FILIGREE ART IN SİVAS AND SILVER WORKING IN SİVAS AND NİYAZİ ARSLANHAN'S WORKS ONE OF THE LAST REPRESANTATIVES

Fatmagül Saklavcı

Makale detayları

FILIGREE ART IN SİVAS AND SILVER WORKING IN SİVAS AND NİYAZİ ARSLANHAN'S WORKS ONE OF THE LAST REPRESANTATIVES

Yazarlar:

Fatmagül Saklavcı

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Türk İslam Sanatında Güzel Sanatlar

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.16 Issue 43, pp.1429-1449

Belge Tipi:

Makale

Yayın Tarihi:

9/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001298799

pISSN:

1308-4445

Anahtar kelimeler:

Özet:

 Many archaeological finds have been found, showing that the history of silverwork goes back to BC. The items belonging to various civilizations in Anatolia, prepared with silver craftsmanship, reveal the cultures, socio-economic conditions, lifestyles, tastes and intercultural interaction of the people of that period. Turkish silver working began to spread in Central Asia, the use of gold and silver increased in Anatolia with Islam, and preserved its importance in the Anatolian Seljuk and Ottoman periods. After the Ottomans lost their domination of the Balkan lands, the people living here settled in various parts of Anatolia, such as Sivas, and brought their culture and arts with them. It is known that some of the ancestors of Sivas silver masters were also craftsmen among the immigrants settled in these regions. While the number of silver masters was more than a hundred in Sivas in the 1950s and 1960s, many of them left the profession by going to Istanbul or abroad. Today, there are a few masters dealing with silverwork, one of the professions that are on the verge of disappearing in the province of Sivas. The silver material used for filigree turned into wire by melting the silver taken to the Istanbul Grand Bazaar in the furnaces. Traditional materials such as combs, pliers, double, hooknose, dice trench sets are used to create forms with vav, glitter, drop, shuttle filling techniques. Traditional materials such as combs, pliers, doubles, hooknose, dice heşdek sets are used to create the forms. Parts such as necklaces, rings, bracelets, pens and boxes, which are given their final shape with the help of borax, solder and teneker, are cleaned and polished in the ball and needle cabinet. The art of filigree, which is very troublesome to make in traditional methods, succumbs to technology, the variety in products increases, but the demand decreases due to costs. Our aim in doing this study is to research the history and current status of the arts and professions in Sivas, such as blacksmithing, smithing, stick-making, which succumbed to time and conditions, and to transfer them to future generations by introducing their masters.

 Many archaeological finds have been found, showing that the history of silverwork goes back to BC. The items belonging to various civilizations in Anatolia, prepared with silver craftsmanship, reveal the cultures, socio-economic conditions, lifestyles, tastes and intercultural interaction of the people of that period. Turkish silver working began to spread in Central Asia, the use of gold and silver increased in Anatolia with Islam, and preserved its importance in the Anatolian Seljuk and Ottoman periods. After the Ottomans lost their domination of the Balkan lands, the people living here settled in various parts of Anatolia, such as Sivas, and brought their culture and arts with them. It is known that some of the ancestors of Sivas silver masters were also craftsmen among the immigrants settled in these regions. While the number of silver masters was more than a hundred in Sivas in the 1950s and 1960s, many of them left the profession by going to Istanbul or abroad. Today, there are a few masters dealing with silverwork, one of the professions that are on the verge of disappearing in the province of Sivas. The silver material used for filigree turned into wire by melting the silver taken to the Istanbul Grand Bazaar in the furnaces. Traditional materials such as combs, pliers, double, hooknose, dice trench sets are used to create forms with vav, glitter, drop, shuttle filling techniques. Traditional materials such as combs, pliers, doubles, hooknose, dice heşdek sets are used to create the forms. Parts such as necklaces, rings, bracelets, pens and boxes, which are given their final shape with the help of borax, solder and teneker, are cleaned and polished in the ball and needle cabinet. The art of filigree, which is very troublesome to make in traditional methods, succumbs to technology, the variety in products increases, but the demand decreases due to costs. Our aim in doing this study is to research the history and current status of the arts and professions in Sivas, such as blacksmithing, smithing, stick-making, which succumbed to time and conditions, and to transfer them to future generations by introducing their masters.

