Pub Date : 2017-12-28DOI: 10.7816/KALEMISI-05-10-01
M. Eliaçik
{"title":"THE DESCRIPTION AND CLASSIFICATION OF THE ISTITBA / IDMAC IN RHETORIC BOOKS","authors":"M. Eliaçik","doi":"10.7816/KALEMISI-05-10-01","DOIUrl":"https://doi.org/10.7816/KALEMISI-05-10-01","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129700311","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 : 2017-12-28DOI: 10.7816/kalemisi-05-10-06
Fatih Basbug, H. Ozer
{"title":"THE HORSE AND DEER STAMPS LOCATED IN ANKARA GUDUL","authors":"Fatih Basbug, H. Ozer","doi":"10.7816/kalemisi-05-10-06","DOIUrl":"https://doi.org/10.7816/kalemisi-05-10-06","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126025393","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 : 2017-12-28DOI: 10.7816/KALEMISI-05-10-05
Ramazan Uykur
{"title":"COINS OF THE SINJAR ZENGI ATABEGS","authors":"Ramazan Uykur","doi":"10.7816/KALEMISI-05-10-05","DOIUrl":"https://doi.org/10.7816/KALEMISI-05-10-05","url":null,"abstract":"","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115959395","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 : 2017-12-28DOI: 10.7816/kalemisi-05-10-03
Ömer Zaimoğlu, M. Teker, Asel Erkekli
Banana, is one of the oldest cultivated plants in the world, belongs to the Musaceae family. Banana grown in tropical and subtropical regions are widely cultivated in many countries. In Turkey, bananas cultivated in Alanya, Gazipaşa and Anamur and are evaluated in different forms by local people. It is more commonly used in bath products, mats, hats, baskets and ropes. Banana fiber and yarn production has also started in recent years. It has been observed that the banana fiber and yarn used for the souvenirs have been dyed with synthetic dyes as well as the raw color. Dyeing with natural dyes has been seen as more suitable for the nature of the material and after dyeing with madder (Rubia tinctorum), turmeric (Curcuma longa L.) and indigo (Indigofera tinctoria) friction fastness values were examined.
香蕉，是世界上最古老的栽培植物之一，属于芭蕉科。香蕉生长在热带和亚热带地区，在许多国家被广泛种植。在土耳其，种植在阿拉尼亚、gazipa和阿纳穆尔的香蕉受到当地人不同形式的评价。多用于沐浴用品、垫子、帽子、篮子、绳索等。近年来，香蕉纤维和纱线的生产也开始了。据观察，用于制作纪念品的香蕉纤维和纱线除原色外，还采用了合成染料染色。用天然染料染色被认为更适合材料的性质，在用红(Rubia tinctorum)、姜黄(Curcuma longa L.)和靛蓝(Indigofera tinctoria)染色后，检测了摩擦牢度值。
{"title":"DYEING OF BANANA FIBER WITH NATURAL DYES AND FRICTION FASTNESS VALUES","authors":"Ömer Zaimoğlu, M. Teker, Asel Erkekli","doi":"10.7816/kalemisi-05-10-03","DOIUrl":"https://doi.org/10.7816/kalemisi-05-10-03","url":null,"abstract":"Banana, is one of the oldest cultivated plants in the world, belongs to the Musaceae family. Banana grown in tropical and subtropical regions are widely cultivated in many countries. In Turkey, bananas cultivated in Alanya, Gazipaşa and Anamur and are evaluated in different forms by local people. It is more commonly used in bath products, mats, hats, baskets and ropes. Banana fiber and yarn production has also started in recent years. It has been observed that the banana fiber and yarn used for the souvenirs have been dyed with synthetic dyes as well as the raw color. Dyeing with natural dyes has been seen as more suitable for the nature of the material and after dyeing with madder (Rubia tinctorum), turmeric (Curcuma longa L.) and indigo (Indigofera tinctoria) friction fastness values were examined.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117313862","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 : 2017-12-28DOI: 10.7816/kalemisi-05-10-02
A. Onder
The ceramic art, which started to be produced in İznik during the establishment period of the Ottoman state, lived the golden age in the 15th and 17th centuries. This period has developed with the exodus of Sultan Mehmet the Conqueror and the taking of Istanbul. This development is reflected not only in composition but also in container forms in ceramics. Many ceramics produced in this period are among rare and precious works in terms of ornamentation and form. However, the form in which these forms were formed, how they came about and what they were made for is not taken much seriously.The purpose of the study is to determine what types of forms form the cup shapes that emerged during the Classical period of the Ottoman State, to determine what purposes, what cultures or shapes might be influenced. This study aims to analyze the classical Ottoman ceramics cups that develop in the historical process and have an important place in terms of Turkish art and to analyze the form and to determine the place of these ceramics within themselves and in the art of Ottoman Ceramics.
