DIVERSITY OF

ARMENIAN EMBROIDERY

Thread is humanity's greatest invention. All the diverse forms of textiles have been created with just an ordinary thread and a simple needle. It’s amazing that since time immemorial they have remained virtually unchanged. It was a brilliant, perfect, and simple invention. While the methods of embroidery, materials, fashions, and eras have evolved, the shape of the thread and needle has remained constant.

Embroidery is an artistic, creative dialogue between thread and fabric. Their "mutual understanding" has given rise to countless techniques and led to the creation of beautiful objects and stunning patterns.

I love all types of embroidery, finding joy in admiring and studying them. However, my strongest attachment is to Armenian embroidery, which has become my main occupation, my lifelong commitment, and my dream. For 25 years, it has been the means through which I bring my ideas to life. What began as a hobby gradually evolved into a way of working with children in an orphanage, and eventually, it transformed into a subject of research, creative inspiration, and a profound love for my homeland. It sparked admiration for the pieces created by past generations, a desire to preserve and pass on this beautiful art to future generations, and, if possible, to enhance and enrich it with new works. Teaching the art of Armenian embroidery, conducting research on the subject, and my own creative work have all led to the creation of instructional books. My books, written in Armenian, are popular among Armenian craftswomen and beyond. I would be delighted to share my knowledge with all those who love the art of a thread and needle.

A BIT OF HISTORY

The origins and development of Armenian embroidery are closely linked to the history of Armenian people and spans, according to various estimates, from three to six thousand years. This is a very long period, filled with various events that took place in a small geographical area known as the Armenian Highlands. There, the Armenian nation, statehood, culture, and, consequently, Armenian embroidery were formed and continue to evolve.

It all begins with the needle. The earliest evidence of the emergence of embroidery comes from thin needles found in archaeological excavations. A needle discovered during the excavations of the ancient settlement of Shengavit in the territory of Yerevan was made three or four thousand years ago. However, it looks very similar to modern needles: see photograph 1, the first one on the right. One can't help but recall Armenian riddles about needles — for example, this one: "Born in the earth, lived in fabric, died in the hand." Or another: "Clothing is wool, the soul is iron." And yet another: "It dresses the whole world, but walks naked."

History is best conveyed through individual items of ancient embroidery. While countless wars, looting, fires, persecutions, and the relentless passage of time have destroyed many pieces, those which have survived still stand as a testament to the high level of the embroidery art.

Armenian embroidery is incredibly diverse, rich in content and form, encompassing both ancient and contemporary works. The embroidery samples, ranging from ancient times to the 20th century, preserved in the museums of Armenia and other countries, showcase nearly every known technique of working with thread. However, Armenian traditional embroidery is distinguished by its national character, rich symbolism, distinctive aesthetic perception, and unique stitches and techniques.

A variety of threads were used, including linen, cotton, wool, silk, gold, and silver, most of which were produced locally in different regions of the Armenian Highlands throughout various epochs. There were also additional embroidery materials — sequins, beads, glass seed beads, pearls, goldwork plates, silkworm cocoons, metal inserts, etc. All this diversity and richness emerged from the creativity and hard work of artisans, as well as from cultural exchanges with neighboring peoples and countries Armenian merchants had been trading with since the earliest times. For example, it explains how silk came to Armenia. Silk arrived from China in the 4th century and owing to the favorable natural conditions and climate of the Armenian Highlands did well there. The raising of silkworms became so widespread that soon Armenia began exporting raw silk, silk threads, and fabrics to Europe.

Embroidery was a favorite pastime not only for common city and village women but also for noble princesses and queens.

To create a full picture of Armenian embroidery, it is necessary to separately discuss its origins and development, place and role in decorative and applied arts, as well as separately address Armenian church embroidery, household folk embroidery, embroidery of national costumes, various techniques and methods of embroidery, ancient samples from archaeological excavations, the centers where embroidery schools originated and developed, materials, threads, and fabrics, books published on this topic over time, patterns, color preferences and their symbolism, artisans, craftswomen and their works, workshops and guilds, and describe the most vivid samples of ancient embroidery which are stored in museums in Armenia and many other countries. It’s also important to discuss the mutual influence of different cultures, fashion preferences, modern Armenian embroidery, the principles underlying Armenian embroidery art, and much more. I will provide a brief overview of the principles and distinctive features of Armenian embroidery, tell you about Serik Stepanovna Davtyan, a researcher of Armenian embroidery art, explore the classification and terminology of Armenian embroidery, and present a selection of fascinating and beautiful examples of embroidery.

