters try to stay in the national traditions, to continue.
– Are new ornaments being created?
– Yes, they are created, the only problem is that we have different masters. Masters who remain in the traditional, and we have masters who keep the technique, the national one, but create their own, and thus their works differ from others.
– What message did Armenian women convey to the generations through needlework?
– We transfer knowledge through needlework. We transmit our ancient beliefs, our essence: who are we, what are we like? The color, the pattern, the image, the object that we created are ours and by passing it on to the next generations, we try to preserve the Armenian identity. I think that is the main thing.
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