{"title":"GLASS FORMS PRODUCED IN CLASSICAL OTTOMAN PERIOD AND INVESTIGATION OF ORIGINS OF THESE FORMS","authors":"A. Onder","doi":"10.7816/kalemisi-05-10-02","DOIUrl":"https://doi.org/10.7816/kalemisi-05-10-02","url":null,"abstract":"The ceramic art, which started to be produced in İznik during the establishment period of the Ottoman state, lived the golden age in the 15th and 17th centuries. This period has developed with the exodus of Sultan Mehmet the Conqueror and the taking of Istanbul. This development is reflected not only in composition but also in container forms in ceramics. Many ceramics produced in this period are among rare and precious works in terms of ornamentation and form. However, the form in which these forms were formed, how they came about and what they were made for is not taken much seriously.The purpose of the study is to determine what types of forms form the cup shapes that emerged during the Classical period of the Ottoman State, to determine what purposes, what cultures or shapes might be influenced. This study aims to analyze the classical Ottoman ceramics cups that develop in the historical process and have an important place in terms of Turkish art and to analyze the form and to determine the place of these ceramics within themselves and in the art of Ottoman Ceramics.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126548266","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 : 2017-04-30DOI: 10.7816/kalemisi-05-09-04
Lale Avsar
Early Islamic Ceramic Art and especially Pre-Seljuk period are not generally taken into account in terms of the Turkish art effects. This is based on traditional assumption of established in the history of art. According to this, the Islamic ceramic art has developed and emerged from sources of Sasani Iran and Christian Byzantine, in time, cultural and commercial relations have resulted in the emergence of new sources due to aspire of Chinese ceramic art and especially the Chinese porcelain. Reviews about Samarra ceramics of Abbasi period has revealed effects of Turkish art. These effects, firstly encountered in white opaque glazed and lustre ceramics. Also, it present in compositional arrangement, in human and alive representations, in clothes, in sitting style, in hand-held object and in some other details. The question of why such influences are so unrecognized up to now brings to mind the existence of some conceptual problems by philosophical direction of the research. In the research, this issue has been tried to be define of the thoughts that we believed to be misplaced. The aim, monitor of their accuracy and re-evaluations by coming to the fore to certain assumption.
{"title":"SOME FALSE AFFILIATES ON TURKISH-ISLAMIC ARTS HISTORY","authors":"Lale Avsar","doi":"10.7816/kalemisi-05-09-04","DOIUrl":"https://doi.org/10.7816/kalemisi-05-09-04","url":null,"abstract":"Early Islamic Ceramic Art and especially Pre-Seljuk period are not generally taken into account in terms of the Turkish art effects. This is based on traditional assumption of established in the history of art. According to this, the Islamic ceramic art has developed and emerged from sources of Sasani Iran and Christian Byzantine, in time, cultural and commercial relations have resulted in the emergence of new sources due to aspire of Chinese ceramic art and especially the Chinese porcelain. Reviews about Samarra ceramics of Abbasi period has revealed effects of Turkish art. These effects, firstly encountered in white opaque glazed and lustre ceramics. Also, it present in compositional arrangement, in human and alive representations, in clothes, in sitting style, in hand-held object and in some other details. The question of why such influences are so unrecognized up to now brings to mind the existence of some conceptual problems by philosophical direction of the research. In the research, this issue has been tried to be define of the thoughts that we believed to be misplaced. The aim, monitor of their accuracy and re-evaluations by coming to the fore to certain assumption.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126876673","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 : 2017-04-30DOI: 10.7816/KALEMISI-05-09-01
