A guide to suzani textiles

A guide to suzani textiles

Christie’s Islamic Art specialist Xavier Fournier explains all you need to know about these exquisite embroidered panels

What is a suzani?

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship.

A suzani, Nurata district, Uzbekistan, early 19th century. Rectangular form, embroidered with central floral star motif, ewer flanked with birds, borders with floral blooms interspersed with floral quatrefoils within a diamond leaf lattice, modern-backed. 80¾ x 58¾ in (205.2 x 149.2 cm). Sold for £7,500 at Arts & Textiles of the Islamic & Indian Worlds, April 2017,

A suzani, Nurata district, Uzbekistan, early 19th century. Rectangular form, embroidered with central floral star motif, ewer flanked with birds, borders with floral blooms interspersed with floral quatrefoils within a diamond leaf lattice, modern-backed. 80¾ x 58¾ in (205.2 x 149.2 cm). Sold for £7,500 at Arts & Textiles of the Islamic & Indian Worlds, April 2017, London, South Kensington

When do suzanis date from?

The rigours of a nomadic lifestyle — daily use in a yurt and exposure to the elements during migration — were not conducive to the preservation of textiles. This means it is rather unusual to find ‘old’ suzanis, and the oldest surviving examples are from the late 18th and early 19th centuries.

However, it’s likely they were in use long before that. In the early 15th century, Ruy Gonzáles de Clavijo, the Castilian ambassador to the court of Timur (Tamerlane), wrote detailed descriptions of embroidered textiles that were probably forerunners of the suzani.

A suzani, Shakhrisabz area, Uzbekistan, mid-19th century. Rectangular form, central field with repeating garnet and blue floral sprays, border with dense floral frieze with flower, with original backing. 100 x 74 in (254 x 188 cm). Sold for £26,250 at Arts & Textiles of the Islamic & Indian Worlds, April 2017, London, South Kensington

A suzani, Shakhrisabz area, Uzbekistan, mid-19th century. Rectangular form, central field with repeating garnet and blue floral sprays, border with dense floral frieze with flower, with original backing. 100 x 74 in (254 x 188 cm). Sold for £26,250 at Arts & Textiles of the Islamic & Indian Worlds, April 2017, London, South Kensington

How was the suzani originally used?

The primary use of a suzani was within the yurt (a Central Asian nomadic tent), as a protective wrapping panel for textiles and belongings. They were also used as prayer mats, as bed sheets and for seating — pieces of furniture are seldom found in yurts, because they are cumbersome to move.

Suzanis had a symbolic significance, too. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility.

A suzani, probably Bukhara, Uzbekistan, 19th Century. 93 34 x 75 14in (238.4 x 191.2cm). Estimate £3,000-£5,000. Offered in the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets 25 October 2018 at Christie’s in London

A suzani, probably Bukhara, Uzbekistan, 19th Century. 93 3/4 x 75 1/4in (238.4 x 191.2cm). Estimate: £3,000-£5,000. Offered in the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets 25 October 2018 at Christie’s in London

A suzani, Samarkand, Uzbekistan, 19th Century. 108 34 x 74 12in (276.4 x 189.2cm) Estimate £3,000-5,000. Offered in the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets 25 October 2018 at Christie’s in London

A suzani, Samarkand, Uzbekistan, 19th Century. 108 3/4 x 74 1/2in (276.4 x 189.2cm) Estimate: £3,000-5,000. Offered in the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets 25 October 2018 at Christie’s in London

How are suzanis made?

Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together.

Just four stitches — tambour, basma, chain and kanda-khayol — are used to realise a large variety of patterns, which traditionally include the sun and moon, flowers and creepers of the Asian steppes, leaves and vines, fruits (especially pomegranates), and occasionally fish and birds. These motifs were believed to imbue the suzanis with spiritual powers, offering protection or strength to their owners.

Which dyes are used?

Suzanis are coloured with vegetal dyes, although some more recent pieces may use synthetic dyes, which are not considered to give the same intensity of hue.

The natural dyes use imported indigo for blue, cochineal and imported madder for reds, saffron for yellow, a mix of indigo and a yellow tree fungus for green, and iron oxide and pistachio nuts for black. The dyeing process takes place in an outdoor vat, similar to those that can still be seen across the Maghreb.

A suzani, Ura Tube region, Tajikistan, 1871. Near square form, embroidered decoration of foliate stems bearing floral buds radiating from central star motif framed with scrolling tendrils, borders with stylised foliate patterns, white embroidered Persian inscription in nastaliq script. 109 x 89½ in (277 x 227.5 cm). Sold for £5,250 at Arts & Textiles of the Islamic & Indian

A suzani, Ura Tube region, Tajikistan, 1871. Near square form, embroidered decoration of foliate stems bearing floral buds radiating from central star motif framed with scrolling tendrils, borders with stylised foliate patterns, white embroidered Persian inscription in nasta'liq script. 109 x 89½ in (277 x 227.5 cm). Sold for £5,250 at Arts & Textiles of the Islamic & Indian Worlds, April 2015, London, South Kensington

Can design reveal the origins of a suzani?

It is difficult to determine the geographical origins of particular suzanis, precisely because the cultures in which they were produced were nomadic. Uzbekistan, however, is considered a relatively certain centre of suzani production, and some motifs seem to be attached to certain regions in Central Asia.

Suzanis feature a wide range of motifs. Bukhara textiles depict vines of serrated leaves and lattices of red-hued flowers. Fergana suzanis feature highly stylised floral patterns. Those from Pushkent are defined by crimson star medallions, while suzanis from Nurata feature naturalistic flowers. Ura-tepe textiles feature millefiori bound by serrated leaves and star-like medallions, while suzanis from Shakhrisabz are covered with flowers and vegetables in a broad range of colours. Finally there are suzanis from Tashkent, with large medallions arranged in rows with serrated borders.

A suzani, Nurata region, Uzbekistan, early 19th Century. 88.34 in x 70 12 in (225.4 x 179cm). Estimate £4,000-6,000. Offered in the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets 25 October 2018 at Christie’s in London

A suzani, Nurata region, Uzbekistan, early 19th Century. 88.3/4 in x 70 1/2 in (225.4 x 179cm). Estimate: £4,000-6,000. Offered in the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets 25 October 2018 at Christie’s in London

A suzani, Bukhara, Uzbekistan, 19th Century. 98 38 x 67in (250 x 170cm.). Estimate £5,000-7,000. Offered in the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets 25 October 2018 at Christie’s in London

A suzani, Bukhara, Uzbekistan, 19th Century. 98 3/8 x 67in (250 x 170cm.). Estimate: £5,000-7,000. Offered in the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets 25 October 2018 at Christie’s in London

How can I identify an authentic suzani?

The value of suzanis is generally not strong enough to create a market for fake pieces. Modern pieces should be relatively easy to spot, because the dyes used to make them are synthetic rather than natural, and not as vibrant.

An unaltered suzani is always a good sign, regardless of age. Freshness of colour and hue are key to identifying a suzani of quality.

How should I display and care for them?

Ideally, a suzani should be hung flat on a wall. Do not be tempted to wash them yourself, because they can be extremely fragile. The best way to clean or restore your suzani is to contact an institution that specialises in textiles which can recommend an experienced restorer or, at the very least, point you in the right direction.