Presented at the 3rd International Symposium on Innovative Approaches in Scientific Studies (Fine Arts, Design and Architecture) (ISAS2019-FDAS), Ankara, Turkey, Apr 19, 2019

SETSCI Conference Proceedings, 2019, 7, Page (s): 56-70 , https://doi.org/

Published Date: 19 August 2019    | 1610     23

The carpet, the traditional art of the Turks, has a distinguished place in our art history. Turkish carpet art is shaped in the flow of Turkish history. The knotted technique that gives character in the art of carpet weaving has first appeared in the regions where the Turks in Central Asia are located, has continued its development with the Turks and has been introduced by the Turks to the entire Islamic world. The knotted ones have a very long history. The presence of this technique is based on a practical gesture, such as the desire to find a warmer and thicker nomadic tribe. The finds suggest that the first use of knotted form was Central Asia. It was found in Central Asia, on the skirts of the Altay Mountains, in a grave chamber in the glaciers of Pazırık, The Pazırık carpet, which is believed to be touched during the Hunlular period in the 2nd and 3rd centuries, is the oldest knotted state of the world known.

However, migrations, the development of different industries, the increase in the level of education in the region, the tendency of consumers towards machine weaving, the lack of scientific researches and supportive programs in weaving lead to the forgetting of the pile and plain weaving art which is one of our traditional handicrafts.

Güzelyurt used to be informed about Gelveri weavings, classifying these weavings, collecting information about used tools and materials, yarns and sharing the obtained information.  

Keywords - Ihlara, hand weaving, carpet, Aksaray

ARSEVEN, C.E. Türk Sanatı, İstanbul

BALPINAR Belkıs, HİRSCH Udo ‘’ Flatweaves Flachgewebe’’, Vakıflar Museum İstanbul,

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DENİZ, Bekir (2000). Türk Dünyasında Halı Ve Düz Dokuma Yaygıları, Atatürk Kültür Merkezi Başkanlığı Yayınları, Ankara.

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GÜLCEMAL Abdullah (1997), Halı Ve Desen Teknolojisi, Isparta

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YETKİN, Şerare, Türk Halı Sanatı, Ankara, 1991, s.1

ARSEVEN, C.E. Türk Sanatı, İstanbul

BALPINAR Belkıs, HİRSCH Udo ‘’ Flatweaves Flachgewebe’’, Vakıflar Museum İstanbul,

ÇİLOĞLU, H. (1996), Nevşehir, Niğde, Konya Yöresi Halılarının Kompozisyon Özelliklerinin İncelenmesi, Marmara Üniversitesi

DENİZ, Bekir (2000). Türk Dünyasında Halı Ve Düz Dokuma Yaygıları, Atatürk Kültür Merkezi Başkanlığı Yayınları, Ankara.

DURUL, Y. (1977). Yörük Kilimleri, Ak Yayınları, İstanbul

GÜLCEMAL Abdullah (1997), Halı Ve Desen Teknolojisi, Isparta

KILIÇ KARATAY Semra,(2012), Niğde İli Bor İlçesi Obruk Köyü Havlı Dokumaları

ÖZGÜR, Z.(1965), Türk Halıcılığının Tarihsel Gelişimi, Sümer Bank Halı Semineri Özel Sayısı, İstanbul,

YETKİN Şerare, Türk Halı Sanatı, Çağlayan Basımevi, İstanbul 1974,

YETKİN, Şerare, Türk Halı Sanatı, Ankara, 1991, s.1

http://www.guzelyurt.bel.tr/sayfa/19/guzelyurt-tarihi 7 Temmuz 2017

ÇEVİK Abdullah, Sözlü görüşme, Güzelyurt İlçesi, 08.07.2017

DEMİRCİOĞLU Ünal, Sözlü görüşme, Güzelyurt Belediye Başkanı, 11.07.2017

HIRSCH Udo, Sözlü görüşme, Güzelyurt İlçesi, 11.07.2017