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.
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 ˙avus 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.
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
WOODWORK IN TURKISH ART
The studies and researches on woodworks in
Turkish art has a very recent past. Nevertheless, the studies and researches on
this subject following the articles in a general approach, developers in a more
concentrated way day by day, with studies on woodwork techniques, monographs and
definitions and descriptions of woodworks in some encyclopedias and museum
brochures.
However, the final word has not yet been said on
the subject of woodworks in Turkish art.
We unexpectedly face with beautiful columns
worked in detail, stalactitical pillar heads, pulpits, ceilings, planks in
Turkish architecture and with Koran cases, reading desks and consoles made of
wood.
Furthermore, we can find the most beautiful
examples of this work in the present day antiques shops, museums and private
collections.
The Techniques Applied in Woodworks
Carving
In the method of carving, a pointed chisel works
out the decoration in raised form by carving the surface of the wood. In this
method, there is deep carving and slanting carving.
Latticework
There is no ground in this technique, but various
compositions carved in the from of palmettes, lotus leaves and spiral leaves.
Dovetail technique
The carving method used by the Seljuks have been
replaced by dovetail works of the Ottomans. This work is done by attaching small
geometrical pieces by morticing and tenoning. Since the veins of the pieces come
crosswise in this method, no deviations and deformities occur due to humidity
and heat, and the works preserve their proper appearance over centuries.
Inlaying
In later periods, inlaying has been widely used
besides dovetail works. In this method which is divided as inlaying of
mother-of-pearl and inlaying of wood, the decorative design is drawn on the
finished surface by a pointed pencil and the proper places of the design is
engraved and then inlaid with mother-of-pearl, tortoise shell or ivory. In
another kind named as "Damascus work", the pieces of mother-of-pearl are
surrounded by thin metal work.
Wood Works in Early Islamic Architecture
Various wood works unearthed in the Central Asian
tumuli and Pazyryk excavations, have revealed that Turks were interested in this
subject since ancient times. In Islamic art and especially in Omayyad and
Abbasid wood works, we find a tendency towards a new style. The Syrian and
Egyptian stone reliefs of the 10th-13th centuries had
influenced the Fatimid wood works and decorations of acanthus and vine leaves
peculiar to Syrian region were widely used. For example, the stone reliefs on
the front of the Meshatta Palace was revived with nuances in the Omayyad and
Abbasid works, was a favourite decoration of this period. The most famous
example of Omayyad wood works is the multi-pieced pulpit of the Kayravan Mosque
made in the 11th century and presently kept in the Cairo Museum, and
the wood works in the El Hakim Mosque reveal the most interesting examples of
Islamic wood works.
The magnificent gate displayed in the Metropolitan Museum and the wood works
displayed in the Cairo Museum, prove that the Fatimid decorations were oriented
towards animal motifs in later periods. These decorations which are thought to
be related to native art, include hunting scenes, symmetrical group of birds of
animals. This style later influenced the Mameluke art and decorations were
enriched with all-over designs. Wery few examples of Persian wood work preceding
the Seljuk period have survived until the present day. Some wood inscribed with
Cufic writing are found in Tashkent and Samarkand Museums and in private
collections. Mongolian wood works of the 13th - 14th
centuries are also very rare. Wooden doors with Cufic inscriptions shown great
similarities with stone decorations in the architecture of the period.
The Seljuk Wood Works
Seljuks considered wood works very important and
they have produced many works of art such as pulpits, reading desks, chests of
drawers in addition to the architectural elements ornamenting buildings.
Geometrical forms and plant motifs were often used in the Seljuk wood works
where carving and latticework were widely applied. The decorations were usually
raised and the compositions were completed by Rumi style borders. The motifs of
peacocks, King Solomon's seal and cypress trees were largely used in the Seljuk
wood works. The pulpits of the Konya Alaaddin Mosque, Manisa Grand Mosque, Birgi
Grand Mosque are the most beautiful pieces of the Seljuk wood works in Anatolia.
The Seljuk wood work reveals itself on the wooden sarcophagi. The sarcophagus
over Mevlana's grave in the Konya Mevlana Tomb is decorated with embellishments
characteristic of the age and is covered all over with lyric poems and couplets.
