Marash
Marash embroidery—also known as Marash work or Armenian interlaced embroidery—originates from the historic city of Marash (modern-day Kahramanmaraş in Turkey). Marash was once a centre for cotton cultivation and textile production, and there are two main varieties of Marash embroidery.
Techniques and Styles
Marash embroidery is defined by two principal stitching techniques. The first, hartagar, which is a flat or satin stitch. It is also sometimes known as atlasloma or the zeytun stitch.
The second, more distinctive and better known technique is hyusvadzgar, which is also known as the “secret stitch” (kaghdnagar). This is because you cannot see how the embroidery is done from the back, you have to be taught how to do it.
Hyusvadzgar
This woven stitch is unique to Marash and involves a complex, two-stage process: a base frame structure is first stitched onto the fabric, then interwoven threads create small cross-like forms. The resulting stitches resemble crosses that expand into intricate geometric patterns. It is thought that the cross-like look of hyusvadzgar embroidery is the reason that this technique wasn’t taken up by Kurds and Turks living in the region where it originated.
The technique is very precise—any error disrupts the entire design—which historically limited its practice to skilled artisans in Marash.
Hartagar
This flat stitch allows for detailed and expressive compositions, including not only floral and animal motifs but also human figures—such as the commonly depicted “Wedding Scene.”
One of the most common illustrations is that of a tulip surrounded by birds. These embroideries would have been made by girls preparing for their “ojit” or dowry. The birds symbolise preparing the nest, while the flower and its seeds represent fertility.
Fabric
Marash embroidery is known for its bold colour contrasts, typically using bright threads against dark backgrounds such as deep blues and black. It would have originally been done on cotton dyed with indigo. The designs would have been drawn on using a starch-solution and a reed-pen so that they could be seen against the dark background, and originally the person drawing on the design would have been separate to the embroiderer. Today, the embroiderer draws the pattern themselves.
While cotton was traditionally used, velvet later became the preferred fabric, especially after Armenian communities migrated to Syria.
Designs are often rhythmic and repetitive, covering the entire surface. A central circular motif—referred to as the “Sun” or “Rose”—is common and reflects ancient symbolic traditions in Armenian art. Many patterns carry names from the region’s shared linguistic heritage, including Turkish terms like Bardakli (“teacup-like”) and Saatli (“clock-like”).
Cultural Context and Transmission
Embroidery skills were traditionally passed down through generations, especially along maternal lines. Following the Armenian Genocide, displacement led to the spread of Marash embroidery techniques beyond their original geographic confines. Missionary schools and workshops also played a role in preserving and teaching the craft to younger generations.
Legacy and Influence
Marash embroidery survives in diaspora communities and scholarly study. Its geometric woven patterns bear resemblance to designs found in Armenian stone carvings, particularly khachkars (cross-stones), suggesting deep connections across artistic mediums.
Similar interlaced stitching techniques can also be found in regions such as India and Malta, highlighting the broader historical reach of this intricate craft.
Today, Marash embroidery stands as a testament to resilience and cultural continuity—an art form that preserves both the technical ingenuity and historical memory of the Armenian people.