SPECIFIC FEATURES AND PRINCIPLES OF ARMENIAN EMBROIDERY

Ancient artisans sought to create such patterns and use such embroidery techniques that were literally one-of-a-kind. The more complex, delicate, and intricate the work, the more glorious it was considered. The time it took to complete was irrelevant; what mattered most was achieving an extraordinary result.

When exploring Armenian decorative art, one can observe the deep interconnectedness of all types of folk art. Whether in Armenian Medieval miniature painting, wood carving, stone architecture — particularly the intricately carved khachkars (stone crosses), carpet and textile art, jewelry-making, or embroidery — the same principles prevail: complexity, diversity, uniqueness, creativity, the preservation of constant patterns and symbolism, a desire to cover the entire surface of an object with intricate designs, a carefully considered color scheme, layering, volume, and emphasis on each motif. Often, the same pattern can be found across different forms and artistic mediums.

The repetitive nature of patterns and symbolism is never mechanical. In Armenian decorative and applied art, you will never find two identical carpets, embroidered shawls, towels, tablecloths, khachkars, lacework, silver belts, embroidered national costumes, aprons, and so on. While they may share similar aesthetic qualities, the patterns are always distinct. Each piece is unique and often bears a dedicatory inscription, the owner's initials, and the date of its creation, passing down from one generation to the next.

CLASSIFICATION OF ARMENIAN EMBROIDERY, SERIK DAVTYAN

Decorative and applied arts are integral components of every nation's artistic heritage. As an esteemed Armenian artist Martiros Saryan once said, 'Folk art is the people's artistic attitude toward life.' This quote is taken from the foreword to the album-book “Armenian Lace” by Serik Davtyan.

Serik Stepanovna Davtyan (1893–1978) was an art historian, ethnographer, researcher of Armenian embroidery and decorative and applied arts, author of fundamental monographs and numerous articles, as well as a teacher and social and political activist. She received an excellent education for her time and held high-ranking positions in Soviet Armenia, taught and worked as a magazine editor. Later she was repressed and exiled for 10 years to Magadan, then rehabilitated, and only after that did she begin scientific research in the field of ethnography and Armenian decorative art.

Serik Stepanovna Davtyan created a classification of Armenian embroidery. Her classification is based on a detailed study of embroidery styles and techniques, and she arrives at the conclusion that Armenian embroidery tradition can be divided into 5 local schools:  Van-Vaspurakan, Karin-Shirak, Syunik, Ayrarat and Cilician. Tiflis and Constantinople were distinct centers of art. Additionally, the embroidery schools of the Armenian diaspora in the Crimea, Rostov-on-Don, the Balkans, Egypt, the Middle East, the USA, and other regions are also considered separately. The diaspora was formed as a result of the persecution of Armenians in the Ottoman Empire, which occurred at various times, but especially after the 1915 Genocide, when, according to different sources, between 1 and 2 million Armenians were massacred. The survivors, scattered across numerous countries, preserved their embroidery techniques and continued the tradition of this art. This is why Armenian embroidery can be found in many museums around the world.

There are a number of schools, each with its own peculiarities. I will only enumerate some of them: the Van embroidery, Van lace, Karin lace, embroidery of Urfa, Marash, Ayntap, Cilicia, Vaspurakan, Constantinople, Svaz, Tigranakert, Izmir, Parskahayk, Trabzon, etc. These were named after the cities where they were established on the historical territory of Armenia, nowadays, these cities belong to Turkey. The other embroidery types received their names according to the techniques used: for instance, straight counted stitch /sharakar/, shadow embroidery /shuki kar/, surface embroidery /alikavor artakar/, cross-stitch /khach-kar/, and so on.

In photograph 2, you can see several types of Armenian embroidery together. This is the cover of the eponymous book-album, published in 1999 in Beirut. The book contains extensive information about the history of embroidery, several articles by different authors, with illustrations showcasing both ancient samples and new works, a parallel English translation is supplied as well.

