Bu çalışma, Türk folklorunda takıların estetik ve kültürel değerini ele alarak, geleneksel Türk kültüründe takıların sosyal statü, kültürel kimlik ve mistik inançların bir yansıması olarak nasıl işlev gördüğünü inceler. Erken Türk toplumlarından Osmanlı İmparatorluğu ve modern Türkiye'ye kadar uzanan geniş bir zaman dilimini kapsayan bu araştırma, mücevherlerin toplumun sosyal yapısını ve tarihsel geçişleri simgeleyen önemli öğeler olduğunu ortaya koymaktadır. Erken Türk toplumlarında, takılar sadece süs amaçlı değil, aynı zamanda sahibinin sosyal statüsünü ve kimliğini yansıtan sembollerle kullanılmıştır. Osmanlı döneminde mücevherat sanatı zirveye ulaşmış, padişahlar ve saray mensuplarının kullandığı zarif mücevherler devletin gücünü ve ihtişamını simgelemiştir. Modern dönemde ise, Batılı tarzların etkisiyle Türk mücevher tasarımı modernleşmiş, geleneksel motifler modern tasarımlarla yeniden yorumlanarak global pazarda yer edinmiştir. Bu bağlamda çalışma, Türk mücevher sanatının dinamik yapısını ve kültürel mirasın korunmasını sağlamakta olan modernleşme sürecinin önemini ele alarak, bu alandaki bilimsel ve kültürel tartışmalara katkıda bulunmayı amaçlamaktadır.
A Luminous Turkish Handicraft: Jewelry Design. (2020). Retrieved from https://goturkiye.com/a-luminous-turkish-handicraft:-jewelry-design
Acar, A. (2001). Osmanlı’dan Cumhuriyet’e Türkiye’de Takı Kültürü. İstanbul: Eren Yayıncılık.
Aça, M. & Demir, B A. (2020). Kültürel ve Sosyal Davranışların Anlam ve İşlev Dünyasına Bir Yolculuk: Davranış Folkloru. Association of Food Technology, 13 (32), 1253-1277. https://doi.org/10.12981/mahder.806709
Aydım, S., Harmankaya, H., & Yılmaz, A. (2013). An Ethnographic Survey of Belt Examples of Beypazarı Traditional Accessories. Procedia Chemistry, 8, 150-158. https://doi.org/10.1016/j.proche.2013.03.020
Balpinar, B., & Hirsch, U. (1982). Turkish Jewelry. Redhouse Press.
Başaran, F. N. & Gürcüm, B. T. (2014). A Reflection on Pomak Culture in Modern-day Turkey: Traditional Female Clothing and the Bride's Wedding Outfit. Folklore, 118, 217-228. Retrieved from https://www.tandfonline.com/doi/abs/10.1080/00155870701337718
Begiç, N. (2020). Amulets from Anatolia: the material culture of the evil eye in Turkey. Journal of Ethnological Studies. 58, 97-114. Retrieved from https://www.tandfonline.com/doi/full/10.1080/04308778.2020.1804171
Beldan, N. Y., & İlhan, A. C. (2012). The Tradition of Exhibition and the Effects of Globalization in Contemporary Turkish Art. Procedia - Social and Behavioral Sciences, 50, 613-617. Retrieved from https://www.sciencedirect.com/science/article/pii/S1877042812033514
Bertola, P., Vacca, F., Colombi, C., Iannilli, V. M., & Augello, M. (2016). The Cultural Dimension of Design Driven Innovation. A Perspective from the Fashion Industry. The Design Journal, 19 (2), 237-251. https://doi.org/10.1080/14606925.2016.1129174
Er, H., & Gürel, D. (2020). Metallic Embroidery and Masters of Thread-Breaking as an Example of Cultural Heritage in Turkish Handicrafts. Tarih Kültür ve Sanat Araştırmaları Dergisi, 9 (2), 451-466. https://doi.org/10.7596/taksad.v9i2.2493
Ertimur, B. & Sandıkçı, Ö. (2014). Alienable Gifts: Uses and Meanings of Gold in Turkey. Journal of Consumer Behaviour, 13 (3), 204-211. https://doi.org/10.1002/cb.1479
Hatipoğlu, M., & Güney, H. (2013). Archaeo-gemmological Investigation of Gemstone Glyptics (Seal Stones and Ceremonial Stones) and Ancient Jewelleries Mounted Gemstones in İzmir Archaeological Museum (Turkey). Journal of Cultural Heritage, 14 (3), 165-168. Retrieved from https://doi.org/10.1016/j.culher.2012.12.012
Jenkins, M. (1988). Mamluk Jewelry: Influences and Echoes. Muqarnas, 5, 29-42. https://doi.org/10.2307/1523108
Nas, E. (2012). Cultural Values in Traditional Turkish Women’s Headdresses. Journal of Ethnological Studies, 50, 27-50. Retrieved from https://doi.org/10.1179/0430877812z.0000000005
Öz, T. (1987). Türk Halk Kültüründe Takılar. Akçağ Yayınları.
