Various Techniques of Kyrgyz Embroiderers

Stitch "d j or m o m ё"

The stitch "d j or m o m ё" (from the word "жормо" — to sew through the edge), i.e., cross stitch, has three variants in Kyrgyz embroidery, differing from each other in technique, pattern, the item being embroidered, and the material used. The first variant is chronologically earlier, while the other two are characteristic of the Soviet era.

In the early period, Kyrgyz people embroidered narrow strips with cross stitch, which were sewn onto the collars of children's, girls', and women's dresses, the edges of women's headscarves "duria," and small bags (for tea, toiletries). The strips were embroidered either on fabric of artisanal production or on handmade braid. In this case, the embroidery on fabric was always solid, while on the braid only the pattern was embroidered, with the braid serving as the background (in yellow, green, and black colors).

The technique of performing the cross stitch is standard: first, small (1 — 1.5 mm) stitches are laid diagonally in one direction, then in the opposite direction, crossing over the previous stitch (see Fig. 56, g). On the reverse side, the threads are sewn in parallel.

The patterns of small cross stitch embroidery are diverse (see Fig. 58), often elongated, resembling the decoration of "kadjary" fabric. The compositional arrangement of the pattern and the pattern itself are similar to Tajik and Uzbek embroideries on braid.

One cannot overlook the artistry of small cross stitch embroidery, especially on fabric, its elegance, which is enhanced not only by the fine technique but also by the pleasing color palette (various combinations of red, yellow, white, green, and black).

With the change in the shape of collars on dresses in the early 20th century, small cross stitch embroidery also disappeared.

The small cross stitch is characteristic of the embroidery of Central Asian peoples and was widely used in ancient women's clothing among Karakalpaks, Uzbeks, and Tajiks. The small cross stitch used by Kyrgyz for embroidering narrow strips of fabric is unlikely to have been adopted from the Russians, as suggested by S.M. Dudin. This stitch entered Kyrgyz embroidery with a pattern alien to Russian ornamentation.

The cross stitch, relating to more recent times, has a different character: a different ornament, a different name, and is performed on different material. First of all, the stitch itself differs in size (2.5—3 lig). It is embroidered directly on the material from which the item is made. A solid covering in this stitch is not accepted among southern Kyrgyz. They embroider on white fabric for window curtains, on hangers, on beds, and unique friezes that decorate the upper part of the room, as well as towels.

As for the pattern, it has nothing in common with that performed in small cross stitch. Here, borrowings from Ukrainian and Russian embroideries are evident. In the embroideries (see Fig. 59), one can find floral patterns (flowers and leaves) and zoomorphic (figures of humans, animals, birds), typical for Ukrainian and Russian cross stitch embroideries.

Executed with stitches: a — "ильме"; b, c — "басма"; d, e, f, g, h, i, j, k — "джормомё" (large cross); l — "коптурмё"; m — "мушкуль".

In modern cross stitch embroideries, one cannot help but notice the innovations, the desire to transfer some typical Kyrgyz ornamental motifs to cross stitch (see Fig. 59, z, s), e). It should be noted that in some patterns, the influence of the city is felt. Apparently, various stencils for cross stitch embroidery, which have spread in recent years through the trade network, have penetrated into Kyrgyz villages.

The "double cross" stitch, or as it is called "Bulgarian cross" (see Fig. 56 e), also appeared under the influence of the city.

It is perceived together with its typical geometric pattern.

Large cross stitch embroideries are most characteristic of the eastern regions of the Osh region. In the southwestern part, they have not gained such wide popularity, where, as we noted, the influence of Russians on the formation of culture in the past was insignificant.

Southern Kyrgyz are also familiar with the half cross stitch. They embroidered the same things as with the "терскайык" stitch. There is much in common with this stitch in the technique of embroidery. The contour of the pattern is first filled in. The character of the ornament is also similar (see Fig. 57). The stitch is executed with closely placed stitches in a row (as the first stage of the cross stitch). In each subsequent row, the tilt of the stitches is directed in the opposite direction. This creates a tree-like pattern (see Fig. 56, v).

The stitch "мушкуль" can be classified as counted. It is commonly referred to as contour or painting. Uzbeks and Tajiks use it to embroider waist scarves. It is widely spread among the peoples of the Volga region. This stitch likely entered Kyrgyz embroidery with the appearance of waist scarves. Kyrgyz women use it to embroider towels and light girls' dresses. Black paper threads and white fabric are more often used for embroideries. The pattern is geometric, with a stepped contour.

The stitch is double-sided, consisting of even stitches (stitch size 0.4—0.5 cm), continuously arranged along the jagged contour of the pattern. It is embroidered skipping one stitch (with the "forward needle" stitch) first in one direction, then in the opposite direction, filling in the missed places (see Fig. 56, d).

Counted stitches of Kyrgyz craftswomen. Stitch "терскайык"