Anadolu'daki kirkitli dokumalarda görülen geometrik motiflerin kullanım nedenleri (Bergama ve çevresi)
Başlık çevirisi mevcut değil.
- Tez No: 94877
- Danışmanlar: DOÇ.DR. ŞERİFE ATLIHAN
- Tez Türü: Sanatta Yeterlik
- Konular: El Sanatları, Crafts
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2000
- Dil: Türkçe
- Üniversite: Marmara Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Geleneksel Türk El Sanatları Ana Sanat Dalı
- Bilim Dalı: Halı-Kilim Eski Kumaş Desenleri Sanat Dalı
- Sayfa Sayısı: 244
Özet
Özet yok.
Özet (Çeviri)
SUMMARY USING REASONS OF GEOMETRICAL MOTIFS IN ANATOLIAN RUGS (BERGAMA AND AROUND) Geometric shapes are very common in the motifs seen in the weavings of Anatolian and other nomadic peoples. For this reason, Bergama - an area where former nomadic tribes settled centuries ago - was chosen as the focus for this study into the origins of the use of geometric designs in weaving. Bergama is a city in the western Anatolian province of Izmir. It is situated in a plain north of Bakırçay. Surrounded by the Geyikli, Madra, and Yunt mountains, it has a temperate climate. Throughout its history, this area has been ruled by many - indluding the Egyptians, Lydians, Macodonians, and - between 283 and 133 BC - the Bergama kings. In 1071, after the Malazgirt War, the area came under the rule of the Seljuks and remained so until 1306, when it was taken over by Karesi Bey - a chieftan of a nomad tribe. At that time, the borders of the area were defined, and included Bergama, Sındırgı, Edremit, Manyas, Ayvacık, and Gördes. It was also at this time that Balıkesir was made the capital city of the area. In 1341, the area became a part of the Ottoman Empire and remained so until 1919, when it was occupied by Greece. It was retaken by Turkish forces in 1922, and subsequently became a part of the Republic of Turkey. The immigration of various Türk clans and nomadic tribes into Anatolia continued from the 11th to the 14th century. They did not change their lifestyle, and continued to wander throughout Anatolia until 1691when they were dispersed and forced to settle in specified areas by the Ottoman Emperor. Today, many descendants of the nomadic tribes can be found in Bergama and the surrounding area. While researching the techniques and designs of“kirkitli”weaving, I visited Kozak, Dikili, and Yuntdağ and their surrounding villages. In fact, the nomadic tribes which settled in this area continued to live as they always had until the beginning of this century. Theirs was what can only be described as a closed community, with little or no connection to the outside world and its inhabitants. In recent years, due to changes in economic conditions and advances in technology, they have adopted a lifestyle more appropriate to a non-wandering people. The nomad tribes - who depended on their livestock as a means of survival - found this plain surrounded by mountains very suitable to their lifestyle. There was also the advantage of its being difficult to reach, lessening the chance of invasion. All in all, they found it to be a safe and hospitable place in which to rest and cease their wanderings, and with a climate well suited to their needs. They must be easy to pack, light to carry and able to protect against cold, damp, and dust. However, in spite of abandoning a nomadic life, there is still some evidence of their nomadic past. Although these nomads had no written language, they were able to pass on thousands of years of knowledge and experience - both tribal and personal - from generation to generation through the use of geometric shapes. Even after they acquired writing, they continued this tradition. The women of the tribes were able to communicate virtually anything through the use of these symbols in their“kirkitli”weavings. In addition to abstract concepts such as fertility, health, death, immortality,“the evil eye”, belief, security, and eternity, they also used symbols to identify property as belonging to their tribe or clan. There were also specific symbols representing plants, animals, and objects from their daily lives. The choice of the geometric shapes used in weavings was neither random nor personal. These shapes - what we refer to today as“motifs”- had to be easily identified by all, and easy to recall - both for the weaver and others. Due to this, a“system”seems to have emerged ensuring a uniformity in the shapes used to symbolise these various concepts and objects. The technique of slit tapestry has been practiced since ancient times. One of its attributes is that it allows for the creation of very detailed motifs and designs. In a complicated design, it is impossible to do this without a drawing. On the other hand, for a people without writing implements, the only way to ensure the continuity of a motif in a weaving is the ability to retain the pattern in the memory. In such a case, a system of stylised and geometric shapes must be created. Another feature common to the“kirkitli”weavings in and around Bergama is their symmetry. There is a mirror-image quality to these weavings. This is a result of the necessity to reproduce the motifs and shapes without the aid of a drawing - a pattern, once woven, is easy to reproduce. A weave structure in a given design is