The Ottoman Wood
Works
The Seljuk wood works influenced the early
Ottoman wood works of the 14th -15th centuries and various
works were started to be made by new techniques and with new decorative
elements. Besides carving and latticework, dovetail method was widely used and
enriched wood works were made also with the addition of auxiliary elements such
as mother-of-pearls, tortoise shells and ivory. Floral motifs were often used in
addition to Rumi compositions. Beginning with the 16th century, the
Rumi decoration on the wood works gained a much more complex appearance by
uniting with different floral patterns found in the similarly decorated tiles.
Although the forms used in the 16th century wood works were continued
during the 17th century, new patterns were created in decorations.
The most renowned of these are the floral motifs
which have lost their original forms in a tendency of stylisation. Plainness was
gradually left and a richer embellishment replaced it.
With materials such as mother-of-pearl, tortoise
shell and ivory used in the 18th century wood works, the products
gained a more colourful appearance. The influence of the Baroque and Rococo
styles to be found in almost every branch of Turkish art, has revealed itself
also in the wood works of that century. As an inevitable consequence of this,
the Turkish wood works lost its own characteristics and came under the absolute
influence of European art.
The Turkish wood works have influenced
architecture, presenting fine examples in old Turkish houses as well as the
wooden Afyon Grand Mosque, Sivrihsar Grand Mosque, Beysehir Esrefoglu Mosque.
Especially the ceilings of rooms, the shelved niches and cupboard doors have
been fastidiously worked.
Reference:
Antika; The Turkish Journal of Collectable Art, September 1985,
Issue: 6, by Erdem Yucel
WOODWORK OBJECTS IN THE
KAYSERI ETHNOGRAPHIC MUSEUM
Inner Anatolia and its surrounding areas are a
treasury indeed from the standpoint of various works of art, especially those
from the Seljuk period. In addition to the monumental and impressive
architectural works, which from time to time cause us amazement, each element of
handiwork such as stone decorations, tiling, wood carving, and plaster
decorations which completes these architectural structures is like a work of art
in its own right. Of these arts, that of wood carving developed among the
Seljuks in Anatolia who created an original style. This same tradition continued
during the feudal period and produced important works which were done with great
mastery.
Foremost among the objects which have managed to
survive down to the present day are pulpits, lecterns, and window and door
shutters from mosques of various sizes. The wood which was worked in various
ways was generally walnut, apple, pear, cedar, ebony, and rosewood.
The primary techniques which the Seljuks employed
in wooden materials may be listed as follows.
Genuine Inlaying: This is an interlocking
technique. Pieces of wood in the shape of diamonds, octagons, and stars whose
centers contained raised arabesque designs were fitted into one another with
grooved wooden laths which held them together. Another feature is that no nails
or glue were used when the pieces were inlaid. Since the pieces are
interlocking, there would be no splits or separations when then wood dried out
and became smaller.
False Inlaying: This is difficult to distinguish
from genuine inlaying. There are no nails in the octagons, stars, and diamonds,
but the laths between them are held in place with nails. When the wooden blocks
dry out and shrink, splits the length of the work may appear.
Entirely Interlocked and Glued Inlaying: In this
type of work, wooden strips are nailed onto wooden blocks so as to create
octagons, stars, diamonds, and a geometric framework. This is very difficult to
detect but it becomes apparent when the pieces in the geometric frame drop out.
Entirely Embossed Inlaying: This is a technique
which is quite common and is frequently employed. In this group, the octagons,
stars, diamonds, and the framework between are in the form of relief work on the
same wooden block. The height of the relief is not very great. In time, splits
will appear in objects made with this method.
These works from the Seljuk period are all
genuine works of art. In their survival down to the present day there have been
significant losses, and even today, in some places they are faced with the
danger of not receiving the attention to which they are due. This situation
should make us think, because however important creativity may be in the filed
of art, the preservation of a cultural asset and its transfer to future
generations without its deterioration is just as important. Failing this, it
becomes meaningless to speak of culture after a while.
