ANKARA
An ornamentation artist of Iranian origin mirrors the harmony of Iranian and Ottoman patterns in her masterpieces.
In an exclusive interview with Anadolu Agency, Zahra Masoumi shared her thoughts on the past and present of ornamentation and handcrafting.
Masoumi, 33, who runs craftsmanship courses in the capital Ankara, started her adventure in the world of ornamentation over 12 years ago in Iran's capital Tehran.
Enthusiastic in handcrafting, Masoumi studied miniature illustration which boosted her desire in arts.
Upon completion of a two-year study, she proceeded with Islamic Arts specialization in Iran, where she more curiously focused on the art of ornamentation and illumination.
Masoumi then decided to even further deepen her knowledge and skills in this area, studying towards her master's degree in Art History in Ankara, where she moved to in 2013.
"The ornamentation art usually goes in line with calligraphy. It is not considered separate because these two arts complement each other," she said, referring to the practice of tezhip -- the decoration of manuscripts with patterns, miniatures and other marginalia.
Calligraphy came to the forefront first, as it emerged due to a need of handwriting the Holy Quran, she added.
"Quran, as the word of Allah, was originally spread as a word of mouth, passing from one person to another, but then there was a need to write it down for passing it on to other generations," she said, adding that it paved the way for ornamentation to emerge.
She added that with the support of rulers and sultans, number of Quran copies have been produced in Muslim countries, which laid the ground for enriching the art of ornamentation and illumination.
"While it first appeared with very simple ornaments and colors, the art, later, during the 13th century turned into a rich workmanship."
The craftsperson also stressed that ornamentation art not only spread in the territories of Persia or the Ottoman Empire, but was also popular all over the Muslim countries, including Egypt and Spain.
Noting that every country obtained its own style of illustration, Masoumi said professional ornamentation artists can clearly differentiate the works among various patterns by referring the style to a certain period of time and country of origin.
Masoumi said that after moving to Turkey, she tried to combine the Ottoman ornamentation patterns with the Persian motives she was familiar with.
"At the moment, I am not just working the Ottoman or Turkish ornamentation style, neither do the Iranian style alone. I try as much as possible to get these two styles closer to each other, and move forward."
The artist said she probably would not be able to continue on this direction if she stood back in her country, adding that coming to Turkey, meeting with crafts masters, analyzing their works, attending exhibitions and competitions, as well as exchanging ideas and professional comments with the academics all had positive influence on her skills.
"Due to its resources, Turkey is more active on arts," she added.
Art touches souls of people
"I am working on classical ornamentation style, and I can say this is the main feature of my art," Masoumi said, highlighting that she avoids "shifting" to modern style on purpose.
The artist underlined that she thinks "crossing" the classical style may harm the nature of art.
"In my opinion, the more classical this art can be, the more it can show itself and can be closer to its essence."
But the artist said the materials she uses are advancing with technology and getting modernized, further supporting the craftsmanship and aiding the artists to "reach even more beautiful and aesthetic results".
Masoumi said that her most time-consuming work took seven months to finish.
"Art is something that touches the soul of people," the artist said, noting that the same "touch" happens when people spend hours looking and analyzing ornament illustrations.
Main historical periods of emerging the ornamentation arts refers to the Ottoman Empire in current Turkey, and to the Safavid period in Persia, she said.
Stressing that the craftsmen of the period from both empires used to exchange their experiences and influenced each other while working in the palace, Masoumi said that even the patterns are "close to each other" with differences only in details.
"Since Turkey and Iran are close to each other in terms of the language, it helped the countries in reaching common grounds fast, on arts as well," the artist said, but noted that there are still differences between the two cults.
Recalling that she has attended many competitions on her field and even held an exhibition of her works back in Iran, Masoumi said she is planning to have her first Turkish exhibition in June in Istanbul, where she intends to show works on classical style.
She also wished that only professionals in this area would be opening exhibitions of their works since "showing incomplete or wrong works" to people may misguide them.
The courses of ornamentation and miniature works -- which she is doing for over four years -- as well as sales of works in various fairs, drawing of ornaments by private orders are the main sources of income of the artist.
Major patterns in ornamentation
Masoumi said Hatai and Rumi motifs are the main constituent patterns that form up the ornamentation arts.
"The environmental excerpts such as nature, flowers and plants take important place in patterns," she added.
While Hatai motifs reflect mostly nature, flowers and leaves, it is seen that Rumi motifs are mostly stylizing animal patterns, the artist said.
She noted that the ornamentation patterns come out when these two motifs merge together.
"By staying far from them, we are moving away from its nature, which means we are moving away from the essence of art."
Iranian artist said live observation of the masterpieces "strongly influence" people of art.
"Normally we only see the picture from afar, but coming and seeing a work with naked eye strengthens our imagination. It feels like we are living the history," Masoumi said.
Keeping arts alive
It takes at least 1.5 years of non-stop training to learn the basics of the ornamentation arts for a newcomer, Masoumi said, adding that the art doesn't end with drawing the patterns only, but also requires the theoretical knowledge and background.
"Students need also to see a lot of antique works, need to analyze books in libraries," she said.
The artist hailed Turkey, especially Istanbul, for hosting diverse cultures and personalities from various crafting schools, whereas the country motivates the craftsmen with historical calligraphy, literature and architecture.
"The calligraphy didn't remain on paper only, it had also been used on buildings, structures and mosques, and the environment was very convenient for that."
Masoumi went on to say that her dream is to convey what she knows and learned to the students who are curious in ornamentation and miniature painting.
"I want this art to be kept alive," she said, adding that she desires to add "new things" into patterns by "adding the color" to the arts.
Sema Akdogan, 63, a retired high school teacher who takes ornamentation and miniature crafts classes, said she started attending Masoumi's courses around six months ago.
"I see myself being patient here. I always try making my work to become better and better," she said, adding that the art of illumination adds wisdom to people, prevents the forgetfulness, and handcrafting may even help patients with the Parkinson's disease.
Akdogan stressed that the ornamentation art should "be transferred" to next generations.
She urged if people could know the "true value" of art, they would "protect" it even further.
"This art is a passion, one can never leave it."
Ayten Bayar, 62, another retired teacher who became a student of Masoumi, said the minarets of mosques attracted her attention and led her to this art, adding that her experience started six years ago with tile making.
"I call this art a world of patience, color and proportion," she said.
Bayar also said the ornaments on the edge of the Quran attracted her a lot, making the art "precious and very different" for her.
"The spirit of the human is resting in these courses," she said, voicing that the way people perceive certain things is also changing as they master the arts.
"Dancing with those lines and patterns makes me very happy," she concluded.
