As a young
girl learned the stiches, she was also initiated into her culture. Patterns,
colours and fabrics revealed her
village, tribe, social status, material wealth, and the period in which she
lived. Individuality was expressed in the way each woman assembled the piece of
her dress.
A young
girl’s skill in embroidery was noted by the older women and was equated with
her capabilities as a home maker. The finer her stitches, they said, the better
her groom. Until quite recently, nearly every Jordanian or Palestinian girl,
whatever her social class, embroidered her trousseau. The six to 12 loosely cut
robes she made were worn over a lifetime, and her bridal dress served for many
special occasions – and in some cases as her shroud.
Trousseau
on both sides of the Jordan River traditionally included embroidered cushions
that were as beautiful and varied as the dress. Today, it is the cushions that
have carried this art into modern-day life in Jordan: in many homes, the décor is
not complete without one or more matching sets. Their colours can range from
red, maroon, purple and pink, spiked with orange, green, and gold, to a more
sober combination that instead emphasises the artistry of the needlework. The simple
cross-stitch forms the basis for the myriad designs, and the recurring motifs
tend to be drawn from nature.
Contemporary
pieces include large wall- hangings stitched with the “tree of life” motif and
elegant quilts based on the popular “horse’s hoof” design.
Source image:http://www.palestineposterproject.org/
