Academic literature on the topic 'Decorative arts, Turkish'

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Journal articles on the topic "Decorative arts, Turkish"

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Дудина, А. Д. "Turkish Edged Weapons as Objects of Decorative and Applied Arts." Terra artis. Art and Design, no. 2 (July 1, 2023): 59–73. http://dx.doi.org/10.53273/27128768_2023_2_59.

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Статья посвящена изучению турецкого холодного оружия как предмета декоративно-прикладного искусства. Дано краткое описание истории изучения и экспонирования восточного оружия. Рассмотрены примеры орнаментов, материалов и техник, применяемых при создании предметов оружия. Обозначены основные тенденции в развитии декоративного убранства оружия. Приведена классификация оружия и сферы его бытования. The article discusses Turkish edged weapons as objects of decorative and applied arts. It offers a brief research and exhibition history of oriental weapons and an overview of ornaments, materials and
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Farida, Abdurazakovna Maksumova. "STYLISTIC FEATURES OF ARTS AND CRAFTS TURKEY." International journal of word art 5, no. 2 (2022): 36–42. https://doi.org/10.5281/zenodo.6633971.

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The article discusses the stylistic features of early Turkish decorative and applied arts. Briefly describe the techniques and ideas for the development of these arts in different regions of Turkey, and give examples of the development of ceramics and carpet weaving.
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AUELBEKOV, Erzhan. "IMAGES OF TURKISH ETHNOCULTURE IN KAZAKH DECORATIVE ART." Turkology 112, no. 4 (2022): 92–109. http://dx.doi.org/10.47526/2022-4/2664-3162.05.

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The article examines the essence and content of folk decorative crafts in the system of art education, which is implemented in the country on the basis of such programs as “Cultural Heritage”, “Spiritual Revival”, “Seven Facets of the Great Steppe”. The manifestations of centuries-old Turkic culture in Kazakh decorative crafts are considered in detail, its character in the theories of Turkic ethnoculture is analyzed from historical, spiritual, artistic points of view. On the basis of the Turkic knowledge, the stylistic, symbolic and figurative features of some handicrafts, especially headdress
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Wittich, Elke Katharina. "Dittmar’s Turkish Ornamental Cabinet." Manazir Journal 3 (March 7, 2022): 64–77. http://dx.doi.org/10.36950/manazir.2021.3.5.

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One of the most formative narratives of the reform movements around 1900 was a departure from earlier creative principles of imitation, now defamed as an inadequate approach. Thus, artists, architects, and designers were called upon to formulate freer approaches to artistic design. Precisely because this narrative of the new and the free, which had become a myth, excluded art of the later nineteenth century—which supposedly only imitated older styles—little attention was paid to how exactly the ornamentation of Islamic art was taken up and artistically exploited in the decorative arts around 1
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Kuliyeva, Sayaly. "About the General Bases of Ornamentality in the Applied Art of the Turkish-speaking Peoples." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 27–31. https://doi.org/10.31866/2410-1176.46.2022.257959.

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The purpose of the study is to consider the main identification parameters of ornamentality in the decorative and applied art of the Turkic world. The research methodology is based on the comparative typological method, because the comparative analysis reveals, on the one hand, the general universals of ornamentation in the decorative and applied art of the Turkic-speaking peoples, on the other hand, their specificity. The methodology of the study is also based on the principle of historicism because the principle of historicism orients the study on the interrelationships of cultures in the sp
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Achten, Anastasiia R. "Imitation of Ottoman ornaments the Italian ceramics of the 14th – 20th centuries." Vestnik of Saint Petersburg State University of Culture, no. 1 (58) (2024): 108–13. http://dx.doi.org/10.30725/2619-0303-2024-1-108-113.

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This article is devoted to the Italian tradition of imitation of Ottoman ceramics from the 14th century to the beginning of the 20th century. The first period covers the pottery industry of the 14th and 15th centuries; the second period lasts from the end of the 15th century to the 18th century, and the last one is the industrial age, the end of the 19th – the beginning of the 20th century. The first period represents only regional touches and the use of similar artistic techniques and colors. The second period is illustrated with more specific examples, such as the use of the Turkish ornament
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TURGUT, Atilla Yusuf. "ROSE PAINTING IN ILLUMINATION FROM THE 16TH CENTURY TO THE PRESENTTITLE." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 14, no. 3 (2022): 249–68. http://dx.doi.org/10.46291/zfwt/140316.

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The flower, which has an important place in Turks, has been frequently interpreted in our decorative arts. Rose is one of the most used flowers. 16. Since the middle of the century, semi-stylized, close to naturalistic stylization in floral motifs in book arts in Ottoman illumination began. 18I. and 19. In the centuries, single flowers or flower bouquets were given the third dimension and the "Flower Painting" movement was formed in Turkish Illumination Art with a naturalistic attitude with the shaded painting technique. With the influence of Western arts, the understanding of interpreting flo
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Kılıç Karatay, Semra. "An Analysis on the Coverage of Kirkit Weaving Art, One of Our Cultural Values, in Turkish Social Media: ‘The Case of Resurrection: Ertugrul (Diriliş Ertuğrul) TV Series’." Art Time, no. 8 (March 26, 2025): 12–18. https://doi.org/10.62425/at.1625735.

