The Kilim

Abstract

During my time at KABK, I realised, while others were working digitally, I preferred to work with analogue or traditional forms of art and hand-woven kilims became a real fascination of mine. Through my research, I began to understand how images could tell stories that have different interpretations and that there could be hidden meanings behind symbols, patterns, and motifs. Having been surrounded by intricate handmade patterns throughout my childhood, in the form of carpets and kilims, had clearly had an impact on my subconscious, helping to generate my attraction to images and colour. I wanted to understand what the implications of these traditional hand-woven kilims and carpets not being made anymore would be and whether there were other ways that could tell the stories incorporated into their strands. I wanted to know why, when Turkish kilims are so highly valued, the craft is still dying out.

Turkish carpet weaving is slowly disappearing. In the past, carpets would be woven in almost every household but now only few continue this tradition. In this essay I will explore the changing nature of traditional Aegean village life, particularly for that of women. Carpet weaving was their art, their creative outlet, and their visual language. It provided another way of connecting them to the landscape and a way to earn some money. I hope to discover how they tell their stories now. I also want to see if these traditional motifs have found a new lease of life in more contemporary and decorative arts. If they have, do they still have the same meanings, are they still telling stories? I will investigate what will be lost if this craft does become a thing of the past. It is my belief that there is very little public awareness of the situation, if this is true, I hope to find ways to change this and perhaps find ways that would help to turn it around.

Kilim weavers, kilim sellers and local connected businesses will constitute my primary sources. I will interview them, both in order to gather information and to gain an insight into why they think it is in danger of disappearing. The book Kilim, The Complete Guide by Alaister Hull and Jose Luczyc-Wyhowska will be my primary source for historical references in addition to several different Turkish sources. The artwork of Faig Ahmed and the work of textile specialist and artist Belkis Balpınar will be my case studies on taking traditional skills into the realm of contemporary art. I will investigate organisations, such as DOBAG Carpet Initiative, who are trying to create awareness of this sad situation. Studying the techniques, patterns, meanings, and purpose will go some way to elucidate the impact that this craft has had on the Aegean Region. Working on a subject that is from my homeland and constitutes a part of my cultural heritage is very important to me and it is certainly something I would like to include in my future works. I hope that my work provides a constructive way to voice this concern about the loss of a part of Turkish culture and perhaps generate new ideas of how this form of art can continue in the modern world.

"What could the impact be on Turkish cultural heritage, and the special role women have played in it, if the ancient craft of hand weaving kilims is allowed to disappear? Does the current drive towards sustainable living provide feasible ways for it to remain socially and artistically viable?"

Introduction

Handmade kilims were always part of the décor in our home and the homes of family and friends in Türkiye. Some lay on floors, some, especially those made of silk, were hung on walls. I never really considered them to be anything special or unusual. Growing up I just assumed that most people had Turkish kilims in their houses.

Traditional cultural crafts, those that have been around for centuries, are dying out in many places. Examples of these are, sculpting stone and cotton and silk weaving in India and the art of making bagpipes in the UK. There are many reasons for this, not least commercialisation and modernisation. Türkiye is also falling victim to this, whether it be crafts, old recipes, music, or dance. Unfortunately, in this technological era people are looking for easier and faster ways to generate products and make money. In the Aegean Region the art of Turkish kilim weaving is simply dying out as they are being replaced by mass produced machine made equivalents. However, they are not equivalent, they no longer retain their uniqueness, their specially chosen and naturally dyed colours, or their individual stories.

The loss of the art of hand-woven kilims in Türkiye is more than just a change from handmade to factory made, it is a change that particularly affects women and their way of life. As these kilims cease to be created by village women, their original identity and importance is also lost. They hold a special place in Turkish culture as a form of artistic expression but also contain language and meaning beyond being solely decorative. Each kilim has its own story which is told through its design and motifs. Losing this craft risks losing this unique visual language.

