From bookbinding to embroidery: ARS Tsiran explores Armenian Crafts

On May 5, the Armenian Relief Society (ARS) Tsiran Chapter of Manhattan hosted “Threading Through History: Cilician Armenian Manuscripts, Motifs, and Marash Embroidery Workshop” at St. Illuminator’s Armenian Apostolic Cathedral in New York City. The event combined a presentation on the art and history of Armenian manuscripts and bookbinding by medievalist Tamar Marie Boyadjian, Ph.D., with an interactive Marash embroidery workshop led by artist Mariam Karapetyan. ARS Tsiran Arts & Culture Committee Lead Rita Bahnan said: “When we were trying to think of our next event, we really wanted to dive into something unique about our culture and find those niche experts and skillsets that we can share with the community. So, for this event, we chose two different but related areas.”  During her presentation, Boyadjian spoke about the history of the Armenian language, from oral literature to the first written forms of communication (like petroglyphs and cuneiform) to the written script used today. A Detroit-based writer, editor, and translator, Boyadjian has dedicated her career to the study and preservation of Western Armenian language, history and texts. When she first became interested in medieval manuscripts and stories, she wanted to learn more about Armenian works of that period, which led her to earn a PhD in Comparative Literature, with a specialization in Medieval Mediterranean Literature.  Click to view slideshow. Boyadjian walked through the four kinds of Armenian alphabet script used in manuscripts throughout history: Ergatakir script (iron script), the earliest form of Armenian script; Bolorgir script (miniscule script), which was smaller to allow for more content and imagery on the page; Notrgir script (notary cursive), which looks more like calligraphy, as influenced by other cultures; and Shghagir script (cursive script), which is the basis for today’s script.  She also discussed the physical elements of manuscripts, from the kinds of paper used to the techniques of bookbinding. In bookbinding, pages and covers are sewn together using thread.  Uniquely, Armenian end bands — the decorative ends of book spines — are not flush with the covers, which tells us that in the Middle Ages, they stacked books on their sides, not upright, she said. The end bands are also so complex that even today, no one knows exactly how Armenians embroidered them. When asked about why she enjoys studying Armenian manuscripts, Boyadjian said, “Armenian manuscripts help us enter a world that is usually unknown to most Armenians and the world. It helps us resurrect a past waiting to be discovered.” Boyadjian is not only resurrecting a past, but she is also exploring new worlds. Her forthcoming book will be the first fantasy series written in Western Armenian by a U.S.-born author. Boyadjian’s work also includes preserving Armenian stories for future generations; through Personal History Press, she helps families document and archive their experiences, stories, and memories for posterity. “I think writing is a form of art that we’ve forgotten,” Boyadjian said. “What we’re trying to get you to see today is the connection between the weaving of letters in writing and the weaving of thread in embroidery.”  The embroidery workshop, led by Mariam Karapetyan, consisted of a presentation, followed by participants trying their hand at Armenian needlework. “What we’re trying to get you to see today is the connection between the weaving of letters in writing and the weaving of thread in embroidery.” Washington-based Karapetyan began exploring embroidery about three years ago, when she started cross-stitching Armenian motifs for a relative. She first learned Marash embroidery from an artist in Armenia and now hosts her own workshops and private lessons for new learners. Karapetyan said learning Marash embroidery is important because “It keeps a deeply rooted part of Armenian cultural history alive through active practice, not just memory.”  “Practicing Marash embroidery today creates a tangible connection to our ancestors: to the women and families who stitched these patterns before us, carried them across borders, and preserved them despite immense loss,” she said. “Each stitch becomes a way of honoring heritage, remembering where we come from, and ensuring these traditions continue for future generations.” Click to view slideshow. Today, there are no traces of Armenian history in Marash, but in this room, there were several descendants working together to continue the craft of their ancestors.  While there are three types of Marash stitches — Hartagar (satin stitch), Godtgar (outline stitch), and Hyusvac gar (woven stitch) — this workshop focused on the third, which leverages small crosses to make up a larger design. “Practicing Marash embroidery today creates a tangible connection to our ancestors: to the women and families who stitched these patterns before us, carried them across borders, and preserved them despite immense loss.” Reflecting on the legacy of Marash embroidery, Karapetyan said, “Originating in the historic Armenian city of Marash, this intricate embroidery style carries generations of artistry, resilience and storytelling — surviving displacement, cultural erasure, and genocide through the hands of Armenians who refused to let their traditions disappear.” Through a live demonstration, Karapetyan guided participants through the mathematical techniques and khachkar-like designs of a single line of Marash embroidery. Participants were also in luck, as a Marash blanket was in the room, providing a real-life example of the Hartagar and Godtgar stitches. Karapetyan also introduced attendees to the “secrets of Marash,” hidden stitches that weave over and under the existing thread to create intricate patterns without piercing the fabric. Today, there are no traces of Armenian history in Marash, but in this room, there were several descendants working together to continue the craft of their ancestors. ARS Tsiran Arts & Culture Committee member Jackie Marashlian remarked, “Being Marashtsi myself, I didn’t know we had a special stitch. This is so important, even if I didn’t do it so well. But I’m learning and I’m so amazed by it.” Most attendees were women, ranging in age and experience, a mix of those already familiar with Marash embroidery, those new to the specific art form, and even those new to needlework in general. As with most crafts, Marash embroidery is much more difficult than an expert like Karapetyan made it appear. But in a display of true community and collective effort to keep the art form alive, participants helped each other repeat what they saw Karapetyan execute at the front. “I came here out of nostalgia because this is something that I remember, as a child, my mom doing. I remember her taking private lessons to learn this and then working on big pieces — like huge tablecloths and bed coverings – and she even made a living doing this when my father passed away,” said attendee Ani Panossian-Mouradian. “My mom is almost 80, so it’s hard for her to do this now. This was an opportunity for me to teach my daughter, as well as keep the culture, heritage and family history alive.” Her daughter Arkina Mouradian echoed her sentiments, saying, “I’ve always loved doing American tserakordz, I do cross-stitch and I learned knitting from my grandma, but she never got the chance to teach me this more advanced style. I came here today just to learn from an expert to keep the culture alive and hang out with my mom.” ARS Tsiran Arts & Culture Committee Lead Rita Bahnan concluded, “Our ancestors were hand artists; they were cobblers; they were skilled at so many different things …It’s our duty as Armenians to investigate our own art and our own history because it’s not going to be studied the same way by someone who’s not leaning in with that type of passion.” Co-chaired by Caroline Mann and Lara Bogossian, ARS Tsiran was founded in 2023, in an effort to engage the next generation in supporting ARS-sponsored programs, such as Camp Javakhk, emergency relief and student sponsorships. The chapter’s events have focused on hands-on experiences with diverse aspects of Armenian culture, such as cooking classes, music performances and dance workshops. Readers can follow ARS Tsiran, Boyadjian and Karapetyan on Instagram. Information about the ARS and upcoming events is available on the organization’s website. To preserve family histories, visit Personal History Press. Information about embroidery workshops and online classes is available through Shogher Embroidery (in Eastern Armenian) and Lizzy Vartanian (in English). The post From bookbinding to embroidery: ARS Tsiran explores Armenian Crafts appeared first on The Armenian Weekly.