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ნამაგრი სითვის სახეები ქართულ ოქროქარგულობაში
ნამაგრი სითვის სახეები ქართულ ოქროქარგულობაში
Sromebi
krebuli XXVIII
WORKS
OF THE KUTAISI STATE HISTORICAL MUSEUM
EDITION XXVIII
quTaisi _ KUTAISI
2018-2019
296 quTaisis saxelmwifo istoriuli muzeumis Sromebi
gamoyenebuli literatura
1. lanCava o., CubiniZe e., ugrexeliZe i. da sxv. „Zveli qarTuli naqargoba“ quTaisi.
2017.
2. meliqiSvili i.Dda sxv. „qarTuli naqargoba“ Tb. 2011.
3. meliqiSvili i. da sxv. „mxatvruli qargva“ ssip ganaTlebis xarisxis ganviTarebis
erovnuli centri Tb. 2016.
4. CubiniZe e., ugrexeliZe i. „qarTuli naqargobis teqnika“ quTaisi. 2017.
Techniques of doing satin stitch seem to take a prominent part in old Georgian needlework, which is carried
out with an outline of one kind of yarn woven in and out of another one. Traditionally embroiders used gold
twine or silver thread while doing satin stitches. Variety of techniques of embroidery through goldthread and
silver thread can be limited to the following: chain satin stitch, outline stitch and padded satin stitch.
Chain satin stitch is a sewing and embroidery technique in which a series of looped stitches form a
tight chain-like pattern. It is smooth-surfaced couchwork in gold thread, which leaves the impression of hammer
forged metal patterns without overlapping and with minimum separation between loops. The beginning and end
of goldthread stitches are fixed through fastening the yarn and hiding them inside the pieces.
Outlined Satin stitches are separated on a small part and goldthread is fastened via additional thread that is
invisible and goldthread is woven inside the cloth. Outlined satin stitch (with a layer of rope and cardboard)
is a stitch made by overlapping backstitches with a pattern like the twist of a rope and shaded satin stitch and
form a highly padded satin stitch.
Highly padded satin stitch is goldthread or silver thread embroidery on the cloth with the layers of cardboard,
paper rope so that its shape could be raised in high relief. Padded satin stitch varies accordingly in compliance
with the s layers and form diversity of padded satin stitches.
We have already explored techniques of goldthread embroidery and schemes of making satin stitches were
demonstrated for visual effect. We hope that methodology will contribute a lot to traditional embroidery as well
as stakeholders.
krebuli XXVIII 301
a b g d
sur. 3. sipiT naqargi (moyinuli) _ naWedi siTvi
sur. 4. gayofili siTvi
a b
sur. 8. reliefuri naqargoba muyaos
nafenze; a – moyinuli siTviT;
b –gayofili siTviT sur. 9. reliefuri naqargoba
sur.10. maryuJebiT
Semokalmuli ornamentis bawris nafenze
fragmenti
316 quTaisis saxelmwifo istoriuli muzeumis Sromebi
nana qoriZe
cxvris kulti samxreT-dasavleT saqarTveloSi ............................................................................................... 270
Nana Koridze
FACTS REFLECTING THE SHEEP CULT FROM THE ADJARIAN MUSEUM ....................................... 272
mirian stefania
monRolebis samxedro xelovneba ((XIII-XIV ss) ............................................................................................................ 274
Mirian Stephania
MONGOL ART OF WAR (XIII-XIVCC) ....................................................................................................................................... 289
eliso CubiniZe, irina ugrexeliZe, ana doRonaZe, margalita msxilaZe, nona qarciZe
namagri siTvis saxeebi qarTul oqroqargulobaSi ......................................................................................... 296
Eliso Chubinidze, Irina Ugrekhelidze, Ana Doghonadze, Margalita Mskhiladze, Nona Kartsidze
KINDS OF SATIN STITCH IN GEORGIAN GOLDWORK ........................................................................................ 300