ARMENIAN NEEDLELACE

It’s absolutely mandatory to tell you a bit about Armenian lace. Armenians have been familiar with almost all kinds of lace, but it’s needlelace, made with a special knot, which is called Armenian lace.

“Interestingly, the terms “embroidery” and “needlelace” are the same word in the Armenian language ասեղնագործություն /asehnagortsutyun/. That is needlelace is called embroidery and is divided into three kinds: Van, Karin and Cilician. If you look at photographs 3 and 4, you will notice that Van and Karin laces are made using almost the same technique: a needle and a special knot. But what a variety it creates!

Van lace is fine, white and flat, mesmerizing with its rhythmical patterns. Karin lace is also fine and delicate, yet colorful and three-dimensional in shape,  separately.are embroidered various flowers, leaves, fruit, as well as little rooster-birds, grass-tape, and all that is assembled, forming an entity which symbolizes the garden of paradise and eternal spring. It was used to decorate women’s headgear, called “vard-tantana”, in Upper Armenia - the regions of Karin, Kars, Ardagan, Tigranakert, Gyumri, Akhaltsikhe, Akhalkalaki, and others. Armenian needlelace is known worldwide. 101 years ago, in 1923, in Boston (USA), the world’s first instructional book on Armenian lace was published. Its author, Nvard Tashchyan, also arrived in America escaping the 1915 Genocide.

The tradition of needlelace, teaching it, and the organization of exhibitions continue to this day. In 2023, the Fowler Museum at UCLA (California) hosted an exhibition of Armenian lace created by Mary Piliposyan, who, as a Genocide refugee, brought the art of Armenian needlelace with her when she moved to California.

Let’s conclude our brief introduction to Armenian lace with a comparison of the Van needlelace and the patterns found on Armenian khachkars — stone crosses, stone stelae with a carved cross, framed by various intricate patterns. Some khachkars feature such delicate carvings that experts in decorative and applied arts often describe them as "lace-like." Once I put a piece of Van lace on a photograph of a fragment of a khachkar, dating back to 1291 and found in Nor-Getik, and asked for a photograph to be taken this very way for the book. Photograph 5.

EMBROIDERY TYPES

I will introduce you not to all, but only to the most characteristic types of Armenian embroidery, and will limit myself to a brief description, photographs and some interesting facts.

Marash Embroidery

Marash embroidery (Cilician School of Embroidery). Well known are the Marash woven stitch and the satin stitch, which is made in a specific way. The most interesting woven stitch is shown in photograph 6.

This hidden stitch requires embroidering four rows with interweavings, and you must not make a single mistake, otherwise the next row will not align correctly. Due to its complexity, this type of embroidery was confined to Marash and existed only there. However, after the deportation of Armenians during the Genocide and persecutions in 1915 and 1923, when France ceded Cilicia, including the cities of Marash, Ayntap, Cilicia, and Zeytun, to Turkey, the Marash woven stitch spread to other regions. It was first described by Serik Davtyan. Ancient  embroideries are not uniform and differ from each other. Quite recently R. Tokmadzhyan, a contemporary researcher and author of the books on Armenian embroidery, has singled out another group within the Marash embroidery - a woven stitch of Malatia, whose technique, pattern and place of origin are different from the Marash ones. 

Marash embroideries are colourful and unique, their patterns are rhythmical, they recur and cover the whole surface. A similar technique of woven stitch can be found in India, Pakistan, and it was also known in Medieval Europe. Once again, I would like to highlight the inseparable connection between all types of decorative applied arts in Armenia. Through the techniques of the Marash woven stitch, one can recreate patterns that are immortalized in the designs of stone crosses — khachkars. It is likely that the embroidery techniques in ancient times were far more intricate than they are today. In photograph 7, the woven pattern repeats the pattern on the rosette of a 1184 khachkar from Sanahin monastery. “The Secrets of Marash Embroidery. Satin stitch and woven stitch” contains a lot of examples of making ancient woven ornaments.

Aintap Embroidery

The Aintap embroidery also belongs to the Cilician school. The work is delicate and requires utmost attention, particularly when counting and removing threads. The patterns are mostly geometric. Photograph 8 is from the album book Khdeshian, Mesrobian, Herguelian. Armenian Embroidery (Beirut: Armenian Relief Cross of Lebanon, Anis Commercial Printing Press, 1999, p. 27). A more detailed history, along with various patterns, their names, and a catalog of antique and contemporary works, can be found in the two-volume work by Razdan Tokmadzhyan.

