Crescent-Star Motif in Turkish Fabrics

Abstract

Turkish decorative arts are an important legacy of the past as material cultural documents. The subjects of decoration in Turkish decorative arts are quite varied. Different scientific groupings are made about these decorations such as geometric, figurative, vegetative, animal, written, architecture, landscape, objective, sym- bolic and cosmic. These groupings are sometimes evaluated in terms of form and sometimes in terms of mean- ing. In terms of meaning, some groupings can be considered within the same content as symbolic and cosmic. The celestial objects containing symbolic meanings have also been regarded as sacred in almost every civiliza-tion and have been included in various forms of objects such as starboard, inscription, sculpture, relief, inscrip- tion, coin and tablet. In every nation where symbolic usage of single moon, single crescent or moon-crescent is seen together, the moon- crescent motif has different meanings. In Turkish mythology, the moon, sun and big crescents, which are the counterparts of important beliefs, have been interpreted together. Since the adoption of Islam, it appears as a symbol of state and army in textiles mostly in the form of starboard. In Turkish fabrics, the moon motif in various forms such as big, small, flat, inverted and intertwined, and crescent motifs with four, five, six, eight and more corners are used separately or together. The aim of this study is to examine the devel- opment of the moon-crescent motif, describe the different patterns that are patterned from weaving and identify the technical properties of the existing samples. This research is thought to be important in terms of revealing the reflections of moon-crescent motifs on fabrics The research is a description study in the screening model. The population of the study is the moon-crescent motif, and the sample of this is eighteen Turkish fabrics with moon- crescent motifs patterned with weaving. In the study, written source scanning was done before, inventory numbers of fifteen fabrics with moon- crescent motif, museums, centuries, genres, raw materials, dimensions and pattern report repetitions are given in table. In addition, technical analysis of three available fabric samples was made by evaluating these analyzes. Technical, material, color and pattern properties of the fabrics have been identified. It is known that the fabrics with moon-crescent motifs are used around the palace and by the public for important events or days for clothing and upholstery. Moon-crescent motifs were used in fabrics in large forms between the 16-18th centuries and in small forms between 19-20th centuries. Moon-star shapes ac- cording to periods in the form of large and small nested crescents, crescent-shaped sun, rosette-shaped, it took the form of eight at 18th century and five-pointed stars at the beginning of the 20th century. The moon-crescent motif was applied in sevai samples that were weaved in middle of the 20th century where national emotions were intense with form in the flag of Republic of Turkey. The moon-crescent motifs are woven with different techniques in fabric-velvet, Bursa abanisi, Aleppo sevaisi, Bilecik catma, Harput telli, Harput hareli, kutnu, velvet and kemha fabrics.tion and have been included in various forms of objects such as starboard, inscription, sculpture, relief, inscrip- tion, coin and tablet. In every nation where symbolic usage of single moon, single crescent or moon-crescent is seen together, the moon- crescent motif has different meanings. In Turkish mythology, the moon, sun and big crescents, which are the counterparts of important beliefs, have been interpreted together. Since the adoption of Islam, it appears as a symbol of state and army in textiles mostly in the form of starboard. In Turkish fabrics, the moon motif in various forms such as big, small, flat, inverted and intertwined, and crescent motifs with four, five, six, eight and more corners are used separately or together. The aim of this study is to examine the devel- opment of the moon-crescent motif, describe the different patterns that are patterned from weaving and identify the technical properties of the existing samples. This research is thought to be important in terms of revealing the reflections of moon-crescent motifs on fabrics The research is a description study in the screening model. The population of the study is the moon-crescent motif, and the sample of this is eighteen Turkish fabrics with moon- crescent motifs patterned with weaving. In the study, written source scanning was done before, inventory numbers of fifteen fabrics with moon- crescent motif, museums, centuries, genres, raw materials, dimensions and pattern report repetitions are given in table. In addition, technical analysis of three available fabric samples was made by evaluating these analyzes. Technical, material, color and pattern properties of the fabrics have been identified. It is known that the fabrics with moon-crescent motifs are used around the palace and by the public for important events or days for clothing and upholstery. Moon-crescent motifs were used in fabrics in large forms between the 16-18th centuries and in small forms between 19-20th centuries. Moon-star shapes ac- cording to periods in the form of large and small nested crescents, crescent-shaped sun, rosette-shaped, it took the form of eight at 18th century and five-pointed stars at the beginning of the 20th century. The moon-crescent motif was applied in sevai samples that were weaved in middle of the 20th century where national emotions were intense with form in the flag of Republic of Turkey. The moon-crescent motifs are woven with different techniques in fabric-velvet, Bursa abanisi, Aleppo sevaisi, Bilecik catma, Harput telli, Harput hareli, kutnu, velvet and kemha fabrics.

