STAGES OF DASTARHAN WEAVING AND A COMPARATIVE ESSAY ON DASTARHAN, DASDAR AND CECIM

Aylin Eraslan

Makale detayları

STAGES OF DASTARHAN WEAVING AND A COMPARATIVE ESSAY ON DASTARHAN, DASDAR AND CECIM

Yazarlar:

Aylin Eraslan

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Etnoloji

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.17 Issue 47, pp.1664-1689

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001327710

pISSN:

1308-4445

Anahtar kelimeler:

Özet:

 Material and moral cultural elements, which are a holistic reflection of the experience, observation and adaptation strategies that have been going on since the beginning of human history, are a reflection of the way humans comprehend what is happening around them and their adaptation processes. While all efforts primarily ensure the survival of the species, in later periods they are reproduced to meet secondary needs as living standards change. In other words, these cultural elements are human beings strategies for the difficulties they face in the process of adapting to the environment they live in. These cultural structures, which are a reflection of humanitys knowledge and way of thinking, should also be considered within the scope of the manifestation of experiences and testimonies transmitted between generations. Every society goes through different adaptation processes depending on the environmental conditions geographical conditions, climate, animal diversity and vegetation. Weaving is among the many cultural structures that the human species invented as a strategic solution to the ontological need for survival. The activity of weaving, which was initially invented in response to needs such as covering and protecting the body in cold winter conditions, later developed, changed and transformed in response to secondary demands such as dressing and wrapping the sacred and precious. Weaving is a long-established tradition in the Central Asian Turkish Cult. Traces of this deep-rooted tradition can be seen in many regions of Turkey today. In this study, our aim is to reveal that the weaving called dastehan, which is frequently used in many areas such as the floor table, gift-giving, wrapping the bread nan considered sacred, rituals, etc. among Uzbek Turks who came to Turkey from Afghanistan as settled immigrants in 1982 and live in Ovakent neighborhood of Antakya, is similar to cecim woven in Çarşı Village of Ayvalık District of Samsun and daster woven in Ordu. Turks settled in Anatolia thousands of years ago and brought along their traditions and customs. The examples of daster and cecim weaving tradition that have survived to the present day have been determined to be similar to dastehan woven by Uzbeks who settled in Afghanistan from Uzbekistan one hundred and fifty years ago and then in Turkey forty years ago. This comparison allows us to understand the elements that have changed and remained unchanged in the application and usage areas of the examples woven by Turkish people in Turkey. Our other aim is to document the dasterhan, an example of Turkish hand weaving art that we believe has remained unchanged until today, in order to ensure its transmission across generations. As a result, the looms, tools, and equipment used in the three weaving examples, including the names of these tools, patterns, and colors, as well as their usage areas, are similar. In this case, it can be said that the weaving product dasterhan, which has been practiced for centuries by the Uzbek Turks living in the Turkish region of Afghanistan in a homogeneous and closed manner, shows similarities with cecim in Samsun and daster in Ordu.

 Material and moral cultural elements, which are a holistic reflection of the experience, observation and adaptation strategies that have been going on since the beginning of human history, are a reflection of the way humans comprehend what is happening around them and their adaptation processes. While all efforts primarily ensure the survival of the species, in later periods they are reproduced to meet secondary needs as living standards change. In other words, these cultural elements are human beings strategies for the difficulties they face in the process of adapting to the environment they live in. These cultural structures, which are a reflection of humanitys knowledge and way of thinking, should also be considered within the scope of the manifestation of experiences and testimonies transmitted between generations. Every society goes through different adaptation processes depending on the environmental conditions geographical conditions, climate, animal diversity and vegetation. Weaving is among the many cultural structures that the human species invented as a strategic solution to the ontological need for survival. The activity of weaving, which was initially invented in response to needs such as covering and protecting the body in cold winter conditions, later developed, changed and transformed in response to secondary demands such as dressing and wrapping the sacred and precious. Weaving is a long-established tradition in the Central Asian Turkish Cult. Traces of this deep-rooted tradition can be seen in many regions of Turkey today. In this study, our aim is to reveal that the weaving called dastehan, which is frequently used in many areas such as the floor table, gift-giving, wrapping the bread nan considered sacred, rituals, etc. among Uzbek Turks who came to Turkey from Afghanistan as settled immigrants in 1982 and live in Ovakent neighborhood of Antakya, is similar to cecim woven in Çarşı Village of Ayvalık District of Samsun and daster woven in Ordu. Turks settled in Anatolia thousands of years ago and brought along their traditions and customs. The examples of daster and cecim weaving tradition that have survived to the present day have been determined to be similar to dastehan woven by Uzbeks who settled in Afghanistan from Uzbekistan one hundred and fifty years ago and then in Turkey forty years ago. This comparison allows us to understand the elements that have changed and remained unchanged in the application and usage areas of the examples woven by Turkish people in Turkey. Our other aim is to document the dasterhan, an example of Turkish hand weaving art that we believe has remained unchanged until today, in order to ensure its transmission across generations. As a result, the looms, tools, and equipment used in the three weaving examples, including the names of these tools, patterns, and colors, as well as their usage areas, are similar. In this case, it can be said that the weaving product dasterhan, which has been practiced for centuries by the Uzbek Turks living in the Turkish region of Afghanistan in a homogeneous and closed manner, shows similarities with cecim in Samsun and daster in Ordu.

