The Art of Tapestry And Women of the Islamic World

 

Young Iranian woman working on tapestry near an arched window, 19th-century.  

My ai art creation

Weaving History: The Silent Artistry of Muslim Women from 1600 to 1900

From the grand courts of Isfahan to the rural villages of the Levant and the nomadic tents of North Africa, the art of tapestry and rug was far more than a decorative craft — it was a vital economic engine and a profound form of cultural expression, almost exclusively powered by the hands of women. Between the 17th and early 20th centuries, weaving was a "useful talent" that defined women's roles in society as both providers and storytellers.  While often absent from written records, their artistry survives in threads of silk, wool, and cotton, woven into objects that were both functional and deeply symbolic.

Muslim women in Persia, the Levant, and North Africa were master artisans of intricate textiles, blending cultural, religious, and natural motifs. Working within home-based workshops, women created high-value tapestries, rugs, and embroidered pieces that served both functional household needs and, by the 19th century, international trade markets.

Regional Traditions

Persian women (Safavid and Qajjar periods) utilized silk and wool to create intricate, vibrant tapestries featuring garden weddings, intricate floral motifs, and "Garden" designs inspired by Paradise, often utilizing gold and silver threads.

In Levant and Maghreb (Syria Palestine, Tunisia, Algeria, Morocco, Libya and Egypt), art was heavily influenced by geometric patterns and stylized, symbolic imagery that reflected local traditions. Embroidered textiles and flat-woven tapestries commonly showcased complex abstract geometries.  In Syria and Palestine, women developed distinct textile languages through embroidery and tapestry-like weaving techniques. Patterns could indicate a wearer’s village, marital status or social identity transforming cloth into a narrative medium. Similarly, in North Africa —  Algeria, Libya, Morocco, Tunisia, and Egypt — women’s weaving traditions flourished within both nomadic and settled communities, producing richly patterned textiles used in clothing, tents, and interiors.

In all of these regions, tapestry went far beyond mere decoration — it formed the fabric of everyday life. Homes were furnished with woven coverings, garments carried social meaning, and cloth itself could signify honor, protection or status . Within this context, tapestry weaving — where patterns are created directly through the interlacing of colored threads — emerged as a vital technique, blending utility with artistic expression .. acknowledges Encyclopedia.com, Textiles.

In this era, a woman’s skill at the loom was often her primary means of contributing to the family’s financial stability.   Weaving allowed women to work from home, balancing intricate artistic production with childcare and domestic duties.

In Iraq, Palestine and the Levant, girls began weaving and embroidering their trousseau from a young age. These textiles were not just gifts but tangible assets — symbols of a woman’s readiness for marriage and her future ability to provide for her household.

For nomadic tribes like the Qashqai or the Bedouin, women were the "architects" of their homes, weaving the very tents they lived in, alongside rugs for trade that were highly prized in localmarkets. Works of Zahra Karimi, Levy Institute — Women Carpet Weavers of Iran

These textiles were a major component of Islamic art which thrived on meticulous details with weaving skills passed down through generations from mother to daughter, and rarely signed. Yet they demonstrated a high level of technical knowledge, from complex weave structures to the use of symbolic geometry and floral forms characteristic of Islamic art. By the 18th and 19th centuries, these creations were essential to the economy of Iran, Levant and North Africa and a profound reflection of regional identity often incorporating poetic and calligraphic elements into the designs.

As Iran 'modernized' from the start of the Pahlavi era, most elite tapestry workshops were  directed by male designers, yet all of the labor-intensive weaving and embroidery was carried out by women, both in urban centers and within domestic spaces. Their contributions ensured the continuity of motifs such as the rose-and-nightingale and other symbolic patterns rooted in Persian culture.

The Last Ruler of Al-Andalusia (Islamic Spain)

 🌼 Portrait of Abu Abdallah Muhammad XII, last Muslim ruler of Andalusia (Islamic Spain).

He was the last Naṣrid emir of Granada until 1492, marking the end of Muslim rule in Spain. The Spanish often referred to him as "Boabdil" which was not his name, but a Spanish corruption of the Arabic name Abu Abdallah.

To learn a little more about Abu Abdallah Muhammad, take a peek at some concise history at  Muslim Villa.

Mesaharati ( مسحراتى ) – the dawn caller in Ramadan ..

 

.. a pre-dawn scene from Tripoli, Libya, in the month of Ramadan. A young and charming dawn-caller (mehsaharati) dressed traditionally walks by a house in a neighborhood under the starry sky to awaken the residents of the house for sahoor.

A Brief History of Mehsaharati:

An old and beautiful history rooted in the Islamic culture.

Mesaharati (مسحراتى) or the dawn caller is a public waker for Sahoor and the Fajr prayer during the month of Ramadan.   Sahoor is the pre-dawn meal in Ramadan before fasting begins at dawn, shortly before the start of a new day.  Traditionally, this is one of the oldest and most deep rooted customs of the blessed month of Ramadan.  It makes Ramadan more joyous for Muslims.

