In the intricate tapestry 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 emerges as a symbol of cultural exchange and adaptation.
A Traditional Men’s Animal Hair Cloak or ‘Abāyah, Iraq, c. 19th – 20th century; Acc No ZI2019.500849 IRAQ; Source: The Zay Initiative
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 or mishlah.
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 / mlyayah, which came in shades of blue, black, or stripes and were also regionally known as izār, ridā’, çarşaf / sharsaf etc.
A Traditional Jewish Silk Brocade Cloak or Izār, Iraq, c. 20th century; Acc No ZI2018.500239.1 IRAQ; Source: The Zay Initiative
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.
A Traditional women’s metal embellished silk ceremonial bath wrap or peshtemal, Iraq, c. 20th century; Acc No ZI1967.500633 IRAQ; Source: The Zay 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.
Colossal Statue, Saudi Arabia, c4th or 3rd century BCE; Exhibition: Roads to Arabia, Pergamon Museum, Berlin; Source: Al-‘Ula ( Department of Archaeology Museum, King Saud University, Riyadh )
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 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.
A Traditional Libyan women’s Wool and Silk Cloak or Ridā’, Libya, c. 20th century; Acc No ZI20223.501022.4 LIBYA; Source: The Zay Initiative
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.
Subsequently, the two warp ends are folded inward and joined at the center, with the top edges stitched along the selvedge, 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.
A Traditional possibly Syrian Silk Brocade Cloak or Izār, Iraq, c. 20th century; Acc No ZI1983.500238 IRAQ; Source: The Zay Initiative
In a parallel manner, indigo-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.
A Traditional Men’s lack Animal Hair Cloak or ‘Abāyah, Iraq, c. 19th – 20th century; Acc No ZI1992.500638.2 IRAQ; Source: The Zay Initiative
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 of human experience, the threads of culture and heritage intertwine to form a rich and vibrant mosaic of diversity.
Donate
