IV. ULUSLARARASI TÜRK SANATLARI, TARİHİ ve FOLKLORU [PDF]

İtalya Kültürel Mirasın Korunması Gençlik Kurumu (İtaly Youth in Conservation of Cultural Heritage)

Azerbaycan Kültürel Mirasın Araştırılmasına Destek Kurumu (Azerbaycan Cultural Heritage Support to Research Association)

Konya Büyükşehir Belediye Başkanlığı (Konya Metropolitan Municipality)

Selçuk Üniversitesi Türk El Sanatları Araştırma ve Uygulama Merkezi (Selcuk University Research Center for Turkish Handicrafts)

IV. ULUSLARARASI TÜRK SANATLARI, TARİHİ ve FOLKLORU KONGRESİ/ SANAT ETKİNLİKLERİ (IV. INTERNATIONAL TURKIC ART, HISTORY AND FOLKLORE CONGRESS / ART ACTIVITIES)

ÖZET KİTABI PAPERS ABSTRACT BOOK Editör. Doç. Dr. Osman KUNDURACI-Ahmet AYTAÇ 14-16 Mayıs (May) 2015-Konya

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KONGRE ONUR KURULU Tahir AKYÜREK (Konya Büyükşehir Belediye Başkanı, Türkiye) Prof. Dr. Hakkı GÖKBEL (Selçuk Üniversitesi Rektörü, Türkiye) Prof. Dr. Veli ALİYEV (Milli Bilimler Akademisi Muhabir Üyesi, Azerbaycan) Prof. Dr. H. Örcün BARIŞTA (Sanat Tarihçi, Türkiye-Art Historian, Türkiye) KONGRE EŞ BAŞKANLARI Doç. Dr. Osman KUNDURACI (Selçuk Üniversitesi Türk El San. Arş. ve Uyg. Mrk. Başkanı, Türkiye) Dr. Fariz HALİLLİ (Miras Başkanı, Azerbaycan) Andrea MACCHIA (Uluslararası Yococu Başkanı, İtalya) KONGRE GENEL SEKRETERİ Ahmet AYTAÇ (Selçuk Üniversitesi-MİRAS Türkiye Temsilcisi, Türkiye) KONGRE BİLİM KURULU Prof. Dr. Hüseyin ELMAS (Selçuk Üniversitesi, Türkiye) Prof. Dr. Qafar JEBIYEV (Muallimler Enstitüsü, Azerbaycan) Prof. Dr. Yusuf KÜÇÜKDAĞ (N. Erbakan Üniversitesi, Türkiye) Prof. Dr. Chong Jin OH (Hankuk Üniversitesi, Kore) Prof. Dr. Naile VELİHANLI (Tarih Müzesi Direktörü, Azerbaycan) Prof. Dr. Andrea OSEAS (Brandeis Üniversitesi, ABD) Prof. Dr. Necati DEMİR (Gazi Üniversitesi, Türkiye) Prof. Dr. Cesar TABOADA (Santiago Üniversitesi, ABD) Prof. Dr. S. Gazanfar H. ZAİDİ (Jamia Millia İslamia Üniversitesi, Hindistan) Prof. Dr. Ezio ARLATI (Milan Politeknik Üniversitesi, İtalya) Prof. Dr. Tuna DOĞAN (Adnan Menderes Üniversitesi) Prof. Dr. Cafer GIYASI (Milli Bilimler Akademisi Muhabir Üyesi, Azerbaycan) Prof. Dr. Özer KANBUROĞLU (İstanbul Aydın Üniversitesi, Türkiye) Prof. Dr. Luigi SCRINZI (Politeknik Üniversitesi, İtalya) Prof. Dr. Mehmet BAŞBUĞ (Manas Üniversitesi, Kırgızistan) Prof. Dr. Rachid BENSLIMANE (Sidi Mohamed Ben Abdellah Üniversitesi, Fas) Prof. Dr. Ahmet ÇAYCI (N. Erbakan Üniversitesi, Türkiye) Prof. Dr. Enrico CILIBERTO (Studi di Catania Üniversitesi, İtalya) Prof. Dr. H. Feriha AKPINARLI (Gazi Üniversitesi, Türkiye) Prof. Dr. Kuandık ERALIN (Ahmet YESEVİ Uluslararası Türk Kazak Üniversitesi, Kazakistan) Prof. Dr. Juliy KHUDJAKOV (Arkeoloji ve Etnoğrafya Enstitüsü, Rusya) Prof. Dr. Mehmet RIHTIM (Bakü Kafkas Üniversitesi, Azerbaycan) Prof. Dr. Juan Carlos ZAPATERO (Autonomo Üniversitesi, İspanya) Prof. Dr. Kleanti ANOVSKA (Marko Cepenkov Folklor Enstitüsü, Makedonya) Prof. Dr. Ayed NECUR (Insad Enstitüsü, Tunus) Prof. Dr. Şikar QASIMOV (Teknik Üniversite, Azerbaycan) Prof. Dr. Dinara ABBASOVA (Bilimler Akademisi, Polonya) Prof. Aysen SOYSALDI (Gazi Üniversitesi, Türkiye) Prof. Sadettin SARI (Akdeniz Üniversitesi, Türkiye) Prof. Oya SİPAHİOĞLU (Dokuz Eylül Üniversitesi, Türkiye) Doç. Dr. Osman KUNDURACI (Selçuk Üniversitesi, Türkiye) Doç. Dr. V. H. SİDDİQUİ (Jamia Millia İslamia Üniversitesi, Hindistan) Doç. Dr. Mehmet TEKOCAK (Selçuk Üniversitesi, Türkiye) Doç. Dr. Violetta POTORENCER (Unisangil Üniversitesi, Kolombiya) Doç. Dr. Yüksel KAŞTAN (Akdeniz Üniversitesi, Türkiye) Doç. Dr. Jesús GIL FUENSANTA (Autonomo Üniversitesi, İspanya) Doç. Dr. Ali TEMİZEL (Selçuk Üniversitesi, Türkiye) Doç. Dr. Ahmet DALKIRAN (Selçuk Üniversitesi, Türkiye)

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Doç. Dr. Begahmet ABUCEYTOV (Ahmet YESEVİ Uluslararası Türk Kazak Üniversitesi, Kazakistan) Doç. Dr. İsmail AYTAÇ (Fırat Üniversitesi, Türkiye) Yrd. Doç. Dr. Yaşar ERDEMİR (Selçuk Üniversitesi, Türkiye) Yrd. Doç. Dr. Hakan KUYUMCU (Selçuk Üniversitesi, Türkiye) Yrd. Doç. Dr. Tülin ÇORUHLU (Sakarya Üniversitesi) Yrd. Doç. Dr. Ömer ZAİMOĞLU (Akdeniz Üniversitesi, Türkiye) Dr. Fariz HALİLLİ (Miras, Azerbaycan) Dr. Nataliya SHABALINA (South Ural State Üniversitesi, Rusya) Dr. Enrico GRECO (Koruma Derneği Genel Sekreteri, İtalya) Ahmet AYTAÇ (Selçuk Üniversitesi, Türkiye) Alexey PRONİN (Novosibirsk Devlet Üniversitesi, Rusya) Andrea MACCHIA (Uluslararası Yococu Başkanı, İtalya) Maruchi YOSHIDA (Ycons, Almanya) Georgi GEORGİEV (Fraunhofer Enstitüsü, Almanya) Tamar BASİLAŞVİLİ (Dostlar Derneği, Gürcistan) KONGRE DÜZENLEME KURULU Yrd. Doç. Dr. Yaşar ERDEMİR (Selçuk Üniversitesi, Türkiye) Ahmet AYTAÇ (Selçuk Üniversitesi, Türkiye) Dr. Mücahit Sami KÜÇÜKTIĞLI (Konya Büyükşehir Belediyesi, Türkiye) Doç. Dr. Ahmet DALKIRAN (Selçuk Üniversitesi, Türkiye) Yrd. Doç. Dr. Mustafa ÇETİNASLAN (Selçuk Üniversitesi, Türkiye) Hasan YAŞAR (Konya Büyükşehir Belediyesi, Türkiye) Şöle BAYRAMOVA (Miras, Azerbaycan) Arş. Gör. Cihan GEZEN (Selçuk Üniversitesi, Türkiye) Gulşhen HÜSEYİNOVA (Miras, Azerbaycan) Rahim REHİMLİ (Miras, Azerbaycan) SERGİ KÜRATÖRLERİ Doç. Dr. Ahmet DALKIRAN (Selçuk Üniversitesi, Türkiye) Ahmet AYTAÇ (Selçuk Üniversitesi, Türkiye) Noyan GÜVEN (Cumhuriyet Üniversitesi, Türkiye) SERGİ JÜRİ KURULU Prof. Dr. Kübra ALİYEVA (Milli İlimler Akademisi, Azerbaycan) Prof. Dr. Osman ALTINTAŞ (Giresun Üniversitesi, Türkiye) Prof. Dr. Clemens BEUNGKUN SOU (Wienna Uygulamalı Sanatlar Üniversitesi, Avusturya) Prof. Dr. Cazım HADJIMEJLIS (Uluslararası Saraybosna Üniversitesi) Prof. Aydın UĞURLU (F. Sultan Mehmet Üniversitesi, Türkiye) Prof. Nana JANASHIA (Tphilisensis Üniversitesi, Gürcistan) Doç. Dr. Mutluhan TAŞ (Selçuk Üniversitesi, Türkiye) Doç. Dr. Lejla PANJETA (Uluslararası Saraybosna Üniversitesi, Bosna) Doç. Dr. Meliha YILMAZ (Gazi Üniversitesi, Türkiye) Doç. Dr. Levent MERCİN (Dumlupınar Üniversitesi, Türkiye) Doç. Dr. Emine HACISÜLEYMANOĞLU KOCA (Gazi, Türkiye) Doç. Dr. Filiz Nurhan ÖLMEZ (S. Demirel Üniversitesi, Türkiye) Doç. Dr. Fatih BAŞBUĞ (Akdeniz Üniversitesi, Türkiye) Doç. Dr. Fatma MOEEN (Jamia Millia İslamia Üniversitesi, Hindistan) Doç. Dr. Ahmet DALKIRAN (Selçuk Üniversitesi, Türkiye) Doç. Dr. Fatma Nur BAŞARAN (Gazi Üniversitesi, Türkiye) Doç. Dr. Neslihan KIYAR (Selçuk Üniversitesi, Türkiye) Doç. Didem ATİS ÖZHEKİM (Sakarya Üniversitesi, Türkiye) Doç. Serkan İLDEN (Ordu Üniversitesi, Türkiye) Yrd. Doç. Dr. Hatice ÖZTÜRK TOZUN (Gazi Üniversitesi, Türkiye)

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Yrd. Doç. Dr. Dilek OĞUZOĞLU (Gazi Üniversitesi, Türkiye) Yrd. Doç. Gülnur DURAN (Marmara Üniversitesi, Türkiye) Yrd. Doç. Ruhi KONAK (Kastamonu Üniversitesi, Türkiye) Yrd. Doç. Belgin PEKPELVAN (Celal Bayar Üniversitesi, Türkiye) Yrd. Doç. Ayşegül KOYUNCU OKCA (Pamukkale Üniversitesi, Türkiye) Yrd. Doç. M. Ali EROĞLU (Akdeniz Üniversitesi, Türkiye) Dr. Feride GULİYEVA (Halça ve Halk Tatbiki Sanatı Devlet Müzesi, Azerbaycan) Dr. Silvio RUFFOLO (IA-CS ve Calabria Üniversitesi, İtalya) Dr. Elmira GYUL (Sanat Enstitüsü, Özbekistan) Dr. Mohammet YOUNIS (Fayoum Üniversitesi, Mısır) Dr. Karim MIRZAYE (İslam Sanatları Üniversitesi, İran) Ahmet AYTAÇ (Selçuk Üniversitesi, Türkiye) James I. DEUTSCH (Smithsonian Enstitüsü, ABD) S. Senem UĞURLU (Marmara Üniversitesi, Türkiye) Majda BEGIC JARIC (Sanat Restoratörü, Hırvatistan) Vüqar QULİYEV (Miras, Azerbaycan) Alfiya İLYASOVA (Sanatçılar Birliği, Tataristan, Rusya) Memmed RAHIMOV (Miras, Azerbaycan)

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AÇILIŞ OTURUMU (OPENING SESSION) Oturum Başkanları (Session Moderators): Yrd. Doç. Dr. (Assist. Prof. Dr.) Yaşar ERDEMİR-Yrd. Doç. (Assist. Prof.) Ruhi KONAK THE MAN THAT MADE BITOLA FAMOUS Prof. Dr. Misho NETKOV “Wherever my life ends my heart will always stay in Bitola. That is what old Ajri Demirovski use to say. Whenever he came to his father’s house in his birth place he would shed a ton of tears. He lived in Turkey but his soul was here”. This is what Nikola Kotevski narrated, upset by the news of the famous song writer death Ajri Demirovski, who passed away in Izmir at 83. Today, the family Kotevski owns the Demirovski house in Bitola. With heavy heart, guilt and pride Nikola tells the story “we bought the house when he was leaving for Turkey in 1955 while the title-deed was left in inheritance. The first inheritor was Ajri together with his brothers” As one of the rare authentic chroniclers of the life of Ajri Demirovski, who on several occasions personally met with him in his house and was witness to the conversations, he continues his story about Ajri. “After 28 years of absence, he came to Bitola and his first visit was very poignant. Back then my father was alive; they hugged each other and started crying. AZƏRBAYCANDA TƏRƏKƏMƏ FOLKLORUNDA TƏRƏKƏMƏ ÇƏRŞƏNBƏSİNİN YERİ (THE PLACE OF TARAKAMA CHARSHANBA IN TARAKAMA (NOMADS) FOLKLORE IN AZERBAIJAN) Fariz XƏLILLI Though Akhtachi hamlet is one of largest hamlets of Shirvan region in Azerbaijan there are few writings on the hamlet and that remained behind researches of ethnographers and folklore specialists. Zaki Validi Toğan connecting Akhtachi hamlet with organization of Oghuz saga writes that they possessed large lands in their places and their ruling Tumens. One of our basic villages of Akhtachi hamlet is Gegeli village of Agsu region. Some folklore samples of this Turkic hamlet, the population of which engaged in cattle-breeding in historically grounds of winter, summer pasture and spring pastures have their own specific characteristics. Sitting during Akhir Charshanba (last Tuesday before Novruz) and the analyze of the habit of passing across the fire by people and domestic animals will provide the opportunity to see significance of Akhir Charshanba ceremony of former Turks in the example of this hamlet. Interesting ethnographic observations on folklore events like etymology of “Akhtachi” name, history of its geographical area, belief in sitting from dark night till morning dusk during Akhir Charshanba; passing across the fire by people and domestic animals; horse’s rumination were implicated to the research. Keywords: Charshanba, Tarakama, a hamlet, sitting. GEÇ DÖNEM KONYA EVLERİNDEN SÜSLEME ÖRNEKLERİ Osman KUNDURACI Konya, Çatalhöyük’ten günümüze kadar devam eden süreçte fiziksel yapısı içinde sivil mimari örnekleri de dâhil olmak üzere farklı değişimler göstermiştir. Eski Konya evleri örnekleri bu değişim sürecinde belli başlı yerel üslup özelliklerinin yanında Batı etkisinde inşa edilmiş mimari özelliklere de sahip olmuştur. Bu çalışmada geç dönem Konya evlerinden seçilen örnekler ile geleneksel evlerin süslemeleri incelenecektir. Süslemeler iki ana başlık altında ele alınacak ve bunların alt başlıklarıyla konu detaylandırılacaktır. Dış ve iç mimarideki süslemelerin uygulandığı yerlere göre gruplandırılmıştır. Genellikle yapım tekniğinin sonucu veya ev sahiplerinin isteği üzerine yapılan süslemeler eski Konya evlerine estetik değerler katmış olup döneminin mimarlık ve sanat anlayışlarını yansıtması bakımından önemli yapılardır. Anahtar Kelimeler: Konya, Geç Dönem, Ev, Süsleme.

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EHL-İ HİREF TEŞKİLATINDA DOKUMACILIĞA GENEL BİR BAKIŞ Ahmet AYTAÇ Osmanlı döneminde sanatsal faaliyetleri yürütmekle sorumlu olan Ehl-i Hiref teşkilatı oldukça önemli bir kurumdu. Ehl-i Hiref teşkilatına mensup sanatçı ve zanaatçılar sarayın Birûn (Kapıkulu) kısmındandı. Sarayda çok önemli bir yere sahip olan Ehl-i Hiref’e mensup dokumacılar, dokuma atölyelerine bağlı olarak çalışan sanatkârların oluşturduğu bölüklerden mütevellit idi. Bildiride Simkeşanlar, Zerduzânlar, Kazzazânlar, Postinduzanlar, Aba-yi bafanlar vd gibi dokuma ile alakalı Ehl-i Hiref’te yer alan meslekler ele alınacaktır. TÜRK DAMGALARININ KÖKENLERİNE DAİR BAZI YENİ BULGULAR (SOME NEW DİSCOVERY ABOUT ORİGİNS OF TURKİSH SİGNS) İlham ENVEROĞLU Türk kültüründe DAMGA, İM, EN adı altında anılan maddi kültür unsurları tarihöncesi çağlardan günümüze kadar süregelmektedir. Damgalar taş-kaya, ağaç, deri, dokuma, halıkilim, hayvanlar, süs eşyaları, maden sanatı, çanak-çömlek, mimari yapılar, bayrak ve tuğlar, giyim-kuşam, silahlar, zırhlar, mezar taşları vs. gibi çok geniş kullanım alanlarında silinmez izler bırakmıştır. Damgalar, savaşçı-göçebe Türk boylarında hayvanların çeşitli yerlerinde tanımlayıcı işaretler olarak görüldüğü gibi, Orta Asya, Avrasya steplerinde, Kafkaslarda kozmogonik, mitolojik, dinsel, ekonomik, kültürel anlamlar da içeren geniş kapsamlı iletişim aracı olarak karşımıza çıkmaktadır. Türklerde damgalar ve benzer sembolik işaretler, onların tarih sahnesine çıktıkları ilk dönemlerden beri kullanılmaktadır. Bu olguya Türklerin ve Proto-Türklerin tarihte yaşamış oldukları arazilerde ortaya çıkan kaya resimleri ve mağara resimleri tanıklık etmektedir. Kaynaklarda, ilk kullanılan damgaların insanoğlunun hayatında Tunç Devri’nden itibaren yer almaya başladığı belirtilmektedir. Fakat ilk kullanılmaya başlayan damgaların ortaya çıkış zamanlarını ve mekânlarını tam olarak açıklamak zordur. Araştırmacıların birçoğu en eski damgaların çıkış yeri olarak Doğu Asya’yı gösterse de, yeni bulgular doğrultusunda tespit edebildiğimiz en eski damga örnekleri Azerbaycan ve Anadolu arazilerinde görülmektedir. Bu bildiride, özellikle Sovyetler Birliğinin dağılmasından (1991) günümüze kadar geçen süreçte ortaya çıkan yeni arkeolojik ve sanatsal bulgular ışığında Türk damgalarının tarihi ve coğrafyasıyla ilgili yeni tespitlere yer verilecektir. Anahtar Sözcükler: Türk damgaları, yeni bulgular 1. OTURUM (1. SESSION)-A Salonu (A Hall) Oturum Başkanları (Session Moderators): Prof. Dr. H. Örcün BARIŞTA-Doç. Dr. (Assoc. Prof. Dr.) Ahmet DALKIRAN OSMANİYE İLİ KADİRLİ İLÇESİNDEKİ TÜRK DÖNEMİ YAPILARI Osman KUNDURACI Nurcan BAHARGÜLÜ Akdeniz Bölgesi ve Çukurova’nın doğusunda yer alan Osmaniye’nin en büyük ilçelerinden biri olan Kadirli İlçesi çok eski çağlardan beri çeşitli uygarlıkların yaşamış olduğu önemli bir yerleşim yeridir. İlçenin bulunduğu coğrafi alanda tarih boyunca Kizzuvata Krallığı, Hititler, Asurlar, Kilikyalılar, Romalılar, Bizanslılar, Anadolu Selçukluları, Dulkadiroğulları Beyliği ve Osmanlılar hüküm sürmüştür. Bu bölgede yer alan ve günümüze ulaşmış Türk Dönemine ait üç adet dini ve üç adet sivil mimari olmak üzere toplam altı adet yapı araştırmanın konusunu oluşturmaktadır. İlçede yer alan Türk dönemine ait bu yapılardır; Kadirli Ala Cami, Hamidiye (Merkez) Cami, Hasan Dede Türbesi ile yapanı ve yaptıranı kesin olarak bilinmeyen Teyfik Ağa Konağı, Kendirlinin Konağı ve Hoca Vayısoğlu Konağından oluşmaktadır. Araştırmada bu yapılar

