The ikat silks of nineteenth-century Central Asia are unrivaled in their gloriously inventive designs, resplendent colors and technical mastery. This book is based on a combination of twenty years of research by the authors, and their study of the outstanding collection of Central Asian ikats formed by Dr Guido Goldman. Ikat is the Indonesian term for this ancient technique known in many parts of Asia. Through wide usage, the word ikat has become generic for all weavings of this type. Central Asian ikat is a warp-faced fabric, in which all the colors are applied to the silk warp yarns in a multi-stage, tie-dye resist method before the yarns are woven. The early years of the nineteenth century saw a remarkable artistic revival of ikat production in the Central Asian cities of Bukhara, Samarkand and the towns of the Ferghana Valley. Ikat fabric was soon in great demand, both among local ethnic groups and in the export market, being used primarily for opulent costume and decorative hangings for the local court and affluent households. By the 1880os the high quality of ikat weaving was in decline. The Guido Goldman collection represents the foremost comprehensive collection of early Central Asian ikat hangings and robes. The entire collection has been specially photographed for this book. The wide-ranging text incorporates original research in Russia and Uzbekistan, and places ikat production in Central Asia in its historical and social context. The complex history of the region is described, in particular the social and economic structure of the ikat-producing centers, offering fascinating insights into the textile guilds and workshops, and defining the important ritual function of textiles in society the crucial role of the Jewish urban communities as both highly skilled dyers and as traders in textiles is examined, as is the important part played by the Uzbek and Tadjik ethnic groups. A chapter on technique describes all the different stages of production, and is followed by an analysis of the evolution and chronology of ikat design within a continuous Central Asian tradition of highly abstract motifs, showing the rich cross-fertilization of influences between ikat design, embroidery, carpets, jewelry and ceramics. The illustrations include 372 color plates and details of the entire Guido Goldman collection. Many previously unpublished documentary photographs from the nineteenth century are illustrated, including images of the manufacture of ikat. The appendix contains detailed information on dyes, an extensive analysis of dye samples taken from the collection, a glossary, bibliography and full index. This unique publication is an incomparable reference work for textile scholars, collectors and designers, and all those interested in this fascinating area of Asian textile production. The book stands as an eloquent testimony to the extraordinary skills of dedicated craftsmen and their magnificent creations.