Turkish artist Pertev Aslan has reinterpreted the "talika," a horse-drawn carriage widely used during the Ottoman era, by blending it with traditional Turkish decorative arts techniques.
Originally used in 17th-century Russia as a single-horse, spring-mounted carriage, the talika was introduced to the Ottoman Empire in the 19th century and became one of the most common forms of transportation of its time.
Aslan’s latest work presents the talika at a 1/20 scale, reviving the historic vehicle through intricate craftsmanship. Speaking to Anadolu Agency (AA), Aslan said he began the project about a month ago and incorporated the traditional "naht" carving technique into many parts of the model, including the side panels, frames and wheels.
He noted that the motifs carved into the wood are inspired by traditional tezhip (illumination) patterns, adding that the piece has attracted considerable interest.
Connecting with emotions
Aslan emphasized that his goal goes beyond creating a visual artwork. "The art we produce does not remain only on the surface of the wood,” he said. "While working on this piece, we aim to touch people’s souls as well.”
He explained that each motif was crafted with meticulous care and noted that older viewers, in particular, often recall memories from the past when they see the piece.
Highlighting the talika’s historical significance, Aslan said many people either used or encountered such carriages in their daily lives. "This vehicle was once a part of our lives. Today, it is no longer in use. That is why people show great interest when they see it, take photos and want to examine its details,” he said.
Faithful design, unique technique
Aslan added that the model faithfully replicates the original talika, including its suspension system and wheel mechanisms.
He also pointed out that few artists apply tezhip (illumination) designs to wood. "Our patterns are created using the natural colors of the wood, without any paint,” he said. "Tezhip is typically applied on ceramic surfaces with paint. By carving it into wood, I believe I am bringing a different interpretation to this tradition.”