Özet

Türk süsleme sanatları maddi kültür belgeleri olarak geçmişin önemli bir mirasıdır. Türk süsleme sanat- larında bezeme konuları oldukça çeşitlilik arz etmektedir. Bu bezemeler hakkında geometrik, figürlü, bitkisel, hayvansal, yazılı, mimari, peyzaj, nesnel, sembolik ve kozmik gibi farklı bilimsel gruplamalar yapılmaktadır. Bu gruplamalar bazen biçim bazen de anlam bakımından değerlendirilmektedir. Anlam bakımından ise bazı gruplamalar sembolik ve kozmikte olduğu gibi aynı kapsamda ele alınabilir. Sembolik anlamlar içeren gök cisimleri hemen her uygarlıkta kutsal sayılmış ve bu amaçla sancak, kitabe, heykel, kabartma, yazıt, sikke, tablet vb. çeşitli biçimlerde eşyalarda yer almıştır. Tek ay, tek yıldız ya da ay-yıldızın birlikte sembolik olarak kulla- nımlarına rastlanan her millette ay-yıldız motifine farklı anlamlar yüklenmiştir. Türk mitolojisinde de önemli inanışların karşılığı olan ay, güneş ve büyük yıldızlarla çeşitli olaylar birlikte anlamlandırılmıştır. İslamiyet’in kabulünden itibaren devlet ve ordu sembolü olarak tekstillerde çoğunlukla sancak formunda görülmektedir. Ay- yıldız motifi Türk İslam tarihinde taş, ahşap, maden eserlerinde olduğu gibi tekstil alanında da halı, kilim, iş- leme, baskı, yazma ve kumaş ürünlerin süsleme unsuru olmuştur. Türk kumaşlarında büyük, küçük, yatık, ters, iç içe gibi çeşitli biçimlerde yer alan ay motifi ile dört, beş, altı, sekiz ve daha çok köşeli olan yıldız motifleri ayrı ya da birlikte kullanılmıştır. Ay-yıldız motifinin gelişiminin incelenmesi, dokumadan desenlendirilmiş farklı biçimlerinin betimlenmesi ve mevcut örneklerin teknik özelliklerinin saptanması bu çalışmanın amacını oluşturmaktadır. Ay-yıldız motiflerinin kumaşlardaki yansımalarının ortaya konulması bakımından bu araştır- manın önemli olduğu düşünülmektedir. Araştırma tarama modelinde bir betimleme çalışmasıdır. Çalışmanın evrenini ay-yıldız motifi, örneklemini ise dokuma ile desenlendirilmiş ay-yıldız motifli on sekiz Türk kumaşı oluşturmaktadır. Yazılı kaynak taramaları yapılarak ay-yıldız motifinin yer aldığı on beş kumaşın envanter nu- maraları, bulundukları müzeler, yüzyılları, cinsleri, hammaddeleri, boyutları ve desen rapor tekrarları tablo dö- kümü halinde verilmiştir. Ayrıca ulaşılabilen üç kumaş örneğinin teknik analizleri de yapılmıştır. Bu analizler değerlendirilerek kumaşların dokunduğu döneme ait teknik, malzeme, renk ve desen özellikleri belirlenmeye çalışılmıştır. Ele alınan ay-yıldız motifli kumaşların saray çevresinde ve halk tarafından önemli olaylar veya günlerde giyim ve döşemelik için kullanıldığı bilinmektedir. Ay-yıldız motifi kumaşlarda XVI-XVIII. yüzyıllar arasında büyük formlarda kullanılırken, XIX-XX. yüzyıllar arasında ise küçük formlarda kullanılmıştır. Dö- nemlere göre ay-yıldız biçimleri büyüklü küçüklü iç içe hilaller şeklinde, hilal içinde güneş, rozet biçimli iken XVIII. yüzyılda sekiz, XX. yüzyıl başında ise beş köşeli yıldız formunu almıştır. Ay-yıldız motifleri çatma- kadife, Bursa abanisi, Halep sevaisi, Bilecik çatması, Harput tellisi, Harput harelisi, kutnu, kadife ve kemha kumaşlarında farklı teknikler ile dokunmuştur. Milli duyguların yoğun olduğu yirminci yüzyıl ortasında dokun- muş olan sevai örneklerinde ay-yıldız Türkiye Cumhuriyeti bayrağındaki şekli ile uygulanmıştır.