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the nineteenth century, with many dating from the second half of the century. Elegantly displayed on simple armatures, the robes represent a culture in which people of all ages and status were pleased to be seen in glorious color. It is hard for us to imagine, since we live in a society where clothing in black or some neutral is considered a sign of refined taste. But these ankle- length robes are wearable works of splendidly colored art. The repeated patterns are symmetrical, due to the technicalities of binding and dyeing the yarns, yet the slightly blurry edges of each color change makes the textiles appear to vibrate. These are garments that seem to move even when hanging on wire frames. It is wonderful to imagine the kaleidoscope of colors and movement that must have been the usual scene at a nineteenth- century Bukhara market day. Both men and women wore loose pants under the robes along with long shirts for men, and simple shifts for women. The women's robes were cut slightly differently depending on their marital status. Young women's robes were made with small gathers around the ribs to emphasize a young women's hourglass shape. After having children, married women wore robes with slits in front to make nursing easier. Both men's and women's robes were lined, usually in printed cotton. Edges of garments were finished with strips of bias fabric, and tailors left almost no waste. But any tiny bits of leftover fabric were used to reinforce seams and other stress points. Ikat was expensive and time consuming to make, and ikat garments were passed from one generation to the next. Though ikat patterns appear abstract, it is possible to discern imagery. Patterns that fan out on top may be flowers. Shapes that seem to rise then bend back down may be branches laden with fruit. The catalog helpfully notes that ikat designers sometimes included stylized cypress trees, since the trees were considered symbols of eternity. Ikat patterning became increasingly complex until the late nineteenth century, when geopolitics interfered with the traditions of Central Asia. As England and Russia jockeyed for military influence in Central Asia, ikat production declined. Trading opportunities dried up, and by the early twentieth century Soviet planners were extending their influence to all corners of the empire, including Bukhara. Ikat production declined and the once intoxicating patterns became static and less embellished. By the 1930s only Bukhara's oldest, most traditional citizens still wore ikat robes. s s x d y e l Today ikat production is enjoying something of a renaissance. According to the exhibition catalog, new ikat studios in Bukhara are once again making traditional ikats for collectors and fashion houses. Oscar de la Renta used ikat in recent collections, and ikat is popular in home decor. Nevertheless, it is hard to imagine contemporary ikats matching the beauty of these superb textiles. Each is a masterpiece. e. n ROBE, Central Asia, Uzbekistan 133.4 x 153 centimeters, second half nineteenth century. Top: MUNISAK WOMAN'S ROBE, Central Asia, Uzbekistan, 133.4 x 170.2 centimeters, second quarter nineteenth century. 17 ORNAMENT 35.5.2012