The deep past of the city is reflected in its traditional handcrafts. Copper work, mother-of-pearl marquetry, ‘yemenicilik’ (making of traditional leather slippers), Antep decorative needlework, ‘kutnuculuk’ (traditional silk and cotton fabric work), ’aba dokumacılığı’ (making of traditional woollen costumes), silverwork, and jewellery making have all become important symbols of the city.
Mother-of-pearl marquetry
There is no doubt that the handcraft most identified with Gaziantep is mother-of-pearl marquetry.
Mother-of-pearl, found in some marine molluscs, is phosphorous-white in colour and has the lustre of a pearl. Working with this substance is considered a fine art. The mother-of-pearl is first extracted as a flat sheet, then it is cut into the desired shape, mounted on a wire frame and embedded into wood. The result is an exceptionally elegant work of art.
The best examples of this attractive mother-of-pearl marquetry are made in Gaziantep. The name ‘sedefkar’ is given to these expert mother-of-pearl artisans (sedef = mother-of-pearl). This ancient craft has been used for hundreds of years to decorate buildings, furniture, small wooden objects and even weapons, with a variety of designs and motifs.
Antep iÅŸi (decorative needlework)
This decorative needlework, requiring sharp eyes and endless patience, is an essential part of a bride’s trousseau.
‘Antep işi’ is a form of decorative needlework using two embroidery techniques called ‘susma’ and ‘ajur’ (hemstitch). The work is carried out on different fabrics, such as Bursa linen, Rize cloth, Panama linen, hessian, satin, ‘birman’ (a very fine, delicate fabric) and ‘demor’(crepe) fabrics. The ‘susma’ technique refers to the actual stitching work, and ‘ajur’ to the cutting and drawing of the thread. ‘Antep işi’ comes under the embroidery group of ‘beyaz işi’ (white decorative embroidery on white fabric) and is considered in many Anatolian areas to be the most precious item in a young girl’s trousseau. There are variations within the ‘ajur’ technique, such as ‘spider’s web’, plain stitch, oblique stitch, filtered stitch and spider stitch.
Copper work
The sound of copper work in progress is like the rhythm of an unknown melody, bewitching music that catches the attention of those around. The ‘tap tapping’ sounds of the steel-tipped tools resonate as if performing the opening bars of a musical composition. Although the exact history of copper work in Gaziantep is unknown, a look at the artefacts found in excavations around the city implies that the skill dates back many years. Traditional copper work uses whole pieces of copper, with no joining or soldering. The single plate of copper is beaten into the required shape, and then decorated using a steel-tipped pen-like instrument. The decorative designs, using engraving, embossing and inlaying techniques, generally date from Seljuk and Ottoman times.
Silver work
Evliya Çelebi once commented on the beauty of the graceful women of Antep. In the past, these elegant women would have a silver jewellery collection of at least 12 pieces, such as ‘taç kaytan’ and ‘şekke’ which were part of the head dress. Other items were ‘daktani’, ‘pıçpıçı’, ‘götürümgü’, ‘üçger’, beaded choker, belt, bracelets and rings. The silver items that have been excavated from the remains of the ancient cities of Karkamış, Dülük and Belkıs indicate that the art of silver work dates back many years. For men, decorative silver accessories draw attention to the wealth of the owner. Silver work on ashtrays, horse harnesses, pistol grips, walking sticks and prayer-beads are all examples of this tradition. In short, silver holds the same importance for decorative household objects as for jewellery, and no Antep home or hand, man or woman, would be seen without it.
Jewellery work
In the past, jewellery work in Gaziantep was carried out by the Armenian families. After the War of Independence, the Armenians moved out from the area and Sait Türkistanlı from Medina began to make his name doing silver work and training his apprentices. There are many jewellers today who began their apprenticeship with Sait Türkistanlı in 1918, and who continue to practice these skills. Antep jewellers today work with turquoise, rubies and emeralds, making gold rings, bracelets and belts to order. The jewellery is made from 22 karat gold, also known as 916 ‘midyem’.
‘Kutnu’ work
These silky fabrics are shiny, smooth, and slippery, and with their glittering array of colours, they almost demand to be handled. By repeatedly immersing the threads in various dyes, a fabric of unique colour and design can be achieved. This silk and cotton fabric was used in both the Ottoman palaces and in Anatolian folk costumes. The word ‘kutnu’ means cotton in Arabic. The two faces of the fabric are different, one silk, the other cotton, and they may have decorative motifs.
Producing the ‘kutnu’ fabric is difficult and time-consuming. Depending on the warp count, the fabric is given different names; ‘kutnu’ has a warp count of 4000, ‘alaca’ of 3000, and ‘meydaniye’ of 2000. The fabric is also classified according to its colours and decorative work, and has names such as ‘mecidiye’, ‘hindiye’, ‘zincirli’(chained), ‘kemba’, ‘kırkalem’, ‘sultan’, ‘mekkavi’, and ‘çiçekli’(flowered).
Antep kilims
Antep kilims immediately catch the eye. They are woven in bright colours, with a predominant flame red colour, and have a sharp geometric design. Kilim weaving, the main traditional handcraft of Turkey, began in the 16th century Ottoman period. Gaziantep kilims are woven with thread made from ox, camel, goat and horse hair, and sheep’s wool. In a traditional kilim, all the dyes are 100% natural, produced from boiling plants and roots with salt and alum.
