Yozgat Yöresi Geleneksel Giysileri Ve Teknik Çizimleri
Yozgat Yöresi Geleneksel Giysileri Ve Teknik Çizimleri
Dosyalar
Tarih
2001
Yazarlar
Bakır, Nalan
Süreli Yayın başlığı
Süreli Yayın ISSN
Cilt Başlığı
Yayınevi
Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Institute of Social Sciences
Özet
Ülkemizde kültür miraslarına verilen önemin, hepimizin bildiği üzere yeterli olmadığı kanısındayım. Birçok mirasımızın kaçak yollarla ülkemiz dışına kaçırıldığı da bilinmektedir. Ancak ülkemizde maddi değerlerinden daha ziyade manevi değerleri olan bir çok eserlerde bulunmaktadır. Dünyanın gıpta ile izlediği, bizim yeterince üzerinde çalışma yapmadığımız bu konulardan, ben kendime giyim-kuşam konusunu araştırmayı seçtim. Yozgat yöresinde bulunmam ve görevimin halk oyunları öğretmenliği olması nedeni ile yöre kıyafetlerinin üzerinde yeterli çalışmanın yapılmadığı, yapılmış olanların da çok doyurucu olmadığı hatta kıyafetlerin ve kıyafet parçalarının resimlenmediği, ehliyetsiz kişiler tarafından yapılan bir takım resimlerinde yöre kıyafetlerini temsil etmediği tarafımdan tespit edilmiştir. Bu araştırmaya başlarken önce tarafımdan kıyafet parçalan bir araya getirilmiş, uzman giyim öğretmenleri tarafından teknik ve kalıp çizimleri oluşturulmuş dikim teknikleri tespit edilmiştir. Daha sonraki aşamada kıyafetler bütün ve parçalar halinde tarafımdan resimlenmiştir. Araştırması yapılan kıyafetlerin yapımında kullanılan malzemeler tespit edilmiş ve açıklanmıştır. İnceleme sırasında ele alınan kıyafetlerin renk, desen ve işlemelerinde farklılık göstermesine rağmen model ve dikim tekniklerinin hemen hemen aynı olduğu ortaya çıkmıştır. Kıyafetler, günümüz kıyafetleriyle karşılaştırıldığında çoğu parçaların adı değişmesine rağmen aynı işlevde kullanıldığı tespit edilmiştir. Örneğin üçeteğin karşılığı elbise, yazma ve kıvrağın karşılığı baş örtüsü, keçe külahın karşılığı şapka, çarık ve yemeninin karşılığı ayakkabı, şalvarın karşılığı pantolon vs. vı ı Yozgat yöresinde de farklı kıyafet parçalarının birlikte giyilmesi ile geleneksel kıyafetler oluşmuştur. Yöre kıyafetlerinde kullanılan malzemelerin bir çoğu önceden el tezgahlarında yapılmasına rağmen günümüzde fabrikasyondur. Ancak çarık, çorap, kıl dokuma önlük, keçe külah gibi parçalar ilkel tezgah ve el ile yapılmaktadır. Yöre kıyafetlerinin günümüzde sadece halk oyunları grupları tarafından kullanılıyor olması çeşitliliği azaltmaktadır.
I am in the opinion that the significance forwarded to the cultural heritage in our country is not adequate, as we all know many of our heritages are being smuggled to abroad through illegal ways. However, in our country there still exist many works bearing rather mental values than the material ones. Amongst the subjects on which we never paid sufficient attention nor showed significant effort but monitored by whole world with great envy, I made my choice of subject for research, which is "dress and finery". Since I have been to Yozgat Region and my occupation is involved in folk dances I detected the following; There was no efficient work ever made with respect to the regional dress and finery while the ones made were not to the satisfaction of the requirement, even the paintings made by some painters did not reflect the true and authenticated pattern of the regional dress and finery. As a matter of fact those were frequently the works of unskilled people, thus the pieces of dresses included in such paintings were rather far from representing the regional cult at all. Before beginning this research, expert-dressing instructors achieved the dress pieces we put together and technical and form drawings and sewing techniques were determined. In the subsequent process, the overall dresses in whole and pieces are drawn/painted by myself. He materials used in the make of dresses for which this research is realized are determined and described. Although the dresses studied on varied in respect of color, design and process; it was revealed that their model and sewing technique remained almost the same. IX The dresses, when a comparison made with the dresses of today despite the names of many pieces have been changed, it was found out that they have been used for he same function. For example; the term "triple skirt" (üç etek) equivalent being "dress", the term "hand painted kerchief and woman's outdoor mantle'' '(yazma and kıvrak) equivalent being head-scarf, the term " felt hat" equivalent being the hat, and the term "raw hide sandal" (çarık and yemeni) equivalent being the shoe, the term" shalwaffSa/var) equivalent being trousers etc. The folk dance dresses had appeared when different dress patterns were put on in Yozgat Region. Even though many of the materials used in the regional dresses have been made at the handlooms before, it is manufactured today. However, the old pieces such as; rawhide sandal, socks, hair woven smock, felt fez all are made at primitive looms manually. At the present the regional dresses are being used by the folk dancer groups only it results in the decrease of their variety.
I am in the opinion that the significance forwarded to the cultural heritage in our country is not adequate, as we all know many of our heritages are being smuggled to abroad through illegal ways. However, in our country there still exist many works bearing rather mental values than the material ones. Amongst the subjects on which we never paid sufficient attention nor showed significant effort but monitored by whole world with great envy, I made my choice of subject for research, which is "dress and finery". Since I have been to Yozgat Region and my occupation is involved in folk dances I detected the following; There was no efficient work ever made with respect to the regional dress and finery while the ones made were not to the satisfaction of the requirement, even the paintings made by some painters did not reflect the true and authenticated pattern of the regional dress and finery. As a matter of fact those were frequently the works of unskilled people, thus the pieces of dresses included in such paintings were rather far from representing the regional cult at all. Before beginning this research, expert-dressing instructors achieved the dress pieces we put together and technical and form drawings and sewing techniques were determined. In the subsequent process, the overall dresses in whole and pieces are drawn/painted by myself. He materials used in the make of dresses for which this research is realized are determined and described. Although the dresses studied on varied in respect of color, design and process; it was revealed that their model and sewing technique remained almost the same. IX The dresses, when a comparison made with the dresses of today despite the names of many pieces have been changed, it was found out that they have been used for he same function. For example; the term "triple skirt" (üç etek) equivalent being "dress", the term "hand painted kerchief and woman's outdoor mantle'' '(yazma and kıvrak) equivalent being head-scarf, the term " felt hat" equivalent being the hat, and the term "raw hide sandal" (çarık and yemeni) equivalent being the shoe, the term" shalwaffSa/var) equivalent being trousers etc. The folk dance dresses had appeared when different dress patterns were put on in Yozgat Region. Even though many of the materials used in the regional dresses have been made at the handlooms before, it is manufactured today. However, the old pieces such as; rawhide sandal, socks, hair woven smock, felt fez all are made at primitive looms manually. At the present the regional dresses are being used by the folk dancer groups only it results in the decrease of their variety.
Açıklama
Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 2001
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 2001
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 2001
Anahtar kelimeler
Giyim Endüstrisi,
Halk Bilimi (Folklor),
Folklor,
Giysiler,
Halk oyunları,
Türk halk giysileri,
Yozgat,
Çizim,
Clothing Industry,
Folklore,
Clothes,
Folk dances,
Turkish folk clothes,
Yozgat,
Drawing