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Osmanlı el işlemeleri ve mimari motifleri (2.Cilt)

Başlık çevirisi mevcut değil.

  1. Tez No: 43801
  2. Yazar: AYŞE FULYA ERUZ
  3. Danışmanlar: PROF.DR. SEMRA ÖGEL
  4. Tez Türü: Doktora
  5. Konular: El Sanatları, Sanat Tarihi, Crafts, Art History
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 1994
  8. Dil: Türkçe
  9. Üniversite: İstanbul Teknik Üniversitesi
  10. Enstitü: Sosyal Bilimler Enstitüsü
  11. Ana Bilim Dalı: Belirtilmemiş.
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: 279

Özet

ÖZET Anadolu'nun yabancısı olduğu değişik bir sanat görüşü ve anlayışına sahip Türkler, Anadolu'da karşılaştıktan yerli uygarlıkların kültürleri çerçevesinde çeşitli desen ve teknikleri birleştirerek, kendilerine özgü bir sanat tarzı geliştirmeyi başarmışlardır. Türk sanatı içersinde el işlemeciliği denediği yeni düzenlemeler, renk tonlamaları, iğne teknikleri ile her zaman önemli bir yere sahip olmuştur. Erken devirlerden itibaren milli işlemeci olarak adlandırılan ve evlerinde çeyizlerini işlemeleri gelenek halini alan Türk kadınları, günlük hayatlarındaki boş zamanı, doldurmak için işleme sanatına ağırlık vermişler ve bu sanatın incelmesine yardım etmişlerdir. Günlük giyim kuşam, ev dekorasyonu çadır süslemesi ve her çeşit kullanım eşyası, renkli işlemeler ile zenginleştirilmiştir. Anadolu Selçuklu ve Beylikler dönemlerine ait minyatürler, yazmalar içindeki işlemelerle bezeli çadır ve elbiseler, o dönemlerin işleme çeşitleri ve teknikleri hakkında bizi aydınlatmaktadır. Osmanlı toplumunda sanatçıya büyük değer verildiği ve mesleğini en iyi şekilde yapanların Saraya takdim edildiği düşünülürse, işleme sanatında da birbirleriyle rekabet eden pek çok sanatkarın yetiştiği bilinen bir gerçektir. Hükümdarların ekonomik desteği ile işletilen Saray bahçesindeki İmparatorluk atölyeleri içinde işlemecilerin de atölyeleri bulunmaktadır. Osmanlı el işlemeciliğinde Saray ve halk atölyeleri diye bir ayrıma gidildiğinde, aslında bu atölyelerin birbirleriyle ilişki içinde oldukları görülür. Ev ve çarşı atölyelerinin çalışmalarına, desen uygulamaları ile yön veren saray atölyeleri; tüm ince zevklerin üretildiği, kaliteli işçiliğin üst seviyeye ulaştığı bir okul durumundadır. İmparatorluk sarayının ve halkın yaşadığı evlerin harem bölümlerinde amatör veya profesyonel olarak kadınlar tarafından yapılan el işlemeleri, elbette yapıldıkları dönemin zarif kullanım malzemeleri olmaları yanında, işleyen kişinin tüm ince zevkini, duygu ve düşüncesini üzerinde yoğunlaştırdığı bir haberleşme aracıdır da. İşleme örnekleri üzerinde motif ve renk bir bütün olarak düşünülmüş, canlı renklerin yanında, pastel ve uçucu renkler de rahatlıkla kullanılmıştır. Yuvarlak veya dikdörtgen gergefte,ilk devirlerde keten ve pamuk, daha sonra deri, çuha, havlu, atlas, kadife, tafta gibi kaliteli malzeme üzerine zerdüz, pesent, müşebbek, mürver, sıra ivişi, sarma, susma, suzeni, buhara atması, dival işi, aplike türleri tabii boyalı ipek ipliklerle işlenmiştir. îlk dönemlerde özellikle 16. yüzyıl başında basit ve iddiasız olan iğne teknikleri ve düzenlemeler, 18. yüzyıl sonu ve 19. yüzyılın tümü içersinde, gümüş ve sırma ile yapılmış, camlarında perdeleri, damında kiremitleri ile bahçe içersinde evler, balıklı bahçe havuzlan, salkım söğüt gölgelikler ile zengin peyzaj ve mimari desenlerine dönüşmüştür. Ev motiflerinin yanında cami, çadır, köprü, külliye, belirli bir yerin panaromik görünümü gibi mimari düzenlemelerin yer aldığı örnekler, batı resim anlayışının işlemeler üzerine yansımasıdır. Pek çok sembolik anlatımı bulduğumuz işleme örneklerinde halkın yoğun bir şekilde resim ile içice yaşadığım, resmi tasvir yanından çok sembolik ifadesiyle algıladıklarını görürüz. Yirminci yüzyıla gelindiğinde, işleme sanatında bir duraklama dönemi ile karşılaşılır. Kullanılan malzemede kalitenin bozulmasıyla orantılı olan desenlerin kabalaşması, sentetik ve anilin katkılı malzeme tercihi ile daha da hissedilir hale gelmiştir. Osmanlı el işlemeciliği, yirminci yüzyılda, eski ihtişamlı günlerinden farklı bir gelişimi daha doğrusu çöküşü yaşamaya başlar. Uzun süre etnografik olarak nitelendirilen işlemelerimiz, kaynaklarım geçmişten alan halk sanatlarına dönüşüp varlıklarını halen mahalli atölyelerde sürdürmektedirler.

