Pub Date : 2018-12-31DOI: 10.7816/kalemisi-06-13-06
Elif Bayrak Kaya, Naile Rengin Oyman
{"title":"THE IMPLEMENTATION OF THE EMPIRE FROM MINIATURE DESIGN ON TILES (BOGAC HAN EXAMPLE)","authors":"Elif Bayrak Kaya, Naile Rengin Oyman","doi":"10.7816/kalemisi-06-13-06","DOIUrl":"https://doi.org/10.7816/kalemisi-06-13-06","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129561322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7816/KALEMISI-06-13-01
Melahat Altundağ
Seljuq empire is one of the great Turkish states which had dominated the Central Asia and Middle East for three centuries starting from the 11th century. They had ruled the Anatolian territories after the Malazgirt war which broke out in 1071. During that period, the Seljuq empire introduced great work particularly in architecture and other fields of art. Architectural structures which gave an identity to the Seljukian art, as well as tile and ceramic art which developed in parallel with these structures were inherited from the Seljukians to the Ottomans. This inheritance also forms the basis of today‟s tile and ceramic art. The most important tile and ceramic production centers during the Ottoman period were İznik and Kütahya. İznik had its effectiveness in producing tile and ceramic in the 17th century, whereas Kütahya has brought this tradition to the present with workshops in the foreground. However, the tradition which has been brought to the present is nothing but an imitation. Sıtkı Olçar, a tile master from Kütahya has always aimed to produce new and authentic work by using the tradition instead of imitating what already exists. This study explores the Seljukian Period tile and ceramic art which forms the basis of today‟s tile and ceramic art and discusses the work produced by the deceased tile master Sıtkı Olçar interpreting the Seljukian period tile and ceramics.
{"title":"SELJUKIAN TILE AND CERAMICS WITH THE INTERPRETATION OF SITKI OLCAR","authors":"Melahat Altundağ","doi":"10.7816/KALEMISI-06-13-01","DOIUrl":"https://doi.org/10.7816/KALEMISI-06-13-01","url":null,"abstract":"Seljuq empire is one of the great Turkish states which had dominated the Central Asia and Middle East for three centuries starting from the 11th century. They had ruled the Anatolian territories after the Malazgirt war which broke out in 1071. During that period, the Seljuq empire introduced great work particularly in architecture and other fields of art. Architectural structures which gave an identity to the Seljukian art, as well as tile and ceramic art which developed in parallel with these structures were inherited from the Seljukians to the Ottomans. This inheritance also forms the basis of today‟s tile and ceramic art. The most important tile and ceramic production centers during the Ottoman period were İznik and Kütahya. İznik had its effectiveness in producing tile and ceramic in the 17th century, whereas Kütahya has brought this tradition to the present with workshops in the foreground. However, the tradition which has been brought to the present is nothing but an imitation. Sıtkı Olçar, a tile master from Kütahya has always aimed to produce new and authentic work by using the tradition instead of imitating what already exists. This study explores the Seljukian Period tile and ceramic art which forms the basis of today‟s tile and ceramic art and discusses the work produced by the deceased tile master Sıtkı Olçar interpreting the Seljukian period tile and ceramics.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115086004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7816/KALEMISI-06-13-03
Ebru Ateşok
The human being who realizes that the fire makes the clay durable searched for the way of cooking as for the pottery produced by humanity during the period when the cooking pit is not made yet. They fried forms, which were made of clay, with flammable materials until the invention of the cooking pit. They used the primitive firing methods either in the cooking pit or outdoor cooking as for the respective forms. Today, although there are many opportunities such as increasing demands, material diversity and fast firing methods with the development of technology, there are still regions that are using primitive methods for cooking the forms. In addition to that, the firing techniques that used technology provides controlled and standard products advantages. That is why; it is also used as a primary or secondary firing technique in workshops. In this study; the villages, which are engaged to pottery firing business in the Central Anatolia Region, namely, Gelveri District, Mihalıççık District, Sorkun Village, Velihimmetli Village, Ahılı Village, and Sille Village have been examined and there firing methods and types of cooking pits are illustrated with the photographs.
{"title":"EARTHENWARE FIRING METHODS IN CENTRAL ANATOLIA REGION","authors":"Ebru Ateşok","doi":"10.7816/KALEMISI-06-13-03","DOIUrl":"https://doi.org/10.7816/KALEMISI-06-13-03","url":null,"abstract":"The human being who realizes that the fire makes the clay durable searched for the way of cooking as for the pottery produced by humanity during the period when the cooking pit is not made yet. They fried forms, which were made of clay, with flammable materials until the invention of the cooking pit. They used the primitive firing methods either in the cooking pit or outdoor cooking as for the respective forms. Today, although there are many opportunities such as increasing demands, material diversity and fast firing methods with the development of technology, there are still regions that are using primitive methods for cooking the forms. In addition to that, the firing techniques that used technology provides controlled and standard products advantages. That is why; it is also used as a primary or secondary firing technique in workshops. In this study; the villages, which are engaged to pottery firing business in the Central Anatolia Region, namely, Gelveri District, Mihalıççık District, Sorkun Village, Velihimmetli Village, Ahılı Village, and Sille Village have been examined and there firing methods and types of cooking pits are illustrated with the photographs.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"16 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131839286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7816/KALEMISI-06-13-02
Serap Mutlu, Zeliha Sarıkaya Hünerel
{"title":"CLOTHING DESIGNS INSPIRED BY THE ROBE OF SULTAN OSMAN","authors":"Serap Mutlu, Zeliha Sarıkaya Hünerel","doi":"10.7816/KALEMISI-06-13-02","DOIUrl":"https://doi.org/10.7816/KALEMISI-06-13-02","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125434706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7816/kalemisi-06-13-04
Nuran Ocakoğlu
It is known that the origin of Turkish tile and ceramic art, which has a very important place in traditional Turkish arts, dates back to Central Asia. Turkish tile and ceramic art, which showed its greatest development in Anatolia, started with the Anatolian Seljuks. Developing over the centuries, this art experienced its golden age in Ottoman times with its unique aesthetic values. The source of the motifs used in the Turkish tile art dates back to the Turkish tribes living in Asia. Animal figures have always been an important decoration element in Turks who are originally from the steppe culture.Although the animal figure which was seen in Seljuk period tiles and ceramicsdecreased due to the influence of Islam in the Ottoman period, it has been artfully painted within this branch of artfrom past to present. In this study, animal figures used in Turkish tile and ceramic artfrom past to present have been studied and these motifs are intended to be reflected in contemporary women's clothing. It is important to give different usage characteristicsto these patterns within modern life for the preservation of Turkish tile and ceramic patternswhich is one of our important cultural heritage.
