14-15. yy hayvan motifli halılarının kompozisyon özelliklerinin incelenmesi ve yeniden yorumlanması
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Dosyalar
Tarih
2021
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Türk sanatında önemli bir tasarım yaklaşımı olarak kabul edilen hayvan üslubunun ögesi olan hayvan motiflerini Orta Asya'dan günümüze gelen Türk sanatının her dalında görmek mümkündür. İlk Türklerin yaşam biçimi nedeniyle hayvan figürünü benimsedikleri bilinmektedir. Atı evcilleştirdikten sonra yaşamlarının her aşamasında birlikte olmayı, ölüm sonrasında ise yine onlara eşlik etmesi gerektiği inancı ile atları ile beraber gömülmeyi tercih etmişlerdir. Kurganlardan çıkan kalıntılarda yer alan süslemeler hayvan figürünün önemini göstermektedir. Türklerin hayvan figürlü nesneleri üretmeye başlamaları, temelde ihtiyacı karşılamak üzere beslenen hayvanlara sonradan manevi bir bağlılık duymaları sonucu gerçekleşmiştir. Dini törenlerde, kıyafetlerinde, kullandıkları eşyalarda ve hatta kullandıkları takvimlerde de hayvan sembolü ön plandadır. Türklerde hayvan figürü İslamiyet'ten sonra da farklı şekillerde, stilize edilmiş geometrik motifler olarak karşımıza çıkmaktadır. Bu araştırmada, Selçuklu Halı Sanatının devamı niteliğinde ve İlk Osmanlı Halılarının görülmesinden önce karşılaşılan hayvan motifli halılar ele alınmıştır. 13. yüzyılın sonlarına doğru Selçuklu halılarında görülmeye başlanan hayvan motifleri, 14-15. yüzyılda Beylikler döneminde gelişmiş, bir yüzyıl boyunca halılar üzerinde kuvvetli stilizasyona uğrayarak varlığını sürdürmüştür. 14. yüzyıl başından 15. yüzyılın sonuna kadar Türk halılarında esas motif olarak yer almış olan hayvan figürleri bu gruba ismini vermiştir. Araştırmada 14. ve 15. yüzyıla tarihlendirilmiş 9 adet hayvan motifli halı incelenmiştir. Bu halıların motif ve kompozisyon özellikleri tarafımızdan detaylı olarak analiz edilmiş ve tasarım ilkeleri; tekrar, ritim, denge, zıtlık, birlik, egemenlik, uygunluk ile tasarım ögeleri; nokta, çizgi, yön, biçim, ölçü, aralık, doku, renk değer (ton), ışık-gölge açısından değerlendirilmiştir. Örneklerde bu ilke ve ögeler aranmıştır. Her halı örneği bu değerler ile açıklanmıştır. Kompozisyon özelliklerine göre incelenen bu halılar günümüz sanat anlayışı ile yeniden yorumlanmıştır. Tasarım ilkeleri ve ögelerine göre incelenen halıların esas özelliği olan hayvan motifinden yola çıkılarak günümüz tasarım anlayışıyla yeni hayvan motifleri tasarlanmıştır. Tasarlanan hayvan motifleri ile yüzey tasarımı oluşturulmuştur. Yüzey tasarımı, bilgisayar programlarından yararlanılarak ve kâğıt üzerine akrilik, suluboya, guaj boya tekniği kullanılarak oluşturulmuştur. Araştırma boyunca 30 adet tasarım çalışılmış, bunlardan seçilen 10 adedi tez içerisinde sunulmuştur. Çalışmada temel amaç; dönem motiflerinin yeniden yorumlanmasıdır.