Another important consideration is how sustainable this craft is and how society has become increasingly aware of the need to change. Our current way of doing things risks the longevity of the planet as well as the loss of many traditional arts, crafts, and expertise. “The volume of production in the craft sector has gradually decreased over the last century and has been replaced by industrial production. The artisan has to compete nationally and internationally with products that appear to have been made by hand, when in fact they are mass produced.” ¹

For a long time, I have been interested in the art of weaving but after my research into its importance within Turkish culture, I felt it was imperative to try and find ways that it could be revived. Such a special and complex craft shouldn’t be allowed to die out. I believe that understanding the language and significance of the motifs will play an important part in this.

Etrim Carpet

’Etrim Carpet’ is situated in Etrim Village, which is located in the Aegean Region of Türkiye. It was founded by Mehmet Başol in 1981. It is like an Aladdin’s cave of handmade carpets and kilims. Here you can watch people weave, see the threads being dyed and dried and view a vast collection of kilims and carpets from all around Türkiye, which, of course, are also available for purchase. When you are there, they want you to experience Turkish hospitality at its best and most traditional while they try to find you the perfect carpet or kilim suited specifically to your taste. Tasty local delicacies are offered as you listen to the story behind each woven masterpiece.

I spoke with Mehmet, and he told me that he had his first group of tourists in 1981, he said “They were 25 British people. It was so different back then, and I was so excited. At that time, I didn't have the buildings that are here now, so I set up a pergola and put some cushions on the floor, my mum made gözleme, [a type of savoury stuffed pancake] and other local delicacies. I sold many carpets that day. I made sure that everyone got the carpet of their dreams.” ²

Mehmet has kept his business going with the same passion and enthusiasm but is saddened by the craft’s slow decline. He has been trying to find ways to save this craft but isn’t getting the support he needs. I am in awe of this special place and delighted by the fact that it is possible to watch the weavers at work and ask them questions. Everyone working there is so welcoming. Every year, when my English family come to visit us, we go to Etrim because it is such a lovely experience. The local village food is cooked on an open fire while you sit in the garden amongst the wonderful smelling pine trees looking at beautiful carpets and kilims. My English was always impressed by the rich ancient culture, and she also loved Turkish kilims. She bought her own carpet from Etrim Carpet. She was so happy with her carpet, she said ‘it has transformed my living room, it’s like a deep red jewel glowing next to my fireplace.’

Process of the Kilims

There is a lot that goes into making a hand-woven kilim, which is part of what makes it so special. The process of creating a kilim begins long before the weaving. Firstly, the colours are chosen, and then the flowers, leaves, fruits, or plants, that create the dyes for the chosen colours, are picked. The dyes are all produced from local plants. For example, in the Milas area, peach, hibiscus, sage, walnut and mint leaves were used frequently. As Mehmet Başol told me that “There was a man who would come to dye all the threads, but he kept his technique a secret. He would make different batches of colours for each weaver and then leave. It was all so mysterious and none of us could replicate it. Every single colour was %100 natural made from leaves and plants.” ³

The fleeces used for the wool would have been washed by driving the flock of sheep into a stream. They were washed repeatedly until the desired content of natural oil remained. After this, the wool was “carded” to align the fibres and then spun, a laborious task that was often taken on by the whole community. Every single skein of wool was dyed and spun by hand. After the dying process the looms were prepared, and the designs formulated. The designs weren’t sketched, they were all just in the minds of their creators. Once begun they would weave every day, usually first thing in the morning and again later in the evening.

Depending on the size, a kilim would usually take between one and three months to complete. Every colour, pattern and material used was always chosen specifically in order to create a unique piece. Attention was paid to using quality materials [the best wool or silk] as it was important to make something that would last for a very long time. It is said that due to the natural qualities of the lanolin in the wool the colours used in these kilims often become richer as the years go by. It is clear that the process behind the production of hand-woven kilims is very much sustainable as every part of the process is completed by hand.

