Abstract:

In the Ottoman era, a group of walls and roofs of some structures in the capital and the castle forms an interesting group of carpuccino and carpuccino-know paintings, with their iconographs as well as their statues. In the capital’s palaces, houses, halls and corners, the carpuccino paintings in the dining rooms of some large houses belonging to the roof also are painted in the form of naturmort along with other fruits, with a western-style styling and often appetizing design. On the other hand, the paintings of the knife in the carpuz or carpuz tongue found in the mosques, turbees, tekkees and residents in the Balkans and some of the countryside of Anadolu, where the taricates are concentrated, are the main subject of this study. In general, cutting the hill, a shell of extracted carpets and knife/knows are the main image elements of these compositions. These main compositions, in some examples, are depicted as dispersed to the surface, with curved branches and leaves that call on a table, shell or column. This different narrative diversity must represent the wealth of the design worlds of the artists as well as the changes in the verbal culture of the narrative stories in different regions. Karpuz, in the Turkish world, has been part of the food and drink culture since Central Asia and in Trakya and Anatolia has also originated knowledge, ninni, mania, dreams and some beliefs. In addition, the carpuz is also in many legendary stories around the taricate. In particular, these stories in the surroundings that accepted Alevi-Bektaşi faith, which they worshipped, abdested, resided or defended, were processed on the walls of the buildings of the great taricates, and thus immortalized to the audience. Some of the artists that appear to be members of the tarikat in these paintings are named. These paintings were made between the 18-20 centuries in the modest and naive style of popular art. Keywords: Karpuz, Karpuz-know, Tarikat, Symbol, People's Art, Ottoman Painting Art, Iconography.