At the close of a demanding day in his workshop, Mehmet Bulent Fistikci’s late mentor, Hayri Akbay, would often share a guiding principle that transcended the physical labor of wood, wire, and shell. He would tell him, “My son, the work you do reflects your character. The cleaner your work, the cleaner your character will be.” Decades later, these words remain the cornerstone of Fistikci’s approach to his trade.
Based in Gaziantep, Fistikci has spent nearly 40 years transforming walnut wood, delicate metal strands, and shimmering mother-of-pearl into intricate decorative objects. This process requires immense patience, precision, and a lifetime of experience. Born in 1976, Fistikci’s path into this traditional art form began almost by accident during his childhood.
Initially, his mother sent him to work with an uncle who was a carpenter, hoping to keep the restless boy occupied. Later, another uncle facilitated his entry into a mother-of-pearl workshop. Fistikci recalls his mother telling his uncle, “Take him with you. He’s just sitting around doing nothing here again.” Upon arriving at the workshop, a chance encounter with a primary school friend—the master’s son—helped secure his position. “He told his father, ‘He’s my primary school friend. Let him start working here.’ And I started there,” Fistikci remembers.
Defying the typical three-year wait for apprentices, Fistikci began crafting “kuncu,” a small brass decorative element, on his very first day. He remained at Hayri Akbay’s workshop for 15 years, staying until his mentor’s passing. Beyond technical skills, he absorbed the importance of personal conduct. Despite the dusty environment inherent to carving and sanding, Akbay was always impeccably dressed. “I never saw my mentor unshaved,” Fistikci notes, adding that his mentor’s disciplined demeanor taught him that true craftsmanship is inseparable from personal character.
Mother-of-pearl inlay holds a storied place in Ottoman decorative arts, famously championed by Sedefkar Mehmet Aga, the architect of Istanbul’s Sultan Ahmed Mosque. During the late 19th century, Sultan Abdulhamid II further preserved the tradition by establishing a workshop at Yildiz Palace. Today, Fistikci continues this legacy, utilizing traditional geometric compositions and floral motifs like tulips and carnations.
The materials Fistikci uses are deeply connected to nature. He sources freshwater mussel shells from the Euphrates River, which are collected along the banks during the heat of July. “If we didn’t collect them, they would simply rot in nature,” he explains. “We make use of them without harming any living creatures.” These shells are broken, flattened, and shaped by hand. While he also incorporates abalone and other pearl-bearing shells, he maintains that the finest material in Türkiye originates from the Euphrates.
The creation process is meticulous. After walnut wood is prepared by carpenters, the surface is marked with geometric designs. A tool called a “kesi” is used to carve narrow channels for metal wire—typically 0.80-millimetre brass, though silver, aluminium, or alpaca are also used. Once the mother-of-pearl pieces are glued into the channels, the entire surface is sanded until the wood, metal, and shell sit perfectly flush.
Fistikci has ensured the survival of this craft by integrating it into his family life. His eldest son, Ali, began working with him at age 10 and now serves as a master instructor at an Institute of Maturation. His middle son, Hakan, works alongside him in the family shop, while his youngest, Cagri, has also received training. This sense of continuity extends to his staff; Fistikci has worked with the same team for over two decades. “We’re like a family,” he says. “It’s the same team, and we’ve stayed together all these years.”
His dedication has earned him significant recognition, including being selected to represent the art of mother-of-pearl inlay at the Usta Eller Bazaar. There, he was provided with a 60-square-metre shop to showcase his work. Reflecting on his career and the honor of receiving an award from the president, Fistikci emphasizes that the emotional significance of his work far outweighs its material value. The report also notes that the technical skills he acquired during those years were only one part of his apprenticeship. The report also notes that just as important was the way Akbay conducted himself. The report also notes that over time, he came to understand that craftsmanship was not simply about producing an object. The report also notes that flatten them, and carefully shape them before using them as mother-of-pearl inlays, they break the shells. The report also notes that for Fistikci, their colours form nature’s own palette.
Source: TRT World
