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Turkey in 1975 with Black&White Photographes

1975 Photographies in Turkey

Black&White Turkey in 1975

1975 Photographes

https://booksonturkey.com/?s=1975

Levent Ağaoğlu, Author, Turkish Citizen

IMAGES OF TURKEY Photography

1974-75 years 118 black and white photographs
Turkish English photo captions

Within the scope of street photography, shedding light on daily life in Istanbul.

Culture, history, identity, society, people and humanity. Reality and future. Naturalness and true wealth. Our treasures that we can leave from today to tomorrow…

Turkey (Anatolia, Asia Minor) has produced cultures and civilizations for 12,000 years since the Neolithic. However, books published in English on Turkey are very limited. Foreigners cannot find books or publications about Turkey. There is no database even.

The Turkey of the 1970s can be viewed through the youth of the world’s 1968 generation movement. It is a more untouched period in the cold war and bipolar world order when archeology even was not fully active.

Let’s look at these places today from the perspective of 2022 and try to understand a global  transformation story by comparing old photographs and today.

The photographs I took half a century ago in Istanbul Fatih, on the historical peninsula and in ancient cities such as Troy, Bergama, Ephesus, Didim, in the Aegean, shed light on our day. The permanence of ancient cities, which have not changed for thousands of years, clad in silence and solitude, and the sharp and striking change in the time period of 50 years in the city of Istanbul, occur together before our eyes and extend to us from the beginning years of the 21st century. The ancient cities we visited on the Aegean coast were living their heyday when Istanbul was not yet in the middle.

Despite the magnificence of Istanbul’s historical buildings, the poverty and deprivation observed in the 1975 photographs raise questions about whether human welfare or magnificent stone structures are permanent. The ruined historical wooden structures seen in the photographs were quickly destroyed and left their places to reinforced concrete structures. The apartment building fashion, which started in the mid-1950s, has rapidly changed the face of the city in 20 years.

I have been trying to convey the world reflected by the photographs and our impressions with subtitles.

I was born in Fatih district of Istanbul that is the core of İstanbul and Fatih is the historical peninsula surrounded by castles totally from the Golden Horn and Marmara Sea around. All the famous districts are scattered in Fatih. The feelings you have in the Fatih area is very unique and special and if you’re in the area you feel that it is the center of the world, not only with the center of the world because the empires Roman empire after Constantin set up in 395 and Turkish Ottoman Empire in 1453 was all controlled from Fatih district of Istanbul.

In 1974 I bought a Russian Zorki camera for black-and-white photographs and started first from Fatih and then proceeded to Western historical antique locations in the Aegean region, because of my involvement with the touristic guide course. I started from the roads and streets of Fatih, the old town, 45 years ago and got the photos of ordinary people, elderly, youngsters, children and the historical buildings and the wooden buildings in that part of the city.

These are straight black and white photographies and meaningful to show us the past of the historical Peninsula.

Maybe the individuals on the photographs, the elderly ones, may not be living now, so we can analyze the conditions of the time just after the war happened in Cyprus and Turkey started to be entering into street movements with guns which lead to the country to military coup in 12 September 1980. The photographs also reflect the property in the streets of İstanbul at the time though the buildings are very old and rich in history, the people are not that much. Here is the most conservative part of the İstanbul.

Following taking photographs of Fatih and downtown İstanbul, I moved to Western Turkey passing through Dardanel Straight snd visiting antique cities like Troy, Pergamon, Smyrna, Priene, Ephesus, Didyma, which are older than Istanbul clty, so taking the photos of these archaeological theaters and worship buildings.

Images of Aegean Antiquities of Turkey

Aegean Region: Troy, Ephesus, Bergama, Izmir, Didim

 

The ancient road to Ephesus Harbor. The splendor and time-resisting permanence of marble. Who knows, the hills we see in front of us used to be the sea. The tops of the columns were adorned with statues. We seem to have entered a time warp with this photo. On the contrary, the mossy marbles did not stop time and did not reach today. We are watching the road of one of the greatest ancient ports in history Who knows what goods and people were transported from this port, wines, amphorae, olives and olive oils. Audiences coming and going to the Ephesus Theatre.
Ephesus Road April 1975