E. Bulmuş, Yuksel Dogdu
Garment has been constantly changing and developing according to the traditions and customs of the societies. The clothes from different regions and villages which are carrying the common features have resissted to these changes and managed to come until today by transferring from one generation to another. The traditional clothes are an important part of the cultural heritage that reflects the life-style, cultural values, beliefs and social life of the people. In this study it is aimed to examine the traditional underwear piece göynek (inner shirts) of Sinop Gerze in terms of branch of cloth art besides defining the characteristics reaching today in order to transfer it to the next generations. In this concept the göynek subjected to this study has been borrowed form the people form and it was examined along with the observation forms. The göynek was examined in terms of size, cutting, sewing, decorating characteristics. In the concept of the application the photogrphs of the clothes are taken, measurements are defined. Besides the cloth and the sewing of the göynek are also analyzed and documented. The secondary sources are used for the literatüre review. At the end of the research, it was found that hand-made linen was used at the göynek. A systematic pattern sytem is not defined and this means that they are cut randomly just practical cutting was made. This study is important in terms of enlighting the sapmles of the göyneks which are nearly forgetten and it is also important to direct the new researches and evaluations Key-Words: Sinop Gerze, Göynek, Traditional Garment, Underwear DOI: 10.7816/kalemisi-05-09-01 kalemisi, 2017, Cilt 5, Sayı 9, Volume 5, Issue 9 3 www.kalemisidergisi.com 1-GİRİŞ Türk giyimi çeşitli medeniyetlerin izleriyle pek çok değişikliğe uğramıştır. Anadolu’nun stratejik ve coğrafi konumu kendi içinde bile farklı biçimler gösteren giyim tarzlarının oluşmasında etken olmuştur. İlden ile ilçeden ilçeye hatta aynı ilin köylerinde bile giyim tarzının farklı olması bunun bir kanıtıdır (Yakut, 2005: 15). Sinop ili kültürel değerlerin zengin olduğu illerimizden biridir. Değişik kültürlere ev sahibi olmasından dolayı el dokumaları ve işlemeleri yönünden oldukça çeşitliliğe sahiptir. Önceleri ihtiyacı karşılamak amacıyla basit gereçlerle yapılan giysi ve süslemeler zamanla birer sanat haline gelmiştir. Giyim sanatında dış giyime gösterilen özen ve çeşitlilik iç giyime de yansımaktadır. Kadınlarımız çeşitli süslemeler işleyerek iç giyime canlılık ve güzellik katmışlardır. İç giyim hakkında bilgi veren kaynaklar oldukça azdır. Bu Türk toplumunun inanç ve kültürüyle örtüşmektedir (Çağdaş vd, 1996: 43). Türklerde iç giyimle ilgili kesin bir başlangıç tarihi yoktur. Eski zamanlarda kadınların dokuduğu yıkamaya elverişli ve pamuklu kumaşlar iç giyimde kullanılmıştır (Tekel, 1990: 1). Dış giyimi olduğu gibi iç giyimi de kendi içinde sınıflamak mümkündür. İç giyim: Üst bedene giyilenler ve alt bedene giyilenler olmak üzere iki gruba ayrıl
服装一直在不断变化和发展，根据社会的传统和习俗。来自不同地区和村庄的服装，携带着共同的特征，抵制这些变化，并通过一代又一代的传递而发展到今天。传统服饰是文化遗产的重要组成部分，反映了人们的生活方式、文化价值观、信仰和社会生活。在本研究中，除了定义今天达到的特征之外，旨在从布艺分支的角度审视Sinop Gerze的传统内衣片göynek(内衬衫)，以便将其传递给下一代。在这个概念中，受此研究的göynek是从人的形式借来的，并与观察形式一起进行了检查。对göynek进行了尺寸、裁剪、缝纫、装饰等方面的检查。在应用程序的概念中，拍摄衣服的照片，定义尺寸。此外，对布料和缝制的göynek也进行了分析和记录。文献综述使用二手资料。研究结束时，发现在göynek使用了手工制作的亚麻布。系统的图案系统没有定义，这意味着它们是随机裁剪的，只是实际裁剪。本研究对于启发几乎被遗忘的göyneks样本具有重要意义，对于指导新的研究和评价也具有重要意义。关键词:Sinop Gerze, Göynek, Traditional Garment, Underwear DOI: 10.7816/kalemisi-05-09-01 kalemisi, 2017, Cilt 5, sayyi 9, Volume 5, Issue 3 www.kalemisidergisi.com 1-GİRİŞ t<e:1> rk giyimi eitli medeniyetlerin izleriyle pek ok değişikliğe uğramıştır。Anadolu’s unstratejik ve coğrafi konumu kendi i inde bilkkli ler gösteren giyim tarzlarının oluşmasında etken olmutur。(雅库特，2005:15). İlden ile il<s:1> eden ileye hatta aynbirin köylerinde bile giyim tarzının farklolmasyi bunun bir kanıtıdır。