The traditional method and techniques of `Ajami handmade art from a Syrian master artisan

Abstract

Technique of painted wood panelling in the art and craft of ‘Ajami, has been popularly practiced in the seventeenth to the late of eighteenth century especially during the Ottoman period. ‘Ajami is used to describe the technique of painted wooden wall panel as well as the decorated interior as a whole. The ‘Ajami decoration became very prominent throughout the Ottoman empire after the decline of tile production and rose to a sophisticated level of art in Syria. ‘Ajami decoration is almost universal in the interior adornment of Syrian houses and palaces, especially during the late eighteenth century. Nowadays, it can be seen that this beautiful decorative painting technique is now-forgotten by modern generation and would gradually become one of extinct arts in Syria. This deep-rooted art has a rich history in the country, however, the production technique of ‘Ajami has not been fully embraced and recorded in the past studies. Therefore, this study aims to investigate the traditional method and techniques of making ‘Ajami with emphasis on the method and techniques used by Syrian master artisan from Damascus. The first objective of the study is to identify and document the traditional method of ‘Ajami production. The second objective of this study is to determine the materials and techniques which are used for making the ‘Ajami as painted wood panelling and decorations. The third objective of the study is to propose a manual based on traditional ‘Ajami production for interior decorations. A Syrian master artisan who is actively involved in the craft industry, namely Abdulraouf Baydoun was selected for face-to-face interview. His works and opinions that served as inferential evidences were obtained through the semi-structured interviews that were conducted within an informal environment including his workshops and galleries. The interview focused on the aspect of fabrication of ‘Ajami with particular emphasis on method and technique in relation to the visual attributes of the ‘Ajami components and the traditional techniques used. Field observation and photographic documentation of his works were necessary measures to complement the interview. Hence, examination of the works produced by the artisan which exemplifies his distinctive craftsmanship was also conducted in this study. The study found that the most profound works produced by him are inspired and derived from natural elements that were produced with the raised three-dimensional effect of painting done in four different stages. These include foundation stage, designing stage, painting stage and finishing stage. Different steps and materials involved in each stage that determines the purpose and function of the ‘Ajami product. The finding also signifies his strong preferences for the application of floral and geometrical design. This implies that the Islamic religious belief has become the most influencing factor that governs his craftsmanship and selection of painting materials. Apparently, the physical and practical values of the ‘Ajami technique extracted from the past traditions are still practiced in his works. Additional values including artistic and design skills further enrich the products of the master artisan from Syria which not only provide stimulus for admiration but also serve as valuable references for the present and future generation of Syrian artisans. As such, the findings of this study could serve as educational guides in the form of a manual to produce ‘Ajami as painted wood panelling for interior decoration. The manual is useful for present and future generations of Syrian artisans in order to save their heritage.