MOTHER-OF-PEARL CRAFTSMANSHIP
While mother-of-pearl craftsmanship can be seen in the earliest civilizations of antiquity, its application as a decorative element in objects came much later. Although some sources report that mother-of-pearl was applied to wood by shaving in Sumerian art, and that mother-of-pearl decorations are found in Indian art in the Far East and South Asia, it is known that mother-of-pearl in its most widespread and developed form is seen in Turkish-Ottoman art.
The first examples of mother-of-pearl craftsmanship, seen in the door panels of the single-domed Beyazıt II Mosque in Edirne, date back to the late 15th century. It reached its maturity in the 16th century and is found on all kinds of wooden objects such as doors, windows, cabinet panels, pulpits, drawers, Quran covers, lecterns, tables, armchairs, sofas, coffee tables, weapon handles, clogs, bellows, tobacco boxes, coffee sets, etc.
Mother-of-pearl craftsmanship, which was widely used during the Ottoman Empire, can be seen in historical museums today in examples made by masters from the Enderun (Ottoman palace school). These awe-inspiring works of art transport the viewer on a journey through centuries of refined skill. It is known that mother-of-pearl, later processed in Syria, arrived in Gaziantep from there, although its motifs retain elements of Seljuk and Ottoman culture. Some sources also mention that a simple form of mother-of-pearl craftsmanship was practiced in Iskenderun (Hatay) for a very short period. According to information obtained from living sources, this art, which continues to thrive and evolve in Gaziantep, began in 1963.
There are 54 mother-of-pearl workshops in Gaziantep, and the 55th workshop was established in 1992 at Gaziantep University, within the Gaziantep Handicrafts Preservation and Development Center.
In mother-of-pearl inlay, which is done using hard and dense woods such as walnut, mahogany, and rosewood, lead, tin, silver, and alpaca wire are used to decorate the edges of the motifs. Mother-of-pearl is the oyster shell extracted from freshwater. Horn, tortoiseshell, ivory, and bone are also used instead of or in conjunction with mother-of-pearl.
Mother-of-pearl work is done using the 'carving' and 'inlay' methods. First, the motif to be worked is drawn on the wood. Using a steel tip called a chisel, the edge of this motif is chiseled, and a wire is laid into the channel created. Using a hammer, the wire is embedded into the wood with small strokes. (To prevent the wire from lifting over time, it is helpful to apply white glue, thoroughly diluted with water, to the processed wire.)
Using the same chisel, the inside of the drawn motif is hollowed out, and the mother-of-pearl, held firmly between two fingers (thumb and index finger), is shaped on a grinding stone according to the shape of the hollowed-out motif. It is then glued into the motif with a paste made of white glue and wood dust. (To ensure the mother-of-pearl sits properly in place and that subsequent finishing does not damage the bright, vibrant part of the mother-of-pearl and spoil the motif, the top and bottom of the mother-of-pearl must be smoothed before shaping.) After the piece with the mother-of-pearl is left to dry for at least two hours, it is polished with a fine file and sandpaper to obtain a smooth surface. It is then polished with shellac varnish (a type of resin) dissolved in alcohol. The shellac varnish should be dripped onto a compressed cotton ball, and the polishing should be continued with quick, rhythmic, circular movements until the varnish dries. If a light-colored young walnut tree is selected and a darkening of its color is desired, the finished piece is coated with deacidified olive oil before polishing, left in the sun to dry, and then polished.
In mother-of-pearl inlay, motifs from the Seljuk and Ottoman periods are commonly found, featuring geometric patterns, natural designs such as flowers and leaves, and a dominance of Rumi, Baroque, and Arabesque styles.
The craft of mother-of-pearl inlay is called "Sedefkâri," and the craftsman who performs it is called a "Sedefkâr."
Today, mother-of-pearl craftsmanship, which has found a wide market in international tourism, is an elegant and emotional handicraft that has managed to keep the historical roots of Turkish culture, dating back to the Ottomans, alive in our memories.