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mimari ve süsleme özellikleri bakımından ele alınarak incelenecek, genel bir değerlendirmesi yapılarak Türk sanatına yeni bir katkı sağlanacaktır. Anahtar Kelimeler: Osmaniye, Kadirli, Mimari. EL YAZMASI RESTORASYONUNA DAİR (ON MANUSCRIPT RESTORATION) Hüseyin GÜNDÜZ There are various factors that contribute to the deterioration of manuscripts. The use of highacid papers, inconvenient conservation and storage conditions, relative humidity, anaerobic storage, damages caused by vermin and booklice, folios sticking to each other due to glair and starch paste applied to the manuscripts and wiping the pieces with damp cloth are among primary factors that deteriorate manuscripts. This kind of handling and exposition to the aforementioned agents lead into severe damages of the manuscripts and may end up with irreversible effects if necessary measures are not taken. Manuscripts that require restoration are books, calligraphical plates, charter rolls and wood manuscripts. While the restoration and conservation of these pieces that are in the same classification show similar features, each of them requires delicate handling respectively. Patience, attention and diligence are of primary importance in manuscript restoration. The papers and folios that are used in restoration should be acid-free and in accordance with the texture of the original piece. The adhesive materials should be durable and acid-free. Another important procedure that should not be overlooked is to document the phases of restoration with photographs. AZƏRBAYCANIN TUNC DÖVRÜ PETROQLIFLƏRI (THE BRONZE AGE PETROGLYPHS IN AZERBAIJAN) Elnur IMANOV Azerbaijani territory is rich with the monuments reflecting material culture of Bronze Age. The petroglyphs are an important part of these monuments. From this view point, there are many interesting petroglyphs in Absheron, Gobustan, Gamigaya and Kalbajar. In the 30s of the twentieth century the study of petroglyphs was begun with the study of Gobustan by the eminent archaeologist I. Jafarzade. In 60 - 70 years there were found petroglyphs that had different composition in the territory of Absheron - Mardakan, Shuvalan, Aghan, Zire, Turkan, Ramana, Bendustu, Aghdashduz and others. In those years new rock drawings were found and studied in the Lesser Caucasus region – in Kalbajar and Gamigaya. The material culture, life activities, welfare, economy, beliefs of the Bronze Age people were reflected on the rock drawings more realistically and with detailed manner. The Gamigaya and Kelbajar rock monuments are located in the Lesser Caucasus region at an altitude of 3000 meters above sea level. The acient nomad tribes who had the same ethnic characteristics were the creators of the monuments of Gamigaya, Kelbajar and Western Azerbaijan called as Armenia nowadays. In the study of Bronze Age petrogliphs outstanding researcher - archaeologists Vali Aliyev, Gardashkhan Aslanov, Gudret Ismayilzadeh, Najaf Museybli and others published monumental research works. We believe that, in the future more detailed study of petroglyphs will help to study many problems of the Bronze Age in geography of the Turkic world. QƏBIRÜSTÜ ABIDƏLƏR TARIXI-ETNOQRAFIK, EPIQRAFIK MƏNBƏ KIMI (GRAVE MONUMENTS AS HISTORICAL-ETNOGRAPHIC AND EPIGRAPHIC SOURCE) XƏLİLOV Habil ABDURAHMANOV Elşən TEYMUROV Ramil Among architectural monuments of north-westdistrict of Azerbaijan Şheki grevestones, hold spesial place.Grevestones,are not only the sign of the place where a man was burried.These stones also have history of a certain time in their mind.Gravemonuments existing from past time were the only witnesses kept the events in their memory.

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The researchers had explored grave monuments widely in different districts of Azerbaijan.In addition,there are many grevestones in different graveyard and museums of our country that has not been explored.İn this article it will be dealt withdealt with about the shape,writing,style and texts of gravestones existing in mass graveyards in Şheki region. Keys worlds: graveyard, grevestone, taalik, nastalik, sulus 2. OTURUM (2. SESSION)-B Salonu (B Hall) Oturum Başkanları (Session Moderators): Prof. Sadettin SARI-Doç. Dr. (Assoc. Prof. Dr.) Murat HATİPOĞLU BURDUR-KEMER İLÇESİ AT KOŞUM TAKIMLARINDA YER ALAN EYER KEÇESİ VE HALI ÖRNEKLERİ (SADDLE FELT AND CARPET SAMPLES FROM THE HORSE HARNESSES OF BURDURKEMER COUNTY) Aysen SOYSALDI It is understood the kind of relationship a Turkish man has with his horse by the elaboration of the harness. Harness of the horse signifies the man's place in the society as a symbol of wealth, identity and weight. Horse harnesses include saddles, reins, saddle carpet or saddle felt, breast collars and horse-head ornaments for different uses such as migration, bride carrying, game of jereed, market work. In this study, a harness from Burdur province, Kemer county was examined. The harness collection, owner of which is Durmuş Erdem, is decorated with carpet and felt techniques. This collection includes; a horse saddle, leather-coated saddle carpet, tasseled saddle felt and two leather-coated carpet saddlebags. Made in the specified region and used until the last quarter of the 20th century, these samples of carpets and felt are a part of the extinction ethnography of Turkish life style as the tangible cultural heritage. For the making of artifacts in question buff leather, wool and cotton materials were used and chain stitch, hand stitch, carpet and tasseled felt techniques were applied. Beside the regional ornament features found in carpet works, saddle carpets show a resemblance with samples from Konya region. Keyword: Burdur-Kemer, harness, saddle felt, saddle carpet. TÜRK EL DOKUMALARININ GESTALT KURAMI AÇISINDAN İNCELENMESİ (STUDY OF THE TURKİSH HAND WEAVİNGS REGARDİNG GESTALT THEOREM) 1 Banu Hatice GÜRCÜM Ahmet AYTAÇ Traditional Turkish hand weavings that carry the way of life and philosophy of the Turkish tribes and nations, who occupied the territory from Central Asia to Anatolia in their colors and motifs, form a very special position in our cultural heritage. The individual weaving forms and techniques found in the traditional Turkish hand-woven carpets, the significance and symbolism of the motifs and the dyes and colors employed, all reflect the socio-cultural and socio-economic values of the period in which they were produced. The motifs and colors typical of Turkish carpets and kilims constituted an important medium of expression for the weaver and his community. The handwoven carpets mentioned thus are regarded as source material in the scope of the anthropology, ethnology, history, art history and ethnography of the periods to which they belonged, as well as of the general technical and economic background. Hand weaving, carried out on various types of looms without the benefit of modern appliances and demanding most meticulous handling at every stage of its production, from the preparation by the old traditional methods of the warp, weft and knot to the application of the natural dyes, is one of the Turkish material cultural heritage. When we examine Turkish hand weavings we conclude that the classical themes of logos, pathos, and ethos of the design theory have been accomplished unintentionally. This study aims to examine Turkish hand weavings regarding Gestalt theory

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which was first introduced in philosophy and psychology in 1890 by Christian von Ehrenfels. Thus, 40 hand woven items were examined according to the laws of Gestalt such as the grouping of similar, or proximate, objects together, within this global process. DÖŞEMEALTI-ANTALYA HALILARINDA RENK ÖZELLİKLERİ Ömer ZAİMOĞLU Kovanlık köyüne halı dokuma sanatı Yörükler tarafından getirilmiştir. Bu sebeple Kovanlık halıları göçebe karakterli ve küçük boylu eserlerdir ve Yörük kültürünün orijinal dokuma örneklerindendir. Kovanlık Köyü’nde dokunan halılarda gözlemlenen karakteristik özelliklerden biri de renkleridir. Bu çalışmada halılarda kullanılan renk özellikleri, örnekler üzerinden incelenerek değerlendirilmiştir. INFLUENCES OF THE TRADİTİONAL TURKİSH CARPETS ORNAMENTAL ART ON THE TRADİTİONAL MACEDONİAN WEAVİNGS Jasminka RİSTOVSKA PİLİCHKOVA With the comparative analyze of the ornamental and motifs of the traditional Macedonian

carpets, we could conclude that besides some of the local specifics in them, they consist the features of traditional ornamental culture. Determining the technical and production processes in appearance characteristics of the traditional ornamental carpets, we could recognize that in the traditional Macedonian carpets, are implemented in a specific way some of the basic features of the traditional Turkish ornamental art. In Macedonian carpets, as a part of Balkan traditional carpets art, can be found presence of motives and ornamental compositions characteristic for traditional Turkish carpets. Throughout given examples it can be concluded that in Macedonian traditional carpets, along with ornamental elements characteristic for Macedonian traditional ornamentals, at identical or modified form are consisted certain amount of elements and motives from Turkish ornamental art and its ornamental carpets. Over the years major part of them became an integral part of Macedonian traditional carpets arts. 3. OTURUM (3. SESSION)- C Salonu (C Hall) Oturum Başkanları (Session Moderators): Doç. Dr. (Assoc. Prof. Dr.) Burobiya RADJABOVA-Yrd. Doç. Dr. (Assist. Prof. Dr.) Mehmet SAĞ PLATON İDEALİZMİNİN TÜRK-İSLAM SANATI ÜZERİNE ETKİLERİ VE MODERN SANAT (THE EFFECT OF PLATON’S IDEALISM ON TURKISH-ISLAM ART AND MODERN ART) Osman YILMAZ Platon thought that the world we live is a copy, imitation and kind of ideas’ world. According to this idea’s world is metaphysics world and all things in the world take essence from it. Every shape in the world is a concept, projection and thought. It is possible to degrade every thing existing to thought. Ideas like kindness, honesty and beauty are values appearing in human mind and these values are reflection of ideas, too. All things concerning with beauty in the world receive a share from ideas. According to this art is a reflection, too and this reflection is the reflections of ideas. nature in the mirror. The duty of artists is to reflect worldly reality like mirror. Platon claims that this mirrorring removes artists from ideas. Because, as this world realities are copies of ideas, artist also moves away ideas by producing copy from copy. With accepting of Islam, Turkish people’s perception of the world, thought and life style changed. In Islam tradition, it may be said that the thought of believing God has the effects of idealist Patonic thought essentially. Turkish-Islam art tradition, it is possible to see the deep trace of Platonic thought in art apprehension which has reached until today. According to this, Islam thought refuses this temporary world reality and it attributes original reality to essence of a divine property. This idealist manner basically shapes Turkish-Islam tradition. In modern art, abstraction started taking place of figuratif form. Modern art which shows its first indication with impressionist art headed finding of own shape and tried to degrade forms in objects world to the simplest geometry forms. In this comprehension turning Kubism understanding, it is possible to see the effects of Platonic idealism. Because shapes are

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degraded to ideal forms which express property essence and modern art turns into surface art with this form. KARPAT HAVZASI’NDA BİR AVAR YAY USTASININ MEZAR KALINTILARI. ESKİ TÜRKLERDE BİLEŞİK (KOMPOZİT) YAY YAPIMINA İLİŞKİN ARKEOLOJİK BULGULAR Csilla BALOGH In this article is presented a burial of an Avar bowyer excavated in 2010 in Hungary (Fig. 1) and dated to the end of the 6th century or to the very beginning of the 7th century (Fig. 2-3). Its unique feature is that it consisted of a number of tools (Fig. 4) and semi-finished bow plates of horny material (Fig. 5). The man lying in the grave must have been a craftsman also making bows. He was buried according to nomadic rite, i.e. together with his horse and weapons. His tools (2 adzes, 2 hammers, a file, a saw, a splitting knife, a hand drill and a small two-pronged tool) were placed to his right calf. The semi-finished bow plates of horny material were placed in a melting pot. In connection with the interpretation of the finds from the grave, we try to reconstruct in accordance with specific archaeological finds how the dreaded weapon all over Eurasia, the composite bow of nomads, should have been made. On the other hand the tools found beside of the deceased reveal that the 40-49 year old man buried in the grave not only produced objects of bone and horn, but also dealt with metalworking. QƏDİM TÜRK MİFOLOGİYASINDA QADIN OBRAZI (THE IMAGE OF WOMEN IN ANCIENT TURKIC MYTHOLOGY) Elmira ABASOVA Mythology has an important role as the primary attempt of conscious attitude toward the self and environment. According to encyclopedic information ancient Turkic mythology is the mythological collection of all Turkish speaking peoples. According to researches primary mythology is the first source of modern moral culture, religion, art, folklore, at the same time it is the first source of philosophy. From this point of view turks are among those peoples who have their specific development. Their own trace and ambition in the history of mankind this richness helds special position with its originality by being divided into many branches. Though either animate or inanimate nature cults are the core of these myths, among those characters female image being the symbol of beauty, courage, sanctity, always is reflected in different motifs. Humay the daughter of God, the tale of the Cloud and the Mountain, the legend of the Fire and Moth, mother, woman images and others can be good examples for identification of female images in Turkish mythology. The defence of the give who was in the feare of a sudden encounter with her brother by atree of Turks is the symbol of trust and respect to the woman s dignity and love. NAXÇIVANIN MÜLKÜ TİKİLİLƏRİ (HAMAMLAR) (ESTATE BUILDINGS OF NAKHICHEVAN (BATH-HOUSES)) Aysel HUSEYNOVA Nakhichevan is one of the most ancient Turkish lands which is rich in great historical monuments. It is the culture and historical monuments that prove the antiquity of every nation. But the bath-houses located in Nakhichevan prove what ancient history the Autonamous Republic of Nakchivan has. 37 Azadkand bath-house of XVI-XVII centuries in the southern part of the lower Azadkand of Ordubad region, Upper Aylish bath-house of XVII-XIX centuries, Ustupu bath-house of XVIIXIX centuries locating on the left bank of Duyun river, in Hajali district from the south part of Ustupu village, Darakend bath-house of XV century with six-angled central hall, two tank pools and ancillary room which is unique in Transcaucasia for its appointment and plan structure, Vanand bath-house of XVII century which has access both to the village square and residential districts via “Long Street” of the whole area combining with the historical and architectural monument locating in Vanand village of Ordubad region, Ordubad bath-house of XVIII-XIX centuries which was reconstructed and repaired for several times in XX century and

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constructed in Eastern architectural style, Duylun bath-house which is considered to belong to XVIII century for its planning structure in Duylun village, Ganza bath-house of XV century which remains in the territory of Nakhichevan AR up to now, NusNus bath-house which belongs to the group of underground bath-houses in XIV-XV century, Ismayilkhan bath-house of XVIII century locating in Dada Gorgud square at the intersection of H. Aliyev Avenue and Tabriz Street of Nakhichevan city, Khok bath-house of XIX century locating in the center of Khok village of Kangarli region, Shahtakhti bath-house which was built by Isa Sultan, the grandfather of Isa Sultan Shahtakhti in the second part of XIX century, Nehram bath-house which was built by Asadulla Karim Bay in the middle of XVIII century in Nehram village of Babak region as well as the historical and architectural monument Yengija bath-house which is supposed to be built by Shahtakhtili Tovuz khan in Yengija village of Sharur region at the end of XVIII century, prove the antiquity of the Nakhichevan Autonomous Republic obviously. 4. OTURUM (4.SESSION)-A Salonu (A Hall) Oturum Başkanları (Session Moderators): Doç. Dr. (Assoc. Prof. Dr.) Osman KUNDURACI-Dr. Fariz HALİLLİ İÇ ANADOLU BÖLGESİ ÇORAP MOTİFLERİNİN ORTAK ÖZELLİKLERİ (COMMON CHARACTERISTICS OF SOCKS MOTIVES IN CENTRAL ANATOLIA) H. Feriha AKPINARLI Gülten KURT The art of knitting is a kind of handicraft art making a contribution bot to the individual and the country in terms of a free time activity, activating labour force, meeting the needs of the producer with the products obtained and at the same time having an income by marketing the products. Being the best examples of our material culture and knitting art, hand-knitted socks play a significant role in transferring, developing and maintaining the traditions, customs and lifestyles from one generation to another. Hand-knitted socks are knitted with such yarns as wool, cotton and mohair depending on the raw material and climatic conditions. In this way, hand-knitted socks varies depending on the climatic characteristics of each region, feelings and ideas of people, their way of life, the events and phenomena in a region, and on the features of motive, composition, tools and forms. One of the most significant feature of hand-knitted socks is their design and motive. Motive is the invention invented by its handicraft artist. Various events, phenomena with secret meanings are stylized and reflected in the product. The reasons of emerging these symbols and motives are the factors affecting the spiritual structure of human being. In addition, these motives as a basic component of Turkish decorating art have reached to their highest level with their richness and variety throughout the history and become the expression of traditions, customs, tastes, perception and believes of a community. In this paper, the hand-knitted socks having been and still being produced in the region of Central Anatolia (Ankara, Çankırı, Çorum, Eskişehir, Kayseri, Konya, Sivas and Yozgat) had been introduced in terms of their motive and composition features and their common characteristics had been determined. Keywords: Knitting, Socks, Motives, Tradition Çorap Motiflerinin Ortak Özellikleri RİZE İLİ ÇAMLIHEMŞİN İLÇESİNDE ÖRÜLEN ÇALİKLİ ÇORAPLARIN BAŞLIK KISIMLARININ KOMPOZİSYON VE TEKNİK ÖZELLİKLERİ COMPOSITION AND SPECIALITIES OF FRONT PART OF CALIKLI STOCKINGS KNITTED IN RIZE CAMLIHEMSIN TOWN Zekiye ŞENTÜRK Hilal ŞAHİN USTAOĞLU Handmade arts are being made mostly to remedy daily necessities in Black Sea Region. Colorful designed knittings called calikli in the area belonging to there, being made in Rize

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Camlıhemşin are made moving forward technigue with a different thread mostly for this goal. When seasan conditions and living alternatives are taken into conssideration this stockings that are being used for four seasons attrackt as constont handmade of tea reion. İn the are these stockings mostly are used by women are important part and imposing symbol of trousseaus. Traditionally producted stockings and knitted with five kinittng needle take form six parts as beak, buttom, heel, wrist and cop. Attracting cop parts of the stockings sensitive designed motives by productors, different compositions and technical specialities have been attracting. The goal of this study; it is for informing about calikli stockings knitting in Camlıhesin and evoluation of technics. Observation and research method have been used as a process in the study. As a conclusion obtained four different calikli stockings have been evaluated by the point of composition and techingue, information forms and motive patterns have been taken form. This study that has been analysed cop parts of calikli stockings knitted by a special techigue is important by the point of prolonging of culturel values to attribute reaching next generations and as an example of similar studies. Key words; Stocking, Snitting, Camlıhemsin, Calik AMASYA İĞNE OYALARININ TEKNİK, RENK ve KOMPOZİSYON ÖZELLİKLERİ (AMASYA NEEDLE EMBROİDERY TECHNİQUE, COLOR AND COMPOSİTİON FEATURES) Nurşen ÜNAL KOYUNCU 7500 years of history and a cultural heritage that exceeds witness thousands of Amasya process to distinguish history from a cultural communite.value which is stored in numerous future offensive showing the characteristics are different characteristics and traditions. Products generated through traditional crafts and experiences are our tangible cultural values passed on to future generations with different applications and design. Amasya distracts hosts in the finest and most beautiful examples of crafts continues today still maintaining its continuity. Amasya fading away from the fact that each of the voting continues to shake off traditional means of communication among the many crafts and experiences are had. The aim of our research is located in Amasya, produced and general features of the ongoing needlework to be taught, technique, color and examine the raw material to reveal the differences with the other provinces and to obtain data that will be the source for future generations. In collecting a source of the data obtained, transferred and which will be supported with photographs is important to shed light on the cause of further research. KEY WORDS: Needle, Lace, Traditıonal 5. OTURUM (5. SESSION)-B Salonu (B Hall) Oturum Başkanları (Session Moderators): Doç. Dr. (Assoc. Prof. Dr.) Mutluhan TAŞ-Dr. Csilla BALOGH TÜRKLERİN EN ESKİ TARİHİ: ULU HAN ATA BİTİGCİ KİTABI Necati DEMİR Mısır Memlüklü Devleti zamanında Mısır’da, aslen Türk olan Seyfüddin Ebu Bekr b. Abdillah b. Aybek ed-Devâdârî adlı bir tarihçi (d. ? - ö. 13 Receb 713 / 3 Kasım 1313) yaşamıştır. Aybek ed-Devâdârî, hayatı boyunca babasının görevi vesilesi ile daima babasıyla gezmiştir. Dolaştığı yerlerde önemli eserleri elde etmiş veya görmüş, okumuş ve özetini çıkarıp eserine işlemiştir. Okuyup eserine işlediği kitaplardan bir tanesi de muhtemelen Orhun Yazıtarı’ndan önce Türkçe olarak kaleme alınmış Ulu Han Ata Bitigci Kitabı’dır. Bu eserin özeti onun Dürerü’t-Ticân ve Gurerü Tevarihi’z-Zaman eserinin içerisinde yer almaktadır. Burada verilen bilgilere göre Ulu Han Ata Bitigci Kitabı, Türklerin en eski tarihi sayılan Orhun Yazıtları’ndan öncedir. BİLİNMEYEN YÖNLERİYLE ŞEHNAMECİ FETHULLAH ARİFİ ÇELEBİ (v.960/1562) (UNKNOWN ASPECTS OF SHAHNAME WRITER FETHULLAH ARIFI CHELEBI (v. 960/1562)

