rya rugs from Finland

Wedding ryijy from central Finland 185 x 152 cm  (6 x 5 feet) (circa 1790)
Tree of Life in the center with two male and two female figures, accompanied by hearts and crosses.  

Spot design ryijy 1825      189 x 130 cm (6'2" x 4'3") 
The initials of the owner (MIT) and the year (1825) are in the upper central field.
  The central field is filled with dots.  The bright red and green colours are typical.  

My father came to Canada from Finland at the age of 5 years with his mother, Anna.

This is a post about Finnish rugs.  First I need to say that there are two kinds of rugs made in Finland.  One type is the woven rag rug, usually quite narrow, used as an everyday rug on floors.  I've written about the Finnish rag rug before (here).   My grandmother, Anna, was locally famous for how fast she could weave a rag rug.  My art piece Not To Know But To Go On references the Finnish rag rug, but is not woven, it is stitched.  

The second type of Finnish rug is the rya or ryijy.  Although the rya is considered as art for the wall now, it originally functioned as a warm bed or horse-drawn sleigh covering.   Rya rugs were woven from wool over a linen warp and have a shaggy pile, often on both sides.  This post is about the rya rug.

I'm inspired to write this post because of my recent discovery of  Tuomas Sopanen's collection of rya rugs.   His collection includes pieces from the late 1700's right through to the 21st century.  I am especially interested in the dot grid and the tree of life designs.     

Wedding ryijy 1825  pile on both sides  206 x 148 cm  (6 '8" x 4'8")
This is a wedding rya.  It has the initials of bride and groom ( ABSD and IIS).  

All the images in this post are from Tuomas Sopanen's book,  The Ryijy Rug Lives On. 

Art historian Leena Willberg wrote the text in the book.  

Tuomas Sopanen translated it into English.

Spot design bedcover ryijy 1843  with pile on both sides 174 x 127 cm (5'7" x 4')
Another red and green rya, made for AKSD 

I use grids of dots often as design elements in my textiles and see a connection to these 18th and 19th century pieces.   

 

spot design bed cover ryijy mid 19th century 184 x 154 cm (6' x 5')
When the multi-coloured dots are very dense, the pattern is called 'net'. 

Spot design ryijy 1860 183 x 129 cm  (6' x 4'2")
The dots are simple and sparse.  This rya is a bedcover for one person.

I feel that I made something very similar to a rya rug in 2012 with my green and red wool quilt, Canadian Pioneer.  

What is interesting is that I did not see the connection when I made it.  I knew about rya rugs and had researched them but did not come across images of the older ones.  I am floored by the pieces in Mr Sopanen's collection. The aesthetic of the antique rya is similar to mine - or should I say, my aesthetic is similar to that of my Finnish heritage.

I wrote about Canadian Pioneer on this blog here and here.   

Wedding ryijy 1799 171 x 130 cm  (5'6" x 4'3")
An ancient net design, can you find the date 1799 among the figures?
Diamonds / bridal figures / flowering branches / tree of life symbols in eccentric sizes.  
It was woven in two parts and then joined.

Wedding ryijy 1817   184 x 135 cm
The motifs in this rya are symbols of luck and protection:  hearts, hourglasses, crosses, human figures.
It is rare to have a cow in a Finnish rya rug.  
The initials of the bridegroom are in the central heart (INS) along with the year 1817. 
The pink and green colouring is a variation of the typical red and green.   

Look at the wool art piece that I made from two old blankets in 2021.  It too has dots in an orderly grid.  It has a textural pile on the reverse side.  I made it without consciously thinking about the rya rug.  

I am excited to find the heritage wool bed rugs that have been collected by Tuomas Sopanen.   You can order his book directly from this website if you are interested.  An exhibition of Tuomas Sopanen's collection of rya rugs is at the Saari Jarvi museum until May 22, 2022.  

Saarijarvi is my father's home village in Finland.  

Lancaster County Amish quilts

Diamond in the Square by unknown Amish quiltmaker,
 Lancaster County, Pennsylvania, circa 1920
pieced wools 78 x 78 inches
This is a very pure example of the simple Diamond, the essence perhaps.  Here we see the intense, glowing colours for which twentieth-century Lancaster quilts are known.  text by Julie Silber

This post looks at the 'Square in Square' and the 'Diamond in Square' quilts  made between 1890 - 1940  by Amish women in Lancaster County, Pennsylvania.  The images include commentary by Julie Silber and are taken from the beautiful book The Art of the Quilt (1990).  Also included in the book is an essay by art critic Robert Hughes.  The book is a coffee table sized catalog containing about 80 quilts from the larger 350 piece Esprit collection and accompanied an exhibition at the San Francisco de Young museum.  At least 82 of the Esprit quilts have returned to Lancaster County and it is possible to visit them.   Read more    I've woven some of Robert Hughes' essay in with the 8 masterpieces in italics.  

I've long been inspired by these quilts and this is not my first post on the subject.  In 2010 my husband I visited Lancaster County and I posted then about seeing some Amish quilts face to face with close up photos of the stitching. here

To make a quilt you take 3 pieces of cloth and sew them together to make a kind of padded blanket.

