Featured Collection Object
by Sumru Belger Krody, Curator, Eastern Hemisphere Textiles
Robe Central Asia, Uzbekistan, Bukhara or Fergana Valley. Mid-19th century. Silk warp, cotton weft; satin weave. The Textile Museum 2005.36.33 The Megalli Collection.
Ikat fabrics derive their name from the patterning technique used to create their designs, wherein parts of the warp or weft yarns are bound off in order to resist dye penetration. The process is complex, requiring highly skilled and specialized craftsmen, and careful planning before weaving can begin. The resulting textiles are recognized for their daring, often large designs, and clever combinations of dazzling colors.
Ikat was the dyer’s art. The success of an ikat depended on the dyer’s mastery of his craft and clear, unhindered communication with the designer. He had to achieve a unified and beautiful design with brilliant, jewel-like colors through a succession of binding, dyeing, unbinding, and re-binding. The recipe he used for the dye had to be tried and true, the dye needed to penetrate the yarns evenly, and the position of warp yarns relative to each other had to be maintained throughout the entire process.
Several weeks might be required to complete the dyeing process of a standard 240 meters (262.5 yards) ikat warp for a multicolored ikat fabric. The different ethnic groups that enriched the culture of the oasis towns were reflected in the textile production workforce. Many Tajiks specialized in dyeing yellow and red, which required keeping the dye bath hot in order for it to be absorbed by the yarns. Many Central Asian Jews were specialized in indigo dyeing that did not require heat for the dye to adhere to the yarns.
On view at The Textile Museum in Colors of the Oasis: Central Asian Ikats through March 13, 2011.