Archive for suzani

“The Remains of the Day”: Ismail Merchant’s Collection

Posted in Fine & Decorative Arts, Liz Hager, Painting, Textiles with tags , , , , on October 9, 2009 by Liz Hager

By LIZ HAGER

Kishingar School, A Lady Entertaining Two Nobles, ca. 1800-1820
gouache (?) heightened with gold and silver on paper , 9 5/8 x 7½ in.
Price realized: $6,939.
(All photos courtesy Christie’s)

Born in Mumbai in 1936, Ismail Merchant was one half of the longest running partnership (both business and romantic) in independent film history. Established in 1961, the collaboration that was Merchant Ivory lasted over 40 years and produced scores of films.

Suzani, Shakrhrizabz Region (Uzbekistan), 68 x 96 in., mid-19th c.
Price realized: $16,851.

South Indian printed Palampore, 127 1/4 in. x 87 1/4 in
Price realized: $31,721.

The pair was best known for their rich and faithful film adaptations of literary works both past and contemporary—James’ The Europeans and The Bostonians; E.M. Forster’s Howard’s End; Diane Johnston’s Le Divorce; Ruth Prawer Jhabvala’s (their writing partner) Heat and Dust; and of course Kazuo Ishiguro’s Remains of the Day with its all-star cast. In this world, Ismail Merchant’s particular talent was his ability to produce lush-looking period pieces on distincly non-Hollywood budgets.

Amli Shawl of Red Pashmina, Kashmir, mid-19th century.
Price realized: $1,983.

Merchant’s other passion was expressed in obsessive collecting. His film production work him unique access to galleries and dealers around the world and he took full advantage of the privilege, amassing a large collection of Indian textiles (some Central Asian) and miniatures, as well as European furniture, Indian silver, and European paintings of India.  His two worlds were seamless—often pieces from his collection showed up on the sets of his movies.

Ivory Silk Tent Panel (Kanat), India (probably Gujurat), late 18th c.
Price realized: $5,155.

James Ivory held onto the collection after Merchant’s death in 2005, as some of the pieces had sentimental value. But many did not, and he finally commissioned Christie’s to auction off 300 pieces. The results of the auction, held this past Wednesday, were exceptional, fetching over £6 million.

A Fraser Album Artist, Elephant and Driver, 1815-1819, pencil & watercolor.
Price Realized: $55,722.

Wider Connections

Christie’s: The Ismail Merchant Collection
Merchant Ivory Productions

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My Own Piece of Paradise: Uzbeki Suzanis

Posted in Embroidery, Folk & Tribal Art, Liz Hager, Textiles with tags , , , on June 16, 2008 by Liz Hager

Suzani (detail), silk embroidery on indigo linen panels, approximately 70″ square (courtesy of the author)

When the de Young Museum reopened in its new building in October 2005, a stunning 19th century suzani greeted visitors from a prominent hanging spot in the textile galleries. It was beguiling, and since then I have returned to that suzani time and again, alternately smiling as the electric oranges and reds of its poppy design wash over me and marveling at the intricate and extensive needle work. 

Inspired to learn more about this tribal art form, a whole new world opened up to me, one with a rich marker in history Alexander’s armies, Silk Route caravan camel drivers, Sufi dervishes, Khans, Russian Generals and nomadic warring tribes—the Uzbeks, the Turkomans, the Khazahks, the Kyrgyz—all vying for control of what amounts to a few choice oases in a vast desert. 

Suzani is the common term for embroidered dowry pieces (coverlets for the bridal bed, but also for made to decorate horses, tables, walls) that have been produced for hundreds of years by women in the central Asian countries, the various “-stans,” formerly known as Soviet Republics, but Uzbekistan is generally considered to be the birthplace of the suzani. 

The word derives from ancient Persian word for needle, no doubt a story in itself about the influence of ancient Persian culture in this area. According to tribal custom, a suzani was started when a girl was born. Panels of cloth were hand-woven (most often left uncolored, but sometimes hand-dyed). Each female family member took up embroidery of a separate panel, traditionally using hand-spun silk thread stitched in chain, satin & buttonhole styles. As soon as the bride-to-be was old enough (which turned out to be pretty young), she too took up the work. Each suzani has its own distinctive pattern, because patterns are the bride-to-be’s unique communication to the world. A tree of life, a fanciful garden, the designs are liberally sprinkled with stylized pomegranates, tulips (native to Turkey), and carnations, suggesting a little bit of paradise in the desert.  Often the various motifs carry secret messages, sentiments like “my mother-in-law is a witch” or “my groom’s a wealthy man.” Once the panels were complete, they were sewn together to make the larger bedcover.  Conventional wisdom has it that the quality of the work was a predictor of a girl’s potential value as a wife. However, in all good suzanis you will always find a intentional “mistake” or two. Since only God is perfect, no bride-to-be would tempt the Fates with perfect work.  If you look carefully at the detail below, you will find the error in my indigo suzani.

Suzani (detail), silk embroidery on indigo linen panels, approximately 70″ square (courtesy of the author)

In our world of machine-made, this hand-made form survives for now in Central Asia. I feel lucky to own a few suzanis of my own. Although the cloth is no longer hand-woven, authentic suzanis are still hand-stitched. Uzbekistan is still a fairly desolate and rural country, but in the last decade there has been pressure to modernize. I wouldn’t begrudge any country the opportunity to improve its standard of living, but in the face of the relentless pace of globalization, I am already mourning what seems likely to be the inevitable disappearance of this sweet and honest folk art.

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