Ashtrays and salt shakers on the plain restaurant table, and the Didim Apollon Temple, a world masterpiece, in front of it. Didim is 22 km away from Miletus, Capital of Philosophy of the World. The juxtaposition of philosophy and faith. Marble pillars rising to the sky by being cut into circles, twin marble pillars with grooves. Uncle tourist took care of himself by crossing his legs with the camera team. Didim Temple Apollon Cult Izmir Trip April 1975

Images of Historical Downtown of Istanbul

Istanbul: Fatih, Sultanahmet, Eminonu, Sarayburnu, Sahil Yolu, Topkapi Walls, Dolmabahce

Valens Roman Aqueduct from 1650 years away, completed in 373 AD, in the heart of the historical peninsula. Walking citizens, Dodge minibus and city bus decorate the square. It’s a cold winter’s day and its branches are lonely, leafless gloomy trees. Bozdogan Arch 21 December 1974

Entrance stairs of the old New Mosque. The elder is feeding the cornfields and the pigeons. Blessings to your heart, strength to your eyes and stick. A typical Istanbul ritual. The young boy adorned the square with running steps. New Mosque August 1975

Auto spare parts shop, watch repair shop and artisan restaurant on the road to Fatih Mosque. Karakaş karabiyik peddlers dressed in clean white and rags. Cold toasts at the glass car stalls. Istanbul street delicacies. As the weather is so cold, fists are clenched.
Street From Fatih Park From Fire Brigade to Taş Mektep (Stone School9 December 21, 1974

Turkey Talks

TURKEY IN 3D

  • Turkey is Triangle
  • Turkey on Carpets, Rugs and Carved Stone Monuments
  • Turkey in Mind
  • Turkey in Horizontal
  • Turkey in Vertical

TURKEY AND HUMANITY

  • Turkey for Humanity
  • What is Turkey
  • Turkey is the Whole World https://booksonturkey.com/why-turkey-is-the-whole-world/
  • Keyword Humanity

BOOKSON TURKEY

TURKEY AND CIVILISATION

…………………………………………..

TURKEY IN 3D: Turkey is Triangle

What is Turkey?

Turkey in Vertical

Turkey in Horizontal

Turkey in Mind

Turkey on Carpets, Rugs and Carved Stone Monuments

TURKEY AND HUMANITY

Turkey for Humanity

TURKEY AND EMPIRES

Turkey and Roman Empire

BOOKSON TURKEY

Turkey on Carpets, Rugs and Carved Stone Monuments

Turkey in Mind

 

Weavings from Yenice Town Çanakkale, Turkey

Carpet Bag, Weawing, Yenice Town, Çanakkale

Carpet Saddlebag, Yenice town, Çanakkale

Rug (Zili) Bag, Yenice town, Çanakkale, 44×36

Rug (Zili) Bag, Yenice town, Çanakkale, 48×34

Rug (Zili) Bag, Yenice town, Çanakkale, Quality 42 x 36

Rug (Zili) Bag, Yenice town, Çanakkale 38 x 156

Rug (Zili) Bag, Yenice town Çanakkale

Rug (Zili) Bag, Yenice town, Çanakkale. 42×144

Rug (Zili) Bag, Yenice town, Çanakkale, 44 x 144

Rug (Zili) Bag, Yenice Town, Çanakkale, 42 warps x 152 wefts

Rug (Zili) Bag, Yenice town, Çanakkale

Rug (Zili) Bag, Yenice town, Çanakkale, 44 x 144

 

Name of the Fabric Rug (Zili) Bag
Where It Touches  Yenice Region
quality 44 x 144
size 44x44cm
Material Used  Double layer wool warp, single layer wool weft
Weaving Technique  Plain Weave, bell
Composition The Elibelinde motif is placed in bands with the transverse bell weaving technique. A band is formed at the beginning and end of the weaving, and the interior is decorated by taking a section from the motifs of the weaving. The back of the fabric is woven into bands with colored threads. In order to become a woven bag, it is folded and joined at the edges and the edges are knitted with colored pattern threads. It is tied to the mouth of the bag by knitting a tie from the pattern threads. It is tied to the edges by making tassels from pattern threads.
motifs man, hand on waist
warp Double wool warp
Scarf Single layer wool scarf
Colors Used  Red, white, green, blue, purple, pink, yellow, brown, black

 

Man, hand on waist motif : This motif is the symbol of femininity and fertility. It also symbolizes abundance, fertility, luck, fortune and happiness. It was widely used in weavings in Anatolia. Many mountains in Anatolia have been given the names of various mother goddesses. The mountain known as Mount Ida in mythology was named Mount Ida. Mount Ida in mythology is the place where the Sarıkız Legend, which tells about an innocent and pure love, takes place. Ida or Kaz Mountain is the mountain where Paris, the son of the Trojan King, was a shepherd, the Trojan Wars took place after the Spartan King kidnapped his wife Helena, and Paris was killed after the destruction of Troy.