According to various historical reports, the first Mesaharati or drum holder was Bilal Bin Rabah, a friend of the beloved Prophet Muhammed (pbuh) in Medinah.   He walked with his drum along the streets of Medinah in pre-dawn hours to awaken believers for Sahoor. 

Mesaharati was synonymous with Ramadan similar to the decoration of Ramadan lamps.  In medieval Mecca the imam of the mosque would climb on the minaret a couple of hours before Fajr, holding a lamp (or lantern) and informing the residents of the neighborhood that the time for the Sahoor meal had arrived.  Even if the people couldn't see or hear him, they could see the light he held.  That's how the decorative custom of lamps symbolic of Ramadan came about as a tradition and exists until the present.

Back in those days, approximately three hours after Iftar and the Tarawih prayers, was the time for all Mesahratiyah  to start their Ramadan rounds in their respective neighborhoods.  It was necessary for the Mesaharati to be a healthy person as he had to walk long distances across an entire neighborhood and back.   He also needed to have a loud and clear voice.

Information coming from the ancestors of Muslims currently living in Egypt, Syria, Lebanon, Palestine and Morocco tells us that the more fascinating idea of Al-Mesaharati emerged in the era of the Fatamids in 909 A.D. when the Mesaharati used to walk the streets of Cairo holding a small tebla-like drum and tapping it with a piece of leather or wood.  He was often accompanied by his children holding a lamp to light the way so he could comfortably sing his distinctive calls.    Gradually the tradition got more interesting.  Just two hours prior to Sahoor, dressed in a jalebiya and a headcover and holding a drum in his hand, the Mesaharati woke people by mentioning their names to give a more personal touch to his voluntary assignment.  They would also sometimes give a quick knock on peoples' doors to wake them. Some years later the Mesaharati began chanting lines of spiritual songs and simultaneously beat the drum; it felt like a sweeter way of waking up the neighborhood.   Whenever the Mesaharati began their rounds, children of the neighborhood would find it exciting and rush towards the drum beater. 

"Wake up sleepers, praise Allah" called the Mesaharati as he strolled through the streets before dawn, beating his drum.   There were other attractive chants, such as “catch the good month before it goes away!”    Other well-known phrases often chanted by the Mesaharati: “Sabbahak Allah bil ridha wa alnaeem” (May Allah wake you with satisfaction and bliss) and “Ya nayem wahhid Aldayem” (Sleeping, praise the Permanent Allah).

Unlike nowadays when Muslims often spend hours watching television, using their laptops or texting on their cell phones after Tarawih, in the early years of Islam they slept soon after the Tarawih prayers.  With no alarm clocks to awaken them at pre-dawn, the Mesaharati’s presence was a  necessity otherwise many would oversleep and miss Sahoor.  But knowing that the Mesaharati would be there at the right time, they would sleep soundly without any worries. The Mesaharati would stand under the balcony of each house for a few minutes.  Some neighbors would gladly express their gratitude from the balcony or the window.

The Mesaharati's job was voluntary, out of kindness of their hearts, with no assured payments.   But the people always paid him something.  When the blessed month of Ramadan came to an end and the celebrations of Eid Al-Fitr began, the Mesaharati received gifts of money and food from people as a gesture of thanks for his services during the blessed month.

Their voluntary task was considered one of the most prestigious in all medieval Muslim societies, having the same status as the “omdah” or mayor of the city.  In some families it was an inherited profession and the drums they carried were passed on from great-grandparents to their descendants. 

Traditionally, Mesahratiyah are usually men.    But in modern times, women too volunteer for this interesting job in the blessed month.  The most recent story of a lady Mesaharati is that of Dalal Abdel Kader who belongs to a humble middle-class family of Cairo.  She opted for it on the footsteps of her two late brothers who were very popular Mesahratiyah of their neighborhoods.  Dalal recalls the evening when one of her brothers stepped out for the first time as a Mesaharati, wearing his best clothes and perfume.  She carries the same drum that belonged to him and tearfully remembers the beautiful spiritual songs he sung in praise of The Almighty.

It's understandable for residents of every neighborhood to feel they need to know and trust the man to allow him to walk their streets late at night.  But back in those days life was different mainly because of the aspect of trust.  The rate of street crimes was next to zero.  Everyone in every neighborhood trusted the other.  They felt safe walking the streets after dark.  Each neighbor could count on the help of another, if needed.  Residents of some neighborhoods invited the Mesaharati inside their homes to eat Sahoor with them.  In Syria every Mesaharati had strong connections with their neighborhood. People trusted him to deliver food and money to those whom they knew were in need.   

The only security risk were stray dogs; rarely some behaved aggressively.   The stick which the Mesaharati carried for his drum was sometimes used to scare away barking dogs with hand swinging gestures.  That's as far as safety concerns went.

