ISSN 1300-3984
MİLLÎ FOLKLOR
Uluslararası Kültür Araştırmaları Dergisi
MİLLÎ FOLKLOR • 107 • GÜZ/AUTUMN/AUTOMNE 2015
YAYINA M. Öcal OĞUZ
HAZIRLAYANLAR Evrim ÖLÇER ÖZÜNEL
Selcan GÜRÇAYIR TEKE
Ahmet Erman ARAL
Ebru KİPAY
Geleneksel
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UYGULAMALI
HALK BİLİMİ
DEDE KORKUT DOSYASI
GELENEKSEL YAPI USTALARI
PROF. DR. ALİ ÇELİK ARMAĞANI
ORTAÇAĞDA SÖZLÜ KOMPOZİSYON VE SÖZLÜ KALINTI
SOSYOLOJİ VE ANTROPOLOJİDE NİTELİKSEL YÖNTEM VE ARAŞTIRMA
AMERİKAN KÜLTÜREL BELLEĞİNDE RODEO VE KOVBOY
GEYİK BOYNUZLARI VE YATIRLARDA ŞİFA
ONLİNE ALEVİ TOPLULUKLAR…
KİLİS OYALARI
Doç. Dr. Salahaddin BEKKİ
Prof. Dr. Mustafa S. KAÇALİN
Prof. Dr. Ali DUYMAZ
Yrd. Doç. Dr. Evrim ÖLÇER ÖZÜNEL
Dr. Gonca KUZAY DEMİR
Doç. Dr. Muvaffak DURANLI
Fatoş YALÇINKAYA
Nagihan BAYSAL
Dr. Gülnaz ÇETİNKAYA
Seçkin SARPKAYA
Hande DEVRİM KÜÇÜKEBE
Güz/Autumn/Automne
Doç. Dr. Gülin ÖĞÜT EKER
Dr. Satı KUMARTAŞLIOĞLU
Yrd. Doç. Dr. ÖZLEM KARAKUL
Heinrich Friedrich VON DIEZ
Yrd. Doç. Dr. Hasan GÜNEŞ
Albert Bates Lord
Yrd. Doç. Dr. Tuğçe Erdal
Emine ÇAKIR
Elif ALTUNDERE
Hilal ERDOĞAN
Özlem AYDOĞDU ATASOY
107
2015
1989
Üç Aylık Uluslararası Kültür Araştırmaları Dergisi
International and Quarterly Journal of Cultural Studies
Revue Internationale et Trimestrielle d’Études Culturelles
Cilt/Volume/Tome: 14 Yıl/Year/Année: 27 Sayı/Number/Nombre: 107
ISSN 1300-3984 • Hakemli Dergi.
1989’dan 2015’e
iki asırlık devamlılık
Kurucuları/Founders/Fondateurs: Prof. Dr. M. Öcal OĞUZ-Necdet İLHAN-Doç. Dr. Türker EROĞLU • Sahibi/Owner/Possesseur:
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Türk
Halkbiliminin
Artık Uluslararası
Bir Kütüphanesi
Var...
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Baskı/Press/Imprimerie: Feryal Matbaacılık, 395 22 37–395 22 38
ISSN 1300-3984
MİLLÎ FOLKLOR
Uluslararası Kültür Araştırmaları Dergisi
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KADİRLİLİ MEDDAH YUSUF SIRA
ORAL HISTORY TEXT AND ŞEREF TAŞLIOVA
TELEVİZYON DİZİLERİ VE HALK HİKÂYELERİ
ŞAHMERAN HİKÂYESİ VE METİNLERARASILIK
KÜTAHYA GELENEKSEL KADIN GİYSİLERİ VE GÖSTERGEBİLİM
BELÇİKA’DAKİ FAYMONVILLE TÜRK KÖYÜ VE KARNAVALI
ORTA ASYA’DAN ANADOLU’YA GEYİK KÜLTÜ
THE CASE OF CRAFTSWOMEN IN MARDİN
ALTMIŞ ÜÇ YAŞ TÖRENİ
Prof. Dr. Esma ŞİMŞEK
Doç. Dr. Çiğdem KAYA
Doç. Dr. Armağan ELÇİ
Yrd. Doç. Dr. Yılmaz IRMAK
Yrd. Doç. Dr. Mehmet ÇEVİK
Sinem ŞAHİN YEŞİL
Yrd. Doç. Dr. Nilgün DALKESEN
Doç. Dr. Fatma KOÇ
Doç. Dr. Emine KOCA
Yaz/Summer/Été
Yrd. Doç. Dr. Ertuğrul TAŞ
Dr. Boray İDEM
Betül KIZILTEPE
Özlem AYDOĞDU ATASOY
Emine ÇAKIR
106
2015
1989
Üç Aylık Uluslararası Kültür Araştırmaları Dergisi
Türkiye’de
ilk halkbilimi
enstitüsü 1966
yılında bu adla
kuruldu.
