Pub Date : 2018-04-16DOI: 10.7816/kalemisi-06-11-11
T. Gungor
Women images have been used as one of the most common themes of plastic arts in almost every period and culture of the life. Since the day when art begins to develop with the history of humanity, the women image also found its own direction parallel to the current age. The studies with female images presented in different periods is an indicator for us to read the social status of the period, the way of thinking, the observations on the woman and the definition of the woman from a gender perspective. Therefore, our main purpose in this work is to analyze Omur Eke's, who is both woman and artist, woman images. The woman image is the main focus of Omur Eke's artwork and this image has been taken up in a variety of gender contexts with various descriptions. Particularly, the loneliness of women in modern life, the happiness or sadness of women in urban life, the areas of her liberty, the abuses that are exposed, her femininity and psychology while self-expression is being shaped in daily activities. The artist presents the dailylife woman considering traditional perceptions and its aesthetic values in its current period. Moreover, she illustrates it in her paintings enriching with her own style.
{"title":"WOMAN IMAGES IN THE WORKS OF OMUR EKE","authors":"T. Gungor","doi":"10.7816/kalemisi-06-11-11","DOIUrl":"https://doi.org/10.7816/kalemisi-06-11-11","url":null,"abstract":"Women images have been used as one of the most common themes of plastic arts in almost every period and culture of the life. Since the day when art begins to develop with the history of humanity, the women image also found its own direction parallel to the current age. The studies with female images presented in different periods is an indicator for us to read the social status of the period, the way of thinking, the observations on the woman and the definition of the woman from a gender perspective. Therefore, our main purpose in this work is to analyze Omur Eke's, who is both woman and artist, woman images. The woman image is the main focus of Omur Eke's artwork and this image has been taken up in a variety of gender contexts with various descriptions. Particularly, the loneliness of women in modern life, the happiness or sadness of women in urban life, the areas of her liberty, the abuses that are exposed, her femininity and psychology while self-expression is being shaped in daily activities. The artist presents the dailylife woman considering traditional perceptions and its aesthetic values in its current period. Moreover, she illustrates it in her paintings enriching with her own style.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134600948","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 : 2018-04-16DOI: 10.7816/KALEMISI-06-11-04
M. Ozturk, A. Onder
{"title":"CERAMIC BOTTLE FOREST PRODUCED IN THE OTTOMAN PERIOD","authors":"M. Ozturk, A. Onder","doi":"10.7816/KALEMISI-06-11-04","DOIUrl":"https://doi.org/10.7816/KALEMISI-06-11-04","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131159278","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 : 2018-04-16DOI: 10.7816/kalemisi-06-11-09
Ibrahim Erdek
Traditional hand-woven carpets in Anatolia with different pattern and color characteristics have an important place in Turkish cultural heritage. The most important cultural carrier, are woven by hand of yuruks in many centers. Our carpet regions, which have not heard much of their name except for the centers with their woven characters in front, have formed a certain character in themselves but are existent all over Anatolia. Kütahya is one of these centers. In the region where the Karakeçili yuruks have a dominant population, a unique pattern has formed a character, and a group of weaving called "Çakmak Carpet" around the province attracts attention. It is important to introduce these carpets that have developed within the Yörük life culture and have reached to the present day. In this study, the carpets found in the village of Çakmak were examined and technical analysis was carried out. Thus, it was tried to determine the location of the Çakmak carpet by revealing similar and dissimilar aspects in the Turkish carpet groups. We aim to contribute to the Turkish hand weaving carpentry literature and to increase its awareness, to determine the technical, design and composition properties and contribute to other scientific studies to be done in this issue by documenting these carpets.