My mum moved to Türkiye in 1997, and she has been fascinated by Turkish kilims ever since. Her passion for them clearly had a lasting impact on me. Being an artist, she was drawn to the vibrant colours, textures, and compositions of these kilims. I remember visiting village weavers and kilim shops with her. I remember thinking that these huge buildings filled with kilims were magical and I was sure there must have been some flying carpets in there somewhere. My mum always said that kilims ‘gave her immense joy, the sumptuous colours, the beautiful designs, that they captured a part of history, a sense of the exotic and mystique of a different culture.’

Purpose and Sustainability

Originally Turkish kilims were made out of necessity; they were used as part of a shelter, they were placed over the floor and on the walls of tents as insulation. Historically the Turks were nomadic people, so kilims were ideal for their way of life as they could be easily rolled up and transported to their next destination.

The kilims were also used to keep their camels warm in winter or to protect them from the harsh sun in the summer. They were also used to cover coffins before a burial. “Kilims were woven for use by the family and the women would keep one specifically for her funeral which would be placed on the coffin and then donated to the mosque.” ⁴

Traditionally, kilims were made for their own needs, but any excess wool would be spun to make extra kilims and bags which would, be used as currency in exchange for essential items, contracts for irrigation, land, and marriage. In fact, they became an essential part of a wedding dowry. The kilims were woven to a high standard as it was a way for a woman to show her commitment and potential earning power to any prospective husband.

In my research question I asked if hand weaving kilims could remain socially and artistically viable considering the current drive towards sustainable living. As I mentioned above, all these hand-woven carpets are made locally from local plants and wool and they provide work for the locals, especially for women, which certainly suggests sustainability. They also generate a setting for social bonding and an outlet for personal expression. According to Feryal Söylemezoğlu, Ankara University Department of Handicrafts, “members of farming families have frequently been involved in handicrafts and carpet weaving… in the wintertime and in bad rainy weather it is an additional income. This is of great consequence for rural development.” ⁵

Handwoven carpets are indeed a sustainable product. The start-up costs are negligible- a basic loom, a knife, and a pair of scissors all set up at home which avoids any additional workshop expenses. Fleeces are hand shorn, the yarn is spun and dyed by hand with organic natural dyes made from local fauna. By avoiding the use of synthetic materials and chemical dyes the local environment is being preserved and the earth’s dwindling natural resources, in terms of fossil fuels, are not being used. Additionally, only locally grown plants and materials are used making it even more environmentally friendly. It is clear to see that the hand weaving of kilims is socially, culturally, and environmentally sustainable, something that many now consider important when purchasing new items. “In recent decades there has been a resurgence of crafts and artisans’ processes as new markets have emerged, particularly among urban consumers who attribute ethical, environmental and socio-cultural value to crafts.” ⁶

I am sure these carpets could be promoted on a much larger scale with an emphasis on their sustainability, paying particular attention to their ethical, environmental, and socio-cultural value which would attract the attention of the aforementioned market. However, my research did suggest that there remained some doubt as to whether producing handmade carpets could remain socially and economically viable for the villagers involved.

Weaving, Women, and Commercialism

Weaving has played a large part in the heritage and culture of women in Türkiye. Passed down from generation to generation, it has provided a way for them to show the world their creative skills and how a piece of art can also be a functional part of daily life. “There were often two looms in every village household, and everyone could weave. The children and husbands would help, but things have changed, people don’t want to weave anymore.” ⁷ Girls learnt how to weave at a young age, from their mother and grandmother and would continue weaving throughout their lives. “We started learning at the age of 6 and had completed our training by the age of 10. My mother used to tell me to help her so we could finish the kilim as quickly as possible. By the age of 15 we were able to finish a whole kilim by ourselves.” ⁸

In the villages in the Aegean region women didn’t go out to work, instead they would look after their families, tend their animals, work in the fields, sew and weave kilims. Therefore, weaving these kilims has always been a part of their daily routine. It gave them purpose, a way to earn a living and to express themselves creatively. When I was visiting these villages one of the weavers told me, “We are so sad because our art used to be so important and was appreciated by so many worldwide and now, it seems that it has all been lost.”