International and Quarterly Journal of Cultural Studies
Revue Internationale et Trimestrielle d’Études Culturelles
Cilt/Volume/Tome: 14 • Yıl/Year/Année: 27 • Sayı/Number/Nombre: 107 •
Güz/Autumn/Automne: 2015 • ISSN 1300-3984 • Hakemli Dergi.
İÇİNDEKİLER / Contents / Sommaire
Danışma Kurulu / Advisory Board/Comité de Conseillers ......................................... 3
Birkaç Söz/Foreword/Par l’éditeur .............................................................................. 4
M. Öcal OĞUZ
Dedem Korkut Kitabı’nın Mukaddimesi İle Boylar Arasındaki Organik Bağ / The
Organic Connection Between Introduction of The Book of Dedem Korkut and
the Stories ................................................................................................................. 5
Doç. Dr. Salahaddin BEKKİ
Dedem Korkut Kitabı’nda Geçen Bazı Kelimelere Kültür ve Dil Çizgisinden Kısa
Bir Bakış / A Brief Overview to Some Words in The Book of Dedem Korkut
Through the Line of Language and Culture.......................................................... 14
Prof. Dr. Mustafa S. KAÇALİN
Türkmenistan’da Kültürel Kimliğin Kaynağı Olarak Dede Korkut Geleneği / The
Tradition of Dede Korkut As a Source of Cultural Identity in Turkmenistan .... 19
Prof. Dr. Ali DUYMAZ
Baharı Getiren Kahraman: Bamsı Beyrek / The Hero Who Brings the Spring:
Bamsı Beyrek .......................................................................................................... 34
Yrd. Doç. Dr. Evrim ÖLÇER ÖZÜNEL
Dede Korkut Anlatmalarında Küçük Düşme Motii / Humiliation Motif into The
Dede Korkut Narratives ......................................................................................... 49
Dr. Gonca KUZAY DEMİR
Doç. Dr. Muvaffak DURANLI
Geleneği Geleceğe Taşıyan Oğullar: Dede Korkut Kitabı’nda Baba-Oğul İlişkisi /
Sons Who Carry Traditions to Future: Father-Son Relationship in the Book
of Dede Korkut ........................................................................................................ 60
Fatoş YALÇINKAYA
Dede Korkut Kitabı’nda Dinsel Büyüsel ve Tabusal Uygulamalar Üzerine Bir
İnceleme / An Examination on Religious Magical and Taboo Practices in
the Book of Dede Korkut ......................................................................................... 72
Nagihan BAYSAL
Dede Korkut Hikâyeleri’nde Kültürel Belleğin Söylem Haritası Olarak Giyim-Kuşam
ve Yeme-İçme Sembolleri / Clothing - Accessories and Eating - Drinking
Symbols As the Discourse Map of the Cultural Memory in Dede Korkut
Stories ..................................................................................................................... 83
Dr. Gülnaz ÇETİNKAYA
http://www.millifolklor.com
1
Dede Korkut Kitabı’nda Olağanüstü Tipler / Preternatural Characters in The Book
of Dede Korkut ........................................................................................................ 97
Seçkin SARPKAYA
Dede Korkut Kitabı’nın Yabancı Dillere Çevirileri Üzerine Bir Değerlendirme / An
Evaluation on the Translations of the Book of Dede Korkut to Foreign
Languages ............................................................................................................. 108
Hande DEVRİM KÜÇÜKEBE
Bir Modern Dönem Miti: Amerikan Kültürel Belleğinde Rodeo ve Baş Aktörü
Kovboy / A Myth in Modern Age: Rodeo in American Cultural Memory and
It’s Chief Actor Cowboy ........................................................................................ 122
Doç. Dr. Gülin ÖĞÜT EKER
Geyik Boynuzlarının Yatırlarda Şifa İçin Kullanımı / Use of the Deer Antlers to
