MOROCCAN WOODCRAFT
Woodcraft has for centuries occupied a very important place in Morocco's architectural and furniture-making traditions. Various techniques are used (including sculpture, engraving, turning, carving, painting, illumination, marquetry, inlay, leather covering, stud-work, and others), and each discipline employs specialized craftsmen: joiners, wood sculptors, wood turners and painters, marquetry workers, wooden-chest makers, and so on.
During the Idrissid period (late VIIIth century – early Xth century), wood was used in Fez for monuments, for works of art, and for technical purposes. During the era of the Merinides (mid-XIIIth to mid-XVth centuries), the use of wood saw considerable development. The Merinides were great builders who left the city with a number of important religious and civic buildings. The art of making furniture out of wood can be dated back at least to the Xth century, with the famous pulpit (minbar) of the Andalusian mosque in Fez (the pulpit's panels date back to 369 (Hegira)/980 AD, while the back of the piece dates to 375 (Hegira)/983 AD). The motifs and decorative techniques used for this pulpit would form the models for many later works of art. (Amahan, 1990, 188-190)
In architecture, just as in furniture-making, the cedar of the mid-Atlas forest region, which is fragrant and does not rot, and is now very rare, used to be the wood most frequently used, especially in Fez. Thuja (âarar), which is also a fragrant wood, was also used, especially in the area around Rabat.
Among the most beautiful works produced by this art form we find many sculpted-wood pieces, architectural supports, and ornamental details, such as brackets, canopy columns, lintels, corbels, inscribed friezes, etc. In sculpture, we should also include the decorative illustrations featured on many doors and ceilings and done in a sober, multi-colored style (Amahan, 1990, 200-201).
In urban furniture, chests, boxes, shelves, and bookcases are the most striking examples of the art. The sculptured designs that adorn these pieces combine, as in earlier times, extensive use of the floral motif (palms and palmettes, floral tracery, etc. . .), and of geometry (tracery using straight lines, chevrons, stars, etc. . .). Their motifs sometimes derive from architecture (arcatures) and are often inspired by liturgical furnishing. Among the forms typically found in rural communities, we might note the beautiful sculpted and painted doors of the High Atlas region, and the carefully executed Rif chests, which are generally decorated in a very ancient geometrical style that strongly reflects Morocco's Mediterranean heritage.
The skillful style of carpentry known as moucharabieh (darbuz), very popular under the Merinides, was used for the grills of finely wrought wood seen in the madrasas (colleges), in the lower or protective patio galleries of private homes, and in interior upper courtyard galleries. It can also be seen in window-level balustrades. The most beautiful grills, made from carved wood or displaying grouped or painted balusters, cut into cubes and turned in a spiral design, and used in panels of various kinds, date from the XIVth century (Paccard, 1979, 2). They derive from a work of Fasi origin: the Umayyad back-piece of the minbar of the Andalusian Mosque at Fez.
In Fasi architecture, these open-work grills were gradually supplanted, during the XIXth and XXth centuries, by grills of wrought iron, which were less expensive, could be made more quickly, and were sturdier. Thus did this art form develop, at the expense of beauty and of tradition, in pursuit of an ideal based on the notion of commodity. And yet, the furniture being made today of turned cedar, with skilled hands, and with traditional tools, is much prized. The modern craftsmen use the same techniques and the same expertise as in earlier times.
Marquetry and inlay, which were very common in Essaouira (Mogador) and in Fez, are used to enhance wooden furniture and various other artifacts, including
Woodcraft has for centuries occupied a very important place in Morocco's architectural and furniture-making traditions. Various techniques are used (including sculpture, engraving, turning, carving, painting, illumination, marquetry, inlay, leather covering, stud-work, and others), and each discipline employs specialized craftsmen: joiners, wood sculptors, wood turners and painters, marquetry workers, wooden-chest makers, and so on.
During the Idrissid period (late VIIIth century – early Xth century), wood was used in Fez for monuments, for works of art, and for technical purposes. During the era of the Merinides (mid-XIIIth to mid-XVth centuries), the use of wood saw considerable development. The Merinides were great builders who left the city with a number of important religious and civic buildings. The art of making furniture out of wood can be dated back at least to the Xth century, with the famous pulpit (minbar) of the Andalusian mosque in Fez (the pulpit's panels date back to 369 (Hegira)/980 AD, while the back of the piece dates to 375 (Hegira)/983 AD). The motifs and decorative techniques used for this pulpit would form the models for many later works of art. (Amahan, 1990, 188-190)
In architecture, just as in furniture-making, the cedar of the mid-Atlas forest region, which is fragrant and does not rot, and is now very rare, used to be the wood most frequently used, especially in Fez. Thuja (âarar), which is also a fragrant wood, was also used, especially in the area around Rabat.
Among the most beautiful works produced by this art form we find many sculpted-wood pieces, architectural supports, and ornamental details, such as brackets, canopy columns, lintels, corbels, inscribed friezes, etc. In sculpture, we should also include the decorative illustrations featured on many doors and ceilings and done in a sober, multi-colored style (Amahan, 1990, 200-201).
In urban furniture, chests, boxes, shelves, and bookcases are the most striking examples of the art. The sculptured designs that adorn these pieces combine, as in earlier times, extensive use of the floral motif (palms and palmettes, floral tracery, etc. . .), and of geometry (tracery using straight lines, chevrons, stars, etc. . .). Their motifs sometimes derive from architecture (arcatures) and are often inspired by liturgical furnishing. Among the forms typically found in rural communities, we might note the beautiful sculpted and painted doors of the High Atlas region, and the carefully executed Rif chests, which are generally decorated in a very ancient geometrical style that strongly reflects Morocco's Mediterranean heritage.
The skillful style of carpentry known as moucharabieh (darbuz), very popular under the Merinides, was used for the grills of finely wrought wood seen in the madrasas (colleges), in the lower or protective patio galleries of private homes, and in interior upper courtyard galleries. It can also be seen in window-level balustrades. The most beautiful grills, made from carved wood or displaying grouped or painted balusters, cut into cubes and turned in a spiral design, and used in panels of various kinds, date from the XIVth century (Paccard, 1979, 2). They derive from a work of Fasi origin: the Umayyad back-piece of the minbar of the Andalusian Mosque at Fez.
In Fasi architecture, these open-work grills were gradually supplanted, during the XIXth and XXth centuries, by grills of wrought iron, which were less expensive, could be made more quickly, and were sturdier. Thus did this art form develop, at the expense of beauty and of tradition, in pursuit of an ideal based on the notion of commodity. And yet, the furniture being made today of turned cedar, with skilled hands, and with traditional tools, is much prized. The modern craftsmen use the same techniques and the same expertise as in earlier times.
Marquetry and inlay, which were very common in Essaouira (Mogador) and in Fez, are used to enhance wooden furniture and various other artifacts, including







