A Tangled Web of Metal Part 1 Cultural Dress

A Tangled Web of Metal Part 1 

Introduction: 

The Zay Initiative collection offers a rich tapestry of cultural textiles from the Pan-Arab world, reflecting its interconnectedness with neighbouring cultures, including the Indian subcontinent, Persian and Central Asian regions, Eastern Europe, and the Near East, as well as the Mediterranean European and Sub-Saharan African cultures. Amongst the myriad of artistic expressions found in these textiles, metal thread embroidery emerges as a recurrent and fascinating decorative element, known by various names and techniques across the region and holds a significant place in the region’s textile heritage. However, the terminology and techniques associated with metal thread embroidery vary vastly from region to region, often leading to confusion and controversies. 

This essay explores the nuances of various metal thread embroideries and its diverse expressions within the Arab world focusing on the Pan-Arab terms ‘talli’, ‘sarma’, ‘ghabani’, ‘shugl al tail’, and ‘taḥrīry’ and their variations, aiming to define and differentiate between them and their counterparts from around the world. 

However, to grasp the intricacies of the different embroidery techniques, one must have a precise comprehension of the diverse terms employed to denote metal threads across the Arab world. While there is no uniform term for metal thread across the Arab world, borrowed terms often align with those used in regions adjacent to other cultures. For instance, in the Arabian Peninsula, it may be referred to as ‘zari,’ akin to the term frequently used in India. However, ‘zar,’ meaning gold in Persian, roots the term. Strangely, in Iraq, metal thread is oddly labelled as ‘kalabdun’, a word directly borrowed from Hindustani, specifically kalabattu / kalabattun, signifying gold or silver threads. This term is believed to have a Dravidian connection, where ‘battu’ may have originated from ‘pattu’ / ‘patt,’ denoting fine fibre or silk. Other sources suggest a Sanskrit link, with the Sanskrit word ‘kalavatu’ meaning fine materials. 

Likewise, one frequently encounters the term ‘talli,’ which can sometimes denote the thread or yarn itself, but more commonly refers to the embroidery technique. 

Defining Talli and Its Variations: 

The term ‘talli’ is derived from the Turkish word ‘tel,’ meaning wire or string. This craft is highly esteemed in the Arabian Peninsula, particularly in the UAE, and enjoys widespread popularity in the southern and southwestern regions of Iran, particularly around Bandar Abbas. Traditionally, women in these areas would skilfully weave trimmings of varying widths by braiding flat metal wire or lamella, threads, and ribbons. These intricately crafted trimmings, consisting of multiple layers, were then meticulously sewn onto fabric panels cut in specific patterns, such as sleeves or trouser cuffs, chest panels, and necklines. Subsequently, these adorned panels would be stitched onto the garments chosen for festive occasions, only to be later detached and removed. Interestingly, these removable panels acquired the term “badla” – not to be confused with the embroidery technique – in the Gulf Arab countries, a word possibly derived from the Hindustani term ‘badal,’ meaning to change. 

A ‘talli’ embellished pair of trousers, southern Iran c. 20th century; Acc No: ZI2018.500796 ASIA; Source: The Zay Initiative collection, https://thezay.org/product/zi2018-500796-iranmetal-embellished-trousers-iran/ 

Close up of a ‘talli’ embellished pair of trousers, southern Iran c. 20th century; Acc No: ZI2018.500796 ASIA; Source: The Zay Initiative collection, https://thezay.org/product/zi2018-500796-iranmetal-embellished-trousers-iran/ 

However, the term ‘talli’ also denotes another distinct form of embroidery. This involves creating a sequence of small knots using flat beaten metal wire or lamella on a woven fabric, typically sheer materials such as net, tulle, chiffon, georgette, or gauze. Besides the Arab world, this technique is prevalent in the Indian subcontinent and Iran. In India, it is renowned as ‘badla,’ a term believed to have originated from the Hindustani word ‘bādal,’ signifying cloud, as the lustrous metal atop sheer fabric resembles a cloud with a silver lining. In Iran, it is famously known as ‘khus dozi,’ where ‘khus’ denotes the flat metal thread, and ‘dozi’ translates to needlework in Persian.    

Considering the vastness of the Arabic lexicon, it is not unexpected that this specific embroidery style is known by various regional names. For instance, in the Levant, particularly in Lebanon, it is referred to as ‘tariq,’ while in Egypt, it is known as ‘tulle bi talli,’ signifying metal on tulle. 

Close up of a ‘tulle bi talli’ embellished veil, Egypt c. 1920s; Acc No: ZI2018.500126. EGYPT; Source: The Zay Initiative collection, https://tinyurl.com/mr3ndymm 

In our exploration of metal thread embroidery techniques associated with the Turkish term ‘tel,’ it is worth noting ’tilla dozi.’ Although not practiced within the Arab world, this esteemed craftsmanship has found a place within Arab society, particularly through its application in the shawls that men frequently don over their heads during the winter months. 