Heal in Tombs....................................................................................................... 137
Dr. Satı KUMARTAŞLIOĞLU
A Conservation Approach to the Knowledge And Skills of Traditional Building
Masters / Geleneksel Yapı Ustalarının Bilgi ve Becerilerinin Korunması
İçin Bir Yaklaşım ................................................................................................. 149
Yrd. Doç. Dr. ÖZLEM KARAKUL
ÇEVİRİLER /TRANSLATIONS / TRADUCTIONS
The Tepegöz or the Cyklop Of Oghuz
Tepegöz veya Oğuz Cyklobu ....................................................................................... 161
Heinrich Friedrich VON DIEZ
Çev. Yrd. Doç. Dr. Hasan GÜNEŞ
Ortaçağda Sözlü Kompozisyon ve ‘Sözlü Kalıntı’ .............................................................184
Albert Bates Lord
Çev.: Yrd. Doç. Dr. Tuğçe Erdal
TANITMALAR/BOOK REVIEWS/ COMPTES RENDUS
Prof. Dr. Ali Çelik Armağanı, Cengiz Gökşen (Ed.). Ankara: Akçağ
Yayınları. 2014 ...............................................................................................................199
Emine ÇAKIR
Belkıs KÜMBETOĞLU, Sosyoloji ve Antropolojide Niteliksel Yöntem ve Araştırma,
2012, İstanbul: Bağlam Yayıncılık...............................................................................201
Elif ALTUNDERE
İlkay ŞAHİN. Online Alevi Topluluklar Ritüel Desenli Bir Gruptan Mit Desenli Bir
İnanç Topluluğuna, Konya: Çizgi Kitabevi, 2013.......................................................205
Hilal ERDOĞAN
Mustafa ÖZASLAN (Derleyen), Kilis Oyaları, Kilis İl Kültür ve Turizm Müdürlüğü
(Hazırlatan), TC Kilis Valiliği Yayın, No:4, Gaziantep: GNG Ofset, 2015 ..............209
Özlem AYDOĞDU ATASOY
Millî Folklor-Uluslararası Kültür Araştırmaları Dergisi Yayın İlkeleri/
The Publication Principles/ Principes de publication ....................................... 212
2
http://www.millifolklor.com
DANIŞMA KURULU
Advisory Board/Comité de Conseillers
Prof. Dr. Mehmet AÇA
Prof. Dr. Ziyad AKKOYUNLU (1946-2013)
Prof. Dr. Ali Berat ALPTEKİN
Prof. Dr. Işıl ALTUN
Prof. Dr. Erman ARTUN
Prof. Dr. Ensar ASLAN
Prof. Dr. Tayfun ATAY
Prof. Dr. Sarah G. Moment ATIS
Prof. Dr. Pakize AYTAÇ
Prof. Dr. Muhan BALİ (1936-2008)
Prof. Dr. İlhan BAŞGÖZ
Prof. Dr. Dan BEN-AMOS
Prof. Dr. Hendrik BOESCHOTEN
Prof. Dr. Şeref BOYRAZ
Prof. Dr. Mustafa CEMİLOĞLU
Prof. Dr. Ali ÇELİK
Prof. Dr. İsmet ÇETİN
Prof. Dr. George DEDES
Prof. Dr. Habib DERZİNEVESİ
Prof. Dr. Ahmet DOĞAN
Prof. Dr. Jean-Pierre DUCASTELLE
Prof. Dr. Ali DUYMAZ
Prof. Dr. Dilaver DÜZGÜN
Prof. Dr. Metin EKİCİ
Prof. Dr. Şükrü ELÇİN (1912-2008)
Prof. Dr. Gürbüz ERGİNER (1945-2009)
Prof. Dr. Metin ERGUN
Prof. Dr. Laszlo FELFÖLDİ
Prof. Dr. Henry GLASSIE
Prof. Dr. İsmail GÖRKEM
Prof. Dr. Nevzat GÖZAYDIN
Prof. Dr. Şeyma GÜNGÖR
Prof. Dr. Abdurrahman GÜZEL
Prof. Dr. Şakir İBRAYEV
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Prof. Dr. Kemal YÜCE
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University of Madison-Wisconsin (ABD)
Gazi Üniversitesi (Türkiye)
İstanbul Kültür Üniversitesi (Türkiye)
Indiana Üniv. (ABD)
University of Pennsylvania (ABD)
Johannes Gutenberg Üniversitesi (Almanya)
Cumhuriyet Üniversitesi (Türkiye)
Uludağ Üniversitesi (Türkiye)
Karadeniz Teknik Üniversitesi (Türkiye)
Gazi Üniversitesi (Türkiye)
School of Oriental and African (İngiltere)
Yakın Doğu Üniversitesi (KKTC)
Kırıkkale Üniversitesi (Türkiye)
La Maisen des Géant d’Ath (Belçika)
Balıkesir Üniversitesi (Türkiye)
Atatürk Üniversitesi (Türkiye)
Ege Üniversitesi (Türkiye)
Hacettepe Üniversitesi (Türkiye)
Ankara Üniversitesi (Türkiye)
Gazi Üniversitesi (Türkiye)
Association for the European Centre for Traditional Culture (Macaristan)
