 |
|
acquired by George Hewitt Myers Courtesy of The Textile Museum |
Our Ottoman theme takes center stage as we highlight the current exhibition at The Textile Museum in Washington, DC, featuring over fifty embroidered textiles spanning the late 16th to early 20th centuries. As the Ottoman Empire flourished so too did its decorative arts. The textiles produced during the Ottoman reign provide a window onto the opulent culture which produced them. By exploring Ottoman cultural traditions we can better understand how social changes, environment and economy influenced textile production and design style. Floral imagery is ubiquitous in the embroidery of the Ottomans and pays homage to their love of flowers. On view is a veritable garden of stitched tulips, carnations, hyacinths, pomegranates and arched floral branches which replicate the splendor of Ottoman gardens. Like a long buried treasure now brought to light, many of these embroideries have never before been displayed or published.
Uckur (Sash) - Turkey
Late 18th or Early 19th Cent.
Courtesy of The Textile Museum
Gift of Mrs. Hoffman PhilipTextiles of all kinds played a pivotal role, influencing many aspects of Ottoman ceremonial and day-to-day life. At the top of the hierarchy were the needlework designs of the Nakkashane, the royal design atelier. Draftsmen copied these patterns for distribution to a populace anxious to emulate palace styles. Eventually they found their way to the far reaches of the vast Ottoman Empire, where the designs were employed not only by textile artists but also by potters, painters and others. As trade routes were firmly established with Western Europe in the early 18th century, a blending of the exotic Ottoman designs with the exuberant style of European Rococo took place culminating in the unique aesthetic known as Turkish Rococo.
Cover Fragment, Turkey 18th Century
Courtesy of The Textile Museum
Acquired by George Hewitt Myers, 1934The Nakkashane attracted the brightest lights in the design world of the times, bringing a vast pool of talent together at the Topkapi Palace in Istanbul. Here influences from the numerous cultures which the Ottoman Empire encompassed were blended resulting in a distinctive style. Decorative textiles defined an individual's status both at court and in society at large. They were made into garments, wrappings, ornaments, covers, household furnishings, wall hangings, room dividers and daily linens. Some were further enhanced with gilded threads, sequins, gems and semi-precious stones. More extravagantly embellished textiles were inextricably linked with ceremonial life and family celebrations, such as weddings, births and circumcisions. Apparel, accessories and footwear for these events projected an aura of luxury, created as they were with luscious silks and sparkling metallic threads.
Tray Cover - Turkey, 19th Century
Courtesy of The Textile Museum
Gift of Mrs. Fred S. GichnerThe Imperial city of Istanbul was the seat of power of the vast Ottoman Empire and also the center for trade. The bazaars within this culturally diverse city were renowned for textiles, embroidered by both men and women. The men labored primarily in urban workshops producing large works from heavy materials and integrating them with the more costly materials of pearls, gold, precious and semi-precious stones. Since social custom restricted women to their homes, they occupied themselves with needlework in the haremliks (women's quarters). Embroidery was considered a suitable pastime for women and training in the needlearts formed an integral part of a young girl's upbringing. Women were equally adept in stitchwork as their male counterparts, were allowed to earn an income from their labors and to furnish their own homes. Handmade textiles were furthermore an indication of the wealth and status of a woman's family and reflected her skill as a needleworker.
The interior of a typical Ottoman home consisted of both haremlik/harem (women's quarters) and selamnik (men's quarters). The main rooms of the haremlik were surrounded on three sides by divans scattered with cushions. Pillows and other textiles were colorfully embroidered with gold and silk threads depicting floral motifs emulating a garden indoors. Floors covered with mats and carpets were also littered with cushions to provide seating. The largest embroidered textiles were covers and wall hangings. Bedding consisted of mattresses, covers and pillows which were placed on the divans and floor at night. Upon awakening, these were rolled up and put away in storage spaces covered by embroidered hangings.