 Material and moral cultural elements, which are a holistic reflection of the experience, observation and adaptation strategies that have been going on since the beginning of human history, are a reflection of the way humans comprehend what is happening around them and their adaptation processes. While all efforts primarily ensure the survival of the species, in later periods they are reproduced to meet secondary needs as living standards change. In other words, these cultural elements are human beings strategies for the difficulties they face in the process of adapting to the environment they live in. These cultural structures, which are a reflection of humanitys knowledge and way of thinking, should also be considered within the scope of the manifestation of experiences and testimonies transmitted between generations. Every society goes through different adaptation processes depending on the environmental conditions geographical conditions, climate, animal diversity and vegetation. Weaving is among the many cultural structures that the human species invented as a strategic solution to the ontological need for survival. The activity of weaving, which was initially invented in response to needs such as covering and protecting the body in cold winter conditions, later developed, changed and transformed in response to secondary demands such as dressing and wrapping the sacred and precious. Weaving is a long-established tradition in the Central Asian Turkish Cult. Traces of this deep-rooted tradition can be seen in many regions of Turkey today. In this study, our aim is to reveal that the weaving called dastehan, which is frequently used in many areas such as the floor table, gift-giving, wrapping the bread nan considered sacred, rituals, etc. among Uzbek Turks who came to Turkey from Afghanistan as settled immigrants in 1982 and live in Ovakent neighborhood of Antakya, is similar to cecim woven in Çarşı Village of Ayvalık District of Samsun and daster woven in Ordu. Turks settled in Anatolia thousands of years ago and brought along their traditions and customs. The examples of daster and cecim weaving tradition that have survived to the present day have been determined to be similar to dastehan woven by Uzbeks who settled in Afghanistan from Uzbekistan one hundred and fifty years ago and then in Turkey forty years ago. This comparison allows us to understand the elements that have changed and remained unchanged in the application and usage areas of the examples woven by Turkish people in Turkey. Our other aim is to document the dasterhan, an example of Turkish hand weaving art that we believe has remained unchanged until today, in order to ensure its transmission across generations. As a result, the looms, tools, and equipment used in the three weaving examples, including the names of these tools, patterns, and colors, as well as their usage areas, are similar. In this case, it can be said that the weaving product dasterhan, which has been practiced for centuries by the Uzbek Turks living in the Turkish region of Afghanistan in a homogeneous and closed manner, shows similarities with cecim in Samsun and daster in Ordu.

