DEER FIGURE IN TURKISH CULTURE AND ART WITH ITS SYMBOLICAL AND STYLISH FEATURES

Ökkeş Hakan Çetin; Nurşen Özkul Fındık; Muhammet Görür

Makale detayları

DEER FIGURE IN TURKISH CULTURE AND ART WITH ITS SYMBOLICAL AND STYLISH FEATURES

Yazarlar:

Ökkeş Hakan Çetin | Nurşen Özkul Fındık | Muhammet Görür

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

Sanat Tarihi | Türk Kültür Tarihi

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 109, pp.149-186

Belge Tipi:

Makale

Yayın Tarihi:

3/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001314030

pISSN:

1306-8253

Anahtar kelimeler:

Özet:

 Deer, which was frequently depicted in works of art as a totem in early Turkish Culture, attracts attention as a cult image. It is accepted as a guiding, auspicious and holy spirit in our culture. While the deer has taken on a guiding identity with being tracked during long hunts, it has also been accepted as one of the symbols of rebirth with the regrowth of its broken antlers. Among the Göktürks, Alp Bahadırs journey to the other world with deers by disguising as one, it being shot and sacrificed in funeral ceremonies, and similarly, in Anatolian culture, especially in Bektashism, it is a being whose sanctity is accepted with the concepts of changing its disguise. As in the legend of the Geyikli Baba Deer Father, deers were kept as companions for the members of the sect. In Anatolian culture, deer also has always been a loved and adopted animal with its similar characteristics. In addition, in Turkish literature, it is identified with the lover who is difficult to reach, with its natural beauty, elusiveness, timidity and elegance. On the other hand, it has become one of the important symbols of some sects in Anatolia, especially Bektashism. It is believed that some of the animals powers, such as the ability to change places quickly by disguising as a deer, are passed on to the sect leaders. This ritual is similar to the rapid journey of Central Asian Shamans between two worlds by disguising as a deer. All these changes and transformations in Turkish culture regarding deer have been visualized and depicted in all works of art produced from Central Asia to Anatolia - in a way that meets all the meanings attributed to the deer.

 Deer, which was frequently depicted in works of art as a totem in early Turkish Culture, attracts attention as a cult image. It is accepted as a guiding, auspicious and holy spirit in our culture. While the deer has taken on a guiding identity with being tracked during long hunts, it has also been accepted as one of the symbols of rebirth with the regrowth of its broken antlers. Among the Göktürks, Alp Bahadırs journey to the other world with deers by disguising as one, it being shot and sacrificed in funeral ceremonies, and similarly, in Anatolian culture, especially in Bektashism, it is a being whose sanctity is accepted with the concepts of changing its disguise. As in the legend of the Geyikli Baba Deer Father, deers were kept as companions for the members of the sect. In Anatolian culture, deer also has always been a loved and adopted animal with its similar characteristics. In addition, in Turkish literature, it is identified with the lover who is difficult to reach, with its natural beauty, elusiveness, timidity and elegance. On the other hand, it has become one of the important symbols of some sects in Anatolia, especially Bektashism. It is believed that some of the animals powers, such as the ability to change places quickly by disguising as a deer, are passed on to the sect leaders. This ritual is similar to the rapid journey of Central Asian Shamans between two worlds by disguising as a deer. All these changes and transformations in Turkish culture regarding deer have been visualized and depicted in all works of art produced from Central Asia to Anatolia - in a way that meets all the meanings attributed to the deer.

 Deer, which was frequently depicted in works of art as a totem in early Turkish Culture, attracts attention as a cult image. It is accepted as a guiding, auspicious and holy spirit in our culture. While the deer has taken on a guiding identity with being tracked during long hunts, it has also been accepted as one of the symbols of rebirth with the regrowth of its broken antlers. Among the Göktürks, Alp Bahadırs journey to the other world with deers by disguising as one, it being shot and sacrificed in funeral ceremonies, and similarly, in Anatolian culture, especially in Bektashism, it is a being whose sanctity is accepted with the concepts of changing its disguise. As in the legend of the Geyikli Baba Deer Father, deers were kept as companions for the members of the sect. In Anatolian culture, deer also has always been a loved and adopted animal with its similar characteristics. In addition, in Turkish literature, it is identified with the lover who is difficult to reach, with its natural beauty, elusiveness, timidity and elegance. On the other hand, it has become one of the important symbols of some sects in Anatolia, especially Bektashism. It is believed that some of the animals powers, such as the ability to change places quickly by disguising as a deer, are passed on to the sect leaders. This ritual is similar to the rapid journey of Central Asian Shamans between two worlds by disguising as a deer. All these changes and transformations in Turkish culture regarding deer have been visualized and depicted in all works of art produced from Central Asia to Anatolia - in a way that meets all the meanings attributed to the deer.

