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Journal articles on the topic 'Decorative arts, Turkish'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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9

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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10

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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11

Shcheglova, T. К., and A. V. Rykov. "Study of the culture of the Russian population of South of Western Siberia by the staff of the Research Institute of Art Industry in the 1950s–1970s." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 3(58) (September 15, 2022): 185–94. http://dx.doi.org/10.20874/2071-0437-2022-58-3-17.

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In this paper, the contribution of the staff of the Research Institute of Art Industry to the study of Russian long-term resident population on the territory of the Altai Krai, which up to 1990 included Gorno-Altai Autonomous Region, is presented and analyzed. The analysis is conducted on the basis of studying the collection of the field materials by identifying all expeditions which took place, their routes, participants, and results of the field re-search. The main sources of the research were represented by the archival funds of the institute, which appeared to be fragmentary. The main part

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Öncel Taskiran, Nurdan, and Nursel Bolat. "Visual discourse of the clove: An analysis on the Ottoman tile decoration art." International Journal of Research in Business and Social Science (2147-4478) 1, no. 1 (2012): 18–28. http://dx.doi.org/10.20525/ijrbs.v1i1.54.

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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 were assigned to this pattern within the boundaries of form, color and design. Identification and perception of these meanings have 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 were tried to be determined. By takin

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Shaygozova, Zhanerke N. "THE IMAGE OF TIME AND SPACE IN TURKIC TRADITIONAL DECORATIVE ART." Arts education and science 2, no. 39 (2024): 164–74. http://dx.doi.org/10.36871/hon.202402164.

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The world culture knows various systems of time calculation, and one of the most complex is the 12-year animal cycle (the Tengrian calendar), which has allowed to order the nomad’s existence, to form a globally important ability to live in a single rhythm with time and space. This calendar, like all other ethnocultural calendars, is not only a “time-measuring device”, but a much wider and more extensive cultural phenomenon. This article reveals the problems of time and space reflection in Turkic arts and crafts, or rather in ornaments. The thesis that the spatio-temporal picture in art is repr

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Tikhonova, Elena, and Dmitrii Tikhonov. "The quatrefoil motif and its probable origins in Sakha folk ornamental art." Siberian Research 5, no. 1 (2021): 52–57. http://dx.doi.org/10.33384/26587270.2021.05.01.11e.

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The quatrefoil motif is a popular ornament in Sakha decorative and folk arts and crafts. It is popular not only in Yakutia, but all over the world. Until now, however, there have been no generalized works on this ornamental motif. Its symbolic signs have not been studied. Our study has revealed that the quatrefoil motif in ornamentation and decorative art dates back to the Neolithic period in the Halaf culture of Mesopotamia around 5765 BC. A number of researchers believe that this motif was a symbol of male fertility. We hypothesized that the quatrefoil motif probably appeared in the seals of

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15

Науменко, Ольга Николаевна, Мариана Шамильевна Альмухаметова та Умрбек Бахтиёрович Махмудов. "ТЮРКСКО-МУСУЛЬМАНСКОЕ ВЛИЯНИЕ НА ОБСКИХ УГРОВ В УСЛОВИЯХ РАЗНЫХ КЛИМАТИЧЕСКИХ ЗОН ЗАПАДНОЙ СИБИРИ". Yearbook of Finno-Ugric Studies 18, № 4 (2024): 571–80. https://doi.org/10.35634/2224-9443-2024-18-4-571-580.

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В статье рассмотрен комплекс предметов декоративно-прикладного искусства обских угров, проживавших в разных климатических зонах Западной Сибири: арктической, приарктической и умеренной. Источниковая база исследования - опубликованные материалы, собранные по итогам Эстонской этнографической экспедиции в Югру в 1980-х гг., а также экспонаты музеев. Сравнение проводилось по нескольким критериям: частота использования орнаментов и их сложность; цветовая гамма (3 цвета и более); разнообразие материалов; усложнение технологий изготовления. Выявлена закономерность: чем южнее территория традиционного

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16

Purik, Elsa E., Mars L. Akhmadullin, and Marina G. Shakirova. "Tradition and Innovation in the Work of Bashkir Artist Talgat Masalimov." ICONI, no. 1 (2019): 147–56. http://dx.doi.org/10.33779/2658-4824.2019.1.147-156.

