An exhibition of traditional crafts and time-honored trades has ended in Aleppo, Syria. Held under the slogan “Every Craft Has Its Own Story,” it brought together artisans, artists, and owners of small workshops. The organizers sought to revive crafts threatened with extinction, help their products combine authenticity with modernity, and pass accumulated knowledge on to new generations.
The event was part of the “Sawn” heritage-preservation project, dedicated to Aleppo’s traditional crafts and the city’s intangible cultural heritage. Project director Rumaysa Sheikh said participants were selected according to specific criteria, with women making up the majority; men accounted for only 20%. Women who practice traditional crafts at home were trained in entrepreneurship, marketing, digital pricing, project licensing, and visual brand creation. Participants also toured Aleppo’s old markets, while the final exhibition operated for three evenings near the city’s citadel.
Participants ranged in age from 17 to 60, demonstrating that an interest in handicrafts can unite different generations. Artist and woodcarver Ahmad Hindawi presented a work reviving an almost forgotten craft: he combined wood carving with decorative elements and Arabic calligraphy. He said wood carving had ceased to be merely part of furniture and had become an art form in its own right, producing wall panels and art objects for the home. He dreams of restoring Aleppo’s former reputation as a center of the craft through specialized schools, training courses, and even inclusion in the school curriculum.
Macramé artisan Raghda Wazzan spoke about developing this heritage and expanding its uses. Historically, macramé was associated with sailors’ fishing nets, while in Aleppo it became especially known for plant hangers. Today, she creates home décor and household items from macramé, bringing it back into residents’ interiors, introducing children and young people to the craft’s history, and inspiring them to create new original designs. One exhibition visitor said she was proud of the resilience of local artisans and expressed hope that Aleppo’s products would reach international markets.
The exhibition provided a platform for presenting traditional skills to a broad audience while helping artisans build connections with the modern market. The project is an attempt not merely to preserve Aleppo’s craft heritage, but also to adapt it to the demands of contemporary life. Organizers and participants want traditional trades not to disappear, but to shine again with modern touches and remain part of the city’s identity and economy.
News Commentary
What is the “Sawn” project, and which local or international organizations support the preservation of Aleppo’s intangible cultural heritage? — “Sawn” (صون) means “preservation” or “protection” in Arabic. It is an initiative to safeguard and transmit Aleppo’s intangible cultural heritage, including traditional crafts—wood carving, macramé, embroidery, and soapmaking—as well as music and culinary practices. The project documents the knowledge of older artisans, trains young people, and helps craftspeople enter the market. It is supported by UNESCO, Syria’s Ministry of Culture, the Directorate-General of Antiquities and Museums (DGAM), the Aleppo Citadel Foundation, local NGOs, and craft associations. International donors include the EU, the Swiss Agency for Development and Cooperation (SDC), ALIPH, and others.
Why has Aleppo historically been considered a center of wood carving, and which schools or artisan dynasties shaped this tradition? — Aleppo stood along major trade routes and was a significant craft center under the Mamluks and Ottomans. The region had abundant walnut, oak, pine, and mulberry wood, while mosques, madrasas, palaces, and the citadel created demand for carved decoration. An “Aleppo school” of carving developed, featuring arabesques, geometric and floral patterns, openwork carving, muqarnas, calligraphy, and inlay with mother-of-pearl, bone, and silver—unlike the Damascene school, known for its mosaic inlay. The tradition was passed down through family dynasties and guild associations. Well-known families include Al-Attar, Al-Sabbagh, Al-Halabi, and Al-Najjar, although names may vary across sources.
How did macramé enter Aleppo’s craft tradition, and why did plant hangers become its local specialty? — Macramé—from the Arabic mikramah, meaning “ornament,” “veil,” or “fringe”—came to Aleppo through Mediterranean trade and craft networks. In the 20th century, it was actively developed by Armenian families and women’s schools and associations, which combined it with local embroidery and textile traditions. Plant hangers became a local specialty because Aleppo’s homes and courtyards traditionally contained many plants, including jasmine, geraniums, and roses. Suspended woven baskets saved space, decorated walls and ceilings, and suited shaded courtyards. After the war, macramé plant hangers became an accessible home-based trade for women and a symbol of bringing greenery and comfort back to the devastated city.
Full version: Aleppo’s Traditional Crafts Resist Extinction and Regain Their Luster with Contemporary Touches