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The Pazyryk carpet, known as the oldest example of knotted weaving, shows that the Turks had an important place in the Kirkit weaving art and supports the view that the art of weaving spread to Central Asia with the Turks. Kirkit weavings are among the cultural values that have an important place in the Turks and the societies of that period. It is known that they were used as floor mats in areas of residence, as well as decorative ornaments, and daily necessities such as pillows, saddlebags and cushions. Productions such as TV series, movies or documentaries, which are social media tools, pla
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CANTAY, Gönül. "Fruit In Turkih Decorative Arts." Journal of Turkish Studies Volume 3 Issue 5, no. 3 (2008): 65–86. http://dx.doi.org/10.7827/turkishstudies.409.

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Koza, KURT KIRTAY. "The Tree of Life in Turkish Culture, Its Use in Tiles and Ceramics as a Motif." INTERNATIONAL JOURNAL OF HUMANITIES AND ART RESEARCH 8, no. 2 (2023): 129–43. https://doi.org/10.5281/zenodo.8025629.

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The tree, which is the most commonly used pattern in myths involving the creation of the world and the existence of humanity, primitive humanity attributed divine characteristics to it by reaching deep into the soil with its roots, reaching into the sky with its branches, surpassing other living beings in size, and having a long life span. Apart from the cosmic, divine beings who have always been watched in the sky, there has been a tree after animals and humans, which has grown from seed. Such respect, interest and fear felt towards the tree in various societies on Earth gradually led to the
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Dissertations / Theses on the topic "Decorative arts, Turkish"

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Kritis, Matt. "Natural dyes : thickening madder, weld, and woad for screenprinting of Turkish inspired textile prints." Thesis, Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/3899.

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Books on the topic "Decorative arts, Turkish"

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(2008), Frankfurter Buchmesse, ed. Traditional Turkish arts. Ministry of Culture and Tourism, 2008.

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Barışta, Örcün. Turkish handicrafts. Ministry of Culture and Tourism, 1988.

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Ateş, Toktamış. Turkish handcrafts. Halkbank, 1990.

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Birol, İnci A. Türk tezyı̂nı̂ san'atlarında motifler =: Motifs in Turkish decorative arts. 3rd ed. Kubbealtı Neşriyatı, 2001.

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Birol, İnci A. Türk tezyı̂nı̂ san'atlarında motifler =: Motifs in Turkish decorative arts. Kubbealtı Akademisi Kültür ve San'at Vakfı, 1991.

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Keskiner, Cahide. Turkish motifs =: Türk motifleri. Türkiye Turing ve Otomobil Kurumu, 1986.

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1946-, Erdogdu Ayse, and Muzeʼon Yiśraʼel (Jerusalem), eds. Turkish delights: Treasures from the land of sultans and kings = Türk tadı : sultanların ve kralların ülkesinden gelen hazineler / [Israel Museum curator: Na'ama Brosh ; Turkish curators: Ayse Erdogdu ... et al]]. The Israel Museum, 2004.

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Müzesi, Türk ve İslâm Eserleri. In pursuit of excellence: Works of art from the Museum of Turkish and Islamic Arts, Istanbul. A. Ertuğ, 1993.

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Atatürk Kültür Merkezi (Ankara, Turkey), ed. Türk el sanatları: Selçuklu - Beylikler - Osmanlı İmparatorluğu dönemleri taşınır ve taşınmaz kültür varlıklarından seçkin örnekler eklemesiyle. Atatürk Kültür Merkezi Yayınları, 2015.

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Khalīfah, Rabīʻ Ḥāmid. Funūn al-Qāhirah fī al-ʻahd al-ʻUthmānī, 1517-1805 M. Maktabat Nahḍat al-Sharq, 1985.

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Book chapters on the topic "Decorative arts, Turkish"

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Taskiran, Nurdan Oncel, and Nursel Bolat. "Visual Discourse of the Ottoman Clove." In Advances in Electronic Government, Digital Divide, and Regional Development. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4639-1.ch021.

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In tile art, one of the world-famous Turkish handicrafts, a wide variety of patterns are used on tile objects. The most common of these, after the tulip pattern, is the naturalist clove pattern. Different meanings are assigned to this pattern within the boundaries of form, color, and design. Identification and perception of these meanings has a special place within the frame of the culture that they relay. In this present study, the fields of meaning of the clove pattern frequently used in tile decoration arts among Turkish handicrafts are determined. By taking Greimas' Actantial Model as the
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