This skilled, creative work allowed women to elevate their position in society as they were no longer just a mother or a tender of livestock. Unfortunately, in these villages, women didn’t have a public voice, they weren’t allowed to have an opinion outside of their own home and certainly wouldn’t publicly express their feelings. In place of this, over the years as they were weaving, they made up their own language through the patterns and motifs on the kilims. Each kilim tells the story of its maker which meant that these women always had a special bond with every one of their creations.

None of these women had art lessons or studied art but have managed to create these wonderful pieces of art solely through their own imagination. Being handmade every single kilim is absolutely unique. Turkish kilims seem symmetrical at first, however, after speaking to one of the weavers on one of my visits to Etrim, I was told that “everything, at first glance, seems symmetrical, but we always make sure that there is one mistake because only God can create perfection” from this we can identify that religion was also very important to those weaving the carpets.

“I always tell people, weaving kilims is a difficult job, it requires a lot of effort, but at the end of the day, it is worth it. I am still amazed at the kilims that people produce. [shows a kilim] Look at this beauty, look at the materials used, look at the dignity it holds, look at the colours a person made it over months, not a machine. It's like silk, it's so beautiful, it's nearly 100 years old and it's still perfect.” I felt a real sense of pride when Mehmet talked about the dignity of the work the women produced. ⁹

Nowadays, the women generally have no interest in continuing these traditional crafts as they usually entail a lot of hard work for a very small financial reward. Unfortunately, most of the younger generations who live in the villages, now want to leave, and move to the nearby towns and cities, where they hope to study and work for regular salaries. The dowry, while still a part of many marriage contracts, no longer include kilims or carpets. They have been replaced by televisions, white goods, and modern furniture.

Due to a high demand, mainly from the Western tourists visiting Türkiye, the production of kilims changed during the 80’s becoming a far more commercial activity. To generate more at cheaper prices, natural dyes were replaced with synthetic ones, often leading to much brighter colours which also look synthetic. Hand-spun wool was replaced by machine spun which led to the wool losing its natural oil content, so grease had to be added which didn’t have the same qualities as the natural lanolin. Generally, kilims were copied from a popular design, so the designs no longer told a story.

The village kilim weaver became obsolete as the handmade kilims were less profitable and far more time consuming. If the art of hand-woven kilims disappears completely, I feel like I would lose an important part of my cultural heritage unique to Türkiye and to Turkish women. The loss of the 2-dimensional imagery that convey their hopes and beliefs. It shouldn’t be allowed to just disappear, it’s too important and should be recognised as part of the liberation of Turkish women.

Design and Motifs

I assumed my attraction to these hand-woven kilims to be linked to the decorative motifs and colours. Turkish kilim designs are often made up of decorative motifs arranged symmetrically to create an aesthetic design. The more I researched and studied the designs the more I became aware that the symmetry and ordered arrangement was frequently repeated, and that this was perhaps one of the reasons why the designs are so widely appreciated. In ‘The sense of Order: a study in the Psychology of Decorative Art’ E.H. Gombrich argues that humans seek ‘a sense of order not because nature is generally orderly, but rather because perception requires a framework against which to plot deviation from regularity.’ ¹⁰ N.K. Humphreys Director of Research of Animal Behaviour, Cambridge University summarises Gombrich’s theory as ‘Humans and animals have an innate sense of order and that they find order relaxing and pleasing, and a mild degree of disorder interesting.’ ¹¹

In a paper on the Sense of Order, DN Perkins of Harvard University analyses in detail some of the theories put forward by Gombrich, in particular ‘the field of force’ which concerns arrangements with a centre and a decorative border.’ ¹² Immediately I thought of Kilim and traditional carpet designs. Gombrich, according to Perkins, says that “decorative arrangements with a centre and a decorative border have two effects; those things (motifs) constituting a design in the border tend to lose their individual qualities and to direct attention towards centre, those things in the centre tend to have their individual qualities emphasised." ¹³ Gombridge explains this by describing a cake decorated with cherries. The cherries around the rim seem less appetising, more of a frame. However, ‘the cherry in the centre of the cake is very much a cherry' EH Gombridge. I could see the connection with many kilim and carpet designs where there is a border, often within another border, surrounding a central arrangement of motifs that immediately attract your attention.