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The article is devoted to the artistic legacy of Merited Artist of the Republic of Bashkortostan Talgat Masalimov — painter, graphic artist and master of decorative applied art. his work is examined in the article in the context of the processes taking place in the contemporary visual arts, marked with an exploration of new plastic means. The authors regard the legacy of Masalimov as a vivid example of the simultaneous influence of folk art, its symbolism and graphic structure, Eastern (Turkic) traditions and those of the Russian avant-garde with its aspiration towards primitive, laconic, cond

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17

Shcheglova, T. K., and A. V. Rykov. "Study of the Turkic-speaking population in the south of Western Siberia by employees of the Research Institute of the Art Industry (NIIHP) in the 1950s and 1970s." BULLETIN of the L.N. Gumilyov Eurasian National University. Historical sciences. Philosophy. Religion Series 137, no. 4 (2021): 123–40. http://dx.doi.org/10.32523/2616-7255-2021-137-4-123-140.

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In the 1940s-1970s, the ethnographic study of the territory of the modern Republic of Altai was conducted by both ethnographers and representatives of the neighboring sciences. During this period the population of the Altai Mountains became the object of field research of art historians and specialists from the Research Institute of Art Industry (hereinafter referred to as NIIHP). The publication aims to show the contribution of the staff of the Art Industry Research Institute to the study of the Turkic-speaking population of the south of Western Siberia within the historical boundaries of Alt

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Markova, C. Yu. "On the Nomadic Influence on the Artistic Culture of the Cities of Semirechye and South Kazakhstan in the 6th – Early 13th Centuries." Bulletin of the Irkutsk State University. Geoarchaeology, Ethnology, and Anthropology Series 36 (2021): 12–23. http://dx.doi.org/10.26516/2227-2380.2021.36.12.

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The study, the results of which form the basis of this article, is aimed at determining the role of nomadic Turkic peoples in the formation of the urban culture of Semirechye and South Kazakhstan during the Middle Ages. Semirechye from 6th to 8th century, in political terms, was under the rule of the nomadic Turks, who formed their state here (Khaganate). The main role in the emergence of the first urban centers belongs, to a greater extent, to the Sogdians who came from the south. At the same time, the significance of the nomadic peoples in the development of urban culture of the region remai

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Akhmedov, Ilia. "Some Remarks on the Genesis of One of the Images of Early Medieval Art." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (February 2019): 25–46. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.2.

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The article focuses on the origin of the image of a dragon with a serpentine body known in the early medieval antiquities of Eastern European nomads. Researchers have long been discussing such images found on the sites of the Volga region and the Urals. According to the most recent hypothesis proposed by N.A. Lifanov, these dragon figures generally match the image of ancient κyτος which was adopted as a result of the acquaintance of the steppe inhabitants with works of late antique or early Byzantine art. The present study addresses a wide range of sources allowing us to construct an alternati

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ALGAÇ, ŞEYDA. "TEKKE EŞYALARI TASVİRLERİNE SAHİP BİR CAMİİ: AFYONKARAHİSAR BAŞMAKÇI RECEP BEY CAMİİ." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 106 (June 20, 2023): 109–25. http://dx.doi.org/10.34189/hbv.106.006.

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Wall paintings, which started to be seen in Ottoman society from the 15th century, became widespread in civil architecture in Istanbul from the second half of the 18th century. They spread to all Anatolia and the Balkans in a short time anda re observed even in small-scale village mosques. In this study, the architecture of the Recep Bey mosque, which is located in the center of Başmakçı district in the southeast of Afyonkarahisar, was assessed in terms of Sufi culture by considering the embroideries made using the hand-drawn technique in the interior part, depictions, writing program, possibl

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Fulya, SAVAŞ, and BÜYÜKÇAPAR Seyfullah. "The Use of Traditional Patchwork Technique in Contemporary Ceramic Art." NTERNATIONAL JOURNAL OF HUMANITIES AND ART RESEARCH 8, no. 3 (2023): 248–60. https://doi.org/10.5281/zenodo.8350618.

