Abstract

Resist-dyed textiles, particularly ikat, have become essential markers of national identity in Central Asia, symbolizing rich cultural heritage and artistic expression. This paper employs a qualitative, interdisciplinary approach rooted in historical and cultural analysis, drawing from scholarly literature, archival data, and contemporary practice. The study’s key contribution is its nuanced exploration of how resist-dyed textiles reflect Central Asia’s multifaceted historical trajectory, shaped by Silk Road exchanges, nomadic traditions, and Soviet industrialization, and how they are being reimagined in contemporary nation-building efforts, especially in Uzbekistan. The article also analyzes the resurgence of ikat following the dissolution of the Soviet Union, situating its revival within broader debates on authenticity, globalization, and cultural appropriation. Furthermore, the study addresses how contemporary artists and designers engage with ikat to navigate identity and postcolonial belonging. Lastly, it examines challenges such as industrialization and fast fashion that threaten the sustainability of traditional textile practices. This research is further enriched by a comparative analysis of resist-dyed textile traditions globally,1,2 emphasizing the universal yet locally adapted meanings of such practices. By exploring these dynamics, the paper offers an original contribution to studies of intangible heritage and cultural identity in Central Asia.

Keywords

ikat, adras, Central Asia, post-Soviet recovery, national identity