In the labyrinths of Aleppo’s old markets, the Syrian artisan Ayman Said leans over wooden panels, creating Eastern patterns and Arabic calligraphy. In this way, he is trying to preserve an art form that is around 1,400 years old and protect it from disappearing. The 42-year-old master has been practicing the craft for three decades—not only keeping the tradition alive, but also passing it on to his son. He believes the art can survive only if it moves into the hands of the new generation, which will keep the memory of this artistic heritage. Said works in painting and wood carving, creating three-dimensional panels and ornaments in the spirit of Arab and Islamic heritage, even though the number of masters in this profession has dropped significantly and it has been added to a list of crafts at risk of extinction.
For centuries, the art of raised Arab ornamental painting—also known as “al-rasm al-ajami”—has been one of the key elements of architecture and decoration in the region. It adorned the ceilings and walls of mosques, churches, and palaces. Examples of this style can still be seen in famous monuments, including the Throne Hall of the Citadel of Aleppo and the Al-Aqsa Mosque in Jerusalem. With changes in building traditions and tastes in home interiors, the use of this art in large buildings has declined; however, it has found a new niche in the production of souvenir boxes, artistic panels, and small wooden items that are in demand among lovers of handcrafted goods.
A father of three children, Ayman Said began learning the craft at the age of twelve and today tries to teach it to his son so that the cultural heritage can continue to live on in future generations. He works in the traditional atmosphere of Aleppo’s old markets and believes that preserving this craft means preserving part of the city’s cultural memory. According to him, raised ornamentation was one of the brightest features of the Eastern style that distinguished the ceilings and walls of traditional Arab houses.
The work process begins with a drawing on paper, which is then transferred onto the wood. After that, the masters use a special paste made from plant materials to form raised patterns. Next, the base is covered with paint and a protective layer, and the ornaments are painted by hand with a brush. In the final stage, thin black lines are applied to give the work its finishing look.
Said admits that he approaches the craft with the same enthusiasm as many years ago and says, “This profession doesn’t let you get bored.” Each new piece reveals previously unknown details, sustaining his interest and desire to improve his skills. He notes that the colors and materials of wooden decoration change how space is perceived: some shades create a sense of coolness in sunny rooms, while others add warmth to spaces with insufficient light. “Customers who come to my workshop spend a long time looking at the walls and ceilings, noticing the smallest details of the work,” the master adds.
Ayman Said calls for creating a traditional market where craftsmen could work under one roof—something he says would help protect old trades from extinction. Such a venue could bring together different types of crafts: raised painting, copper production, weaving, and carpet weaving. In his view, having workshops side by side would strengthen healthy competition and raise the quality of the products. While traditional crafts are giving way to a modern way of life, Ayman Said continues to create patterns in wood and puts the craft he inherited from his family into his son’s hands, hoping that his works will not become the last trace of an art form that has lived for 1,400 years.
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What is “al-rasm al-ajami,” and why is this technique considered a distinctive hallmark of Aleppo’s Arab and Islamic heritage? — “Al-rasm al-ajami” is a traditional technique of decorative finishing for wooden panels featuring a volumetric raised ornament, gilding, and painting. The word “ajami” in Arabic means “Persian” or “non-Arab,” indicating the influence of an Iranian artistic tradition that Aleppo’s masters reinterpreted and perfected. Paste is applied to a wooden base to create protruding patterns, which are then covered with paint and gold. During the Ottoman Empire era, this technique flourished specifically in Aleppo, decorating the interiors of palaces, mosques, public buildings, and wealthy residential homes. It is considered a symbol of the city’s Arab-Islamic heritage and is protected by UNESCO as an element of intangible cultural heritage.
What stages of destruction and restoration did Aleppo’s old markets go through after the start of the war in Syria, and how did that affect traditional crafts? — The covered markets of old Aleppo (Souq Al-Madina), with more than 1,200 shops, were severely damaged during the fighting from 2012 to 2016, when the city was divided into areas of control. The markets burned repeatedly, and were subjected to shelling, looting, and vandalism: hundreds of workshops, storage facilities, and historic caravanserais were destroyed. After the eastern part of Aleppo returned under the control of government forces in December 2016, phased restoration efforts began with the participation of UNESCO, international foundations, and local communities. Many shops and workshops were restored and reopened. However, traditional crafts suffered a major loss: a significant number of artisans were killed, emigrated, or lost their equipment, and many unique skills were lost due to the lack of passing experience to the younger generation. Today, the slow revival of craft schools and workshops is underway, but full restoration of both the markets and the craft tradition will take years.
What plant components are traditionally used to prepare the paste that masters use to form raised patterns in the “al-rasm al-ajami” technique? — The paste base is a mixture of chalk powder with glue, but plant components traditionally include wheat starch or wheat flour, which are cooked with water until they reach a thick paste-like consistency. The recipe often also includes linseed oil for elasticity and gum arabic—natural acacia resin—which strengthens the mixture and gives it plasticity. Sometimes small wood shavings were mixed into the paste for additional strength of the relief. It is the plant component that gives the paste the required consistency, allowing the master to shape delicate raised designs before they harden, after which the surface is gilded and painted.
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