Sumiyo Okumura | Bahcesehir University (original) (raw)

Papers by Sumiyo Okumura

Research paper thumbnail of Cross Section vol.10 OKUMURA

Cross Sections Vol. 10, 2022

This article is an extract from my lecture "Textiles of the Topkapi Palace," delivered on the occ... more This article is an extract from my lecture "Textiles of the Topkapi Palace," delivered on the occasion of the exhibition "The Treasures and the Tradition of "Lale" in the Ottoman Empire" held at the National Museum of Modern Art, Kyoto in June 2019. It comprehends the Ottoman textile industry from the early Ottoman period to the Tanzimat (Western Reformation) period and the Sultan's clothing in the Topkapi Palace Museum. (in Japanese)

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Research paper thumbnail of Memlük Halı Fragmanı Kaplı Bargello Kompozit Yayının Menşei

Türk Kültürü İncelemeleri Dergisi / The Journal of Turkish Cultural Studies 47, 2022

The collection of the Museo Nationale del Bargello, Florence, contains a unique composite bow who... more The collection of the Museo Nationale del Bargello, Florence, contains a unique composite bow whose handle is covered with a fragment of Mamluk carpet. The bow is not recurved, but long and straight, and made from a composite of wood, horn, sinew, andglue. It is registered as “turchesco” in the museum records, and it is theorized that the bow was brought from Venice to the Medici Palace in 1568. Information from the Ottoman archive as well as similarities between the carpet fragment on the Bargello bow and the structures, designs, and colors used in a group of Mamluk carpets with white warps suggest that this composite bow was produced in Ottoman Syria in the sixteenth century.

Floransa’daki Bargello Milli Müzesi (Museo Nationale del Bargello)’nde kabzası Memluk halı parçası kaplı bir kompozit yay bulunmaktadır. Müze kayıtlarında (envanter no: 352) “turchesco” olarak kaydedilen bu yayın, 1568’de Venedik’ten Medici sarayına getirilmiş olduğunu Dr. Scalini’nin araştırması sayesinde öğrenmekteyiz. Ancak söz konusu yayın formu, tekniği, bezemeleri ve halı parçasının mevcudiyetinden dolayı, Osmanlı menşeli olmadığı anlaşılmaktadır. Tarihi arşiv ve beyaz çözgülü Memluk halı grubu ile Bargello yayında görülen Memluk halı parçasının yapısı, desenleri ve renkleri açısından aynı olması, bu yayın Memluk kökenli bir yay olabileceğini düşündürmektedir. Bu yay, Arap yayından Osmanlı yayı formuna geçiş döneminde yapılmış nadir bir örnek olarak değerlendirilebilir. Orta Asya kompozit yaylarından etkilenen Memluk yaylarının, başka hususlarda görüldüğü gibi, Osmanlı yayının da kaynağı olduğu konusunda şüphe yoktur. Bu makalede, menşeine açıklık getirmek üzere, Moğol, Memluk ve Osmanlı yayları ile mukayese edilerek Bargello yayı değerlendirilecektir.

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Research paper thumbnail of Doğu'dan Batı'ya Kültür ve Sanat Etkileşiminde Osmanlı Çatma Yastık Yüzlerinin Yeri ve Önemi

