TOKAT \u0130L\u0130M\u0130ZDE EL SANATLARI<\/b><\/p>\n
T\u00fcrk Milleti\u2019nin as\u0131rlar boyunca meydana getirdi\u011fi hal\u0131lar\u0131, kilimleri, cicimleri, zilileri, heybe \u00e7uval ve torbalar\u0131, has\u0131rlar\u0131, bak\u0131r pirin\u00e7 ve tun\u00e7 i\u015fleri; g\u00fc\u011f\u00fcm, bakra\u00e7, lenger gibi mutfak ara\u00e7lar\u0131, kuyumculu\u011fu, tesbih\u00e7ili\u011fi ve kahve tak\u0131mlar\u0131, boncuk i\u015fleri, hamam tak\u0131mlar\u0131, \u00e7anak ve \u00e7\u00f6mlekleri, testileri k\u00fcpleri vs. y\u00fczy\u0131llar boyu yap\u0131la gelmi\u015f hemen hemen hepsi birer sanat eseri haline gelmi\u015ftir. Bunlar\u0131n bi\u00e7imleri, \u00fczerindeki renkler ve nak\u0131\u015flar, yap\u0131l\u0131\u015flar\u0131ndaki incelik ve zerafet sanat sevenlerin ilgisini \u00e7ekmekte ve hayran b\u0131rakmaktad\u0131r. \u0130limizde halen devam eden el sanatlar\u0131 \u015funlard\u0131r;<\/p>\n
\n
1.\u00a0\u00a0\u00a0\u00a0\u00a0Yazmac\u0131l\u0131k<\/p>\n
2.\u00a0\u00a0\u00a0\u00a0\u00a0Bak\u0131rc\u0131l\u0131k<\/p>\n
3.\u00a0\u00a0\u00a0\u00a0\u00a0Torak seramik\u00e7ili\u011fi<\/p>\n
4.\u00a0\u00a0\u00a0\u00a0\u00a0Dericilik<\/p>\n
5.\u00a0\u00a0\u00a0\u00a0\u00a0Sara\u00e7l\u0131k<\/p>\n
6.\u00a0\u00a0\u00a0\u00a0\u00a0\u00c7ar\u0131k\u00e7\u0131l\u0131k<\/p>\n
7.\u00a0\u00a0\u00a0\u00a0\u00a0Mutafl\u0131k<\/p>\n
8.\u00a0\u00a0\u00a0\u00a0\u00a0Semercilik<\/p>\n
9.\u00a0\u00a0\u00a0\u00a0\u00a0At arabac\u0131l\u0131\u011f\u0131<\/p>\n
10.\u00a0\u00a0\u00a0Nal\u0131nc\u0131l\u0131k<\/p>\n
11.\u00a0\u00a0\u00a0Yay\u0131k\u00e7\u0131l\u0131k<\/p>\n
12.\u00a0\u00a0\u00a0Zurnac\u0131l\u0131k, kaval yap\u0131m\u0131<\/p>\n
13.\u00a0\u00a0\u00a0Urganc\u0131l\u0131k<\/p>\n
14.\u00a0\u00a0\u00a0S\u00fcp\u00fcrgecilik<\/p>\n
15.\u00a0\u00a0\u00a0Sele-sepet \u00f6rmecili\u011fi<\/p>\n
16.\u00a0\u00a0\u00a0\u0130\u011fne oyac\u0131l\u0131\u011f\u0131<\/p>\n
17.\u00a0\u00a0\u00a0Hal\u0131c\u0131l\u0131k<\/p>\n
18.\u00a0\u00a0\u00a0Kilim, cicim, pe\u015fkir, \u00e7ar\u015faf dokumac\u0131l\u0131\u011f\u0131<\/p>\n
19.\u00a0\u00a0\u00a0Has\u0131r dokumac\u0131l\u0131\u011f\u0131<\/p>\n
20.\u00a0\u00a0\u00a0Kuma\u015f dokumac\u0131l\u0131\u011f\u0131<\/p>\n
YAZMACILIK<\/p>\n