{"title":"TECHNICAL AND DESIGN FEATURES OF ÇAKMAK VILLAGE CARPETS","authors":"Ibrahim Erdek","doi":"10.7816/kalemisi-06-11-09","DOIUrl":"https://doi.org/10.7816/kalemisi-06-11-09","url":null,"abstract":"Traditional hand-woven carpets in Anatolia with different pattern and color characteristics have an important place in Turkish cultural heritage. The most important cultural carrier, are woven by hand of yuruks in many centers. Our carpet regions, which have not heard much of their name except for the centers with their woven characters in front, have formed a certain character in themselves but are existent all over Anatolia. Kütahya is one of these centers. In the region where the Karakeçili yuruks have a dominant population, a unique pattern has formed a character, and a group of weaving called \"Çakmak Carpet\" around the province attracts attention. It is important to introduce these carpets that have developed within the Yörük life culture and have reached to the present day. In this study, the carpets found in the village of Çakmak were examined and technical analysis was carried out. Thus, it was tried to determine the location of the Çakmak carpet by revealing similar and dissimilar aspects in the Turkish carpet groups. We aim to contribute to the Turkish hand weaving carpentry literature and to increase its awareness, to determine the technical, design and composition properties and contribute to other scientific studies to be done in this issue by documenting these carpets.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122992219","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 : 2018-04-16DOI: 10.7816/kalemisi-06-11-03
Birnaz Er, Zeliha Sarikaya-Hunerel
As long as the jewelry first appeared, either disappeared or have been mechanized by modern technology, wearing jewelry has remained virtually unchanged. Despite all the meanings attributed to it and different production techniques, the jewelry has survived to the present day.Today, jewelry culture is used as a means of decoration, investment, signs of economic condition and traditions. Traditional jewelry carry the social and cultural meanings that past civilizations have left to their descendants. For this reason, it is very important to protect traditional jewelry and to transfer it to future generations. The Kıstı jewelry, which is unique to the Kastamonu Tosya district culture, is among these traditional jewelry. The Kıstı jewelry is among the handicrafts that have been lost which is produced on order by limited number of masters. In this study, the Kıstı jewelry was introduced and documented in the light of the information obtained in the fieldwork, the importance of Kıstı jewelry is mentioned in the tradition of Kastamonu city and suggestions for solutions were presented by addressing the problems that were experienced.
{"title":"THE TRADITIONAL KISTI JEWELRY of KASTAMONU-TOSYA DISTRICT","authors":"Birnaz Er, Zeliha Sarikaya-Hunerel","doi":"10.7816/kalemisi-06-11-03","DOIUrl":"https://doi.org/10.7816/kalemisi-06-11-03","url":null,"abstract":"As long as the jewelry first appeared, either disappeared or have been mechanized by modern technology, wearing jewelry has remained virtually unchanged. Despite all the meanings attributed to it and different production techniques, the jewelry has survived to the present day.Today, jewelry culture is used as a means of decoration, investment, signs of economic condition and traditions. Traditional jewelry carry the social and cultural meanings that past civilizations have left to their descendants. For this reason, it is very important to protect traditional jewelry and to transfer it to future generations. The Kıstı jewelry, which is unique to the Kastamonu Tosya district culture, is among these traditional jewelry. The Kıstı jewelry is among the handicrafts that have been lost which is produced on order by limited number of masters. In this study, the Kıstı jewelry was introduced and documented in the light of the information obtained in the fieldwork, the importance of Kıstı jewelry is mentioned in the tradition of Kastamonu city and suggestions for solutions were presented by addressing the problems that were experienced.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121466309","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 : 2018-04-16DOI: 10.7816/KALEMISI-06-11-02
C. Ertunc
In the 13th century Anatolian architecture, both the appearance and the decoration programs and the portals as important building elements that inform about the ornamentation characteristics of the period. The Anatolian Seljuk civilization continues its existence with its numerous architectural structures and elements of decoration. decorations which are generally independent or in the form of continuation of each other were used in 13th century. the architectural compositions of Anatolian Seljuk period. The part of the door, starting from the starting points of the corner pillars and forming the concave part, surrounding from outside, generally adorned areas are called siege arches. Various compositions that reflect the period features are used in the siege arches, which are a different architectural element with their massive appearances and decorative characteristics. The ornaments on the siege arches show differences in parallel to the number of the arch structure, shape and number of slices. In general, the siege arches which are suitable for the decoration program of the door are very attractive in some examples.
{"title":"ASSESSMENT OF SIEGE ARCH IN THE 13TH CENTURY ANATOLIAN SELJUKS PERIOD OF PORTALS","authors":"C. Ertunc","doi":"10.7816/KALEMISI-06-11-02","DOIUrl":"https://doi.org/10.7816/KALEMISI-06-11-02","url":null,"abstract":"In the 13th century Anatolian architecture, both the appearance and the decoration programs and the portals as important building elements that inform about the ornamentation characteristics of the period. The Anatolian Seljuk civilization continues its existence with its numerous architectural structures and elements of decoration. decorations which are generally independent or in the form of continuation of each other were used in 13th century. the architectural compositions of Anatolian Seljuk period. The part of the door, starting from the starting points of the corner pillars and forming the concave part, surrounding from outside, generally adorned areas are called siege arches. Various compositions that reflect the period features are used in the siege arches, which are a different architectural element with their massive appearances and decorative characteristics. The ornaments on the siege arches show differences in parallel to the number of the arch structure, shape and number of slices. In general, the siege arches which are suitable for the decoration program of the door are very attractive in some examples.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117213882","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 : 2018-04-16DOI: 10.7816/KALEMISI-06-11-07
C. Ozturk, Salih Girgic
The development of carpet and kilim weaving in Konya has been enabled for centuries by the region’s unique climate, geographical position, and livestock breeding traditions. The diversity and abundance of dye plants and insects has been an important influence on the formation of these arts. Stone, soil, minerals, molluscs, and insects were among some of the first raw materials utilized as natural dyes; however, awareness of the expansive potential for colors in plants has led this category of dyes to supercede all others. Plants can produce a palette of hundreds of different colors and shades for use in folk arts, including carpets, felts, and ceramics. Methods for deriving dyes from plants vary between regions, and techniques are kept as closely guarded secrets, transferred between the generations with a profound sense of confidentiality. In this study, the plant dyes and methods of application particular to felt art in Konya, were investigated. The experience of Keçeci (felt artist) Mehmet Girgiç concerning the use of natural dye plants konya's art of felt making was recorded.
