Szilágyi András (szerk.): Ars Decorativa 16. (Budapest, 1997)
PÁSZTOR Emese: „Tafota, melyre az virágokat írták"
the Serai, the zerdûzan (111. 1). If the thread tying down the metal thread is invisible and ties down the metal thread to the base only next to the contour of the pattern, then the technique is called the moras technique (111. 2). Specialists have long been intrigued by the way the patterns of metal threaded embroideries were drawn on the fuzzy surfaced velvets which covered saddles and horse blankets. In connection with an embroidered velvet prayer rug, Agnes Geijer suggested that the recurring patterns might have been copied onto the velvet by pressing, or - as it was customary in the case of canvas embroideries - by the application of a blueprint punched along the contours of the design together with the application of coal dust. 15 Similar techniques were mentioned by Ayten Sürür in his work entitled Türk Isleme Sanaf/. 16 For the zerduz embroideries of the Serai, the illuminators of the Serai, the nakkas-es, designed the patterns and copied them on the textiles. In contrast, the required designs (kalem) of canvas-based embroideries were drawn by the scarf merchants (yaglikciyân esnaflari) of the Bazaar (bedesten) in black ink, 17 but the technique of using blueprints (silkme) was also in use. A sheet of paper densely pricked along the outline of the pattern was laid on the surface of the textile to be embroidered, and was rubbed through with coaldust. This procedure was also known in Hungary. Some embroidery design patterns - pricked sheet patterns (called "forms" at the time) - surviving from the 17th and 18th centuries in Transylvania were published by Gertrud Palotay in 1941. 18 As a third procedure for the transfer of designs, Sürür mentions metal stamping (kalip), employed in designs with frequently recurring patterns, which were used in metal-threaded works, among other things. 19 In the household books of Gábor Bethlen, prince of Transsylvania, we find data in connection with the above-mentioned zerdûz and maras embroideries, which add to our knowledge concerning the transfer of embroidery patterns onto velvets. Pál Bornemisza recorded the costs of materials for a quiver among his expenses in Istanbul on January 13, 1622. For it he purchased small and large pearls, turquoises, gold and silk embroidering thread, as also taffeta in other words, woven silk. 20 After the list, the expenses for the making of the quiver are given: "For the making of the quiver I paid the the sewer 18 asp. for each miskal; the embroidery thread was 90 miskals, making 1620 asperos ... 24 frt. 30 dr. / The pearls were 18 1/2 miskals asp. 324... 4frt 86 dr. / For the inscription of the taffeta I gave asp. 200 3 frt / For the quiver I bought majcz, asp. 584... 8 frt 72 dr. /1 bought two karmasin for the case, asp. 224... 3 frt 72 dr. / To strap maker I paid asp. 872... 13 frt 53 dr. for his work /1 had 40 arrows made for it, asp. 50, in toto facit asp. 2000... 30frt". 21 A few items below a record relating to an unknown textile item can be read: "For the writing of coats of arms and some flowers on tafetta I paid asp. 2870... 43 frt 5 dr. for all the sewing work. The sewing work having been done, 7700 miskals of gold, silver and klabodan embroidery thread was put onto it; for this I had to pay, in line with the agreement, 27 oszporas, facit in toto asperos 207900... 3105 frt." 22 On December 25, 1625 Pál Keresztesi had a jakub horse-blanket made in Istanbul, 23 for which the purchase of the following materials was necessary: "11 sing of red velvet..., 8 sing taffeta..., 150 dram silk for sewing..., 15 sing gold braid for the sewing of fur around the edges..., 200 miskal gold thread..., 100 miscal silver embroidering silk, twice 100 miscal red ... Bagdad (material for lining)..." After this came the the fees for the craftsmen. After the purchase of the taffeta he recalls that: "For the outlining of the pattern I gave 3 thalers", then later: "For the sewing of the jakub I gave asp. 9 facientesfl. 123 70 dr.",
