Modern Reproduction of Central Asian Textiles
The object in question I analyzed was a modern reproduction of Central Asian textiles. The specific reproduction pictured seems to be an article of clothing, possibly a women’s shawl to be draped over shoulders. It is a patterned silk textile with fringed fabric ends of all different colors, showing the complexity of the piece. It has many elements of Sogdian silk textile making and the design aesthetic can most likely be attributed to the Sogdians. To understand these textiles we need to understand the context around Sogdian life back then. Their homeland is located in present day Uzbekistan and Tajikistan, but their reach stretched in all directions along the Silk Road, mainly because their craftsmanship was sought out. The Sogdians acted as middlemen between the Chinese and those north of Sogdiana and prospered between the 6th and 9th centuries (Raby, Wide, pg. 6). This textile reproduction includes many elements that make it specifically Sogdian, and helps to understand the type of trade these ancient people were participating in.
This specific textile can be compared to many other textiles of the same timeframe. Specifically I want to highlight the Child’s Coat and Pants exhibition in When Silk Was Gold, which dates back to the 8th century (figure 1). In the coat and pants design, there are aligned pearl roundels (medallions) enclosing a pair of confronting ducks standing on what seems to be a split palmette. The medallions are the circles pattern repeated all over the piece that enclose the ducks (When Silk Was Gold, pg. 15). The specific symbolism depicted are clearly Sasanian (Empire of the Iranians) in origin, but the design elements are Sogdian. According to an article on Sogdian textile design, “The typical composition of silk fabrics of the Middle Ages are medallions (rondels) surrounded by pearls and dual animals facing each other in a symmetry. It is the most popular textile composition from the 6th to the 13th centuries, widespread on the extensive territory from Europe to the Far East.” (Elmira, pg. 4). This same pearled roundel is represented in the modern reproduction, but this time with lions and griffins enclosed. In both textile examples, the use of symmetric animals is present. Another similar textile design is the Ducks in a Roundel pictured on page 32 of When Silk was Gold (figure 2). This fragment dating back to the 8th-9th century, has an even similar roundel design to the reproduction (fragment pictured below). The Roundel consists of an outer foliate border and an inner pearl circle (When Silk Was Gold, pg. 13). This is very similar to the object in question as
the roundels consist of a similar foliate border, but this time with an outer pearl circle. The similar roundels in all these textile pieces clearly point to their Sogdian origins. Now I want to further analyze my observations of the reproduction and how they relate back to Sogdian culture to better understand the story behind this remake.
This specific textile has two distinct repeating rows of roundels. The first being what appears to be symmetrical lions holding up what looks to be a tree (figure 3). This could possibly be a palmette tree, which was symbolized in the above referenced similar textiles. The reasoning behind this roundel points to elements present in Sogdian culture. Many Sogdian roundels included the images of animals near a tree of life as a symbol of the world and its center. The depiction of lions holding up this tree of life could possibly symbolize prestige and the participation in universal sacral values, specifically giving thanks to natural wonders. Furthermore, the lion is a symbol of animal excellence, or the king of beasts, and including this in the roundels could personify power and prosperity. (Elmira, pg. 5-6). The second style of roundels depicts what looks to be winged griffins in the same symmetrical style holding something up as well (figure 4). Winged griffins were also a symbol of power, and were associated with fighting capacity and eminence. Fabrics with figures of predators were meant to convey this power. The use of animal imagery therefore is being used to highlight this power and nobility, specifically the power to be chosen by God. Especially winged creatures, which are depicted with wings to show they’re heavenly beings. Looking past the roundels, the textile also includes depictions of what seem to be horses and also possibly deer. Yet another example of animal representation in this textile. So why do these textiles all include these depictions of powerful predators?
The Sogdian people were skilled merchants and tradesmen, and understood the value of symbolism in textiles. The Sogdians exploited this idea of elitism, stability and power in their textiles, playing on this idea of power. Especially during those times when leadership was constantly changing and people were superstitious about what makes them powerful, the Sogdians exploited these beliefs. By creating textiles with both the hidden and obvious desires of those who are trading with them, they capitalized immensely. These fabrics and the symbols depicted were meant to “increase the power of clergy, military and feudal nobility, supporting their political ambitions (Elmira, pg. 7-8). The reasons Sogdian culture is so far-reaching in Europe and Asia as a whole is because they produced symbols of power that were universal to all. These textiles were in great demand and widely distributed, with evidence of pieces in far-reaching locations from where Sogdians lived. The textiles, including this reproduction, symbolized the political climate surrounding the Silk Road and the battle for power that continued for many centuries.
-Matthew Leiser