Unfortunately the need for a Mesaharati has gradually declined since the past half a century primarily because of technology - alarm clocks, radios, televisions, cell phone alarms.  Construction of highrise residential apartments in developing cities and the use of air conditioners have made it harder to hear the Mesaharati’s voice.   Their voices were so clearly audible in medieval times as they walked by small homes of close-knit neighborhoods.   Moreover, in sprawling over-crowded modern cities with high crime rates and unruly traffic, the Mesaharati often fears for their safety, that they may not be able to walk the busy streets without being harmed.

In modern Pakistan for instance, few would even know the definition of the term “Mesaharati.”  They simply refer to the dawn caller as the "dhol wala" (the drum guy) who are unknown members of the community, neither trusted nor respected.  Some are even treated with disdain, viewed as greedy volunteers which unfortunately is true about several of them.  They show up for a short while on just a few nights of the entire month but assertively demand money for the whole month during Eid-al-Fitr.  Most neighbors are unwilling to pay them. 

That’s how much times have changed!   

But despite the changing times, in the northern Arab world and Iran, the Mehsaharati remains an inseparable part of the blessed month of Ramadan.

From Muslim Villa.

Pencil sketch effect. In the serene desert neighborhood of 9th-century Al-Medinah

 

A century after the passing of the beloved Prophet (pbuh), the day unfolds in a gentle rhythm beginning with soft daylight bathing the earthen homes and palm-lined paths in a warm, amber hue. The flat-roofed stone and mud houses, with a door and modest windows, glow quietly under the filtered sun, their textures softened by the dusty air. A winding sandy road meanders through the town, curving past the central Mosque whose dome and minaret rise with quiet dignity against the backdrop of distant hills. As twilight descends, the golden tones fade into deep indigo, and lanterns flicker to life within the homes, casting warm halos through the windows. The sky above turns dark blue scattered with stars and a fine crescent moon. The mosque remains a luminous anchor in the hush of evening.

Northern Algeria 1850s.

 

Oil on canvas.  Set within the golden hush of an Algerian afternoon, this evocative scene from the Golden Age of our Islamic History, captures a moment of calm grace in the company of friends in a traditional 19th-century ornate balcony. The sea glimmers beyond the arches where a white Mosque and tall minarets rise serenely against the coastline. Inside, two young women recline on richly woven cushions, their silken garments and delicate veils echoing the elegance of the time. One lifts her tambourine with languid ease, while the other leans into her embriodery, lost in thought. A maid approaches with tea, her presence perfecting the tableau of domestic ritual and refinement of a scenario in timeless beauty and storytelling.

 This variation of the same surroundings shows the ornate ceiling  with its intricate artistic pattern synonymous with Islamic architecture.

Simple food decor

As-Salaam Alaikum and hi dear kids 😀💗  During the next summer holidays, InshaAllah, let us learn to refine our talents with simple food décor though the beauty makes it look way beyond simple.  

 

This image is my Ai creation from originals by Mehrnoush S. and Farkhundeh Harouni at Pinterest.  Smoothly whipped yogurt using mint, coriander or fenugreel leaves and edible food grade rose petals.  Yellow Persian rice pudding 'shole zard' garnished with carefully sliced pistachios and edible food grade rosebuds.

I created this image with Ai showing a more inspiring background for presentation. The foods, the table and the fresh pink rose with a long stem are a mix of oil on canvas and watercolor. The birdie and rainy window view are photography effect.

These gorgeously simple food decorations have a history richer than imaginable in our medieval Islamic History of the Golden Era.  

Echoes of a Golden Age: A duet of Persian yogurt and saffron rice pudding, adorned with edible roses, green herbs and pistachio leaves—reviving the culinary poetry of 16^th century Persia (Iran) and the Arab world where beauty and nourishment were inseparable 🍃🌹

In the courts of medieval Persia and the Arab world, food was not merely sustenance—it was a canvas for aesthetic and cultural expression. Delectable banquets during the Abbasid, Fatimid and Safavid dynasties showcased dishes adorned with vibrant herbs, edible flowers, and intricate layering of colors and textures. Persian influence brought a refined elegance to presentation with saffron-pistachio desserts, scented rice, saffron-infused stews and yogurt-based dishes often garnished with green herbs, pomegranate seeds and dried rose petals. Arab culinary texts from the 11th century, such as al-Warraq’s Annals of the Caliphs’ Kitchens reveal a deep appreciation for visual harmony, where the arrangement of ingredients mirrored poetic and geometric ideals.

This decorative tradition was deeply intertwined with etiquette as well as medicine. The use of color—golden saffron, pink rose petals, ruby pomegranate and emerald herbs—was believed to stimulate appetite and balance humoral health. Meals were structured with precision, beginning with light, visually appealing starters and progressing to richly adorned main courses. The emphasis on beauty, fragrance and symmetry in food presentation reflected the broader artistic sensibilities of the Islamic Golden Age where culinary refinement was a mark of sophistication and cultural pride.