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Handicrafts have emerged to meet the needs of individuals such as covering and protection since the existence of human beings. The handicrafts, which developed with the skills and skills of people over time and changed according to the natural conditions, have come to reflect the cultural characteristics, artistic tastes, traditions and customs of the society in which they emerged. Kırkyama, which is the cultural richness of Anatolia from part to whole; It is one of the traditional Turkish Handicrafts. Kırkyama is known in Anatolia with names such as forty pare, patchwork bundle, lady dillendi

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Кузембаев, Серик Бапаевич, Инга Анатольевна Капошко, Владимир Георгиевич Березюк, Светлана Игоревна Лыткина, and Сергей Васильевич Мишнев. "TRADITIONAL KAZAKH ORNAMENT IN THE LIGHT OF THE LAWS OF SYMMETRY (ON MODELING VISUAL IMAGES)." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 1(39) (March 18, 2024): 44–61. http://dx.doi.org/10.23951/2312-7899-2024-1-44-61.

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Орнамент, зародившись в древней культуре, имел ритуально-магическое значение, был символическим отражением действительности. В гармонично выполненных орнаментах, являющихся народным достоянием, отображаются история, традиции, обычаи и быт народа. Казахский национальный орнамент ведет свою историю из глубокой древности как наследие андроновской культуры бронзового века. Первоначальный сакральный смысл узоров орнамента был в значительной мере утрачен. Однако значение орнаментального искусства в повседневной жизни народа было искажено не столь значительно. Орнаментальное искусство можно рассматри

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SeÃ§il ÅžatÄ±r. "DECORATIVE ARTS IN TRADITIONAL TURKISH HOUSE IN THE CONTEXT OF SPACE DESIGN: AN EVALUATION." Journal of Architecture, Planning and Construction Management 9, no. 2 (2019). http://dx.doi.org/10.31436/japcm.v9i2.346.

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The traditional Turkish House is an original piece of architecture, which reflects Turkish family structure as well as their understanding of culture and art, their beliefs and social values about the spaces they live in. The structure of the physical environment, the lifestyle of the family, and social and psychological needs alike have contributed to the development of this original architectural structure and shaped its design aspects. Rooms in a Turkish house are spaces for private use and are organized such that they can cater for all activities of a family. The same room boasts a hearth

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Paksoy, Nadir. "Virchow and Troy." International Journal of Surgical Pathology, April 16, 2023, 106689692311663. http://dx.doi.org/10.1177/10668969231166302.

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The Trojan war occupies an important place in Greek mythology. Homer describes this in detail in his epic works of “The Iliad” and “The Odyssey.” The ancient town of Troy is located south of the Dardanelles Strait in Turkey. Until the late nineteenth century, scientists thought that the Trojan War was a legend. German businessman and amateur archaeologist Heinrich Schliemann (1822–1890) began excavations in Troy. The Turkish Empire (Ottoman Empire) granted excavation permission in 1871 on the condition that the artifacts discovered would be preserved and exhibited. Schliemann found “the treasu

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"The Development and Application of Wooden Materials in Turkish Arts." Proceedings International 2, no. 2 (2020): 31. http://dx.doi.org/10.33263/proceedings22.031031.

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Wood is a kind of material that humanity has used continuously since the day it existed. Wood materials that have been used in many areas of life in the historical process has also been preferred in handicrafts. Moreover, these materials have been used continuously in Turkish Handicrafts from past to present. Especially the Anatolian Seljuks showed original examples of wood materials art in works such as pulpit, mihrab, sarcophagus, lectern, door, and window wings. Kündekari and wood carving technique, which is a kind of interlacing technique in decoration, has been applied in walnut, ebony, r

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Mesude, Hülya DOĞRU, and COŞKUN ÇELİK Betül. "19. Yüzyıla Tarihlenen Üç Delâilü'l-hayrât Yazma Eserinde Çiçek Tezyinatı." January 8, 2023. https://doi.org/10.5281/zenodo.7513501.

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<strong>Öz</strong> Türk rokokosu üslubunda tezyin edilmiş yazma eserler on sekizinci ve on dokuzuncu yüzyıllara tarihlenir. Bu dönemde Türk bezeme sanatlarına ait eserlerde birçok çiçek çeşidinin natüralist üslupta çalışıldığı görülmektedir. Makale kapsamında, İstanbul Nadir Eserler Kütüphanesi envanterinde yer alan sekiz adet minyatürlü eser arasından, on dokuzuncu yüzyıla tarihlenen, benzer natüralist üslup özellikleri taşıyan A5559 ve A5766 envanter numaralı iki &oum

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ATALAN, Dilara Nur, Özcan DEMİR, and Ebru CORUH. "EVALUATION OF EBRU DYEING TECHNIQUE ON LEATHER IN THE CONTEXT OF SAMPLE STUDY." Turkish Journal of Fashion Design and Management, September 12, 2022. http://dx.doi.org/10.54976/tjfdm.1083009.