Orta Anadolu\u2019nun uygarl\u0131k y\u00f6n\u00fcyle zengin olan Tokat ilinde, yazmac\u0131l\u0131\u011f\u0131n 600 y\u0131ll\u0131k bir ge\u00e7mi\u015fi vard\u0131r. Yazmac\u0131l\u0131\u011f\u0131n yap\u0131ld\u0131\u011f\u0131 Anadolu kentleri aras\u0131nda ise Tokat\u2019\u0131n ayr\u0131 bir yeri vard\u0131r. Yazmac\u0131l\u0131k ge\u00e7mi\u015fte t\u00fcr\u00fcn\u00fcn en g\u00fczel \u00f6rneklerini Tokat\u2019ta vermi\u015ftir. Evliya \u00c7elebi Tokat yazmalar\u0131 i\u00e7in \u201cBeyaz pembe bezi Diyar-\u0131 Lahor\u2019da yap\u0131lmaz. G\u00fcya alt\u0131n gibi m\u00fccellad\u0131r. Kalemkar basma y\u00fcz\u00fc, m\u00fcnakka\u015f perdeleri gayet memduh olur\u201d der ve \u00f6vg\u00fcyle s\u00f6z eder. T\u00fcrk El Sanatlar\u0131 i\u00e7inde \u00e7it, yemeni, \u00e7evre, \u00e7ember deyimleri ile tan\u0131d\u0131\u011f\u0131m\u0131z yazma y\u0131llar boyunca kad\u0131nlar\u0131m\u0131z\u0131n ba\u015f \u00f6rt\u00fcs\u00fc olmu\u015ftur. T\u00fcrk\u00fclere ve manilere konu olan yazma, bir Almus t\u00fcrk\u00fcs\u00fcnde sar\u0131 rengi ile dikkat \u00e7ekerken, bir maninin s\u00f6zlerinde desen ve \u00e7i\u00e7ekleri ile dile gelir.<\/p>\n
Ba\u015f\u0131ndaki yazmay\u0131 da
\nSar\u0131ya m\u0131 boyad\u0131n?
\nNeden sarard\u0131n soldun da
\nSevdaya m\u0131 u\u011frad\u0131n?
\nBa\u015f\u0131ndaki yazman\u0131n
\n\u00c7i\u00e7ekleri solmaz m\u0131 ?
\nK\u0131z a\u00e7sana y\u00fcz\u00fcn\u00fc
\nBiraz g\u00f6rsem olmaz m\u0131?<\/p>\n
<\/p>\n
Anadolu\u2019nun yemye\u015fil, \u015firin bir ili olan Tokat\u2019ta \u201cKarakalem\u201d ve \u201cElvan\u201d olmak \u00fczere iki tip yazma bas\u0131lmaktad\u0131r. Desen ve kompozisyon y\u00f6n\u00fcnden do\u011fal bir g\u00f6r\u00fcn\u00fc\u015f hakim olan Tokat yazmalar\u0131nda do\u011fadaki motifler \u00f6zelliklerinden hi\u00e7bir \u015fey kaybetmeden, stilize edilerek kal\u0131p \u00fczerine aktar\u0131lm\u0131\u015ft\u0131r. Tokat\u2019\u0131n karakteristik motifleri, t\u00fcm \u00f6zellikleri ile birlikte yazmalara yans\u0131t\u0131lm\u0131\u015f, do\u011fadan al\u0131nan bitkisel motifler, \u00e7i\u00e7ek ve meyve motifleri kal\u0131p ustas\u0131nca ba\u015far\u0131l\u0131 bir kompozisyon i\u00e7inde kuma\u015f \u00fczerine aktar\u0131lm\u0131\u015ft\u0131r. Meyve \u00e7e\u015fidi bol olan Tokat\u2019\u0131n bu \u00f6zelli\u011fi yazma desenlerine konu olmu\u015f, elmas\u0131, \u00fcz\u00fcm\u00fc, kiraz\u0131 ve \u00e7i\u00e7ekleri motifler halinde yer alarak desenlere kaynakl\u0131k etmi\u015ftir.<\/p>\n
Desenler, a\u011fa\u00e7 kal\u0131plara kal\u0131p ustas\u0131nca bir nak\u0131\u015f gibi i\u015flenerek aktar\u0131l\u0131r. Kal\u0131p oymac\u0131l\u0131\u011f\u0131 sab\u0131r ve el becerisi ister. Herkes yazmac\u0131 olur ama, kal\u0131p ustas\u0131 olamaz. En g\u00fczel kal\u0131plar ise \u0131hlamur a\u011fac\u0131ndan oyulur.<\/p>\n
\n