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Bilal DEDEYEV The first official shahname writer of the Ottoman Empire was Azerbaijani poet, penman, and miniaturist Fethullah Arifi Chelebi who used the nickname of Arifi in his poems written in Turkish and Persian. Till 1545 there is no information about the life of Fethullah Arifi Chelebi the grandson of Ibrahim Gulsheni one of the famous Halveti Sheykhs. But based on 2 different Ottoman documents, he was the shahname writer in Safavids and after the battle of Chaldiran he was taken from Tabriz to Istanbul by Sultan Selim. The poet of the XVIth Ahdi Baghdadi resembled his lyrics to Nizami Ganjavi style and noted that he was able to site 500 couplets of poem in a day. In other document dated to 1556, the period of Ganuni, under Fethullah Arifi there was a private miniaturist workshop with 15 miniaturists, 32 clerks, and one bookbinder. His famous work as a shahname that was finished in 1558 and contained 60 thousand couplets and 69 colored miniaturs was "Shahname-i Al-i Osman-i". Till 1559 Fethullah Arifi Chelebi continued his job as the shahname writer, after that time he left his job and moved to Egypt where he died after 3 years. Key words: Azerbaijan, the Ottoman Empire, Shahnama writer, Fethullah Arifi Chelebi. AŞIK PENAHIN SAZ VE SÖZ DÜNYASI (THE WORLD OF SAZ AND WORD OF ASHUG PENAH) Aynure SEFEROVA Ashug Penah is one of the prominent representatives of the creative work of turning peg of the XX century. Ashug Penah became famous as greate ashug-poet of his time with his goshmaes, geraylies, his greative talent and specific performance manner. Ashug Penah has taken part in national festivales, in wedding parties, in public places and state ceremonies actively. People has loved him so much for his original voice, specific propriety in parties and his performance ability. When we readed ashugs goshmaes, tajnis and ustadnames and poems praised mother country we understand that, ashug has guarded his creative work decently and has passed it to future generations. Key words: ashig, saz, Ashig Penah, Shirvan ashug sphere 6. OTURUM (6. SESSION)-C Salonu (C Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Hüseyin KURT-Doç. Dr. (Assoc. Prof. Dr.) Banu GÜRCÜM TÜRKİYE VE AZERBAYCAN`IN SANAT ALANINDA İŞBİRLİĞİNDE AZERBAYCAN YARATICILIK BİRLİĞİNİN GÖREVİ ‘1960-1980`LI YILLAR’ (ROLE OF AZERBAIJAN CREATIVE WORK UNIONS IN THE COOPERATION IN THE ART SPHERE OF TURKEY AND AZERBAIJAN ‘1960-1980 YEARS’) Nisbet MEHDİYEVA Culture, and art which is content part of it, play significant role in moral development of community. Art also actively participates in the process of formation of public ideas. Successes, obtained in the sphere of art in 60-80 years of XX century, was connected with the activity of creative work unions. Definite components of art cover practical works conducted and realized by creative work unions. Unions of Composers, Artists, Theatre figures and Filmmakers can be indicated as example. There are also specific personal features of these unions. Composing of music, creation of painting pieces, presenting new stage works, taking movies and etc. are concerned of their activity sphere. Azerbaijan creative work unions paid the special attention to the matters of creation and development of relations with foreign states in the sphere of art too. These relations have great role in recognition of Azerbaijan creative work unions and intellectuals in foreign states. One of these countries was Turkey. Azerbaijan Union of Composers has many forms and means of relations in the sphere of culture, especially on art. Main activity sphere of this development includes conducting, staging the pieces, creative work visits, participation in festivals, giving concerts and etc. Members of Union of Artists go to creative work trips and make new pieces. Presentation of

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these pieces in Turkey and Azerbaijan is realized by Union of Artists. Holding of exhibitions titled “Foreign states with eyes of Azerbaijani artists” is a part of main activity of union. Azerbaijan Theatre Community attracted the attention with subject of pieces, producer and actor exchange, performances on tour, plays from the dramatic composition of various people and other forms of creative work relations. Art of movie, which is popular part of art has definite role in noteworthy, mutual cultural relations. Azerbaijan Union of Filmmakers has great role in formation of relations in the sphere of art. Relations of Azerbaijan creative work unions with Turkey in the sphere of art compose essence of work. AZƏRBAYCANIN ŞIRVAN BÖLGƏSININ MUSIQI SƏNƏTI HAQQINDA (XIX-XX. ƏSRİN ƏVVƏLLƏRİNDƏ) Könül ƏSƏDLİ It has a distinctive regional characteristics of the culture of the material and spiritual goals. Art of Music is an integral part of the spiritual world of the people as a whole. Balaban instrumental music distinguished by the specific characteristics of the art of Shirvan – saz, balaban, nagara and goshanagara joint is distinguished by a complex and elaborate. Ali Karimov, the modern master of Agsulu Balaban flat horns - founder of the school is considered to be sung. One of the well-known folk craftsmen making mockery of Shirvan-known singers mədhəsən Mirza Ismail's son was born in Shamakhi Felekzade mid-nineteenth century, lived opportunities. Abu Bakr Shirvani Shirvan region of outstanding musical figures, but all have been connoisseur of the art of music. The theoretical and practical aspects of music free of charge, which is deeply familiar to us from the rich musician only "Music - Ixvanus Safa" work remained. Shirvan, which holds a special place in the art of music and the image of the minstrel played environment and the traditional style of the original, which is considered a minstrel environment. The main theme of the nineteenth and early twentieth century ethnographic players Shirvan minstrel poetry, love - love motives, beauty, admiration, zəmanədən complaint, the Tsar was the arbitrariness of local officials. Playing, calling, mysterious, soul-nourishing art of mugham music is impossible to imagine Shirvan. Non ordinary, pervasive and unique voice, singing masters of their own sets of music from a line of Shirvan - the popularity of the name - thought not only in the East, and even Europe, from America, so widespread, pervasive fascinated by the sound of people of various nationalities, which has caused deep respect. The region's world-renowned masters of music they read "Shur", "Rast", "Mahur","Chahargah", "Bayati - Shiraz" is not only in our country, have brought honor to our people all over the world, men have gained popularity. It is known that in the middle of the nineteenth century, the St. Petersburg Academy of Arts, Vice-dent G.G.Gagarin Prezi some regions of Azerbaijan, including in Shamakhi− in Shirvan was created beautiful works of art. His "Shamakhi dancer" at the table of Shirvan virtuoso performers, dancers gather information about the ethnographic work of art can be considered a valuable point. Widespread national dances in Shirvan, Alcagulu, Ceyrani, Heyvagulu, Naznazı let's air and b. can pull names. PELIVAN WRESTLING IN MACEDONIA Dragan VUCKOV Today, pelivan wrestling is kept on the festivals which are organizing here in Macedonia. The festivals that we are going to present here are: -Hid Bah Sen Fest – Hidrellez in Calakli, Municipality of Valandovo, Republic of Macedonia and -Studenicani – Republic of Macedonia. The folk wrestling in Macedonia unlike the other folk sport games such as stone throwing, long and high jump and others has the oldest tradition. It is becoming popular after the Ottoman conquests of the Balkan. Since then a lot of benefits from the oriental heritage were incorporated in many parts in the ethnic culture. The pelivan wrestling was part of that heritage. This type of folk wrestling with its specific elements primarly and mainly started to spread among the islamized population.

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At the wedding pelivan fights participate local pelivans but also pelivans from the neighbouring such as from distant villages. It was rare to find a village with islamized Macedonians, Turks or Albanians without at least two pelivan fighters. Having the opportunity to watch couple of pelivan competitions we found out that most of the pelivan fighters today are members of the Islamic religion and they think of it as their heritage. Thus, except the Turks as the founders of this kind of wrestling, lots of Macedonians and Albanians which somehow or for variety of reasons accepted the Islam religion have started to practice this sport discipline. Great number of the sources found lead to the fact that pelivan wrestling as a sport discipline is brought to the Republic of Macedonia with the Ottoman invasion of the Balkan peninsula. In support of this is the fact that in the past the wrestlers were exclusively men from the Turkish population. Later, men from the Islamic population were wrestlers as well which just point to the fact that this type of wrestling was largerly accepted by the Muslims in the Republic of Macedonia. The wrestler who take part in the pelivan wrestling is called pelivan and the winner of the competition is called baspelivan. The correct pronunciation of this word is pehlivan but in the spirit of our language the letter h is silent. This word has two meaning, it means a fighter and a hero. The pelivan wrestling is an old ritually and knightly sport competition between two prominent fighters which is still present in the Republic of Macedonia. This type of fighting is also called “gjures”. “Borenjeto” or “borejne-gjures” as this old sport discipline was called in the past in the region of Gevgelija, was the most popular among the young people. It was treated everywhere as knightly fight in which both physical strength and the skills should be shown. Before starting the fight the pelivan wrestlers douse themselves with oil so it could be harder for the opponents to grab them. Making a comparison between the wrestling and the pelivan wrestling, Konstantinov conclude differences, some of which are essential and other formal. He refer to some special movements and the specific type of equipment such as wearing “kispets”, dousing with oil, rituals, music accompaniment, methods of judging, declaring winners, remuneration etc. The pelivan fights were usually held in spring and summer, in honour of some religious holiday or at weddings and sunets among the Muslims. Pelivan fights which are held on religious holiday are connected with the date on which the holiday is celebrating, and the fights which are organized for the family events such as weddings or sunets are organized spontaneously, ordered by the hosts. GELENEKSEL TÜRK TİYATROSU TÜRLERİNDEN KARAGÖZ’ÜN TASAVVUF İLE OLAN BAĞI (THE LINK OF KARAGOZ, A GENRE IN TRADITIONALTURKISH DRAMA, TO TASAVVUF) Hüseyin ŞEN Karagöz which is one of the most important genres in Traditional Turkish drama was the most preferred amusement by public in Ottoman era. However as well as it’s funny, Karagöz has also a religious aspect. Shadow Theater generally makes their audiences think about mystical things. Karagöz includes contrasting topics like light / darkness, truth / dream and meaning / appearance. This aspect is obvious, especially in poems which are recited by hacivat at the beginning of the performance. this religious and mystic aspect will be studied in this paper. 7. OTURUM (7. SESSION)-A Salonu (A Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Ali BORAN-Doç. Dr. (Assoc. Prof. Dr.) Emine KOCA AZƏRBAYCANDA TƏHSILIN VƏ ELMIN INKIŞAFINA DÖVLƏT QAYĞISI ‘1969-2000-CI ILLƏR’ (STATE CARE ABOUT THE DEVELOPMENT OF SCIENCE AND EDUCATION IN AZERBAIJAN ‘THE PERIODS OF 1969-2000’) Shikar QASIMOV Over the last 24 years of the restoration of our independence, the passage of the way of development of Azerbaijan is the reality accepted in the world. During the period of

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independence, began since 1969, the necessary achievements were gained in the area of Azerbaijan's integration into the global community. The periods of 1969-2000 was the effective stage of development of Azerbaijan educa-tion and science. Meanwhile, with the exception of a few years today the stage carried out entered into the History of Azerbaijan as the real progress and growth period of science and educa-tion. In the years of 1969-1987, the development of science and education in Azerbaijan has always been at the center of attention. The reforms in education has become systematic case, the new Higher education schools and their affiliates were established. The sending of Azerbaijani youth to the leading Higher education schools of USSR became popular. More than 15 thousands of Azerbaijani specialists were prepared on more than 250 of unique specialties in more than 50 city of USSR till 1982. The number of higher education schools increased from 12 to 17 in 1969. The crisis and the recession that began in the field of science and education as in all areas beginning since June, 1993 were prevented. The Favorable conditions were created for the development of a national education system. Progressive reforms were carried out in sequence in the field of science and education . Higher education was held to twotier system since 1993-1994 academic years. The private high schools were established. The state universities and colleges began accepting students on a fee basis. The President met with the scientists in Azer-baijan NAS in September of 1993 and January 31 of 1997 and hereby put an end to the rumors circulating about the National Academy of Sciences. He specially noted the necessity of reforms in the field of science. Accordance with the instructions of the President the publication of 7 volume “The History of Azerbaijan” was completed by ANAS. “The History of Karabakh", “The History of Iravan” and other books were written . “The reform program in the field of education of Azerbaijan Republic” was certified after extensive discus-sions on June 15,1999. In the first years of our independence, at the time when the country was in financial difficulties, the special attention was given to education the fund from the budget allocated to education was increased year by year. If, in 1990, 113.2 billion manat allocated from common budget to education, this figure was 1216 manat by increasing more than10 times in comparison with 1990 in 2003. The salary of education employees were increased 9 times in 1993-2003. The social status of students studing in abroad at public expense was in the center of attention every year. 2,4 billion manat funds was allocated for the providing scholarships for each of the 700 Azerbaijani students studing at the public expense in Turkey. Also, the Honorary fellowships for the talented youth, “Golden book” were established with the President’s decree and the decree "On the improvement of the education system in the Republic of Azerbaijan" was issued on June 13, 2000 . According to the decree the autonomy was given to a number of universities, its 12 affiliates were established in The Institute of teachers and regions. On May 15, 2001, the public status of Azerbaijan National Academy of Science was strengthened by the decree of President. In June, 2001, elections were held for full and active members of the National Academy of Sciences. 29 academic and 91 associate members elected in the elections. So, the number of the members of Academy increased from 79 to 177. In 2002, Nakhchivan branch of ANAS was established. The President’s decree dated October 04, 2002 and February 17, 2003 has an important role in the expansion of strengthening the material-technical base of the schools and school construction. Thus, during the periods of 1993-2004, 287 of new schools buildings were built in Azerbaijan. It is the result of the provided care that expenditure allocated to education has reached to 1.2 billion manat by increasing more than 6 times in comparison with the year of 2003 in 2010. As a result of this care according to the state program as a whole in 2005, 46732 of seats, 328 of new schools and additional corps, including 36016 seats, 194 new schools and also 13716 seats, additional corps in 134 schools were built from different sourcesn and 396 schools have been renovated. In 2006, 841 schools were provided with ICT and other equipments. 16 state programs have been adopted in the last period. Since 2005, Azerbaijan has joined to the Bologna process, important steps have been taken towards the integration into the European education .

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The Credit system have been applied in all of the higher education institutions in the Ministry of Education system. The right to autonomy was given to 7 leading higher education institutions of Azerbaijan. The most important thing is the adoption of the Law of the Republic of Azerbaijan about the “Education” in 2009. The decree signed by the President about the establishment of a prize of the best teachers and secondary school dated September 4, 2007. A series of decrees, orders signed by Mr. Ilham Aliyev the President of Azerbaijan Republic and the success of today's education in Azerbaijan enable us to say that the reform program carried out in the field of education in Azerbaijan, today is successfully carried out with the state care. AZERBAYCAN TÜRKÇESİNDE VE KÜLTÜRÜNDE ‘EKMEK’ KAVRAMI (THE CONCEPT OF THE ' BREAD ' IN AZERBAIJANIAN TURKISH AND CULTURE) Naile HACIZADE Fikret HACIZADE All the culture’s details of a nation live in its language. Language that gives a life to material and spiritual cases, is an area where live all of the concepts. Concepts can be explained and studied with the language data. In the material culture of the Turks the concept of 'bread' has a special place. This concept has an important symbol function and enters to spiritual culture field. Turkish moved 'bread' concept with its various aspects from ancient times to the present day. In Azerbaijanian Turkish for the general expression of the concept of 'bread', it is used the word 'chorek'. It’s very interesting that the word 'chorek' passed also into Russian with the meaning of ‘donut'. Azerbaijanian Turkish hosts the names of the various types of bread as a material culture expression in its lexicology. The idioms and proverbs that have these names lighten to the past of this concept. The basic lines of the concept of ‘bread’ in the language table of Azerbaijanian Turkishcan be described briefly: Bread, connects the person to the existence and outside world. Bread is a source of livelihood. And it’s always appreciated that the person gains his bread with his own labor. Bread binds a person to the community; in relationships between peopletheattitude of the person to the bread as asymbol has been always important. Bread binds a person to Holy one, to God. It can be seen that objects which have vital importance also gain symbolic meanings in the idioms that there is ‘chorek’ word. Switches to the fore here the pinpointingof the bread’s Holy feature. Some specific beliefs in daily behaviorsalso related to the holiness of bread. It’s also interesting that the bread ties with the means of spiritual cultureis used as swears. All the features related with the concept of bread will be discussedwith all the details. Keywords: Language, culture, Azerbaijanian Turkish, concept, bread SASSANID DUCK IN THE CRIMEAN MOUNTAINS. TO THE QUESTION OF INFLUENCE OF THE POST SASSANID ART ON THE ART OF THE CRIMEAN TURKS OF KHAZAR TIME Vyacheslav BARANOV After the fall of the First Turkic khaganate a new Turkic state – Khazar khaganate – was established. It played a key role in the history of Eastern Europe in the last quarter of the of the I-st millennium AD. The interests of this state covered vast areas, including the Crimean peninsula. Among the early medieval Crimean ceramics, archaeologists found a group of objects, which have analogies to the post Sassanid art. Three such vessels are known presently. All of them are relate to the local well-known “oenochoe-shaped vessels of Bakla type". Two vessels were found on the territory of necropolis of Bakla. Both have a profile image of a bird with a neckcloth and a festoon - a well-known Sassanid and post Sassanid theme, finding analogies in Central Asia and Iran. The third vessel’s image is more complicated (place of discovery is unknown, probably the South-Western Crimea). There are 2 figures, male and female, on the