 İnsanlık tarihinin başlangıcından buyana süregelen deneyim, tanıklık ve uyum stratejilerinin bütünlüklü bir yansıması olan maddi ve manevi kültür öğeler, insanın çevresinde olup bitenleri kavrayış biçiminin ve uyum süreçlerinin bir yansımasıdır. Tüm çabalar öncelikle türün hayatta kalmasını sağlarken ilerleyen dönemlerde yaşam standartlarının değişmesiyle ikincil ihtiyaçların giderilmesi amacıyla yeniden üretilir. Diğer bir anlatımla, bu kültürel unsurlar, insanın yaşadığı çevreye uyarlanma sürecinde karşılaştıkları güçlüklere yönelik stratejileridir. İnsanlığın bilgi birikimi ve düşünce biçiminin bir yansıması olan bu kültürel yapılar, kuşaklar arası aktarılan deneyim ve tanıklıkların tezahürü kapsamında da ele alınmalıdır. Her toplum, içerisinde bulunduğu çevre koşullarına bağlı olarak coğrafik koşullar, iklim, hayvan çeşitliliği ve bitki örtüsü farklı uyarlanma süreçlerinden geçer. İnsan türünün ontolojik olarak hayatta kalma ihtiyacına karşılık stratejik bir çözüm olarak icat ettiği birçok kültürel yapı arasında dokumacılık ta yer almaktadır. Önceleri soğuk kış şartlarında bedenin örtünmesi ve korunması gibi ihtiyaçlara karşılık gelişen dokuma faaliyeti sonraları giyinme, kutsal ve kıymetli olanın sarılması suretiyle ikincil taleplere karşılık gelişmiş, değişmiş ve dönüşmüştür. Dokumacılık, Orta Asya Türk Kültünde çok eski köklü bir gelenektir. Bu köklü geleneğin izleri bugün Türkiyenin birçok bölgesinde görülmektedir. Bu çalışmada amacımız 1982 yılında Afganistandan Türkiyeye iskânlı göçmen olarak gelen ve Antakyanın Ovakent mahallesinde yaşayan Özbek Türklerinde yer sofrası, hediyeleşmede, kutsal sayılan ekmeğin nan sarılmasında, ritüellerde vb. birçok alanda sıklıkla kullanılan dastehan adı verilen dokumanın, Samsunun Ayvalık İlçesi, Çarşı Köyünde dokunan cecim ve Orduda dokunan daster ile benzerlik gösterdiğini ortaya koymaktır. Türkler, binlerce yıl önce Anadoluyu yut edinmiş, gelenek ve göreneklerini de beraberlerinde getirmişlerdir. Bunlardan daster ve cecim dokuma geleneğinin günümüze kadar gelen örnekleri gerek örme biçimi gerekse kullanım yönünden bundan yüz elli yıl önce Özbekistandan Afganistana oradan da 40 sene önce Türkiyeye yerleşmiş olan Özbeklerin dokuduğu dastehan ile benzerlik gösterdiği tespit edilmiştir. Bu karşılaştırmayla Anadolu Türklerinin dokudukları örneklerde uygulama ve kullanım alanlarında değişen ve değişmeyen unsurların neler olduğunu anlamamız mümkün olmuştur. Diğer amacımız ise Türk el dokuma sanatının bir örneği olan ve günümüze kadar değişmeden geldiğini düşündüğümüz dasterhanının, kuşaklar arasında aktarılmasının sağlamak amacıyla kayıt altına alınmasıdır. Sonuç olarak üç dokuma örneğinde kullanılan yer tezgâhları, araç ve gereçler, bu araç gereçlerin adları, desenleri ve renkleri, kullanım alanları benzerdir. Bu durum Afganistanın Türk bölgesinde yüzyıllardır homojen ve içe kapalı bir şekilde yaşayan Özbek Türklerinin yüzyıllarca uyguladıkları dokuma türü olan dasterhanın, Samsunda cecim ve Orduda ise daster ile benzerlik gösterdiği söylenebilir.

Makale detayları

STAGES OF DASTARHAN WEAVING AND A COMPARATIVE ESSAY ON DASTARHAN, DASDAR AND CECIM

Yazarlar:

Aylin Eraslan

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Etnoloji

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.17 Issue 47, pp.1664-1689

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001327710

pISSN:

1308-4445

Social Anthropology

Turkish Culture

Dastarhan

Dasdar

CecimSosyal Antropoloji

Türk kültürü

Dastarhan

Dasdar

Cecim

Sayı

Makale detayları

Yazarlar: Aylin Eraslan

Yayıncı: Motif Yayıncılık

Ana Başlıklar: Etnoloji

Dergi: Motif Akademi Halkbilimi Dergisi Vol.17 Issue 47, pp.1664-1689

Belge Tipi: Makale

Yayın Tarihi: 9/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001327710

pISSN: 1308-4445

Sayı

Yazarlar:

Aylin Eraslan

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Etnoloji

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.17 Issue 47, pp.1664-1689

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001327710

pISSN:

1308-4445