| Abstrakt: |
Abstract:This article offers a close object analysis of a nineteenth-century sampler from the Ottoman domains. While “Ottoman” as a classificatory designation helps to geographically locate the object due to the unusual length and quantity of embroidered Ottoman Turkish inscriptions, the maker leaves bolder markers of her layered identity and reveals sociocultural practices of crafting embroideries that indicate multi-sensorial improvisational modes of composition, both tactile as well as sonic. The article’s second intention is to expound on the broadening historiographical conception of a Mediterranean network of craft skills, practices, patterns, and peoples in the aftermath of World War II over and against insular distinctions and presumed parochialism, as was imposed on these types of objects in earlier decades of the twentieth century. A continental network of classical archaeologists, amateur collectors, linguists, and art historians constitute the sampler’s twentieth-century academic afterlife, underscoring a wide-ranging interest in textiles and their place in rethinking interconnected communities and regions. |