天津天津<s:1> ltlt<e:1> rel değerlerin zengin olduğu ilerimizden biridir。Değişik k<s:1> ltlt<e:1> rlere ev sahibi olmasından dolayayel dokumalaryve i<s:1> lemeleri yönünden olduka çeşitliliğe ship - tir。Önceleri ihtiyacyi karşılamak amacıyla bas基gererlerle yapılan giysi ve seller zamanla birer sanat haline gelmitir。Giyim sanatında dış giyime gösterilen özen ve eitlilik iç giyime de yansımaktadır。Kadınlarımız e<e:1> itli sslemeler leyerek iç giyime canlılık ve g<e:1> zellik katmışlardır。İç giyim hakkında bilgi veren kaynaklar olduka azdır。但是，<s:1> rk toplumunun inanç ve k<s:1> ltrr<e:2> yle örtüşmektedir (Çağdaş vd, 1996: 43)。t<s:1> rklerde iç giyimle ilgili kesin bir başlangıç tarihi yoktur。Eski zamanlarda kadınların dokuduğu yıkamaya elveri<e:1> i ve pamuklu kuma<e:1> lar iç giyimde kullanılmıştır (Tekel, 1990: 1). Dış giyimi olduğu gibi iç giyimi de kendi inde sınıflamak m<s:1> mk<e:1> nd<e:1> r。İç giyim: Üst bedene giyilenler ve Alt bedene giyilenler olmak <e:1> zere iki gruba ayrılır。Üst bedene giyilen iç giyimler göynek veya gönlek olarak adlandırılır(地球科学进展，2005:107)。Göyneğe gömlek de denilmektedir。做ğrusu gonlektir。Gönderi 10 anlamındadır。Gönlek çıplak tene giyilen bir giysidir。Erkek gömleklerinin eteği dizden yukari kalır ve belden aşağıya iç donun i<s:1> ine sokulur, kadın gömlekleri ayak bileklerine kadar uzun olur。Gömleklik bezler ya d<e:1> z beyaz veya beyaz <e:1> <s:2> zerine kırmızı， sari, mari renklerin uuk tonlari ile ubuklu(izgili) olarak dokunulur。b<s:1> r<s:1> mckten dokunanlara " helali, helali gömlek " denilmektedir (kop_ru, 1967: 125)。Ketenden, ipekten, ham ipekten, b<s:1> rr<e:1> mckten yapılan gömleklerin ucu şalvarın iine <e:1> ekilir, yakasına, kol ağızlarına iğne ogeirilir。Halk <e:1> airlerimizin， özellikle düğmeleri <s:1> zerinde durduklarkibu gömlekleri kızlar kendi tezgâhlarında genç kızlık sreci boyunca kendi elleriyle dokurlar(阿拉伯，1990:29)。Yakasız uz
{"title":"EXAMINING of the TRADITIONAL GOYNEK SAMPLES of SINOP GERZE IN TERMS OF BRANCH OF CLOTH ART","authors":"E. Bulmuş, Yuksel Dogdu","doi":"10.7816/KALEMISI-05-09-01","DOIUrl":"https://doi.org/10.7816/KALEMISI-05-09-01","url":null,"abstract":"Garment has been constantly changing and developing according to the traditions and customs of the societies. The clothes from different regions and villages which are carrying the common features have resissted to these changes and managed to come until today by transferring from one generation to another. The traditional clothes are an important part of the cultural heritage that reflects the life-style, cultural values, beliefs and social life of the people. In this study it is aimed to examine the traditional underwear piece göynek (inner shirts) of Sinop Gerze in terms of branch of cloth art besides defining the characteristics reaching today in order to transfer it to the next generations. In this concept the göynek subjected to this study has been borrowed form the people form and it was examined along with the observation forms. The göynek was examined in terms of size, cutting, sewing, decorating characteristics. In the concept of the application the photogrphs of the clothes are taken, measurements are defined. Besides the cloth and the sewing of the göynek are also analyzed and documented. The secondary sources are used for the literatüre review. At the end of the research, it was found that hand-made linen was used at the göynek. A systematic pattern sytem is not defined and this means that they are cut randomly just practical cutting was made. This study is important in terms of enlighting the sapmles of the göyneks which are nearly forgetten and it is also important to direct the new researches and evaluations Key-Words: Sinop Gerze, Göynek, Traditional Garment, Underwear DOI: 10.7816/kalemisi-05-09-01 kalemisi, 2017, Cilt 5, Sayı 9, Volume 5, Issue 9 3 www.kalemisidergisi.com 1-GİRİŞ Türk giyimi çeşitli medeniyetlerin izleriyle pek çok değişikliğe uğramıştır. Anadolu’nun stratejik ve coğrafi konumu kendi içinde bile farklı biçimler gösteren giyim tarzlarının oluşmasında etken olmuştur. İlden ile ilçeden