Türk Kültürü İncelemeleri Dergisi, 2020

Osmanlı döneminde sıkça kullanılan çatma kadife yastık yüzleri, Türklerin geleneksel yaşam biçimi... more Osmanlı döneminde sıkça kullanılan çatma kadife yastık yüzleri, Türklerin geleneksel yaşam biçimini yansıtmaktadır. Osmanlı yastık yüzlerinde görülen kompozisyona baktığımızda, yastığın kısa kenarlarında yer alan nişli bordürlerin, Mısır’daki Memlüklerin yastıklarına çok benzediğini görmekteyiz. Aslında bu nişli kompozisyon, Doğu’daki Budizm’e ait dini kumaş panolarında görülen kompozisyon ile de oldukça yakınlık göstermektedir. Bunun sebebinin Osmanlıların kısa süreliğine de olsa Tebriz’i ve daha sonra Kahire’yi ele geçirmesiyle birlikte, yerli sanatkâr ve ustaları Osmanlı sarayına getirmesinden kaynaklanmış olduğu söylenebilir. Saraya getirilen yabancı sanatkârlar ve ustalar, yaşadıkları yerlerden getirdikleri kültürü ve sanatı, yerleştikleri yerde de yaşatmaya devam etmiş ve orijinal anlamını yitirmiş desenleri ve kompozisyonları bir dekoratif unsur olarak kullanmışlardır. 16. yüzyıl ortasına gelindiğinde, bu kompozisyonun artık yastık yüzlerini oluşturan bir kalıp haline geldiği ve daha sofistike bir şekilde geliştiği görülür. 17. yüzyılda ise sadece kadifeden değil, halıdan yapılan yastık yüzlerinin de yaygın hâle geldiğini, bugün mevcut olan eserlerden anlamak mümkündür. Bu makalede, Doğu ile Batı’nın bir sentezi olan çatma yastık yüzlerinde görülen kompozisyon üzerinde durulacaktır. /

Ottoman cushion covers (yastık) made with voided velvet (çatma) reflect Turkish traditional life. The composition seen in Ottoman cushion covers, especially the design of niches (lappets) on the short sides of the covers, similar to Mamluk cushion covers. This composition can also be seen in some Esoteric Buddhism textile compositions. These similarities can be explained as a consequence of the movement of artisans and craftsmen, whether freely in search of new patronage or by force, taken by conquerors to the capital as captives after Ottoman capture of Tabriz for a short period of time and their conquest of Cairo. Artisans coming to the Ottoman court continued to practice their culture and art, using the old patterns and colors that were deeply embedded in their memory. These patterns and compositions lost their original religious context and survived in art forms merely as decorative elements. The particular composition of Ottoman cushion covers was first adopted after the middle of the 16th century, and it developed more sophistication over time according to the prevailing fashions. Later, after the 17th century, the same composition moved beyond velvet to Ottoman cushion covers made of rug. This paper will shed light on the development of Ottoman cushion covers, which shows the synthesis of the East and the West.

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Research paper thumbnail of The Hidden Story of the Quilted Cover in the Benaki Museum Collection

Hidden Stories/Human Lives: Proceedings of the Textile Society of America 17th Biennial Symposium, October 15-17, 2020. https://digitalcommons.unl.edu/tsaconf/, 2020

There is a big, green linen quilt cover in the collection of the Benaki Museum. It looks like a M... more There is a big, green linen quilt cover in the collection of the Benaki Museum. It looks like a Mamluk cover in terms of colors and designs such as endless knots and flower motifs, but the emblem showing a double-headed eagle in the center of the cover is not the same as other Mamluk blazons. It raises the question of where and when this quilt cover was made. A similar type of linen textile, the so-called trapunto fiorentino, can be seen in a private collection in Florence. This paper will shed light on the hidden story of the linen quilt cover in the Benaki collection, examining its historical background together with material evidence found in museums and private collections.

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Research paper thumbnail of Silk Velvets Identified as Byzantine: Were warp- looped silk pile velvets woven under the Byzantine Empire?

