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KÜLTÜREL MİRASIN KORUNMASI BAĞLAMINDA BERBERİ KADIN DÖVMELERİNİN 3B YAZICI TEKNOLOJİSİ İLE BASKI-DESEN KALIPLARINA DÖNÜŞTÜRÜLMESİ

Yıl 2025, Cilt: 3 Sayı: 2, 51 - 72, 28.12.2025

Öz

Bu çalışma, Amazigh (Berberi) kadınlarına özgü geleneksel dövme motiflerinin üç boyutlu (3B) yazıcı teknolojileri aracılığıyla dijitalleştirilmesini ve çağdaş tasarım uygulamalarıyla yeniden üretilmesini konu edinmektedir. Amazigh (Berberi) dövmeleri, yalnızca bireysel süsleme değil; aynı zamanda kimlik, kabile aidiyeti, doğurganlık ve inançlara dair bilgileri taşıyan kültürel sembollerdir. Ancak sömürgecilik, dini muhafazakârlık ve modernleşme süreçleri bu sembolleri görünmezleştirmiştir. Bu nedenle çalışma, kaybolma riski taşıyan bu kültürel miras ögelerini dijital ortamda yeniden temsil ederek hem korunmalarını hem de çağdaş üretim süreçlerine entegre edilmelerini amaçlamaktadır. Araştırma kapsamında seçilen semboller, vektörel çizimlerle dijital ortama aktarılmış; modelleme teknikleriyle 3B form haline getirilmiş ve üç boyutlu yazıcıdan çıktısı alınarak baskı-desen kalıplarına dönüştürülmüştür. Elde edilen kalıplar ile tekstil yüzeylerine uygulamalar yapılmıştır. Çalışma, kültürel sembollerin sadece arşivlenmek yerine, etkileşimli ve üretken biçimlerde yeniden var edilmesinin, kültürel süreklilik açısından taşıdığı önemi vurgulamaktadır. Bu yönüyle çalışma, dijital kültürel miras, tasarım antropolojisi ve üretim teknolojileri arasında disiplinlerarası bir bağ kurmayı hedeflemektedir.