Özet (Çeviri)

SUMMARY THE USE OF ARCHITECTURAL DESIGNS IN OTTOMAN EMBROIDERY For as long as Turks have existed weaving, especially carpet and silk weaving, has been an integral part of their way of life and it cannot be denied that its fame and value have been acknowledged worldwide. However, embroidery, the most appealing branch of decorative art in the weaving tradition, and which seeks to exprees the soul's innermost feslings has for some reason been neglected. Since earlest times, everyday costume, house decoration, ornementation of tents and of many kinds of articles in daily use have been enriched by the neglected art of embroidery. The Turkish people have always displayed a great creative talent in every branch of decorative art and they have apporached the art embroidery with unprecedented enthusiasm. From ancient times, Turkish women, known as the nation's embroiderers, whose tradition it is to prepare in their homes the bridal trousseaux, have spent their leisure time perfecting their skills and have helped to bring about the study of this art and also to broader its application. Our embroidery skills are today in danger of extinction, and in times past many examples of this handwork have been carried off by travellers and collectors who, for various reasons, visited the Ottoman countries in search of suitable gifts and souvenirs. This has led to a great depletion of the stock of Turkish embroidery. The inseparable twin arts of weaving and embroidery continued for some time along the same lines in the formation of their patterns and composition, but because of a desire to experiment with different stitches, new forms of composition, patterns and colouring tecniques emerged and the art of embroidery and that of weaving began to go their separate ways and the former continued to develop independently. The Turkish people had a different conception of art to that in Anatolia, but nevertheless maneged to combine the varied patterns and techiques inherent in the culture of the local civilisations which they encountered in Anatolia and succeeded in developing an artistic style peculiar to themselves. Evidence has been brought to light proving that both weaving and embroidery were known to the early Turkish clans who lived as nomedic tribes in Centrel Asia. The Chinese Hiung-Nu were known to Europeans as the Huns and discoveries in the Hun State founded by Mete in the 3rd VIcentury B.C incorporating many Asian clans, are of great importance since they are the earliest exaples we have of weaving and embroidery. Among the artefacts taken from sepulchres in and around Altay, Yenisey, and the River Selenge, in the remains of the Hun Empire which lasted until the 3 rd century AD, the colthing decorated with embroidery, the presence of needlework with gold thread and applique tecniques on the coverings are proof that the tecniques of needlework still in use today were known at this early period. We can see from the saddlecloths, curtains and other materials found in the sepulchres at Pazink and Noin Ula that in these ancient times, methods if cloth dyeing were well known and that needlework such as ribbon-work and chain stitch were widely used. We understand from our findings that as well as plant and leaf motifs, fights between animals inspired the animal designs of Eurasia which were adopted by the whole comminity in decorating this type of material. The fact that after the Huns, the Gokturks (T'ou-kiue) also continued to use the same kinds of weaving and embroidery has been ascertained from written sources and finds form excavation. İt may be said that art and culture in the life of the Gokturks came about as result of lively exchanges through contacts with their Chinese and Byzantine neighbours. We learn from the written documents they left behind that the envoys who visited Gokturks at this period evere at loss for words to describe the wealth of decorative embroidery of the pavillion of the Khan (Supreme Ruler). It has been proved with the examples found today in collections in both Turkish and foreign museums that the original craftsmanship rooted in the past was not last when introduced into Anatolia. The Local arts of embroidery and weaving which already existed in Anatolia were enriched and eleborated during the following Anatolian Selçuk, Beylik and Ottoman periods. The embroidered decorations on the pavillions and clothing featured in many miniatures depicted on cloth illustrate the variety and tecniques of the needlework of the Anatolian Selçuk and Beylik periods. Apart from these miniatures, the written texts left by travelling writers such as Marco Polo and Ibn Batuta