In the intricate tapestry Tapestry: wall hanging or other large piece of fabric that is woven in coloured weft threads or embroidered with a decorative design. Typically made of wool, but they can also be made of other materials such as silk, linen, or cotton. Often used to decorate homes, churches, and other buildings. of cultural evolution, garments often serve as more than mere clothing. They become vessels of tradition, markers of identity, and reflections of historical connections. Among the many garments that weave through the fabric of time, the men’s ‘abāyah often also regionally called the bisht Bisht: (Arabic: bjd or bjād: cloak, Akkadian: bishtu or Persian: back, pl. bshūt synonyms: ‘Abā,‘abāyah, ‘abāh, ‘abāt, dafah Daffah : (Arabic: side, synonyms: ‘Abā, ‘abāyah, ‘abāh, ‘abāt, bisht or mishlaḥ), long, wide, and sleeveless outer cloak worn in public by both sexes. In time this article of dress evolved and changed in shape, style, and function., or mishlaḥ), long, wide, and sleeveless outer cloak worn in public by men. In time this article of dress evolved and changed in shape, style, and function. emerges as a symbol of cultural exchange and adaptation.
In the heart of Middle Eastern heritage, the ‘abāyah finds its roots in a blend of craftsmanship, tradition, and linguistic evolution. In contemporary Arab society, the traditional ‘abāyah, characterized by its square shape and sleeveless design, is seldom seen beyond the Arabian Peninsula, where it is referred to as bisht Bisht: (Arabic: bjd or bjād: cloak, Akkadian: bishtu or Persian: back, pl. bshūt synonyms: ‘Abā,‘abāyah, ‘abāh, ‘abāt, dafah Daffah : (Arabic: side, synonyms: ‘Abā, ‘abāyah, ‘abāh, ‘abāt, bisht or mishlaḥ), long, wide, and sleeveless outer cloak worn in public by both sexes. In time this article of dress evolved and changed in shape, style, and function., or mishlaḥ), long, wide, and sleeveless outer cloak worn in public by men. In time this article of dress evolved and changed in shape, style, and function. or mishlah Mishlaḥ: (Arabic: to take off, synonyms: ‘Abā, ‘abāyah, ‘abāh, ‘abāt, dafah Daffah : (Arabic: side, synonyms: ‘Abā, ‘abāyah, ‘abāh, ‘abāt, bisht or mishlaḥ), long, wide, and sleeveless outer cloak worn in public by both sexes. In time this article of dress evolved and changed in shape, style, and function. or bisht), long, wide, and sleeveless outer cloak worn in public by men. In time this article of dress evolved and changed in shape, style, and function..
However, in various regions of the Levant, including Syria, Jordan, and Iraq, it continues to be worn by Bedouin men especially during festive events.
Additionally, Shi’ite clerics in Lebanon and Iraq also don this attire as part of their ceremonial garb. Nevertheless, the adoption of the ‘abāyah even in conservative Saudi Arabia represents a form of neo-traditionalism.
Historically, the favored women’s outer garment irrespective of religious and or tribal affiliations was the sheet-like mlayah
Mlāyah: (Arabic; Synonym: ‘izār, çarsaf, sharshaf), a light silk or silk body covering or wrap often worn by women in public.
The terminology surrounding these garments reflects the diverse linguistic and cultural influences that have shaped the region. The term çarşaf, originating from Ottoman Turkic, translates to ‘bed sheet.’ Over time, this Turkic term seeped into colloquial expressions in the Arab region, especially in Syria, echoing the historical connections between the Levant and the Ottoman Empire.
However, linguistic diversity adds layers of complexity to the terminology used to describe these garments. While some regions identify the complete ensemble as çarşaf or sharsaf, others distinguish between the torso covering and the skirt, known as izār.
In North Africa, particularly in Egypt, the entire ensemble is referred to as mlaya or mlyaya. In Iraqi parlance, the term izār encompasses the entire ensemble, whether in set or singular form.
Peshtemal: (Classical Persian: futa – bath wrapper; Arabic: ‘ajami – mute, foreigner or Persian; Synonym: mi’zar_hamam, mi’zar_’ajami, pashtaman), a traditional bath cloth possibly in the form of a wrap to be used in public bath houses. In Syria, they were adorned with cypress tree motifs, a noticeable Persian influence, and were imported and locally produced.
, Iraq, c. 20th century; Acc No ZI1967.500633 IRAQ; Source: The Zay Zay: (Arabic: costume, Pl. azyaā’), a set of clothes in a style typical of a particular country or historical period. Initiative
Beyond linguistic nuances, comparable drapes and styles can be observed among the women of North African nations like Algeria, Libya, and Tunisia. While the fabrics, weaves, and dimensions may vary, the essence of draping around the body, secured by belts and sizable fibula, remains a common thread that binds these diverse cultures.
