Anatomy of a tapestry
Interesting facts
It would be mistaken to imagine that the history of tapestry in the West began in a princely palace, amid refined ladies intently weaving on a handloom. Indeed, we must leave the courts behind and head to the north of Europe, where the tapestries of Överhogdal are preserved in a museum in Jämtland (Sweden), in the heart of the Scandinavian Peninsula.
Here are safeguarded a valuable and very well-preserved group of fabrics dating back to the Viking era, probably made between the 9th and 11th centuries AD and discovered in 1909, in the Överhogdal Church of Sweden. It is one of the oldest testimonies of the history of the tapestry, with representations of both Norse and Christian origin. The images featured in the works are hotly debated. Some characters seem to come from the world of Odin, whilst others are clearly part of Christian iconography. This indicates that the high-warp fabric has its origins in the liturgical and religious sphere, with woven fabrics that once belonged to ecclesiastical treasures.
Turning the tapestry around
Have you ever seen the back of a tapestry? One of the most innovative ideas of the latest Arazzeria Scassa exhibitions is to display the reverse side of at least one of its works, to offer a complete understanding of the complicated profession of the art of weaving and the many hours spent before the handloom.
A tapestry viewed from behind is truly striking. Just how does the thread run along this part of the work, invisible if not to the workers themselves? Is the design, the general structure of the work, comprehensible in any case? On which side does the artist-weaver actually work to create the tapestry? One of Arazzeria Scassa’s objectives is to share this ancient knowledge and offer a discovery of the lesser-known aspects of the history of the art of tapestries. In the past, tapestries were not merely a decoration but an essential and versatile element of everyday life. For example, in medieval times, in addition to indicating the richness and the taste of the owner, tapestries could be used as needed – be it as blanket, a panel, door, partition wall, carpet or simply insulation against the cold.
Tapestries up close
Observing a high-heddle woven tapestry from up close is a must-have artistic experience. The subtle shades of colour, the tonal transition and the infinite modifications from centimetre to centimetre, all allow us to understand the richness of the work but also its immense difficulty.
We must enter a tapestry atelier to fully understand the world of looms. This is especially so with our work that combines two distinct aspects: contemporary art and a technique that is thousands of years old. Pass after pass, the Scassa tapestries have been created with a focus on every slightest tonal variation. Indeed, observing the works up close allows a focus all these aspects. To obtain such an extraordinary yield, Ugo Scassa decided right from the outset to forego the easier and more convenient type of weaving, that involving the juxtaposition of areas woven uniformly and which, at most, fade into one another by hatching. Instead, he opted for the most difficult and slowest technique. This result is achieved by mixing yarns of different colours and shades in the same skein. Amongst the wefts of our tapestries pass the lives of artists and weavers. Each time we observe them closely, we are bringing this precious miracle of art back to life.