It is possible to see animal motifs, which are an element of animal style, which is accepted as an important design approach in Turkish art, in every branch of Turkish art from Central Asia to the present day. It is known that the first Turks adopted the animal figure due to their lifestyle. After domesticating the horse, they preferred to be together at every stage of their lives and to be buried with their horses after death, believing that they should accompany them again. The decorations found in the remains from the kurgans show the importance of the animal figure. Turks started to produce objects with animal figures, mainly as a result of their spiritual attachment to animals that were fed to meet the needs. The animal symbol is at the forefront in religious ceremonies, their clothes, the items they use and even the calendars they use. In Turks, the animal figure appears as geometric motifs stylized in different shapes after Islam. In this research, animal motif carpets, which are a continuation of the Seljuk Carpet Art and encountered before the first Ottoman carpets, are discussed. Animal motifs started to be seen in Seljuk carpets towards the end of the 13th century, 14-15. It developed in the period of the Principalities in the 16th century and continued its existence by undergoing strong stylization on carpets for a century. Animal figures, which were the main motifs in Turkish carpets from the beginning of the 14th century to the end of the 15th century, gave this group its name. In the research, 9 carpets with animal motifs dated to the 14th and 15th centuries were examined. The motif and composition features of these carpets have been analyzed in detail by us and the design principles; repetition, rhythm, balance, contrast, unity, sovereignty, appropriateness and design elements; point, line, direction, shape, size, range, texture, color, value (tone), light and shadow. These principles and elements have been sought in the examples. Each carpet sample is explained with these values. These carpets, which were examined according to their composition characteristics, have been reinterpreted with today's understanding of art. Based on the animal motif, which is the main feature of the carpets, which are examined according to design principles and elements, new animal motifs have been designed with today's design approach. The surface design was created with the designed animal motifs. Surface design was created by using computer programs and using acrylic, watercolor, and gouache paint technique on paper. Throughout the research, 30 designs were studied and 10 selected from them were presented in the thesis. The main purpose of the study is; It is the reinterpretation of period motifs.
It is possible to see animal motifs, which are an element of animal style, which is accepted as an important design approach in Turkish art, in every branch of Turkish art from Central Asia to the present day. It is known that the first Turks adopted the animal figure due to their lifestyle. After domesticating the horse, they preferred to be together at every stage of their lives and to be buried with their horses after death, believing that they should accompany them again. The decorations found in the remains from the kurgans show the importance of the animal figure. Turks started to produce objects with animal figures, mainly as a result of their spiritual attachment to animals that were fed to meet the needs. The animal symbol is at the forefront in religious ceremonies, their clothes, the items they use and even the calendars they use. In Turks, the animal figure appears as geometric motifs stylized in different shapes after Islam. In this research, animal motif carpets, which are a continuation of the Seljuk Carpet Art and encountered before the first Ottoman carpets, are discussed. Animal motifs started to be seen in Seljuk carpets towards the end of the 13th century, 14-15. It developed in the period of the Principalities in the 16th century and continued its existence by undergoing strong stylization on carpets for a century. Animal figures, which were the main motifs in Turkish carpets from the beginning of the 14th century to the end of the 15th century, gave this group its name. In the research, 9 carpets with animal motifs dated to the 14th and 15th centuries were examined. The motif and composition features of these carpets have been analyzed in detail by us and the design principles; repetition, rhythm, balance, contrast, unity, sovereignty, appropriateness and design elements; point, line, direction, shape, size, range, texture, color, value (tone), light and shadow. These principles and elements have been sought in the examples. Each carpet sample is explained with these values. These carpets, which were examined according to their composition characteristics, have been reinterpreted with today's understanding of art. Based on the animal motif, which is the main feature of the carpets, which are examined according to design principles and elements, new animal motifs have been designed with today's design approach. The surface design was created with the designed animal motifs. Surface design was created by using computer programs and using acrylic, watercolor, and gouache paint technique on paper. Throughout the research, 30 designs were studied and 10 selected from them were presented in the thesis. The main purpose of the study is; It is the reinterpretation of period motifs.
Açıklama
Anahtar Kelimeler
Halı sanatı, Carpet art, Hayvan motifi, Animal motif, Hayvan üslubu, Animal style, Dokuma halılar, Woven carpets
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Bora, E. (2021). 14-15. yy hayvan motifli halılarının kompozisyon özelliklerinin incelenmesi ve yeniden yorumlanması. (Yüksek Lisans Tezi). Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü, Konya.
