The Sampler

Twelve samples of Ukrainian folk embroideries from different parts of the Ukraine are shown here, exhibiting techniques that are specific to different areas in the country.  Tatjana discovered that descendants of Ukrainian immigrants had only a superficial knowledge of this part of their heritage. Afraid that the techniques and the history of Ukrainian embroidery would be lost, Krynytzky began to gather samples of embroidered cloth that had been saved by other immigrants and by her mother.  Almost every woman I know brought with her from the Ukraine a small symbol of it in the form of an old shirt, 'rooshnyk' (long scarves for adorning the icons) or an old scrap of embroidery that connected us to the past and gave us a sense of identity in new and foreign surroundings.

With the destruction of the peasant class, culminating in Ukraine’s Great Famine in 1933, the original application of embroidery was lost.  It was preserved only in many museums through Ukraine and beyond where the Ukrainian emigrants and their descendants are still living.

Krynytzky’s inspiration for valuing and preserving the embroidery was a nun, Mother Severyna, who taught at the all-girls’ school Krynytzky attended in Lviv, in her native Ukraine. Krynytzky immigrated to Buffalo, N.Y., following World War II and now lives in Issaquah. Krynytzky began to embroider more actively after she came to the United States.  She hopes to leave her acquired knowledge to the younger generation by teaching both embroidery techniques and a love for the rich and deep heritage they share.  For this dedication to her heritage, Krynytsky was presented the Governor’s Arts Award in 2001.

Samplers are listed from left to right, top to bottom:



Panels 1, 4, 10: Bukovyna region in the southwest part of Ukraine bordering on Rumania.  The embroideries are rich in techniques, stitches, and colors, showing the influences of the Middle East (Turkey, Persia).  Metallic thread, beads and sequins are used to enhance a pattern.  The geometric floral and animal designs were always stylized.

Panel 2: Yavoriv is a small town in Western Ukraine, not far from the old city of Lviv.  The pattern is adapted in “Yavoriv” stitches and is taken from a headdress of a married woman.  The “flower” is from the apron.

Panels 3, 7: Boiko region is located in the Carpathian Mountains between two other groups; to the west, Lemko and East, Hutzul.  The patterns are taken from the artist’s own collection that were saved by Mother Severyna during the turbulent war years.  The three patterns are from the village Perehinsko where they loved to use primary colors in a combination of geometric and floral designs.

Panel 5: Lemko region, the poorest of the above groups and bordering on Poland and Slovakia, the population almost disappeared as a result of post-war “ethnic cleansing.”  The embroidery is used more sparsely in comparison to other elements such as ribbons, lace and wide beaded neckwear.

Panels 6, 9: Hutsul region is a treasury of folk art with painted Easter eggs, metal, wood and ceramic objects.  The embroideries display the oldest techniques of “nyz” or “nyzynka” with the basis of design in expressed mostly in black or red.

Panel 11: Kiev (Kyiv), the Capital.  Cross-stitch designs were lovingly adapted to the rose, a symbol of beauty and that of the god of Sun, “Ra” along with popular flowers. Prominent colors are mostly red and black and appear as symbols in a popular song:
 “…two colors on my scarf
 my favorites a red and black
 a red for love I give to you
 and black for sorrow in my heart.”

Panel 12: The colorful stars are copies of an original shirt in the artist’s friend’s collection from the Hutsul region.  The second design is from a village Sokal close to Lviv, known for its original black embroidered clothing.