 

by Coşkun Yanar

 

Turkey in Horizontal

 

Turkey in Vertical

Turkey for Humanity

hi my friends uh
it’s monday today it’s a cold
mid-january in
2022
in istanbul turkey and we will talk on
on turkey
it’s it’s
it’s too interesting
for the world that
the geography of turkey its peninsula
is a history of
up to
neolithic taste to today from
from neolithic taste to today is
with gobekli tepe and karantape it’s
over
12 000 years
so it’s
it’s in the
fertile crescent region
it’s in mesopotamia
so it’s a
heritage for the humanity
so turkey is an open museum
for the
livings
and cultures of the
all
humanitarian
species
in turkey so
turks
have a big advantage
to share
these 12 000
years accumulation
with with themselves they they leave
this heritage in their
actions
in their thinkings
uh
it’s a great advantage
so
finally there are the archaeological
excavations at uh
current in turkey
so it is clarified that
this is a great heritage so the turks
came to anatolia in
year year
2071
and then they were in
europe in 400s in in
africa in in 800 years
finally lately there they arrived at
anatolia from
from
a deeper asia they were in iran as well
with earlier dates
so
they also brought
their
their
previous
achievements cultural achievements to
to turkey
land
so
we see it’s a very peculiar
geography chunky geography can say that
it’s
it’s for the
key for the humanity turkey is key for
the humanity
so we can understand all the
movements of the people that who moved
from africa
at the uh origin uh so they moved
through turkey also
to asia and europe as well because
it’s
the chunky geography is a
continental
accumulation point of europe africa and
asia istanbul city
is
in two continents
europe and asia
so
we should concentrate on on
humanitarian
location of turkey in in the global
history
so it’s a good day all my friends have a
good day all
bye for now

Common Motifs in Turkish Weaving from Altaylar, Central Asia to Samsun, Turkey

FROM ALTAYLAR TO SAMSUN COMMON MOTIVES IN TURKISH WEAVINGS Elibelinde-Cot Horn-Card- Lighter / Hook (Shepherd’s Marrow, Flag) Lect. See. Coskun YANAR*

Turks made their weavings in aesthetic sensitivity by combining aesthetic expression with function. (Tural 1997). They reflected the aesthetic expression with the yanış (embroidery, motifs, decorations, etc.) in their weaving. The yanış, composition and aesthetic criteria that have been going on for centuries have been shaped in line with the beliefs of the society and have been the communication tool of aesthetic expression in the decorations in the Turkish ornament and weaving arts without much change. (Karamağaralı 1997) At the same time, the burns in Turkish weaving are important elements that reflect the culture of the society.

The burns in Turkish weavings contain symbolic expressions. Symbolic expression is not the transfer of the effects taken from any entity, the information about the entity as it is, but the transfer of it with symbols, signs and images that will remind it. Symbol is defined as the use of intermediaries to announce, think, or imagine an entity or its effect, reminding it by replacing the main item, expressing the main item by evoking it, communicating with signs and images. (Tural 1998; Ateş 1996).

The elements that make up the decoration in Anatolian weavings are given names such as yanış, yangış, yaneş embroidery, nanış, embroidery, example, decoration, model, motif (Deniz 1998; Görgünay 2002). In our study, we will try to use the wrong name from these nomenclature.

In Turkish arts, flames are brought together in different orders and techniques to form patterns and compositions. The lights in the compositions reflect a certain emotion, a thought. In this respect, we can search for the semantic content and depth of meaning of Turkish weaving arts in the weavings and the meanings of the illusions. For this, it is necessary to know the meanings, implicit expressions and origins of burns well. In this context, the origin, implicit expressions, meanings and messages of the lies constitute important building blocks in Turkish societies. Yanış (yangış, yaneş embroidery, nanış, embroidery, example, decoration, model, motif) in works that show the unity of society, unity togetherness, self-recognition. It sheds light on the fashion in history. It shows respect to history to those who want to learn.It shows how rich we are the heirs of a culture to those who can read…

