Bright Sheep

No they haven't been to school. They're racing around town showing us how great we can look in woollies.
It's all part of wool fashion week (11-17 Oct). Prince Charles is leading the campaign. Support British farmers, wear something eco-friendly an alternative to throw-away garments.

And look out for sheep all week.

Spinning and Weaving in the Doukhobor Community

Illustration: Doukhobor woman spinning, 1907.

The Doukhobor were and in many respects still are, a religious community, originally from Russia, who fled persecution to find a new life in Canada in the very late nineteenth and early twentieth centuries.

Textiles were always seen as being an important and fundamental part of the community's life. There was an emphasis on many aspects of domestic textile craft from spinning and weaving to rug making, embroidery, quilting and even knit and crochet. Design, decoration, and interpretation of textile skills owed a heavy debt to the influences of their original Russian roots. The memory of these skills and influences were brought to Canada by the Doukhobor women, and once settled and with the kind donations of neighbours and Quaker communities of initial spinning and weaving supplies, as many had left Russia with little or no belongings, work soon began on rudimentary weaving production.

Illustration: Doukhobor women spinning, 1907.

Weaving and spinning skills quickly expanded and when many of the Doukhobor community moved from their initial homes in Saskatchewan and Manitoba to a new home in British Columbia, flax and hemp harvesting allowed then to add another process into the weaving mix. This meant that the community could self-sufficiently weave linen fabric for the summer and wool, which was imported from the remaining Doukhobor communities in Saskatchewan, for the winter months.

All girls from an early age were taught the skills of both spinning and weaving, along with a number of the other textile-based crafts, and all were meant to be competent and proficient in these tasks. Craft skills were deemed an important and vital element of the community as they were seen to be part of the long tradition that had been brought from Russia by the original Doukhobor immigrants. While the community was well aware that they were part of a new country with new ideals and standards, they were still keen to maintain a certain element of continuity, the transference of textile crafts from one generation to another was seen as a vital tool in this belief.

Illustration: Doukhobor women beating flax, 1907.

However, there was probably a more fundamental need to perpetuate hand production of craft skills in a country where machine production was now the norm. It was the connection with the land that was seen as the real underlying necessity that tied the community together. The Doukhobor were essentially part of a rural farming community tradition and that is where their strength and identity lay. Interestingly weaving production tended to be limited to the winter months when work on the land was usually at its most minimum.

In many respects the Doukhobor lived the life that was idealised by many of the Arts & Crafts movements of Europe including that of Russia. Many saw the need for a fundamental shift away from towns and cities that were associated with the ideals of industry, mass production, and slave wages, to that of a basically communist inspired rural life of small communities that shared both responsibilities and material wealth. It was felt that, as far as possible, these communities should be self-sufficient, self-determining, and independent from the state. To a certain extent, it could be said that a number of elements of the early Canadian Doukhobor communities coincided with the Russian Arts & Crafts movement and particularly that of Tolstoy and his ideas concerning community, nature, and spirituality.

Illustration: Doukhobor women weaving, 1907.

Unfortunately, many of the textile skills perpetuated by the Doukhobor are no longer practised. However, there are contemporary custodians of the history of craft production and skills of this remarkable community and a number have an online presence. A particularly interesting and comprehensive website for all aspects of Doukhobor textile crafts is that of the Doukhobor Cultural Interpretive Society. This fascinating site, which can be found here, is well worth a visit for anyone with an interest in the various textiles produced by the community. Other websites dealing with a number of different aspects of the Doukhobor community, and a selection of books that can be found on Amazon, are listed as always under the Further reading links title below.

