At the Military Academy

On first impression, this photograph appears to be of a military figure. The epauletted tunic, the shuttered blinds... perhaps a pre-1914 army planner, taking a break from planning his country's defence from a foreign force?

The photograph was indeed taken before the First World War, and it does show an official at a Military Academy - the Imperial Military Academy in St Petersburg, to be precise. But the figure shown is not one of the Czar's officers, pondering threats to the nation, but one of the most influential scientists of the 20th century - physiologist I.P. Pavlov.

Given how famous Pavlov's work on the conditioned reflex is, it's perhaps odd not choosing a photograph to mark the anniversary of his death that shows him in a laboratory (or at the very least, with some salivating dogs). However, given that Pavlov died 75 years ago today in 1936, this photograph is suggestive of how well Pavlov was regarded by the changing rulers of his homeland.

Awarded the 1904 Nobel Prize for Physiology or Medicine, Pavlov was obviously an internationally recognised scientist by the time of the Russian Revolution of October 1917. However, a 1921 decree - signed by Lenin - noted Pavlov's achievements "to the enormous significance to the working classes of the whole world" and for the rest of his life, Pavlov and his team were given an enormous amount of freedom for their research. For indication of that, take a look at Conditioned reflexes and behavior, a film shot in 1930 and which was digitised as part of our Wellcome Film project.

Azerbaijani Embroidery

Although Azerbaijan by definition is often seen as within the sphere, if not actually part of Persia/Iran, it does have a definite identity of its own and whether as a region or as an independent nation. Its identity is often reflected, as with most communities, within its native arts and crafts, and no more so than the textiles of the region, in particular its embroidery.

It is said that the roots of Azerbaijani embroidery lie in the Bronze Age, and while this cannot be definitely proved, the motifs and design work used in the native embroidery of the area, can trace its history back through generations of Azerbaijani cultural history and the general design and craft history of the region.

Azerbaijan has a rich and varied textile history with a particular emphasis on weave, knit and embroidery. Many richly decorated fabrics were produced in the past using silk, gold and silver threads, which were worked onto a relatively thick background fabric, which often included various rich velvets. Local pearls and beads were also added to these richly decorated pieces of handwork to add to the emphasis of richness and depth. Colour was another form used to emphasise the richness of the work with colours of both threads and backgrounds often being dazzlingly heightened, all adding to the overall display effect.

The best and most expensive embroidery work was produced for the royal court of Azerbaijan, mostly in the form of wall hangings, which were often used as statements of wealth and power to visiting dignitaries. However, less expensive and less detailed work was also widely produced, though no less accomplished. This work was mainly designated for domestic use and the decoration of clothing. Embroidery was also used to decorate objects as diverse as riding equipment, and dowry items.

Much of the design work, though not exclusively so, was floral or geometrically based, though traditional Persian motifs that were often used within the carpet trade were also incorporated into the vocabulary of Azerbaijani embroidery.

Interestingly, the production of embroidery was not limited to women. Men were also involved in the work and took an active part in the design and decoration aspects of the medium.

The images shown here were produced by the Soviet Union for the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris. It was part of a large national exhibition promoting the traditional crafts from across the Union.

Although embroidery is not produced on such a scale as it once was, Azerbaijan is still proud of its embroidery heritage and historical pieces can be seen in many of the museums of the country and at regular exhibitions. Some good examples can be seen at the Azerbaijani Ministry of Culture and Tourism website, which can be seen here

Further reading links:
Embroidery: Traditional Designs, Techniques, and Patterns from All over the World
The Ministry of Culture and Tourism of the Azerbaijani Republic
Azerbaijan Since Independence
Transcaucasus: Georgia, Armenia, & Azerbaijan
Cuisines of the Caucasus Mountains: Recipes, Drinks, and Lore from Armenia, Azerbaijan, Georgia, and Russia
Azerbaijan - Culture Smart!: The Essential Guide to Customs & Culture
Azerbaijan: Traditional Music
Azerbaijan: Webster's Timeline History, 10000 BC - 2007
Azerbaijan (Cultures of the World)
Music from Azerbaijan

Armenian Embroidery

Embroidery takes many forms and many directions depending on the culture, the time period and the people involved in the discipline. On the whole, European embroidery, and Armenian is no different in this respect, tends to be split into two main subject headings, domestic and religious.

Domestic embroidery was usually dominated by floral and abstract interwoven patterns, with the intermittent use of animals, both real and mythical. Domestic embroidery could come in the form of household or costume. Household items were often in the form of tablecloths, runners and furniture protectors, but could also include covers for books, food and small carriers for precious items. Some were for everyday use while others were used only on special occasions. Costume embroidery tended to be more elaborate and smaller in scale, as it was often used for collars and cuffs, but could also be incorporated on a much larger scale for national costumes, which would be used on specific days of the year.

Religious embroidery was used extensively by the Armenian Church, particularly for the embellishment of religious vestments and were often produced by professional embroiderers, rather than the many amateur embroiderers involved in the domestic market. Vestment embroidery patterns usually incorporated the cross and other symbols of religious significance, but again, as in the domestic embroidery, floral patterns and motifs were extensively used. The threads used were usually of a much higher standard than that of domestic embroidery, with the use of silk and precious metal threads being relatively common.

Armenian embroidery was not necessarily a uniformly nationalistic one, as many areas of the country had their own distinctive styles and techniques. These different and individual styles can often still be identified and attributed to the distinct areas, even though many of them are now produced well outside their original territories.

The images shown here are from the Soviet Unions contribution towards the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris. The Soviet Union showed a substantially large proportion of traditional embroidery techniques and styles from all over the Union featuring individual republics. It may seem odd to include traditional pattern work within an exposition that emphasised the modern, but the Soviet Union was by no means the only country contributing traditional cultural styles and techniques to the exposition.

Armenian embroidery is still being produced today, within the Armenian republic itself, but also within the much larger worldwide Armenian community. The techniques and styles that go to make up the distinctive national embroidery of the culture, has now become part of the rich history of the medium itself. A contribution that has added invaluable creative input into the world of traditional embroidery.

Anyone interested in the different styles that go to make up Armenian embroidery, and would even be prepared to learn some of the basic Armenian embroidery techniques, might well like to take a look at the website entirely devoted to the subject which can be found here.

Further reading links:
Embroidery: Traditional Designs, Techniques, and Patterns from All over the World
Armenian Embroidery website
Armenian Embroidery - Echoes from the Past [Haigagan Aseghnakordzoutioun]
Armenian Needlelace and Embroidery: A Preservation of Some of History's Oldest and Finest Needlework
Marashi (Marash) Aseghnakordzoutioun (Marash Armenian Embroidery) in Armenian
Armenian Rugs: Fabric of a Culture
Treasures in Heaven: Armenian Illuminated Manuscripts