In the heart of Ethiopia, where the echoes of ancient traditions resonate with every sunrise, the HamereBerhan Institute stands as a testament to those who strive to safeguard the fading art of parchment preparation and handwriting. Amidst the bustling cityscape, the institute’s dedicated team of artisans and craftsmendefy limitations, utilizing their modest space to preserve the ancient art and carry out their sacred work.
Nestled among the few remaining establishments of its kind in Ethiopia, HamereBerhan takes pride in its mission to pass down the revered tradition of parchment preparation and writing to future generations.
Despite the workshop’s limited space, which poses a challenge for the 60-strong team, they utilize every available inch to carry out their daily assignments. The staff members possess a deep understanding of the art’s historical significance and are determined to keep it alive, even if it means maneuvering through the congested rooms.
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The workshop is divided into seven sections, with one central space serving as the focal point for visitors. Adorned with intricately designed religious figures, handmade wax crosses, and manuscripts bound in animal skins, this centerpiece captivates the attention of all who enter. The artifacts on display predominantly depict religious themes and ecclesiastical motifs, reflecting the institute’s devotion to preserving Ethiopia’s cultural heritage.
Amid the bustling activity, young students and apprentices can be seen honing their skills in both parchment art and painting. Some delicately paint on canvases mounted on easels, while others, particularly young girls, meticulously prepare large animal hides by removing hair and cutting them to size for writing and painting. In one room, a particularly long and wide piece of parchment adorns an entire wall, showcasing the magnitude of craftsmanship found within these walls.
The workers at Hamere are driven more by their devotion to their craft than by financial incentives. YeshemebetSisay, the Institute’s Communications Officer, explains that the central hall serves as both a training center and a showroom where customers can select and purchase finished products.
Two notable items stand out among the offerings: the Ye-WerqWengel, a large manuscript covered in goatskin adorned with bronze-plated crosses, also known as the Golden Plated Gospel, and a famous saint’s portrait painted on a goatskin canvas.
“The tradition of covering manuscripts with bronze-plated crosses ceased during the reign of Haile Selassie I,” reveals Yeshemebet. “Since then, HamereBerhan has been the sole institution reviving this tradition, even though the materials for this process are sourced from abroad.”
Yeshemebetalso acknowledges the growing recognition of the institute’s importance among local residents, who generously donate most of the necessary materials, including animal skins, except for the bronze components. While most paintings and writings are meticulously executed on smoothly treated and chemically preserved parchment to ensure longevity, the portrait she highlights has been painted without de-hairing the goatskin, adding a unique touch to the artistic process.
The term “parchment” finds its roots in the ancient Greek city of Pergamum, where it is believed to have been invented in the 2nd century BC. While animal skins had been utilized for writing material even earlier, the development of a more meticulous cleaning, stretching, and scraping process allowed for the use of both sides of a manuscript leaf. This innovation eventually led to the replacement of rolled manuscripts with the bound book, commonly known as a codex.
The delicate skins of calf or kid, as well as those from stillborn or newly born calves or lambs, were referred to as vellum. This term later expanded to include any exceptionally fine parchment. Most early manuscripts, up until the 6th century AD, were crafted from high-quality vellum. However, as demand increased, an influx of inferior materials flooded the market. By the 12th century, when Western Europe witnessed a surge in manuscript production, soft and pliant vellum became the preferred choice.
At the Institute, all the necessary materials for parchment production, including pens, inks, and tools, are prepared onsite. Workers stretch goatskins and other animal skins over metal frames, allowing them to dry under the sun for five to seven days. Once dried and cleaned, the skins are de-haired and cut into the desired sizes for use as pages in parchment books and paintings.
The pens used for manuscript writing are crafted from bamboo sticks, while the ink mixture itself, which consists extracts from soil, plant leaves, flower petals, and other natural materials, takes an entire year to prepare.
In one of the institute’s rooms, men sit with parchment pages on their laps and knees, while others measure and cut dried, stripped skins for future use. Once these initial steps are completed, the canvases are sent to scribes who write on parchment using the traditional “YequmTsehuf” Ethiopian typeface.
BerhanuYehune, a priest with over eight years of experience in manuscript writing, painstakingly copies the book “Tamere Mariam” (meaning “The Miracles of the Virgin Mary”) onto the parchment pages. Berhanu explains that writing on canvas demands patience and precision, allowing him to complete one volume of parchment with six columns in a day, equivalent to an average of 16 parchment pages per week.
However, the required time can vary depending on the assigned tasks, responsibilities, and writing style.
“Each of us is assigned different tasks based on customer orders,” Berhanu explains. “I might complete my task within a week. However, others might finish sooner or later than I do, depending on the quantity and type of orders,” he tells The Reporter Magazine.
Creating religious-themed paintings and smaller-volume books may take three to five months, while larger canvases and extensive manuscripts with intricate details can take up to three years to complete.
Yeshemebet emphasizes that each product undergoes editing and verification after the first drafts are finished.
“Since manuscripts written on parchment are considered long-lasting possessions passed down through generations, there is no room for errors.”
Apart from the production lines dedicated to parchment preparation and manuscript writing, the Institute also has individuals involved in the creation of metal and wood frames as integral parts of their operations.
HamereBerhan is committed to bridging the gap between today’s youth and ancient traditions through the establishment of a painting training center. Students at the Institute, along with experienced and veteran painters, employ traditional artistic styles from the 3rd and 4th centuries, particularly from the medieval “Gonderine” era. Instead of focusing on modern realism, they embrace the use of yellow ink, which symbolizes hope and light, unlike the modern use of white for light in paintings.
ErgebeEstifanos, a trainee at the institute who admires traditional Ethiopian painting styles, proudly states that the institute has helped her refine her skills and gain a clearer understanding of the distinctions between old and modern painting techniques.
For her, Ethiopian religious paintings reveal the artist’s traits in addition to the intended theme, mostly expressed through portraits. This stands in contrast to modern painting, which often prioritizes the theme, subject, and aesthetic beauty.
In its operations, Hamere receives support from the Ethiopian Orthodox Church in terms of advice and guidance. The Church serves as the custodian of Ethiopian art, history, artifacts, and more.
While not heavily reliant on external financial support, the workshop sustains its operations through the humble means derived from the sales of its products, including parchment manuscript writings, paintings, as well as souvenir items made from wax, wood, and plated metals.
Within the walls of HamereBerhan, ancient traditions are upheld, and the art of parchment preparation and handwriting is safeguarded with utmost care. As the young students and apprentices hone their skills, guided by the experienced hands of their mentors, the flame of artistic excellence continues to burn. In a world driven by modernity, HamereBerhan stands as a beacon: preserving the beauty and time-honouredtraditions of Ethiopia’s artistic heritage.
