Like weaving. "Knotting" or "Tying" also contains a
very rich symbolism. As a whole, their significance first becomes
evident in a religious, and then in a magical sense. In the religious
realm, man feels trapped as if by a rope tied by God. In the realm of
magic, people make use of knots and amulets to protect themselves
from demons and the spells of sorcerers.
Kayseri. Prayer rugs. Kaiseri and the district surrounding it is
by far the most successful carpet-weaving region in Anatolia
et the present time. In some villages, every home has a
carpet-weaving loom
Yuntdag-Kilim. The weaver has placed a star of Salomon
in each of the ten rectangles so fastidiously that they give
the impression of having been drawn with a pen and ink.
The star of Salomon is one of the most popular motifs found
in Caucasian, Turkoman and Anatolian carpets.
Bergama-Kilims. This family prayer-carpet made by the "slit"
kilim technique is exceptionally rare. Many Kilim prayer-rugs are
woven, but only one in a thousand is a saf.
Bergama-Verneh. The town of Stepanakert, formerly called
Susha, in the Karabagh region of the southern Caucasus, is the
home of Verneh-Kilims. Nowadays, this town lies within the
Soviet state of Azerbaijan. It was from here that the Kilims weavers
now living in the Bergama region originally came.
Fifty kilometers from Canakkale, in the fertile eastern part of the
hinterland, lies the village of Can which makes its living almost entirely
from agriculture. It has a steady market for its produce as steamers leave
Canakkale every night laden with a cargo of fruit and vegetables which
is unloaded early next morning at Sirkeci, Istanbul's central market.
In Can, carpet weaving is practised as a hobby by women and girls who
have the time and patience to weave elaborate designs.
Hereke
Prayer rug.
Canakkale.
Kumkapi.
Seljuk Konya carpet, 13th century.
Tradition of carpet weaving in Anatolia has been confirmed
since at least the thirteenth century. In his description of the country
of "Turkomania" where he was hospitably received by the Seljuk princes,
Marco Polo, referring to the territory of the Greeks and Armenians,
states: "the best and most beautiful carpets are made here, as well as
silken fabrics in crimson and other splendid colors."
Techniques of knotting and weaving.
From Initial Sketch to Final Cartoon.
Dyes. In the 1920s carpet makers began to include some chemical dyes,
generally copying an antique carpet, but they used them in conjunction with
organic dyes.
A large number of woven or knotted carpets produced in Anatolia are the
work of racial minorities who either live in isolated colonies or else have
become integrated into a Turkish village community.
A pair of Seals of Soloman and magic squares on an amulet shirt.
Topkapi Palace Museum.
16th century rag bag with three-dot motif. Topkapi Palace Museum.
Hereke carpet with a fountain design. Hereke carpet, particularly those
of pure silk, are considered the absolute finest throughout the world.
They were exclusively manufactured for sultans, palaces or mosques,
and were oftenly given as gift from Sulatn to other great kings, Emperors
and rulers.
Hereke carpet, example of the color palette.
Since the earliest of times, colors have been ascribed symbolic values,
and served as symbols for various emotions and thoughts.
The identification of red or similar colors with the earth has a very
long history.
A Kayseri carpet planned after the garden of paradise.
The expulsion of Adam and Eve from paradise. Falname.
Topkapi Palace Museum.
Concept of Paradise. Paradise is identified as a celestial land free
of age, sickness and death, filled with beauty, where true well-being,
friendship and brotherhood reign.
Illustration of the universe as a person standing upon a fish.
19th century Ottoman embroidery.
Carpet borders. In a variety of ways throughout history, sacred
space has been set apart by means of a surrounding wall or fence.
Sometimes instead of a wall, as in the case of Mecca, the borders
of the "harem" are indicated by banners and piles of stones.
It follows that the thought of surrounding any carpet with a broad
border emerges from the idea surrounding a sacred space with a border.
A holy mountain, tree of life, and at the top, the North Star, on a Milas carpet.
The cosmic tree and bird motif. In most areas of the world, cosmic tree
illustrations include a bird at its top.
Family Tree. It is a diagram which shows the relationships
of a person or a family between their first ancestors to their descendants.
Dream of the first Ottoman sultan Osman, in which a tree grows
from his body.
The cosmic tree is a symbol of "unending, inexhaustible life."
As unending, inexhaustible life is equivalent to immortality, the image
of the cosmic tree, on another plane, takes on the quality of "immortal
life." In addition, in ancient ontology, immortal life is an expression of
"absolute truth."
Cosmic tree. The holy tree motif is a cosmic symbol which appears
in nearly all religions, folk, beliefs, mysticisms, primitive metaphysics,
legends, fairy tales, art and many other areas. The tree is considered
a source of infinitely renewable, inexhaustible life.
Carpet and the principle of sacred space. A hadith related by Buhari reads:
"Wherever you have reached at the time of prayer, you must perform
your prayer there; and that place will be a mosque". This being the case,
then according to the command in this hadith, the prayer rug takes on
the qualities of a mosque. In addition, every time this "portable" mosque
is laid out facing Mecca during times of prayer, a "sacred space" has
once again been established.
Center symbolism in Anatolia. There is countless
examples of symbolism relating to sacred spaces and
concept of center. The felt tents until very recently in Anatolia,
like the yurts, their counterparts in Central Asia, symbolize
the universe. The Anatolian "topak house" (a domed felt tent)
has no central pole, however the hearth in the middle is considered
to be connected to the smoke hole in the center of the dome
by means of an abstract axis. This opening is known as the
window of the sky.
The symbolism of the center.
Sacred space. In examining the motifs on carpets and
then attempting to interpret them, the special concept of
"sacred space" can serve as a good starting point.
In reality the concept of sacred space is part of man's attempt,
through religion, to bring meaning to the world in which he lives.
Creation. In the history of religions, the appearance of
space and time is bound to the creation of the universe.
Generally the creation, in the narrow sense, is God's act
of bringing the world into existence.
Space is one of the most important concept in human
thought. It is debated today as a deep concept in areas
of thought ranging from philosophy, sociology, and history
to semiology, architecture and modern physics. Every era,
every age has had its own unique understanding of space,
and a belief system, a way of life and principles based on stye of
art that gave it shape.
The art of Anatolian Turkish carpet has come down to us over a
period of nearly one thousand year, but there are serious gaps in our
knowledge of them and in the literature. This book for the first
time interprets carpet designs in a hollistic manner and aims to fill
in these gaps.
We are all well aware of the continuity of cultures. Cultures are at once
the clearest and most persistent evidence of a people's existence. Throughout
history, our country has been crossroads for societies of different origins and of
a variety of traditions. The art of weaving, with its extremely ancient history,
has emerged as an area of cultural expression for these different societies.
The peoples of Anatolia have continually expressed their world view, artistic
sense and societal values in their carpets. from "the language of design"
Homework.
The Golden Road. It is believed that the attribute "golden" is due
to the sultan's throwing of golden coins to be picked up by the
concubines at festive days.
The appartment of the Queen Mother, together with
the appartments of the Sultan, form the largest and most
important section in the Harem.
Entrance ceiling of the Harem.
Iznik tiles decorate the interior.
View into the Kubbealti, with the Golden Window.
Arz Odasi, the Audience Chamber.
Sultan Mehmet II smelling a rose. Ottoman painting, XV c.
The construction of the palace was ordered by Sultan Mehmed II,
the conqueror of Byzantine Constantinople.
Official and primary residence of the Ottomans Sultans
for almost 400 years. It was a setting for state occasions and
royal entertainments.
Topkapi Palace.
طوپقپو سرايى