Understanding that part of the attraction was because of the symmetry and arrangement of the design I then wanted to understand the significance of the different ornamentation used in the designs. According to the American Institute of Graphic Arts, graphic design is ’the art and practice of planning and projecting ideas and experiences with visual and textual content’ The textual context of the carpets isn’t apparent at first but is found in the arrangement and juxtaposition of the motifs.

Turkish kilim designs are often made up of decorative motifs. The motifs used can vary widely depending on the region and cultural traditions, but each motif has a symbolic meaning or story or a particular message. For example, “In the past, when girls in our village fell in love with someone, they couldn’t just tell their family. Instead, she would weave certain patterns into her carpet. When her parents saw the carpet, they would know that she wanted to marry.” ¹⁴

Some motifs are not restricted to a certain area but are understood across the country "Su yolu. Without water there is no life, so this is a very important motif that is often found incorporated into border designs and represents life itself.” ¹⁵

Other commonly used motifs include symbols representing birth, death, abundance, power, motherhood, and family. For example, the “Eli Belinde” motif is a symbol of motherhood, so women who were ready to have a child would use this symbol in their carpets. “I travelled widely during 1980-1990 visiting many villages all over Türkiye and they all knew and used the Eli belinde motif and still do to this day.” ¹⁶

“Hayat ağacı. Symbol of immortality. Man cannot eat the fruit of the tree of eternal life but hopes for life after death in its depiction. Monotheistic religions frequently use this symbol, and it is interesting to note that kilims with this design, when hung in a village home, are often hung upside down. This practice illustrates the fact that it is believed that the roots of the tree are in heaven, the source of all power, which are then transposed to earth by way of the branches.” ¹⁷ The carpets woven in Etrim use a more region specific motif known as the “Muska.” This motif is believed to keep you safe from bad spirits.

There are kilims that have been made specifically as prayer mats and since the 13th century the motifs used can also be seen replicated in mosques or on the tiles of mosques. The geometric Islamic motifs hold significant symbolism related to God and transcending life, symbolizing the infinite.

Inspiration

My research into motifs has led me to better understand their significance, both within Turkish culture and within the stories of the weavers. There is a need to keep these motifs alive because they represent a part of Turkish culture and understanding of their art. Faig Ahmed an artist from Azerbaijan, and his work is a great example of how a traditional craft like carpet weaving can be transformed into something new and innovative. By experimenting with digital images and 3D design, he is able to break away from traditional forms and create something entirely unique. Ahmed is fascinated by carpets, how they are woven, their patterns and their purpose so he decided to use this in his work. “His works re-imagine ancient crafts and create new visual boundaries by deconstructing traditions and stereotypes.” ¹⁸ He is able to demonstrate how the meaning and purpose of a craft can evolve over time. Ahmed's work is a great reminder of the importance of creativity and experimentation to keep traditional crafts alive and relevant and how they can be taken to another level. He shows how “Ideas that have been formed for ages are being changed in moments.” ¹⁹

All Faig’s carpets consist of one half being made using the traditional techniques and designs and the other half changes into something completely different according to his own design. They are very intriguing pieces of art. Faig still works with weavers from his home country which gives those women an income and a way to be a part of something contemporary that still relates to their cultural heritage.

