In Turkey, the most important center for antiques is the Grand Bazaar. It is also the center of expertise in antiques. Yurdanur Öndersoy who has been in the Bazaar for years will be writing on antiques in the following issues. This month he writes on Bindallı embroideries.

At every level of the Ottoman society -as in most societies- in the past, whether male or female or young or old; many have been occupied in creating a form of art which is classified as handcrafts. Traditional home arts is a branch of these handcrafts. Some of these home handcrafts are so beautifully designed or formed that they can be classified as pieces of real art. Unfortunately, changing times and conditions lead to the extinction of these handcrafts which once reflected the cultural richness of their respective societies. The embroidering art of Bindallı is one of these arts which no longer exist.
Bindallı by definition is any hand made embroidery mostly on velvet, using gold or gold plated silver threads. The word Bindallı meaning 'thousand branches' indicates the way the design branches out on the fabric. Naturally the design always includes leaves and flowers along with the branches. Generally dark red, violet and navy blue velvet is used for embroidering. Bindallı, was used as a bridal dress, and as a dress for special occasions in geneal or at homes as bed or table covers; but never for ordinary use. In public however, the name Bindallı is widely used to describe a dress of this ornate design.
It's not easy to create a Bindallı: One first has to draw the motives on a cardboard and cut them out. Then one places the motives on her choice of fabric, such as velvet, satin, broadcloth or felt and using threads of gold, silver, silver gilt, and/or gold or silver coated copper wires, and you apply the motives on the fabric weaving the thread over the cardboard pieces with a needle. When used as wedding dresses, bridal or circumcision bedcovers, the flowers, branches and leaves must cover the whole piece, giving them a rich and lively appearance. The name Bindallı varies from region to region. At instances Bindallı is referred to with the region's name such as Mara? work denoting it was made in Kahramanmara? of today.
The history of bindallı goes back to 14th or15th Centuries. But at that time, due to the differing characteristics of the hand woven velvet and satin fabricand the seam or threads the techniques used were different. In the 17th and 18th Centuries, especially at Bursa region we find unmatchable beautiful articles made with Bindallı technique. In these pieces, thick silk thread was used. To achieve relief motives, thick silver wire was used instead of cardboard. Following the 1800's we find differing examples named as, Bindallı of Bursa, of Kütahya, of Mara?, of of Erzurum, of Edirne (Rumeli) and Istanbul.
It is told that Sultan Abdülaziz has ordered bedsets embroidered with pure gold wires and gold thread for the circumcision of his children. During the fall of the Ottoman Empire, due to the economic crisis, like other gold objects, the gold of these bedsets have been melted down to be used in the mint. Today we can see objects of this type in the museums, at the auctions and at the antique shops as dresses, waistcoats, baggy trousers, quilt and pillow sets; or as divan, mantle and chest covers; bundles, prayer rugs and Koran covers.
Bindallı has reached perfection in the hands of the Turkish women. Although this beautiful art is currently taught at handcrafts schools, it still faces extinction. To enliven this art, both universities and private organisations should start special courses and production programs as it was done for the near extinction carpet and kilim weaving. While the production with traditional methods continue, marketing of these art objects by the proper hands would definitely enliven this traditional folk art and enable it to take its place in our culture again.