Handicraft | Discover Lebanon

Handicraft | Discover Lebanon

Three vital extracts from this page:

Contemporary craftsmen have perpetuated the precious and traditional techniques of their ancestors. Carpet weaving factories in Aïdamoun,Tripoliand Fekheh remain loyal to the Anatolian school, while those of Baaqline still follow the Iranian discipline.

Carpets woven inLebanonare polychromic and very supple. Most commonly used colors, other than black and white, are red, navy blue, pink and yellow. They are often used as floor carpets, but also as sofa or bed covers, decorative pillow cases, or hung as tapestries…


…In the Beqaa valley, more specifically in Fekheh, Jdeidet el-Fekheh, Irsal or Bakkifa, craftswomen weave knotted pile carpets. They weave on vertical looms (haute lisse), producing rudimentary carpets that resemble closely to Anatoly’sBergamacarpets invented byCentral Asia’s nomads.

The knotted pile carpets were manufactured in dark colors, like navy blue, burgundy or brown, and their background was sprinkled with small geometrical designs, lozenges and hexagons. The traditional hand and eye motifs were also commonly found.

Knotted pile carpets are manufactured with ewe wool imported fromBaalbek, and renown for its strength. The wool was first washed and combed, then dyed and spinned, and finally woven.

Traditionally, six women would sit on the ground facing a vertical loom. One of them would sing her directions to the others, hence communicating the number of knots to be made and the colors to be used. In the Beqaa region, women used the symmetrical knot (also called Turkish knot) which held the two weft threads from outside and came out from the inside as a tuft, thus forming the soft side of the carpet. After each knot, the craftswomen cut the thread with their knife. A row of knots is followed by three rows of weft that weavers would press manually with the help of a comb. When weaving is completed, the carpet’s surface is leveled with special scissors.

These women would also use their knotted pile weaving craft to manufacture the pillows and bed covers that every bride had to have in her trousseau…


…While in the village of Hermel, 58 km of Baalbek, workshops weave praying rugs with colored corn straw…


Wow, where did I miss this??!

Much thanks to Joseph Tarrab, a Lebanese Art Critic (to whom it is apparently unjust to describe without mentioning “prominent” or “renowned” at least once), I landed some leads for actual recent and on-going craft-related initiatives!

Aside: Joseph Tarrab was also a member of the Jury in The Age of Bronze: Bronze Casting Competition, an event coordinated by Cesar Nammour and Gabriele Schaub of the Modern and Contemporary Art Museum, for which I was honored with two awards. I can’t stress how strange it is to have any association with Mr. Tarrab, in more ways than one!

Please, read this and consider helping in one or more ways

Apologies for the long wait. There really has been a lot to do lately! I will get back on track shortly, but in the mean time (somewhat outside the sphere of Intraweaving) please give some time and care to the rebuilding and restocking of this historic library in Tripoli, Lebanon, as its deadline to fulfillment is approaching and it is just close enough to make the cut!


The following is an email I received two days ago, with the approaching deadline of a crowdfunding project to reconstruct an old library in Tripoli, Lebanon, which was burned down in early January. I invite everyone to read it and give the time that they can to help the individual behind this.
Dear Saba,
I’m sure you’ve heard, or read, Tripoli’s Library and 2nd largest library in Lebanon, was torched on January 3 in an overnight act of violence, where 25,000+ of rare historical books and manuscripts were lost. While communities have come together, from Lebanon to the United States, to organize book drives to help restock the library, the library needs financial support to be rebuilt and restocked with its rare collection.
Father Ibrahim Surouj, the owner of the library, is working in collaboration with Zoomaal (the Arab crowdfunding platform aimed at promoting Arab Creativity and Innovation) and Global Shapers…

View original post 129 more words

How I picked up carpet weaving, and venturing in a new direction as an artist, Part I

There’s a bit of catching up to do here…

ART / WORLD / DISASTER opened on November 28 in a newly furbished space of AUB (American University in Beirut).

Signage for ART / WORLD / DISASTER

Banner for ART / WORLD / DISASTER, outside the AUB Byblos Bank Art Gallery

The show features the works of 9 artists – they are Pedro Lasch (who made the call for proposals and approached some artists), Magali Claude, Dima Hajjar, Sandra Issa, Georges Rabbath, Cristopher Rizkallah, Nataly Sarkis, Lara Tabet and myself – and a collective of artists that form 52 Weeks of Labor. I had a lot of correspondence with Pedro while he was overseas, along with my AUB instructor Kasper Kovitz, and the Gallery Curator, Octavian Esanu.

I wanted to find a specific issue on the current Syrian Refugee plight in Lebanon and the lack of mobilization towards helping them. At the same time, I asked questions on whether it is ethical to bring the issue into an art show and even questioned my objectives for doing so. It was clear to some of the artists I’m acquainted with, especially to Pedro, that pulling these and other ideas together would be tough (I might explain some of them in a later post).

In the two months leading up to the opening, I couldn’t find a way to present the initial question until I came across this article. When I started looking for something similar in Lebanon, I didn’t find anything. This is not to say that creative initiative is non-existent in Lebanon, but for a few reasons it was hard to find (update: I review some essential ways different organizations engaged the Lebanese to help Syrian refugees in this post).

I set my mind on finding a way to make a rug specifically for the exhibition, or perform the weaving live; a long and slowly developing narrative for everyone to witness, through the act of weaving and what is being weaved (more on this in a later post, too).

Initial sketch

The initial sketch for the rug in context

Rough sketch of the loom, as it was imagined to appear from the front, and notes taken down while learning to weave.

Rough sketch of the loom, as it was imagined to appear from the front, and notes taken down while learning to weave.

Rough sketch of the loom with estimated dimensions

Rough sketch of the loom with estimated dimensions

One month prior to the opening, I was very lucky to meet Yousef Allahverdizadeh, a carpet weaver, cleaner and repairman from Iran, based in Lebanon. He agreed to help me build the loom and to teach me how to weave.

Yousef on the loom

Yousef on the loom, showing me how to add the very first row of weaving.

After bouncing ideas  back and forth, Yousef and I came up with a loom, two benches, a set of tools and lots of wool and cotton thread. A lot of the material were procured easily, much thanks to Yousef. We were able to talk about so much in the little time that was granted to us (more on this in a new post, as well).

I have to break away from the timeline here and just mention how astounding it has been to go through with this project. I can’t tell if I have succeeded in anything, but it became evident during the process and a great conversation with Pedro that the direction I’m headed with The Loom is unlike any from my previous body of work. I hope to sample some of them, as well as a few things I’ve already promised in parentheses, in future posts. Whoever you are, if you choose to follow my posts, this blog isn’t unlike other blogs that involve personal exploration and introspection into one’s psyche and active life. Many times, I’ve wished to directly communicate my thoughts and ideas with others, but held back knowing the world is FULL of thoughts and ideas put out there. Maybe this is why I chose to become a visual artist, which raises its own challenges (post about this, soon enough).

I have to stop here, as there are plenty of things I need to brainstorm for this blog. One key thing to look forward to in Part II is some nifty documentation – photos, GIFs and videos, all courtesy of good friends and fellow artists!

Stay tuned, and good day to you.