Özgüç, T. (1983). Jewellery, Gold Votive Plaques and a Silver Belt from Altıntepe. Anatolian Studies, 33, 33-37. https://doi.org/10.2307/3642688
The Art of Jewelry in the Ottoman Court. (2023). Retrieved from https://www.turkishculture.org/traditional-arts/turkish-culture-portal-149.htm
Umarova, Z. (2018). Characteristics of Development of Tajik Jewelry Art at the Turn of the 21st Century. SHS Web of Conferences 50, 1, 1-5. Retrieved from https://www.shs-conferences.org/articles/shsconf/abs/2018/11/shsconf_cildiah2018_01226/shsconf_cildiah2018_01226.html
Yıldırım, Ö. (2020). Seramik Takılarda Toplanmalı Sır Kullanımı. Artuklu Sanat ve Beşeri Bilimler Dergisi, 4, 103-119. Retrieved from http://arts.artuklu.edu.tr/tr/download/article-file/862727
Yıldırım, R. (2003). Geleneksel Türk El Sanatları: Takı Tasarımı. Kapı Yayınları.
The Importance of Jewellery in Turkish Folklore and Jewellery Design as a Cultural Heritage
Yıl 2024,
Cilt: 11 Sayı: 5, 3196 - 3209, 29.11.2024
This study addresses the aesthetic and cultural value of jewellery in Turkish folklore, examining how jewellery functions in traditional Turkish culture as a reflection of social status, cultural identity and mystical beliefs. Covering a wide time span from early Turkish societies to the Ottoman Empire and modern Turkey, this research reveals that jewellery is an important symbol of social structure and historical transitions. In early Turkish societies, jewellery was used not only for ornamental purposes, but also as symbols reflecting the social status and identity of its owner. During the Ottoman period, the art of jewellery reached its peak, and the elegant jewellery used by sultans and courtiers symbolised the power and glory of the state. In the modern period, Turkish jewellery design became modern with the influence of Western styles, and traditional motifs were reinterpreted with modern designs and gained a place in the global market. In this context, the study aims to contribute to the scientific and cultural debates in this field by addressing the dynamic structure of Turkish jewellery art and the importance of the modernisation process that ensures the preservation of cultural heritage.
A Luminous Turkish Handicraft: Jewelry Design. (2020). Retrieved from https://goturkiye.com/a-luminous-turkish-handicraft:-jewelry-design
Acar, A. (2001). Osmanlı’dan Cumhuriyet’e Türkiye’de Takı Kültürü. İstanbul: Eren Yayıncılık.
Aça, M. & Demir, B A. (2020). Kültürel ve Sosyal Davranışların Anlam ve İşlev Dünyasına Bir Yolculuk: Davranış Folkloru. Association of Food Technology, 13 (32), 1253-1277. https://doi.org/10.12981/mahder.806709
Aydım, S., Harmankaya, H., & Yılmaz, A. (2013). An Ethnographic Survey of Belt Examples of Beypazarı Traditional Accessories. Procedia Chemistry, 8, 150-158. https://doi.org/10.1016/j.proche.2013.03.020
Balpinar, B., & Hirsch, U. (1982). Turkish Jewelry. Redhouse Press.