Urfa  Embroidery

The Urfa  embroidery features delicate floral ornaments, with stylized flowers embroidered with silk and gold threads. The unique feature of this technique is that the embroidery is identical on both the front and back sides. This style is mainly used for towels and scarves. Photograph 9 is from the album-book Van Ashughatoyan Narek. Rescued Armenian Embroidery (Yerevan: Zangak, 2019, p.77).

Cilician Embroidery

The Cilician embroidery also belongs to the Cilician school. It is a form of appliqué where patterns are created using two contrasting fabrics. Similar techniques can be found in many cultures. Photograph 10 is from the book Khdeshian, Mesrobian, Herguelian. Armenian Embroidery (Beirut: Armenian Relief Cross of Lebanon, Anis Commercial Printing Press, 1999).

It is impossible to cover all the schools and techniques of Armenian embroidery in a single article, as each one is unique in terms of technique, color schemes, symbolism, and patterns. It is also challenging to decide what to focus on.

The Van stitch technique is particularly interesting because it is a double-sided counted stitch. In fact, the Van stitch unites several different double-sided stitches. This technique belongs to the Van-Vaspurakan school of embroidery, from which it spread to other regions. It was used to create a variety of items: napkins, towels, shawls, and curtains. Particularly interesting are the napkins called "labyrinths," which were used to cover bread on the table. In Armenia, the reverence for bread has been preserved to this day, and these labyrinth napkins reflect the special attitude to the culture of bread-making. Interestingly, these napkins were used exclusively in Van and the surrounding areas. Although there are many of them, despite the recurring patterns, no two napkins are exactly alike. One example is a napkin from the Museum of Fine Arts, Boston Institute Chicago, from the 19th century.

Photograph 11 compares a modern Van stitch embroidery (by L. Aleksanyan) with an antique example of a labyrinth napkin from the private collection of N. Van-Ashugatoyan, photograph by L. Mhitaryan. Such napkins can be found in many museums as well as in private collections.

Goldwork

Goldwork (embroidery with gold and silver threads) is especially notable worldwide. Armenian embroidery traditions know several techniques of working with metal threads. Plenty of gold was used in the national costume - both men’s and women’s attire. Gold and silver threads create patterns which go well with the other decorations without standing out or being overly striking. Here’s a fragment of a women’s coat (salta) from Khotordzhur, which is stored in the Museum of Armenian History in Yerevan, photograph 12. It is embroidered using the couching technique.

Making a gold and silver thread was hard physical work, hence it was done by men in city workshops, it was them who did this kind of embroidery, too. We have to mention Melkon Chilingaryan from the city of Akhaltsikhe (now in the territory of Georgia), who in 1853–1873 participated in international industrial exhibitions  and earned prestigious recognition in contests. In the 19th century all Armenian women in the Shirak-Karin region, without exception, wore aprons embroidered with a gold cord and a traditional pattern, symbolizing fertility. It often had the initials of the owner embroidered with a metal thread in the center of the pattern. Photograph 13 shows a corner of an embroidered apron with a floral pattern.

Karin-Shirak school is famous not only for its cord embroidery. Here also belong embroideries of the 12th century, found during the excavations of Ani - the Medieval capital of the Bagratid Armenian Kingdom (nowadays, the territory of Turkey), among them is a well-preserved girl’s dress with goldwork, and many other various items which are now kept at the Armenian History Museum.

Various pouches and cases were made for storing needles, threads, and scissors. Armenian diamond-shaped needle cases are decorated with geometric patterns embroidered using the counted stitch of Vaspurakan. Inside the case, on a retractable flap, the needles were pinned. The needle cases were worn around the neck or waist — both decorative and practical, keeping the needles always within reach. Photograph 14 showcases a modern replica of an ancient needle case, work and photograph by L. Mhitaryan. 

