Sedefkarlık

Inlaying mother-of-pearl is a wood decoration art in which the iridescent layer from the inner surfaces of shellfish such as oysters and mussels is inlaid onto wood surfaces. The term “Mother-of-pearl” derives from the Arabic root sadef and is mentioned in the Quran as a symbol of purity, beauty, and clarity alongside pearls. In Ottoman culture, mother-of-pearl was regarded as a symbol of cleanliness and elegance; in Süleyman Çelebi’s Mevlid, which recounts the birth of the Prophet, the phrase “Ol Sadeften Doğdu Ol Dür Dânesi” compares Prophet Muhammad to a pearl born within mother-of-pearl.

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Mother-of-pearl inlay is primarily created by embedding mother-of-pearl, ebony, ivory, bone, brass, or silver wires into recesses carved into wood. This technique has been used throughout history for both functional and aesthetic purposes, serving as an art form to decorate furniture, chests, mirrors, stands, door panels, pulpits, and Quran cases.

The use of mother-of-pearl as a decorative material dates back to Mesopotamian and Sumerian civilizations; excavations in the city of Ur have uncovered wooden game boards and musical instruments adorned with mother-of-pearl inlays glued with bitumen. The first known use of mother-of-pearl in Islamic art appears in the ninth century in the mosaic decorations of the Samarra Palace. In the fifteenth century, geometric mother-of-pearl inlays are seen on the doors of the II. Bayezid Mosque in Edirne; during the sixteenth and seventeenth centuries, this art matured in Ottoman palace workshops and came to be known as Turkish-Ottoman mother-of-pearl inlay.

During the Ottoman period, figures such as Dalgıç Ahmed, Sedefkâr Mehmed Ağa, and II. Abdülhamid gained prominence as both architects and master inlayers. The doors of Topkapı Palace, Sultan Ahmed Camii, and Yenicami; the throne of IV. Murad from his Baghdad campaign; and the doors of the Hırka-i Saadet Chamber are among the finest examples of this art. In the nineteenth century, the Mother-of-Pearl Workshop established by II. Abdülhamid at Yıldız Palace became the institutional center of modern mother-of-pearl production.

The center in Türkiye where mother-of-pearl inlay is most intensively practiced is Gaziantep. According to research, the roots of this craft in the city date back to 1963; the earliest examples emerged during repairs of pistol grips with mother-of-pearl. Over time, this practice evolved into an independent craft, and by the 1970s dozens of workshops were operating in the city.

The most commonly used wood in mother-of-pearl inlay is walnut; it is preferred for its ease of workability, uniform grain structure, and durability. Other woods such as ebony, lignum vitae, and maun are also used. Alongside mother-of-pearl, brass, copper, and silver wires, velvet fabric (especially for the interiors of chests), glue, and nitric acid are essential materials in the production process.

The process of obtaining mother-of-pearl begins with extracting and acid-cleaning the inner layer of oyster or mussel shells, shaping it into thin plates, and then cutting it into motifs using a fine saw. These pieces are fixed in place using a traditional adhesive made from oyster powder and egg white. The surface is then sanded and polished to complete the final finish.

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The motifs used in mother-of-pearl inlay are typically geometric, botanical, and calligraphic. Common examples include ten-pointed stars, şemse, rûmî and palmette patterns, and floral decorations such as tulips, roses, and carnations, as well as Kufic script bands.

Stylistically, works are classified under names such as “Istanbul work,” “Damascus work,” “Jerusalem work,” and “Vienna work,” reflecting regional differences in technique and compositional approach. Gaziantep mother-of-pearl inlay continues the Ottoman tradition but is distinguished by its use of walnut wood, brass wire, and dense geometric patterns.

The art of mother-of-pearl inlay continues in Türkiye, particularly as a continuation of the schools influenced by Istanbul, Damascus, Jerusalem, and Vienna. Today, only a small number of masters still produce using traditional methods. However, local authorities, universities, and vocational training centers are opening courses to preserve this art, and its products are marketed in tourist markets.

The universal value of this art was internationally recognized in 2023 when it was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity through a joint nomination by Türkiye and Azerbaijan. Thus, mother-of-pearl inlay has been safeguarded as an art form that embodies both the mastery of Anatolian craftsmanship and the continuity of Turkish-Islamic aesthetic heritage.