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vessel made of ¾ view. This technique wasn’t in general use in the medieval Crimea’s art. The clothing worn on the figures have analogies in the Central Asia’s art. Now it is difficult to understand why Sassanid’s themes objects appeared among Crimean Turks. It is unlikely to talk about trade; because all artifacts have a local origin and only the image connects them to the post Sassanid world. Rather we can suggest the migration of a small group of migrants from Central Asia to the khazars' land. Such resettlement could be suggested after the Talas battle and Arab’s conquests of Sogdiana. RUSIYADA TƏTQIQ OLUNAN VƏ RUS DILINƏ TƏRCÜMƏ OLUNAN MODERN TÜRKIYƏ ƏDƏBIYYATI (MODERN TURKISH LITERATURE WHICH INVESTIGATED AND TRANSLATED IN RUSSIA) Ülkər SƏMƏDOVA Eynulla SƏMƏDOV In our article we will investigate modern turkish literature which was investigation and translation object by russian scholars and translators. We will do it from 2 point of view. In the first part we will discuss turkish literature as a investigation object but in the second part as the translation of the modern literature into russian language. The following examples will be investigated in the first part. 1. Post modernization in Turkish novel on the basis of Orkhan Pamuk’ s prose. This work was investigated by Suleymanova A.T. 2. Orkhan Pamuk’s prose and comments by different scholar about pamuk’s prose. This work was investigated by Lorionova Y.I. 3. Modern Turkish city novel. This work was investigated by Anikieva T.A. 4. Folk stories in modern Turkish drama. This work was investigated by Aqanova Y.A. 5. Namig Kamal in Russian sources. This work was investigated by Kazimova F.R. 6. Turkish literature with XIX-XX centuries. This work was investigated by Elena M. 7. Turkish novel in 1920-1950 years. This work was investigated by Alkaeva L. 8. Turkish prose. The collection of articles. This work was investigated by Yakovleva N.S. 9. Turkish poets and writers. This work was investigated by Fish R.Q 10. About Turkish realism. This work was investigated by Ayzenshteyn N.A 11. Turkish writers who lived II part of XX centuries. This work was investigated by Karbuzova V.S. 12. Turkish literature in XVII-XIX centuries. This work was investigated by Mashtakova E.I. In the second part we will discuss modern Turkish literature which translated into Russian language. 1. 60 poem from Turkish literature was translated into Russian. It was publish as a book 1959. 2. “My name is red” by Orkhan Pamuk. 3. “Cevdet bey and his sons” by Orkhan Pamuk. 4. “The fall of leaves” Reshat Nuri 5. “Stories about Istanbul” bu Nazim Hikmet 6. “100 years” by nazim Hikmet In this article will discuss the position of Turkish literature in Russia, the list of translations from Turkish to Russian language. The investigations about Turkish literature in Russian Universities. 8. OTURUM (8. SESSION)-B Salonu (B Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Tamilla ABBASHANLI-Doç. Dr. (Assoc. Prof. Dr.) Faiq ELEKBEROV TÜRK RESMİNDE D GRUBU RESSAMLARINDA GÖRÜLEN KÖY TEMASI Ayşe OKUR Yeşim ERMİŞ

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İlyas SEVİNDİK Development and advancement of traditional Turkish art of painting began to enter the Westernization process together with the recent reform movements in the Ottoman Empire. Various art activities and art groups have played a vital role in the westernization of Turkish art. Group D, one of the groups that play an important role in the painting process of westernization, reflect the artistic trends prevalent in the West by bringing the views of contemporary art to Turkey. After the first period of imitation of Western concept of art, D Group artists began to turn to Anatolian color and tradition with the consciousness that progress in the art work could take place with local resources. Inclination for Western art has continued on the one hand but also rich tradition of Anatolia and the surrounding beauty were reflected in the artwork by giving place to traditional arts and examples from public life. In addition to art historical data, Group D artists thought it was necessary to use Anatolian village and rich village embroidery in order to create a difference and therefore they gave importance to the theme of village in the artwork. D Group, in the process of turning to Anatolia after the first period of foundation, used village as the source of the tradition and usage of village as a theme is the subject of this study. Bringing together the descriptive data obtained by the screening method, the study reached the following conclusions: Since 1933, in Group D artwork, localization has begun and the theme of village next to the traditional art included topics such as village life, rural food culture, village local clothes, local architecture, and laborer working on the field. Painters who focused on the theme of village most intensely, such as Turgut Zaim, Bedri Rahmi Eyuboglu, Abidin Dino and Eren Eyüboğlu sought to reflect carpet, rugs, saddlebags, motifs on the rug and wool socks, woven in the clothes, rural embroidery samples in their work. Keywords: D Group, theme village, the village folklore. BATI RESİM SANATINDA TÜRK ASKERİ KÜLTÜRÜNÜN İZLERİ (THE EFFECT OF TURKİSH MİLİTARY CULTURE ON WESTERN PAİNTİNG ART) Osman SÖNMEZ The researchers are interested in Turkish history agree that the Turks are soldier nations. This military culture has not only a strong army but also it refeers the way of all people. Naturally Turkish culture and art are effected from Army culture Another reality is that all nations were influences by this Turkish Army Culture. This culturel interaction effected the big part of Eureopa including religion literature, art, architecture and social life Especially in West Painting, Rafael, Gentile Bellini, Johan Zoffany Hermann Wislicenus, Mihael, Munkacsy, Eugene, Delacroix who have a distinguish place studied Turkish military subjects in their works. Western painters, according to the Period of Ottoman political and military situation, sometimes reflect their admiration and sometimes theirs fears and hostility. We in Western painting in the short run, we try to give examples from traces of the Turkish military culture. In this short study, We will try to give examples of the Turkish military culture. Keywords: Culture, Military, Turkish, Western Art. TURGUT ZAİM’İN RESİMLERİNİN OKUNMASINDA GÖSTERGEBİLİMSEL BİR YAKLAŞIM (A SEMIOTIC APPROACH TO THE TURGUT ZAİM IMAGES) Elif SABANCI We have difficulty to express what it would be on the canvas. Formally tell, we can not declare our thoughts, most of the time. To provide an opinion on drawings, we should have some knowledge. Firstly we need to know our culture and we need to understand the culture of the symbols. In this study, two paintings by Turgut Zaim will be analyzed in semiotical way. First, some information is given about semiotics, and then the drawings are analyzed in the light of this information. Key words: Semiotics, Turgut Zaim, Turkish Painting, Interpret. (THE TURKISH LITERATURE THROUGH MODERNISM ENVIRONMENTAL FACTS IN POINT VIEW OF THE AHMET HAMDİ TANPINAR)

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Uğur DEMİRLEK This work is going to be about dealing with novels of the Ahmet Hamdi Tanpınar’ s “Saatleri Ayarlama Enstitüsü” and the Franz Kafka’s “Dava” in domain of the environmental facts through light of investigating comparative literature informations. In this sence, it deals with how the environmental facts are reflected on the both novels as well as how environmental facts are interacted by main characters in both novels through the comparative way. What’s more, it examines the popped up-modernism in turkish literature by revolution-like drastical changes and by how both novels are gotten affected in environmental facts. As we know, europe enlightenment bestows drastical positive development in scopes of the economical, political, cultural and art. The well-known pioneer of the austrian literature, Franz Kafka is also affected by those changes and eventually he reflected on his work that how people became destroyed, exhausted, aimless in modern life. As a community, our country is also inevitable affected by universal modernism deviations and Ahmet Hamdi Tanpınar as well is got affected by those modernism like much of Kafka. Moreover, he underlined community problems like opposite atmosphere of east-west and old-new in his novel of the “Saatleri Ayarlama Enstitüsü”. In his work, he dealed with environmental facts in turkish literature by sample texts of turkish culture, art and literature and as well how they are affected by those. OKUL ÖNCESİ ÇOCUK RESİMLERİNE GÖSTERGEBİLİMSEL AÇIDAN BİR BAKIŞ (SEMIOTIC PERSPECTIVE ON PRESCHOOL CHİLD DRAWİNGS) Mehmet SUSUZ Semiotics is a science that studies the meanings of marks that we come across in almost all areas of community life. These marks are used as a communation language in the regulation of social life in a way. Arts, considering it is a communication language at the point of expressing thoughts and feelings, it would be appropriate to say that it is also a part of semiotic studies. This study will present a semiotic approach to preschool child drawings. Preschool child drawings can be considered as a kind of reflection/expression of the surface of child`s feelings and thoughts. In order to help children get through this process in the best way physically and mentally, it is necessary to analyse the pictures they have drawn. This way, the necessary steps can be taken in order to help children`s development. In this study, referring to the artistic development of children, two application examples will be given and these applications will be presented in a semiotic perspective. The results and recommendations will be submitted according to the findings. Key Words: Semiotic, Art Education, Child Drawings 9. OTURUM (9. SESSION)-C Salonu(C Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Misho NETKOV-Doç. Dr. (Assoc. Prof. Dr.) Naile HACIZADE TÜRK EL SANATLARININ TASARIM TESCİL SORUNLARI (DESIGN REGISTRATION PROBLEMS OF TURKISH HANDICRAFTS) Hatice Feriha AKPINARLI Hande Ayşegül ÖZDEMİR Muazzez KORKMAZ Handicraft the products which depend on the knowledge and skill of one or more artisans, are done by using hand or tool, and have traditional, regional, functional, aesthetic, artistic, cultural, decorative, religious and social characteristics. The designs can be protected in two ways which are with registration and without registration. The handicrafts which are produced by traditional methods but are not presented to the public visually are protected without registration under the Law on Intellectual and Artistic Works and Turkish Commercial Code Unfair Competition Provisions as long as they meet the conditions. The new and distinctive outlooks of the products are taken under protection by design registration. The applications are registered officially only by being examined within the terms of application and the framework of Protection of Industrial Designs Law No. 554 Article 3. The applications meeting the conditions are registered and announced by being published on

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Official Industrial Designs Bulletin. If no objections are made or the objections aren’t accepted in legal reclamation period of 6 months, the registration certificate of design is sent to the applicant. The rights and authority to use registered design belongs to the right of design holder. In the event of a violation towards the rights of the holder, the right holder can file a law case or criminal action in accordance with the Law No. 48. It is necessary for the handicrafts which reflect the soul of Anatolia to become widespread for both Turkish economy and the emergence of the identity of Turkish designs. The registered designs let the right holders to use the design monopoly for maximum 25 years and make it possible to take legal actions against those who violate these rights. This subject is importance because of our handicraft masters and individuals which are working in this field doesn’t have enough information to protect their products Registration and protection of handicrafts related laws, with necessary explanations and examples of events will be announced in this statement. Key Words: Registration, Handcrafts, Protect, Design FİKİR VE SANAT ESERLERİ KANUNU KAPSAMINDA ESERİN TANIMI VE MUHTEVASI (DEFINITION AND SCOPE OF CONTENT OF THE WORK ON INTELLECTUAL AND ARTISTIC WORKS ACT) İsa ELİRİ The development of humanity, it is possible the synthesis of thought. But thoughts, as worn outside world, one can not go on such a case. Because of the insight and the ability to review each person it is different, the difference here is, objectively occurring, is more or less a work containing the characteristics for a particular view. Creative minds can not remove the outside world exactly what they get from the outside world. "creative minds, they collect penetrates from the outside world, adding them to the products of his own imagination transfers several times outside world." Characterized in that point; He thought unique to be understood as the outside world in a way that reflects status assigned to it. The subject of protection of Intellectual and Artistic Works Act "Work" is. Called the work, a material transfer vehicle on a winning independent feature to be formed thoughts products, it is the fact that the legislation requires. In fact, thinking rights, not the thoughts expressed in a book, given to this way of thinking, which has the effect of thinking and traces of the structure is organized as a legal protection issue. In this case, each work is the first owner received a certain way, communities are formed, due to the spiritual bond between the material existence with the thought of winning ideas must respect this relationship. Keywords: Work, Intellectual Property Rights, Art. KÜLTÜREL MİRASIN SÜRDÜRÜLEBİLMESİNDE ÖZGÜN TASARIMLARIN VE İNTERNET ORTAMINDA PAZARLAMA STRATEJİLERİNİN KULLANILMASI: EL EĞİRME İPLİK ÖRNEĞİ (ORIGINAL DESIGNS AND WEB-BASED MARKETTING STRATEGİES FOR THE SUSTAINABILITY OF CULTURAL HERITAGE: HAND SPUN YARNS) Banu H. GÜRCÜM Mahmut YALÇIN Modernization and industrialization that the world witnessed from the beginning of the nineteenth century has been threatening traditional handicrafts globally. Although each of them has been accepted as a revolution from the point of manufacturing and engineering disciplines, modernization and industrialization have been reported to terminate traditional habbits supporting globalization.The rare products, artefacts, masterpieces of art that have once been manufactured in small ateliers by skillfull craftsmen and artisans with many efforts together with skill and elaborate consideration, are today being transformed into massproduced items that are manufactured by unskilled workers in unsophisticated, elementary machines and giant factories in vast numbers. In other words industrialization has been substituting skilled artisans with unskilled workmen and automated machines. However, as one of the most valuable material product groups of our cultural heritage fabrics, carpets, rugs, mats, namely hand-made textile products reflect the way of life and form a database for the new generation transforming themselves into contemporary living styles for centuries.

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Therefore, in order to protect national aspects and creative essence of our cultural heritage in handicrafts and traditional production, different sustainability solutions should be proposed. The same approach should be concerned when a textile designer subjects traditional aspects in her/his designs. Inevitably, a textile designers main intention should be to transfer traditional elements into modern, original collections without degenerating cultural and traditional aspects, forms and methods. Design concept should be determined with care by the producers of folkloric handicrafts and traditional products together with modern marketing methods such as e-marketing or e-stores. This paper subjects the role model of a web-based marketing approach and the designer identity of the craftsperson together with the marketing, distribution and identity aspects of the product/ artefact. The main focus of this paper is to provide an insight for the future prospects of e-marketing for the traditional handicrafts. AZİZ MAHMUD HÜDAİ TÜRBESİNE AİT KAZASKER MUSTAFA İZZET EFENDİ İMZALI TALİK YAZILI HAT LEVHA KONSERVASYONU (THE CONSERVATİON OF TA’LİQ WRİTTEN CALLİGRAPHY PANEL WHİCH BELONGS TO AZİZ MAHMUT TOMB AND SİGNED BY KAZASKER MUSTAFA İZZET EFENDİ) Merve HAFIZMEHMETOĞLU Calligraphy panels that have a special importance among the manuscripts, were transferred from past to present, need careful restoration and conservation studies to hand down to the next generations. These valuable monuments are made of organic materials, so it should be known; under negative conditions their strenghts agaist time may be quite low. Even in the case that they were doomed, their maintanence were not done periodically, they can not transfer to the next generations. One of the manuscripts in İstanbul Central Laboratory for Restoration and Conservation is calligraphy panel which belongs to Aziz Mahmut Tomb. İt’s conservation period completed after 6 months long careful works. The first step of these works was elaborated documentation. The aim was; getting the drawings, taking photos and recording the current situation. After that, for getting information about the structure of the material, digital microscope and portable XRF were used. After the determination of the current situation, active conservation procedure was started. The aims were; removing of the dust coat and microorganism, and stabilizing the humidity. After the end of the conservation procedure; proper conditions for storage and display were reported. In this declaration; all the conservation steps of the calligraphy panel ,which was signed by Kazasker Mustafa İzzet Efendi, are explained. Keys: conservation, calligraphy panel, display, storage.

15 Mayıs (May) 2015 10. OTURUM (10. SESSION)-A Salonu (A Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Hüseyin ELMAS-Doç. Dr. (Assoc. Prof. Dr.) Fatma KOÇ THE CARPET ART AS A COMMON TURKIC HERITAGE Roya TAGHIYEVA Narmina TAGHIYEVA In all times carpets took the main place among decorative items of Turkic peoples. In that case, carpet-making art played role not only as an inexhaustible source for the study of the history of people but also as the material treasure and high moral symbol. The development of Turkic carpet art embodied the long historical way which passed under the influence of historical, social, and cultural factors. Carpetmaking art also demonstrates the genetic unity of Turkic peoples.

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The names of carpets were applied with the necessity of special system by carpetmakers. It is necessary to note that these names had undergone changes affected by historical, cultural and social factors. As a result of carpet researching, it is clear to notice that namea of similar carpets are different among Turkic tribes. In the article flatwoven carpets investigated only with correlation to toponims and etymology. MİMARİ FORMLARIN ANADOLU SECCADELERİNE ETKİLERİ (AFFECTIONS OF ARCHITECTURAL FORMS TO ANATOLIAN PILE PRAYER RUGS) Didem (ATİŞ) ÖZHEKİM Öznil Seda KAÇAR One nation’s art includes lots of clues about their citizens’ cultural heritages, life style, etc. Also, they can show us their politics and science. Art of architecture and carpet are the most important braches at Turkish history and culture. Turkish people put first signature on architectural developments at world history. Both of architecture and carpet making progress and they were affected different cultures. They found their original types so in time they had the strongest aesthetic exposition. Affections of architectural forms to Anatolian pile prayer rugs are too much comprehensive object so in this article, we explain to compare between motif and form. On the one hand we study on compositions of prayer rugs; on the other hand we searched architectural forms’ similarities on the rugs motifs. KİLİM DESENLERİNİN KÜLTÜREL TEMELLERİ VE ORİJİNAL ÜRETİMİ ÜZERİNE DÜŞÜNCELER Mehmet SAĞ Geleneksel Türk El Sanatları’nın tamamı ve bu sanatlardan biri olan kilimler, hiç şüphesiz içinden çıktığı milletin, kültürel ortamın karakteristiğini, psikolojik ve fiziksel özelliklerini, günlük yaşamın, geçmişin ve geleceğini titreşimlerini taşır. Türk insanı, göçebe kültürünün nüveleri olan çok renkli ve töre ile kuşatılmış bir atmosferin niteliklerini sergilerler. Bu yaşam biçimi yaşadıkları kültürel süreçler boyunca gelişerek; yarı yerleşik ve yerleşik hayatla birlikte bir takım değişimlere uğramıştır. Bu değişimlerin metodolojik bir sistem içerisinde değerlendirilmesi, geleceğin tasarım ve uygulama metodlarına bir ışık tutacağı düşüncesi, böyle bir bildirinin hazırlanmasına zemin hazırlamıştır. 11. OTURUM (11. SESSION)-B Salonu (B Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Nuran KAYABAŞI-Yrd. Doç. Dr. (Assist. Prof. Dr.) Hatice ÖZTÜRK TOZUN TEZHİP SANATLARINDA GÜL MOTİFİ (ROSES İN THE ILLUMİNATION ART) Faruk TAŞKALE As an important motif in Turkish-Islamic culture, flowers are indispensible for fine arts such as painting, sculpture, illumination, tiles and ceramics etc. Flowers are not only found in fine arts, but also in literary works, fabrics, ornaments, household goods and even in religious symbols. As the Ottomans believed the scent of a rose came from the perspiration of prophet Mohammad, the rose has a religious connotation. Therefore rose has always been a recurring motif in Ottoman art, symbolizing prophet Mohammad as well as the face and figure of the beloved. The semi-stylized rose first appears in 16th century decorative arts and as of 18th century the rose is depicted naturalistically, making the most important motif of illumination art in 18th and 19th centuries. The rose motif was first introduced by 16th century illuminator Karamemi in a semi-stylized form. Later in the 18th century, a new naturalistic style was developed by Ali Üsküdarî and Abdullah Buharî. Dotting and hatching were commonly used as a color technique in the depiction of naturalistic flowers. Naturalistic flowers, especially rose motifs are mainly used in the Qur’an manuscripts,

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prayer books, the hilye of the prophet Mohammad depicting his features, calligraphical plates, lacquer bindings, wall paintings and decorations. TÜRK TEZHİP SANATINDA ÇAĞDAŞ YAKLAŞIMLAR (CONTEMPORARY INTERPRETATIONS OF THE PRESENT ILLUMINATION ART) Münevver ÜÇER Tezhip “the art of illumination” is one of the most important branches of turkish traditional arts . The base of the word “Tezhip” in arabic is “zeheb” which means “gilding” or “illumination”. This illumination art is basically used for the ornamentation of the Korans. The literary and religious manuscripts and firmans (imperial orders), the divans which are the collection of poetry are all ornamented mainly by “tezhip”. The story books called “mesnevi” with miniatures are also ornamented by “tezhip”. The origin of “tezhip art” goes back to 8th and 9th centuries in the Middle Asia and enrichened through ages especially in Anatolia where this art reached its peak during the Ottomans. Consequently “tezhip” is the touchstone of turkish traditional arts. By keeping to the techniques of the patterns and forms, our mission is to carry out this traditional art for the next generations. Hence, the main intention of this presentation will be about the history of “tezhip art” throughout the ages and mainly it will be about the evolution and the improvement of this art in the century we live in regarding the universal esthetic criteria of art making. On the other hand, the main concern of this paper on “tezhip art” is to clarify that the traditional art is not only the work of traditional craftsmen but the work of creative artists nourished from classical roots within collective consciousness of visual richness enabling them to synthetise their personal artistic traits and findings. Contemporary critics who pretent that classical arts should remain classical, would probably harshly criticize sixteenth century calligrapher Karahisari's master designs. In contemporary art of painting we witness that artists incline to be more creative after accomplished sketching classical works. Artists like Picasso, Kandinski, Miro and Klee walked in this path and introduced innovations to Western art with their abtract designs. TÜRK “KALEMİŞİ” SANATINDA UYGULA METODLARI, ÜSLUP ÖZELLİKLERİ VE “USTA AĞZI” (TURKISH “KALEMİŞİ” IN THE ART OF METHODS OF APPLICATION STYLİSTİC FEATURES AND “THE MOUTH OF THE MASTER”) Kaya ÜÇER The content and purpose of the topic papers; Foundation 8.9. based on the culture and development of Central Asia in the centuries of the Ottoman Empire and continued in the summit in Istanbul Anatolia Region in which the "Kalemişi" art of traditional Turkish Arts is one of the most common lines though they don't see much interest in our art it is one. This is to work in the Arts at an academic level to be extremely small, traditional Turkish Arts departments of our universities already "Kalemişi" usually just to adopt it as a lesson,point, construction methods and application of the rules of this Art, stylistic investigate the properties of the centuries the basic purpose of this research and to share with art lovers. "Kalemişi" in the art of the master and apprentice relationship with both in academics and as someone who has worked "in the mouth of the master"is also the necessity to make this work pushed me to the document. "Kalemişi" of the art; a-brief history of the art of "kalemişi" b - surfaces and Application diversity C-Shaped Style features over the centuries d-conservation and restoration programs "in the mouth of the master" (phrases),the terms The main elements of the Declaration. HALKÂRÎ TEKNİĞİNDE GÜNÜMÜZE AİT YENİ DENEMELER (CONTEMPORARY EXPERIMENTS IN HALKARI)

