Russian embroidery was probably used in roughly equal proportions for both domestic use and for clothing. It is difficult to see a definite framework for style and pattern as there are so many regional variations within a country the size and cultural complexity of Russia, but there are some general cultural identifiers within the embroidery craft of the country.
For example, Russian embroidery was often of one definite colour set against a natural background. Therefore a great deal of stitch work was produced using red silk on a natural linen background. This gave embroidery pattern work a very clear and precise aspect, with particular motifs being seen as definite and distinct as opposed to some other forms of embroidery where compositions can be somewhat vague and less defined.
Many of the symbols used as motifs and all-over pattern work, derive their origin from a number of different cultural influences within the history of Russia. One important element is that of the church which has left a legacy within embroidery design of the equal sided cross which can be seen as both a central motif or as an integrated pattern. However, a number of symbols, many of which have lost their true meaning, are believed to have originated within the early pre-Christian culture of the Slavs and possibly even before that era, even into the Palaeolithic.
Embroidery in Russia was usually produced by women, though men were known to have produced a certain amount of the work, usually when embroidery was used to decorate leather particularly for boots. It was very much an amateur affair which is consistent with the embroidery craft in many cultures.
Much of the Russian embroidery pattern work uses an abstract format incorporating bands, closed frameworks and all-over design work, but there is also an element of representational work that includes various aspects of local and more exotic flora and fauna, ranging from representations of pomegranates to that of the Biblical story of Adam and Eve. However, it is the abstract and semi-abstract geometrical pattern work that seems to be at the heart of much of the embroidery produced, at least in the central area of Russia, and it this dependence on non-representational pattern work that has produced such a breadth of variety and innovation within the craft.
All of the images shown in this article were part of the Soviet Unions contribution towards the International Exhibition of Modern Decorative and Industrial Arts that was held in Paris in 1925.
There is one more article in this series of embroidery examples taken from the Soviet Unions 1925 Paris Exhibition of diverse crafts of the Union, that article will deal with the embroidery pattern work and traditions of Northern Russia and will appear on The Textile Blog next week.




































