The Great Tapestry of Scotland is a unique project to stitch the entire story of Scotland from pre-history to modern times.
The Great Tapestry of Scotland is the brainchild of one of Scotland’s best-known writers, Alexander McCall Smith. McCall Smith, together with historian Alistair Moffat, and the artistic talents of Andrew Crummy, form a team with Scottish stitchers who will produce the world’s longest tapestry through one of the biggest community arts projects ever to take place in Scotland. The creation of the tapestry is a unique opportunity to tell our nation’s history and to involve as many people as possible in the telling. The aim is to create a series of over one hundred and twenty panels that tell the key stories in Scottish history- everything from Duns Scotus to Dolly the sheep.
This project will use a range of embroidery skills and over 30 miles of woollen yarn to translate Andrew Crummy’s descriptive artwork into a colourful, skilful and textural depiction of the history of Scotland. To date there are stitchers in practically every area of Scotland committed to taking part, all of whom share a passion for Scottish history and some pretty impressive sewing skills. These volunteers will work together for over 400 hours per panel from locations around the country, islands and mainland, to help make Andrew Crummy’s artistic vision a reality, and gift The Great Tapestry of Scotland to the nation.
The Great Tapestry of Scotland will be created – like the Bayeux Tapestry – on embroidered cloth, rather than a woven tapestry. It will be annotated variously in English, Gaelic, Latin and Scots, with surface stitching in a variety of yarns, creating a wonderfully rich and tactile artwork. A defined range of stitches will be used including stem, split and chain, with filling stitches like long and short, satin and darning, and composite stitches where appropriate. The tapestry design currently consists of over 120 panels.
Speaking about the project, Alexander McCall Smith said: "The recording of events, both great and small, on cloth is nothing new. The most famous example, of course, is the Bayeux Tapestry, which is one of the world’s best-known works of art. More recently, the completion of the Prestonpans Tapestry in Scotland has reminded us of just how effective this method of narrating history can be. When I saw that tapestry for the first time, I was struck not only by its beauty but by the story behind its creation. That led me to raise with Andrew Crummy, the artist, the possibility of creating a tapestry that would illustrate the whole history of Scotland. To my delight, Andrew agreed to take on the task. Alistair Moffat, one of Scotland’s finest historical writers, was then approached to join the project and come up with a list of historical moments that the tapestry would cover.
"As we had all expected, Alistair’s list is both balanced and exciting – a series of snapshots of Scotland from its earliest days to the recent past. This is a collaborative project. The work will be done by volunteer stitchers working throughout Scotland. Although the overall artistic vision will be Andrew’s, and the telling of the story will be Alistair’s, the creating of the tapestry will be the task of many hundreds of people who will invest in it their feeling for the story that they will be illustrating. When the work is finished, we shall hand the tapestry over to the nation, to be displayed to the people of Scotland and visitors to Scotland.
"Please join us in this great community arts project. If you can support the project financially – even with a small donation – we shall receive that help with gratitude. A great project is about to be launched. I believe that it will bring happiness and delight to many people."
Alistair Moffat said "As political statements like Bayeux or medieval draught excluders like most of them, tapestries have never gone out of style. These freeze-frames of history still fascinate. To make a tapestry for a nation, something attempted nowhere else, involves a glorious process of ruthless editing. Pitfalls open on every side. One of the deepest is the military option, our history as a series of invasions, wars and battles, many of them grey defeats. Another is to show Scotland and the generations of nameless people who made the landscape and built the towns and cities as a soft-focus background for colourful, stately aristocratic processions. While some pivotal set-pieces simply insist on inclusion, such as Bannockburn and Culloden, other episodes of our hidden history rightly claim a place; the great timber halls of prehistoric farmers at Balbridie, Claish and Kelso, James Small and his invention of the swingplough or John Watson Nicol’s composition of An Ataireachd Ard.
"Most important have been our efforts to make a tapestry that distils Scotland’s unique sense of herself, to tell a story only of this place, and without bombast, pomp or ceremony, to ask the heart-swelling rhetorical question; Wha’s like us?"
The numbers behind the Great Tapestry of Scotland:
The project will take over a year to complete and the finished tapestry will go on display from August 2013. Plans are underway to publish a book to accompany the finished tapestry.
To keep up to date with the progress of the Great Tapestry of Scotland visit www.scotlandstapestry.com.
For further information on donations or any practical aspect of the project please email firstname.lastname@example.org.
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