Goat herding

Feltmaking is a craft that involves the production of items through the felting of natural fibers such as sheep’s wool. Those who practice this trade are called felt master or feltmaker. Feltmaking is an ancient craft that extends from the steppes of Central Asia to the hans, bazaars, and village squares of Anatolia.

Felt is a traditional textile material formed when wool fibers cling together under the influence of moisture, heat, and pressure, resulting in a non-woven surface. Originating from the harsh climatic conditions of nomadic life, this material acquired both functional and symbolic significance in Turkish culture through its use in tents, saddle covers, rugs, headgear, and clothing. With the migration of Turkic tribes into Anatolia, this craft adapted to settled life, acquired artistic qualities, and became organized within the Ahi and guild systems.

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According to written and archaeological evidence, the history of feltmaking reaches back to the kurgan culture of Central Asia. Figured felt samples excavated from the Pazyryk Kurgan demonstrate that by the 5th century BCE, this craft had already achieved both technical and aesthetic sophistication. Huns, Göktürks, and Uyghurs used felt extensively, from tents and clothing to religious objects and ceremonial coverings. The transformation of felt into a symbolic object upon which rulers were seated during wooden burial rituals confirms that it was not merely a utilitarian item but also a potent symbol.

Following the Turkish victory at the Battle of Manzikert in 1071 and their subsequent settlement in Anatolia, feltmaking merged with local weaving traditions and became even more enriched. During the Seljuk and Ottoman periods, feltmaking acquired institutional structure through the Ahi and guild systems and served not only everyday needs but also military equipment, religious coverings, and ceremonial garments. Evliya Çelebi recorded that feltmakers participated in craft parades in Istanbul, walking on elevated platforms while tossing wool. ^【1】 

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The Ahi organization formed the foundation of production ethics in Anatolia. Within this structure, individuals progressed through apprenticeship, journeyman, and master stages, acquiring not only professional skill but also social responsibility. To attain master status, the “Şed Kuşanma Ceremony” was performed. During the Ottoman period, feltmakers produced under their own guilds and supplied felt to state institutions. Until the 18th century, it was customary to boil felt in baths located at At Pazarı and Yenibahçe.

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Felt production begins with the carding and cleaning of lamb’s wool. The wool is then fluffed and separated fiber by fiber using a hand-held hammer on a stretched string. Next, a patterned layer is prepared and motifs are arranged upon it. This process involves:

• Sepki / Dirgen: Used to spread wool evenly in thickness.
• Desenlik: The first felt layer onto which motifs are placed.
• Pevantlamak: The process of folding inward loose edges after the initial felting.
• Su Vermek: Sprinkling hot water over the wool to initiate felting.

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After motifs are arranged, the wool is wrapped in cloth and tightly bound with rope to prepare it for felting. The rolled bundle is then rolled back and forth by foot. In the second stage, the felt is beaten against the chest in a bathhouse to ensure the fibers bind tightly. This process is called “cooking.” Traditional methods do not use soap.

Some key tools used in feltmaking include:

• Hallaç: The craftsman who fluffs the wool.
• Tokmak: A hammer used to strike the stretched string and fluff the wool.
• Sepki: A tool made from walnut wood used to spread wool evenly over a surface.

Workshops were typically designed with earthen floors, wooden beams, no direct sunlight, and only one side facing the street. The shops in Gevraki Han in Konya and temporary production areas such as “kom” and “merek” in Ardahan reflect this traditional architecture.

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Felt is more than a covering; it is a cultural narrative. The motifs applied to it carry symbolic meanings:

• Mal Gözü: A symbol of protection against evil.
• Tik: Represents balance and order.
• Kaburga: Depicts strength and durability.
• Yürek: Conveys emotional attachment and loyalty.
• Alaca Kapı: Symbolizes transition and transformation.
• Cılga Tekir (Teker): Represents continuity and movement.
• Mihrap: Symbolizes spirituality and direction.
• Sığır Sidiği, Bukağı, Kaz Ayağı: Cultural motifs derived from traditional weaving patterns.

Motifs vary according to regional aesthetics and intended use. In Şanlıurfa, color harmony is prioritized, while in Ardahan, motif placement follows symmetrical spatial principles.

Felt decoration can be applied either during production or after completion. Embroidery done during production is called “döşeme nakışı,” while decoration added to finished felt is known as “el işleme nakışı.”

Decoration techniques vary by region:

• In Şanlıurfa, styles such as Acem nakışı, göbek nakışı, and pul nakışı are prominent.
• In Ardahan, original motifs such as mal gözü, alaca kapı, tik, cılga tekir, and kaburga are applied.

Felt production has become a ritual in many regions. In Ardahan, spreading felt is not merely a technical activity but a communal event marked by festive atmosphere. Accompanied by davul and zurna music, the “altın ömür halayı” dance is performed, inspired by the footsteps of feltmakers. In Şanlıurfa, felt has inspired folk songs and proverbs.

Women are the unseen actors in feltmaking. They play active roles in wool cleaning, dowry preparation, and motif placement. Before marriage, young girls traditionally prepared two or three patterned felt rugs as part of their dowry.

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Felt types vary according to their intended use:

• Yer Yaygısı: Large-sized felt used as floor covering, typically made with 7–15 kg of wool.
• Seki Örtüsü: Placed on wooden benches or wall bases for seating, featuring fine detailing.
• Kepenek: Used by shepherds especially around Afyon and Iğdır; simple and waterproof.
• Eyer Keçesi: A functional felt placed under the saddle to protect the horse’s back; produced in every household in Ardahan.

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Since the 1980s, industrialization, rural-to-urban migration, and the decline of animal husbandry have weakened feltmaking. Many workshops have closed, and masters have turned to itinerant work. In Ardahan, production has ceased entirely. However, a few workshops in Konya, Afyon, Şanlıurfa, Isparta, Manisa, and İzmir continue to preserve the tradition. These masters are valued as “living culture bearers.”

Laws enacted during the Republican era—the 1924 Trade and Industry Law and the 1949 Craft Associations Law—formalized the apprenticeship and master systems. Today, these processes continue in educational institutions under the Ministry of National Education, and vocational training programs supported by KOSGEB and local administrations contribute to the development of feltmaking.