The Social Fabric: Deep Local to Pan Global; Proceedings of the Textile Society of America 16th Biennial Symposium. Presented at Vancouver, BC, Canada; September 19 – 23, 2018. https://digitalcommons.unl.edu/tsaconf/ , 2018

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Research paper thumbnail of Balkanlarda Üç Benekli Beyaz Zemin Seccâde Halıları (White Ground Prayer Rugs with Three-dot Motifs in the Balkans)

2. ULUSLARARASI AVRASYA TÜRK SANATLARI KONGRES‹ BİLDİRİLER 2nd INTERNATIONAL CONGRESS OF EURASIAN TURKISH ARTS PROCEEDINGS, 2018

There is a group of so-called Transylvanian white ground rugs with three-dot motifs. According to... more There is a group of so-called Transylvanian white ground rugs with three-dot motifs. According to research conducted to date, these rugs were brought from Selendi in Western Anatolia. However, when we compare them with Uşak white ground rugs with Chintamani motifs, several differences can be seen in color, size, border and weaving quality. When we consider the historical background in the Balkans, it brings to mind the question that threedot motifs on white ground rugs, preserved in Transylvanian churches, might have been woven by Muslim Turks in the Balkans and used as a prayer rug. Animal furs and spots are a part of the cultural and social structure of Islamic religion, especially the Bektashi order. This order spread into the Balkans during the early Ottoman conquest and colonization of Eastern Europe. There might have been a close relationship between the development of this type of rug and the Sufi dervishes, who had close links with warriors and the Ottoman Empire. Some Ottoman archive documents, dated in the 16th century, show that carpets were woven in the Balkans, although the archival sources do not give any detail about design, color, and size. Motifs, borders and techniques on Transylvanian white ground rugs with three-dot motifs suggest to us that they might not have been woven by urban artisans in workshops but by villagers or nomads in villages in the Balkans, and might have been used as prayer rugs. After the 19th century, vast number of Turks in the Balkans had to migrate to Anatolia due to the Balkan War, the First World War, and the population exchange between Turkey and Greece. Today, this type of rug, except for those kept in Transylvanian churches, is no longer in existence in the Balkans. We could hypothesize that this migration could explain the reason why this type of rug was very rare in Anatolia before the 19th century.

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Research paper thumbnail of Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets

Crosscurrents: Land, Labor, and the Port. Textile Society of America’s 15th Biennial Symposium. Savannah, GA, October 19-23, 2016, 2016

Velvets are one of the most luxurious textile materials and were frequently used in furnishings a... more Velvets are one of the most luxurious textile materials and were frequently used in furnishings and costumes in the Middle East, Europe and Asia in the fifteenth to sixteenth centuries. Owing to many valuable studies on Ottoman and Italian velvets as well as Chinese and Byzantine velvets, we have learned the techniques and designs of velvet weaves, and how they were consumed. However, it is not well-known where and when velvets were started to be woven. The study will shed light on this question and focus on the origin, the historical background and development of velvet weaving, examining historical sources together with material evidence.

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Research paper thumbnail of アジアの東西を結ぶ三玉文様の諸相 (Japanese).pdf

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Research paper thumbnail of 宮殿を彩った絨毯 (Japanese).pdf

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Research paper thumbnail of Various Aspects of the Three-Dot Motif in the East and West

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Research paper thumbnail of The Blazon - Western Influences on Mamluk Art after the Crusades

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Research paper thumbnail of The Significance of Yellow Dyed Warps in Cairene Rugs and a Group of Ottoman Court Prayer Rugs

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Research paper thumbnail of The Mamluk Kaaba Curtain in the Bursa Grand Mosque

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Conference Presentations by Sumiyo Okumura

Research paper thumbnail of Mamluk Symposium II. program

Dear colleagues, I am delighted to share with you the information about the Mamluk Symposium II, ... more Dear colleagues, I am delighted to share with you the information about the Mamluk Symposium II, Science, Thought, Art and Institutions, which will be held at Istanbul University on June 1-2, 2023.
I will present my paper entitled "Mongol Legacies on Mamluk Carpets: Cultural Influence brought by Turkic Artisans" on June 2, 2023.
My comprehensive article "Mongol Legacies in Mamluk Carpets: The Cultural Influence brought by Turkic Artisans who migrated from the Mongol Empire to the Mamluk Sultanate" will be published in the Bloomsbury Encyclopedia of World Textiles vol.6 in 2023.

