Bukhara to Cape Town suzani textiles has held many exhibitions

in

Cape Town, Johannesburg, Stellenbosch and Hermanus.

2023

The Suzanis below were exhibited during the Wild Tulips Exhibition, they form part of a collection of thirty 1990’s Suzanis. Anyone who wishes to see them in more detail, please contact me directly. ( My details are in Contact )

01 _ Bukhara to Capetown-001 _ 152 x 184cm .jpg

02 _ Bukhara to Capetown-002 _ Medium Size on Adras _ 1500 x 1800 cm.jpg

03 _ Bukhara to Capetown-003 _ Medium Size on Adras _ 147 x 186 cm.jpg

04 _ Bukhara to Capetown-004 _ Medium Size on Karboz _ 1470 x 1860 cm.jpg

05 _ Bukhara to Capetown-005 _ Medium Size on Karboz _ 1450 x 1800 cm_.jpg

06 _ Bukhara to Capetown-006 _ Medium _ Smaller _ on Adras.jpg

07 _ Bukhara to Capetown-007 _ Medium Size on Adras_.jpg

08 _ Bukhara to Capetown-008 _ Medium Size in Hook Stitch _ 1500 x 1800 cm.jpg

09 _ Bukhara to Capetown-009 _ Medium Size in Hook Stitch _ 1500 x 1800 cm.jpg

11 _ Bukhara to Capetown-015 _ Nim Suzani on Adras.jpg

12 _ Bukhara to Capetown-017.jpg

Bukhara to Capetown-012 (1).jpg

13 _ Bukhara to Capetown-018.jpg

14 _ Bukhara to Capetown-019.jpg

10 _ Bukhara to Capetown-014 (1).jpg

Bukhara to Capetown-010 (1).jpg

Suzani Creation During the Soviet Era in Uzbekistan

Middle Asia before 1924, has a rich cultural history and an ancient tradition of arts and crafts, including textiles, ceramics, miniature painting, metalwork, and wood carving. These crafts have been a very significant part of their cultural identity for centuries. During the Soviet era, which lasted from 1924 to 1991, traditional arts and crafts in the Central Asian republics underwent significant changes due to political, social, and economic factors. Cultural practices were compelled to align with Soviet ideology and aesthetic norms. While there wasn't a complete erasure of cultural expressions and traditions, there was far-reaching suppression, control, and transformation over all forms of craft and art, historically rooted in individual craftsmanship and regional crafts. Suppressing these ancient traditions in many cases led to the disappearance of old established workshops and a decrease in individual craftsmanship and regional crafts. Under Soviet rule, the regions of Bukhara Emirate, Khiva Khanates and Kokand Khanates became collectively known as Uzbekistan. Since gaining independence in 1991, there has been a celebration of and resurgence in traditional arts and crafts as a means to assert national identity and cultural uniqueness. The revival of Suzani textiles has played a significant role in Uzbekistan's efforts to maintain its cultural identity and heritage. These textiles are now recognized worldwide for their significance.

State-Run Factories during Soviet Rule:
Artisans were mostly organized into artels (cooperatives) or state-run factories, leading to the standardization and mass production of crafts. This shift resulted in many traditional artists and artisans having to close down their workshops and this led in turn to the compromising of the spirit within, quality and uniqueness of traditional craftwork. Control Over Freedom of Expression:
The Soviet authorities imposed constraints on expressions of local and national identity, viewing any form of nationalism with suspicion. This included traditional crafts, which were expected to reflect socialist realism, glorifying communist values and the proletariat.

Promotion of 'Folk' Arts:

Selectively promoted "folk" arts were chosen and encouraged to display the Soviet Union's diversity and unity. This approach involved promoting and sometimes also

inventing "traditional" crafts that met Soviet ideals, particularly those easily exportable for economic benefit.

Education and Training:

Art and craft schools were established, standardizing the education and training of artisans across the republics. These institutions presented new opportunities but also conformed arts and crafts strictly to Soviet-approved styles and techniques.
Suzani creation of the 2020’s:

The Impact of Synthetic Reproductions and Group Work in our time:
The rise in synthetic reproductions and group-produced traditional embroidery, such as Suzani, affects quality, authenticity, and cultural significance. Handmade pieces by skilled artisans are unique, showcasing individual artistry, whereas mass-produced items often lack these fine details.
Mass-produced embroideries, while economically beneficial due to their lower cost and faster production, can saturate the market and diminish the value of authentic handmade pieces. This can disadvantage individual artisans dedicated to their craft. Preserving Cultural Heritage:
Embroidery is not just an art form but a way to preserve cultural stories and meanings. As production shifts from individuals to groups and synthetic methods, there's a risk that these narratives and the associated skills, passed down through generations, may be lost.
It's essential to strike a balance between innovation and the preservation of traditional techniques, cultural heritage, and sustainable practices. While new production methods offer opportunities, it is crucial that we continue to value and support the traditions that define cultural legacy.

