Kalemişi

Kalemişi is a decorative art form created by piercing patterns drawn on semi-transparent sketch paper with needles, transferring the design onto the target surface using coal powder, and then coloring it with various paints and brushes.

The art of kalemişi has its origins in Central Asia Turkic Uyghur art. Frescoes used by Turkic peoples in Central Asia during the 8th and 9th centuries are considered early examples of kalemişi. With the migrations of the Turks, this art was carried to together and developed further under the influence of Islamic art, particularly in its motifs and compositions. During the Great Seljuks period, kalemişi was widely used in religious and civil architectural decoration and reached its peak during the Ottoman era. In the 16th century, this art experienced its most brilliant phase under the classical style and underwent significant development within Ottoman palace ateliers.

The Süleymaniye, Rüstem Pasha and Takkeci İbrahim Ağa mosques are among the important examples of classical Ottoman kalemişi decoration. In the 19th century, Western artistic movements introduced Baroque, Rococo and Empire like styles into kalemişi art. The Pertevniyal Valide Mosque and the Topkapı Sarayı sacred Treasury Department are notable works from this period. Although republican-era modern artistic approaches replaced traditional arts, academic research and restoration projects continue to preserve kalemişi. Today, this art is used in restoration projects and specialized decorative applications.

^{Example of Kalemişi (Source:} Old Work⁾

Kalemişi art encompasses various techniques applicable to different surfaces:

• Contoured (Tahrirli) Applications: In this method, the designs to be applied on plastered surfaces are first drawn on sketch paper, pierced with needles, and transferred onto the surface using a charcoal powder pad. The designs are then painted according to specific rules, followed by the final step known as tahrir, which involves outlining the contours. This technique enhances the clarity of details.
• Non-contoured (Negative) Applications: In this technique, designs are colored directly without any outlining. Contrast colors are applied to the background and motifs to make them stand out. It is considered a more practical method in terms of craftsmanship.
• Stencil Applications: This method involves transferring designs onto surfaces using stencils, typically cut from acetate or varnished cardboard. Painting is done using sponge pads or puff brushes. It is one of the fastest and most suitable techniques for mass production.
• Fresco Technique: In this method, designs are applied while the plaster is still wet, allowing the pigments to be absorbed directly into the surface. The fresco technique has been used for centuries in wall decorations and is preferred for its durability.
• Roller Technique: This technique, used in kalemişi decoration, involves transferring patterns onto surfaces using specially prepared roller stamps. It is commonly employed to repeat the same motif across large areas.

• Malakari Technique: This technique, known in kalemişi art as raised plaster application, involves carving designs into wet plaster to create a three-dimensional effect. It is frequently used in architectural decoration.
• Cardboard Cutting Technique: Designs are cut from cardboard and glued onto the plaster surface to produce a relief effect. This method is especially effective in interior decorations for highlighting intricate details.
• Cartonpierre Technique: Commonly used in areas requiring mass production, this technique involves casting plaster designs from molds and mounting them onto surfaces.

• Edirnekari: Relief patterns are applied to wooden surfaces using a mixture of plaster and adhesive, then decorated with gold leaf. This technique was widely used during the Ottoman period.
• Coloring of Carved Wood: Achieved by carving decorative patterns into wooden surfaces. These can be gilded with gold leaf or left in their natural wood tones.
• Applications on Fabric: Fabric is applied over wooden surfaces to facilitate the execution of designs. This method is typically used on flexible surfaces.

• Kalemişi on Metal Surfaces: Applied to metal surfaces to create decorative finishes resistant to moisture and humidity.
• Applications on Leather: These are kalemişi decorations applied to processed animal hides, typically prepared to a parchment-like consistency.
• Kalemişi on Stone and Marble: Used on stone and marble surfaces treated with slurry and painted. Due to its durability and longevity, it is preferred in large-scale structures.

Kalemişi art is preserved today by a number of masters who teach the craft through the traditional master-apprentice relationship and pass it on to future generations:

• Sabri İrteş (1923–2010): A prominent master who worked on the restoration of Ottoman-era kalemişi art. He restored decorations in numerous historical monuments, including Topkapı Palace.
• Hamit Üçer (1923–2006): For 52 years, he carried out kalemişi restorations in major monuments such as Topkapı Palace and Hagia Sophia, contributing significantly to the preservation of the art.
• Semih İrteş, Kaya Üçer and Servet Çaçan: Contemporary artists who sustain kalemişi art and train new masters. They ensure the continuity of the tradition through academic instruction.