Kaynakça

  • Abun-Nasr, J. M. (1987). A history of the Maghrib in the Islamic period. Cambridge University Press. Barrasa, J., Montero, A., Ferrari, B. ve Pastor, Y. (2021). Characterisation and modelling of PLA filament’s ageing evolution with time. Polymers, 13(17), 2–19.
  • Battaglia, A. (2008). Berber tattooing: Marking the body, marking the identity. Journal of North African Studies, 14(4), 475–491.
  • Belaiid, S. (2016). Savaş harfleri mı başlıyor? (1. baskı). Cezayir: E. Dil Laboratuvarı.
  • Boetsch, G., & Chevé, D. (2014). Tatouages berbères du Maroc: Entre traditions et modernités. CNRS Éditions. Britannica Editors. (2025, November). Berber. Encyclopædia Britannica.
  • Bulat, S. (2024). Hayat ağacı. The Journal of Academic Social Science, 61(61), 470–477.
  • Camps, G. (1980). Les Berbères: Aux marges de l’histoire. Éditions des Hespérides.
  • Canbolat, S. C. (2023). Baskı resim bağlamında ahşap taş baskı tekniğinin uygulanmasında yeni teknolojilerin kullanımı. International Journal of Social and Humanities Sciences Research (JSHSR), 10(93), 590–599.
  • Chacón, J. M., Caminero, M. A., García-Plaza, E. ve Núñez, P. J. (2017). Additive manufacturing of PLA structures using fused deposition modelling: Effect of process parameters on mechanical properties and their optimal selection. Materials & Design, 124, 143–157.
  • Deraison, T. (2025, Temmuz 28). Berber tattooing – In Morocco’s Middle Atlas. Inkers App. https://inkers.app/en-US/mag/category/tattoopedia/content/118
  • Eğinli, A. T. ve Nazlı, A. K. (2018). Kültürün koruyucu gücü: Kültürel semboller. Ege Üniversitesi İletişim Fakültesi Medya ve İletişim Araştırmaları Hakemli E-Dergisi, (2), 56–74.
  • Leu, F. veLeu, L. (2017). Berber tattooing in Morocco's Middle Atlas. Leu Family Iron.
  • Giaccardi, E. (2012). Introduction: Heritage and social media (pp. 1–48). In E. Giaccardi (Ed.), Heritage and social media: Understanding heritage in a participatory culture. Routledge.
  • Gökmen, Ö. ve Güzel, S. (2020). Kastamonu yazmacılık (taş baskı) sanatı ve ahşap kalıpların desen özellikleri. I. Uluslararası Kültür, Sanat ve Edebiyat Kongresi Bildirileri, 31.
  • Gurr, M., Vijayavenkataraman, S., Lu, W. F. ve Fuh, J. Y. H. (2016). Design and 3D printing of scaffolds and functional parts. Macromolecular Materials and Engineering, 301(10), 1080–1093. https://doi.org/10.1002/mame.201600111
  • Hatt, R. (1974). Women’s tattoos in North Africa: Symbols of status and spirituality. Ethnology, 13(2), 149–163.
  • Herriott, R. (2019, September). What kind of research is research through design. In IASDR 2019.
  • Kalay, Y., Kvan, T. ve Affleck, J. (2008). New heritage: New media and cultural heritage. Routledge.
  • Khatri, M. (2017). Investigation of material and process parameter effect on mechanical behavior of FDM parts. Materials Today: Proceedings, 4(8), 8679–8685. https://doi.org/10.1016/j.matpr.2017.07.220
  • Kim, S., Seong, H., Her, Y. ve Chun, J. (2019). A study of the development and improvement of fashion products using an FDM-type 3D printer. Fashion and Textiles, 6(9), 2–24. https://doi.org/10.1186/s40691-018-0168-9
  • Krutak, L. (2015). The cultural heritage of tattooing: A brief history. Tattooed Skin and Health, 48, 1–5. https://doi.org/10.1159/000377719
  • Lubben, J. F., Grundhauser, K. ve Seitz, H. (2021). Thermoplastic polyurethane (TPU) in additive manufacturing: A review of process–structure–property relationships. Polymers, 13(3), 444. https://doi.org/10.3390/polym13030444
  • McCabe, C. (2019, Nisan 7). The disappearing tradition of Amazigh facial and body tattoos. Morocco World News. 28 Temmuz 2025 tarihinde https://www.moroccoworldnews.com/2019/04/81446/tradition-amazigh-facial-tattoos/
  • Merradi, M., ve Bouguerra, K. (2025). The symbolism of Amazigh symbols (animal, objects, tattoo). الباحث, 17(1), 39-57. https://asjp.cerist.dz/en/article/266125
  • Nothias, T. (2025). An intellectual history of digital colonialism. Journal of Communication, 00, 1–13. https://doi.org/10.1093/joc/jqaf003
  • Sadiqi, F. (2022). Berber women’s art: A link between North Africa and the continent. Global Africa, 1, 202–213.
  • Schön, D. A. (1983). The reflective practitioner: How professionals think in action. Basic Books.
  • Strong, A. B. (2006). Plastics: Materials and processing. Pearson Education.
  • Triki, L. (2014). L’artisanat berbère : Permanence des matériaux, symbolisme des formes. Étude historique et anthropologique, de l’antiquité à nos jours (Thèse de doctorat, Université Paris Ouest–Nanterre La Défense). École doctorale Mieux, cultures et sociétés du passé et du présent.
  • Tymrak, B. M., Kreiger, M., ve Pearce, J. M. (2014). Mechanical properties of components fabricated with open-source 3-D printers under realistic environmental conditions. Materials ve Design, 58, 242–246. https://doi.org/10.1016/j.matdes.2014.02.038
  • Xiao, Y., ve Kan, Q. (2022). Review on development and application of 3D-printing technology in textile and fashion design. Coatings, 12(2), 267. https://doi.org/10.3390/coatings12020267
  • Yıldız, H. D. (1992). Berberîler. Türkiye Diyanet Vakfı İslâm Ansiklopedisi (Cilt 5, ss. 477–483). Türkiye Diyanet Vakfı Yayınları.
  • Zeggada, C. (2025). Tattoos in Amazigh culture: Body engravings with historical, social, and spiritual significance. Annals for Social and Human Sciences of Guelma University, 1(June).
  • Zimmerman, J., Forlizzi, J., ve Evenson, S. (2007). Research through design as a method for interaction design research in HCI. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (pp. 493–502). ACM.