{"title":"ANIMAL PATTERNS USED ON THE TURKISH TILE AND CERAMICS AND THEIR REFLECTION ON CLOTHING DESIGN","authors":"Nuran Ocakoğlu","doi":"10.7816/kalemisi-06-13-04","DOIUrl":"https://doi.org/10.7816/kalemisi-06-13-04","url":null,"abstract":"It is known that the origin of Turkish tile and ceramic art, which has a very important place in traditional Turkish arts, dates back to Central Asia. Turkish tile and ceramic art, which showed its greatest development in Anatolia, started with the Anatolian Seljuks. Developing over the centuries, this art experienced its golden age in Ottoman times with its unique aesthetic values. The source of the motifs used in the Turkish tile art dates back to the Turkish tribes living in Asia. Animal figures have always been an important decoration element in Turks who are originally from the steppe culture.Although the animal figure which was seen in Seljuk period tiles and ceramicsdecreased due to the influence of Islam in the Ottoman period, it has been artfully painted within this branch of artfrom past to present. In this study, animal figures used in Turkish tile and ceramic artfrom past to present have been studied and these motifs are intended to be reflected in contemporary women's clothing. It is important to give different usage characteristicsto these patterns within modern life for the preservation of Turkish tile and ceramic patternswhich is one of our important cultural heritage.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"84 3-4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116562534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7816/KALEMISI-06-13-08
Fatih Basbug
{"title":"CENGIZ AYTMATOV IN THE WORKS OF KYRGYZ NATIONAL PAINTERS","authors":"Fatih Basbug","doi":"10.7816/KALEMISI-06-13-08","DOIUrl":"https://doi.org/10.7816/KALEMISI-06-13-08","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"512 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116195363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-29DOI: 10.7816/kalemisi-06-12-05
Nurtac Cakar
{"title":"RESEARCH ON COMPETENCE OF ACADEMIC STAFF IN CERAMIC DEPARTMENTS OF UNIVERSITIES IN TURKEY","authors":"Nurtac Cakar","doi":"10.7816/kalemisi-06-12-05","DOIUrl":"https://doi.org/10.7816/kalemisi-06-12-05","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122543772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-29DOI: 10.7816/KALEMISI-06-12-11
S. Ozhan
It was started in the 1500s, to decorate the cloths with contrast colored silk with horizontal and vertical cuts and to became fashion over time. In the early 1500s, soldiers of the Swiss army put colorful silk fabrics that they plundered from the enemy camp into their torn uniforms, thus protecting their bodies from the cold. This movement, which the soldiers returning to their country with improvisation on their uniforms, has been adopted by the public and transformed into a fashion flow that has been imitated and influenced Europe in a short time. This technique called as “valanced” in the literature and has been translated into Turkish as a “saçaklama tekniği”. The use of term “saçaklama tekniği” has been preferred, since the technique which is mentioned in the article is not included in the fashion terms. It has been used to cut of fabric surface by Textile Artists as a decorative technique in textile art and quilting applications. For example, artist Tim Harding creates a pixel-like effect by creating simultaneous contrast in his works by layering colored silk fabrics with an impressionistic approach. In this study, we aimed to add “saçaklama tekniği” into literature and to draw attention to diminishing use of fustian by sewing 3 vest of Anatolian colored and patterned fustian fabrics.
{"title":"VALANCE TECHNIQUE AND AN APPLICATION TO FUSTIAN","authors":"S. Ozhan","doi":"10.7816/KALEMISI-06-12-11","DOIUrl":"https://doi.org/10.7816/KALEMISI-06-12-11","url":null,"abstract":"It was started in the 1500s, to decorate the cloths with contrast colored silk with horizontal and vertical cuts and to became fashion over time. In the early 1500s, soldiers of the Swiss army put colorful silk fabrics that they plundered from the enemy camp into their torn uniforms, thus protecting their bodies from the cold. This movement, which the soldiers returning to their country with improvisation on their uniforms, has been adopted by the public and transformed into a fashion flow that has been imitated and influenced Europe in a short time. This technique called as “valanced” in the literature and has been translated into Turkish as a “saçaklama tekniği”. The use of term “saçaklama tekniği” has been preferred, since the technique which is mentioned in the article is not included in the fashion terms. It has been used to cut of fabric surface by Textile Artists as a decorative technique in textile art and quilting applications. For example, artist Tim Harding creates a pixel-like effect by creating simultaneous contrast in his works by layering colored silk fabrics with an impressionistic approach. In this study, we aimed to add “saçaklama tekniği” into literature and to draw attention to diminishing use of fustian by sewing 3 vest of Anatolian colored and patterned fustian fabrics.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122069796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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