Floor Spread - Turkey, Late 17th or 18th Century
acquired by George Hewitt Myers
Courtesy of The Textile MuseumCompany was always welcome in the Ottoman home as it was thought that each guest was a "guest from God," and was treated accordingly. Visitors also provided the women with a festive respite from their seclusion and daily chores. The guest was shown into the best room of the haremlik. A round cover was spread on the floor which sometimes functioned as a table. At other times a cylindrical stand was placed on top of the spread which was then covered with a matching cloth and a lavish food tray placed on top. The coffee service is a custom which originated during the Ottoman Empire and persists in Turkey to this day. The prevailing belief was that if a guest was served a cup of coffee, he would pray for his host for 40 years. The coffee ceremony was highly ritualized and was conducted by at least 2 or 3 young girls or boys. Guests were presented with embroidered yagliks (napkins) or towels for wiping their hands while partaking of the refreshments.
CLICK HERE FOR PAGE 2 OF THIS FEATURE The Textile Museum
2320 S Street, NW
Washington, DC 20008-4088phone: (202) 667- 0441
fax: (202) 483- 0994website: http://www.textilemuseum.org
e mail: info@textilemuseum.orgMuseum hours: Mon.- Sat. 10 am to 5 pm, Sun. 1 pm to 5 pm
Flowers of Silk and Gold - Four Centuries of Ottoman Embroidery was curated by Sumru Belger Krody, Associate Curator, Eastern Hemisphere Collections, The Textile Museum. All images and textual information for this feature story have very generously been provided by The Textile Museum. Special thanks are extended to all personnel at The Textile Museum who made this presentation possible.
FEATURE STORY ARCHIVES Click below if you missed previous features. About Backgrounds - Part I of II, By Ginger McTeague Tools of the Trade Anne Powell Ltd. HOW CREWEL by Elizabeth Creeden Samplers Through the Ages, Part II Christmas Around the World Part II Color for Needleworkers by Mary Shipp, Part I Color for Needleworkers Part II Meet Audrey Alich and Julie Norton More Flower Power Christmas in July Celebrating with Needlework The History of Hardangersom (Hardanger) Part II The History of Hardangersom (Hardanger) Part I Designers and Floral Interpretation
An interview with four renowned designersMary Hickmott and Cross Stitch Gallery and New Stitches Magazines
by Rita VainiusA Visual and Historical Perspective on "Purses"and "Evening Bags
by Rita VainiusDeveloping Your Creative "Side"
Part II by Lois CaronSudberry House
Providing Fine Wood Accessories to the Needlework CommunityDeveloping Your Creative "Side", Part I
by Lois CaronNeedlework and Computers
Presented by Ann and Bill (Kaz) CaswellJoan Toggitt
Pioneer of the Needlework IndustryNeedlework, Knots and Other Crafts on the High Seas
By Rita Vainius
Thread Information Guide
The ultimate guide to The Caron Collections's variegated threads by Lois CaronStitching For Effect
By Beth Robertson and Suzanne HowrenSamplers Through the Ages
How this Distinctive Needlework Art Form Evolved Throughout Europe and the New World by Rita VainiusMen in the Fiber Arts
From the Renaissance to the Industrial Revolution by Rita VainiusFinishing Techniques
For an Open and Lined Mini-Christmas Stocking by Marilynn Arm of Finely Finished NeedlepointWorking with Perforated Paper
Dazzle and Delight with Quick Stitched Tags, Cards and Ornaments. By Lois CaronThe Early Beginnings of Halloween
A Historical Look at Halloween and Needlework. By Rita VainiusAn Inside Look at McCall's Needlework
By Judith Carter, Editor of McCall's NeedleworkAre You Caught in Design Gridlock?
Approaching design from a different angle can make all the difference and can help you
unleash your design potential by Lois CaronCOPYRIGHT NOTICE: No part of this feature story nor the included designs can be reproduced or distributed in any form (including electronic) or used as a teaching tool without the prior written permission of the CARON Collection Ltd. or the featured designers or contributors.
