Fragment of linen with an embroidered design in red, green and purple wool. Egypt, 5th-6th century AD (TRC 2000.0014). The cloth probably came from a child's tunic that had imitation woven bands and squares typical for Coptic period Egyptian dress.On the 18th June we published a first blog about the TRC plans of setting up a portal for embroidery stitches. In this blog we want to continue along this theme and outline in more detail the plans and context of the proposed project, of which the Portal is an essential element.
In addition to all its many other interests the TRC Leiden is very active in the field of embroidery, as emphasized by the Bloomsbury Encyclopedia of World Embroidery, supported by the TRC. The TRC is doing so with the deliberate intention of building up an international centre for the study of embroidery.
The history of embroidery can be traced back via the oldest known examples, namely those found in the tomb of the famous pharaoh Tutankhamun, who died in about 1322 BC, and we may assume that the craft of embroidery is much older. It is used and worn by kings, queens, merchants, bishops, nobility, as well as ‘ordinary’ men, women and children.
Embroidered back of a woman's waistcoat, Albania, 20th century (TRC 2022.0943a). The embroidery constitutes an intricate design of applied cords and braids in red wool, with details in bullion knots using white, yellow, purple and green cotton cord.An essential aspect of our plans is to get away from a widespread (Western) misconception that embroidery is solely a women’s subject. There are many men, past and present, involved in embroidery! Just think how influential the medieval guilds were. These institutions included the Worshipful Company of Broderers, which is still very active in London. Not to mention all the men in the Arab world, India, Pakistan, etc., who professionally produce embroidery. It is simply a subject that is much bigger and more diverse than many people recognize or understand.
Embroidery studies often focus on the different stitches, but there is also a need to look at the materials, threads and tools used to make the embroideries, literally from the humble needle to the tension frames of varying sizes. And there are the colours, patterns and motifs: they are a source of information about the symbols used and generally understood within a certain community.
Belt made from a wide band of leather decorated with stylised floral and geometric motifs worked in coloured stripes of plastic using running and back stitches. There are also metal eyelets. Romania (Siebenburgen), 20th century (TRC 2016.0409).What do we want to do in order to make this centre? First and foremost it is necessary to have a representative collection of embroidery from all over the world, which would be a foundation of knowledge about materials, techniques, styles and functions.
The TRC already has a collection of c. 5000 embroidered items, so this aspect of the ‘Embroidery Plan’ is well on its way. The collection includes Coptic embroideries from the 5th century onwards, as well as many more modern pieces, from the 18th century onwards. The recent donations of hundreds (literally) of Albanian, Czech, Hungarian and Romanian embroidered garments means we have one of the largest collections of European regional embroidery from that part of Europe.
Embroidered boots from Uzbekistan, with leather soles, 20th century (TRC 2021.1935a-b).But there is no point in having a collection if nothing is done with it and it remains hidden away in boxes. It is essential, therefore, to get everything online (open access) for everyone to use and learn from.
Availability can take several forms, making everything available online is the first level. We also want to develop online exhibitions on various themes, such as materials, techniques, cultural groups and their specific embroidery (ie Afghan embroidery, Palestinian embroidery, Romanian embroidery).Many of the online exhibitions will be made with the help of relevant groups living here in the Netherlands.
The next level will be the development of the aforementioned TRC Embroidery Stitch Portal, which is an online compendium of embroidery stitches with drawings, names in English and many other languages, from Arabic, Dutch, French, German, Italian, Japanese, to Russian, Spanish, Swedish, Ukrainian, put together by volunteers from throughout the world.
Woman's dress from Khyber Pakhtunkhwa, Pakistan, 20th century (TRC 1998.0032). The dress is made from black cotton and heavily decorated with embroidery on the sleeves. The embroidery is in red, yellow and orange yarns. There are also numerous applied buttons, beads, amulets, chains, coins, etc. The skirt is made up of over 700 panels.
Sampler with a central stylised tree surrounded by floral motifs, all worked on a black ground (some of the black has faded to a brown colour). There is a date of 1852 and the name "AKKES S SCHEEEPSMA. (TRC 2021.1805)The stitch portal will lead people to TRC Needles, which is an online encyclopedia of needlework and already has over 2,000 entries. It explores specific subjects, examples, people, companies, etc. Again this resource is being supported by volunteers both in the Netherlands and around the world.
Availability will also take the form of a series of books on the history of embroidery, foremost of which is the Bloomsbury World Encyclopedia of Embroidery, mentioned earlier, which is based at the TRC and whose chief editor is the TRC director, Dr. Gillian Vogelsang-Eastwood.
This series consists of an eight-volume history of hand embroidery, of which the first two volumes, (1) Encyclopedia of Embroidery from the Arab World (2016), (2) Encyclopedia of Embroidery from Central Asia, the Iranian Plateau and the Indian Sub-Continent (2020) have already been published. The third volume, about embroidery from Sub-Saharan Embroidery, will appear in early 2023. The other five volumes on European, Asian and the American embroideries are in the process of being written. It should be noted that the volume on Arab embroidery won three international awards, including the prestigious Dartmouth Medal (2017).
Embroidered woman's gown from China, 19th century (TRC 2018.2840). The gown in made of red silk with a woven design of stylised flowers, applied braids with flowers, and applied (woven) panels down the front opening and side slits of the garments.On a smaller scale, but no less interesting and already an important element of the TRC embroidery studies, are the TRC ‘sampler detectives’ who are looking into the history of individual samples and samplers, in order to identify the makers and to rediscover their stories and histories. Identifications that have already been made include Akkie Scheepsma from Friesland (based on TRC 2021.1805), Lucia Maria Snarenberg from Leiden (TRC 2020.3687; and Jane Hardy from Bishop Leonard in England (TRC 2020.1606).
Of course, the most important aspect of the TRC embroidery centre is the passing on of knowledge. This will take the form of a series of courses, workshops and lectures on the subject of embroidery, in order to emphasise the importance of this historic form of cultural history. It will include practical as well as historical and theoretical events.
Huipil top from Guatemala, 20th century (TRC 2020.0524). The hiipil is heavily decorated with embroidered figures of stylised birds and people, as well as geometric shapes, all worked in a wide variety of different colours.Various types of events will be presented both by TRC specialists, as well as various ethnic and cultural groups living in the Netherlands, such as members of the Afghan, Hungarian, Palestinian, Romanian and Turkish communities. The events include information gathering sessions involving various diasporic groups in the Netherlands, such as those mentioned above, to get personal stories from those that have grown up with the styles of embroidery represented in the TRC collection.
In addition we will have many workshops for the general public and the diasporic groups to work together on specific projects, to learn from each other and to pass on to younger generations.
Embroidered panel, Savane Kabuye group, Rwanda, c. 2018 (TRC 2021.2052).
We are currently looking for funds to cover the basic requirements of the TRC Embroidery Stitch Portal. These will be used to pay for a graphic artist to make the essential drawings, and to pay for help in designing, organising and adding of the relevant information contained in the Portal and in TRC Needles. It is a huge job, as we already know of about 500 stitches, some of which are used locally, while others can be found internationally. Serious suggestions how to raise the funds will be appreciated.
Gillian Vogelsang-Eastwood, 21 July 2022.