We aim to donate half the cost of any of these Suzanis sold, to a “Children of Gaza “ aid fund.

Just some of the visitors to the two day only exhibition

The ancient Persian Cypress Tree of Life symbol

2020

A WOVEN FRIENDSHIP

A WOVEN FRIENDSHIP

This exhibition at Easter time was sadly cancelled due to Lockdown

our friendship is an ongoing exhibition of the beauty of our unique textiles

This exhibition invites you into the conversation created amongst the Suzani and Kente textiles drawn from the personal collections of Manina Baumann and Evelyn Bertrand. These fabrics are functional and fantastical; decorative secret keepers and story tellers. Both are graceful examples of how ancient crafts can move into the contemporary visual world; Bold beautiful additions to any modern interior and inspiration to all forms of creatives.

Our Story / When Evelyn Bertrand and Manina Baumann entered the opening night cocktail party of Stephan Welz’s new premises in Claremont in October last year, the two women had never met. By the end of the evening, both the concept for the coming exhibition and a firm friendship had been established. Each woman was wrapped in a colourful shawl. Evelyn wore a Kente cloth from her birth country, Ghana; Manina a silk Suzani from Uzbekistan in Central Asia. Naturally they were drawn to each other.

Both cloths are modern incarnations of traditional textiles from former ancient trade routes.

They also represented each woman’s extensive collection and special passion. Kente and Suzani textiles are made to celebrate life events such as weddings, births or important social ceremonial occasions.

Suzani is the ancient Persian word for needle work. This traditional female centered craft represents a history of textile story telling, pattern sensibility and a unique symbolic language that evolved in Central Asia over the ages and reached the West via the Ancient Silk Road Trade. Silk Suzanis were created over years by grandmother’s, mothers, aunts and daughters, the new and prospective brides. These Suzanis adorned the homes of newly wedded couples with wishes of happiness, fertility, beauty and protection. Suzani also decorated sumptuous palace tents in ancient Samarkand, and served as gifts for visiting dignitaries.

The same still applies to Kente to today. In the use of colour, design and symbolic language, each textile reflects the history of its country of origin and is therefore a treasured symbol of national pride.

Africa is abundant with vibrant colourful cloths, one of the most well-known of these cloths is Kente. Kente is a sacred loincloth, worn for ceremonies and important events, it was developed in the twelfth century by the Asante people and is still present in Ghana today. Although the exact origins of Kente are unknown, one legend recounts the story of two brothers; About 375 years ago, who one day went hunting and came across a spider spinning a web and were inspired to create something similar to it. They returned home and weaved the first cloth out of black and white raffia cloth.

Today, Kente is symbolic and representative of the history of the Akan and Ewe people, and Ghana in general. Both Kente and Suzani textiles are made to celebrate life events such as weddings, births, or important social ceremonial occasions.

Both Suzani and Kente are created from separate strips that are meticulously sewn together by hand. This is in continuation with the earliest tradition of textile production where textiles were "strip" woven and embroidered, at home or whilst migrating across vast stretches of land.

The creation of these unique hand crafted textiles have survived into our time. Let us pray that they will continue to be crafted in their traditional beauty and be with us for very much longer.

The Suzanis from The Suzani Gallery Cape Town are artworks created since Independence in Uzbekistan and are modern interpretations of priceless antique Suzanis and museum pieces.

Manina Baumann Evelyn Bertrand

Instagram | maninabaumann Instagram | the.dehye.collective

Web | bukharatocapetown.com Web | thedehyecollective.com

A few of Evelyn’s glorious Kente’s pieces

Abusua yɛ nsatea Pink (Close Up).jpg

Emmaada big loom Pink (Close Up).jpg

Emmaada Pink (Close Up).jpg

Ewe Two-Tone Green and Red.jpg

Emmaada Light Blue (Close Up).jpg

Abusua yɛ dcm Gold (Full Shot).jpg

Abusua yɛ dcm Black and Green (Full Shot).jpg

Abusua yɛ dcm Black and Green (Close Up).jpg

Abusua yɛ dcm Green (Close Up).jpg

glorious Traditional Uzbek Suzanis

from our

EXHIBITION

All Silk Teal Blue Shakhrisyabz Suzani in Hook Stitch

Now Sold

Size ± 280 x 230 cm

All Silk Suzani Giant Queen Suzani in Shakhrisyabz Design

Size : 250 x 270 cm / Now Sold