Anadolu\u2019da yazmac\u0131l\u0131\u011f\u0131n merkezi konumunda olan Tokat\u2019ta \u00fcretilen yazmalardaki renk uyumu ger\u00e7ekten m\u00fckemmeldir. Tokat yazmalar\u0131nda \u00e7o\u011funlukla k\u0131rm\u0131z\u0131n\u0131n koyu tonlar\u0131, bordo, patl\u0131can moru gibi koyu renkler hakimdir. Tokat yazmalar\u0131 \u00e7ok renklidir. Sa\u011flam bir renk armonisi vard\u0131r. Tokat\u2019ta bug\u00fcn \u00e7ok de\u011fi\u015fik yazma deseni bas\u0131lmaktad\u0131r. Tokat\u2019a \u00f6zg\u00fc desenlerin yan\u0131 s\u0131ra de\u011fi\u015fik y\u00f6relere ait motiflerle de \u00e7al\u0131\u015f\u0131lmaktad\u0131r. Tokat\u2019a \u00f6zg\u00fc yazma desenleri \u015funlard\u0131r.<\/p>\n
1.\u00a0\u00a0\u00a0\u00a0\u00a0Tokat i\u00e7i dolusu<\/p>\n
2.\u00a0\u00a0\u00a0\u00a0\u00a0Tokat be\u015flisi<\/p>\n
3.\u00a0\u00a0\u00a0\u00a0\u00a0Tokat \u00fcz\u00fcml\u00fcs\u00fc<\/p>\n
4.\u00a0\u00a0\u00a0\u00a0\u00a0Tokat elmal\u0131s\u0131<\/p>\n
5.\u00a0\u00a0\u00a0\u00a0\u00a0Tokat yar\u0131m elmal\u0131s\u0131<\/p>\n
6.\u00a0\u00a0\u00a0\u00a0\u00a0Tokat kirazl\u0131s\u0131<\/p>\n
7.\u00a0\u00a0\u00a0\u00a0\u00a0Tokat i\u00e7i bo\u015f (Kayseri kenar)<\/p>\n
8.\u00a0\u00a0\u00a0\u00a0\u00a0Purket (plaka)<\/p>\n
9.\u00a0\u00a0\u00a0\u00a0\u00a0Ka\u015f\u0131k sap\u0131<\/p>\n
10.\u00a0\u00a0\u00a0Kaynana yumru\u011fu<\/p>\n
11.\u00a0\u00a0\u00a0Asma yapra\u011f\u0131<\/p>\n
12.\u00a0\u00a0\u00a0Ev i\u015fi yazma<\/p>\n
13.\u00a0\u00a0\u00a0Trabzon kenar<\/p>\n
40 y\u0131l \u00f6ncesine kadar be\u015f b\u00fcy\u00fck handa; 1. Horozlu Han\u0131, 2.Hac\u0131 Musao\u011flu Han\u0131, 3.Askerler Han\u0131, 4.Beypazar\u0131 Han\u0131, 5. Gazio\u011flu Han\u0131nda y\u00fcr\u00fct\u00fclen yazmac\u0131l\u0131k bug\u00fcn yaln\u0131zca bir handa (Gazio\u011flu Han\u0131nda) yap\u0131lmaktad\u0131r. \u0130ki as\u0131r kadar \u00f6nce bir kervansaray olarak yap\u0131lan Gazio\u011flu Han\u0131, ortas\u0131nda kuyusu olan b\u00fcy\u00fck dikd\u00f6rtgen bi\u00e7imli avlusu ve \u00fcst kattaki s\u0131ra s\u0131ra odalar\u0131 ile eski zamanlar\u0131nkinden farkl\u0131 de\u011fildir bug\u00fcn… At\u00f6lyelerde renk renk t\u00fclbentler de\u011fi\u015fik kal\u0131plarla bas\u0131l\u0131rken, biriken yazmalar tavandaki cereklere as\u0131l\u0131r. Yazmalar, avludaki havuzlarda ve \u00fcst kattan avluya uzanan cereklerde bir renk c\u00fcmb\u00fc\u015f\u00fc gibi uzan\u0131r. Halen Yazmac\u0131lar Han\u0131nda da yazmac\u0131l\u0131\u011fa devam eden yazmac\u0131lar mevcut olup, b\u00fcy\u00fck bir \u00e7o\u011funlu\u011fu Tokat sanayi sitesinin yan\u0131nda yeni yap\u0131lan Yazmac\u0131lar Sitesinde faaliyetlerini s\u00fcrd\u00fcrmektedirler.<\/p>\n