{"title":"USAGE OF NATURAL DYE PLANTS IN KONYA'S ART OF FELT MAKING","authors":"C. Ozturk, Salih Girgic","doi":"10.7816/KALEMISI-06-11-07","DOIUrl":"https://doi.org/10.7816/KALEMISI-06-11-07","url":null,"abstract":"The development of carpet and kilim weaving in Konya has been enabled for centuries by the region’s unique climate, geographical position, and livestock breeding traditions. The diversity and abundance of dye plants and insects has been an important influence on the formation of these arts. Stone, soil, minerals, molluscs, and insects were among some of the first raw materials utilized as natural dyes; however, awareness of the expansive potential for colors in plants has led this category of dyes to supercede all others. Plants can produce a palette of hundreds of different colors and shades for use in folk arts, including carpets, felts, and ceramics. Methods for deriving dyes from plants vary between regions, and techniques are kept as closely guarded secrets, transferred between the generations with a profound sense of confidentiality. In this study, the plant dyes and methods of application particular to felt art in Konya, were investigated. The experience of Keçeci (felt artist) Mehmet Girgiç concerning the use of natural dye plants konya's art of felt making was recorded.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"188 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124165332","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 : 2018-04-16DOI: 10.7816/kalemisi-06-11-06
Nilgun Cevrimli
The foundations of the foundation and the officials have set a number of conditions concerning the operation of mite or money the expenditure of foundation income and the charity services, the allocations to the persons and the relief. The state of the assignment of a task or allocation to second or third parties is also defined as legitimation, legitimacy. The houses which they are mostly legitimate masjid and which they have appointed as a definition legitimate beside the structures such as library, madrasa, school, or nearby are sometimes known as legitimate or legitimate. Constitutions of the imams and muezzins especially assigned to the duties of the foundations have brought some problems together as a result of political and social changes and transformations. In this study, besides the meanings of the legitimate words carried by the foundations, the conditions for the foundation, the spaces and the architectural features of the legacies allocated for the shelters of the foundation officers are defined.
{"title":"CONSIDERATIONS OF THE UNDERSTANDING OF THE BUSINESS IN THE FOUNDATIONS: BREAKING MEASURES TO THE FOUNDATION OFFICERS","authors":"Nilgun Cevrimli","doi":"10.7816/kalemisi-06-11-06","DOIUrl":"https://doi.org/10.7816/kalemisi-06-11-06","url":null,"abstract":"The foundations of the foundation and the officials have set a number of conditions concerning the operation of mite or money the expenditure of foundation income and the charity services, the allocations to the persons and the relief. The state of the assignment of a task or allocation to second or third parties is also defined as legitimation, legitimacy. The houses which they are mostly legitimate masjid and which they have appointed as a definition legitimate beside the structures such as library, madrasa, school, or nearby are sometimes known as legitimate or legitimate. Constitutions of the imams and muezzins especially assigned to the duties of the foundations have brought some problems together as a result of political and social changes and transformations. In this study, besides the meanings of the legitimate words carried by the foundations, the conditions for the foundation, the spaces and the architectural features of the legacies allocated for the shelters of the foundation officers are defined.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122577794","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 : 2018-04-16DOI: 10.7816/kalemisi-06-11-08
M. İlhan
{"title":"DEVELOPMENT OF YALI PHENOMENON IN ISTANBUL AND OTTOMAN EMPIRE DURING 18. AND 19. CENTURIES","authors":"M. İlhan","doi":"10.7816/kalemisi-06-11-08","DOIUrl":"https://doi.org/10.7816/kalemisi-06-11-08","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127014555","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 : 2018-04-16DOI: 10.7816/kalemisi-06-11-05
Ebru Alparslan
{"title":"“YAZMA SEMS\" TECHNIQUE AND TURKISH BOOKBINDING ART AND RAŞİT EFENDİ IS MANUSCRIPT IN WORK LIBRARY INVESTIGATION OF \"YAZMA SEMS\" BOOKBINDING SAMPLES","authors":"Ebru Alparslan","doi":"10.7816/kalemisi-06-11-05","DOIUrl":"https://doi.org/10.7816/kalemisi-06-11-05","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130181702","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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