Estonian national treasure Anu Raud

Anu Raud. Vilma Reinholm (English translation Riina Reinholm), Eesti Entsüklopeediakirjastus 2002.112 pgs.

In 1971 Anu Raud wrote an article, “Working with applied arts”, that appeared in the cultural weekly Sirp and Vasar. There, she expressed the belief that in applied arts “one should not be just a doer but also a ponderer, philosopher and a psychologist to a certain extent.” To a considerable extent this description applies to Raud as well — not only a doer of marvellous talent, she is also a thoughtful artist who has her finger on the national cultural pulse.

Anu Raud sees Estonian mental qualities, the distinctive national mind, if you will, as expressed in their ability to love their work that has been learned from ancestors, studied and mastered. It was for good reason that pre-war Estonia was known for the quality of workmanship in almost every field, now we are returning to that strength, and it can be seen in the explosion of the production of quality applied arts items created and produced not only for personal use but for export abroad.

The term applied arts is a poor translation, but the only one available for the Estonian term tarbekunst. Tarbe = an article of necessity, commodity that sees daily use. The art aspect comes into play when an everyday item is designed with beauty and functionality in mind. Europeans have long been famous for applying art to furniture, tableware, things that we use without even noticing them. They also appreciate the marriage of beauty and functionality, much more it seems, than Americans, who seem to often choose glitz and glitter over practical beauty.

Anu Raud is an Estonian treasure — a true artist, tarbekunstnik, known for her work with textiles, but also a valued educator, art critic, writer and ethnographer. It is in this last category that her efforts need to be brought forward. Anu Raud is a tireless advocate and champion of Estonian folk art, expressing concern that our cultural values, passed on through simple things such as handicrafts are endangered. She has written critically; also created fairy tales, short stories and philosophical reflections on life that emphasize values that are uniquely Estonian.

Now we have a book that captures part of the essence of Anu Raud, thankfully with an English translation that enables a wider audience to get exposed to her many accomplishments. In a far too brief 112 pages the reader is exposed to Raud’s philosophy, gorgeous colour photographs of her tapestries, and a look at her pedagogical achievements in the folk art field. We visit her farm home at Kääriku, near Otepää, marvel how she lives what she teaches. We learn of her exhibitions, personal shows and the international awards that she has garnered. Selected excerpts from her writings and public reflections are also included along with a bibliography of great value for those interested in learning more about Anu Raud.

It is exceedingly difficult to convey in mere words the effect that an Anu Raud tapestry has. You need to see it, touch it, feel it — only then you begin to understand Raud’s belief that the people are the artist. In an address at the 10th folk dance festival in Järva county Raud said that the beauty and power of folk art is immense “because the whole nation is the artist — the whole nation’s joy of creation, sense of beauty and power of mind are in it. You can always approach folk art heritage as the holy source of beauty. Do not let it dry up.“


Estonians treasure their artists, and it is significant that from a considerable group of worthies that it was a Raud creation, “Emapuu” (Mother Tree) that was Estonia’s gift to the United Nations on the occasion of the UN’s 50th anniversary. Then-UN Secretary General Boutros Boutros Ghali said at the presentation that Raud’s work “Beautifully, eloquently and powerfully expresses the national identity of the Estonian people”. Indeed, Estonia’s national identity has been maintained throught the efforts of artists such as Anu Raud.

She believes strongly that our roots are deep in peasant culture, saying — “if we know where we come from, there is firm ground for moving ahead.”

Given the fact that these days books and cultural items from Estonia are not that easy to acquire — it is telling that books like this are rapidly snapped up in Estonia, leaving few available for purchase, never mind the chance to send them abroad, the likelihood of a reader finding a copy of this wonderful work is slim. Good news, however. Anu Raud has been invited to Canada, to speak, teach, and participate at the Kotkajärve Metsaülikool, to be held in the last week of August. The opportunity to meet and learn from Anu Raud should not be passed up.

As nature is a focal part of Estonian ethnography, the taproot of Anu Raud’s artistic strength and vision, it is ever so appropriate that she will be spending a week in the natural splendour that is Kotkajärve, the forest home of our scouting youth and higher cultural education establishment, the Forest University. Nature breeds culture, culture breeds national pride and identity, which in turn appreciates through creative measures that which nature has given us, bringing all things into a wondrous full circle.

As Anu Raud says — “Let’s stick to what is our own and cherish it.”

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