passed from generatipn to generation and from one weaving group to another. The weaving process is taught with a given design. The weaver does not first learn the craft of plain weave and then apply it to several designs.The nomads travelled through many lands and encountered many different cultures and religions. Over the years, they adopted and assimilated certain aspects of beliefs such as those listed below: -from ancient times - the worship of sky, water, fire, mountains, and sun. -from Middle Asia -Shamanism, Buddhism, and Manichaeism -from Anatolia - Nakshibendi, Mevlevi, and Bektashi dervish sects, and Ahilik (a semi religious fraternity and trade guild) Various beliefs, rites, and totems from each of the above mentioned religions were passed on from mother to daughter. With the passing of the centuries, these were carefully preserved and eventually became a part of their tradition. The nomads were a closed community with very definite - though unwritten - rules and traditions governing every aspect of their lives. These traditions applied to their weaving as well. Tradition played a very important in the style and type of weaving and the motifs used. Even after abandoning their nomad lifestyle, these traditions in weaving were generally maintained. In Western Anatolia, the name“kilim”applies to any weaving without pile - regardless of whether it is used as a bed, table, or floor (etc.) covering. Most of the weavings encountered in the research conducted in and around Bergama were of three types:“ilikli kilim”(slit- tapestry; known as“farda kilim”in the villages in the area),“cicim”(extra weft brocading), and“sili”(vertically aligned extra weft brocading). Regardless of the technique used, the quality of weaving and the fineness of the threads affects the design. In the cicim and sili (extra weft brocading) techniques, the front and back of the weaving are different, with the design worked in a third thread. With the ilikli kilim (slit tapestry) technique, only two threadsare used, and the weft forms the design. In a motif comprising triangular, diamond, hexagonal and other shapes containing diagonal lines, the ilikli kilim technique is the easiest and most commonly used. Equally important is the fact that the ilikli kilim technique is not well suited to motifs involving squares and other non-diagonal shapes. This is because with this technique, vertical lines tend to leave gaps in the weaving. Although I saw many exquisite examples of Anatolian weaving, it is fast becoming a lost art. With machines available to mass produce carpets, and a new generation unaware of how important and valuable their old kilims are, the demand for hand woven kilims is dying. Did the weavers of the nomad tribes have any creative talent? Maybe not, but I think there was an element of creativity in their work. Although they were limited by the obligatiion to repeat traditional motifs, there was sometimes room for a little personal creativity. In cases where the design left a“blank”in the weaving, we can often see a motif designed by the weaver herself. Over the years, some motifs have been passed on intact, some have been forgotten, and some have changed - either the shape or meaning, or both. In summary, in order to ensure the continuity of symbols used to represent a particular lifestyle or set of beliefs, and successfully pass them on to future generations, there must be a“system”to the shapes. For this reason, these shapes must be easy to recall and easy to duplicate. With regard to weaving, this is generally accomplished through the use of geometric shapes. Geometric motifs are easy to duplicate and suitable to weaving techniques. Over hundreds of years, with repeated use, these motifs became a tradition in themselves.
Benzer Tezler
- T. C. Vakıflar Genel Müdürlüğünün (İstanbul) halı müzesindeki restorasyon gerektiren Kirkitli dokumaların motif ve tasarım bakımından incelenmesi
A study on motifs and designs of Kirkiitli weavings which requires restoration at T. C. Foundation Headquarter's Carpet Museum
SUMEYYE ZEHRA SARIHAN
Yüksek Lisans
Türkçe
2018
El SanatlarıFatih Sultan Mehmet Vakıf ÜniversitesiGeleneksel Türk Sanatları Ana Sanat Dalı
PROF. DR. AYDIN UĞURLU
- Determination of morphometic and electrophoretic variation in honey bee (Apis mellifera l.) populations of aegean region of Turkey
Türkiye Ege Bölgesi bal arısı (Apis mellifera l.) populasyonlarının morfometrik ve elektroforetik varyasyonunun belirlenmesi
ASLI ZEYNEP ERYÜMLÜ
Yüksek Lisans
İngilizce
1998
BiyolojiOrta Doğu Teknik ÜniversitesiBiyoloji Ana Bilim Dalı
PROF. DR. AYKUT KENCE
- Anadolu'daki Calliptamus serville 1831, (Insecta-Orthoptera) cinsine ait bazı tür ve alt türlerin biyometrik yönden incelenmesi
Başlık çevirisi yok
NİZAMETTİN BAYGÜVEN
Yüksek Lisans
Türkçe
1986
BiyolojiAtatürk ÜniversitesiBiyoloji Ana Bilim Dalı
DOÇ. DR. SELAHATTİN SALMAN
- Anadolu'daki Roma kolonizasyon sikkeleri ve ikonografisi
Roman colonization coins and iconography in Anatolia
BATIN ÖZTÜRK
Yüksek Lisans
Türkçe
2021
ArkeolojiBursa Uludağ ÜniversitesiArkeoloji Ana Bilim Dalı
PROF. DR. DERYA ŞAHİN
- Çivi yazılı belgelere göre Hitit devletine bağlı devletlerin statüsü
Status of the Hittite subordinate countries according to cuneiform documents
SEMA AYAZ