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The art of marbling and leatherwork, which has existed for centuries in the field of Traditional Turkish Arts, initially emerged to meet the needs. In the following times, they started to be performed as an art. The art of marbling is applied on many different materials. It is constantly developing and expanding its usage area, it is used in many areas such as fashion, accessories, shoes, bags, textiles. Leatherworking has emerged with the aim of protecting from living conditions and has become an art as a result of the discovery of processing methods. There are many types of leather and decor

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"KNIFE ART AND CARRIERS OF INTANGIBLE CULTURAL HERITAGE IN DUZCE." Idil Journal of Art and Language 10, no. 77 (2021). http://dx.doi.org/10.7816/idil-10-77-11.

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Traditional arts and professions are the carriers of our culture because they carry historical background. For this reason, traditional arts and professions and cultural heritage are easily transferred to future generations. While knife was a tool that facilitated human life in the early periods, it turned into an art in time. The art of knife and the techniques and methods used in this art have been used for many years in history. Today, there are many artists who want to prevent the art of knife from turning into a craft. They intend to take this art to an even more advanced level. In this s

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GÖZELER, Esra. "ŞE 4141 Rulo (Rotulus): A Kufic Qur’anic Manuscript at the Museum of Turkish and Islamic Arts." Ankara Üniversitesi İlahiyat Fakültesi Dergisi, May 31, 2022, 1–32. http://dx.doi.org/10.33227/auifd.1036657.

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Among the treasures of the Istanbul Museum of Turkish and Islamic Arts (TİEM) is a rotulus Qur’an manuscript, kept under the call number ŞE 4141 Rulo. It is one of the Qur’anic manuscripts held at the Damascus Documents. The parchment manuscript, measuring 82 cm (height) x 14 cm (width), is a Kufic one and in a rotulus form. It contains 92 lines of Qur’anic verses on each side. The rotulus piece has stitches above and below. This means that it is a connecting piece of a continuing text. 1a side contains Q.7:104-137 and 1b side includes Q.7:180-206. The main ink is brownish. This article presen

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"INSCRIBED FABRICS IN THE OZBEL COLLECTION." Idil Journal of Art and Language 9, no. 72 (2020). http://dx.doi.org/10.7816/idil-09-72-08.

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Apart from the use of inscribed arts directly in book arts; textile, architecture, stone carving, ceramics, glass works, leather works are used as an element of decoration in many handicrafts. Turkish fabrics with rich ornament motifs have an important place in the textiles due to their religious and political qualities. At the same time, the message in the other motifs can be make to the person's interpretation, while in the printed fabric this message is given directly. In the study, 4 textiles in the fabric collection of the Anatolian collector Prof. Dr. Kenan Ozbel will be discussed. The a

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Tikhonova, E.D., and D.G Tikhonov. "THE QUATREFOIL MOTIF AND ITS PROBABLE ORIGINS IN SAKHA FOLK ORNAMENTAL ART." August 24, 2021. https://doi.org/10.33384/26587270.2021.05.01.11e.

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The quatrefoil motif is a popular ornament in Sakha decorative and folk arts and crafts. It is popular not only in Yakutia, but all over the world. Until now, however, there have been no generalized works on this ornamental motif. Its symbolic signs have not been studied. Our study has revealed that the quatrefoil motif in ornamentation and decorative art dates back to the Neolithic period in the Halaf culture of Mesopotamia around 5765 BC. A number of researchers believe that this motif was a symbol of male fertility. We hypothesized that the quatrefoil motif probably

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ERSOY, Ayten, and Emel ŞÖLENAY. "POP SANAT İMGELERİNİN MAYOLİKA SERAMİK YÜZEYLERDE UYGULAMASI." International Journal of Art, Fashion, Music and Design 1, no. 2 (2022). https://doi.org/10.5281/zenodo.7567987.

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Abstract:

Majolica; Decor application, superior craftsmanship and precision have an important place in European ceramic art and Turkish ceramic art. With the Renaissance, the painting program replaced the ornament masters working in the frame ceramic workshops with the concept of a painter. This decor technique is still used skillfully by ceramic artists today. The Majolica decor application of the Pop Art movement has made the artist more free in the field of thinking, working and application, as the images of Pop Art are rarely used on ceramic surfaces, but since its original expression, which has bec

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