These Lancaster County quilts are a warm, soft, swaddling minimalism.  These quilts are just a tad more aloof than most of the things that folk cultures produce.

Center Square by unknown Amish quiltmaker
Lancaster Country, Pennsylvania circa 1890
 pieced wools 78 x 78 inches
Very few early examples of Lancaster Amish quilts remain, so it is difficult to be certain of how design developed.  It is likely, however, that the Center Square represents an early stage in Lancaster Amish quilt design, preceded by the whole-cloth (unpieced but fully quilted) type and followed by the diamond in the square.  Few Center Square quilts were made after the nineteenth century. 
text by Julie Silber

Folk art, like vernacular speech, may be whimsical.  It is never inflated.  It wants to be understood by everyone who sees it, and so it tends towards conciseness and practicality.  

Virtually all Amish women were quiltmakers.  

Center Square by Unknown Amish quiltmaker,
Lancaster County, Pennsylvania circa 1890
pieced wools, 78 x 79 inches
Lancaster Amish quilts are characteristically made from a very few pieces - large geometric fields of solid-coloured fabrics.  None is as minimal as the Center Square, the purest of all their designs.  The simple box and surrounding borders are showplaces for their elegant, masterly quilting, which here covers the surface of the quilt.  text by Julie Silber

These things were not anonymous when they were made.  These quilts were the intense and focused expression of individual people who made them for their families and who were proud of their skills.

A fine Amish quilt has: 

a spare-ness of design, 

almost dogmatic rigor but not because of its inventive quirks,

a magnificent sobriety of color, 

a balanced amplitude of conception, 

a truly human sense of scale.

The quilts on these pages are like emissaries from a vanished world.

Diamond in the Square by unknown Amish quiltmaker,
Lancaster County, Pennsylvania, circa 1920 - 30
pieced wools 74 x 74 inches
The daughter of the woman who made this quilt said that "the dark blue "henrietta" was from my mother's dress".  The Lancaster Amish use the term 'henrietta' to describe a variety of fabrics, but it usually refers to the fine wools they favor for their quilts. 
Lancaster quilts are most often square and symmetrically arranged, almost always ranging from 72 to 88 inches square.  text by Julie Silber

If folk art means images that high taste can condescend to in the very act of savoring them, then Lancaster quilts are not folk art.  The quilts radiate a fierce distinction, a forthright economy of means, a syntax that is governed by strict traditions and yet looks inescapably modern.

They are a high enclave within Amish quilts.

Diamond in the Square by unknown Amish Quiltmaker,
Lancaster County, Pennsylvania circa 1940
pieced wools and rayons 80 x80 inches
Later Lancaster quilts are often quilted in floral rather than geometric or abstract designs.  They are also typically les densely quilted than their predecessors.  One contributing factor may be that it is more difficult to make tiny, fine quilting stitches in the synthetic fabrics Amish were using in the later period.  text  by Julie Silber

Lancaster County quilts have large geometrical colour fields.  

They use deep, saturated colour but not usually black.  

Lancaster quilts have peculiar designs, like Diamond in the Square.  

Lancaster quilts use a central medallion structure. 

Lancaster quilts use elaborate quilting and contrasting thread and are made from fine wool, not cotton.  You look at them and think How Modern.  

But they are not modern.  They come from a culture to which modernism is anathema.

Diamond in the Square by unknown Amish quiltmaker,
 Lancaster County, Pennsylvania circa 1910 - 20
pieced wools 81 x 81 inches
Lancaster County Amish women loved the elegantly simple diamond in the square pattern and made it again and again from the late nineteenth century through the 1960s.   Because it was so popular with them and only they made it, Diamond is the pattern most closely associated with the Amish in Lancaster County. text by Julie Silber

What is the Theory of Amish quilt making?  It is too simple to say that they do it to keep warm.  There are much easier ways to obtain a blanket than by patiently expending hundreds or thousands of hours. 

Here is an activity that is part practical and part aesthetic.  Part ritualistic and part social binder.  It is not pure creativity, neither is it pure use. 

Quilt making falls under religious rules governing social customs, moral life and work.  It directs the Amish towards the cardinal virtues:  Humility, non-resistance, simplicity and practicality.

Lancaster Amish have saturated colors.   No white and no yellow.

Diamond in the Square by an unknown Amish quiltmaker,
Lancaster Country, Pennsylvania circa 1920 - 30 
pieced wools 76 x 76 inches
The Amish were discouraged from using printed fabrics and from engaging in the worldly practice of using many small pieces in their quilts.  among quilts of all the many Amish groups, Lancaster County's are especially spare.  text by Julie Silber

The quilts are made from dress and shirt fabric, but the Lancaster county Amish also bought cloth especially for their quilts.  They did not wait for suitable scraps.