Yazma art\u0131k; elbise, etek, bluz, fular, sabahl\u0131k, gecelik, tayy\u00f6r gibi \u00e7e\u015fitleriyle han\u0131mlar\u0131n gard\u0131roplar\u0131na da girmi\u015ftir. Bug\u00fcn yazmalar\u0131n \u00e7e\u015fitli \u00f6zelliklere sahip motifleri, g\u00fcn\u00fcn anlay\u0131\u015f\u0131na uygun olarak \u00e7e\u015fitli yerlerde kullan\u0131lmaktad\u0131r. Modac\u0131lar\u0131m\u0131z\u0131n ve baz\u0131 \u015fehirlerde kurulu \u00f6zel at\u00f6lyelerin yazma motifleriyle yaratt\u0131klar\u0131 giysiler i\u00e7 ve d\u0131\u015f piyasada \u00e7ok tutulmakta, bu da yazma sanat\u0131n\u0131n \u00f6nemini ifade etmektedir.<\/p>\n
YAZMA<\/b><\/p>\n
Bu yazma anamdan kalm\u0131\u015f k\u0131z\u0131m
\nBabam alm\u0131\u015f Tokat\u2019tan
\n\u0130lk aylarda evlili\u011fin.
\nSeferberlik kopunca giyim ku\u015fam kimin akl\u0131nda
\nBas\u0131l\u0131 kalm\u0131\u015f sand\u0131kta kurtulu\u015fa kadar
\nSonra oyalar i\u015flemi\u015f kenar\u0131na
\nYurdumun g\u00fczelliklerini i\u011fnenin ucuna d\u00f6km\u00fc\u015f
\nAl\u0131n terini koymu\u015f babam\u0131n
\nAn\u0131lar\u0131n\u0131 koymu\u015f ac\u0131 tatl\u0131
\nYedi \u00e7ocuk
\nYedi umut olmu\u015f ipliklerin ucunda
\nTarih olmu\u015f all\u0131 yazma
\nBu yazma seferberlikten kalma k\u0131z\u0131m
\nBir ucu kara g\u00fcnlerinde g\u00f6m\u00fcl\u00fc kalm\u0131\u015f yurdumun
\n\u00d6te ucu ayd\u0131nl\u0131k
\nEmin ol
\nSenin elinde daha g\u00fczel
\nDaha anlaml\u0131
\nBu g\u00fczel g\u00fcn\u00fcnde Cumhuriyet\u2019in.<\/p>\n
EL DOKUMACILI\u011eI<\/p>\n
El sanatlar\u0131 insanlar\u0131m\u0131z\u0131n ihtiya\u00e7lar\u0131n\u0131 kar\u015f\u0131layacak \u015fekilde ortaya \u00e7\u0131km\u0131\u015f, ya\u015fay\u0131\u015f \u00f6zellikleri ve iklim \u015fartlar\u0131na g\u00f6re geli\u015fmeler g\u00f6stererek k\u00fclt\u00fcr\u00fcm\u00fcz\u00fcn \u00f6zelliklerini yans\u0131tmaktad\u0131r<\/p>\n
Halen ilimizde \u00f6zellikle Ba\u015f\u00e7iftlik ve Almus-Muhat beldesinde hal\u0131 dokumac\u0131l\u0131\u011f\u0131, Merkez-G\u00fcnevi k\u00f6y\u00fcnde el dokumas\u0131 (pe\u015fkir, \u00e7ar\u015faf, elbiselik kuma\u015f), k\u0131rsal kesimdeki k\u00f6ylerimizde kilim, cecim, sumak, has\u0131r dokumac\u0131l\u0131\u011f\u0131n\u0131n yan\u0131 s\u0131ra \u00f6zellikle K\u0131z\u0131k k\u00f6y\u00fcnde dokunan K\u0131z\u0131k kilimleri, Re\u015fadiye y\u00f6remizde alaca \u00e7orap \u00f6r\u00fcc\u00fcl\u00fc\u011f\u00fc, heybe dokumac\u0131l\u0131\u011f\u0131 ve Nebi k\u00f6y\u00fcndeki folklorik giysiler y\u00f6remize g\u00fczel bir zenginlik kayna\u011f\u0131 olu\u015fturmaktad\u0131r.<\/p>\n