 Many archaeological finds have been found, showing that the history of silverwork goes back to BC. The items belonging to various civilizations in Anatolia, prepared with silver craftsmanship, reveal the cultures, socio-economic conditions, lifestyles, tastes and intercultural interaction of the people of that period. Turkish silver working began to spread in Central Asia, the use of gold and silver increased in Anatolia with Islam, and preserved its importance in the Anatolian Seljuk and Ottoman periods. After the Ottomans lost their domination of the Balkan lands, the people living here settled in various parts of Anatolia, such as Sivas, and brought their culture and arts with them. It is known that some of the ancestors of Sivas silver masters were also craftsmen among the immigrants settled in these regions. While the number of silver masters was more than a hundred in Sivas in the 1950s and 1960s, many of them left the profession by going to Istanbul or abroad. Today, there are a few masters dealing with silverwork, one of the professions that are on the verge of disappearing in the province of Sivas. The silver material used for filigree turned into wire by melting the silver taken to the Istanbul Grand Bazaar in the furnaces. Traditional materials such as combs, pliers, double, hooknose, dice trench sets are used to create forms with vav, glitter, drop, shuttle filling techniques. Traditional materials such as combs, pliers, doubles, hooknose, dice heşdek sets are used to create the forms. Parts such as necklaces, rings, bracelets, pens and boxes, which are given their final shape with the help of borax, solder and teneker, are cleaned and polished in the ball and needle cabinet. The art of filigree, which is very troublesome to make in traditional methods, succumbs to technology, the variety in products increases, but the demand decreases due to costs. Our aim in doing this study is to research the history and current status of the arts and professions in Sivas, such as blacksmithing, smithing, stick-making, which succumbed to time and conditions, and to transfer them to future generations by introducing their masters.

 Anadoludaki çeşitli medeniyetlere ait gümüş işçiliği ile hazırlanan eşyalar, gümüş işçiliğinin tarihinin milattan öncelere kadar gittiğini göstermekte, o dönem insanlarının kültürlerini, sosyo-ekonomik durumlarını, yaşam tarzlarını, zevklerini ve kültürlerarası etkileşimlerini ortaya koymaktadır. Türk gümüş işçiliği Orta Asyada yayılmaya başlamış, Anadoluda İslamiyet ile birlikte altın ve gümüş kullanımı artmış, Anadolu Selçuklu ve Osmanlı dönemlerinde önemini korumuştur. Osmanlıların Balkan toprakları üzerindeki hâkimiyetini kaybetmesinden sonra burada yaşayan halk Sivas gibi Anadolunun çeşitli yerlerine yerleşerek kültür ve sanatlarını da beraberinde getirmişlerdir. Bu bölgelere yerleşen göçmenler arasında Sivas gümüş ustalarının bir kısmının atalarının da zanaatkâr olduğu bilinmektedir. 1950li ve 1960lı yıllarda Sivasta gümüş ustalarının sayısı yüzden fazla iken, birçoğu İstanbula veya yurt dışına giderek mesleği bırakmıştır. Günümüzde Sivas ilinde kaybolmaya yüz tutmuş mesleklerden biri olan gümüşçülükle uğraşan birkaç usta bulunmaktadır. Telkâri için kullandığı gümüş malzeme İstanbul Kapalıçarşıdan getirtilen gümüşü ocaklarda eriterek tele dönüştürülmektedir. Tarak, kerpeten, ikili, kancalı, zarlı hendek takımları gibi geleneksel malzemeler kullanılarak vav, sim, damla, mekik dolgu teknikleri ile formlar oluşturulmaktadır. Formların oluşturulmasında tarak, kerpeten, çifte, çengel, zar heşdek takımı gibi geleneksel malzemeler kullanılmaktadır. Boraks, lehim ve teneker yardımıyla son şekli verilen kolye, yüzük, bileklik, kalem, kutu gibi parçalar top ve iğne dolabında temizlenir ve parlatılır. Geleneksel yöntemlerle yapılması oldukça zahmetli olan telkâri sanatı teknolojiye yenik düşer, ürün çeşitliliği artar ancak maliyetlerden dolayı talep azalır. Bu çalışmayı yapmaktaki amacımız Sivasta nalbantlık, bıçakçılık ve çubukçuluk gibi zamana ve şartlara yenik düşen sanat ve mesleklerin tarihçesini ve bugünkü durumunu araştırmak ve ustalarını tanıtarak gelecek nesillere aktarmaktır.

Makale detayları

FILIGREE ART IN SİVAS AND SILVER WORKING IN SİVAS AND NİYAZİ ARSLANHAN'S WORKS ONE OF THE LAST REPRESANTATIVES

Yazarlar:

Fatmagül Saklavcı

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Türk İslam Sanatında Güzel Sanatlar

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.16 Issue 43, pp.1429-1449

Belge Tipi:

Makale

Yayın Tarihi:

9/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001298799

pISSN:

1308-4445

Traditional crafts

silver work

filigree

Sivas filigreeGeleneksel el sanatları

gümüş işçiliği

telkâri

Sivas telkârisi

Sayı

Makale detayları

Yazarlar: Fatmagül Saklavcı

Yayıncı: Motif Yayıncılık

Ana Başlıklar: Türk İslam Sanatında Güzel Sanatlar

Dergi: Motif Akademi Halkbilimi Dergisi Vol.16 Issue 43, pp.1429-1449

Belge Tipi: Makale

Yayın Tarihi: 9/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001298799

pISSN: 1308-4445

Sayı

Yazarlar:

Fatmagül Saklavcı

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Türk İslam Sanatında Güzel Sanatlar

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.16 Issue 43, pp.1429-1449

Belge Tipi:

Makale

Yayın Tarihi:

9/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001298799

pISSN:

1308-4445