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Research paper thumbnail of Cross Section vol.10 OKUMURA

Cross Sections Vol. 10, 2022

This article is an extract from my lecture "Textiles of the Topkapi Palace," delivered on the occ... more This article is an extract from my lecture "Textiles of the Topkapi Palace," delivered on the occasion of the exhibition "The Treasures and the Tradition of "Lale" in the Ottoman Empire" held at the National Museum of Modern Art, Kyoto in June 2019. It comprehends the Ottoman textile industry from the early Ottoman period to the Tanzimat (Western Reformation) period and the Sultan's clothing in the Topkapi Palace Museum. (in Japanese)

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Research paper thumbnail of Memlük Halı Fragmanı Kaplı Bargello Kompozit Yayının Menşei

Türk Kültürü İncelemeleri Dergisi / The Journal of Turkish Cultural Studies 47, 2022

The collection of the Museo Nationale del Bargello, Florence, contains a unique composite bow who... more The collection of the Museo Nationale del Bargello, Florence, contains a unique composite bow whose handle is covered with a fragment of Mamluk carpet. The bow is not recurved, but long and straight, and made from a composite of wood, horn, sinew, andglue. It is registered as “turchesco” in the museum records, and it is theorized that the bow was brought from Venice to the Medici Palace in 1568. Information from the Ottoman archive as well as similarities between the carpet fragment on the Bargello bow and the structures, designs, and colors used in a group of Mamluk carpets with white warps suggest that this composite bow was produced in Ottoman Syria in the sixteenth century.

Floransa’daki Bargello Milli Müzesi (Museo Nationale del Bargello)’nde kabzası Memluk halı parçası kaplı bir kompozit yay bulunmaktadır. Müze kayıtlarında (envanter no: 352) “turchesco” olarak kaydedilen bu yayın, 1568’de Venedik’ten Medici sarayına getirilmiş olduğunu Dr. Scalini’nin araştırması sayesinde öğrenmekteyiz. Ancak söz konusu yayın formu, tekniği, bezemeleri ve halı parçasının mevcudiyetinden dolayı, Osmanlı menşeli olmadığı anlaşılmaktadır. Tarihi arşiv ve beyaz çözgülü Memluk halı grubu ile Bargello yayında görülen Memluk halı parçasının yapısı, desenleri ve renkleri açısından aynı olması, bu yayın Memluk kökenli bir yay olabileceğini düşündürmektedir. Bu yay, Arap yayından Osmanlı yayı formuna geçiş döneminde yapılmış nadir bir örnek olarak değerlendirilebilir. Orta Asya kompozit yaylarından etkilenen Memluk yaylarının, başka hususlarda görüldüğü gibi, Osmanlı yayının da kaynağı olduğu konusunda şüphe yoktur. Bu makalede, menşeine açıklık getirmek üzere, Moğol, Memluk ve Osmanlı yayları ile mukayese edilerek Bargello yayı değerlendirilecektir.

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Research paper thumbnail of Doğu'dan Batı'ya Kültür ve Sanat Etkileşiminde Osmanlı Çatma Yastık Yüzlerinin Yeri ve Önemi

