KARACHI: The art and traditions of embroidery in Anatolia was the focus of a presentation by archaeologist and private collector Alper Yurdemi organised by the Turkish consulate at the Indus Valley School of Art and Architecture on Wednesday.

Titled ‘Ottoman embroideries — meeting point of Ottoman palace and popular culture’, Mr Yurdemi displayed a slideshow of stitches and designs dating from the 17th century to the early 20th century.

Discussing the kind of cloth that was used for embroidery at the time, he said the fabric was hand-woven linen, cotton or silk depending on the status of the person, household and the occasion. “Gold and silver threads along with semi-precious stones were another outstanding feature of embroidery at the time.”

Comparing antique designs with the newer ones, Mr Yurdemi showed embroidery samples in which the older pieces belonging to the 17th and 18th centuries had larger floral patterns, using only three to four colours. On the other hand, the 19th and early 20th century embroideries had smaller, intricate and vibrant patterns.

“Imported threads were used that were inexpensive and had a vast array of colours.”

Technique-wise cross stitch was popular along with caterpillar stitch. Gilding metal onto the fabric began in the early 18th century. Vegetable dyes were used to colour thread during the 17th and 18th centuries. “Threads would be boiled with alum to give a reddish tinge or turmeric for yellow colour or tea leaves for black, brown and beige hues.” Interestingly, blue and its shades were harder to create at the time since indigo was quite expensive.

The vast collection of designs ranged from Chinese influenced patterns of snakes and dragons to tree of life with abstract Greek designs. “These foreign influences came from trade exchanges with these countries and some of these patterns were even created in the Balkans.” Mr Yurdemi showed a beautifully embroidered Armenian groom’s jacket and a stunning Macedonian velvet jacket.

Mr Yurdemi also highlighted the meanings behind the commonly used motifs in the embroidery. For instance lotus flowers represent happiness, carnation stands for love, tulip indicates love for Allah and rose shows love for the Prophet (peace be upon him).

Vase designs from which emerged the tree of life were also characteristic of Ottoman embroidery that were either presented to a pregnant woman wishing her a healthy child or given to an invalid person wishing him/her a quick recovery.

Other designs peculiar at the time include fruit and animals. “Artichokes, grapes, pomegranates, watermelons, strawberries and pears indicate prosperity. Peacocks stand for longevity. Other animal patterns mostly centred on hunting scenes.” Fish was rarely used since it was linked to Christianity.

Lest one thinks that these embroidered fabrics were used for special occasions, Mr Yurdemi dispelled the notion and showcased a dizzying range of fabrics and their utility at the time. Bedcovers, pillowcases, prayer rugs, wall hangings, coffee-tray covers, napkins, hand towels, bath towels, bridal sheets, cradle covers, Quran covers, tobacco bags, purses, wrapping cloths, picture frames, prayer scarves, bridal veil, nightgown, sash, saddlecloth, handkerchiefs, gift boxes, flags, wall panels, the embroidered costumes and fabrics were endless.

Responding to a query whether these traditional embroideries were continuing in modern-day Turkey, Mr Yurdemi said that it was confined to institutes now. “There isn’t a market for such artworks and people prefer to buy antique pieces rather than the new ones.”

Published in Dawn, November 13th, 2014