of the North Caucasus
History and process of manufacture The art of carpet weaving in Dagestan has deep historical roots, tracing back to ancient times. As far back as the Bronze Age, inhabitants of the region were engaged in spinning and weaving, and by the 12th century, Dagestan had become a significant center of economic and artistic culture in the Caucasus. Trade connections with countries in the Middle East and Central Asia facilitated the flourishing of carpet weaving, with Derbent emerging as a preeminent center renowned for its utilization of organic dyes sourced from local flora. In the 19th century, Dagestan's carpet weaving centers gained particular renown, bringing together the skills of various ethnic communities including the Lezgins, Tabasarans, Avars, Dargins, Kumyks, and Laks. The zenith of Dagestan's carpet weaving artistry was reached in the 20th century. The process of creating carpets in Dagestan is labor-intensive and involves several stages of wool preparation It commences with the thorough washing, drying, and sorting of wool, followed by carding and spinning the fibers into yarn. Carpets often acquire red and blue hues, symbolizing the natural elements. The weaving process begins with setting up a special loom onto which warp threads are stretched before starting the pile weaving using semi-coarse wool from spring shearing. As a result, the combination of natural dyes and superior-quality wool imbues Dagestani carpets with exceptional durability, ensuring that they retain their vivid hues and intricate patterns for generations to come. |
Lezgin Kilims are large pileless carpets with a soft one-sided surface, pleasant to the touch. Characteristic features include a rhombus-shaped composition and the use of interlocking wefts during production. These double-sided carpets have practical utility and maintain a single design on both surfaces. Originally, kilim was developed in Arab countries, and later gained popularity in Dagestan through the influence of Turkish culture.
Soumak is a soft and dense pileless woolen carpet with patterns woven from the reverse side. Lezgin flat-woven carpets, known as Soumak, are distinguished by unique ornaments and bright colors. Their patterns, inspired by Eastern traditions, include geometric shapes and pile-like effects, creating a distinctive style.
FELT MANUFACTURE
History and process of manufacture Felt manufacture in the territory of the present-day Karachay-Cherkess Republic originated in ancient times when sheep farming was the only form of agricultural activity for the indigenous people of the Caucasus, and it actively developed. However, in the late 19th and early 20th centuries, felt manufacture declined as local handicrafts were being replaced by factory goods imported from Russia. By the mid-20th century, felt goods had served its age with dignity, and rare craftswomen returned to it only out of respect for the memory of the outdated craft. The manufacture of felt fabric begins with processing sheep wool, which involves several stages, such as sorting, washing, loosening, beating, and combing. The most labour-intensive part of the process is wool laying. The wool is laid out on a mat, sprayed with boiling water, and rolled up, pressing it with the full weight of the body. The roll is then turned, sprayed with water, and rolled again several times. To achieve the desired result, the wool is layered on the mat multiple times, and each layer is carefully rolled step by step. |
Types of felt goods
The finished felt with an inlaid pattern is reversible and has the same design on both sides. In addition to the main pattern, there is a border around it composed of intersecting squares, triangles, diamonds, and sometimes zigzags (“k`yiykyk` zeblye”).
Felt with applique (also known as “tikgen ala kiyiz” or “embroidered motley felt”) is a type of felt that is characterized by the presence of patterns or appliques sewn on the surface of the material.
The patterns in felt with applique are created by cutting through a stencil and sewing it onto the main felt material. The stencils used to create patterns in such felts have an archaic origin and are passed down from generation to generation. This allows for the preservation of traditional motifs and designs.
Cut-out (“bichgen kiyiz”) or ornamented (“oyulu kiyiz”) felt is a textile material made from two solid-coloured felts of contrasting colours, cut using the same patterned stencil. This type of felt is often used to create various items and products such as carpets, blankets, pillows, bags, etc.