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Nurcan SERTYÜZ Halkari, a classical illumination technique, is a coloring technique usually done with gold. This well-loved technique has been used in a variety of ways since its emergence. Today, it is still one of most preferred illumination techniques, given its ease, variety and aesthetic value. The date of its emergence is not known, yet the first examples of gilding technique date to the fourteen and fifteen centuries. Since the twentieth century, it has been increasingly used for plate decoration. Almost all types of gilding are used in the contemporary illumination. It is currently being used in some innovative ways. This study briefly explores this technique with an emphasis on its forms and its importance in contemporary illumination. Keywords: Illumination art, halkari, technique, ornament. 12. OTURUM (12. SESION)-C Salonu (C Hall) Oturum Başkanları (Session Moderators): Prof. Dr. H. Feriha AKPINARLI-ALİYEVA-Doç. Dr. (Assoc. Prof. Dr.) Bilal DEDEYEV GÜLBAHAR’DAN KARACASU TOPRAĞINA LÜLECİLİK (PIPE STUDIES FROM GÜLBAHAR TO KARACASU) Tuna DOĞAN Mehmet ÇELİK Nurdan AKBULUT Arzu CEVİZCİ There are 69 pipes which obtained from excavations in various places in Aydın and registered to inventory of Aydın Archeological Museum. These pipes were produced from red coloured clay and some of them have seal. That the place of production of them is thought workshops which are located in Tophane district in İstanbul. As known, the most distinctive and qualified examples of pipe art have mostly been produced in Tophane for that reason Ottoman smoke pipes have been started to mention with the name of Tophane pipes. Brightness were provided with special ceramic mix named Gülbahar and lining technique in the first kiln drying without glazing. By the help of Gülbahar, which came from Van and contained clay with mostly ferrous oxide, pipes had a qualified sight being bright red coloured. Our aim of this essay is to read colours pf pipes which, are thought as Tophane products and registered to Aydın Archeological Museum, and to search whether colour of clay is suitable in district of Karacasu in Aydın and to provide to start pipe production with ceramic art in Karacasu. The most important feature of ceramics, which are made from clay having high level of ratio of ferrous, in Karacasu (Aydın), is red bright glaze which are prepared with own clay of Karacasu. In ancient period, Tralleis (Aydın) is one of the production centre of ceramics named East Sigilata-B. In the context of study, pipe clay has been prepared with high level of ratio of ferrous and has been given shape. Line has been carried out with bright waxy red coloured obtained from the same soil. Karacasu pipes have been cooked among 680-710740-770-800-830-880-920-960 0C and shades of red, which obtained with different firing finding, have been compared with colour shades of pipes in museum. Analysing pipes in inventory of Aydın Archeological Museum, It has been confirmed that how pipes, produced with Karacasu clay, are close to Tophane pipes in the point of colour. ANADOLU FOLKLORÜNDE SÜSTAŞLARININ KULLANIMI VE TERAPİSEL ETKİLERİ (USAGE OF THE GEMS AND THEIR THERAPEUTIC EFFECTS IN THE ANATOLIAN FOLKLORE) Murat HATİPOĞLU Hüseyin KURT In Anatolia, the history of usage of gemstones, because of their unique colour and structure, goes further back than the metallic minerals. However, agates, chalcedonies, carnelian as well as amethyst are most probably the first gems used in the history of Anatolian folklore. In addition, diaspore crystals also have to include into the materials. The symbols represented by the colors of gems have great importance in the cultures of Anatolian peoples, and are used

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widespread. Red color is holy especially. It is common belief that this color symbolizes sun, fire, and blood. MESLEK YÜKSEKOKULLARI KUYUMCULUK PROGRAMLARINDA UNUTULMAYA YÜZ TUTMUŞ KAZAZİYE SANATININ SORUNLARI VE DEĞERLENDİRİLMESİ (THE PROBLEMS FACED BY THE ART OF KAZAZİYE WHİCH İS ON THE EDGE OF FADİNG AWAY İN VOCATİONAL SCHOOLS OF HİGHER EDUCATİON JEWELLERY PROGRAMMES AND İTS EVALUATİON) Banu BERBER BABALIK Ufuk ÖREN Parallel to the social, economic, and cultural changes both in home and all over the world, Vocational Schools of Higher Education which are also called short term higher education schools have gained importance. Especially since the beginning of the second half of the 20th century, a number of Vocational Schools of Higher Education have been founded in our country both to meet the increasing demand in such schools and to meet the need to intermediate labor force. Vocational Schools of Higher Education whose primary role is to supply industry with intermedite labor force, have been varied in quality as well as in quantity over time. Many crafts that take up an important place since the old times have been taught in these schools. Although the relation between master artisan and apprentice keeps its importance in jewellery sector, it’s long benn known that educated individuals are much preffered. Besides such schools giving the necessary education about the disciplines of jewellery and its techniques, it is thought that our traditional handcrafts which will fade away if neglected should also be taught. Some of our cultural merits face disappearing while others are replaced by foreign cultural merits. One of these cultural merits is kazaziye which is unique to Trabzon distirct and Turkish jewellery. Even in Trabzon which is the birthplace of this art, there are not many craftsmen who can perform this craft and this reality shows us that kazaziye is going to melt away after a couple of generations and it will only be seen in the photos or in limited products. In this study, our aim is to make the art of Kazaziye and its original unique technique survive, become sustainable and conveyed to the next generations. From the point of view that such a traditional craft is facing disappearing, opinions and suggestions will be presented to revive this craft again in memories and in jewellery products as well as introducing and popularising it in educational institutions. MEKANİK REZERV BOYAMA TEKNİKLERİ (MECHANICAL RESIST DYEING TECHNIQUES) Menekşe Suzan TEKER In mechanical resist dyeing techniques, patterns are created only physically to give material different forms and then dye. Creating resist areas on a textile material by binding, tying, folding, clamping, knotting is known as “Mechanical Resist Dyeing Techniques”. After dyeing process, resist areas are released and the patterning process is completed. Silk and cotton fabric are generally preferred. Mechanical resist dyeing techniques have different names according to their region, pattern, colors and form of resist areas. The term of tie-dye fulfills the reserve areas are basically created by tying. Tie-Dye techniques are bandhani/bandhana, chunri/ chundri, pelangi/plangi, tritik, shibori, zhan ran/jiao xie and clamped resist dyeing. In this study, mechanical resist dyeing techniques are researched and explained. Key Words: Mechanical Resist Dyeing, Tie-Dye, Bandhani, Shibori, Pelangi 13. OTURUM (13. SESSION)-A Salonu (A Hall) Oturum Başkanları (Session Moderators): Doç. Dr. (Assoc. Prof. Dr.) Ömer ZAİMOĞLU-Dr. Karim MİRZAE TÜRK HALK GİYİMİNDE KADIN ENTARİLERİNİN KAPAMA ÖZELLİKLERİ

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(CHARACTERISTICS CLOSURE ENDWISE OF WOMEN ENTARI IN TURKISH FOLK CLOTHING) Emine KOCA Fatma KOÇ In Turkish folk clothing where women’s and men’s clothing differ from each other with details dresses that have a wide range of hemline, fabrics, characteristics closure (button ups), ornaments and usage are important. Closure (button ups) that are not only functional but also capable of becoming whole with the collar and increasing visual effect of the dress. These variety of changes can be seen on shape, ornaments and usage too. In this study in which the closure endwise characterıstıcs and collar are examined; samples and photos of women’s traditional entari from 7 different region of Turkey were studied and two kinds of Entari named “peşli” and “peşsiz”were determined. Both two kins were divided to 4 groups according to their closure (button ups) characterıstıcs and closures endwise were evaluated by their collars and ornaments. Key words: Traditional, clothing, entari, closure endwise, collar MODA GİYİM TASARIMI UYGULAMALARINDA KİLİM DESENİ (KILIM PATTERN FASHION IN GARMENT DESIGN APPLICATIONS) Gözde YETMEN In this study, a traditional Turkish rug is described within the postmodern design of the fashion and textile industry applications. Still today, traditional rug technique is lovingly used with their colors and motifs. Rug technique is only allowed to weave the geometric motifs; the essences of these motifs are originating from our ancestors social, cultural living and their thoughts and feelings. Our traditional rugs that reflect our culture is like a canvas. Kilim as a style compatible with the concept of art which is minimalism because of its colors, lines and style of rugs are quite original plain motifs and compositions. Regarding to Rugs and eclectic design techniques as an style uptrend is observed in recent years. In this paper, rugs have been created, influenced by fashion and textile design concept with examples of products are described in the context. Keywords: Kilim, pattern, fashion, designer brands, eclectic. ÇANAKKALE İLİ YENİCE İLÇESİ GELENEKSEL KADIN GİYSİLERİ Öğr. Gör. Melek TUFAN Öğr. Gör. Filiz ERDEN Öğr. Gör. Elhan ÖZUS Clothing is one of the most important needs in life, depending on individual and social features. Clothing which originally showed itself as aprotection is a social phenomenon which completes human's material and spiritual existence gradually, takes a form as a result of technological development and phases, changes constantly today under the influence of fashion. Clothing is an aesthetic value which human bears with his/her feelings. Accordingly, clothing has an indispensable place in the structure of the cultural and social identity and communication. Traditional Turkish apparel reflects feelings and thoughts of Anatolian women. When long history of our nation and cultures which it interacted with are considered, it is seen that its grandeur and glory are also reflected on its apparel culture. Therefore; traditional clothing of Yenice district of Çanakkale province has a distinct feature. By investigating these clothes, it has been aimed to maintain this cultural heritage of us, facing with danger of extinction day by day and to transfer it to the next generations. Key Words: Culture, Tradition, Clothing, Yenice, Yuruk Community TÜRK GİYİM KUŞAM KÜLTÜRÜNÜN İBB ŞEHİR MÜZESİ’NDEKİ ÖRNEKLERİYLE İNCELENMESİ (EXAMINING TURKISH APPAREL CULTURE VIA THE SAMPLES DISPLAYED IN IBB (ISTANBUL METROPOLITAN MUNICIPALITY) CITY MUSEUM)

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Yasemin MASARACI Gülay KAYGUSUZ Equally ancient as the history of mankind, tradition of apparel has till present day been shaped with respect to the customs and traditions of the age societies go through. Currently local clothes at most have lost their former attribution and significance as they experienced a set of changes due to the popularization of modern style, life conditions and ease of use. One of the most enjoyable and convenient ways of monitoring the transformation experienced in apparel culture is watching the collections displayed in museums. Unlike a majority of artistic works in the museums, textile collections bear vital privilege and gravity on accounts of their indurable and fragile nature. In line with this statement, present paper aims to examine a variety of apparel samples, which constitute an exclusive collection in Istanbul Metropolitan Municipality City Museum. Bearing particular importance by virtue of being the one and earliest City Museum in Istanbul, there are sample collections dating to the onset of the 18th -19th and 20th cc. displaying ethnographic works of urban life merged with fine arts, traditional arts and crafts. A considerable portion of this collection is devoted to local and religious clothes. Constituting the subject matter of present study, abovementioned collection shall be introduced with respect to the material, technique, ornamentation and usage features of the clothes. The paper holds further significance since it is the introduction of a catalogue work collecting all the clothes which, even dealt with individually, could very reasonably constitute the subject matter of a vast number of researches. Key Terms: Apparel, Culture, Museum KAZAKİSTAN’DA GELENEKSEL KADIN BAŞLIĞI (KİMEŞEK) “KİMEŞEK” TRADITIONAL WOMEN'S HEADWEAR IN KAZAKHSTAN Ömer ZAİMOĞLU Serap TANRISEVER Kazakhstan has a rich mosaic of folk culture. Apparel, handcrafts and decorative arts are an important place in this mosaic. Kazakh national headwear and clothes are the best elements that reflect the Kazakh cultural heritage, traditions, geography and climatic conditions. Kazakhstan is trying to keep alive the traditional lifestyle and hand crafts, despite the global fashion and technological development. In this research, Kazakhstan traditional headwear and clothes are found still using. Kimeşek is one of the best known and extant of the national headwear. In this paper, decoration of Kimeşek, patterns and colors, sewing techniques, fabrics and patterns, cultural characteristics have been determined. Regional research method was used. Keywords: Kimeşek, Kazakhstan, National headwear, Apparel, Handcraft, Decorating art. 14. OTURUM (14. SESSION)-B Salonu (B Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Şikar QASIMOV-Doç. (Assoc. Prof.) Serkan İLDEN TÜRK MİMARİSİNDE KÜTAHYA ÇEŞMELERİ (KÜTAHYA FOUNTAINS IN TURKISH ARCHITECTURE) Nureddin GÜLAÇTI The aim of this study is to call attention to the fact that the fountains and sakahane in Kütahya are on the verge of disappear due to unplanned urbanization and removing from their original places many times and to inform the new generations about the importance of the foundations in Turkish culture. Fountain culture exists in almost every civilisation on earth.When the Fountain Culture is investigated in Anatolia, Kütahya is one the cities harbouring many fountain examples. The word “çeşme” for fountain is a Persian origin word and is derived from the word “çeşm”. Although many nations regard fountains as a part of their cultures, they have an important place in Turkish world, especially in Anatolian Turkish Architecture. There have been many fountains in Turkish architectural works not only because Islam gives importance to hygiene but also because building a fountain is a good deed according to many Islamic resources. When the fountain architectures are investigated in Anatolia, the fountain in Gök Madrasa in Sivas (1271), the fountains in Sahibata Mosque and Afyon Çay Madrasas are

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shown among the most important fountain examples of Seljukian period. Davutpaşa fountain in Silivrikapı in İstanbul is regarded as one of the most important works of classical period architecture in Ottoman period. It is known that there are fountain examples that are famous for Ottoman aesthetic in Kütahya. It has been observed that monumental street fountains have not been included in new living spaces that are built due to urban transformation and development of new sites and the fountains in old sites are in danger of disappearing due to road expansions and building restorations in today’s Kütahya. Key Words: Kütahya Fountains, Culture, Sakahane, Architecture EDİRNE ESKİ CAMİİ HÜNKÂR MAHFİLİNİN MİMARİ VE SÜSLEME ÖZELLİKLERİ ARCHITECTURE AND DECORATION OF EDİRNE ESKİ MOSQUE’S SULTAN MAHFIL Mustafa ÇETİNASLAN It’s accepted that construction of Edirne Eski Mosque started in Süleyman Çelebi period, continued in Musa Çelebi period and finished in Çelebi Mehmet period. Edirne Eski Mosque was constructed in an Ottoman multi unit plan which equal with hypostyle commonly used in Seljuk and manucipality periods. The square planned mosque’s prayer hall divided in nine chapters with dome, connected to legs with pointed arches on the body wall. The Sultan mahfil which was combined with east and south body walls, carried with wooden poles in the southest corner of mosque. Not only carriers of Sultan mahfil was made of wood, but also lattice, railing, stairs and flooring. Sultan mahfil which located high from floor, has 4,13 m. heigh and 8,30x6,87 m area. Originally; there was no Sutan mahfil in this mosque before. Then; Sultan mahfil was added to inside of the mosque in 1601. But, it disaapeared later. The extant Sultan mahfil was builted in 1763 during the 3rd Mustafa. One of the most important charecteristics of this Sultan mahfil which was constructed on wood is having hand-drawns which were made on wood. These decorations were below the oil paint layer for many years. The original decorations were uncovered oil in the Sultan mahfil with the removal of oil paint during the restoration in 2009. In this paper, it will be try to explain the role and the importance of Edirne Eski Mosque’ Sultan mahfil in Ottoman architecture, additionally the new uncovered decorations style will be presented to scientific world’s attention. MATRAÇI NASUH’UN BEYAN-I MENAZİL SEFERNAMESİ’NDE KUBBELER VE MİNARELER (DOMES AND MİNARETS İN MATRAKÇI NASUH’S BEYAN-I MENAZİL ITINERARY) Karim MİRZAEE Sultan YILDIRIR One of the voyage which is portrayed by Matrakçı is Irakeyn voyage which is done by Sultan Süleyman. During this voyage he stayed in Tebriz for a long time. Matrakçı Nasuh had portrayed the city views that he went through and he also drawed the conditions of the construstions in a idiosyncratic way and he intrusted these to us. In terms of architectural work of art; it is said that the mosques do not only sybolise itself they also reflect the domination of the beliefs of the people in the city on the basis of symbolic work of the mosques. The outer view and grandness of the mosque demonstrate the importance of the city for its country. The high domes, minarets, ceramics of exterior wall, where the mosque is situated, width of the yards of the mosques, buildings and trees around the mosques are the indication of the importance of economy and political ways of the city. The recommedations of Matrakçı carry value for us. During the period in which the camera was not invented his recommendations brought ligth on the urbanisation and landscaping, conditions of the buildings etc. These features of the city of XVI. century have an importance to inform and educate the recent generation as well as the posterity. In the recommendations of Matrakçı the river and water life is to beautify the country life. The more water the more green places, palaces with green gardens etc. MATRAKÇI MİNYATÜRLERİNDEN MODERN YORUMLARA

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(FROM MATRAKCI’S MINIATURES TO CONTEMPORARY INTERPRETATIONS) Hüsna KILIÇ Miniature, which is one of the fundamentals of traditional Turkish painting, is a kind of significant art depicting historical events, describing traditions, culture and life style of its time as a documentary. In a broader sense, miniature is explanatory painting on manuscripts to enlighten the text.The first examples of miniature art in Turkish history are come across in Kara Khoja ruins in East Turkestan, on manicheist wall paintings and pages with miniature done by Uyghur Turks during 8th and 9th century. This art was developed during Seljukian and Ottoman periods, and reached its golden era especially in 16th century. Miniature art that is used to figure literary and daily events has a balance in itself through specific fictive elements. Some design components utilized to interpret visual arts also used in examining miniatures. Components such as point, line, form, dimension, texture, light and colour contribute to explain miniatures in a contemporary way as well as interpretation of artistic values of past. As miniature designs have been studied in terms of the components used and existing design principles it is detected that there is a masterly accomplished fiction in the background. The aim of this declaration is to examine two miniatures of Matrakci Nasuh who has significant works of miniature art in terms of design principles and analyzing them visually. Besides, it is to analyze and indicate how world-wide accepted design principles of today were actually used in 16th century Turkish miniatures professionally. 15. OTURUM (15. SESSION)-C Salonu (C Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Necati DEMİR-Doç. Dr. (Assoc. Prof. Dr.) Uğur ATAN TÜRK OZANLARININ ŞİİRLERİNDE GÜZEL KADINLARIN TASVİRİ VE ETNOGRAFYA ÜZERİNE BİR ÇALIŞMA (Karacaoğlan, Molla Penah Vagıf ve Aşık Elesger’in Koşmaları Üzerine) A STUDY ON THE DEPİCTİON OF BEAUTİFUL WOMEN AND ETHNOGRAPHY İN THE TURKİSH POETS POETRY (Aboutthe Sagas of Karacaoğlan, Molla Panah Vagif and Ashig Alasgar) Tamilla ABBASHANLI-ALİYEVA Uğur DEMİRLEK World-famous Turkish poets Karacaoğlan, Molla Panah Vagif and Ashig Alasgar wrote in all poems as a universal theme about love and beauty. All three poets have their own relation to beauty and wordly love. Beauty and love are the ideals of their poetic arts. We aren't wrong if we say, that their poems are entangled with love.By turning thepoet' speninto a brush, they have described the images of the beauties with words. These portraits of the beauties are revived in front of the eyes of the readers. In the works of all three poets are the names of the beauties sometimes mentioned, sometimes unmentioned. Beauty is the subject of the poems in every aspect. The poets wanted to see perfection and prettiness combined at thebeauties. These beauties must have a high spirituality, chaste intentions, a pure heart like the moon and a clear mind like water. They must be lifeless like a stone and cold as ice. A beautiful woman will be faithful at offensive and steady in loyalty. She will understand words and signs, she should know allusions and riddles. The seat and the attitude of the girl is unpretentious, the impetus fairylike. She will have kind words and a gracious face, she will not break the rules of etiquette. The beautiful women, brides and girls in the lyric of the poets have been shown in this way. At the same time the poets increase their beauty by having incorporated beautyenhancing ethnographic agents like clothes, clothing and jewellery goods in the poetry. According to the poets, the beauty of the brides and the girls was reinforced by clothing and gold. As the poets describe this, they have given information also on the ethnography of this era. At the symposium will be spoken about the rules of beauty, that the poets have been erected for the beauties; for each rule there will be presented examples from the poems of the poets and at the same time will be also talked about the clothes, clothing and jewellery goods and the precious stones that were used of them.

