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ALLA HORSKA A lla H o r sk a w a s a c o u r a g e o u s artist w h o s e art r e fle c te d an in d e p e n d e n c e from c u rren t tr e n d s im p o s e d o n w riters a n d a r tists b y th e S o v ie t r e g im e . T h e s t a in e d g la s s w in d o w d e p ic t in g T a r a s S h e v c h e n k o w h ic h H o rsk a c r e a te d t o g e t h e r w ith O p a n a s Z a ly v a k h a w a s b ru tally d e s t r o y e d a n d H o rsk a h e r s e lf w a s m u rd e r e d . H er b o d y w a s d is c o v e r e d in a c e lla r o n D e c . 2, 1 9 7 0 . N a d ia S v itly c h n a in h er a r tic le o n p a g e 2 r e m e m b e r s H o r sk a a s a p r o m in e n t p e r s o n a lity w h o w a s d e s t r o y e d by th e r e g im e . Graveside o f A. Horska. From le ft: N. S vitlych na w ith her son Jarema, M. K o c u b y n s k y j w ith his d a u g h te r Tania. Z. Genyk- B erozovska from Prague , E. Sverstiuk. На м огилі Алли Г о р с ь к о ї 1971 р. зліва Надя С віт лична із с и ном Я р ем ою , М ихайлина К о ц ю б и н с ь к а з д о ч к о ю Танею, З іна Ґ е н и к -Б е р о з о в с ь к а з Праги, Євген С в е р ст ю к H orska d u rin g a trip a ro un d Ukraine. Алла ГОрська LEARNING”MERESZKA” OPENWORK In the January issue we introduced one form of Ukrainian openwork, called ’’mereszka” , and its sim plest form, called "prutyk". This month we show how to execute the mereszka pattern known as "tw in-posts” which is the openwork part of the design shown in January’s issue. Before doing mereszka, we strongly re commend stretching your fabric on an em broidery hoop. In order to properly understand the graphics (figures 1-6), the lines which create the grid must be seen as the threads of the fabric (called ground) on which we embroider, and the spaces are the holes between the threads of our fabric. In preparing to do the mereszka, we must first secure its ends. This is done by satin-stitching over three threads of ground-fabric for a height of 12 stitches (fig. 1& 2). This securing stitching is called ”za-kreep-ka” . When both ends are thus secured, we cut and pull out one lengthwise (horizontal) ground-thread at both top and bottom (cutting them just at the ’’zakreepka”) and then em broidering ’’prutyk” as shown in fig. 2. When these are done, we must cut the central five lengthwise ground-threads (com pare fig. 2-3), placing the blade of our scissors near the "zakreepka” , but taking great care not to injure the securing stitches, and not to cut the ground-threads on which we embroidered "prutyk” . Once those 5 threads are cut and pulled out, we anchor the end of our white em broidery thread (under the stitches of the bottom "prutyk”, or under the "zakreepka” , and proceed to wind around the first group of three ground-threads, called ’’chysnytsia” (this term defines 3 ground- threads which are treated as one unit). Having tightly wound around the first chysnytsia to half its height, we catch the second chysnytsia (fig. 3) and proceed to weave the em broidery thread between the two as shown in fig.4, pulling the two together. Now, carefully follow the working em broidery thread in figures 4 and 5, and notice the two windings around the top ’’prutyk” in fig. 5. Then, emerging on the far side of the third chysnytsia (fig. 5), wind downward on it to its m id-point, and then weave the free part of the 2nd chysnytsia together with the 3rd )sim ilar to what was done in fig. 3-4), thus creating the "tw in-post” shown in fig. 6. Here we have also shown the further work of the needle going to the starting point of the next "tw in-post” . [Then repeat from fig. 3] In last m onth's illustration of the em broidery design, the "tw in-posts” mereszka is shown in such a way, that the black ovals (and the black central area) are the air spaces between the ”twin-posts” , and the small black triangular shapes are the spaces created between ” chysnytsia”-s. Thus the white shapes between the black ovals represent the interwoven "tw in-posts” . This design is interesting because of its com bination of openwork with a cross-stiitch pattern. It is very amenable to modern use, and can be done for the Ukrainian M useum’s Shop in New York. T. D. O. See next page НАШЕ ЖИТТЯ, ЛЮТИЙ 1980 23
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