A variety of motifs are used in the kilims, such as ‘baklava dilimi’ (baklava slice), ‘zincir göbek’ (chain centre), ‘parmak göbek’ (finger centre), ‘çarkıfelek’ (Catherine wheel), ‘kuş kanadı’ (bird’s wing), ‘dirsek göbek’ (elbow centre), ‘pençe göbek’ (claw centre), and ‘atom göbek’ (atom centre). The motifs carry meanings, for example ‘eli belinde’ (arms akimbo) represents motherhood and fertility, ‘koç boynuzu’ (ram’s horn) signifies masculinity, bravery and war, and ‘hayat ağacı’ (the tree of life) denotes a wish for immortality of the family line.
Aba dokumacılığı (making of traditional woollen costumes)
The ‘aba’, a plain item of men’s clothing, is perfect in its simplicity, dignified in its humility. Its simple beauty stands out; a characteristic of this branch of handcraft.
‘Aba’ fabric, woven from ox, camel, horse and goat hair and sheep’s wool, is generally produced for men’s clothing. Both sides of the fabric are the same, due to the warp and thread ties. The traditional ‘aba’ is like a sleeveless or short-sleeved, knee-length waistcoat, which is donned by pulling over the head. Decorative designs on the ‘aba’ resemble those on kilims. The ‘aba’ has different names, depending on the locality, length, decoration and materials used, such as ‘humus abası’, ‘yerli aba’ (local aba), ‘kıl aba’ (hair aba), ‘sırmalı aba’ (brocaded aba), ‘kısa aba’ (short aba), and ‘uzun aba’ (long aba).
Yemenicilik (making of traditional leather shoes)
In Gaziantep, ‘yemeni’ adorn the feet, not the head. In many Anatolian locations, ‘yemeni’ is the name of a head covering, but in Antep it is a flat-heeled, leather shoe.
The leather from five different animals is used in the making of ‘yemeni’. The sole is made from buffalo or cowhide, the soft part of the upper from goatskin, the inner lining from sheepskin, the inner sole from cowhide or goatskin, and the sides from kidskin. The leather is stitched on the reverse side, with no heel, then turned and placed on the mould. After careful trimming, the shoe is removed from the mould and the sides are stitched. It is believed that because ‘yemeni’ are made entirely from natural products, they have therapeutic properties. Foot and skin complaints are prevented, and any build up of electricity in the body can be easily grounded.
Earthenware pottery
The power of soil is apparent in its smell and its colour. For a city that is built in the middle of fertile land, it is no surprise that the production of earthenware crockery has become a form of art. However there is another reason that the earthenware art form has prospered. The best way to store and preserve products of the fertile earth, and even add to their flavour, is by using earthenware pots and huge jars. The shelf life of olive oil, grape ‘pekmez’ (molasses), pickled vegetables, dairy fat, cheese, and tomato paste, is increased when stored in earthenware jars, and enhances the life of the consumers. Fresh spring water retains its cool temperature in earthenware jars. Gaziantep’s history stretches back to early civilization and is an indication that the traditional storage jars have been used in this area for thousands of years. The jars found in excavations of ancient settlements greatly resemble those produced in recent years.
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“Those who travel, shine; those who just sit, become like an autumn leafâ€
The beauty of travel is described perfectly in this Antep expression.
In Antep, the word ‘gazel’ is used for a dry, autumn leaf. According to the expression, those who do not have the chance to travel, become dry, lifeless and lacking in spirit, like a ‘gazel’.
Discovering Gaziantep means a journey through the city’s unique tastes and flavours. Here, it is almost impossible not to over-indulge in all the food and drink on offer. Evliya Çelebi, the famous traveller, was so impressed by the cuisine here that he declared Antep the capital city of gluttons:
“There are 70,000 tax-paying vineyards entered in the city record book… The local pomegranates, figs, mulberries, peaches, wild apricots, apricots, white bread and yoghurt have gained world renown… With its bountiful food and drink, and its springs and rivers, this city is surely ‘The apple of the world’s eye’.â€
It is impossible to leave Gaziantep without eating a ‘kebab’, the ingredients of which vary with the seasons. In spring, ‘Keme Kebap’, made with mushrooms, ‘Yeni Dünya (loquat) Kebab’ or ‘Sarımsak (garlic) Kebab’ should not be missed. The ‘Sebzeli (vegetable) Kebab’ made with fresh garlic and parsley is another spring delicacy. During the summer months, tomatoes and aubergines come into play. The aubergine in ‘Alinazik Kebab’ and the tomatoes in ‘Ezmeli Kebab’ are a delight. Once the splendour of summer is over, the warm flavours of the ‘Soğan (onion) Kebab’ mask the cold of winter.
Antep cuisine does not just consist of its famous kebabs. Its richness and diversity can really be seen in the home cooking. An array of delicious soups, wonderful yoghurt dishes, and dishes with little meat but plenty of vegetables, are all healthy and nutritious meals. Stuffed dried vegetables in particular are a joy to the palate.
Along with baklava, Antep’s favourite desserts are ‘şöbiyet’ (layered pastry with pistachio and cream filling), ‘bülbülyuvası’ (bird nest shaped pastry with nuts and syrup) and the emerald-green ‘dolama’. During the winter months, melt-in-the-mouth Antep biscuits, only found in the baklava shops, are made with bright green pistachio nuts. A dessert difficult to find outside Antep is ‘katmer’ (layered filo pastry).
After all the sweet desserts, the perfect aid to digestion can be found in a cup of ‘menengiç’ (terebinth) coffee or ‘zahter’ (thyme) tea, savoured in the authentic surroundings of the Tahmis coffee shop.
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