Further reading links:
Doukhobor Cultural Interpretive Society
The Doukhobors
Doukhobor Village Museum
The Doukhobors of British Columbia
Leo Tolstoy And the Canadian Doukhobors: An Historic Relationship (Canada/Russia)
Doukhobor life: A survey of Doukhobor religion, history, & folklife
The Doukhobors, Their History in Russia, Their Migration to Canada
Folk Furniture of Canada's Doukhobors, Hutterites, Mennonites and Ukrainians.: An article from: Canadian Ethnic Studies Journal
Article: An Experiment in Communism: The Doukhobor Commentary on Tolstoyism
Doukhobor Daze
Toil and Peaceful Life: Doukhobor Village Settlement In Saskatchewan, 1899-1918 (Canadian Plains Studies(CPS))
Unlike the Lilies: Doukhobor Textile Traditions in Canada
Spirit Wrestlers Voices : Doukhobor Pioneers' Strategies for Living
A Peculiar People: The Doukhobórs
Community Doukhobors a People in Trasition
A pictorial history of the Doukhobors,

Icelandic Christian Embroidery

Illustration: Icelandic Church embroidery.

Icelandic Christian based and themed embroidery started with the conversion of Iceland in 1000 to the start of the Protestant Reformation church in 1550. Icelandic religious embroideries were used throughout the numerous Catholic Church services and came in the form of altar cloths, chalice veils and a range of other church furnishings.

Interestingly much of the work produced for the church was not as extravagant and expensive as some of the more flamboyant and wealthy areas of Europe. Icelandic embroidery tended to be limited to woollen items both for the threads and the background. The wool would all have been sourced locally and would have been the dominant resource on an island that was never at the heart of the greater European culture and was by no means its wealthiest part, financially or naturally. On occasion, linen and silk were used, but as these materials always had to be imported, they were rarely used.

Icelanders used materials that were immediately available on their limited island, it is the emphasis on the ordinary and the everyday, rather than that of the expensive, expansive and extravagant that places these church furnishings within a range of egalitarian textiles that are usually associated with domestic use, rather than that of ceremony. In fact, after the Protestant Reformation, much of the labour expended on embroidery was diverted to domestic use, such as wall hangings and blankets.

Illustration: Icelandic Church frontal embroidery, 13th century.

During the five hundred years of the Catholic Church in Iceland, church embroideries were almost exclusively the only embroideries produced on the island. All embroidery production was maintained and controlled by a select group of professional women who were in charge of all aspects of the craft. How these women faired after the Reformation when their custom was no longer needed in such volume by the reformed church, is unknown. Whether they maintained their rare professional status is also unknown.

It is thought that many of the compositions for the religious embroideries derived from outside the Icelandic community and may well have had their origin within medieval manuscripts from northern Europe or even the much more ornate and involved styling originating in Byzantium.

Whatever the initial inspiration, Icelandic Christian embroideries are an interesting example of a local culture playing a subservient role to that of a larger and more dominating culture, the Catholic Church. However, even when given the template of acceptable compositions and styling, it is interesting to see how local colour and character, even if only in the interpretation of materials and colours used, can flavour the dominating culture, making it more palatable, approachable and relevant to the local population.

 Illustration: Icelandic Church wall hanging embroidery, 19th century.

By using the available resource of their island, namely wool, rather than that of expensively imported silks and other materials, Icelanders were underlining their pride in their broadly egalitarian society. Despite the fact that embroidery was to be used for important and grandiose theatrical ceremonies within the church, the embroideries were not to upstage or belittle the culture that produced them. The craft of the island created the church furnishings and therefore those same furnishings should reflect and be a part of that culture, rather than seem to be imposed from outside by the use of fabrics and threads that were not locally derived and therefore foreign and alien to the local community.

Further reading links: Embroidery: Traditional Designs, Techniques, and Patterns from All over the World
Traditional Icelandic Embroidery
Icelandic Patterns in Needlepoint: Over 40 Easy-to-stitch Designs from the Land of Ice and Fire
Landscapes from a High Latitude: Icelandic Art, 1909-1989
A Showcase of Icelandic National Treasures: Survey of Icelandic Art and Artifacts from the Settlement to the 19th Century
Icelandic art
Icelandic Knitting: Using Rose Patterns
Ancient Icelandic art