Türk Kültürü İncelemeleri Dergisi, 2020

Osmanlı döneminde sıkça kullanılan çatma kadife yastık yüzleri, Türklerin geleneksel yaşam biçimi... more Osmanlı döneminde sıkça kullanılan çatma kadife yastık yüzleri, Türklerin geleneksel yaşam biçimini yansıtmaktadır. Osmanlı yastık yüzlerinde görülen kompozisyona baktığımızda, yastığın kısa kenarlarında yer alan nişli bordürlerin, Mısır’daki Memlüklerin yastıklarına çok benzediğini görmekteyiz. Aslında bu nişli kompozisyon, Doğu’daki Budizm’e ait dini kumaş panolarında görülen kompozisyon ile de oldukça yakınlık göstermektedir. Bunun sebebinin Osmanlıların kısa süreliğine de olsa Tebriz’i ve daha sonra Kahire’yi ele geçirmesiyle birlikte, yerli sanatkâr ve ustaları Osmanlı sarayına getirmesinden kaynaklanmış olduğu söylenebilir. Saraya getirilen yabancı sanatkârlar ve ustalar, yaşadıkları yerlerden getirdikleri kültürü ve sanatı, yerleştikleri yerde de yaşatmaya devam etmiş ve orijinal anlamını yitirmiş desenleri ve kompozisyonları bir dekoratif unsur olarak kullanmışlardır. 16. yüzyıl ortasına gelindiğinde, bu kompozisyonun artık yastık yüzlerini oluşturan bir kalıp haline geldiği ve daha sofistike bir şekilde geliştiği görülür. 17. yüzyılda ise sadece kadifeden değil, halıdan yapılan yastık yüzlerinin de yaygın hâle geldiğini, bugün mevcut olan eserlerden anlamak mümkündür. Bu makalede, Doğu ile Batı’nın bir sentezi olan çatma yastık yüzlerinde görülen kompozisyon üzerinde durulacaktır. /

Ottoman cushion covers (yastık) made with voided velvet (çatma) reflect Turkish traditional life. The composition seen in Ottoman cushion covers, especially the design of niches (lappets) on the short sides of the covers, similar to Mamluk cushion covers. This composition can also be seen in some Esoteric Buddhism textile compositions. These similarities can be explained as a consequence of the movement of artisans and craftsmen, whether freely in search of new patronage or by force, taken by conquerors to the capital as captives after Ottoman capture of Tabriz for a short period of time and their conquest of Cairo. Artisans coming to the Ottoman court continued to practice their culture and art, using the old patterns and colors that were deeply embedded in their memory. These patterns and compositions lost their original religious context and survived in art forms merely as decorative elements. The particular composition of Ottoman cushion covers was first adopted after the middle of the 16th century, and it developed more sophistication over time according to the prevailing fashions. Later, after the 17th century, the same composition moved beyond velvet to Ottoman cushion covers made of rug. This paper will shed light on the development of Ottoman cushion covers, which shows the synthesis of the East and the West.

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Research paper thumbnail of The Hidden Story of the Quilted Cover in the Benaki Museum Collection

Hidden Stories/Human Lives: Proceedings of the Textile Society of America 17th Biennial Symposium, October 15-17, 2020. https://digitalcommons.unl.edu/tsaconf/, 2020

There is a big, green linen quilt cover in the collection of the Benaki Museum. It looks like a M... more There is a big, green linen quilt cover in the collection of the Benaki Museum. It looks like a Mamluk cover in terms of colors and designs such as endless knots and flower motifs, but the emblem showing a double-headed eagle in the center of the cover is not the same as other Mamluk blazons. It raises the question of where and when this quilt cover was made. A similar type of linen textile, the so-called trapunto fiorentino, can be seen in a private collection in Florence. This paper will shed light on the hidden story of the linen quilt cover in the Benaki collection, examining its historical background together with material evidence found in museums and private collections.

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Research paper thumbnail of Silk Velvets Identified as Byzantine: Were warp- looped silk pile velvets woven under the Byzantine Empire?