Certain value concepts of nomadic and settled societies developed within the framework of “sacredness, fertility and abundance”. It is seen that these concepts have also developed in the form of “holiness, warlikeness and abundance” in Turks. Protecting human existence due to wars, preserving animal existence due to geographical conditions, reproduction of society, abundance of human and animal numbers and fertility have been the most basic goals of society. (Fire 1996). Some of the yanış in weaving are among the symbolic fictions developed in this context. Burns are symbolized by the continuation of the generation, the reproduction of animals and plants, birth and reproduction, abundance and fertility. These symbolic shapes appear as incantations (embroidery, motifs) from the past to the present.The common mistakes in the weaving of Turkish communities who lived in different places and times and the similarities in these yanış show the unity of culture and style in Turkish arts from the past to the present.

Elibelinde: It is a fire that symbolizes femininity, maternity, fertility, reproduction, good luck, fertility, fortune, happiness and joy. (Erbek 2002). They are symbols of women’s fertility, pregnancy, birth and postpartum phenomena in various forms. (Fire 1996). There are different forms and interpretations of this yanış for girls and for married women. In the meanings of elibelinde yanış, girl yanış, newly married girl, bride, married woman yanış (Durul 1987) in the weavings of different regions of Anatolia, elibelinde yanış was created with small details without changing the main form of the yanış. The meanings and interpretations of these created combustions have been named without changing their essence. (Photo 1,2,3,4,5,6,7, drawing 1,2,3,4,5).

Coach horn: It has been widely used in weaving arts as a symbol of fertility, productivity, heroism, power, strength, masculinity, happiness, health and happiness (Ateş 1996; Erbek 2002; Tanrısal 1997). It is known as coach horn yanış, coach horn embroidery, coach in the region. There are similarities between the yanış of ram horns in local weavings and the yanış of ram horns in other regions of Anatolia. (Photo 8.9, drawing 6).

Chest: It contains meanings such as expectation of marriage, marriage, dowry, dowry chest, child wish, birth, reproduction, continuity of generation. In some societies, it has also been used as a symbol of death in these meanings. (Ateş 1996; Erbek 2002) It is called “chest yanış/embroidery, comb yanış/embroidery” in the region. The chest burn seen in the weavings in the region is in the form of a square and forms an outward protrusion in the form of comb teeth on the lower and upper edges. This yanış was mostly used in plain weavings.

There are different compositions of chest yanış in the weavings of the region. In some weavings, as the main yanış of the weaving, it has created the decoration on the entire surface of the weaving. (Photo 10.11). In some weavings, it is used as intermediate yanış, in belts or interspersed in between. A rich composition is created by weaving the yanks in different colors on the weaving surface. (Drawing 7).

Hook/lighter/shepherd’s marrow/geydirme (keydirme): It was used in weaving and other handicrafts in almost all regions of Anatolia. It is also used as the stamp of Sarıkeçili Turkmens in Niğde Region. (Kırzioglu 2001). In addition to its meanings related to protection, it also symbolizes opposite and different concepts such as feminine masculine, male and female, wind and water. (Erbek 2002). This yanış is known as shepherd’s marrow yanış, shepherd’s marrow embroidery and lighter yanış, lighter embroidery in Vezirköprü region. It is generally used as intermediate yanış in weaving. Yanış known as geydirme and keydirme in the region was formed from hook/lighter/yanış. The same fire is known as the flag yanış (Kurt 2021) in the Yörükler village of Samsun Ondokuz Mayıs district.It was used as the main yanış in weavings known as Geydirme (keydirme). (Photo 12,13,14,15 drawing 8.9).

Lighter/hook/shepherd’s marrow yanış is very similar to the “S” yanış in the Pazirik horse cover (Tekçe 1993) (Drawing 10), and the animal figure in the 15th century Konya animal carpet (Aslanapa 1987) with the filling yanış in (Drawing 11). However, the similarities with the yanış of lighters in different weaving and handicrafts in different regions in Anatolia (Kırzıoğlu 2001) draw attention. (Photo 16) The yanış we compared and the lighter/hook/shepherd’s marrow yanış in the region are important in terms of showing their origins and used in Turkish art from past to present.

