Turkish Felt Art

The history of felt is far older than weaving, going back to the Uighur period in Central Asia and to the Hittites in Anatolia. Relief carvings found at the Hittite cities of Bogazköy and Yazilikaya depict people wearing felt caps and clothes, and fragments of felt dating from the 4th or 5th century BC was discovered at Pazirik in Central Asia, showing that the ancient Turks had also known how to make felt. On the evidence of findings in tombs archaeologists know that felt played an important part in the lives of the Scythians, Sarmatians and Malkars of Karaçay.

The Türkmens traditionally lived in tents made of white and black felt symbolizing wealth and poverty, and the Kazakhs lived in felt tents known as kiyiz üy. Felt is variously known throughout the region as kidhiz, kidiz, kiz, kiiz and kiyiz. Felt making was widespread among the Seljuk and Ottoman Turks, and these craftsmen played an important role in the mystic trade organizations known as ahi. The uncle of the famous 13th century mystic Haci Bektas Veli was Keçeci Baba (Father of the Felt Makers), who lived in the village of Keçeci in the district of Erbaa in Tokat. Although felt is mainly made by machine today, some continues to be made by hand in parts of Turkey. .

The last remaining felt makers are to be found in such Turkish provinces as Afyon, Sanliurfa, Konya, Balikesir, Izmir, Kars and Erzurum. One of their most interesting products is the stiff felt cloak known as kepenek worn by shepherds. These distinctive garments protect the wearer from heat in summer and from cold and wet in winter. Indoors, plain felt blankets made of white wool are spread over cushions for sitting on in winter, and felt mats are laid over both seats and beds. Colourfully embroidered felt saddle cloths are spread beneath horses saddles to soak up the sweat. Felt was once an indispensable part of daily life, also used to make saddle bags, shoes, headgear, mats, prayer rugs, and many other garments and household objects in various colors. In the eastern province of Agri you can still see men wearing the traditional kullik, a conical brown or white felt cap made from lamb’s wool. .

DESIGNER FELT AS PART OF MODERN LIFE

Felt is the new favorite of the designing world. A natural, warm material, it is the plainest form of wool, and for the past few years it has been presented in the trendy salons of European design fairs in a multitude of forms extending from decoration to jewelry. In all of them the feel is familiar, but the colors are now much bolder and more energetic. Felt originated in Central Asia and came to Anatolia in the 3rd century when some Turks migrated westward. As the years went by it became part of the Anatolian way of life, in the nomadic floor cloths and yurts and in the distinctive cloaks worn by shepherds.

But during the past year an exhibition of the material was held at Topkapi Palace by Selcuk Gurisik, a designer in love with felt. The idea behind the exhibition was to “achieve communication between the object and the spectator while changing his or her way of perceiving,” and it featured combinations of felt with silk, wool fibers and even denim, the felt sometimes taking on a new personality thanks to an Ottoman technique of cutting known as kaat’i. He is also the creator of the permanent felt exhibition in the British Museum.

Another designer who has lifted felt to new heights is Belkis Balpinar, who for years has devoted herself to Anatolian carpets and kilims. She first brought her felt work together last month at Galeri G-Art in an exhibition with the title ‘Relativistic Planes.’ Like Gurisik, Belkis Balpinar has worked with the venerable feltmaster Mehmet Girgic in developing her approach to this material. She draws her designs on the computer and then transfers them on a scale of one-to-one with the help of Fine Arts Academy graduates who work for the master, and she says of felt that it is a “perfect canvas for understanding and expressing oneself.”

Turkish Woodcarving And Wood Artwork

Seljuk Turks excelled in the working of stone and wood. The most important of the woodworking techniques was called kundekari where pieces of shaped wood are interlocked through rabbeting and mortising, without the use of any nails or glue. Before shaping, the wood was carefully treated so that it would not dry out and shrink later on. Individual pieces were cut and carved into octagons, diamonds, stars etc. according to the design intended. The composition was than framed and backed. Another Seljuk woodworking technique, popular in doors, shutters, reading desks and sarcophagi, was sunk relief where the motifs were carved into the plane of the surface. The reverse of the technique in which the motif stands out of the plane was used in calligraphic friezes and decorative borders. Latticing and openwork was developed to a high art, producing lace-like traceries in wood. Beveling, a technique favored in earlier Central Asian Turkish Art was used not as often.

