The item is old uzbek handmade block-printed cotton chemise from tashkent. Size: . The condition is excellent and never used. This item has wonderful floral pattern composed of stylized blossoms with curving stems with leaves. The dyes are thickened with gum produced from resin of the apricot tree. At times an alum resist is also applied to the textile to produce an interesting effect on the cloth. It is made by archaic method of hand-printing with the help of wooden carved punches with a use of kalyb a wooden dye carving of which is a separate art on its own. The block carver carves pear wood blocks for the iron joxide dyes, as this wood is stronger and could be relied upon for the fine black outlines. After carving the block is boiled in sheep fat to seal the wood. The blocks used for the red dye are made from softer wood such as poplar. In the bottom you can see wooden stamps 'kalyb' and the masters producing printed cotton. Making printed cloth was very popular among the peoples who inhabited the region of present uzbekistan. Printed table-cloth, curtains, bed-spreads, shawls, high-quality cloth for women's garments, various coverlets (including horse-cloth), and even funeral cerements and other piece and metrical printed articles performed a utilitarian function and served as a daily-round ornament. The tradition art of decorating cloth with a printed pattern is bound up with ornamented wood carving. The favorite color used for printed cloth in the early 20 centuries was a black pattern with deep-red subcolor against a pinkish background a severe, yet warm tint. In former times the color of printed cloth was more varied. Dark blue and indigo cloth enjoyed popularity. Popular-art tradition has singled out and preserved till today only the original black-red printed cloth. Dominant in the ornamental composition of printed cloth are fantastically-transformed blossoming gardens luxuriantly opened flowers, graceful buds, entangled shoots, stems and leaves, ripening pomegranates, almonds. Geometrical motifs are always subordinated to smooth and precise rhythms of the entire composition, and this is particularly noticeable in piece-works with rich multilined edging. The methods of making printed cloth are distinctive. The ornamented cloth, cotton in particular, was soaked with a solution of tanin, which in former times was made of the wood of a pistachio-tree. The pattern was imprinted on the cloth by hand with the use of a 'kalyb' a wooden dye. The individuality of master's creative work was conveyed in the process of imprinting the pattern, in his ability to select and group the dyes, of which each master possessed dozens, and some of them even hundreds. Pattern dyes served long and were handed down. Making dyes was a unique field of wood-carving, for which the masters of bukhara were famed in the past. The method of block printing was described as long ago as1 bc by the roman historian pliny. In one of his books he wrote: '' in egypt they dye their fabric in a wonderful manner. After making drawings on cloth they soak it in dye absorbing substances rather than in the dye itself. The fabric looks unchanged but if put in a cauldron with boiling dyes, the dyed pattern appears in a due time.'' the art of block printing may have come to central asia from india, it was called 'chit'. The russian 'sitetz' (printed cotton fabric) was borrowed form indian 'chintz' too. In the 19th and early 20th centuries there were many block printing centers all over central asia: samarkand, khiva, bukhara, urgut, tashkent, marghilan, etc. From the second half of the 19th century block printed fabric was no longer mass produced: it was replaced by industrially manufactured cloth. Size: length-29 in, chest-48 in, from the end of one sleeve up to another-32 in. Length-73 cm, chest-121 cm, from the end of one sleeve up to another-81 cm.