Diamond in the Square by unknown Amish quiltmaker,
 Lancaster County, Pennsylvania, circa 1920 - 1930
pieced wools 77 x 77 inches
This Diamond has a clear, almost sparkling feeling, which the quiltmaker achieved by her particular arrangement of colour.  text by Julie Silber

In their complexity, visual intensity and quality of craftsmanship, such works simply dispel the idea that folk art is innocent social birdsong.  They are as much a part of the story of high aesthetic effort in America as any painting or sculpture.  

They deserve our attention and abundantly repay it.  Robert Hughes.

medium regular

a six week update for this blanket piece 

photographed outside before the snow  

It's difficult to see progress on something this large when it is in your lap. 

Three full sized blankets across.   

Two or three hours each evening, during the netflix date with Ned, downstairs by the woodstove.

The stitch I"m using is couching, beautiful on both sides.  I was told that the reverse side (above) looks like a drawing of a field of grass.  I love that idea.

The front of the piece is shown in the photo below.            

Velvet and wool and rayon couched  to those blankets with wool yarn.

Walter Benjamin said that an original work of art possess an aura.

He said that a work of art emanates metaphysical qualities that can not be transferred by the photographic representation of it.

Benjamin said that the aura of an artwork is inextricably linked to its actuality or to the context of its production.

At the heart of his thinking is a conviction that real things have a profound effect on people.

We know this is true of textiles - they communicate so much more when we are with them in real life, rather than viewing them on our phone or laptop screens. 

Yet here I am, once again sharing my experience of this large work with photographic reproduction in a blog post.

This very large, very tactile object that I am pouring time and labour into. 

Maybe you can still sense the aura.

I'll post about it again in six weeks.

xo

seeking grey

rug hooking wool

There are leftover potions from April's visit
goldenrod, onion, avocodo, sumac drupes, sumac leaves, and iron water
and I am seeking grey from them.

linen damasks

cool grey, warm grey,
it's not a neutral for me
it's a magical lifter-upper in my cloth paintings
any colour placed next to grey, glows

cotton, some overdyed

tanin plus a little iron = grey

Iron water can be made by soaking rusty bits of iron in a solution of vinegar and water for a few days before adding to the plant solution..
Alternatively, ferrous sulphate (available from Maiwa) also works to sadden the plant colour

Also,
I have been having new ideas.
The trick is to be AWAY from the studio for a month or so,
then return home and start cleaning it.
Ideas flow like water.

if you keep working on old ideas, new ones can't show up.
cosmic law

dyeing with flowers

Over the weekend I started dyeing again, after a long break.
Above is blanket weight white wool with the centres of coneflowers laid in a grid of dots

I was inspired by woodland quilter's use of an  "iron blanket".  I used cotton flannel yardage that I had soaked in solution of old nails, vinegar and water for 3 weeks but I suggest you click on link to see Kathy's post for  further instructions. 

The two fabrics are carefully bundled together and then steamed.

Nature holds a secret to harmony
(Terry Tempest Williams)

 

unwrapped and hung to dry before rinsing, my dotty cloths are shown below with sun spots through the leaves

left is cotton (the iron blanket) and right is wool (both fabrics were originally white)

For a beautiful gray colour, I put tea bags into the remaining rusty water to steep.

What lies under stillness?

Disorder. 

(Terry Tempest Williams)

remembering to experience each moment as something new

The Perspective From Here

Yesterday I parceled up three pieces for an exhibition in Thunder Bay of 150 artists from North Western Ontario.   Organized to celebrate Canada's 150th birthday, it opens June 23 at the Thunder Bay Art Gallery.  I was invited to participate because I was born in that immense and isolated region of Ontario.

One of the pieces (shown above)  was in private collection and has been loaned back to me (and the Thunder Bay Gallery) for this exhibition.  As I packed it up, I enjoyed looking at, touching and remembering it.  

I love that the Thunder Bay Art Gallery considers me one of their regional artists, even though I moved to Manitoulin over 20 years ago.  Canada is a huge country and even though I am now only 6 hours drive time from Toronto instead of the 20 hours I grew up with, I still feel isolated.  (if that is possible these days with internet)

Beginning with Time is a response to Canada’s natural grandeur and rawness, specifically the beautiful and powerful rock cuts through Northern Ontario’s Cambrian shield and the tree covered cliffs of the inland fjords found in the Gros Morne area of Newfoundland.

I believe that the intimacy we have with domestic textiles and the tactile nature of cloth has a psychic power.

These 150th celebrations are focusing in on Canada's history - much of it in reference to reparation with the indigionous peoples who lived here before the Europeans.  My work is considering what it was like for the settlers who came.

Canada in its early days was a dangerous, cold, and lonely place for European women.  There must have been a longing for the more refined life and family left behind.  Yet I believe that those brave women must also have experienced deep wonder at the immensity and the natural raw beauty of Canada.  I feel that they must have looked at the sky a lot.

With my work, I strive to express our emotional and vulnerable inner world.  I believe this is what art does best.­

 Titles of all pieces are stitched into them.

Better images of the pieces are in my New Work blog.
My Light Green Heart.
Canadian Pioneer.
Beginning With Time.

The process and the materials in these three pieces tell a story of survival.