Indiana Üniversitesi (ABD)
Erciyes Üniversitesi (Türkiye)
Ankara Üniversitesi (Türkiye)
İstanbul Üniversitesi (Türkiye)
Başkent Üniversitesi (Türkiye)
Ahmet Yesevî Türk-Kazak Üniv. (Kazakistan)
Ege Üniversitesi (Türkiye)
Flemish Centre for the of Popular Culture (Belçika)
Dokuz Eylül Üniversitesi (Türkiye)
Akdeniz Üniversitesi (Türkiye)
Azerbaycan Devlet Üniversitesi (Azerbaycan)
Kırgız Türk Manas Üniversitesi (Kırgızistan)
La maison des cultures du monde (Fransa)
Çanakkale On Sekiz Mart Üniversitesi (Türkiye)
Yıldız Teknik Üniversitesi (Türkiye)
On Dokuz Mayıs Üniversitesi (Türkiye)
Ankara Üniversitesi (Türkiye)
Vermont University (ABD)
Hacettepe Üniversitesi (Türkiye)
Bilimler Akademisi (Özbekistan)
Azerbaycan Devlet Üniversitesi (Azerbaycan)
University of Madison-Wisconsin (ABD)
Hacettepe Üniversitesi (Türkiye)
Fatih Üniversitesi (Türkiye)
Ankara Üniversitesi (Türkiye)
Hacettepe Üniversitesi (Türkiye)
Selçuk Üniversitesi (Türkiye)
Bozok Üniversitesi (Türkiye)
University of Bonn (Almanya)
School of Oriental and African (İngiltere)
Selçuk Üniversitesi (Türkiye)
Bilimler Akademisi Folklor Enstitüsü (Bulgaristan)
University of Madison-Wisconsin (ABD)
Atatürk Üniversitesi (Türkiye)
Institut National des Sciences de I’Archéologie et du Patrimoine (Fas)
University of Leiden (Hollanda)
Illinois Üniversitesi, Urbana-Champaign (ABD)
Fırat Üniversitesi (Türkiye)
Temimi Vakfı (Tunuseli)
K. Dumlupınar Üniversitesi (Türkiye)
Kastamonu Üniversitesi (Türkiye)
University of Laval (Kanada)
İzmir Ekonomi Üniversitesi (Türkiye)
Çanakkale On Sekiz Mart Üniversitesi (Türkiye)
Gazi Üniversitesi (Türkiye)
Ege Üniversitesi (Türkiye)
Hacettepe Üniversitesi (Türkiye)
Gazi Üniversitesi (Türkiye)
Çanakkale On Sekiz Mart Üniversitesi (Türkiye)
3
A CONSERVATION APPROACH TO THE KNOWLEDGE AND
SKILLS OF TRADITIONAL BUILDING MASTERS*
Geleneksel Yapı Ustalarının Bilgi ve Becerilerinin
Korunması İçin Bir Yaklaşım
Yrd. Doç. Dr. ÖZLEM KARAKUL**
ABSTRACT
Traditional building masters have played crucial roles in both conservation and restoration processes and also in the production process of the traditional architecture. Building masters have produced traditional architecture as a result of a complex process handling environmental characteristics
and the needs, expectations and values of local people and expressing their creativity. Nowadays, the
building masters experienced on traditional techniques could not been found; and, we are confronted
with the disappearance of the knowledge related to traditional construction techniques. In this respect, it is noticeably signiicant to document and transfer the knowledge related to the construction
techniques of traditional building masters to future. Arising from this problem, the Living Human
Treasures of Traditional Architecture Project (LHTTA) has developed several approaches to continue
the knowledge, skills and experiences of master craftsmen by providing the inclusion of the students
of ine arts faculties in conservation process in Selçuk University. Within the scope of this article, the
experiences gained from the LHTTA Project, which has developed speciic conservation approaches to
the transmission of knowledge and skills of masters to the future, are analyzed. After the introduction
of the theoretical background and legal framework of the project, the process of the LHTTA project will
be summarized in three sections: preliminary studies, the experiences of symposium, workshop and
exhibition, and the analyses of experiences for contributing to future studies focusing on traditional
building masters.