Walnut, apple, pear, cedar, oak, ebony and rosewood were the most popular raw materials, depending on the technique to be employed. Anatolian Seljuk wood workmanship produced its most mature examples in both quantity and quality by combining the styles and techniques brought by the Turks to Anatolia with local styles of decoration in a new synthesis. A rich decorative style is observed in this period, consisting of floral and geometric designs, inscriptions and, albeit fewer in number, figural images as well. In Anatolian Seljuk wood workmanship, carving is the technique most appropriate to, and most frequently employed for, the decorative style in which thuluth inscriptions and palmette and half-palmette motifs are often used amid rumî branches and tendrils. Decorations incorporating geometric patterns also occupy an important place in Seljuk wood workmanship. The ‘kündekâri’ technique is used especially on large surfaces such as doors, shutters, pulpits and wood panelling. Pieces of wood cut in lozenge, star or octagonal shapes are joined together inside regularly hollowed out strips of wood in an interlocking pattern.

Seljuk style old wooden door

The art of woodworking, which is observed both in architecture and on decorative objects, produced some of its most beautiful examples in the Ottoman period. We see it in architecture in columns and beams; as decorative elements on doors and shutters, pulpits, mosque niches, ceiling ornaments, and balcony railings; on furniture such as lecterns, Koran stands, turban stands, trousseau chests and tables, and as accessories. The professional organization of wood workers, the foundations of which were laid by Sultan Mehmed the Conqueror in Edirne in the 15th century and completed by the end of the century during the reign of Sultan Bayezid II in the establishment of the Privy Architects’ Hearth in Topkapi Palace, were influential in determining the artistic style of Ottoman wood workmanship. When we consider that Mimar Sinan, who was trained by the Hearth, which was responsible for carrying out and overseeing all construction activity in the Empire, first learned carpentry here before architecture and that Mehmed Aga and Dalgiç Ahmed ÿavus also learned mother-of-pearl inlay here, the importance given to wood workmanship in Ottoman art is readily appreciated. In terms of style and technique, the loveliest and most magnificent examples of wood workmanship are seen in the 16th and 17th centuries. A rich combination emerges with the addition of ‘hatayi’ and other naturalistic floral motifs to the ongoing Seljuk tradition of intricate vegetal decorations consisting of rumi-palmettes and curving branches.

Mother of pearl small table set

The technique of lacquering is conspicuous in Ottoman wood workmanship of the 17th and 18th centuries. This technique, numerous examples of which are encountered in Edirne especially, is for this reason also known as ‘Edirnekâri’. The application of this technique, which, besides wood, was also employed on cardboard and leather, is difficult and painstaking work. When all the irregularities have been smoothed out of the material to be used, a layer of varnish is first applied to prevent the surface from absorbing the paints. After drying, the decoration is applied in gold leaf or paint of various colors. When the paints have dried, the surface is again varnished; this procedure is repeated several times. The Rococo style, which arose as a style of architectural decoration in the palaces of France in the mid-19th century, also exhibits its influence in Ottoman wood workmanship, as in every branch of Ottoman art, as ‘Turkish Rococo’. On small-scale handicrafts, the classical Ottoman decorative motifs give way to floral bouquets, represented naturalistically in a vase, acanthus leaves, C- and S-curving branches, ribbons and bows.

Unable to withstand the ravages of time, most objects made of wood have failed to survive to our day. Nevertheless, you may still see some of the finest examples of wood workmanship from the 8th up to the end of the 19th century in the Museum of Turkish and Islamic Art.

Reference: Gonul Tekeli, Ali Konyali/SKYLIFE

Turkish Kilims

Kilim, a word of Turkish origin, denotes a pileless textile of many uses produced by one of several flat weaving techniques that have a common or closely related heritage and are practiced in the geographical area that includes parts of Turkey (Anatolia and Thrace), North Africa, the Balkans, the Caucasus, Iran, Afghanistan, Pakistan, Central Asia and China.

The Turks have produced the largest kilims, usually in two narrow pieces joined, as well as small ones and a multitude of prayer kilims. As a prayer rug, which is carried about with the worshiper, the light and extremely flexible kilim offers obvious advantages. In Turkish kilims, cotton is often used for the white areas, and small details may be brocaded.

WESTERN ANATOLIA TURKISH KILIM RUG                        Follow Us on FACEBOOK    

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KELES

Located in the north west part of Turkey, Keles produces fairly coarse slit woven kilims having tribal features. Keles kilims have subdued shades of reds, browns, blues and yellow. There are a broad range of prayer rug designs.

BALIKESIR 

Located in the north west part of Turkey, Balıkesir is home of many tribes who wove glorious kilims. One of these tribes called Aydınlı tribe who used ancient and totemictic pattern. Some of these patterns are traced back to polished stone age. Balıkesir is also home kilims called saf where several praying niches are put side by side.



