Discover the hidden art of suzani and ikat embroideries from Uzbekistan in Chennai

CHENNAI: Despite Central Asia’s geographic proximity and deep cultural ties to India, one of its most exquisite art forms — suzani embroidery — remains relatively unknown to Indian audiences. Hoping to change that, textile connoisseurs and collectors David Housego and Mandeep Housego are bringing the vibrant world of 19th-century Uzbek textiles to Chennai through their latest exhibition, ‘Bukhara: A Journey on the Silk Road.’

The exhibition features a carefully curated collection of 26 pieces, including suzani embroideries and ikat chapans (traditional cloaks), each reflecting the rich artistic legacy of the ancient Silk Route. These textiles, sourced over the years from Central Asian bazaars and private collectors, blend motifs from Mughal India, China, Persia, and the Ottoman Empire.

“Suzanis and ikats from Uzbekistan and neighbouring regions felt like a natural extension of my earlier interest in tribal rugs. They display an extraordinary sense of colour, design, and craftsmanship — even more remarkable considering many were made by nomadic communities constantly on the move,” says David, a former journalist who once lived in Iran.

Suzanis are hand-embroidered textiles — typically silk thread on cotton — made by women and traditionally part of a bride’s wedding trousseau. Many in the collection feature bold, natural dyes in red, indigo, and yellow, with intricate designs of pomegranates, irises and poppies.

“The suzanis are vibrant and intense in colour. The motifs are inspired — some even symbolic. One of my favourite pieces is a suzani from Tashkent with large, red embroidered circles. These represent the sun, fertility, and cosmic power. A black ring inside one of the circles gives it the visual impact of a contemporary painting — a stroke of genius. It was one of the earliest pieces I collected,” David shares.

In contrast, the ikat textiles — created by men — involve a highly sophisticated dyeing and weaving process. The exhibition mainly showcases ikat chapans, once worn by Central Asia’s elite. These flowing cloaks, woven in shimmering patterns and subtle gradients, are both fashion statements and status symbols.

Mandeep, co-curator and co-collector adds, “What’s fascinating is how contemporary these designs feel. When we’ve exhibited them in India before, people are struck by how familiar some of the motifs are — flowers, paisleys, rosettes. They echo Indian design traditions, and yet they’re distinctly Central Asian.”

The craftsmanship behind each piece speaks not only to artistic vision but also to community tradition. Suzani embroidery was often a collaborative effort — designed by a master, then embroidered by women and girls in the family. “They were typically made in advance of a wedding. Meanwhile, men worked on the ikats,” says David.

Preserving such textiles, some over 150 years old, is no small feat. “The good news is that because they used natural dyes and mordants, many of the colours have held up beautifully. The challenge is in how you store and display them — avoiding sunlight, minimising touch, and handling them with the utmost care. Folding and packing them properly is critical,” David notes. Bukhara: A Journey on the Silk Road is on view from April 8 to 11 at The Folly, Amethyst.