The Social Fabric: Deep Local to Pan Global; Proceedings of the Textile Society of America 16th Biennial Symposium. Presented at Vancouver, BC, Canada; September 19 – 23, 2018. https://digitalcommons.unl.edu/tsaconf/ , 2018

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Research paper thumbnail of Balkanlarda Üç Benekli Beyaz Zemin Seccâde Halıları (White Ground Prayer Rugs with Three-dot Motifs in the Balkans)

2. ULUSLARARASI AVRASYA TÜRK SANATLARI KONGRES‹ BİLDİRİLER 2nd INTERNATIONAL CONGRESS OF EURASIAN TURKISH ARTS PROCEEDINGS, 2018

There is a group of so-called Transylvanian white ground rugs with three-dot motifs. According to... more There is a group of so-called Transylvanian white ground rugs with three-dot motifs. According to research conducted to date, these rugs were brought from Selendi in Western Anatolia. However, when we compare them with Uşak white ground rugs with Chintamani motifs, several differences can be seen in color, size, border and weaving quality. When we consider the historical background in the Balkans, it brings to mind the question that threedot motifs on white ground rugs, preserved in Transylvanian churches, might have been woven by Muslim Turks in the Balkans and used as a prayer rug. Animal furs and spots are a part of the cultural and social structure of Islamic religion, especially the Bektashi order. This order spread into the Balkans during the early Ottoman conquest and colonization of Eastern Europe. There might have been a close relationship between the development of this type of rug and the Sufi dervishes, who had close links with warriors and the Ottoman Empire. Some Ottoman archive documents, dated in the 16th century, show that carpets were woven in the Balkans, although the archival sources do not give any detail about design, color, and size. Motifs, borders and techniques on Transylvanian white ground rugs with three-dot motifs suggest to us that they might not have been woven by urban artisans in workshops but by villagers or nomads in villages in the Balkans, and might have been used as prayer rugs. After the 19th century, vast number of Turks in the Balkans had to migrate to Anatolia due to the Balkan War, the First World War, and the population exchange between Turkey and Greece. Today, this type of rug, except for those kept in Transylvanian churches, is no longer in existence in the Balkans. We could hypothesize that this migration could explain the reason why this type of rug was very rare in Anatolia before the 19th century.

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Research paper thumbnail of Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets

Crosscurrents: Land, Labor, and the Port. Textile Society of America’s 15th Biennial Symposium. Savannah, GA, October 19-23, 2016, 2016

Velvets are one of the most luxurious textile materials and were frequently used in furnishings a... more Velvets are one of the most luxurious textile materials and were frequently used in furnishings and costumes in the Middle East, Europe and Asia in the fifteenth to sixteenth centuries. Owing to many valuable studies on Ottoman and Italian velvets as well as Chinese and Byzantine velvets, we have learned the techniques and designs of velvet weaves, and how they were consumed. However, it is not well-known where and when velvets were started to be woven. The study will shed light on this question and focus on the origin, the historical background and development of velvet weaving, examining historical sources together with material evidence.

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Research paper thumbnail of アジアの東西を結ぶ三玉文様の諸相 (Japanese).pdf

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Research paper thumbnail of 宮殿を彩った絨毯 (Japanese).pdf

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Research paper thumbnail of Various Aspects of the Three-Dot Motif in the East and West

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Research paper thumbnail of The Blazon - Western Influences on Mamluk Art after the Crusades

Bookmarks Related papers MentionsView impact

Research paper thumbnail of The Significance of Yellow Dyed Warps in Cairene Rugs and a Group of Ottoman Court Prayer Rugs

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Research paper thumbnail of The Mamluk Kaaba Curtain in the Bursa Grand Mosque

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Research paper thumbnail of Mamluk Symposium II. program

Dear colleagues, I am delighted to share with you the information about the Mamluk Symposium II, ... more Dear colleagues, I am delighted to share with you the information about the Mamluk Symposium II, Science, Thought, Art and Institutions, which will be held at Istanbul University on June 1-2, 2023.
I will present my paper entitled "Mongol Legacies on Mamluk Carpets: Cultural Influence brought by Turkic Artisans" on June 2, 2023.
My comprehensive article "Mongol Legacies in Mamluk Carpets: The Cultural Influence brought by Turkic Artisans who migrated from the Mongol Empire to the Mamluk Sultanate" will be published in the Bloomsbury Encyclopedia of World Textiles vol.6 in 2023.

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