SARKOY 

Sarkoy kilims, decorated with tree of life and stylized birds, are woven in Bulgaria, Greece and the areas close to the Turkish Border. Birds and tree of life are the most prominent feature of these e kilims. Besides these motifs, human figures, stylized grape leaves, small praying niches and diamond designs are often encountered. Hooked diamond shaped medallions are also one of the major patters of Sarkoy kilims.

Designs on the Sarkoy Kilims are very stylized and abstract.

BERGAMA 

Located in the north west part of Turkey, Bergama (ancient Pergamon) has been a great center for historical rugs and kilims. Bergama kilims always stayed very faithful to the traditional Seljuk designs and patters and contained geometrical paterns. Stylized tree of life, rams horn are often used on these kilims. Although blue and red are the dominant colors, we have also multi colored kilims woven in the area. Pair of hand pattern or comb design which appear in the center of the kilim are typical for Bergama kilims. Zili and Cicims, woven in Bergama region, have traditional crosses, surrounded by squares which symbolize a chest, signifying the weaver desire to get married.YUNCU 

Located in Balıkesir region, Yuncu has been home of reputed kilims, woven with large and powerful ornaments since the 16th century. Most prominent feature of these kilims are the tree of life or a pole with ram horns emerging from it. Red, blue, dark green are dominant colors for Yuncu kilims which are woven mostly in square form and made smaller than Anatolian kilims. Yuncu kilims are dyed with madder roots (red color) and blue (indigo). Ram horn is the main pattern on the well-demanded kilims.


MANASTIR 

Kilims woven in Gordes, Kula, Usak, Izmir, Akhisan were known as Manastır Kilims. These kilims with simple patterns draw our attention with very vivid colors such as red, yellow and blue colors. Geometric medallions, running dog patters and narrow bands with tiny crosses are typical patterns of these kilims.





USAK 

Usak, the home of big size kilims is an important center for contemporary kilims. Old Usak kilims had often central medallion and red background color. Some of these Kilims are as big as 5.5 meter square. In the recent years, Usak became an important center for contemporary kilims. 






AYDIN 

Aydın, located in the western Anatolia, is noted for prayer arch kilims and large kilims with two halves. Although Aydın kilims have some similarities with Konya Kilims, they have more infill motifs and they look busier then than Konya Kilims. Small squarish amblems repeated vertically , hooked motifs, large central medallions are typical for AYDIN Kilims. Some Aydın Kilims are distinctive with long narrow central mihrap surrounded by the series of strip like borders.





DENIZLI 

Located in the western Anatolia, Denizli is the major center for contemporary kilims for export market. In besides these commercial kilims, Denizli region produces some very produces same authentic regional kilims. Having a great resemblance to Usak and Esme kilims, Denizli Kilims have rectangular sizes and feature bold serrated medallions in fairly bright colors. 


EŞME 

Located in the western Anatolia, the town of Esme produces both contemporary workshop kilim for export and some authentic regional kilims Esme Kilims, which have large medallions and amulet form, are decorated with small geometric and symbolic patterns all over them. most of the kilims, woven in Esme, have the slit weave technique and usually soft color such as pinks and grays. Because of their color combinations and fine weaving Esme kilims are much favored by the westerner. They often produce single or multiple hexagonal medallions. Whole ground of these kilims is filled with small and geometrical motifs. Most popular colors that Esme weavers use are pink, blue, yellow and orange. Small mihraps also appear on the Esme Kilims.
FETHIYE 

Fethiye, located in the south west corner of Turkey, produces kilims with two major compositions. First category of these kilims has empty monochrome central medallion flanked by two heavily decorated end containing diamond designs. Second compositions offer a similar lay out. This time central field is filled various patters.



CENTRAL ANATOLIA TURKISH KILIM RUG

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SIVRIHISAR 

Sivrihisar, which is located in the west of Ankara, is noted for the kilims which use series of vertically stacked prayer arches( known as bacalı or chimney patter). Eli belinde patterns is also quite common design on these kilims. 


KARAPINAR 

Karapinar, located in Central Anatolia, is noted for the production of good quality regional kilims featuring praying niche patters. Karapinar kilims, woven in the slit weave technique, feature primitive tribal character and appearance. They have pale ground color and darker colors for the patters. 








KONYA 

Located in the heart of Turkey, Konya is noted for its historical Turkish kilim rug. In our day, Konya region is great kilim weaving center with its contemporary workshops authentic regional weaving. Workshop kilims of Konya are woven in a variety of sizes, shapes, colors and designs which are aimed for the export market.