Hailing from the Indian subcontinent, particularly the Kashmir region, it entails couching flat beaten metal threads onto the fabric’s surface, often delicate pashmina, creating the illusion that the metal is intricately woven into the fabric. Widely utilised for embellishing borders, hems, necklines, and cuffs, it exemplifies a meticulous and ornate aesthetic. 

Ottoman-era Techniques – Dival or Sarma: 

Similar to its eastern counterparts, the Arab world was significantly influenced by its western neighbour, particularly Ottoman Turkey. At its zenith, the Ottoman Empire extended across three continents, acting as the nexus between the East and the West—encompassing the Fertile Crescent, the Levant, Eastern Europe (including the Balkans to the southern reaches of the Great Hungarian Plain), Northern Africa, and the Eastern Mediterranean. 

Following the conquest of the Arab world around 1516-1517 CE, Ottoman dominance in the Middle East endured for four centuries until the early 20th century, marked by World War I and the Arab Revolt. Throughout these four centuries, numerous instances of reciprocal cultural influences and exchanges unfolded between the Arab and Ottoman realms. The convergence of Arab and Turkish cultures is evident in various aspects, including social life and the realms of decorative and performing arts, showcasing a harmonious blending over the centuries. 

Similar to how European fashion frequently drew inspiration from the French court, the amalgamation of socio-cultural influences between Ottoman Turkey and the Middle East was distinctly evident in their fashion and material culture, noticeably adopted from Istanbul. 

Among the most renowned and recognisable metal thread embroidery techniques from the Ottoman era is the ‘dival.’ The technique represents a sophisticated and intricate form of embroidery, encompassing various stages from pattern creation to the final execution. The process involves intricately carving the pattern from artificial leather using a specialised knife, followed by precise cutting and reinforcement with thick cardboard on a designated loom. 

A ‘dival’ or ‘sarma’ embroidered entari, Türkiye c. 19th – 20th century; Acc No: ZI2021.500972.4 ASIA; Source: The Zay Initiative collection, https://thezay.org/product/zi2021-500972-4-asia-metal-embellished-velvet-jacket-turkiye/ 

Closeup of a ‘dival’ or ‘sarma’ embroidered entari, Türkiye c. 19th – 20th century; Acc No: ZI2021.500972.4 ASIA; Source: The Zay Initiative collection, https://thezay.org/product/zi2021-500972-4-asia-metal-embellished-velvet-jacket-turkiye/ 

Subsequently, the top part undergoes meticulous embroidery with either 3 or 6 layers of metal thread, commonly known as sirma in Turkish, while the bottom is secured with fabric-coloured thread that has been waxed. This labour-intensive method resembles the Turkish wrapping technique on the front, coupled with a reverse crocheting process. 

A ‘dival’ or ‘sarma’ embroidered thobe mekhmal or bil sarma, Palestine c. late 19th century; Acc No: ZI2019.500643a PALESTINE; Source: The Zay Initiative collection, Link 

A ‘dival’ or ‘sarma’ embroidered thobe, Mharda, Hama region, Syria c. early 20th century; Acc No: ZI2023.501016.2 SYRIA; Source: The Zay Initiative collection, Link

A distinguishing characteristic of dival embroidery is the invisibility of the upper thread from the bottom, showcasing a meticulous craftsmanship. Often referred to as “Maraş work,” owing to its widespread application in Kahramanmaraş, this technique initially relied on manual dexterity. The materials used for dival embroidery encompass a range of fabric types such as velvet, satin, leather, silk, and taffeta. The cost of the embroidered fabric varies based on factors like pattern size and the intricacy of the processing technique. 

The term ‘dival’ in Turkish is thought to trace its origins to the Persian word ‘divān,’ meaning throne or council chamber, spaces often adorned with lavish seating arrangements. The opulence and luxurious quality of dival embroidery made it well-suited for royal courts, possibly explaining the choice of a term derived from the Persian term for a council chamber. Interestingly, while the Turkish term “sirma,” derived from the Greek word “súrō,” meaning to draw, specifically denotes the metal wire or yarn utilised in embroidery, the Arab world refers to the embroidery technique or style as “sarma,” adopting the Turkish term for wire. 

The talli and sarma represent just two of the prominent metal thread embroidery techniques in the Arab world. Other noteworthy techniques that warrant attention include the Syrian ‘ghabani’ or ‘aghabani,’ as well as ‘shugl al tail’ and Palestinian ‘taḥrīry,’ which we shall be focusing in our next instalment.