TRANSFORMING AMAZIGH WOMEN’S TATTOOS INTO PRİNT–PATTERN TEMPLATES USING 3D PRİNTİNG TECHNOLOGY IN THE CONTEXT OF CULTURAL HERITAGE PRESERVATİON

Yıl 2025, Cilt: 3 Sayı: 2, 51 - 72, 28.12.2025

Öz

This study examines the digitization of traditional tattoo motifs specific to Amazigh (Berber) women through three-dimensional (3D) printing technologies and their reproduction through contemporary design practices. Amazigh (Berber) tattoos are not only personal adornments; they are also cultural symbols conveying information about identity, tribal affiliation, fertility, and beliefs. However, colonialism, religious conservatism, and modernization have rendered these symbols invisible. Therefore, this study aims to re-present these cultural heritage elements, which are at risk of disappearing, in the digital environment, both for their preservation and their integration into contemporary production processes. The selected symbols were transferred to the digital environment as vector drawings, transformed into 3D forms using modeling techniques, and then printed onto a 3D printer to create print-pattern patterns. The resulting patterns were then applied to textile surfaces. The study emphasizes the importance of recreating cultural symbols in interactive and productive ways, rather than merely archiving them, for cultural continuity. In this respect, the study aims to establish an interdisciplinary link between digital cultural heritage, design anthropology and production technologies.

