Özet:

Turkish Art, built on a deep-rooted civilization, has managed to stay firmly attached to its roots both in the wide geography where the Turks have ruled and in all religions that have been adopted from the belief in the Tengri to Islam. When Turkish Art is examined by periods, it is possible to follow the sequence of development, like the links of a chain. Despite this, the Turks never repeated their style, and in every work they produced in every field, they aimed to create the most ideal, and more ideal compared to the previous one. This situation has brought about a constant change. As in other fields of Turkish Art, Ottoman fabrics show different characteristics in different centuries. While the factors that shape these differences sometimes carry the traces of development within themselves, they appear with the influence of other cultures other times. Within the scope of our article, 17th-century Ottoman fabric samples were evaluated in terms of motif, composition, color, motif size and form, and material properties by making use of the visuals and necessary information obtained from existing sources. The features of these fabrics in common with the Baroque style were examined comparatively on which of them were effect and which of them were only similar. When we consider it in terms of composition scheme, we encounter the infinity principle created by arranging the motifs on vertical, horizontal and shifted axes, the Saz style, oval frames, and curved branches that continue along the ground. In all of these compositions, it is clear that the pattern on the fabric is intended to be given the impression that it continues forever, and it is known that the first examples belong to the Turks. When it comes to motifs, tulips, roses, hyacinths, carnations, pomegranate motifs, large dagger leaves and cintemani motifs were used on the fabric surfaces. Another striking feature of the motifs that make up the patterns is that they are used in large sizes and are formed by filling them with small motifs. We encounter the naturalist style, curved branches and SC motifs on the abric surfaces. It is clearly seen that the majority of these basic features coincide with the Baroque style. However, it is known that the origins of the majority of these features, which are also discussed in the section where fabric samples belonging to the 19th century are examined, have existed in Turkish art since the Central Asia period and in centuries before Baroque art. Therefore, since Turkish Art already contains these characteristic traces in its roots, it would be more appropriate to describe many of these innovations as reflections of its own development. For this reason, these elements constitute only similarity from place to place rather than being a one-to-one adaptation. After these determinations, it would not be correct to say that there is no Baroque effect on the fabric samples of this century. Because, medallions, crown and peacock feather motifs created with Baroque effect appear on the surface of weaving samples. There are also Turkish motifs that are deformed in order to make them more active and ostentatious. However, this effect is not yet at a size that will dominate the entire weaving, and it finds its place in the limitation of motifs. These motifs, which take place in weavings with the Baroque effect, are used with Turkish art composition, weaving techniques and colors.

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