Özet:

Marriage is an important thing in the Turkish culture. Those that are transmitted through the effective means of cultural transportation, such as legends, stories, fairy tales, myths, show that the Turks throughout their history have performed marriage rituals in countless varieties in their geographics. Marriage is the beginning of family formation, the smallest buildingstone in society. It is one of the three transitional periods of birth and death that regulate the life of man and society. It represents the transition of the person, especially the woman, from one side to the other, and the bride is located in the center. In the essence of this mythological journey, which is also expressed as the "immigration of the bride" in Turkish beliefs, beyond the departure of the bride's father's house to the new home, the codes of our cultural journey are kept from the myths of creation to the present day. Today, the Anadolu weddings are filled with practices with countless diversity and rich meaning as in the same past. It also appears that they have been abandoned from their practice but remained in existence in some of the pieces that have traces in our oral or material culture. They deserve at least to be translated into literature and to be placed in our cultural treasury. One of these pieces is an element called "Gelin messenger / Zengel" which can be partially preserved in the memories in the villages in the Gaziantep and Malatya region. Chengel, which has an example in our hands, focuses on the fact that one of the main characters of Turkish mythology - the protector of women and children - "Umay Ana", is focused on the fact. The design of the universe, formed according to the Turkish system of belief, is a cultural subject that keeps the light of both our traditional crafts and the design industry with details such as fabric, coating, seafood, seafood buttons and coating processing. A young boy by the bride takes this messenger to the bride before the cabin and those waiting for the bride understands that the bride's joke has gone. After the bride comes to the bride's house, the women want to see the bride's quarter, especially Chengel. The nature of the materials and applications on the Chengel shows the economic status of the bride's family and the bride's ability. After the wedding, this Chengel is hanged as Nazareth in the rarest corner of the new bride's house.

Anahtar Kelimeler:

Özet:

Marriage is an important phenomenon in Turkish culture, carried out by effective means of cultural transport such as myths, legends, stories and tales. Throughout the history, Turkish people performed various marriage rituals in the geographies they lived. Marriage is the beginning of family formation, the smallest building block of society. It is one of the three transitional periods, which regulates a human and a society along birth and death. It represents the transition of the person, especially a woman, from one side to another centering the bride. At the core of this mythological journey, which is also referred as “gelinin göçü” in Turkish beliefs, is the codes of our cultural journey from the myths of creation to present day, beyond going from the father’s home to another home. Today, Anatolian marriage rituals are filled with countless variety and richness of meaning, just like in the past. In addition to them, it is seen that some practices are abandoned yet the trace of them can be found in the oral or material culture. Those rituals at least deserve to be in the literature and gain a place in our cultural heritage. One of these rituals that is partially saved to the memories is something called “gelin habercisi/çengel” in villages around Gaziantep and Malatya. The Çengel example shown focuses on one of the prominent characters in the Turkish mythology - the protector of women and children- “Umay Ana”.  Universe design, which is shaped according to Turkish belief system, is a cultural element that sheds light on traditional handcrafts as well as inspiring the design sector with details such as weaving, embroidery, seashells, pearl buttons and beading. A young boy from the bride’s side delivers this precursor before the convoy to groom’s side and with that way those who wait for the bride will understand that the bridal procession is on its way. After the arrival of the bride to the groom’s house, women would like to see the bride’s dowery, especially the Çengel.  The materials and the practices on the Çengel represent the bride’s family’ wealth and talent of the bride. This Çengel is hanged above in the most precious part of the new bride’s house after the wedding as an amulet. In this article, Çengel/ Gelin Habercisi example found in Gaziantep was evaluated and interpreted according to its materials and iconography. In order to document, Çengel’s technical drawing was made, all the drawings were photographed and an album was created. With this study, it is aimed to shed a light on our traditional values and to document them in order to bring it to the literature.