Chapans in the Reisbords collection

The interpretation of ikat motifs is largely difficult; however, their shapes arouse in the viewer a wide range of associations illustrating the creativity and dexterity of Central Asian artisans. Motifs that once held potent symbolic meanings were combined and abstracted by designers, binders, dyers, and weavers into a variety of creative and expressive patterns. Many motifs were carried into Uzbek textiles from distant lands, a byproduct of Central Asia’s long history as a center for international trade.

The amulet often found on ikats can be used as an example of a popular motif. Though most of the regional population were Muslims, the deeply held belief that donning such accessories or their images protected the wearer has persisted since pre-Islamic times. A red and yellow chapan with a pattern composed of small amulet shapes rendered densely together imbues the cloth with a visual energy. The printed lining of the chapan with an abstract motif against the blue background, likely imported from Russia, provides a striking contrast with the red and yellow pattern.

Another example of a strong contrasting lining is found in a blue, purple, and green chapan featuring large geometric medallions with a hooked design, lined with an imported red-and-white printed cotton. Though the visual contrast between the outer ikat and inner printed textile is bold, less apparent are the two different but very similar ikats used to complete the chapan. These two textiles are evident when comparing the pattern of the sleeves and right side of the robe with those on the body of the garment. You can find these chapans in the Reisbords collection.

You can learn more about the topic in the book-album "The Cultural legacy of Uzbekistan in private collections of the USA and Canada" (volume XXXI) in the series "Cultural Legacy of Uzbekistan in the World Collections".

The main sponsor of the project is the oilfield services company Eriell-Group.