Various examples from ancient texts to early medieval paintings testify this theory. According to Herodotus’ records the Arabs’ attire is recorded as the ‘zeira’, a flowing garment cinched with a belt, is likely the earliest reference to the izār, akin to the late Biblical Hebrew ‘ezor’—a large wrap functioning as both mantle and waist cloth.
Strabo’s later account of the Nabataeans supports Herodotus, describing them without tunics, with girdles around their loins and slippers on their feet.
Statues from the ancient north Hejazi kingdom depict bare-chested figures, clad only in the izār, mirroring Strabo’s depiction of the Nabataeans. Even today Muslim pilgrim’s wearing of the izār in a state of ihram echoes this ancient tradition.
Similarly medieval paintings from illustrated versions of the Maqamat manuscripts attributed to c. late 12th to 13th century depicts female figures draped in various forms of izār.
The original izār comprised of two identical pieces of fabric woven on the same loom. Typically unstitched, they were worn separately over the lower and upper body, with the fabric draped across the torso often extending to cover the wearer’s head or act as a veil.
Eventually, the two pieces were stitched together along their weft Weft: one of the two basic components used in weaving that transforms thread or yarns into a piece of fabric. It is the crosswise thread on a loom that is passed over and under the warp threads. edges, creating a stitched version of the izār. Both variations persisted and were worn on different occasions until the mid-20th century.
Indeed, the North African version known as the ridā’ continues to be worn today in regions of Libya, Algeria, Tunisia, and Morocco during various festivals and ceremonies that warrant traditional attire.
In fact, during the advent of Islam, basic clothing for both genders included an undergarment, a body shirt, a long dress or tunic, and an overgarment like a mantle or coat, along with accessories such as footwear and a head covering.
Many garments were similar for men and women, often large pieces of fabric were wrapped around the body, reflecting the traditional attire of the Bedouins, as noted by Ibn Khaldun.
It is noteworthy that clothing held substantial material value in the Middle East throughout history. They were esteemed as valuable gifts, a form of payment, and spoils of war. Maybe this is why woven fabric from looms was never cut or tailored into specific shapes before being used as clothing.
This in turn possibly resulted in the creation of the contemporary stitched ‘abāyah from the originally unstitched izār fabric. The ‘abāyah typically comprises two uncut panels of similar fabric, stitched horizontally along the weft Weft: one of the two basic components used in weaving that transforms thread or yarns into a piece of fabric. It is the crosswise thread on a loom that is passed over and under the warp threads..
Subsequently, the two warp Warp: One of the two basic components used in weaving which transforms thread or yarns to a piece of fabric. The warp is the set of yarns stretched longitudinally in place on a loom before the weft Weft: one of the two basic components used in weaving that transforms thread or yarns into a piece of fabric. It is the crosswise thread on a loom that is passed over and under the warp threads. is introduced during the weaving process. ends are folded inward and joined at the center, with the top edges stitched along the selvedge Selvedge: (English: Self-finished edge or self-edge: a dialect forming transition), an edge produced on woven fabric during manufacture that prevents it from unravelling. Traditionally the term selvage applied to only loom woven fabric, presently it could be applied to flat knitted fabric too. , forming a square-shaped, front-open garment. Finally, slits are cut at the top corners of the vertically folded sides to create armholes.
During the 19th century, the stitched ‘abāyah in vibrant lance_découpé fabrics gained popularity, especially. These fabrics, woven in bustling centers like Damascus and Aleppo, became renowned across the Arab world. Despite being culturally significant in the Levant, they were often associated with the affluent segments of Arab society due to their intricate patterns and luxurious drape.
In a parallel manner, indigo Indigo: (Latin: Indigo – India, synonym: nil Nīl: (Latin: indigo), Arabised term for Indigo, a natural dye belonging to the ‘Indigofera Tinctoria’ species of plants that have been cultivated in East Asia, Egypt, India, and Peru since antiquity. According to Pliny the Elder, it was named after India as it was the source of the dye.), a natural dye belonging to the ‘Indigofera Tinctoria’ species of plants that has been cultivated in East Asia, Egypt, India, and Peru since antiquity. According to Pliny the Elder, it was named after India as it was the source of the dye. -dyed fabrics were frequently linked to wealth and prosperity. Apart from their aesthetic appeal, these fabrics also served a practical purpose. The dark blue or black hues helped prevent garments from fading under the intense desert sun and from getting soiled by the desert sand. Therefore, the stitched ‘abāyah, which eventually emerged as the quintessential outer garment representing the Arab world, began to gain popularity in black, thus establishing the trend that remains prevalent today.
Thus, as we unravel the threads of history, the stitched ‘abāyah stands as a living artifact, embodying the resilience of tradition amidst the winds of change. It reminds us that in the tapestry Tapestry: wall hanging or other large piece of fabric that is woven in coloured weft threads or embroidered with a decorative design. Typically made of wool, but they can also be made of other materials such as silk, linen, or cotton. Often used to decorate homes, churches, and other buildings. of human experience, the threads of culture and heritage intertwine to form a rich and vibrant mosaic of diversity.
