 |
|
A complex
radially symmetrical pattern by Ekramy Hanafy |
All sewing is performed by hand and the patterns and pictures are drawn from traditional sources, re-imagined and re-interpreted by each tentmaker, to produce thier own unique designs.
The most common pattern type is the radial-symmetrical design, a regular and repeating design produced around a central axis.
To produce a radial-symmetrical design, the artist takes a large piece of brown paper, folds it in half to form a rectangle; folds again to form a square and re-folds the square to form a triangle. This gives 8 folds of paper and an 8 segment design. More complex or larger designs may use a 16 segment design, produced by re-folding the triangle.
 |
|
A pattern traced in white wax pencil |
White chalk is used to draw a design onto the triangular fold of paper. If a design element e.g. a flower is to cross a fold, it is drawn as a half-form. If it is to be situated in the centre of a fold, it is drawn in full-form. Winding lines which might form stylised flower stalks or other elements are drawn, with the artist rubbing out and re-drawing as they work until the final result is achieved. The chalked design is then drawn over with pencil.
The full depth of the folded paper is then pierced, following the lines of the pencil drawing. Piercings are placed at at 2-3mm intervals, using a needle with its eye embedded in a cork or tied to a pencil. When the paper pattern is opened, the design is fully marked out on the paper. The technique is similar to cutting a paper doily or snowflake.
The pattern is placed on top of the background fabric which is placed on the backing fabric; usually a strong canvas which traditionally would have formed the outside of the tent, with the design facing inwards.
The pattern is held on the fabric and either talcum paper, cinnamon or charcoal, depending on
 |
|
Cutting, Rolling and Sewing . . . and again
|
When the paper design is taken away, the background fabric carries the design which is then traced over with a white wax pencil or a lead pencil, again dependent upon the colour of the background fabric.
The layering of the applique commences with the lowest layers of the applique applied first, with layers rising to the top of the design.
A video made by US-based Quilting artist Bonnie McCaffrey showing a tentmaker at work, can be accessed here.
Designs alter, however the fundamental process remains of the base design being traced onto paper, transferred onto fabric and sewn in ascending layers from the backing and background fabric.
Traditionally, tentmakers sit on an elevated stool with the piece layed across the knees of the artist it is worked. Most work is performed in workshops behind the street with small showrooms facing the street. Most artists are male and the skills are often passed within families, from father to son. However the art is declining due to declining demand and the reality that more money can be earned in other professions.
Speed is essential to a successful career as a tentmaker as the time from the commencement of a piece to payment, is faster. The move towards smaller suradeq is also fed by financial reality as smaller panels can be completed quickly and thus payment received earlier than with larger and more time-consuming pieces.
Dar Biha al-Sa'du bada Wa'l-farhu ataha muqbila
An abode in which joy is manifest And happiness to it came abreast
Part of the collection of the Toronto Textile Museum
Acknowledgements
- Images on this page are taken from the Facebook page of Kim Beamish, the Australian creator of the film The Tentmakers of Chareh El-Khiamiah, the Flikr photo gallery of Jenny Bowker.
No comments:
Post a Comment