of the Karachay-Cherkess Republic
- 1Felted fabric
- 2Wool laying
- 3Mat
- 4“Ala kiyiz” [ˈælə ˈkijɪz]
- 5“K`olan kiyiz” [kʌˈlæn ˈkijɪz]
- 6Felting wool
- 7“K`yiykyk` zeblye” [ˈk`iyik zeblə]
- 8“Tikgen ala kiyiz” [tɪkˈgen ˈælə ˈkijɪz]
- 9“Bichgen kiyiz” [bɪtʃˈgen ˈkijɪz]
- 10“Oyulu kiyiz” [ɔɪˈuːlʊ ˈkijɪz]
History In the written sources, the mention of the Kabardinian's gold embroidery first appears in the works of the Arab traveler Masudi in the 10th century, although archaeological evidence suggests that the craft has even more ancient origins dating back thousands of years. At the turn of the 19th and 20th centuries, factory-made products began to replace handmade gold embroidery. However, this ancient art did not completely disappear, as individual embroiderers continued to practice it in their auls, preserving the traditional heritage of their people. |
Since ancient times, Kabardinian craftswomen have skillfully mastered four techniques of gold embroidery, the oldest and most complex of which is called "vprikrep" or in Kabardinian, "dyshe idagh". A later technique is known as "glad’" embroidery.
The most common motifs in embroidery were zoomorphic, geometric, anthropomorphic, and botanical designs.
History and process of manufacture Since ancient times, the Ingush had developed sheep farming, and there was a lot of wool. It was harvested for felting, while it was believed that the longer the villi, the better it grasps, which means that the future product will turn out to be tighter. Before starting work, the wool was dried in the sun for several days to evaporate excess fat residues. Then, cleaning from dust and dirt, the wool was beaten with rods and loosened. Felts decorated the houses, which testified to the comfort reigning in the family. Felt was also used to cover the seats in vans, used to make boots, hats, etc. The manufacturing technology of the isting in Ingushetia is similar to the techniques of making felt carpets used in other parts of the Caucasus. The production consists of several stages: wool harvesting, allocation, steaming, ramming, obtaining ready-made felt, applying an ornament. |
In the art of felt carpet making by the Ingush,fertash is also distinguished ― dyed felt without patterns and Khijttafertash — a felt carpet made of combined pieces in the form of an ornament, smeared into one single canvas (cloth), decorated with snow-white braid along the edges of ornamental motives.
WOOD CRAFT
History In North Ossetia, the wood craft industry was famous in Digoria and the Kurtatinskoye Gorge, where wood craft has not lost its importance even today. Ossetians divided timber into construction and furniture types. The first group included beech, linden and pine, while the second group included ash, maple, karagach, oak and pear wood. Products made of linden wood were considered the best for containing liquids (water, milk, beer), as the flavour of the wood was neutral towards them. Small wooden bowls were carved from solid wood, and to prevent spoons and bowls from cracking, they were boiled in water and ash and then soaked in oil or fat. As a result, the bowls became not only durable, but also acquired a certain colour. |
The wood craft process involves several stages, starting with the chiselling out of the basic shapes from the raw material. This is achieved using tools such as planes and axes, which remove large volumes of wood to form the rough overall shape of the future product.
This is followed by the carving stage, where more precise and detailed elements are created using wood carving techniques or specialised machines, as well as chisels to create recesses and hollows.
Then there is the heat treatment process, where the wood is heated to a certain temperature. This can improve the characteristics of the wood such as strength, stability and moisture resistance. The surface of the wood is then passed through a surface gage to get a smooth surface by removing thin layers of material.
The final step is varnishing, where the surface of the wood is coated with a protective layer of varnish against moisture, dirt and damage.
History and manufacturing process Arms manufacture in Chechnya dates back to the Middle Ages. Archaeological finds testify to ancient workshops and villages where local craftsmen designed and produced military equipment. This craft is firmly woven into the history of the Chechen people and its military traditions. The masters of the arms manufacture in Chechnya use traditional methods of extraction and processing of metals, as well as forging and hardening techniques. The process includes not only the technical side, but also a creative approach to creating unique patterns and decorative elements on blades and handles. Arms manufacture in Chechnya is not just a craft, but also a part of the cultural heritage, embodying the skill and military tradition of the Chechen people. |
The «Gurda» sword, manufactured in the village of Gordali, is a special type of blade, distinguished by high-quality steel and a characteristic shape.
The «Ters-maymal», a sword depicting a running beast, is an example of the high art of Chechen arms craftsmanship.
Daggers in Chechen culture are ancient weapons distinguished by their unique history. Until the 19th century, they were large, with ribbed blades and long edges. After this period, the size became smaller, the blades became exquisite, with one or more slices. Chechen daggers can be blued and polished, with engraving, ornament and Arabic inscriptions from the Qur’an. Craftsmen often write their names in the decoration. It is important to note that full silver plating was not typical for Chechnya until the end of the 19th century.