Regional kilims, which are woven in the slitweave technique and plainweave use a wide range designs and motifs. Central medallions, repeating geometric patters and all-over designs are most common.

KECIMUHSINE 

Located in Central Anatolia near Konya, Kecimuhsine produces cicims in a unique patter based on cypress tree intersecting prayer arches. Kecimuhsine weavers use pale colors on the white or cream field. Having small size, Kecimushine cicims are highly collectable and fall into medium price range.



KAYSERI 

Kayseri, once the capital of Cappadocia region, is an important kilim weaving center for regional and workshop kilims. It is noted for silk kilims which are made only in this region. Kayseri workshop kilims may range in price and quality from medium to high bracket. Besides the loosely woven kilims some much finer kilims are woven in the area. Colours used for the Kayseri kilims are often red, black, pink, gray.

Regional Turkish kilim rug tends towards a more subdued Palette colors such as orange, yellow, brown and white. Paneled or banded compositions or very intricate designs all over patterns are used. Since the quality of the material and weaving varies considerably, it is important to judge all kilims from Kayseri region on their individual merits.

MALATYA 

Located in the eastern part of Turkey, Malatya is noted for workshop kilims and regional kilims of fine quality. Malatya Kilims have limited number of designs, especially for the big size of Kurdish Kilims. As to small size prayer kilims, there is more variety of designs are motifs.



MUT 

Mut village, located on the Taurus mountains of southern Turkey, is a center for nomadic and semi nomadic tribesmen. Mut weavers made kilims with tribal appearance and significant amount of wool, goat and horse hair. Designs are mainly bold and based on serrated and hexagonal medallions in a variety of repeated and interconnected designs.




NIGDE 

Located on the major trade roads, Nigde is noted for the fine quality of Turkish kilim rug which often feature serrated hexagonal motifs in complex.






OBRUK 

Renowned for its finely woven prayer kilims rugs( often decorated with tree of life), Obruk also produces cicims with the geometric forms ( medallions banded designs and interconnecting diamonds)of Turkish kilim rug.

Obruk color palette varies from the bright to dark with the dominance of reds, blues, yellows, orange and white.




SOUTH EAST ANATOLIA TURKISH KILIM RUG

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GAZIANTEP 

Situated in the south eastern part of Turkey, near the Syrian Border, Gaziantep was once the home of very fine kilims. Although Gaziantep doesn't produce a great number of Turkish kilim rug today, old Anteps still appear on the market. Woven in the slit weave technique, Gaziantep kilims feature diamond designs (central diamond flanked by two smaller ones). and six pointed stars. Gaziantep kilims have horizontal bands with various colors. The ying yang design (symbolizing the harmony), scorpion and eli belinde designs appear on the Gaziantep kilims. These very elaborate patterns are often highlighted with a white cotton for special effect.



EAST ANATOLIA TURKISH KILIM RUG

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ERZURUM 

Erzurum, an important city on the ancient caravan route between Anatolia and Iran, is noted for its praying kilims which are made bigger than those woven in the other parts of Anatolia as Turkish Kilim Rug. Wolf track and wolf mouth motifs are used as border pattern on these kilims. Tree of life design, which is also one of the favorite pattern of Erzurum flat weaving, is used as a border design and central motif, located in the center prayer arches. One can see also double ended prayer niches.


TURKISH KARABAG 

The kilims, which have dark backgrounds in black or deep brown and big floral patterns in reds, pinks and orange, are made in the Erzurum Region in the last forty years known as Turkish Karabags. These kilims with big flowers are influenced by Karabag Kilims of Caucasus. These Turkish kilim rug with white and beige colored borders have long and narrow sizes.




SIVAS 

Sivas, large town in the east part of Turkey, was once the important center on the trade roads. Because of its mixed population, Sivas Kilims show the influence of both etnique groups. Comparing to Turkish Kilim Rug woven in the eastern Turkey, Sivas Kilims have lighter colors with the predominance of bright red, orange, pale green, cream and white colors. Small prayer rugs, safs are common. Large Sivas kilims, which have central or repeating medallions, are finely woven and they use good quality of wool. Leaf and wine motif is often used on the border of Sivas Kilims.

KARS 

Kars, which is a major town on the Turkish Armenian border, produce kilims with Kurdish and Caucasian influence. Turkish Kilim Rug, made in the Kars region, feature a great variety of praying arches, repeating medallions and geometric compositions. The quality of these kilims and their patters change from very simple tribal designs to sophisticated and complex patters. Kars kilims having dark colors don't suit to western furnishing demands. Kars Kilim, produced in the recent times tend to use softer palette of colors such as browns, pinks. orange and white.