Another artist working with weaving and carpets is Belkis Balpinar an artist born in Eskisehir, Türkiye. Belkis is a writer, textile artist and researcher. In 1986 Belkis started to make her own kilims using her own style which then became known as “Artkilim.” Her mission was to create modern minimalist kilims that still use the traditional weaving techniques. She also only uses naturally dyed thread. Her insistence on using naturally dyed threads and the traditional weaving process goes some way to help ensure that the knowledge and skills related to the traditional process are not lost. She, like Faig, also proves what can be achieved by pushing the boundaries of the traditional. Belkis uses huge spirals on her pieces “Kilims are always so flat, motifs are just scattered around and then there is a border around the border creating a boundary to the rectangle. I decided to get rid of all these borders and started to make huge spirals” ²⁰ She goes on to say that “While the kilim motifs have been transferred from mother to daughter for centuries, they matured with very minor changes over time. Although I have used the kilim weaving technique, as an artist, I broke away from the traditional patterns and motifs creating a completely new form of art by leaving unwoven sections that give artkilim its multi-dimensional quality.” ²¹ Belkis Balpınar explains her contemporary approach to age-old kilim structure.

Belkis is artistically challenging the idea of traditional weaving. She adapts this ancient process and makes it her own. The craft is still alive but in a different form. It doesn’t have quite the same social implications as in the villages, but she has worked with one traditional weaver for many years. “I’m so thankful to one weaver we literally trained each other, we developed a great understanding of each other and went on to create these amazing textiles.” ²² However, unlike in the villages, her designs are her own, they are not traditional motifs that have a meaning, and they are being executed by other people rather than just uniquely by her telling her own story.

Looking back at my own projects, I have always tried to keep to the traditional techniques but then add on my own style. An example of this is when I decided to make some traditional Turkish dishes but then, like Faig and Belkis, I wanted to provoke a reaction by adding crazy food colouring. Turkish people are very proud of their food and cook in a very traditional manner. It generally consists of very simple cooking using fresh seasonal ingredients. Turkish cooking is, generally, not open to new ingredients or methods and this was no exception as it was not received well.

Is this enough?

Preservation of traditional crafts is so important for our cultural heritage and for the skilled craftspeople. The Natural Dye Research and Development Project (DOBAG) is one initiative which is doing this successfully. Their goal is to revive traditional weaving and support rural communities. Their carpets use natural dyes and hand-spun wool which create high quality kilims. They pay women in rural areas to do the work, ensuring that those involved in keeping the tradition alive are able to make a living. They get paid per knot and receive a bonus on completion of a carpet or kilim. Not only ensuring the continuation of traditional crafts this project also supports and sustains rural communities. I really hope this scheme is expanded to many other areas of Türkiye and neighbouring countries giving women a chance to stay in their villages and be able to earn a fair wage. As a graphic designer I would happily volunteer for this kind of organisation to help promote and develop their initiative. Their scheme has led to similar projects in other countries that support carpet weavers in Afghanistan and Tibet. The cultural survival Ersari Turkmen Project supports Afghan refugees. Barakat, Inc. is a non-profit organisation providing basic education and medical care to Afghan refugees. The Survival Tibetan project supports Tibetans and their traditions. One other organisation working to keep cultural crafts alive is UNESCO they use a wide range of strategies and initiatives. They have many training programmes which ensure passing skills on to younger generation. They do a lot of documentation, workshops, conferences based on the craft. Most importantly they promote these crafts worldwide for people to have more awareness. These are all very positive and encouraging projects but there need to be many more started in order to make a real difference.

Conclusion

It’s great to see modern artists taking on this traditional craft and not only promoting it but taking it to new contemporary levels meaning it will reach wider audiences. Hopefully they will inspire other artists to do the same. It is also really encouraging to see organisations like DOBAG creating such innovative projects that both support the tradition itself and the local skilled craftspeople.

Mehmet of Etrim Carpet, said he wants to start a school devoted to teaching these traditional arts, he said, “We have thought seriously about starting a school, but we need financial support from either the government or private enterprise in order to make this a reality.” ²³

However, if there is no investment from the government or private organisations, in the proposed initiatives that are trying to preserve these traditions, there is every indication that this craft will gradually disappear, or the carpets and kilims produced will become so expensive and exclusive that only the very rich will be able to afford them.

My research question raised two concerns of mine, the impact on Turkish cultural heritage if this craft disappears and could it be encouraged and revived in light of its sustainability. I think both are issues that are currently ongoing and are being explored by artists and different organisations.