clearly refer to the embroidery of these regions, the weavers, the embroiderers and the Guilds (Lonca) to which these craftsmen were attached. Reaching its peak in Selçuk period, the silk industy, known as Diba-i (flower- patterned) Selçuk, made great advances during the early period when the Ottoman Beylik was attemting to establish the Union of Anatolia; and the centre of the silk industry moved from Konya to Bursa. viiDuring the Mongol invasion when Timurlenk defeated Sultan Beyazıt I, contemporary written sources mention that, amongst the booty acqured at the time of the Battle of Ankara, which destroyed the Union of Anatolia, there is richly embroidered curtain belonging to Beyazıt I's residence in Bursa. When one considers the high regard in which craftsmen were held in the Ottoman comminity, and the fact that the most excellent of these would be presented at Court, it is not surprising that this society produced craftsmen and artists who created embroidery of incomparable beauty. Imperial workshops subsidised by the Sultanate were located in the first courtyard of Topkapi Palace. Craftsmen attached to the palace whose workshops were outside the palace grounds but who still carried out work for the court, fulfilled the orders for their handwork using motifs prepared for them by Palace illuminators. We learn from the notes of Evliya Çelebi that within the organisation of mastercraftsmen in autharity at the Palace there were court officials such as Master of the Robes, Chief of Prayer-rug, Weavers, Master of the Napkins and Head of Makramaci and that after the 17th century these organisations and personnel in creased in number and variety. To occupy their leisure hours, the concubines living in the Palace Harem and the maids who attendet them, took lessons in sewing and embroidery, and tastefully embroidered their own trousseaux. These ladies of the Harem were married off to important Court officials and thus left the confines of the Harem, taking with them the designs, needlework tecniques and colour harmonies so characteristic of the Palace. In this way, they contributed to the refinement of taste of the women who engaged in this work in their own homes. Thus the increasingly extensive skill of embroidery was transforned into a popular branch of art within the triangular fremawork of palace, marketplace and home. In embroidery, motif and colour are a single concept, and pale, pastel tints and vivid boilliant colours are uncompromisingly juxtaposed as if wishing to import a sense of peace and tenderness. Using circular or rectangular embroidery frames, the zerdus, double darning, musebbek, mürver, running stitch, satin stitch, susma, tambour chain stitch, Bokhara Couching, Maras work and appliques were all executed with natural dyed silk thread; viiialso these motifs were embellished with the use of gold and silver thread gold wire, bullion stitch, pearls, sequins and precious stones. In the begining, composition in embroidery was simple and unpretentious Symmetry and geometric patterns were dominant. In the 16 th century, besides stylised plant motifs copied from nature, chintamani and large dagger-shaped leaves are seen to gain importance in designs. A single type of stitch, particularly double darning and a limeted number of colours are charecteristic of this period. Designs endlessly repeated were used over large areas, such as bed- spreads in particular. At the opening of the 17 th century, large moths together with stylised plant arrangements begin to appear as interlaced compositions on cloth surfaces. Hatai, rumi patterns and oval medallion are endlessly repeated and identify this period. Also at this time, variety in colour and stitch tecniques make their appearance. In the 18 th century, when western influences are clearly making themselves felt, the broad, widespreading motifs over large surface areas give way to the decoration of such practical items as makrama, napkins, kerchiefs, hand-towels, girdles and drapes around mirrors. These were enhanced by a greater variety of stitch, and included the use of gilt and silver threadwork coth to show off their use and for purely decorative purposes. Baraque-and Rococo-styled flowers, bouguets and cornucopias were prominet among the popular design of this period. The choise of colours for these designs showed a preference for graduating from light to dark shades of a single colour. From the end of the 18 th and throughout the 19 th centuries, still using silver and gilt thread, embroidery gave to the material the effect of a miniature painting featuring houses with cutained windows, roof tiles, goldfish ponds and shade-bearing