The Art of Tiraz Making &

MAMLUK TEXTILES

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 TIRAZ: Inscribed Textiles from the Early Islamic Period

 Inscribed textiles were highly valued in the

early Islamic period and were produced until the
fourteenth century in both caliphal and state-run
public factories. They were given as robes of honor to
courtiers and ambassadors in The khil‘a ceremony,
where they served as a symbol of individuals’ loyalty
to the caliphate. Often inscribed with the
rulers’ names, as well as with dates and sites of
production, these textiles provide a window into the
political and religious life of early Islam.
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 The word tiraz is derived from the Persian word
for embroidery and can refer to the textiles
themselves, to the bands of inscription that were
embroidered onto them.
 The earliest examples of tiraz, however, were
uninscribed and decorated with colorful
medallions, animals, or other motifs marking a
gradual transition from Sasanian, Coptic, and
Byzantine traditions.
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 The two types of tiraz factories were those of the caliph
(khassa, meaning private or exclusive) and those of
commercial or state production (‘amma, meaning public).
 Tiraz produced in private factories were intended for the
caliph and his court, while those woven in public factories
were made for both the aristocracy and the wider public.
Because a range of materials and techniques were used
in tiraz from both khassa and ‘amma factories, and because
both could be inscribed with the name of the caliph, the
institutional affiliation of a particular tiraz textile cannot
always be identified from its inscriptions or technical quality
alone.
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 Tiraz vary widely in materials and appearance
depending on when, where, and for whom they
were produced. Most were made of linen, wool,
cotton, or a fabric called mulham that was
composed of a silk warp and cotton or other weft.

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 Most Yemeni tiraz were resist-dyed in the ikat technique to
create a striped lozenge pattern, usually in a palette of greens,
browns, and yellows. In Egypt, this technique was sometimes
imitated in linen, although most tiraz were left undyed and
embroidered with inscriptions in red or black thread. Throughout
the Islamic world, tiraz inscriptions were written in kufic or
floriated kufic script, and later, in naskhi or thuluth. They often
include the bismillah, the name of the caliph, and the date and
place of manufacture .
 In some cases, embroiderers altered the forms of the letters to
create a rhythmic pattern in the text, which was valued for
aesthetic qualities in addition to its religious and political
content.
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 Inscriptions were sometimes used primarily for
decoration, and the text might be illegible or
contain errors, indicating that the mere presence
of writing was sometimes as important as its
content.

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 Under the Fatimid caliph al-Mu‘izz (r. 953-75), the
khil‘a ceremony gained importance and the technical
quality of tiraz garments came to reflect the wealth
and influence of their recipients.
 In this ceremony, which can be traced to the time of
the prophet Muhammad, the caliph would bestow
robes of honor upon deserving subjects. The
epigraphic bands on many of these textiles
documented new allegiances, confirmed loyalty to the
caliph and to God, and marked the recipient with
honor.
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 In Fatimid Egypt, silk robes woven with
gold tiraz bands were reserved for the vizier and
other high-ranking officials, while the general
public wore linen. As the political situation
shifted and some nobles lost their wealth, they
sold their luxurious robes on the open market.
None of these fine silk textiles survive, although
they are known through textual sources.
Other tiraz served as currency or investments and
were traded and sold.
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 Fragments of many linen tiraz have been found in
Egyptian tombs, where they were used as shrouds
and preserved due to the arid climate. Blessings
(baraka) attained through the khil‘a ceremony and
subsequent use during prayer imbued these
textiles with special qualities that made them
especially suited for this funerary purpose. Patches
of stains indicate places where the textiles came
into contact with decomposing bodies, helping
scholars understand burial practices of the time.
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 Textiles continued to hold high status in later
Islamic societies, although the production
of tiraz produced in caliphal factories declined
around the thirteenth century.

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Mamluk Textiles

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 Mamluk Decorative Arts
 Mamluk decorative arts especially enameled and
gilded glass, inlaid metalwork, woodwork, and
textiles were prized around the Mediterranean as
well as in Europe, where they had a profound
impact on local production. The influence of
Mamluk glassware on the Venetian glass industry
is only one such example.
 Glass oil lamp from Mamluk Caliphate.
 inlaid metalwork
 Art of Swords
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 Mamluk Carpets/Rugs
 Mamluk textiles and carpets were prized in international trade.
 Function of carpets

• Floor covering
• Prayer rugs
• Saddle blankets and saddle bags
• Status symbols
• Collect individual and community narratives
• Preserve cultural identity – women passed down their
techniques and designs to daughters
• Carpets can be identified to the region based on style and
motif.
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