Kazaziye Art

Kazaziye is a traditional Turkish craft based on wire weaving. Today primarily practiced in the Trabzon region, this art involves twisting silver or gold wires, 0.08–0.18 mm in thickness, around nylon or ibrişim thread to create specialized wire-yarn, which is then worked using various knotting and weaving techniques. Products made with this technique include necklaces, bracelets, rings, earrings, and rosary whips.

The fundamental techniques used in kazaziye include fishbone, surge, top weave, and ajur. Fishbone is a chain-like weaving pattern; surge is used to join two parts. Top weave is a method of wrapping around beads or similar objects. Ajur serves to combine other techniques while also providing mobility to the piece.

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The origins of kazaziye have not been definitively established. However, scientific data and oral history collections suggest its roots may extend as far back as antiquity, even to the Lydian period. Artifacts resembling kazaziye work have been identified among treasures attributed to King Croesus of Lydia. In this context, kazaziye is associated with the earliest periods when gold and silver were first used as ornamental materials.

During the Ottoman period, kazazlik was a widespread profession in cities such as Erzincan, Sivas, and Van, with Trabzon as its center. Evliya Çelebi praised Trabzon’s goldsmiths, emphasizing the city’s mastery in the art of jewelry making. It is known that many master kazaz artisans working in Ottoman court workshops were trained in these cities.

Ethnographic research in the region has shown that kazaziye was introduced to Trabzon by Turkish migrants from the Caucasus and Dagestan. However, some sources also indicate that the craft became widespread in the region through Rum artisans.

The foundation of kazaziye art lies in the creation of wire-yarn, formed by winding fine silver or gold wires around nylon or ibrişim thread. This material is shaped into jewelry using needles, hooks, and various tools. The production process occurs in several stages, each requiring meticulous handwork.

The first step in kazaziye production is preparing the wire. The wires used are typically pure silver or gold, 0.08 to 0.18 microns in thickness. These wires are wound around nylon or ibrişim thread using a traditional tool called a crank. The result is a flexible yet durable twisted wire-yarn suitable for needle weaving.

The crank used in wire preparation is typically 120 cm long. To ensure even and taut winding, the thread is fixed to the crank and the wire is wound in a uniform spiral. The thickness of the nylon thread—whether single, double, or triple ply—directly affects the volume and form of the final weave.

Once the wire-yarn is prepared, weaving begins. The techniques employed include:

• Fishbone: A chain-like weave that forms the primary structure of necklaces and bracelets.
• Surge (short and long): Used to join sections of the piece or to create aesthetic transitions.
• Top Weave: A technique where the wire-yarn is wrapped around beads or wooden cores, commonly used in rosary tassels.
• Ajur: An open-weave pattern used in transitional areas or mobile sections. Ajur can be made using either hand-prepared or crank-prepared wires.

During weaving, small hand tools such as hooks, knitting needles, kazaz needles, hammers, scissors, and tweezers are employed. The wire’s shape must remain intact throughout the process, and smooth transitions between coils must be maintained.

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The woven components are typically used in different parts such as necklaces, bracelets, rings, and rosary ends. These parts are assembled according to the design and secured with adhesive or beeswax when necessary. For example, beeswax is used to fix beads in top weave or to join sections with surge.

After assembly, the wire ends are trimmed and connection points are carefully finished to achieve the final form. Excess thread is cleaned using a lighter. Additional decorative details, such as ajur or surge, may be added to enhance the aesthetic unity of the piece.

• Wire: Pure silver or gold wire, 0.08–0.18 mm in thickness.
• Thread: Nylon or ibrişim, typically used for winding on the crank.
• Crank: A rotating device used to wind wire onto thread.
• Beeswax: Hardens the thread to prevent slippage and also functions as an adhesive.
• Kazaz Needle: Used for weaving and joining wire-yarn.
• Hook and Knitting Needle: Primary hand tools for weaving.
• Plastic or Wooden Beads: Used as cores in top weave.
• Tweezers: Used to manipulate wire when it becomes tangled.
• Adhesive and Daksil: Auxiliary materials for securing components.
• Lighter: Used to burn off excess nylon thread.

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Kazaziye art holds a unique place among Anatolian crafts due to its historical origins and technical diversity. The shaping of metal wires at the micron level using hand tools reflects the intricate craftsmanship and patience required by this art. Art historians regard kazaziye as an important field of study, particularly within the context of decorative arts and craft history.

In 2017, the art was officially registered under the name “Trabzon Kazaziye” as a geographical indication, thereby placing it under cultural heritage protection.

The techniques used in kazaziye weaving share structural similarities with traditional weaving methods, particularly in terms of weaving logic. There are clear parallels between kazaziye and card-based weaving techniques such as çarpana. In both methods, the direction of rotation, tension, and surface texture are fundamental determinants. In this context, the adaptation of the çarpana technique into jewelry-making serves as an example of how such crafts have influenced the technical evolution of kazaziye and similar arts.

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