Key Words
Traditional building masters, traditional architecture, master-apprentice relationship, living human treasures, conservation
ÖZ
Yapı ustaları, geleneksel mimarinin üretim sürecinin yanı sıra koruma ve restorasyon süreçlerinde de önemli roller üstlenmişlerdir. Yapı ustaları, çevresel özellikler ile kullanıcıların ihtiyaç, beklenti
ve değerlerini değerlendirerek, yaratıcılıklarını gösterdikleri karmaşık bir sürecin ürünü olarak geleneksel mimariyi oluşturmuşlardır. Günümüzde, kültür varlığı olarak tanımladığımız yapıların restorasyonunda çalışacak geleneksel teknikleri bilen, uygulayacak usta bulunamadığı gibi, geleneksel
yapım tekniklerine ilişkin bilginin de yok olması tehdidi ile karşı karşıyayız. Bu bakımdan, geleneksel
yapı ustalarının yapım teknikleri ile ilgili bilgilerin kayıt altına alınması ve geleceğe aktarımı oldukça
önemlidir. Bu sorundan yola çıkan Geleneksel Mimarinin Yaşayan İnsan Hazineleri (GMYİH) projesi,
ustaların bilgi, beceri ve deneyimlerini, Selçuk Üniversitesi’nde Güzel Sanatlar Fakültesi öğrencilerini
koruma sürecine katarak sürdürmeye yönelik yaklaşımlar geliştirmiştir. Bu yazı kapsamında, ustaların bilgi ve becerilerinin aktarımına yönelik koruma yaklaşımları geliştiren GMYİH Projesi’nden edinilen deneyimler analiz edilecektir. Teorik ve yasal çerçevenin tanıtımının ardından, GMYİH Projesi
süreci, hazırlık çalışmaları, sempozyum, çalıştay, sergi deneyimleri, yapı ustalarını konu alacak yeni
çalışmalara katkıda bulunmak üzere deneyimlerin değerlendirilmesi olarak üç bölümde özetlenecektir.
Anahtar Kelimeler
Geleneksel yapı ustaları, geleneksel mimari, usta-çırak ilişkisi, yaşayan insan hazineleri, koruma
*
**
This article is developed by using the information from the author’s articles in International Journal
of Intangible Heritage (Karakul, 2015b), the Yapı journal (2015a) and in the book of “Geleneksel
Mimarinin Yaşayan İnsan Hazineleri” (Karakul, 2014); and from the paper presented in Conference of
the International Journal of Arts & Sciences (Karakul, 2013).
Selçuk Üniversitesi, Güzel Sanatlar Fakültesi; Orta Doğu Teknik Üniversitesi, Mimarlık Bölümü,
Misafir Öğretim Üyesi, Konya/Türkiye, karakulozlem@gmail.com
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Introduction
The conservation process of architectural heritage is a multidisciplinary area in which the conservation
architect works with the people experienced in conservation from different
disciplines with regard to the quality and problems of cultural heritage1.
Representing one of these disciplines,
building masters have signiicant roles
in restoration activities besides the
production of traditional buildings.
