ISSN: 1301-255X
e-ISSN: 2687-4016

Aydın UĞURLU1, Servet Senem UĞURLU2

1Fatih Sultan Mehmet Vakıf Üniversitesi, Güzel Sanatlar Fakültesi, Geleneksel Türk Sanatları Bölümü
2Mimar Sinan Güzel Sanatlar Üniversitesi, Güzel Sanatlar Fakültesi, Geleneksel Türk Sanatları Bölümü

Keywords: Geometry, Carpet, Motif, Composition, Anatolian Carpets.


When the Anatolian village carpets and the carpets woven in the nomadic life are examined; It is seen that weavers use important and specific motifs that they have created in the context of belief, sanctity, life, and the environment they live in. The basis of these are the environments they live in, the events they encounter and the objects they use. These objects, on the other hand, can be historical and contemporary as well as abstract, symbolic and organic. It is easily understood that the motifs in Anatolian carpets are always developed by placing them in geometric areas such as square, rectangle, triangle, hexagon, octagon, and parallelogram. The motifs created on this basis were used in the middle areas of Anatolian village carpets with various composition evaluations. Those who create, develop and weave these motifs have neither paper nor pen in their hands. These people, who have ancient carpet samples, mirrors and an undivided ruler in their hands, have created their creativity in the context of original art. In addition, their visualization is in the context of plane geometry, it is seen that it is created in vertical, horizontal and diagonal directions. If Anatolian village carpets are examined; It is seen that the carpet is composed of two basic parts formed by the middle area and the edges in terms of patterns.

The motifs transferred from Central Asia to Anatolia by Turkmen and Yuruks from the Oghuz tribes should not be considered only as an ornamental element or an aesthetic element. Because reducing them to one dimension will not go beyond emptying them. Symbolic motifs, colours and meanings that the society ascribes a common meaning; The origins of traditional forms that have survived from the past and used and the geometrical explanations of their surface evaluations appear as iconographic motifs that have different meanings than they seem. In addition to different views such as geometry, folklore, art history, and social science of Anatolian village carpets, sometimes ideological oriented analyses and explanations of order and symmetry elements in motif and pattern compositions are made.

In this research paper, the foundations of the motifs used in Anatolian village carpets will be investigated. In addition, the motif and composition analyses in these carpets will be examined on a geometric basis and will be tried to be explained.