VAN 

Van, major town in the eastern part of Turkey, is noted for its high quality kilims. It also acts an important marketing center for the Kurdish tribes. Main composition of Van Kilims based on large Hooked or crenellated diamond designs or on traditional banded patters using great deal of geometric infill motifs. Van kilims have pallette of dark colors with the predominance of red, blue, brown, green, yellow and white.

The products of two largest Kurdish tribes Herki and Hartushi are sold in Van region. The weavers of Van use metallic thread a lot.

Means of Kilim Motifs

Fetter: (used as a Horse or camel cuff) When woven, used to symbolise family unity and staying together.

Wolf print/mouth: Protection from wolves/wild animals.  Understandable given the damage that a wolf could do to the nomadic tribes flock and hence entire lifestyle.

‘Wolf print/mouth’ motif an a naturally dyed antique Cal Kilim (#068)

Earring: Desire to marry.  Earrings and other gold items were and still are a common and desirable wedding gift.

Hair band: Desire to marry.  Hair bands form an important ornamental decoration during the wedding ceremony.

‘Earring’ & ‘hair band’ motifs on ends of Old Fethiye Runner (#88)

Chest: Desire to marry.  A young brides dowry and belongings often packed into the chests and transported for her new marriage.

‘Sandik’ or ‘chest’ motif covering entire main field of an antique Fethiye Runner (#M9)

                          

Ram’s horns: Fertility, heroism, power and masculinity.  I have also seen it referred to as ‘leadership’ in relation to Turkish kilims.

Prominent ‘rams horn’ motif on an old Konya cicim kilim (#142)

Elinbelinde (hands on hips): Female strength, fertility, motherhood. This is one of the oldest Anatolian motifs and a source of great interest to those that subscribe to the ‘Mother Goddess’ theory regarding the origin of Anatolian kilims.

 Interlocking and repeating ‘hands on hips’ motif covering the entire main field of this Denizli cicim kilim (#046)

Scorpion: Protection.  It is not unique to Anatolian tribes to use the object’s image that will provide protection from it.

Çapraz (S motif):  Said to act as a talisman, protection.  An extremely common motif in Anatolian kilims, sometimes described as a ‘hook’ motif or ‘s’ motif.

                                  Random filler motifs of ‘Capraz’ (hooked                              shape/s on a Daskiri Runner (#M15)

Nazar (evil eye): Protection.  With history dating back to Mesopotamia, Anatolian people certainly do not have a monopoly on the evil eye.  It is said to provide protection against people’s jealousies and ill wishes.

‘Nazar’ motif on an antique Usak Esme kilim (#115)

        

Burdock (thorn):  Thought to provide protection and also for ‘abundance’.

Traditional Turkish Handicrafts

Variations of the motifs is common and wide-spread; different areas and the passage of time has resulted in diffferent formed motifs being used throughout Anatolia.

Star: Generally thought to mean happiness.  Although some believe it to represent the womb, hence it could also be a fertility motif.
    

Running water: Since all life is dependent upon water, it is a widely used motif thought to represent life.  It is interesting to note that what we call ‘borders’, weavers call them ‘springs’ or ‘streams’.

Hand, finger, comb: Protection of marriage and birth from the evil eye (other people’s jealousies and ill wishes).  During the Islamic period, the use of a 5 fingers or hand motif was used to represent ‘hand of .

Fatma’ (Mother fatdime)

The comb motif is thought to be woven when expressing a desire to get married and give birth and wishing also for protection for these events.

Muska: (Amulet) A triangular motif, supposed to have magical properties, derived from the shape of a pouch used to carry Koranic inscriptions or religious or shamanistic relics.

Muskas are still in use today carrying Koranic inscriptions usually on a leather necklace.

Eye: Again, a protection motif to ward off other people’s ‘evil’ glances.  Can come in various forms depending on the region.

Cross: Protection yet again.  It is thought that the cross, in its various forms divides the evil into smaller parts.  The motif has been in long use prior to Christianity.

Tree of Life: The tree is the common theme for all religions believing in one God. In all 3 religious scriptures (Torah, Bible and Quran) the fruit which is believed to bring immortality, is forbidden to all mortals when the serpent (Satan) convinced Adam and Eve to eat it. Mankind, unable to eat the fruit of immortality, put all their hopes on the life after death symbolized by a tree of life.

Bird: No other motif has so many varied meanings as the bird motif to the Anatolian weavers. Bad luck, good luck, the symbol of happiness, joy and love. But also the soul of the dead. It is longing, and expectation of news. It can also stand for power and strength.

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