Hany Mahmoud: Preserving the Ancient Appliqué Art of the Pharaonic Times
“The tentmakers of Cairo are an important part of Egyptian culture. The tradition of tent making with beautiful decoration goes back thousands of years,” says Hany Mahmoud Abd El Fattah, a traditional khayamiya artisan.
Hany Mahmoud Abd El Fattah in his studio.
Khayamiya, an Arabic word derived from khayma, meaning 'tent', refers to the traditional Egyptian hand-appliqué art featuring elaborate patterns originally worked on the inner surfaces of tents. While these sturdy tents offered protection from the elements, the colourful appliqué of mesmerising patterns created a wondrous world within, making them ideal as temporary residences or for occasions such as weddings.
Isetemkheb B’s Funerary Baldachin (Detail) - National Museum of Egyptian Civilization.
Hany’s sentiments are manifest in a stunning exhibit titled The Baldachin of Princess Isetemkheb II, a tent dated 1046–1037 BC, at the National Museum of Egyptian Civilization in Cairo. The tent bears decorations of coloured appliquéd leather and testifies to the antiquity of this art. The caption for the exhibit notes that ancient Egyptians made tents from mats, leather, and thick linen as temporary dwellings. These tents were used during hunting trips, military campaigns, and religious processions to house statues of gods. They were also set up in the gardens or courtyards of homes for women during the final stages of pregnancy and childbirth, and by lakes or gardens as leisure retreats in the summer. In addition, nobles and wealthy individuals set up private baldachins (ceremonial canopies) in front of their tombs for purification rites, which were later buried with the deceased.
Hany hails from a family of khayamiya artisans who live on the famous Street of the Tentmakers in Old Cairo. He recalls his great-grandfather, Abdul Fattah, decorating the interiors of tents with khayamiya art, and his grandfather transporting these tents to Saudi Arabia for use during the Hajj pilgrimage. As a child, Hany observed the elders in his family working intricate appliqué patterns on cloth. He learned the craft at the age of twelve from his father and has been practising it for over forty years.
To create khayamiya, the design is first drawn on the cloth. Then, pieces of cloth—cut to the required shapes and colours—are appliquéd onto it. The appliqué is stitched to the base cloth using fine, neat stitches in thread that matches the appliqué rather than the ground fabric. In some khayamiya pieces, the stitching also adds decorative accents. Both the threads and the fabric used are typically cotton.
“The demand for tents with khayamiya has faded now, with only the occasional commission. However, the art must continue. So we now create a range of new products—such as cushion covers, runners, tablecloths, and wall art—to keep the tradition alive.” says Hany.
In addition, Hany explores a wide variety of designs. These range from arabesques and calligraphy seen on Islamic mosques and monuments in Cairo to flowers, scenes from nature, original designs from his imagination, motifs from ancient Egypt as depicted in tombs and monuments, and even animals such as pandas. Among his many striking works are panels depicting Goddess Isis—as seen in the temples of Luxor and Aswan—Pharaoh Tutankhamun, and Queen Cleopatra. One nature scene took him seven months to complete, working nine hours a day.
Hany has also stepped outside the traditional location of khayamiya artisans—the Street of Tentmakers—to bring his work closer to travellers. He now has a space at the charming Khan al-Khalili store in the Egyptian Museum Bazaar, located beside the forecourt of the Egyptian Museum in Tahrir Square, Cairo. This makes it easy for visitors to discover khayamiya, observe Hany at work, and discuss the technique and its tradition with him. He is surrounded by his own khayamiya pieces, along with those made by his family, all available for purchase. He is present during museum hours: 9 a.m. to 5 p.m.
Hany has participated in the International Folk Art Market in Santa Fe, the India International Quilt Festival (2019), and many other events, and has held workshops to raise awareness about the art. He says, “We love our work. I love to teach this art. Even if it is a new expression, the technique is traditional. I would like to connect with more people to hold workshops.”
The next generation of Hany’s family is also learning the craft—currently, 14 family members are involved in khayamiya. Through his ongoing development of new products and designs, his skill and creativity, his commitment to teaching, and his accessible workshop space, Hany brings the ancient art of khayamiya to a wider audience.
Written by Brinda Gill
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Further information:
Hany Mahmoud (mobile and WhatsApp number) +201002980366
https://m.facebook.com/hany.fatah.3/
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Image Credits:
LEAD: Esam Ali, Tree of Life, Egyptian Cotton Tent Canvas.
Photographs credited to Satyajit S Gill unless otherwise stated in image captions.