The Ruined Pulpit of Historical Develi Mosque
If it's necessary to present a good example of
such an event in all its aspects, it will be sufficient perhaps to make mention
of the sections of the Ethnographic Museum in Kayseri where wooden carvings are
on display. These works are being displayed in three separate rooms of the
museum (which itself is a Seljuk structure), apparently describing different
periods. They are quite devoid of any protection whatsoever. First of all the
pieces remaining from the Seljuk have quite an interesting and sad story. These
pieces as a whole consist of various broken parts of the pulpit from the grand
Develi mosque constructed in 1281 (680 A.H.)
Until 1933, the pulpit remained in the mosque in
good and useable condition, and it was that year that the director of the museum
wished to have the work moved into the museum. Those working in the mosque and
the people of Develi were unwilling to give up the pulpit and locked the mosque.
However when they came and began cutting the mosque's lock with a saw (the marks
can still be seen), the key was produced and handed over. The mosque was
entered, and the pulpit was removed, being horribly broken in several places in
the process. What is even more interesting is that these fragments were left in
a heap in the museum together with pieces of another wooden pulpit removed and
brought here in the same way from Taſhun Pasha Mosque in ˙rgüp's village of
Damsa. It is easy to see also that the registration of the works in the museum's
records took place long after they came here from such indefinite names as
"pulpit edge" "board with inscription", etc. which were given to them.
Later, when the pieces sent to the Ankara
Ethnographic Museum for joining were completed, the Taſhun Pasha pulpit emerged
intact, but it was to be noted that with the exception of a few small pieces,
the Develi pulpit had disappeared. There is a rumor in Develi to the effect that
the missing pieces of the pulpit are in a museum in England.
Briefly then, this the story of this work of art,
a few of whose pieces are in the museum today. Nevertheless, as will be seen,
there is something of a resemblance between the method in which the work was
brought into the museum and the way in which it is being protected there. The
reason for this is that there is nothing whatsoever to protect the works from
the "inspections" which visitors insistently perform by hand, or from the
resulting damage. The best examples of this are the on-the-spot tests for
strength and comfort which visitors subject a number of works such as mother of
pearl inlaid Ottoman chest and chairs. In addition, owing to the lack of doors
on the exists to the rooms, the works to a certain degree may be regarded as
being displayed in the open air. The important features of these works may be
listed as follows.
Door Frame: This is from the Develi Grand Mosque.
Made from walnut using an interlocking inlay technique, the shutters are lost.
The illuminated veneers have been fixed in place on the main body by means of
hidden nails.
Inscription Borders: There are four of these.
Since they were removed from the pulpit by being broken off, their edges have
been damaged, and only some of the verses on them can be read.
The first piece is the beginning of the "Verse of
the Throne" of the Koran (11-255)
The second piece is the continuation of the
verse.
The third piece is the beginning of Verse 11-285
of the Koran.
The fourth piece the continuation of that verse.
The inscriptions are done in deeply carved Kufic
style calligraphy, and the areas between have been filled in with convoluted
Seljuk motifs. These inscriptions are the product of extremely beautiful and
painstaking workmanship. It is believed that they were from the sides of the
pulpit, the railing, and the plinth.
Pieces from the Railing and Sides: The pieces of
the railing, which are believed to have been produced by a carving technique of
which they are successful and beautiful examples. The work is the result of the
carving of eight and five-pointed stars, and of octagons and hexagons. There are
grooved braids in the form of a second level of geometric decoration which rise
an wander around and among the carvings.
As for the pulpits side panels below the gallery,
these were also made using an interlocking technique. They are decorated with
illuminated pentagons and quadrangles, while the upper part is in the form of a
geometric composition produced from double grooved intervening strips. Along the
edges of the decorations there is a row of small circles. The edges of the
pieces weight down on the intervening laths, and the whole has been fixed to the
main body behind by means of invisible nails through the carvings in between the
decorations. The pieces have never been painted, and it's interesting that they
should have survived to the present in the condition of their original
manufacture.
There are no records or documents whatsoever
related to the person who made the pieces of the pulpit or to when the pulpit
was made. Nevertheless, the date of the mosque's construction -1281- could be
taken as being an approximate date for the manufacture of the pulpit.
This pulpit is an example of beautiful
workmanship, and at the same time, of bad luck. We hope that such a work will be
protected with greater care and in a manner which will spare it from damage.
Reference: Antika, The Turkish Journal Of
Collectable Art , October1986 Issue:19
