{ "article_id": 944, "public_id": "295168eb-5a06-46d0-a2bf-c960f9e70675", "internal_identifier": null, "source_identifier": "40:4", "status": "published", "type": "review", "title": "FROM PAST TO PRESENT GELVERI OF WEAVINGS", "title_secondary": null, "abstract": "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.\r\n\r\nHowever, 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.\r\n\r\nGüzelyurt used to be informed about Gelveri weavings, classifying these weavings, collecting information about used tools and materials, yarns and sharing the obtained information.  ", "language": "en", "english_title": null, "english_abstract": null, "doi": null, "doi_url": null, "resource_url": "https://www.set-science.com/a/295168eb-5a06-46d0-a2bf-c960f9e70675", "pdf_url": "https://www.set-science.com/a/295168eb-5a06-46d0-a2bf-c960f9e70675/pdf", "og_image": "https://www.set-science.com/assets/img/og-card-v2.png", "authors": [ { "public_id": "ec63168f-c127-4b2e-8a32-8fcbd56ef323", "given": "Semra", "family": "Kılıç Karatay", "full": "Semra Kılıç Karatay", "literal": null, "orcid": null, "orcid_url": null, "email": "semra.kilic@hotmail.com", "corresponding": true, "sequence": "first", "affiliations": [ { "name": "Aksaray University", "department": null, "country": null, "country_code": null, "ror": null, "ror_url": null } ] } ], "keywords": [ "Ihlara, hand weaving, carpet, Aksaray" ], "translations": [ { "language": "en", "title": "FROM PAST TO PRESENT GELVERI OF WEAVINGS", "abstract": "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.\r\n\r\nHowever, 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.\r\n\r\nGüzelyurt used to be informed about Gelveri weavings, classifying these weavings, collecting information about used tools and materials, yarns and sharing the obtained information.  \r\n", "keywords": [ "Ihlara, hand weaving, carpet, Aksaray" ] } ], "subjects": [], "subject_names": [], "published_date": "2019-08-19", "published_year": "2019", "received_date": null, "accepted_date": null, "volume": "7", "issue": null, "page_first": "56", "page_last": "70", "article_number": null, "conference": { "short_name": "ISAS2019-FDAS", "full_title": "3rd International Symposium on Innovative Approaches in Scientific Studies (Fine Arts, Design and Architecture)", "name": "3rd International Symposium on Innovative Approaches in Scientific Studies (Fine Arts, Design and Architecture)", "acronym": "ISAS2019-FDAS", "location": "Ankara, Türkiye", "start_date": "2019-04-19", "end_date": null, "public_id": "46e1894e-d8c3-4497-a0af-fc65583fe657" }, "proceedings": { "title": "3rd International Symposium on Innovative Approaches in Scientific Studies (Fine Arts, Design and Architecture)", "series_title": null, "publisher": "SET Technology", "isbn": null, "eisbn": null, "issn": null, "eissn": null, "doi": null, "doi_prefix": null, "slug": "setsci-volume-7-2019-legacy-40", "public_id": "85fb66d3-5b5c-4726-872a-f16f1128c7ca", "url": "https://www.set-science.com/p/setsci-volume-7-2019-legacy-40" }, "license": { "name": "CC BY 4.0", "url": "https://creativecommons.org/licenses/by/4.0/", "code": "CC-BY-4.0", "open_access": true }, "copyright": { "holder": "SET Technology", "year": "2019" }, "funding_statement": null, "funders": [], "references": [ { "order": 1, "raw": "ARSEVEN, C.E. Türk Sanatı, İstanbul\r\n\r\nBALPINAR Belkıs, HİRSCH Udo ‘’ Flatweaves Flachgewebe’’, Vakıflar Museum İstanbul,\r\n\r\nÇİLOĞLU, H. (1996), Nevşehir, Niğde, Konya Yöresi Halılarının Kompozisyon Özelliklerinin İncelenmesi, Marmara Üniversitesi\r\n\r\nDENİZ, Bekir (2000). Türk Dünyasında Halı Ve Düz Dokuma Yaygıları, Atatürk Kültür Merkezi Başkanlığı Yayınları, Ankara.\r\n\r\nDURUL, Y. (1977). Yörük Kilimleri, Ak Yayınları, İstanbul\r\n\r\nGÜLCEMAL Abdullah (1997), Halı Ve Desen Teknolojisi, Isparta\r\n\r\nKILIÇ KARATAY Semra,(2012), Niğde İli Bor İlçesi Obruk Köyü Havlı Dokumaları\r\n\r\nÖZGÜR, Z.(1965), Türk Halıcılığının Tarihsel Gelişimi, Sümer Bank Halı Semineri Özel Sayısı, İstanbul,\r\n\r\nYETKİN Şerare, Türk Halı Sanatı, Çağlayan Basımevi, İstanbul 1974,\r\n\r\nYETKİN, Şerare, Türk Halı Sanatı, Ankara, 1991, s.1\r\n\r\nARSEVEN, C.E. Türk Sanatı, İstanbul\r\n\r\nBALPINAR Belkıs, HİRSCH Udo ‘’ Flatweaves Flachgewebe’’, Vakıflar Museum İstanbul,\r\n\r\nÇİLOĞLU, H. (1996), Nevşehir, Niğde, Konya Yöresi Halılarının Kompozisyon Özelliklerinin İncelenmesi, Marmara Üniversitesi\r\n\r\nDENİZ, Bekir (2000). Türk Dünyasında Halı Ve Düz Dokuma Yaygıları, Atatürk Kültür Merkezi Başkanlığı Yayınları, Ankara.\r\n\r\nDURUL, Y. (1977). Yörük Kilimleri, Ak Yayınları, İstanbul\r\n\r\nGÜLCEMAL Abdullah (1997), Halı Ve Desen Teknolojisi, Isparta\r\n\r\nKILIÇ KARATAY Semra,(2012), Niğde İli Bor İlçesi Obruk Köyü Havlı Dokumaları\r\n\r\nÖZGÜR, Z.(1965), Türk Halıcılığının Tarihsel Gelişimi, Sümer Bank Halı Semineri Özel Sayısı, İstanbul,\r\n\r\nYETKİN Şerare, Türk Halı Sanatı, Çağlayan Basımevi, İstanbul 1974,\r\n\r\nYETKİN, Şerare, Türk Halı Sanatı, Ankara, 1991, s.1\r\n\r\nhttp://www.guzelyurt.bel.tr/sayfa/19/guzelyurt-tarihi 7 Temmuz 2017\r\n\r\nÇEVİK Abdullah, Sözlü görüşme, Güzelyurt İlçesi, 08.07.2017\r\n\r\nDEMİRCİOĞLU Ünal, Sözlü görüşme, Güzelyurt Belediye Başkanı, 11.07.2017\r\n\r\nHIRSCH Udo, Sözlü görüşme, Güzelyurt İlçesi, 11.07.2017", "doi": null, "title": null, "authors": null, "source": null, "year": null, "volume": null, "pages": null } ], "statements": { "acknowledgements": null, "conflict_of_interest": null, "data_availability": null, "ai_disclosure": null }, "credit": [], "history": { "published": "2019-08-19" } }