Çuha (or çuka), "Broadcloth" in English, is a type of woolen fabric used in military and civilian clothing during the Ottoman period. The weaving process was generally carried out with the help of a shuttle, and motifs were embroidered manually. With its durable, thick, and high-quality structure, this fabric was especially preferred for the production of winter clothing. It was an essential part not only of daily life but also of institutional production.
Çuha Factory (Generated by Artificial Intelligence)
Historical Development and Production Centers
Çuha weaving became one of the local elements of textile production in the Ottoman Empire, which was initially dependent on imported fabrics. Especially from the 16th century onwards, imports of çuha from Italy were replaced by locally produced fabrics by the Jewish community in Thessaloniki. When the Sephardic Jews were expelled from Spain in 1492 and settled in Thessaloniki, the city became one of the leading woolen fabric production centers of the Ottoman Empire. The military organization of the state, the Janissary Corps, met its çuha needs largely through the Jewish community in Thessaloniki, which held the weaving privilege for many years.
Çuha production was not limited to Thessaloniki. Production was also carried out in centers like Istanbul, Bursa, Aleppo, Izmit, and Diyarbakır. Especially in 1708, during the reign of Sultan Ahmed III, the establishment of the Şehremini Çuha Factory in Istanbul led the institutionalization of state-supported textile production.
Production Process and Raw Materials
The production of çuha technically involves three stages: obtaining and cleaning wool, spinning it into yarn, and then weaving and compacting it. Raw wool was first classified by quality, with lower-grade portions separated out. A traditional method used to remove natural grease and salts from the wool involved soaking it in stale urine. This softened the wool and made it easier to absorb dye. The cleaned wool was spun into yarn and arranged on looms in skeins. After weaving, the fabric was beaten and compacted in water mills (a process called “battanlama”) to achieve its final strength and density.
Military and Social Uses
Çuha fabric held strategic importance within the Ottoman military system. The Janissaries were issued a winter garment called zemistânî once a year, which was primarily made of çuha. The fabric also served as a symbol of loyalty and social status among those working in palace circles. In old Istanbul mansions, distributing çuha robes to servants during festivals was a symbolic part of social charity practices.
Industrialization and Modernization Initiatives
In the early 19th century, the Ottoman State followed European industrialization and institutionalized the textile sector by establishing new factories. Feshâne-i Âmire, founded in 1833 and soon involved in çuka production, was a leading example. Additionally, çuka factories were established in Izmit and İslimye, and these institutions operated under state control with a focus on military production.
To meet the need for high-quality wool, the importation and breeding of Merino sheep were encouraged. This initiative began during the reign of Mahmud II, and Merino sheep breeding was expanded in imperial farms such as Mihaliç (Karacabey). Merino wool was significantly superior in both yield and quality compared to local breeds. Therefore, the state offered various tax exemptions and incentives to local producers to support this industry.
Yassıçal Çuha Weaving (Ihlas Haber Ajansı)
Current Status and Cultural Heritage
Although the tradition of çuha weaving weakened from the mid-20th century due to industrialization, it has been revived in recent years within the scope of cultural heritage preservation. In 2019, a social responsibility project titled “Bir Usta Bin Usta” (“One Master, One Thousand Apprentices”) provided çuha weaving training in the village of Yassıçal, Amasya, and promoted it through public exhibitions. With the contributions of television programs and fashion designers, çuha weaving has been revived with modern interpretations and has been reintegrated into the cultural economy.