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CIHANŞAH HAKIKININ TÜRKÇE ŞIIRLERINDE KUR’AN MOTIFLERI VE TASAVVUF (KORAN MOTIVES AND MYSTICISM IN TURKISH POEMS BY JAHANSHAH HAGIGI) Könül HACIYEVA When we say mysticizm firstly we think about the source of the moral richness like knowledge and wisdom. According to the opinions of mystics the human being was created by analogy with creator. The themes in the works of the poets of the Middle Ages were around this factor. The Turkish scholar J. Okuyuju said that: “Sufism is the sourse of inspiration for classical poet”. The most developed period of mystical literature is 15th century. As the mystics called themselves “Lover of Truth” they thought that their poems were interpretation of saying of God. That is why they appeal to holy Koran, they used Koran motives, expressions and words from holy Koran in their poems. For the belief of mystics, in a word, the poems of lover and sufi who seeks for God are consist of amazement and intoxication from the appearance of God in the human being. In the foundation of politeness exactly was the fight with passion. The human being who managed it, looked to the world, Jast Day, love, death, shortly to everything for otherwise. The road of holy Koran for human being also begins to overcome the passion. The investigation of Latif Husseinzadeh in Azerbaijan and Muhsin Majid in Turkey about the ruler of Karagoyunlu Jahanshah Hagigi who used the mystical and Koran motives was one of the poet of Azerbaijan. Though Hagigi is known in the mystical literature of the 15th century with his Persian distich, but with his Turkish Divan he showed himself as a mystical poet praising God and His sayings with the great love. In his poems he mentioned Koran sentences, spoke about “Tovhid” (“He is God the One the most unique”). We see that Hagigi often used the holy sentences such as “sirati-ul-mustagim” (“The path that is straight”), “innafatahna” (“really we are conquer”). Jahanshah Hagigi is one of the poets who always appreciated the sayings of holy Koran in his poems. Key-words: poem, mysticism, poet, Hagigi, literature “KAFKASYA” KELİMESİNİN ETİMOLOJİSİ Mariyam YEZIYEV Throughout the history, the Caucasus attracted many tribes from all around the world with its great nature and the convenience of passing through to the other regions, and pulled them to those lands like a magnet. The mysterious Caucasus where placed in the passage to the Europe, cradled many civilizations and settled in the most beautiful point of the region. The Caucasus where placed in the Eurasian region is mountainous country in general. The Caucasus lies in the south part of Eastern Europe’s lowlands and is between the Europe and Asia. It includes some parts of today’s Russia, Georgia, Azerbaijan, and Armenian lands. It is framed with the Caspian Sea in the east, and the Black Sea in the west. What does the word “Caucasus” means? There are different assumptions and opinions on the etymology of the word Caucasus. Therefore, historians and linguists, journalists and others have made research about the name of the region. The ancient Greeks called the North Caucasus and Don Platos as “Asia” in Greek. Asil (As) is used as “As-Yuva” in Scythians language, which means “the house of nobles” and expresses that those lands are the country of As. The Alans (Karachays and Balkars) who live in the region today, are still named as As. The word As-yuva is called as “Asya” by the ancient Greeks in Greek language. "KOROĞLU DASTANI"NDA SƏFƏR MOTIVININ SEMANTIK STRUKTURU (SEMANTİC STRUCTURE OF TRAVEL MOTİF İN “KOROGHLU EPOS”) Nuranə KƏRİMOVA Travel motif that act in the role of historical source in order to determine the social, political, religious, psychological and cultural sphere of the ancient Turks is one of the main motives that is commonly used mostly in more voluminous epic genres –tales and eposes. Travel which is mentioned episodically by researchers is a mythological thinking style up to Islam, and on the other hand, it is a motif related to mystical views and having specific semantics.

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“Koroghlu epos” that has conquered the highest levels up to the peak point of common Turkic literature being spread over in large geographical area has become a part of Oghuz culture preserving the specific characteristics of both heroic and love eposes. One of the main reasons of this work of art being involved in studies and researches for long years that is leading in the plot is related to people’s understanding of the world, life style, philosophical, artistic and aesthetic thinking’sstanding at its center. “Koroghlu” epos is the work in which we come across the travel motif more commonly among epic genres of folklore, and Koroghlu is the character who travels mostly. So, the main events in the plot of epos occur during travel. Problems such as “the terms that condition the travel motif”, “main objective in travelling”, “places where travels occur according to direction” (in the context of chaos and space or in terms of horizontal and vertical directions), “the role of travel motif forming the image of hero” are involved in the article in relation to “Koroghlu epos”. We see in the epos that the heroes- “mad men” are famous brave men before travelling. However, it remains as a theoretical opinion. Its obviousness is reflected in those brave men passing into the status of “mad men” and formation of the character as a hero. As the epos is the artistic example of heroism, here the motif of travel plays a major role in the formation of heroic image unlike love eposes. We have conducted separate analyzes about most parts of the epos, and considered it necessary to pay attention to some of them in general. As if narration and praise, that’s poetic means of expressing admiration createsexcellence in content and form being connected to each-other with codes in the epos in which even an ordinary event becomes so poetic. And this can be considered as one of the specific aspects of Oghuz culture. MİRZƏ İBRAHİMOV VƏ TÜRK QƏHRƏMANLIQ DASTANLARI Ülkər BAXŞIYEVA The development of human civilization, the world's cultural, social and political model, as well as its own national thinking and Turks had a great role in the formation of a national approach. Epics, which reflect the composition of the Turkish culture and history, but also the root of this nation's history, traditions, psychology, thinking and so on. important to say something about the place. Azerbaijani writer, academician Mirza Ibrahimov, the Azerbaijani people talking legends of heroism within the historical processes of victory in the history of the highlights of the Turks, the process of analyzing the example of the heroes of this nation attaches great importance to the national and historical identity factor. Mirza Ibrahimov, "The Book of Dede Korkut", "Koroglu" and so on. When analyzing samples of the saga of the people and the heroic sagas of the context of the more blistering. For example, aesthetic excellence, highly philosophical, cognitive style, shape, brightness and features that attract attention with "The Book of Dede Korkut" sagas, he said on several aspects: love of country, people's happiness, hatred of the enemy, loyalty, courage, courage, and so on. Oguz shepherd in the person of epic heroes Qaraca M.Ibrahimov huge, strong, steadfast and strong-willed, courageous image is analyzed. Analysis of the ethnic-national idea, as we all kinds of epic evil, evil is not the place, thanks to the resistance of the national heroes defeat the forces of evil are witnessing. M.Ibrahimov "Koroglu" the bravery, courage, courage, freedom of the nation devotes more space to an analysis of the issues. Special features in this epic highlights the example of Köroğlu and Nigar. Overall, the folk legends of academician Mirza Ibrahimov, speaking directly to him in the heroic sagas of the unique qualities of the people's problems has analyzed within. For this reason, it dastanlarımızda managed to hold its place in the heart of the national heroes. 16. OTURUM (16. SESSION)-A Salonu (A Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Tuna DOĞAN-Doç. (Assoc. Prof.) Nurettin GÜLAÇTI

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TÜRK TOPLUMLARINDA MİLLİLƏŞMƏ (TÜRKÇÜLÜK) VƏ QLOBALLAŞMA (QƏRBLƏŞMƏ) PROSESİNƏ TARİXİ-FƏLSƏFİ BAXIŞ (HISTORICAL AND PHILOSOPHICAL APPROACH TO NATIONALISM (TURKISM) AND QLOBALIZATION (WESTERNIZATION) PROCESSES AT TURKISH COMMUNITIES) Faiq ƏLƏKBƏROV Among the factors affecting the mind of Turkism today a special place in the process of globalization. Many researchers consider that the basic ideas of globalization is modernization, postmodernləsmə, democracy, liberalism, tolerance and civil society. In fact, in the frame of globalization, westernization is promoting these ideas. All of these facts form not national thinking, but cosmopolit thinking in turkish mentalty. In applying the ideas of globalization, seemingly regardless of race, rights and freedoms of all people, regardless of religion and nationality are laid out in the background. Specially, Recently, promotion of civil society, multiculturalism, information society, tolerance as part of the process of globalization is very powerful. Widespread in the world of globalization, modern, postmodern, and at a time when calls for the establishment of civil society, the importance of the issue of Islamism and Turkism bear a special interest is natural. Actually, there are to approach to turkism and islamism in the process of globalization: 1) Pro-western civil society, modernity, tolerance, multiculturalism is more important than turkism and islamism; 2) Pro-Western civil society, modernization, tolerance, no matter how necessary, it should not be overshadowed Turkism and Islam. Today we are going to compete in the national consciousness in the formation of at least two-sided. The process of formation of a new national consciousness with a victory in the fight, which can carry a tinge. Honestly, if the civil society, modernization, tolerance is more important than Turkism and Islam, or the national consciousness is the Turks out of their substance, then it may be considerable overlap. Because the thinking which formed on the civil society is like international and cosmopolit thinking way. TÜRK DÜNYASININ ORTAK KÜLTÜRÜ – NEVRUZ Eldeniz ABBASLI Terane ABBASLI Novruz is a spring holiday that extends from from north to south, from west to east of Turkish world, and is celebrated by several communities living at great area. Ancient people looked forward to the arrival of spring. Appreance of grass, flowers, leafing of trees, flourishing of friut trees glitters enigmatically to people. Ancient people considered to be mysterous world on this mysterious view of the nature. They tried to open nodes of this mysterious world, to learn its content, to benefit from it and enfforted it. As the people belived to the immortality of the soul from the acient times, they waited for reviving the nature (grass, flowers, grains etc.) discolored and destroyed in winter season believing to be alive the seasons of year. They gained parctice, checking the postive and negative impact of the nature to the agriculture and livestock. Therefore the spring that brings happiness to people was met happily by the people. This happiness became a holiday which all people waited hopefully and met its happiness happily. So, the people gived the name Novruz or Spring holiday to this holiday. The Spring holiday runs into the period of entrance to Aries-the first day of spring-March 21. Novruz holiday or Novruz (New Day) (Azerbaijan langauge: Novruz, Kyrgyz language: Nooruz, in Turkish Republic of Northern Cyprus: March dogguzu, in Crimean Turks: Navrez, in Western Thrace Turks: Mevris, in Arnavutluk: Sultan Novruz) is trasditional new year or in other words,the awakening of nature and spring holiday that is celebrated together Persians, Turks, Kurds, Zaza, the Turks, Afghans, Albanians, Georgians, Turkmen, Tajik, Uzbek, Kyrgyz by about all northern hemisphere. MÖVZU:QƏDIM TÜRK TAYFASI-KOLANILAR BAYRAMOV Şərafət HƏSƏNOVA Billurə Açar sözlər: Kultəpə yaşayış məskəni, xalqlar,türk tayfası,kitabxanalar, “neolit inqilabı” Key words: Kultepe dwelling of life (living), people, Turkish tribes, libraries, "neolit revolution"

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Resume: The history of self determination of the people of the geografical and geopolitical position of Azerbaijan plays an important role. Today “Azerbaijanis” have adopted unfied organization under the name of foundation was laid and the Turkish factor played an important role. Most of the country’s population researches “Neolitic Revolution” in the aftermath of the major cultural centres of the Middle East in favor of the idea of the existence of etnolanguge relations. For example: many meaning and phonetic similarity, comfirm historical connections with Shumerian language and the prototurk language. It is known that as other nations in Azerbaijan writing (calligraphy, script) the most ancient book, written monuments on the stone, rock, bone especially it has consisted of drawings. Much later ancestors of our people have begun to use animal skin (leather) as (like) material of writing (calligraphy, script). Primary wriiten information about ancient tribes lived in Azerbaijan territoryare about recent of The Bronze Age. It is necessary to note indigenous population of Azerbaijan had been linvig IV long ago and they were carring the Turkish culture. It also affirms by more than 20 metres high cultural layer Kultepe dwelling of life in Nakhchivan. General development of the society,also costing cheeper and next times have been cultural raising connected with begining to production of paper material of ideal writing calligraphy, script in the history of our people from the side peculiarity more productive. Unfortunately, to give exact information about general quantity amount, number and motley repertoire of the books of manuscript about Azerbaijan is not possible today. Because great part of these manuscripts has been perished by different causes reasons. Moreover, to count exact quantity of their arrive to us outside of such opportunity at present. Unfortunately, to give exact information about general quantity amount, number and motley repertoire of the books of manuscript about Azerbaijan is not possible today. Therefore those manuscripts are kept in different state libraries of the world. But many manuscripts catalogue of these libraries have not been published AZERBAYCANDA KÖY TURIZMININ GELIŞME PERSPEKTIFLERI Aide MELIKOVA Turizm sektörü, geçmişten bugünkü günümüze kadar gelişmiş, aynı zamanda da gelişmekte olan ülkeler tarafından daha sık bir şekildə ilgi gösterilen bir sektör olmuştur. Dünya Turizm Organizasiyonunun istatistik verilerine göre 2020 yılında turizm geliri 2 trilyon dolar olarak gösterilmektedir, bu gelirin de %20 kadarı köy turizimine ait olacağı gösteriliyor. Çok zengin turizm potansiyeline sahip olan Azerbaycan, özellikle işsizlik gibi sorunların çözülmesine yardımcı ola bilmesi noktasında turizm sektörünün önemini daha da artırmaktadır. Turizm sektörünün genel özelliği onun istihdam yarata bilmesi potensiyeline sahip olmasıdır. İSTİQLAL YOLUNDA (ON THE WAY OF INDEPENDECE) Göye rçin ABİDQIZI The studying of the ideas of the national independence in the creativity of such poets as Mohammad Amin Rasulzadeh, Hussein Javid, Ahmad Javad, Mohammad Hadi, Haji Karim Sanly, Abdullah Shaig, Amin Abid (Gultakin), Mohammad Hadi, Jafar Jabbarly, Um Gulsum, Ali Shovgi, Mikayil Mushfig, Salman Mumtaz, Ali Muznib who made much in the sphere for “freedom”, “independence”, “development” of Azerbaijan and the Turkic world in whole is very actual up-to-date because the historical events are repeated from time to time and every time this repeat occurs at more high level. They are the big personalities who raised Azerbaijan people, culture, literature and science. The works created by them are the national heritage of Azerbaijani people. The communist regime was afraid of Turkey, and both Bolsheviks and Armenian chauvinists who rode a horse in Azerbaijan that time used any opportunity to pursue and annihilate these intellectual people who were in connection with Turkey, Turkish literature and culture. The ideological basis of the unprecedented disgusting movement aimed at the Turkish people was ready for that time. The made-up theory of panturkism was the theoretical-

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ideological field for the realization of this insidious politics. The most outstanding intellectual men were sentenced to death namely with the brand of panturkism and were annihilated in unprecedented torments in the ice hell of Siberia. 17. OTURUM (17. SESSION)-B Salonu (B Hall) Oturum Başkanları (Session Moderators): Doç. Dr. (Assoc. Prof. Dr.) İlham ENVEROĞLU-Yrd. Doç. (Assist. Prof. Dr.) Ayşe Gamze ÖNGEN TÜRK HALK GİYİMİNDE KULLANILAN KOLSUZ KADIN ÜSTLÜKLERİ (SLEEVELESS UPPER CLOTHING OF WOMEN USED IN TURKISH FOLK CLOTHING) Fatma KOÇ Emine KOCA As well as there are common characteristics in continuing traditional lifestyle in clothing, there is a difference between them. This differences are shaped by geographic and social structure of the region, customs and traditions. The tradition of multiple clothing, the usage of parts of garments in different ways and numbers of clothes pieces determine this regional differences. Sleeveless woman clothing is the one of the important place in these layers. These layers use in Turkey different shapes and different layers. The main objective of this study is recording and documenting the sleeveless women clothing without losing their values in Turkey. In this work, 16 city and 22 province were investigated for sleeveless women clothing. When we consider morphological properties of these clothes, we reached 19 different cutting forms in 12 groups and also when we take in to consideration the functions, specifications, materials, decorations and areas of usage, we reached a fairly rich diversity. there is also found that between the cloth layers both inner and outer clothes used for increasing the aesthetics of clothes. Usage patterns, cutting form, that kind of ornamentation and with different details in terms of the materials used and are named with local features. Key words: Turk, traditional, clothing, vest, upper clothing, sleeveless clothing YAŞAYAN GELENEK: KÜTAHYA TAVŞANLI İLÇESİ KINA GECESİ GELENEKSEL GİYSİLERİ Mine YILDIRAN Kültürel değerlerin yaygın hale gelmesi ve gelecek kuşaklara miras bırakılmasında giyimkuşamın önemli bir rolü vardır. Küreselleşme ve modernizm etkisiyle birçok topluluk giyim geleneklerini terk etmektedir. Günümüz Türkiyesi’nde giyim ve diğer gelenekleri sürdürmeyi başaran toplumların sayısı sürekli azalmaktadır. Kütahya halkı evlenme ve düğün adetleri yönünden folklorik özelliklerini günümüzde de devam ettirmektedir. Yerli halkın çok çeşitli yöre kıyafeti vardır. Kütahya düğünlerinde bayanların halen giydikleri paha biçilmez, işlemeli kıyafetler göz kamaştıracak niteliktedir. Kütahya ilinin Kuzeybatısında yer alan Tavşanlı ilçesi de bütün dünyada olduğu gibi bu değişimlerden etkilenmiş olmasına rağmen Anadolu insanının yüzyıllardır sürdürdüğü özellikle düğün ve giyim kuşamla ilgili bazı gelenekleri halen yaşatmaktadır. Bu çalışmada Tavşanlı İlçesi kına gecelerinde uygulanan bazı adetler ve giyilen kıyafetlerle, bu kıyafetlerin özelliklerine yer verilmiş, şalvar ve cepken den oluşan geleneksel gelin giysilerindeki değişim geçmiş ve yeni örnekler üzerinde incelenerek geleneğin sürdürülmesi durumu incelenmiştir. Anahtar Kelimeler: Geleneksel kıyafetler, Kına gecesi, Tavşanlı Şalvarı, Cepken AHŞAP BASKI TEKNİĞİ VE GİYSİ TASARIM UYGULAMALARI (WOODEN PRINTING TECHNIQUES AND CLOTHING DESIGN APPLICATIONS) Zeynep KAYA Elvin EROL The oldest known tree screen printing technique is the simplest and slowest fabric patterns to create art. The print job; Due to the appropriate place to develop patterns of wetland trained linden trees are made using molds made from these trees. This is mostly seen in examples of crafts that they use in connecting head scarves for women. Fabrics produced by printing