While mother-of-pearl work can be seen in the oldest civilizations of antiquity, the application of mother-of-pearl as a decorative element in objects came much later. Although some sources report that mother-of-pearl was applied to wood by shaving in Sumerian art, and that mother-of-pearl decorations are found in Indian art in the Far East and South Asia, it is known that mother-of-pearl is seen in its most widespread and developed form in Turkish-Ottoman art.
The mother-of-pearl inlay, first seen in the late 15th century on the door panels of the single-domed Beyazıt II Mosque in Edirne, reached its peak in the 16th century and was found on all kinds of wooden objects such as doors, windows, cabinet panels, pulpits, drawers, Quran covers, lecterns, tables, armchairs, sofas, coffee tables, gun handles, clogs, bellows, tobacco boxes, coffee sets, etc.
Mother-of-pearl craftsmanship, which was widely used during the Ottoman Empire, can be seen in historical museums today, with examples made by masters from the Enderun (Ottoman palace school). These awe-inspiring works of art transport the viewer on a journey through centuries of refined skill. It is known that mother-of-pearl, later processed in Syria, arrived in Gaziantep from there, although its motifs retain elements of Seljuk and Ottoman culture. Some sources also mention that a simple form of mother-of-pearl craftsmanship was practiced in Iskenderun (Hatay) for a very short period. This art, which continues to thrive and evolve in Gaziantep, is believed to have begun in 1963, according to information obtained from living sources.
There are 54 mother-of-pearl workshops in Gaziantep, and the 55th workshop was established in 1992 at the Gaziantep University, within the Gaziantep Handicrafts Preservation and Development Center.
Mother-of-pearl inlay, made using hard and dense woods like walnut, mahogany, and rosewood, utilizes lead, tin, silver, and alpaca wire to decorate the edges of the motifs. Mother-of-pearl is the shell of an oyster extracted from freshwater. Instead of or in combination with mother-of-pearl, materials such as horn, tortoiseshell, ivory, and bone are also used.
Mother-of-pearl work is done using both 'carving' and 'inlay' techniques. First, the motif to be inlaid is drawn on the wood. Using a steel chisel, the edge of the motif is chiseled to create a channel, into which the wire is laid, and then, using a hammer, the wire is embedded into the wood with small strokes. (To prevent the wire from lifting over time, it is helpful to apply white glue, thoroughly diluted with water, to the inlaid wire.)
Using the same chisel, the inside of the drawn motif is hollowed out, and the mother-of-pearl, held firmly between two fingers (thumb and index finger), is shaped on a grinding stone according to the shape of the hollowed-out motif. It is then glued into the motif using a paste made of white glue and wood dust. (To ensure the mother-of-pearl sits properly in place and that subsequent finishing does not damage the motif by destroying the shiny, vibrant part of the mother-of-pearl, the top and bottom of the mother-of-pearl must be smoothed before shaping.) After the piece with the mother-of-pearl inlay is left to dry for at least two hours, it is polished with a fine file and sandpaper to obtain a smooth surface, and then polished with shellac varnish (a type of resin) dissolved in alcohol. The shellac varnish should be dripped onto a compressed cotton ball, and the polishing should be continued with quick, rhythmic, circular movements until the varnish dries. If a light-colored young walnut tree is chosen and a darkening of its color is desired, the finished piece is coated with deacidified olive oil before polishing, left in the sun to dry, and then polished.
In mother-of-pearl inlay, motifs from the Seljuk and Ottoman periods are commonly found, featuring geometric patterns, flowers, leaves, and other natural designs, along with a dominance of Rumi, Baroque, and Arabesque styles.
The craft of mother-of-pearl inlay is called "Sedefkâri," and the craftsman who performs it is called a "Sedefkâr."
Today, mother-of-pearl craftsmanship, which has found a wide market in international tourism, is an elegant and emotional handicraft that has succeeded in keeping alive the historical roots of Turkish culture, dating back to the Ottomans.
