The Tapestry

Issue #3 • 1511

In the diversity of decorative applied arts of Uzbekistan the tapestry occupies some definite place. A bright period of its development is connected with 1970s, with Ferghana, a homeland of many famous masters of Uzbekistan. 1990s became rather problematic for this field of art, and just the exhibitions in the last years have given evidence for the fact that the tapestry again has occupied appropriate place within modern arts. At the second half of 1990s, in Uzbekistan, formed a group of young tapestry artists, whose works became evidence for active search for new ways of this interesting art. And though much of them made first steps in this art independently and now are working separately, out of any close art contacts, as well as each of them is searching for his own individual way of expression, their works are integrated by the technique of tapestry and new understanding of material and decorative form. Works of the last years brightly demonstrate that a critical period in this field of art has finished.

During the last decade, Milena Tyurina was working much in the tapestry. She was a student of L.Taldikina and obtained good skills from Moscow and St. Petersburg’s tapestry artists. Her works have been at the expositions of republican and international (Moscow, Ukraine) exhibitions from 1990s; at the beginning of 1990s several personal exhibitions were held in Tashkent. The works of M.Tyurina are differed by various themes – some works, by manner of work and their contrast colour combinations remind graphic pictures, the other reflect subjects of nature by means of exquisite art methods typical of the artist. Subjects of the tapestry are rising spontaneously, out of impression from something heard or seen, and then the idea is looking for the most adequate expression.

In the tapestry of M.Tyurina is clearly seen the experimental aspect – classical flat tapestry with its accent on drawing. The expressiveness of weaved fabric facture is combined with a search for new original methods allowing to extend vision of art textile potential. In her works, M.Tyurina successfully synthesizes weaving, knitting, netting and embroidery with different materials – wool, synthetic as well as metal, common and fine wool, accenting on a volume of composition. Devotion to constructive elements caused the use of relief frames giving to the works appearance of sui generis textile pictures. M. Tyurina tries to stress decorative aspect of her works and do it precisely and without excess (“Sonata of Time”, 1998; “Feeling”, 2001).

Combination of the tapestry canvas and metal plastics with fine wool is a visiting card of the works of Tyurina, which makes them recognized at any exhibition. Metal elements (thin wire muffled with wool) not just give a volume to the composition but the element of graphic and precise drawing. Their application is always in accord with a sense of the work. Thus in the tapestry “Waterfall” (1997) exquisite lines of metal elements are to transfer the expression of water flowing; in the tapestry “Energy” (1998) vertical metal structure on a background of weaved fabric reveals accumulated expressive element.

Among the tapestry of Milena Tyurina there are both ornamental and subject compositions. Subject works often expose complicated multi-figured scenes and portraits where the artist successfully reveals graphic possibilities of textile. Their drawing is precise and expressive; the colour is full of tints making the tapestry similar to a picture. Search for new subjects made Milena, at the last years, to turn to traditions of folk weaving, this unexhausted treasury for modern artists and masters. Meeting with the art of carpet attracted Milena so much that she has read almost all accessible books on this subject. Not only books but old carpets themselves, mystery of their pattern, understandable only by specialists, and wonderful colour of soft tints keeping a deepness of colour for many decades and even centuries became a powerful impulse to a new stage of creativity, at which the ethnographic motives are clearly seen.

A work from this cycle is the tapestry “Song of the Steppe” (2002) where Milena strived to expose, by means of symbols and signs, the most important values accompanying women of steppe nomads. Portrayals of domestic animals, reliable companions of the nomads, not numerous flower bushes and, of course, female adornments, earrings were included in the decor of this compound weaved panel. Simple, at the first look, subject line gives opportunity to feel philosophy of the world vision of the people living in harmony with nature and to understand that the main thing in life is a balance with environment. Colour of the tapestry follows traditional grade of red and ochre tints with active use of white – eternal symbol of purity and light.

It is impossible to ignore that Milena is creative in her approach to traditional heritage, following the way of their creative interpretation but not its copying and imitating, what gives her a chance to combine classic motives with modern understanding of form. Each new work of Milena Tyurina is searching fornew ideas and subjects; she does not stop at her successes, and in this – a guarantee of further creative achievements of the young artist.

Author: Elmira Valieva

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