Başaran, F. N. & Gürcüm, B. T. (2014). A Reflection on Pomak Culture in Modern-day Turkey: Traditional Female Clothing and the Bride's Wedding Outfit. Folklore, 118, 217-228. Retrieved from https://www.tandfonline.com/doi/abs/10.1080/00155870701337718
Begiç, N. (2020). Amulets from Anatolia: the material culture of the evil eye in Turkey. Journal of Ethnological Studies. 58, 97-114. Retrieved from https://www.tandfonline.com/doi/full/10.1080/04308778.2020.1804171
Beldan, N. Y., & İlhan, A. C. (2012). The Tradition of Exhibition and the Effects of Globalization in Contemporary Turkish Art. Procedia - Social and Behavioral Sciences, 50, 613-617. Retrieved from https://www.sciencedirect.com/science/article/pii/S1877042812033514
Bertola, P., Vacca, F., Colombi, C., Iannilli, V. M., & Augello, M. (2016). The Cultural Dimension of Design Driven Innovation. A Perspective from the Fashion Industry. The Design Journal, 19 (2), 237-251. https://doi.org/10.1080/14606925.2016.1129174
Er, H., & Gürel, D. (2020). Metallic Embroidery and Masters of Thread-Breaking as an Example of Cultural Heritage in Turkish Handicrafts. Tarih Kültür ve Sanat Araştırmaları Dergisi, 9 (2), 451-466. https://doi.org/10.7596/taksad.v9i2.2493
Ertimur, B. & Sandıkçı, Ö. (2014). Alienable Gifts: Uses and Meanings of Gold in Turkey. Journal of Consumer Behaviour, 13 (3), 204-211. https://doi.org/10.1002/cb.1479
Hatipoğlu, M., & Güney, H. (2013). Archaeo-gemmological Investigation of Gemstone Glyptics (Seal Stones and Ceremonial Stones) and Ancient Jewelleries Mounted Gemstones in İzmir Archaeological Museum (Turkey). Journal of Cultural Heritage, 14 (3), 165-168. Retrieved from https://doi.org/10.1016/j.culher.2012.12.012
Jenkins, M. (1988). Mamluk Jewelry: Influences and Echoes. Muqarnas, 5, 29-42. https://doi.org/10.2307/1523108
Nas, E. (2012). Cultural Values in Traditional Turkish Women’s Headdresses. Journal of Ethnological Studies, 50, 27-50. Retrieved from https://doi.org/10.1179/0430877812z.0000000005
Öz, T. (1987). Türk Halk Kültüründe Takılar. Akçağ Yayınları.
Özgüç, T. (1983). Jewellery, Gold Votive Plaques and a Silver Belt from Altıntepe. Anatolian Studies, 33, 33-37. https://doi.org/10.2307/3642688
The Art of Jewelry in the Ottoman Court. (2023). Retrieved from https://www.turkishculture.org/traditional-arts/turkish-culture-portal-149.htm
Umarova, Z. (2018). Characteristics of Development of Tajik Jewelry Art at the Turn of the 21st Century. SHS Web of Conferences 50, 1, 1-5. Retrieved from https://www.shs-conferences.org/articles/shsconf/abs/2018/11/shsconf_cildiah2018_01226/shsconf_cildiah2018_01226.html
Yıldırım, Ö. (2020). Seramik Takılarda Toplanmalı Sır Kullanımı. Artuklu Sanat ve Beşeri Bilimler Dergisi, 4, 103-119. Retrieved from http://arts.artuklu.edu.tr/tr/download/article-file/862727
Yıldırım, R. (2003). Geleneksel Türk El Sanatları: Takı Tasarımı. Kapı Yayınları.
Coşkun, M. (2024). Türk Folklorunda Takının Önemi ve Bir Kültürel Miras Olarak Takı Tasarımı. Akademik Tarih Ve Düşünce Dergisi, 11(5), 3196-3209. https://doi.org/10.46868/atdd.2024.794