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techniques are also bundled, table-cloths, are used as quilt face. Also this technique is possible to make clothing ornamentation and surface treatment of the fabric. Take place at the forefront of trade ideas as well as in all production areas, handicrafts has also been brought to the introverted state. Restrict the emerging field of working conditions, many elements of art and the art was brought to the almost extinction point. In this context, the board repression (Stamps) as doomed to disappear arts has come to the fore. Against the presence of old and new examples on the subject, is not found in the works of the few written sources and other scientific nature. In this study; "Wood Molding Printing Technique" depth handled, examined, and included in the results of research to design clothing. The research; has been studied by descriptive method, the literature method "Wood Molding Printing Techniques" about information was collected. Design clothing line using the pressure patterns in the data set obtained was formed. Clothing designs supported with visual design patterns used in structures photographed from various angles, has been documented. In this regard, an art documenting the research has begun to disappear, and will shed light on the present generation to future generations are considered. Research; were made in a number of suggestions on the findings. Keywords: Culture, wooden screen printing technique, Design, Fashion Design. LEVNİ’NİN “SAZENDELER” İSİMLİ MİNYATÜRÜ VE GÜNÜMÜZ PLASTİK SANATLARINA UYARLANMASI (LEVNI’S ‘’SAZENDES’’ MINIATURE AND IT’S ADAPTATION TO MODERN-DAY PLASTIC ART) Sabriye ÖZTÜTÜNCÜ The 18th Century which was a period of Ottoman miniature art was open to new progresses and expressions shows that miniature is also within the basis of progress stages of Traditional Ottoman painting. Miniature painting technique which was used as limning, documenting, transfer and tool of expression in Turkish culture, arisen, during pre-Islamic Turkish culture, started changing and show progress with acceptance of Islam. Under the leadership of Ahmed III, who was the emperor of period, innovation and development in art has been started. Especially, during Tulip Era, to live earthly emotions has been dominated and in this regard, Muralist Levni who has presented important work of art in the first half of the century has revealed changes amongst branch of arts with his works. Levni, who has gained a style of painting of the figures taken from real life in detail, painted some works of people’s entertainments, daily and work lives in time and this has helped us to have detailed idea about Tulip Era. In the corporate part of this work, given an outline of the 18th century miniature art, made literature research about Levni. On the second part which is application stage, Levni’s miniature painting called ‘Sazendes’, muralists understanding of painting regarding plastic art has been approached to as close to original. While painting, ensured the integrity within the frame of the attention to the harmony of colour and composition elements and re-examined and rendered with ‘collage’ which is one of daily plastic art practises. Anahtar Kelimeler: Levni, Miniature, Collage, Fine Arts, Painting AYDIN MÜZE MÜDÜRLÜĞÜNE KAZANDIRILAN BİNDALLILAR (BİNDALLI WERE BROUGHT TO THE DİRECTORATE OF AYDİN MUSEUM) Arzu CEVİZCİ Fatih CEVİZCİ Human beings were instinctively in the effort of covering his body since its creation. By taking into consideration climatic conditions where they live. A hunting takes a large part of their life that was not only to feed themselves anymore. They used the coat of animals which they hunted to cover their bodies with its skin. They prefered to prink and to decorate their clothings instead of being covered over the years. Twelve Bindallı have been existed which are made by using velvet that have been recorded in the ethnography section through the purchase of Directorate of Aydin Museum.

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Velvet fabric: A fabric those warp and weft is silk. A soft and bulky fabric that dispose shaggy their appearance by coating the surface of fibers in a length. Floral motifs which are stylized on the technique of Dival working are located on Bindallı. Dival is a kind of machining that widespread after 19th century. Details is implemented as a combination of wrap and dispose of needles in Dival technique. Two types of yarn are used which one is unseen from the front of the fabric because of carrying on the back of fabric. And the other yarn is unseen from the back of the fabric because of carrying on the front of fabric. Silver yarn is mostly used for technigue of Dival; However, all of the motifs or part of motifs may be processed with a portion of the colored yarn. It is possible to obtain more dynamic and more rich looking by using materials as sequins, beads, rhinestone, various stones, caterpillars, worms, balls wrapped over silver and so on. Bindallı which is made by using difficult and laborious technique of Dival have taken their place in the polls as a special garment after young girls wore at the wedding and henna night. The history of bindallı, development process coming up to the present and machining techniques are surveyed in this study. Key words: Bindallı, Dival working, Museum of Aydin 18. OTURUM (18. SESSION)-C Salonu (C Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Melek GÖKAY-Doç. (Assoc. Prof.) Münevver ÜÇER KONYA MİMARİ DOKUSUNUN ÇAĞDAŞ TÜRK RESMİNE YANSIMALARI Mehmet Ali GENÇ İlyas SEVİNDİK Yeşim ERMİŞ Osmanlı Devleti’nin son döneminde Batılılaşma sürecine giren Türk resim sanatı Cumhuriyet’in ilk döneminde de bu süreci devam ettirmiştir. Bu dönemdeki resim çalışmalarında bir yandan Batılılaşma devam ederken bir yanda da giderek hızlanan bir şekilde, resim sanatının yerel bir platforma yerleştirilmesi düşüncesi hâkim olmaya başlamıştır. 1930’lu ve 1940’lı yıllarda sanatın yerelleşmesi kapsamında ressamlar eserlerinde konu olarak Anadolu’nun zengin kültürünü ve mimari yapılarını kullanarak eserlerine yön vermişlerdir. Cumhuriyet’in ilk döneminde sanatçıyı destekleme politikası uygulanmış, bu kapsamda Türk ressamların eserlerinde yerel konulara yer vermelerine katkı sunmak için Yurt Gezileri tertiplenmiştir. Böylece ressamların Anadolu’yu gezip, görmeleri sağlanarak Anadolu’nun geleneksel sanatları yanında mimari dokusunun sanatçıların eserlerine, Türk resim sanatına etkin bir şekilde aktarılması sağlanmıştır. Kimi resmi görevli, kimi eğitim amaçlı, kimi gezme amaçlı olarak Konya’ya gelen, milli kültür politikasıyla hareket eden sanatçılar Anadolu’nun her yöresinden eserler verdiği gibi Selçuklu Devleti’nin başkenti Konya’dan gezme ve inceleme sonrası birçok eser üretmişlerdir. Bu çalışmada çağdaş Türk resim sanatında Konya mimari dokusunu çalışmalarında yansıtmış olan ressamlardan Şahabeddin Uzluk, Şefik Bursalı, Saim Özeren, Zeki Kocamemi ve Ferruh Başağa gibi Konya tarihinde derin izler bırakmış sanatçılar ve eserleri ele alınmıştır. Çalışma, literatür taraması şeklinde yapılarak elde edilen veriler betimsel olarak bir araya getirilmiştir. Anahtar Kelimeler: Konya Mimarisi Dokusu, Türk Resim Sanatı, Şahabeddin Uzluk, Şefik Bursalı, Saim Özeren, Zeki Kocamemi, Ferruh Başağa. SELÇUKLU VE OSMANLI MİNYATÜRLERİNDE ŞAMANİST ETKİLER (SHAMANISTIC EFFECTS IN THE SELJUK AND OTTOMAN MINIATURES) Ahmet DALKIRAN Meliha YILMAZ Shamanism tradition which left very deep traces in Turkish society life, has also influenced the art that an integral part of Turkish society. Seljuk and Ottoman miniatures examined in this research is an area where the shamanistic effects seen as intense. The research subject have made considerable due to the effects of Shamanism traditions on relevant field have not been studied previously by researchers.

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Also, the research considered under report so Shamanistic influence belongs to the Seljuk and Ottoman Miniatures is not limited to the examples studied in this research. According to this; In Seljuk and Ottoman miniatures has been found that despite the Islamic religion; eagles, roosters, chickens, tree of life, the struggle of the animal scenes, drums and communication with God through the essential elements of the ritual myths, such as the tambourine with the most basic tool to dance and play myth used in parallel with provisions of the old Turkish belief, shamanism. However, it should be noted that the examples belongs to the shamanistic influence in Seljuk and Ottoman miniatures are not limited to works that examined in subject. Keywords: Shamanism, Kamlık, Seljuk Miniatures, Ottoman Miniatures. GELENEKSEL TÜRK FİGÜR VE MOTİFLERİNİN BEDRİ RAHMİ EYÜBOĞLU ESERLERİNDEKİ KURGUSU Mustafa BAYTAR Bedri Rahmi Eyüboğlu preferred to reflect traditional decoration and handcraft in a geometric style on his fıgures and motives. Despite being in France and in contact with famous western artists there for a period of time, he chose not to base his art on that western type of art. Though he studied art under guidance of Andre Lhote in Paris, it can be understood that Eyüboğlu was not in favour of classical constructivist approach of Lhote. Eyüboğlu wanted his art to be a product of Turkish culture, traditions, and folk structure rather than foreign styles of art. He fictionized folk culture by implementing a geometric approach. Derived from aesthetic of miniatur art, the artist applied a symbolical way to present his art. Thus, his attitude towards art resulted novel pieces emphasizing a drift to people of Anatolia and their culture. It can be put forward that his works are examples of Turkish rich folk culture blended with colour, material, and technique choices of his contemporaries. His arts have affected forthcoming artists in Turkey. Having said that, in regard with Bedri Rahmi Eyüboğlu sample, this article focuses on insistence to produce art on one’s own culture as opposed to his background studies in western culture. This study underlines Eyüboğlu experience in terms of sticking with an artist’s own cultural values that it can still provide an important basis for plastic arts. Keywords: Culture, tradition, art, motive, figure. 1950 SONRASI TÜRK PORTRE RESİMLERİNDEKİ BİÇİM BOZMAYA DAİR BİR ÖRNEK: MEHMET GÜLERYÜZ (AN EXAMPLE OF FORM DEFORMATION IN TURKISH PORTRAIT PAINTINGS AFTER 1950: MEHMET GÜLERYÜZ) Menekşe ÜNSAL Ahmet DALKIRAN Tendency of form deformation in portraits, has began to show itself effectively after the establishment of the republic (1923) in Turkish Painting. Because after the the establishment of the republic it has been adopted that novelty seeking in form in Turkish Painting with the formation of an environment that embraces contemporary problems as problems of the country in Turkey. Mentioned novelty seeking and existing form deformation in Turkish Painting art has shown itself under the effects of art movements such as cubism, constructivism, expressionism in grouping trends of Turkish Painting art until 1950s. After the 1950s, the grouping trend has started to disappear in the Turkish painting also as well as all over the world and mostly has gone to the direction of specificities in the abstract and figurative interpretations within the individual trends. Mehmet Güleryüz is one of the most stable artists who approaches to the form deformation fact in portraits in Turkish Painting after 1950s. These following conclusions are reached for the form deformation in Mehmet Güleryüz's portrait works which examined within the scope of study: these portraits almost have no dependence on what appears as well as portrait works that contain an expression such as the interpretation of what 'appears'. Almost foreseen an internal character and the process that motivates it wrapped in a face. These faces are left quite independent from the real. Therefore, the form deformation in portrait works of Güleryüz, served reality of completely create existing presence more than changing it. Güleryüz, in this formation on the surface of

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some of the works on canvas works contain some insights colorist provide plenty layered paint layers were used in line with the understanding that felt the pattern of colors. With the form deformation, most of the portraits host feelings such as tension, restlessness. Key Words: Mehmet Güleryüz, Portrait, Deformation, Turkish Painting. TÜRK KÜLTÜRÜNDE YILAN VE ÇAĞDAŞ RESİM SANATINDAKİ YANSIMALARINA DAİR BİR ÖRNEK: CAN GÖKNİL (AN EXAMPLE OF REFLECTIONS ON CONTEMPORARY PAINTING ART AND SNAKE IN TURKISH CULTURE: CAN GÖKNİL) Cennet İNCE Ahmet DALKIRAN Beginning from early periods of Turkish culture up until today, it can be seen that snake motif, which happens to be one of the most extensively referred motifs in legends, myths and artworks, has been identified with conceptions such as location, manliness, demon, evilness, night, dark color, north symbol, health, wisdom, holiness and evil eye. Snake motif, as an important motif in Turkish culture, has been inspirational for a number of artists of painting. Since works of the artists in question may not be examined as limited by the paper, we aimed to analyze snake projections in Can Göknil's works which appear to have a consistent style considering this issue and we wanted to set this paper as an example for broader researches to be done. This research is deemed significant for bringing cultural values and metrics to the future in the globalizing world. In this context, we comprehended at the end of this research that the snake figure facilitated in Can Göknil's works roots from the Shamanistic Turkish Culture and is occasionally displayed as black shaman, Manliness, shaman souls or talismans. However, whether positively or negatively, Can Göknil utilizes the snake figure as an offset item in his portrayals. Key Words: Can Göknil, Shamanism, Shaman, Turkish Painting. 19. OTURUM (19. SESSION)-A Salonu (A Hall) Oturum Başkanları (Session Moderators): Dr. Marta CAROSELLİ-Ahmet AYTAÇ AZERBAYCAN FOLKLORUNUN İNCİSİ BAYATILARDA (MANİLERDE) EVRENSEL KONULAR ÜZERİNE BİR İNCELEME Prof. Dr. Tamilla ABBASHANLI-ALİYEVA Doç. Dr. Salatın AHMETLİ Regina HÖFER One of the precious pearls of the Azerbaijani oral literature are Bayatis. The history of Bayatis goes back to ancient times. There are important events in the life of the folk in these Bayatis. The rich in content, high philosophical ideas of this lyrical genre attract attention. Bayatis are used both in our oral and in our written literature. Even though the scientists, who are studing the origin of the texts of Bayatis, represent different approaches, the majority advocates that these texts are connected with Azerbaijan. If we say, that Bayatis are the companions of the Azerbaijani folk songs, we do not make a mistake. If a Turk is working, falls in love, is far from home, is longing, marries, is in mourning, loses hope, is dying, in short at all times, he goes back to the Bayatis and finds consolation with them. This essay provides much knowledge about Bayatis and treats universal themes of Bayatis like love, home, nation, nature, heroic death, philosophical-didactic, descendants or world-weariness. About these themes examples from the written theoretical literature and Bayatis are given. At the same time the subtypes of Bayatis, like caresses, lullabies, elegies and songs of destiny, are mentioned and examples of these types are presented. Keywords: Azerbaijan, Folklore, Bayati, love, homeland, nature, nation, heroic death, philosophical-didactic, Essay. ALİ ŞİR NEVAÎ ESERLERİ ÖRNEĞİNDE TÜRK HALKLARI EDEBİYATINDA VASİYET VE VASİYETNÂME

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(BEQUEST AND BEQUEATHING IN THE TURKIC LITERATURE ON THE EXAMPLE OF WORKS OF THE ALISHER NAVOI) Burabiye RECEBOVA One of the irreplaceable examples of the social opinion and poetic interpretation described and created by the poet is the description of more than 30 goodwills in the works of Alisher Navoi. If through Mavlono Qabuliy and Mavlono Lutfiy mentioned in "Majolis un-nafolis" poet describes goodwill related to people and imagination process, then "Hamsa" comprises goodwills describing features important features of main heroes. We can evidence dozens of goodwills in "Nasoyim ul muhabbat», but among those one of the goodwills which can be obeyed by all is a goodwill by Jaloluddin Rumiy.in the historical works as "Tarihi anbiyo va hukamo" and "Tarihiy muluki Ajam" we can also get acquainted with almost 20 goodwills revealing the specify of the works. Navoi's skill is in that he had tried and succeeded in presentation of exactly a concrete goodwill in various shape though it had the same meaning. For example, if on the basis of lyric and epic rules poets describes those 3 goodwills narrated by Doro to Iskandar as well as a famous goodwill written by Iskandar to his mother was broadly and meticulously in distiches in his "Saddi Iskandariy", the same was presented shortly and precisely in "Tarihi muluki Ajam". Among goodwill described by Navoi imaginative description of the one narrated by Farkhoв to the rock is the very example of Navoi style. In this goodwill containing of 7 bayts only, in the symbolical aspects Navoi, first of all, describes the most valuable features for people such as respect, prudency and forgiveness. Secondly, he showcases as example Farkhod reiteratively pledging forgiveness from the rock, and amazes a reader. Thirdly, by reiteratively combining words of mercy in the texture of the goodwill, poet tries to warn humanity to be polite to each other, not to hurt each other, in case of offence to ask a mercy in time and to be merciful. From the goodwill and subjects availed from the goodwill we can notice that Navoi has evidenced lots of cases either events of generosity or disputes stipulated in his goodwill. SABIR AZƏRI YARADICILIĞINDA MILLI RUHA BAĞLILIĞIN GENEZISI THE GENESIS OF DEVOTION TO NATIONAL SPIRIT IN SABIR AZERI’S CREATIVITY Gülşanə XUDİYEV Respect and devotion to motherland is the yeast of our favourite writer Sabir Azeri’s creativity. With his pure love he was loyal to Azerbaijan and it was clear in his works. Loyality to national spirit is the love born from native land. With creative power S. Azeri could stand against soviet idealogy and various socio-political situations. S.Azeri had deep knowledge of oral folk literature that felt in his heritage. The main folk literature topic-the battle of good and evil is in depth of most S. Azeri’s work. This conflict is described both in society and inner world of a man. The writer understands Soviet empire’s preconceived policy towards nation and therefore tried to lighten national problems and criticise idealogical police of the empire and its defects that created in society in most his works. We usually see people’s belief to victory of good over evil at the end of tails and legends and the same belief has reflexted to S.Azeri’s pen as well as in his article “The end of longing” the writer stresses the need to belief to Koroglu and his sword in tragic days of the country. The writer is quite sensitive towards protecting national values as well as. He write several articles about preserving the idea of family that is sacred value of turkish nation and about problems of being torn apart from national family values that modern families encounter. TÜRK ATASÖZLERİNDEN YARARLANARAK, MİZAHIN GÖRSEL SANATLAR DERSİNDE KULLANIMI (THE USE OF HUMOUR IN VISUAL ARTS LESSON THROUGH TURKISH PROVERBS) Kerim LAÇİNBAY Meliha YILMAZ Visual arts lesson is a game for young learners and a means of expressing themselves. Humour, as can happen in all lessons, enables learners to express their thoughts and feelings by entertaining themselves in this lesson.

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This study has benefited from humour that’s the positive effects on the learner motivation supported by scientific research. The proverbs was chosen in terms of appropriateness of their actual meaning for depicting humour among the proverbs that has an important place in Anonymous Turkish Literature and are products of creativity. The learners were given the chance to choose among the proverbs that were determined in accordance with the principles of teaching by researcher. Thus, the related lesson plan that based on Turkish culture and prepared in line with interdisciplinary understanding was applied to the learners who were in concrete operation period in terms of cognitive development. During implementation, high level of learners’ motivation and richness of image in visual studies have been observed. Key Words: Visual Arts Education, Humour, Art and Fun, Motivation, Creativity. 20. OTURUM (20. SESSION)-B Salonu (B Hall) Oturum Başkanları (Session Moderators): Prof. Faruk TAŞKALE-Doç. (Assoc. Prof.) Didem ATİS ÖZHEKİM ARNAVUTLUK’TAKİ OSMANLI DÖNEMİ DUVAR RESİMLERİNDE KENT TASVİRLERİ (CITY DEPICTIONS ON WALL PAINTINGS IN OTTOMAN PERIOD IN ALBANIA) Metin UÇAR The subject of this study is wall paintings with city depictions in Ottoman period buildings in the Balkan state of Albania. Wall paintings, which began to be applied in religious and civil architecture in Istanbul and Anatolia with the start of Tulip Era in the Ottoman Empire, are also seen on wall surfaces of buildings in Albania. Mral paintings, of which few examples are left in buildings today, can be found in the medallions, panels, belts, and inside the cartridges in the inner and outer wall surfaces of buildings. The main themes of the paintings are still life, landscape, and city portrayals. In general, city portrayals are done imaginatively and cities are described either with panoramic views or with buildings symbolizing the city. Among the wall paintings that are mostly done in the Eastern style, paintings at the narthexes of Ilyas Bey Mosque at Gorice (Korçe) and Tiran Ethem Bey Mosque show the effects of the era of Westernization. Wall paintings are located on the wall surfaces of Akçahisar (Kruje) Toptaniler Mansion, Tiran Ethem Bey Mosque, Berat Bekarlar Mosque, Şeyh Hasan Halveti Lodge, guesthouse of Berat Halveti Lodge, Ergirikasrı (Gjirokastra) Zekatlar Mansion, and Görice (Korçe) Mirahor İlyas Bey Mosque. Today, while wall paintings that are left on the territories of different countries carry the local folk art effects indigenous to the area in terms of style and technique, in terms of presentation of themes they reflect effects of Ottoman period. Key words: Balkans, Ottoman Art, Albania, Mural Painting, Depiction, 2011-2014 ARASI İSTANBUL ÇAĞDAŞ SANAT FUARLARINA GÜNCEL SANAT UYGULAMALARININ GELENEK TEMELİNDE YANSIMASI M. Ali BÖYÜKPARMAKSIZ Melek GÖKAY H. Kübra ÖZALP Başlangıcından günümüze çok farklı malzeme, teknik ve yöntemlerden faydalanan sanat insanlık için bir iletişim, etkileşim ve anlatım aracı olmuştur. Bu etkin anlatıma ulaşmak için sanatçının yaratıcılığı (mesajın etkinliği, farkındalık, ifadeyi güçlendirme vb), yöntemi ve amacı önemli rol oynamaktadır. Yaşadığımız çağda gerçekleştirilen sanat eserleri sadece biçimsel özelliklere bağlı kalmadan bazen düşünceye veya bir araştırmaya dayalı olmaktadır. “Şu an yapılmakta olan” veya “bugünü anlatan” sanat eserleri için kullanılan güncel sanat kavramı kapsamında bu araştırmada sanat eserlerinde kültürel birikimlerin, yaşanılan yerin özelliklerinin resim, heykel, seramiğin yanı sıra video art, dijital sanat, enstalasyon, performans vb. uygulamalarla sanatçılar tarafından bienallere, sanat fuarlarına nasıl yansıdığı incelenmiştir. Araştırmada 2011-2014 yılları arasında “İstanbul Çağdaş Sanat Fuarı” na katılan sanatçıların eserlerinde geleneğe ait düşünce ve üretim biçimlerinin güncel sanat uygulamalarına nasıl aktarıldığı, eserlerin kültür ve tarih ile ilişkisi gözlem ve literatür araştırması ile ele alınmaya çalışılmıştır.