Nowadays, the building masters experienced on traditional techniques cannot be easily found; and, we are confronted with the disappearance of the
knowledge related to traditional construction techniques. Therefore, during the restoration works, a variety of
problems appears related to the implementation of traditional construction
techniques. This article mainly aims
to assess the experiences gained from
the project of Living Human Treasures
of Traditional Architecture: Building
Masters/ Establishing Master- Sculptor Relationship as a Conservation
Approach (LHTTA) for contributing
to the conservation of of building masters.
Traditional Architecture And
Building Masters
Traditional architecture is the
product of a complex process through
which building masters handle environmental characteristics and the
needs, expectations and values of local
people by their knowledge and skills;
and express their creativity (Karakul,
2012). The diversity in traditional architecture has been generated by the
traditional knowledge and the skills
of builders transmitted by the master-
150
apprentice relationship from generation to generation (Oliver, 2006; 159;
Crouch and Johnson; 2001; 25). Actually, local building culture is constituted by the production process of
the traditional buildings which can be
evaluated as a communication system
between craftsmen, apprentice and inhabitants (Marchand, 2007).
The term ‘traditional craftsmanship’ needs to be understood with regard to its intangible and tangible aspects in conservation studies. Besides
the functional aspects of the activity of
builders, like bringing building materials to construction sites, and after processing, putting them into their places
in the building, techniques and tools
particular to this process (Bingöl, 2004;
22; Blagg, 1976; 154; Marchand, 2007;
182), there are also expressive aspects,
like the relection of the cultural values,
values judgments and the worldview of
builder and society and the individual diversities and creativities (Aran,
2000; 122) to be considered. In historic
environments, cultural expressions
observed in the buildings have been
transmitted to the present time especially by the information low between
master craftsman and apprentice (ustaçırak). Hubka (1979, p.28) investigates
the methods of study of folk builders in
the production process of traditional
buildings, which are carried exclusively
in the minds of builders and continued
by tradition- the handing down of information by word of mouth, observation,
replication and apprenticeship. Certainly, the transmission of the knowledge of masters to their apprentices
assures the continuation of the local
building traditions.
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Millî Folklor, 2015, Yıl 27, Sayı 107
Anatolia has a long tradition in
building crafts, which has continued
for many years and exempliied on the
variety of the traditional buildings in
historic environments. Turkey’s historic environments embody the variety of local building materials and
cultural expressions on their physical
characteristics. Especially the excessive use of stone and timber, besides
other local building materials, like,
mud-brick, brick, tiles, has created the
various building types with the labor
of master builders specialized especially on stone and timber craftsmanship (Bakırer, 1993; Eruzun, Sözen,
1992). The skilled use of local building
materials by master builders has created various masterpieces of architecture, as observed both in a monumental scale, like in Divriği Great Mosque;
and in a vernacular scale, like in
Ürgüp, Mardin, Ahlat.
International Legal Framework: Unesco’s Living Human
Treasures System
“Traditional craftsmanship” is
determined as one of the domains in
which intangible cultural heritage is
manifested in the 2003 Convention for
the Safeguarding of the Intangible Cultural Heritage adopted by UNESCO2.
The knowledge, skills and cretaivities
of building masters concretized in traditional architecture can also be accepted as intangible cultural heritage
as a branch of traditional craftsmanship. On the UNESCO’s oficial website, the decline in the numbers of the
practitioners of traditional craftsmanship is recognized as one of the biggest
threats to the viability of intangible
cultural heritage3. In this regard, Ar-
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ticle 2.3 of the UNESCO 2003 Convention places “transmission” among
the safeguarding measures aiming at
ensuring the viability of this heritage.
Because the conservation of intangible
cultural heritage necessitates the continuous practice and the transmission
of the knowledge to future generations,
living practitioners need to be identiied and the appropriate ways for practicing need to be provided. Therefore,
before the 2003 Convention, in 1993,
UNESCO launched a new programme
introducing the concept of “Living Human Treasures”; and, afterwards, prepared a guide entitled Guidelines for
the Establishment of National Living
Human Treasures System (AikawaFaure, 2014). Since 1993, in many
countries, the national studies of Living Human Treasures System have
been established4.