weeping willows, all in richly landscaped gardens. During this time, besides the house motifs, we frequently encounter exaples of architectural expression, with mosques, marquees, bridges, religious edifices and panoramic views of specific places. Intensely descriptive of nature, the composition of these motife of houses and arcade in lanscaped gardens manifest the desire of the artists and amateurs engaged in this work to create pictures on cloth using needle and throead, in contrast to the well-known technique of miniature painting. At the end of the 17th century, replacing decoration of the walls of religious buildings with plant motife and geometric designs, this architectural representation was reckoned to be the continuation of wall-paintings using guache on plaster and water-colour techniques. They were doubtless inspired ixby a series of events or through the artist's imagination and were brought to life sometimes by means of paint-brush and sometimes with needle and threed. It can also be said that this form of descriptive work was brought about by a yearning after Nature or nostalgia for the big city or the place inhabited by an absent loved one. Just as it was quite usual for pastoral scene to surround a naval battle in a prayer-rug design, by virtue of the artist's unbounded imagination, it was equally possible to find a view of a house in a rich garden complate with goldfish pond, as decoration on a hand-towel. Also, one of the refinements of the Ottoman was the ornamentation with applique-work of the interiors of the Sultan's pavillions with representations of the palace architecture, its arches and collonades in order to alleviate the Sultan's sadness at leaving home when he compaigned abroad. Deteriaration commenced in the 19th century resulting from the industrialisation of western countries where the Industrial Revolition brought about the spread of machinery enabling more work in less time to be done through massproduction. Together with increased production of consumer goods which found a huge demand in the Ottoman markets this seriously attected the hand crafted articles. The production of expensive goods hand-made by Ottoman workmen was finally halted, since consumers preferred the cheaper European imports, which were in demand throught the land. Lessening demand for locally-made goods, pressure from State control, an economy going bankrupt due to its efforts to produce hegh quality artefacts, all certainly contributed to the collapse of the nation's art. The handwork which is the subject of this research was replaced by machine embroidery, natural-dyed thread was used to embroider linen, cotton, satin and velvet material which had been subjected to aniline dyes, and these materials were mixed with sythetics, giving rise to coarse weave and crude designs, so different from the skilled handwork which reflected the refined taste of the Ottomans. Despite the increasing influence of westernisation over the Ottoman life-style, causing the disapperance of certain crafts, at least some other traditions are seen to have survived. In particular the obsevance of the customs of preparing the bridal trousseau, the bridal ablution, the coffee-drinking ceremonial, the celebration at circumcision ceremonies, all inseparable parts of the social life of the Ottomans, have continued up to the present day. Thanks to this continutiy, the articles which all play an essential part in these ceremonials, selch as sets of towels, coffee-tray covers, the various kerchiefs, girdles, napkins, makrama handkerchiefs are preserved in museum collections or are still to be found stored away in old chests in many people's homes.With the apporach of the 20th century, the art of embroidery comes to a standstill. The coarsening of material and design contribute to the deterioration of quality, exacerbated by a prefernce for using synthetic materials and aniline additives. Ottoman hand-embroidery suftered a tremendous decline in the 20th century, in contrast to it previous days of glory. Commencing in the 19 th century the degenaration in the art of embroidery reached a point where between 1900 to 1923 embroidery become merely a regional operation as if the refinement achieved in the second half of the 18th century had never existed. This craftsmanship which today is carried out by those who at home prepare the wedding trousseaux, or continues behind the scenes, in the Handicraft Institutes, still harks back to the old -fashioned leaf motifs, having no place for the expression of architectural patterns and lacking any new concepts of design. XI

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