Object Note
Part of a lot with one more item also in the collection (ZI2021.500958.2 SYRIA) also in the collection.
Object History
This item was purchased by Dr. Reem Tariq El Mutwalli from an independent dealer in Luxembourg in 2021 to add to and enhance The Zay Initiative collections.
Object Features
This is an (indigo) dyed linen tunic robe (thobe) with winged sleeves (‘irdan), heavily embroidered embellishment, with patchwork (appliqued) down the middle and a detachable chest panel (qabbah).
The qabbah features geometric patterns resembling a flight of stairs (daraj) executed in (fallahi) or (cross_stitch) style embroidery in red, black, lavender, pink, orange, and green. With a stiff high collar with remnants of a (frog_fastener) loops, it features a common shoulder and neck panel (nishan) and (ruddah) constructed from a (coral) and yellow silk (ikat) fabric.
The top panel of the sleeves (sawa’id) is a thick embroidered panel displaying a large zigzag embroidered pattern with the daraj patterns in the background.
The fall hemline of the dress has a coral silk band with (herringbone_stitch) / (sabaleh) style embroidered design panel near the border and repeats of (double_axe) and the cypress tree (saru) also famously known as the ‘Tree of Life’. This band is appliqued over the base of the dress.
A rectangular patch of similar silk is embroidered with silk floss threads in a variety of colours – pink, orange, green, black, and shades of blue and purple – using a variety of embroidery techniques such as (cross_stitch) / (fallahi), (rasheq), and (satin_stitch) and is (appliqued) on the front of the skirt.
The skirt features three panels, two with floral patterns that resemble the (Damascus_rose) pattern and one central panel that displays repeats of the (Star_of_Bethlehem) motif. This patch is topped with a triangular patch of woven striped fabric in (coral), yellow, ivory, and black and was once quite typical of the village of Bethlehem.
This central panel is flanked by two side panels (banayiq) also heavily embellished with fallahi style embroidery featuring a variety of motifs such as the daraj, the double_axe, and the (khemat_al_basha).
The two banayiq are of two different dimensions making the central silk patch a little off the centre and asymmetrical. Believed to ward off the evil eye such an asymmetric style of design distribution was traditionally quite common to the Levant region, especially in Syria. The two banayiq and the lower back panel (shinyar) are all heavily embroidered displaying the daraj pattern alongside khemat_al_basha.
The piece is unlined and is completely hand-stitched and hand embroidered. Opulently decorated dresses such as this example were not only beautiful objects to wear on the day of the wedding, but also a way to demonstrate one’s skill and mastery of traditional techniques.
Mastery of a discipline was paramount to proving one’s suitability as a bride. In the past, mothers looking for suitable brides for their sons would try to find the girl most skilled in embroidery. Their assumption was, that if her embroidery was impeccable, she would make a perfect housekeeper and wife as well.
More Info
Interestingly, the zigzag patterns and the daraj are not unique to the garments from Hebron, they are also found in surviving examples from Ramallah, Beit Safafa, and Lifta. However, their appearance in dresses from Hebron is far more frequent compared to other places.
The daraj is believed to be a derivative or interpretation of the crescent shape steeped in ancient Mesopotamian symbolism. It is believed that the crescent shape often associated with the moon is considered sacred because of the old Mesopotamian myth of Anat the moon goddess.
Although with time changes in the cultural fabric of the region were noticed through the gradual decline of the ancient beliefs and the rise of monotheistic religions, however, the symbolism of the crescent shape remained with humanity.
The zigzag triangle on the other hand is often considered an imagery of water and waves. In fact, the three-point geometric shape also symbolises the rhythm of nature – birth, death, rebirth; morning, day, and night; spring, autumn, and winter.
However, the frequent appearance of these two patterns in costumes hailing from the Hebron area is also perhaps because of Hebron’s geography. Located in the south of Jerusalem, the region features a hilly landscape with vineyards. It has been known for its rich and unique craftsmanship from glass and ceramics to leather and fabrics. Perhaps these design elements are reflections of the landscape that these highly skilled craftsmen community created centuries ago.
Links
- Stillman, Yedida Kalfon, and Norman A. Stillman. Arab Dress a Short History from the Dawn of Islam to Modern Times. Brill, 2000.
- Weber, Heike. ANAT and Her Hero BAAL The Embroidery Pattern Language of the Levant. Syrian Handcrafts Limited.
- Kalter, Johannes. Arts and Crafts of Syria. Thames and Hudson, 1993.
- Kawar, Widad, and Tania Tamari Nasir. Palestinian Embroidery: Traditional “Fallahi” Cross-Stitch. Al-Moʼassasa al-Aarabiyya Lildirasat Wa al-Nashr, 2003.
- Kawar, Widad Kamel. Threads of Identity: Preserving Palestinian Costume and Heritage. Rimal Publications, 2011.
- Dimitrova, Pamela. “The Traditional Clothing of Palestine.” Arab America, 30 Oct. 2019, https://www.arabamerica.com/the-traditional-clothing-of-palestine/
- Suleman, Fahmida. Textiles of the Middle East and Central Asia – the Fabric of Life. Thames & Hudson Ltd, 2017.
- ÇATALKAYA GÖK, Ebru. “Çi̇tari̇ fabric.” TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION, vol. 11, no. 2, 2021, pp. 443–453, https://doi.org/10.7456/11102100/008
- Van der Walt, Ansie. “Introduction to Embroidery from the Arab World.” Weave a Real Peace Creating a Connected Textile Community, 1 May 2022, https://weavearealpeace.org/warp-blog/embroidery-from-the-arab-world/
- https://artsandculture.google.com/story/aQUBtwXxH-DhKQ
- https://www.tirazcentre.org/en
- https://encyclocraftsapr.com/textiles-6/
- https://encyclocraftsapr.com/embroidery-4/
- https://trc-leiden.nl/trc/index.php/en/blog/1503-a-hebron-embroidery-recently-added-to-the-trc-collection-and-what-it-can-tell
- https://trc-leiden.nl/trc/index.php/en/blog/1316-palestinian-embroidery
- https://trc-leiden.nl/trc/index.php/en/blog/1281-a-palestinian-embroidery-sampler
- https://trc-leiden.nl/trc/index.php/en/blog/1149-embroidered-dresses-from-the-southern-region-of-jordan-ma-an-city
- https://trc-leiden.nl/trc/index.php/en/blog/1183-a-changing-tradition
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