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THE MOTİVATİON LİMİTS OF THE FOLKLORE CHARACTERS AND MOTİVES İN SHAHRİAR’S MOTHER-TONGUED POETRY Vusale ZEYNALOVA In the article were talking about characters, motives and topics belonging to folk-lore in the samples of Mohammad-Hossein Shahriar’s mother-tongued poetry. Were defined that characters, topics and motives in Shahriar’s poetry mainly formed on the basis of according molds of folk-lore. The problem were reviewed on basis of analysises on the eposes, fairytales, sagas and paremic phrases of folk-lore. The put forward theoretical ideas had been presented on the basis of concrete text samples. The folklore specificity of Shahriar's poetry is formed by his perceiving and feeling and expressing of the world and life. Shahriar’s poetry from the standpoint of his formal-poetry or sources of idea-contents is densely connected with the poetry which appeared in the unity of classical thinking with ancient turkish poem and on the other hand the lyrical people poem of the Middle Ages. In the context of South literary environment were analysed the peculiarities of Shahriar's poetry and especially the attained meanings from the expression and protection of the ethnicnational memory. The folklore specificity of Shahriar's poetry is formed by his perceiving and feeling and expressing of the world and life. OSMANLI KADİFE KUMAŞLARI İLE GÜNÜMÜZ KADİFE KUMAŞLARININ KARŞILAŞTIRILMASI Sultan ERDOĞAN Kadifelerde desenler, hav-zemin doku ilişkisinden yararlanılarak oluşturulmuştur. Bu tür kadifeler zaman zaman takviye atkılarının da kullanıldığı karmaşık yapılı kadife kumaş türleridir. Zemin dokuda genellikle beşli saten örgü kullanılmış, bazen de zemin doku takviye atkıları ile desene göre, yer yer ya da tümü ile örtülmüştür. Zemin çözgüleri çoğunlukla ipeğin doğal rengindedir. Çok sık olmamakla birlikte renkli zemin çözgüsü kullanılmış örneklerler de karşılaşılmaktadır. Hav çözgüleri de tek kullanıldığı gibi birden fazla renkte de kullanılmıştır. Kadife dokumacılığının başlangıcı için kesin bir tarih belirlenememiştir. Fakat günümüze kadar gelen kadife kumaşların başlangıcı için Mısır Kopt dokumalarını tarihsel bilgiler içerisinde söyleyebiliyoruz. Günümüz ve geçmiş kadifeler arasında karıştırma yaptığımızda, hem desen anlayışı, hem de dokuma tekniklerinin birbirinden farklı oluşu açık olarak ortaya çıkmaktadır. Geçmiş kadifeler, dar enli olup belli bir desen kapasitesine sahiptir. Malzeme olarak saf ipekten yapılmış iplik kullanılmıştır. Daha sonraki örneklerde ipeğin yanı sıra pamuk ve ketene de rastlanır. El tezgahları ile dokunduğunda, dokuma sırasında atkı sıklığı dokuyucuya bağlıdır. İplik bükümü eğiren kişinin istenilen özelliği vermesi ile olur. Elyafın kumaş haline dönüşmesine kadar olan süre insan gücü ile yapılmaktadır. KIZ KALELERI VE HALK EFSANELERI (THE MAIDEN TOWERS AND NATIONAL LEGENDS) Ayten Ali kızı MEHDİYEVA One of universal elements of world model relief code is submitted by legends of ancient castles. Castle has extremely archaic semantics as the product and means of hero. It is one of the independent universal symbols of world model. There are various legend connected with girls and women in fiction and historical literature. Always new signs are given in divine meaning, symbols are endowed in these legends. As well as, every nation has its history. This history is emerged in the form of chronics, tales and legends in some nations. Therefore the history is closely connected with legends. Although, historians, folklore specialists and others conducted research works in this sphere, there are folk legends requiring investigation and systematization yet. As compared with the mythology, reality is more in the legend. As each region, where turkish peoples live, has its general and specific features, there are common and different elements in the legends connected with Maiden towers. When researching these legends, it is possible to obtain detailed information about geographical

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location, origin cataklisms, toponyms of territories located nearby and connected with these monuments, national traditions, ancient religious beliefs, religious ceremonies. Moreover, matter of purpose of Maiden towers construction is highlighted. Notions about Maiden towers have been changed in various period of history. Information about Maiden towers, their origin, beliefs has gone to background and falsified in further centuries. Falsified texts, legends, not in conformity with moral and religious beliefs of nation, have been contrived. So, the root of Maiden tower has been changed and it was input to special system for destruction of former notions. During reseach of legends belonging to turkish peoples, moral qualities, ethical behaviour norms belonging to turkish and Azerbaijani peoples, are highlighted. So, investigation of legends creates condition to. 21. OTURUM (21. SESSION)-C Salonu (C Hall) Oturum Başkanları (Session Moderators): Prof. Dr. Nisbət MEHDİYEVA-Doç. Dr. (Assoc. Prof. Dr.) İsa ELİRİ TÜRK KÜLTÜRÜ, MİTOLOJİSİ, TARİHİ VE EDEBİYAT (Hüseyin Cavid yaradıcılığı üzerine bir inceleme) TURKISH CULTURE, MYTHOLOGY, HISTORY AND LITERATURE (A review of Huseyn Javid’s creative activity) Lutviyye ASGERZADA Hatice İSGENDERLİ In this scientific work starting from Huseyn Javid’s special works we will try to analyze the Turkish unity, Turkish culture, the intense struggle for the sake of the Turkish language as a part of his nation, who loved his language and religion, never forget about being Turkish, expressed the peoples’ free and independent life. In our literature Huseyn Javid was a philosopher, poet and dramaturge that thought in Turkish and wrote in Istanbul’s Turkish and draw his name as coryphaeus of thought and word in the memories. With his creativity Huseyn Javid left us very rich treasure and with investigation his literary heritage is as a diamond, polishing and polishing, are more classified and you can be closer to the ancient Turkish’s alpine-righteous peel-roots, ethnogenesis, heroism, bravery signs that have soaked into their blood and heart, their living laws that were the center of their spirits, customs and traditions. In his works H.Javid expressed the bravery Turkish heroes and created the figures of Turkish conquerors, Turkish prophets, Turkish lovers and Turkish poets. H.Javid was deeply interested in Turkish mythology, folklore, history, literature and especially got highly knowledge about the Eastern history, the history of Islam and the Ottoman Empire. His heart was with full of Turkish mentality. We cannot imagine H.Javid’s creativity without Turkish realities, Turkish ideas and Turkish symbols. In my opinion, in Javid’s works created succession figures and ideas system bears all the Turkish mentality. We can deeply learn Javid’s creativity, analyze them line by line and then would be able to learn his created ideological theory. Javid was a philosopher, poet and strong ideologist and all his created works were the foundation of national ideology of peoples’ future, also those works could save and keep alive the language, it means Turkish language, national mentality, culture, mythology, history and passed all these spiritual values to the next generation, and played an important role in passing them from the past till the present-day and since the present-day till the future. Key words: Turkish history, culture, mythology, literature, Huseyn Javid AZERBAYCAN ÖZELINDE TÜRK FOLKLORU Akif MEMMEDLİ Researchers know that folklore plays a great role at the learning of history of a nation together with written and archeological materials. Beloved folklorewhich called “Hayla” is very popular in Balakan and Zagatala districts of the north-east regions of Azerbaijan. “Hayla” – means “to call” and is one of the ancient Oguz literaryfolklore genres. It can be found ancient names of

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places (toponyms), rivers (hydronyms) and also names of places derived from the names of tribes ( etnonyms) in these regions. The folklore consisting of a seven-syllabed and a fourcouplet is performed with one of the musical instruments called “tambur” (“dambur” in local language). They held parties called “hayla nights” in the past in these areas and these was celebrated as weddings. There was also competition between ashugs (Caucasian folk poets and singers). The most important thing is that we can often come across the names of ancient turkish tribes. Turkish tribes such as Kimer, Sak, Hun, Bolgarian Sabik and the generation of these tribes still live in this region. One of the ancient Turkish words such as “tabur”, “bina”, “tugay” are mostly performed words in “haylas”. If we pay attention, we can see that some more pages of lost turkish history are still live in this folklore. So “haylas” are one of the best ways or sources of studying of this region. When “hayla parties” start they start “chay dashi” (river stones) expression which shows its origin of the Stone Age, because at that time all the hand tools, weapons of men were attached with stones. Finally, we can claim that “haylas” are the most ancient genres. FOLKLOR VƏ MUĞAM NÜMUNƏLƏRININ AZƏRBAYCAN PROFESSIONAL MUSIQISINDƏ ISTIFADƏ OLUNMASI (USE OF FOLK AND MUGHAM SAMPLES IN THE PROFESSIONAL MUSIC OF AZERBAIJAN) Cəmilə MİRZƏYEVA Traditional folk art is an important part of musical culture of Azerbaijan. Any period of centuries-old history of our culture is related to the creation and formation of music genres and as a good example of this relation; we can mention songs and dances, “tasnif” and its colors, “diringe” and “meykhana” and other genres. Ancient and old ritual songs informing about the greatest part of our history, being one of the most beautiful and perfect examples of musicalpoetic creativity of Azerbaijani people are ashug eposes, tales and legends. The art of mugham has such a significant importance in Azerbaijani music that it starts to enter into the significant works of composer’s creativity since the beginning of the XX century and as if becomes its integral part. However, every Azerbaijani composer presents nationality in unique and distinctive style. From this point of view, the individual approaches of two of our great composers Uzeyir Hajibeyli and Gara Gareyev who used folklore samples and mughams in a different way to nationalism is of great interest. U.Hajibeyli directly demonstrates folklore samples in his works, but G.Garayev, in sharp contrast, brings them out in a different way. However, despite all this, each composer tried to do his best in the protection of nationalism”. ƏHMƏD BƏY AĞAOĞLUNUN PUBLISISTIKASINDA DÖVRÜN AKTUAL MƏSƏLƏLƏRI (“İRŞAD” QƏZETININ MATERIALLARI ƏSASINDA) Zöhrə FƏRƏCOVA Əhməd bəy Аğаоğlu yеtmiş bir illik ömrü bоyuncа həyаtdаn аldığı təcrübələri, kitаblаrdаn əхz еtdiyi bilikləri və fitri istedadını sərf еdərək bir çох sаhələrdə fəаliyyət göstərdi. Еlə bunа görə də yаrаdıcılıq yоlunu аrаşdırаnlаr оnun аdının qаrşısınа mütəfəkkir, şərqşünаs аlim, pеdаqоq, ictimаi хаdim, yаzıçı, jurnаlist və nəhаyət, böyük milli mübаriz sözlərini yаzırlar. Əlbəttə, Ə.Аğаоğlunun fəаliyyətinin tаm şəkildə öyrənilməsi üçün оnun bütün sаhələrdə gördüyü işlərə diqqət yеtirmək vаcibdir. Bu sırаdа Ə.Аğаоğlunun jurnаlistkа sаhəsindəki хidmətlərinın хüsusi yerı vardır. Оnun yаzılаrı uzun illər müхtəlif imzalarla аyrı-аyrı dillərdə nəşr оlunаn qəzеtlərin səhifələrində dərc olundu. “ABBAS-GÜLGƏZ” DASTANININ ŞIRVAN VERSIYASI (SHIRVAN VERSION OF EPOS “ABBAS-GÜLGƏZ”) Vüsalə MƏMMƏDOVA Epos “Abbas-Gülgəz” is one of the typical love epos. Although some versions and variants of this epos have been gathered and published , it hasn’t been investigate especially. There are three versions of the epos. One of them includes the traditional features of the love epos for its

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story and composition, and is larger for its volume. According to this version, the present Armenia territory of Azerbaijan (Goycha Aghbaba, Loru-Pambak), Georgia (Borchali), Ganjabasar, Tovuz-Gazakh region and Southern Azerbaijan (Garadaniz-Tabriz, Urmiya) are typical for ashig atmosphere. The second version of the epos is little for its volume, it has the typical features for its story line, motive content and poems. Only one variant of this version has been published. Another version differing for in this form is Shirvan version characterized for Shirvan region. Two variants of this version have been published. There are the motives which are not available in other versions, the interesting episodes and poems arising from this motive. The birth of the characters, their childhood, their love, receiving buta, their parting, their testing are expressed with the different motives in this version. The relation between Abbas and Gulgaz such as children of one's uncle, their birth by means of alms or “Magical apple”, their gobakkasma, their growing and education together. The traditional buta motive is “breached” in this Shirvan version. In other version Abbas wakes up as justice ashig, he went to Tabriz after stranger beauty shown as buta. Here beloveds perform the ritual prays of Islam and slept. Abbas was punished for giving by mistake his glass to Gulgaz; his ears became deaf, and tongue became dump. He made his way to Baghdad to find the way out. The poetry part of Shirvan version is reached with the specific features. Among these versions you can find the poem with bayati poem in this version. The majority of the poems given here belong to this version.

POSTER BİLDİRİLER (POSTERS PAPERS) Arş. Gör. (Res. Assist.) Elif KURTULDU-Prof. Nesrin ÖNLÜ, Türk Kültürü’nde Zanaatten Sanata Örme Ayşe Seçil TEKİN AKBULUT, Ahşap Yazma Kalıplarına Alternatif Öneri Dilek YURT-Prof. Nesrin ÖNLÜ-Yrd. Doç. (Assist. Prof.) Füsun ÖZPULAT, Osmanlı Kumaş Sanatında Hayvan Motifi Öğr. Gör. (Ins) Ayşen KARAKOÇ CİVİLİ, Osmanlı Minyatürlerinde Doğa Temasının Kompozisyon Açısından İncelenmesi Öğr. Gör. Dr. (Ins. Dr.) M. Mustafa GÜLDÜR, Adana İli Kozan İlçesinde Yapılan Boncuk Oyacılığı Üzerine Bir Araştırma Öğr. Gör. (Ins.) Gülhan GÜLDÜR-Öğr. Gör. (Ins.) Fadim AKÇA, Beypazarı’nın Kültürel Mirası Altın Kuşak Öğr. Gör. (Ins.) Mehmet KÜÇÜK, Uşak ve İlçelerindeki Tükenmeye Yüz Tutmuş Gelenekli Sanatlarımızdan; Çömlekçilik Öğr. Gör. (Ins.) Neslihan YAŞAR, Giysi-Sembol-Sanat Eseri Olarak Kaftan TÜRK SANATLARI SERGİSİ (TURKIC ART EXHIBITION) Ahmet AYTAÇ Ayşen KARAKOÇ CİVİLİ Ahmet DALKIRAN Azize Melek ÖNDER Ahmet Fatih ÖZMEN Banu BERBER BABALIK Arzu GÖK Banu GÜRCÜM Atilla ŞİRİN Bilge TURAN KARADEMİR Ayşe Gamze ÖNGEN Binnaz ER Ayşe Seçil TEKİN AKBULUT Cemile HACISEMETZADE Ayşe OKUR Cennet İNCE Ayşe ÜSTÜN Ceyda GÜLSEVER Ayşegül KARAKELLE Didem ÖZ Ayşegül KOYUNCU Dilek OĞUZOĞLU Ayşegül ŞAHİN Dilek YURT

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Duygu ÖZGÜL DURSUN Mustafa BAYTAR Ebru ÇATALKAYA Mutluhan TAŞ Elif KURTULDU Müşerref ÇAKIR Emine KOCA Münevver ÜÇER F. Aybike AYTAÇ Müşerref ÇAKIR F. Emel ERTÜRK Necla TOSMUR Fadim AKÇA Neslihan YAŞAR Faruk TAŞKALE Nihan SEMEN ERSÖZ UZAR Fatma KOÇ Nihat ŞİRİN Filiz Nurhan ÖLMEZ Nuray DEMİREL AKGÜL Gülhan GÜLDÜR Nureddin GÜLAÇTI Gülten KURT Nurşen GEYİK DEĞERLİ H. Feriha AKPINARLI Nurşen ÜNAL KOYUNCU H. Kübra ERGİN Oğuz YURTTADUR Haldun ŞEKERCİ Ömer Oytun ONUR Hande KILIÇARSLAN Ömer ZAİMOĞLU Hasan KORKMAZ Önder DÜZ Hatice HARMANKAYA Özge MAZLUM Hüseyin GÜNDÜZ Ruhi KONAK Hüsna KILIÇ S. Senem UĞURLU Işılay KONAK S. Tuğba ARABALI KOŞAR Itır ARAT Seda DİLAY İ. M. V. Noyan GÜVEN Sema CİVELEK İbrahim ÇAKIR Sena SENGİR İlham ENVEROĞLU Serap ERDOĞAN İlyas SEVİNDİK Serkan İLDEN İsa ELİRİ Serpil AKDAĞLI Kadir ERTÜRK Sultan ERDOĞAN Kaya ÜÇER Sümeyya KILIÇ Kerim LAÇİNBAY Sümeyya Zehra SARUHAN M. Cihan GEZEN Şenay AYTAÇ M. Sami ÖZTÜRK Şerife BİLGİ Mehmet Ali BÖYÜKPARMAKSIZ Şükrü TAŞDEMİR Mehmet Ali GENÇ Tuna DOĞAN Mehmet ÇELİK Türkan KAYSER Mehmet KÜÇÜK Uğur ATAN Meliha YILMAZ Ufuk ÖREN Menekşe ÜNSAL Ümmü KAYNAR Mesut KARAKÜÇÜK Yeşim ERMİŞ Metin UÇAR Zeynep BALKANAL Mevlüt ÖZEMİR ULUSLARARASI AZERBAYCAN YÖRÜK FOLKLORU FOTOĞRAF SERGİSİ (INTERNATIONAL AZERBAİJAN YÖRÜK FOKLORE FOTOGRAPH EXHIBITION) Ahmet AYTAÇ (Türkiye) Ahmet İMANÇER (Türkiye) Ahmet SERDAR (Türkiye) Elxan GANİYEV (Azerbaycan) Fergana GASİMLİ (Azerbaycan) Kakha PKHAKADZE (Gürcistan) Memmed RAHİMOV (Azerbaycan) Nino MGHEBRİSHVİLİ (Gürcistan) Rauf UMUDOV (Azerbaycan)

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