Syunik School of Armenian embroidery encompasses the Syunik region of the modern Republic of Armenia, as well as the nearby areas  - Artsakh, or Nagorno-Karabakh and Nakhchivan (now part of Azerbaijan). These are mountainous regions which preserved the national Armenian costume the longest, up to the middle of the 20the century. The embroidery there is most diverse. For example, cross-stitches with silk thread - see photograph 15, a piece from the Shusha Carpet Museum, end of the 17th century, the village of Shosh, Askeran Province, Artsakh. This piece of embroidery as well as many other museum exhibits were taken out of Shusha in 2020 during the 44-day war between Azerbaijan and Armenia, and thus was saved from destruction.

Wedding towels from Armenian museums showcase the rich variety of the embroidery techniques. It is a rare stroke of luck for researchers of ancient embroidery to trace the entire history behind the creation of a single piece. A towel like that can be found in the permanent exhibition of the Folk Arts Museum named by O. Sharambeyan in Yerevan. Photographs 16, 17, and 18. The towel was donated to the Museum in 1963 by A. Makedonyan. This bright and colorful towel was made back in 1774. The name of the craftswoman is also known - Lusik /Lusntag/ from the city of Shusha, who got married and moved to Nukhi. All the threads for the embroidery were made by Lusik herself from the silk worms, raised by her as well. And the entire subsequent process of spinning, dyeing, and embroidering was carried out by the same person - Lusik. The towel is decorated with stylized trees. The “Tree of Life” is one of the most widespread symbols in Armenian embroidery and decorative and applied arts.

Armenian Church Embroidery

All the ancient monasteries had their own embroidery workshops. Church accessories have a special meaning and were often made for a specific occasion. Kirakos Gandzaketsi, a 13th-century historian, testified that Prince Vakhtang’s wife, Arguhatun, together with her daughters, created and embroidered church curtains with the depiction of Christ and Saints for the churches in Nor-Getik, Sanain, Dadivank, to commemorate the death of her husband and sons. Argunhatun’s curtains haven’t survived, but there’s a testimony in the chronicles of the 13th century and a legend saying that the patterns on the curtains were  flawless, thus they became a prototype for patterns on two famous khachkars of the 13th century in Dadivank.

Church embroideries are most often accompanied with donation inscriptions and dates. The oldest one, containing a date, goes back to the year of 1410. It is a shoulder piece, a special collar worn by a priest during a church service. This highly delicate work showcasing the images of Jesus Christ and Saints is stored in the Armenian History Museum.

Ayrarat school of embroidery is mostly known for its urban, household and church embroideries. It was formed in the territory of the Armenian historical province of Ayrarat, surrounding the mountains of Ararat and Aragats (territories of modern Armenia and Turkey). The museum of St.Echmiadzin in Armenia houses real treasures. Look at a fragment of church attire, “orar” from 1736, photograph 19, from the album–book “The Treasures of Echmiadzin”. Beautiful examples of Armenian church embroidery are stored in museums all over the world, especially in religious centers where Armenian churches are located, for instance, on  Saint Lazarus island in Venice (Italy), Mekhitarists’ society in Vienna, in Armenian patriarchates in Constantinople, Jerusalem and Moscow.

Certainly, all the five regional schools of embroidery share some techniques, items, patterns. Everywhere, one can find embroidered tablecloths, shawls, cushions, and embroidery with satin stitch, cross-stitch, simple stem stitches, tambour stitch, and lacework. But there are also special types of stitches — for example, a double-sided cross-stitch. We can also come across less common kinds of satin stitch - for example, like in photograph 20 showing a fragment of a towel. This embroidery is still to be studied, the inscription on it reads that it is most probably a donation to the church in memory of Ehisabet from Izmir, dated 1635.

Human imagination has no limits, and embroidery proves it. Only a truly creative person could conceive of a work made of fish scales and adorned with a gold thread. You can see a fragment of a frame for a family photo dated 1901 with a dedicatory inscription, photograph 21.

A large number of embroideries are still to be examined, and there are a great many forgotten embroidery techniques which are known to us only through a few museum exhibits. It is highly important to preserve this heritage, as each stitch, each  delicate pattern, each  invisible thread and knot hide people’s life stories, Love and Suffering, Diligence and Admiration, Memory and Creativity. That’s why don’t be afraid to ask questions, don’t be afraid to find answers. Trust Your mind and Your feelings. And even the thinnest thread stitch by stitch will lead You to Your goal, to the beautiful examples of the art of embroidery.