Bitkisel kökenli tekstil desenleri ve Türk tekstil desenlerinde orijin etkeni
Başlık çevirisi mevcut değil.
- Tez No: 21399
- Danışmanlar: PROF.DR. AKIN SÜEL
- Tez Türü: Doktora
- Konular: Tekstil ve Tekstil Mühendisliği, Textile and Textile Engineering
- Anahtar Kelimeler: Desen, Tekstil sektörü, Türkiye, Pattern, Textile sector, Turkey
- Yıl: 1992
- Dil: Türkçe
- Üniversite: Dokuz Eylül Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: Belirtilmemiş.
Özet
At the end of this recearch, it was determined that almost all vegetal shapes originated from this subject and created new kinds by diversifying. It is possible that a lot of symmetric patterns which lost their origins were derived from the same root or system. Although the vegetal patterns of tree kind and the vegetal patterns of palmet kind dependent on the same meaning and structure, which are seen as a heritage inherited from the ancient times as elements of art, are being used as methods in present day pattern works, it can be pointed out that this is a subconcious behaviour done without realizing.relation to faith nas also taken its universal value from its symbolic value. 'The sacred tree' which we witness that everything is developed around has definetely not lost the importance of its mysterious existence, as it was in ancient times and places- Several character istics in its natural sstructure, advantegeous structure and harmonious actions (behaviors) in its appearance and symmetric order (regularity, harmony=düzen) have been the symbols of human's abstract thoughts. Even if the differences in belief have been reflected to some details, the passing and changing time hasnot changed its structure; it rather maintained its existence by adapting itself to changing conditions? (situations) The admiration toward this natural structure, which is a aid as man himself must have started by noticing the harmony in its structure. The usage of the pattern of life tree, and the compositions and patterns involved in such kinds of ornaments are still being widely observed in the samples of various works of arts, and this usage is being sustaihed in traditional style as well. One hand this situation brings a richness of themes to Turkish textile patterns, and on the other it necessitates a typological classification.At the end of this recearch, it was determined that almost all vegetal shapes originated from this subject and created new kinds by diversifying. It is possible that a lot of symmetric patterns which lost their origins were derived from the same root or system. Although the vegetal patterns of tree kind and the vegetal patterns of palmet kind dependent on the same meaning and structure, which are seen as a heritage inherited from the ancient times as elements of art, are being used as methods in present day pattern works, it can be pointed out that this is a subconcious behaviour done without realizing.
Özet (Çeviri)
relation to faith nas also taken its universal value from its symbolic value. 'The sacred tree' which we witness that everything is developed around has definetely not lost the importance of its mysterious existence, as it was in ancient times and places- Several character istics in its natural sstructure, advantegeous structure and harmonious actions (behaviors) in its appearance and symmetric order (regularity, harmony=düzen) have been the symbols of human's abstract thoughts. Even if the differences in belief have been reflected to some details, the passing and changing time hasnot changed its structure; it rather maintained its existence by adapting itself to changing conditions? (situations) The admiration toward this natural structure, which is a aid as man himself must have started by noticing the harmony in its structure. The usage of the pattern of life tree, and the compositions and patterns involved in such kinds of ornaments are still being widely observed in the samples of various works of arts, and this usage is being sustaihed in traditional style as well. One hand this situation brings a richness of themes to Turkish textile patterns, and on the other it necessitates a typological classification.At the end of this recearch, it was determined that almost all vegetal shapes originated from this subject and created new kinds by diversifying. It is possible that a lot of symmetric patterns which lost their origins were derived from the same root or system. Although the vegetal patterns of tree kind and the vegetal patterns of palmet kind dependent on the same meaning and structure, which are seen as a heritage inherited from the ancient times as elements of art, are being used as methods in present day pattern works, it can be pointed out that this is a subconcious behaviour done without realizing.relation to faith nas also taken its universal value from its symbolic value. 'The sacred tree' which we witness that everything is developed around has definetely not lost the importance of its mysterious existence, as it was in ancient times and places- Several character istics in its natural sstructure, advantegeous structure and harmonious actions (behaviors) in its appearance and symmetric order (regularity, harmony=düzen) have been the symbols of human's abstract thoughts. Even if the differences in belief have been reflected to some details, the passing and changing time hasnot changed its structure; it rather maintained its existence by adapting itself to changing conditions? (situations) The admiration toward this natural structure, which is a aid as man himself must have started by noticing the harmony in its structure. The usage of the pattern of life tree, and the compositions and patterns involved in such kinds of ornaments are still being widely observed in the samples of various works of arts, and this usage is being sustaihed in traditional style as well. One hand this situation brings a richness of themes to Turkish textile patterns, and on the other it necessitates a typological classification.At the end of this recearch, it was determined that almost all vegetal shapes originated from this subject and created new kinds by diversifying. It is possible that a lot of symmetric patterns which lost their origins were derived from the same root or system. Although the vegetal patterns of tree kind and the vegetal patterns of palmet kind dependent on the same meaning and structure, which are seen as a heritage inherited from the ancient times as elements of art, are being used as methods in present day pattern works, it can be pointed out that this is a subconcious behaviour done without realizing.
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