ilçeye hatta aynı ilin köylerinde bile giyim tarzının farklı olması bunun bir kanıtıdır (Yakut, 2005: 15). Sinop ili kültürel değerlerin zengin olduğu illerimizden biridir. Değişik kültürlere ev sahibi olmasından dolayı el dokumaları ve işlemeleri yönünden oldukça çeşitliliğe sahiptir. Önceleri ihtiyacı karşılamak amacıyla basit gereçlerle yapılan giysi ve süslemeler zamanla birer sanat haline gelmiştir. Giyim sanatında dış giyime gösterilen özen ve çeşitlilik iç giyime de yansımaktadır. Kadınlarımız çeşitli süslemeler işleyerek iç giyime canlılık ve güzellik katmışlardır. İç giyim hakkında bilgi veren kaynaklar oldukça azdır. Bu Türk toplumunun inanç ve kültürüyle örtüşmektedir (Çağdaş vd, 1996: 43). Türklerde iç giyimle ilgili kesin bir başlangıç tarihi yoktur. Eski zamanlarda kadınların dokuduğu yıkamaya elverişli ve pamuklu kumaşlar iç giyimde kullanılmıştır (Tekel, 1990: 1). Dış giyimi olduğu gibi iç giyimi de kendi içinde sınıflamak mümkündür. İç giyim: Üst bedene giyilenler ve alt bedene giyilenler olmak üzere iki gruba ayrıl","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115733445","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 : 2017-04-30DOI: 10.7816/KALEMISI-05-09-03
Hande Kılıçarslan, Sema Etikan, A. Evecen
Handcraft is the most essential milestone of society's culture which is formed according to the productive human being's talent and pleasure, the lifestyle of its society that it's been produced in, the region that being lived on, and the material that exists in this region. The products produced to prove only the needs within family has slowly become a commercial product. Thus, the product has a commercial value. However, developing living conditions as a result of the progress in science and technology, caused a regression in handcrafts, even some of them vanished. Alteration is unavoidable. As time goes by, as life goes on, alteration is inevitable. Handcrafts have taken its toll of this alteration and have entered into a process of conformation. The major factor in this process are commercial concerns. At the present time, marketing is also as important as the production. Marketing factor is unavoidably determinative in how handcrafts continue its existence. So, most of the handcrafts renewed themself in this way. Handcrafts have moved away from traditional production and using for more income and began to be produced as decorative goods and accessory.
{"title":"THE NEW DESIGNS THAT EMERGED IN HANDCRAFT AS A CONSEQUENCE OF COMMERCIAL CONCERNS","authors":"Hande Kılıçarslan, Sema Etikan, A. Evecen","doi":"10.7816/KALEMISI-05-09-03","DOIUrl":"https://doi.org/10.7816/KALEMISI-05-09-03","url":null,"abstract":"Handcraft is the most essential milestone of society's culture which is formed according to the productive human being's talent and pleasure, the lifestyle of its society that it's been produced in, the region that being lived on, and the material that exists in this region. The products produced to prove only the needs within family has slowly become a commercial product. Thus, the product has a commercial value. However, developing living conditions as a result of the progress in science and technology, caused a regression in handcrafts, even some of them vanished. Alteration is unavoidable. As time goes by, as life goes on, alteration is inevitable. Handcrafts have taken its toll of this alteration and have entered into a process of conformation. The major factor in this process are commercial concerns. At the present time, marketing is also as important as the production. Marketing factor is unavoidably determinative in how handcrafts continue its existence. So, most of the handcrafts renewed themself in this way. Handcrafts have moved away from traditional production and using for more income and began to be produced as decorative goods and accessory.","PeriodicalId":265860,"journal":{"name":"Kalemisi Dergisi","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124565605","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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