Zargarlik
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Zargarlik: The Art of Gold Embroidery
Zargarlik, or gold embroidery, is a refined form of decorative applied art that involves stitching intricate patterns using gold and silver threads, fine wire, silk, and ornamental elements. Traditionally, embroidery is done on velvet, silk, broadcloth, leather, and other fabrics, stretched over special square embroidery frames called korchoʻp.
This art not only decorates garments but also embodies the rich historical and cultural heritage of the regions where it flourished for centuries.
Historical Origins of Gold Embroidery
Gold embroidery traces its origins to ancient civilizations such as Babylon, Byzantium, and Persia. As early as the 1st–3rd centuries CE, brocade garments adorned with gold thread were worn by the nobility in Central Asia.
In the 15th–18th centuries, the art of gold embroidery reached new heights in Bukhara, Samarkand, and Herat. A distinctive school of zardo‘zlik developed in Bukhara during the 19th and 20th centuries, where embroidery techniques were perfected and passed down through generations.
Initially, this craft was practiced primarily by men, often working in artisanal guilds. Over time, women also began to master the art. Orders for garments—such as robes, waistcoats, belts, turbans, headwear, and shoes—came mainly from the emir, his family, and wealthy patrons. The metallic threads were originally imported from Egypt, Babylon, and Delhi. In the 19th century, threads came from Moscow, later from England, and today, from Japan.
Gold Embroidery in the Emirate of Bukhara
During the period of the Bukhara Emirate, gold embroidery reached its peak. Hundreds of artisans worked exclusively for the royal court. Only the emir could bestow garments embroidered with gold; even high-ranking officials could not commission such clothing unless gifted by the ruler.
Gold-embroidered women’s and children’s garments were also worn only in wealthy families, and exclusively on special occasions. For instance, young boys would wear brocade robes during the circumcision ceremony.
Surviving gold-embroidered garments from the last Manghit dynasty (19th–early 20th century) are now considered cultural treasures. Among them are golden boots from the reign of Emir Haydar (1800–1826), brocade garments from the time of Emir Nasrullo (1827–1860), and pieces belonging to Abdulahad Khan (1895–1911), all testifying to the sophistication of the craft.
By 1893, industrially produced gold threads became widely available, replacing colored silk and revolutionizing embroidery techniques. In 1930, a cooperative of gold embroidery masters was established under the Union of Artists of Uzbekistan, marking the beginning of the modern era for the craft.
Techniques and Materials
Creating zardo‘zlik requires precision, artistic sensibility, and patience. In addition to metallic threads, artisans use beads made of glass or stone, sequins (pulakcha), and jeweler-crafted elements (almos kubbalar), along with patchwork from velvet and silk.
Designs are first drawn on translucent paper templates (axta), which are applied to the fabric. Embroidery is then stitched from the front side using gold threads, with the reverse side showing only the contour of the pattern.
Major techniques include:
- Zamin-dūzi – dense background embroidery,
- Gul-dūzi – floral patterns,
- Birishim-dūzi – embroidery with colored silk,
- Pulak-dūzi – incorporation of sequins and glittering details,
- Kalebatun – a delicate method where a thin metallic wire is tightly wrapped around silk thread to create a fluffy golden effect.
The aesthetic value of a zardo‘zlik piece depends on the harmony of its design, quality of materials, technique, and the artisan’s skill.
Ornamentation and Symbolism
Patterns in gold embroidery often include tulips, the sun, almonds, and architectural motifs such as the Kalyan Minaret or the Samanid Mausoleum. These motifs not only serve decorative purposes but also carry deep symbolic meanings, connecting contemporary craftsmanship with the cultural legacy of Uzbekistan.