 Türk Kültüründe erken devirlerde özellikle totem olarak sanat eserlerinde de sıklıkla betimlenen geyik, bir kült imge olarak dikkati çekmektedir. Kültürümüzde yol gösterici, uğurlu ve kutsal bir ruh olarak kabul görmüştür. Özellikle sürek avlarında izi sürülen geyik, bu özelliği ile adeta yol gösterici bir kimliğe bürünmüşken, kırdığı boynuzlarının tekrar çıkmasıyla da yeniden doğuşun simgelerinden biri olarak kabul edilmiştir. Göktürklerde Alp Bahadırın geyik donuna bürünerek geyiklerle birlikte öteki dünyaya seyahati, cenaze törenlerinde vurularak kurban edilmesi, benzer şekilde Anadolu kültüründe özellikle Bektaşilikte don değiştirme kavramlarıyla kutsallığı kabul edilmiş bir varlıktır. Geyikli baba efsanesindeki gibi tarikat ehillerine yoldaş tutulmuştur. Anadolu kültüründe de geyik benzer özellikleri ile daima sevilmiş ve benimsenmiş bir hayvandır. Ayrıca Türk edebiyatında doğal güzelliği, zor yakalanması, ürkekliği ve zarafetiyle ulaşılması zor sevgiliyle de özdeşleştirilmiştir. Öte yandan Anadoluda Bektaşilik başta olmak üzere bazı tarikatların önemli sembollerinden birisi olmuştur. Geyik donuna bürünerek hayvanın hızla yer değiştirmesi gibi bazı güçlerinin tarikat liderlerine geçtiğine inanılır. Bu rtiüel, Orta Asya Şamanlarının geyik donuna bürünerek iki dünya arasında hızlı yolculuğuyla benzerlik göstermektedir. Yine geyiğin, Geyikli Baba efsanesinde olduğu gibi günlük hayatta veya savaş gibi zorluklarda tarikat ehline yoldaşlık ettiğine de inanılır. Geyikle ilgili Türk kültüründeki tüm bu değişim ve dönüşümler, Orta Asyadan Anadoluya üretilen bütün sanat eserlerinde- geyiğe yüklenen tüm anlamları karşılayacak şekilde- imgeleşmiş ve betimlenmiştir.

Makale detayları

DEER FIGURE IN TURKISH CULTURE AND ART WITH ITS SYMBOLICAL AND STYLISH FEATURES

Yazarlar:

Ökkeş Hakan Çetin | Nurşen Özkul Fındık | Muhammet Görür

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

Sanat Tarihi | Türk Kültür Tarihi

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 109, pp.149-186

Belge Tipi:

Makale

Yayın Tarihi:

3/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001314030

pISSN:

1306-8253

Turkish Culture

Deer

Central Asia

Anatolia

Velayetname

Deer FatherTürk Kültürü

Geyik

Orta Asya

Anadolu

Velayetname

geyikli baba

figürlü süsleme

Sayı

Makale detayları

Yazarlar: Ökkeş Hakan Çetin | Nurşen Özkul Fındık | Muhammet Görür

Yayıncı: Ankara Hacı Bayram Veli University

Ana Başlıklar: Sanat Tarihi | Türk Kültür Tarihi

Dergi: Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 109, pp.149-186

Belge Tipi: Makale

Yayın Tarihi: 3/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001314030

pISSN: 1306-8253

Sayı

Yazarlar:

Ökkeş Hakan Çetin | Nurşen Özkul Fındık | Muhammet Görür

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

Sanat Tarihi | Türk Kültür Tarihi

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 109, pp.149-186

Belge Tipi:

Makale

Yayın Tarihi:

3/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001314030

pISSN:

1306-8253