BAKIRCILIK<\/p>\n
Tokat\u2019ta bak\u0131r i\u015fleme sanat\u0131 Osmanl\u0131 D\u00f6nemi\u2019nde bir hayli geli\u015fmi\u015f olup, bu konuda ad\u0131ndan s\u00f6z ettiren \u00f6nemli merkezlerden biri olmu\u015ftur. Ergani\u2019den getirilen ham bak\u0131rlar, \u015fimdiki yeti\u015ftirme yurdu\u2019nun bulundu\u011fu alandaki < Kalhane> de i\u015flenmekte, Sulusokaktaki esnaf\u0131n marifetli ellerinde herbiri birer sanat eseri olarak v\u00fccut bulmaktad\u0131r.<\/p>\n
Bak\u0131rc\u0131l\u0131k sanat\u0131 son zamanlarda \u00f6nemini kaybetmesine ra\u011fmen ilimizde i\u015flenen bak\u0131r\u0131n kalitesi ve \u015fekil bak\u0131m\u0131ndan estetik ve zengin \u00e7e\u015fitlili\u011fi nedeniyle Anadolu \u015fehirleri i\u00e7erisinde ayr\u0131cal\u0131kl\u0131 yeri vard\u0131r.<\/p>\n
Halen ilimizde d\u00f6vme tekni\u011fi ile yap\u0131lmakta olan mutfak e\u015fyas\u0131 ve hediyelik e\u015fya (le\u011fen, ibrik, kazan, tava, tas, sini, vb.) olarak \u00fcretilmektedir. Ancak, ge\u00e7mi\u015fteki kullan\u0131m yo\u011funlu\u011funun yerini plastik, al\u00fcminyum ve \u00e7elik malzemeye b\u0131rakm\u0131\u015ft\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"
TOKAT \u0130L\u0130M\u0130ZDE EL SANATLARI T\u00fcrk Milleti\u2019nin as\u0131rlar boyunca meydana getirdi\u011fi hal\u0131lar\u0131, kilimleri, cicimleri, zilileri, heybe \u00e7uval ve torbalar\u0131, has\u0131rlar\u0131, bak\u0131r pirin\u00e7 ve tun\u00e7 i\u015fleri; g\u00fc\u011f\u00fcm, bakra\u00e7, lenger gibi mutfak ara\u00e7lar\u0131, kuyumculu\u011fu, tesbih\u00e7ili\u011fi ve kahve tak\u0131mlar\u0131, boncuk i\u015fleri, hamam tak\u0131mlar\u0131, \u00e7anak ve \u00e7\u00f6mlekleri, testileri k\u00fcpleri vs. y\u00fczy\u0131llar boyu yap\u0131la gelmi\u015f hemen hemen hepsi birer sanat eseri […]<\/p>\n","protected":false},"author":35,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-469","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.masev.org\/dernek\/wp-json\/wp\/v2\/pages\/469","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.masev.org\/dernek\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.masev.org\/dernek\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.masev.org\/dernek\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/www.masev.org\/dernek\/wp-json\/wp\/v2\/comments?post=469"}],"version-history":[{"count":0,"href":"https:\/\/www.masev.org\/dernek\/wp-json\/wp\/v2\/pages\/469\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.masev.org\/dernek\/wp-json\/wp\/v2\/media?parent=469"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}