References

Aslanapa, O. 1987, Thousand Years of Turkish Carpet Art, Eren Publishing and Kitapçılık Ltd. Sti., Istanbul. Fire, M. 1996, Mythologies, Symbols and Carpets, Net Turistik Publications, Istanbul. Deniz, B. 1998, Ayvacık (Çanakkale) Region Plain Weaving Sheets (Kili-Cicim-Zili), Ankara. Görgünay, N. 2002, Oguz Stamps and Traces of Göktürk Letters in Our Handicrafts, Ministry of Culture Publications, Ankara. Erbek, M. 2002. Anatolian Motifs from Çatalhöyük to the Present, Ministry of Culture Publications, Ankara. Karamağaralı, B. 1997, “On the Interpretation of Motifs in Turkish Carpet Art”, Arış, 3, 28-39. Kırzıoğlu, NG 2001, Common Mistakes in the Turkish World from the Altays to the Danube, Ministry of Culture Publications, Ankara. Kurt, H. 2021, The Last Nomads of the Black Sea, Samsun Yoruks, Ayata Book, Ankara. Godly, M. 1997.“The Language of Turkish and Navaho Carpets”, Arış, 1, 94-107. Tekçe, EF 1993, The Story of a Carpet from Pazirik Altay, Ministry of Culture Publications, Ankara. Tural S. 1997, “Aesthetic Sensitivity in Weaving”, Arış, 1, 4-9. Tural, S. 1998, “A Special Indicator of Carpet’s Function”, Arış, 4, 8-21. Durul, Y. 1987, Turkish Rug Motifs, Turkish Culture Research Institute Publications, Ankara. *Lecturer, Ondokuz Mayıs University, Samsun Vocational School, Samsun/Turkey.Samsun Vocational School, Samsun/Turkey.Samsun Vocational School, Samsun/Turkey.

E-mail:[email protected]  ORCCID ID: 0000-0002-4989-1858 **

“This study was supported by Ondokuz Mayıs University with project number PYO.ILH.1904.20.002” A

Photograph 1: Scalloped/Boxed Palas. Bed duvet cover. (Annual cover). The decoration was created by using different burns in weaving. Özyörük/Vezirköprü/Samsun.
Photo 2: Detail of Yanış Elibelinde

Drawing 1: Elibelinde Yanış

Photograph 3: With Prayer/Prayer. In weaving, a floor decoration was created with the yanış of the elibelinde. A footrest was created with a different elibelinde burn. Özyörük/Vezirköprü/Samsun

 

Photo 4: Elibelinde Yanış Detail Drawing 2: Elibelinde Yanış

Drawing 2: Yanış Elibelinde

Photograph 5: Yanış Elibelde Detail Drawing 3: Yanış Elibelin Drawing 4: Yanış Elibelin

 

Drawing 3: Elibelinde Yanış

Photo 6: Detail of Yanış Elibelinde

Illustration 4: Yanış Elibelinde

Photograph.7: Detail of Yanış Elibelinde

Illustration 5: Elibelinde Yanış

Photo 8: prayer rug with ram horns, prayer/with prayer. Ground decoration was created with ram horn burns in weaving. A footrest was created with a different elibelinde burn. Özyörük/Vezirköprü/ Samsun.

 

Photograph. 9: Ram Horn Detail

 

Illustration 6: Ram’s Horn Yanış Detail

Photo 10: Palisade with chest burner. In weaving, floor decoration was created with chest / comb burns. Özyörük/Vezirköprü/Samsun.

Illustration 10: Horse cover on the Pazirik carpet, (Tekçe 1993, 142)

Photograph 11: Crate Yanış Detail Drawing 7: Crate/comb Yanış Drawing 6: Coach Horn Yanış Detail

Illustration 7: Crate/comb Yanış

Photo 12: Lighter/hook/shepherd’s marrow gait (keydirme)/palas weaving with flag flares. Özyörük / Vezirköprü / Samsun.

 

Photo 13: Lighter/ hook/shepherd’s marrow crossing (keyring)/flag yanış detail Illustration 8: Lighter/ hook/shepherd’s marrow crossing/flag yanış

 

Illustration 8: Lighter/ hook/shepherd’s marrow trim/flag burn

 

Photo 14: Bag with a lighter/ hook/shepherd’s marrow burner. C.Yanar private collection

Photo 15: Lighter/hook/shepherd’s buttonhole Detail

 

Photograph 16: Rooster figured carpet, 15th century. (Aslanapa 1987, 56). Drawing 11: Figure drawing from Konya animal carpet, 15th century. (Aslanapa 1987 46)

 

Drawing 11: Figure drawing from Konya animal carpet, 15th century. (Aslanapa 1987 46)