Kaynakça

  • Abun-Nasr, J. M. (1987). A history of the Maghrib in the Islamic period. Cambridge University Press. Barrasa, J., Montero, A., Ferrari, B. ve Pastor, Y. (2021). Characterisation and modelling of PLA filament’s ageing evolution with time. Polymers, 13(17), 2–19.
  • Battaglia, A. (2008). Berber tattooing: Marking the body, marking the identity. Journal of North African Studies, 14(4), 475–491.
  • Belaiid, S. (2016). Savaş harfleri mı başlıyor? (1. baskı). Cezayir: E. Dil Laboratuvarı.
  • Boetsch, G., & Chevé, D. (2014). Tatouages berbères du Maroc: Entre traditions et modernités. CNRS Éditions. Britannica Editors. (2025, November). Berber. Encyclopædia Britannica.
  • Bulat, S. (2024). Hayat ağacı. The Journal of Academic Social Science, 61(61), 470–477.
  • Camps, G. (1980). Les Berbères: Aux marges de l’histoire. Éditions des Hespérides.
  • Canbolat, S. C. (2023). Baskı resim bağlamında ahşap taş baskı tekniğinin uygulanmasında yeni teknolojilerin kullanımı. International Journal of Social and Humanities Sciences Research (JSHSR), 10(93), 590–599.
  • Chacón, J. M., Caminero, M. A., García-Plaza, E. ve Núñez, P. J. (2017). Additive manufacturing of PLA structures using fused deposition modelling: Effect of process parameters on mechanical properties and their optimal selection. Materials & Design, 124, 143–157.
  • Deraison, T. (2025, Temmuz 28). Berber tattooing – In Morocco’s Middle Atlas. Inkers App. https://inkers.app/en-US/mag/category/tattoopedia/content/118
  • Eğinli, A. T. ve Nazlı, A. K. (2018). Kültürün koruyucu gücü: Kültürel semboller. Ege Üniversitesi İletişim Fakültesi Medya ve İletişim Araştırmaları Hakemli E-Dergisi, (2), 56–74.
  • Leu, F. veLeu, L. (2017). Berber tattooing in Morocco's Middle Atlas. Leu Family Iron.
  • Giaccardi, E. (2012). Introduction: Heritage and social media (pp. 1–48). In E. Giaccardi (Ed.), Heritage and social media: Understanding heritage in a participatory culture. Routledge.
  • Gökmen, Ö. ve Güzel, S. (2020). Kastamonu yazmacılık (taş baskı) sanatı ve ahşap kalıpların desen özellikleri. I. Uluslararası Kültür, Sanat ve Edebiyat Kongresi Bildirileri, 31.
  • Gurr, M., Vijayavenkataraman, S., Lu, W. F. ve Fuh, J. Y. H. (2016). Design and 3D printing of scaffolds and functional parts. Macromolecular Materials and Engineering, 301(10), 1080–1093. https://doi.org/10.1002/mame.201600111
  • Hatt, R. (1974). Women’s tattoos in North Africa: Symbols of status and spirituality. Ethnology, 13(2), 149–163.
  • Herriott, R. (2019, September). What kind of research is research through design. In IASDR 2019.
  • Kalay, Y., Kvan, T. ve Affleck, J. (2008). New heritage: New media and cultural heritage. Routledge.
  • Khatri, M. (2017). Investigation of material and process parameter effect on mechanical behavior of FDM parts. Materials Today: Proceedings, 4(8), 8679–8685. https://doi.org/10.1016/j.matpr.2017.07.220
  • Kim, S., Seong, H., Her, Y. ve Chun, J. (2019). A study of the development and improvement of fashion products using an FDM-type 3D printer. Fashion and Textiles, 6(9), 2–24. https://doi.org/10.1186/s40691-018-0168-9
  • Krutak, L. (2015). The cultural heritage of tattooing: A brief history. Tattooed Skin and Health, 48, 1–5. https://doi.org/10.1159/000377719
  • Lubben, J. F., Grundhauser, K. ve Seitz, H. (2021). Thermoplastic polyurethane (TPU) in additive manufacturing: A review of process–structure–property relationships. Polymers, 13(3), 444. https://doi.org/10.3390/polym13030444
  • McCabe, C. (2019, Nisan 7). The disappearing tradition of Amazigh facial and body tattoos. Morocco World News. 28 Temmuz 2025 tarihinde https://www.moroccoworldnews.com/2019/04/81446/tradition-amazigh-facial-tattoos/
  • Merradi, M., ve Bouguerra, K. (2025). The symbolism of Amazigh symbols (animal, objects, tattoo). الباحث, 17(1), 39-57. https://asjp.cerist.dz/en/article/266125
  • Nothias, T. (2025). An intellectual history of digital colonialism. Journal of Communication, 00, 1–13. https://doi.org/10.1093/joc/jqaf003
  • Sadiqi, F. (2022). Berber women’s art: A link between North Africa and the continent. Global Africa, 1, 202–213.
  • Schön, D. A. (1983). The reflective practitioner: How professionals think in action. Basic Books.
  • Strong, A. B. (2006). Plastics: Materials and processing. Pearson Education.
  • Triki, L. (2014). L’artisanat berbère : Permanence des matériaux, symbolisme des formes. Étude historique et anthropologique, de l’antiquité à nos jours (Thèse de doctorat, Université Paris Ouest–Nanterre La Défense). École doctorale Mieux, cultures et sociétés du passé et du présent.
  • Tymrak, B. M., Kreiger, M., ve Pearce, J. M. (2014). Mechanical properties of components fabricated with open-source 3-D printers under realistic environmental conditions. Materials ve Design, 58, 242–246. https://doi.org/10.1016/j.matdes.2014.02.038
  • Xiao, Y., ve Kan, Q. (2022). Review on development and application of 3D-printing technology in textile and fashion design. Coatings, 12(2), 267. https://doi.org/10.3390/coatings12020267
  • Yıldız, H. D. (1992). Berberîler. Türkiye Diyanet Vakfı İslâm Ansiklopedisi (Cilt 5, ss. 477–483). Türkiye Diyanet Vakfı Yayınları.
  • Zeggada, C. (2025). Tattoos in Amazigh culture: Body engravings with historical, social, and spiritual significance. Annals for Social and Human Sciences of Guelma University, 1(June).
  • Zimmerman, J., Forlizzi, J., ve Evenson, S. (2007). Research through design as a method for interaction design research in HCI. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (pp. 493–502). ACM.
Toplam 33 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Tekstil ve Moda Tasarımı
Bölüm Araştırma Makalesi
Yazarlar

Serhat Güven 0009-0007-8642-8663

Gönderilme Tarihi 29 Ekim 2025
Kabul Tarihi 7 Aralık 2025
Yayımlanma Tarihi 28 Aralık 2025
Yayımlandığı Sayı Yıl 2025 Cilt: 3 Sayı: 2

Kaynak Göster

APA Güven, S. (2025). KÜLTÜREL MİRASIN KORUNMASI BAĞLAMINDA BERBERİ KADIN DÖVMELERİNİN 3B YAZICI TEKNOLOJİSİ İLE BASKI-DESEN KALIPLARINA DÖNÜŞTÜRÜLMESİ. IDEART Uluslararası Tasarım ve Sanat Dergisi, 3(2), 51-72.