After drawing up the general
rules of this system, UNESCO also
encourages Member States to establish their national systems of “Living
Human Treasures” and formulates
the speciic “guidelines for the establishment of national Living Human
Treasures System”5 to be followed by
the States. Within these guidelines, a
preliminary measure for safeguarding
the intangible cultural heritage is to
ensure its identiication by drawing up
national inventories6. But, after this
identiication stage, it is signiicant
to guarantee that the bearers of heritage, like master craftsmen, develop
their knowledge and skills and transmit them to younger generations. In
national contexts, these measures necessitate inding and organizing living
builders, some of whom will be given
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Millî Folklor, 2015, Yıl 27, Sayı 107
oficial recognition, creating appropriate conditions and institutions for
practicing master-apprentice relationships and documenting their knowledge and integrating these practices
and documentation into the conservation practices.
National Legal Framework:
Turkey’s National Living Human
Treasures Systems
In Turkey, the awareness for the
conservation of intangible cultural
heritage, which has developed with
the studies of UNESCO; and directed towards the holistic conservatory
framework of tangible and intangible
values recently, has not been accurately relected to the national legal
instruments yet7. Although Turkey
ratiied the 2003 Convention for the
Safeguarding of Intangible Cultural
Heritage in 20068, the national legal
instruments in the area of conservation have not been regulated according to it yet. In contrast, there are
no implications of intangible cultural
heritage in the deinitions in the legal
documents in the area of conservation.
The conservation of intangible cultural
heritage is carried out separately from
tangible heritage with the limited inventory studies with a point of view of
folklore by the Ministry of Culture.
By ratifying the UNESCO 2003
Convention Turkey has undertaken
the mission for compiling and updating a national inventory of intangible
cultural heritage. In this regard, in
Turkey, the national version of Living
Human Treasures System is entitled
as the National Inventory of Living
Human Treasures, and since 2008 the
Republic of Turkey’s Ministry of Cul-
152
ture and Tourism, within the scope of
the UNESCO programme, has tried
to identify living craftsmen and bearers of intangible heritage.9 So far, the
selected masters are predominantly
those skilled in crafts and music or are
the performers of shadow puppetry10.
Within these studies, an important
lack is related to the representatives
and enactors of building culture. There
is only one master builder amongst
them.11 After the evaluation carried
out in 2010, a stone mason from Ahlat,
Tahsin Kalender, irstly entered to
the list of National Inventory of Living Human Treasures in the area
of building. After this identiication
stage it is important to ensure that the
bearers of heritage, like master craftsmen, continue to develop their knowledge and skills and transmit them to
younger people. Criticizing the lack of
master builders on the list, this article
mainly focuses on the transmission of
knowledge of building methods, the
know-how, the skills and techniques
of master builders to new generations.
In this respect, the experiences gained
from the LHTTA Project will be analyzed for the contribution to the national studies related to the subject.
Nowadays, in Turkey, building
masters have lost their active roles in
creating environment. They are mostly
continuing their activity in restoration
practices. In Turkey, there are limited
numbers of the building masters, who
have information fully on the local
building techniques and possess skills.
Unfortunately, they could not ind
the appropriate working ground for
the transmission of their information
to the new generations. Thereby, cul-
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Millî Folklor, 2015, Yıl 27, Sayı 107
tural expressions embodied by these
masters in the traditional buildings
by builders are forgotten in time in the
collective memory. In this respect, the
nationalization process of UNESCO
Living Human Treasures System provide to form the appropriate platforms
for builders to teach their knowledge
and skills. At that point, for the conservation of traditional craftsmanship,
the continuation of local building traditions and for growing up the skilled
builders, an educative model based on
master-apprentice relationship can be
thought as a signiicant way.
The Holistic Conservation Approach Of Lhtta Project
Within the scope of the preliminary studies of the LHTTA project,
which started in Selçuk University in
2013, certain studies had been done
to raise consciousness among the students of Faculty of Fine Arts on understanding and documentation of traditional building craftsmanship. Within
the scope of the LHTTA Project, the
studies for awareness raising in society, the practices for development of
master-apprentice relationship and
the exhibition of studies for the presentation of the project.
The main aims of the LHTTA
Project are (1) the holistic documentation approaches for traditional building craftsmanship, (2) the awareness
rising about local building culture and
building masters on the society, (3) the
development of speciic approaches for
the revitalization of master-apprentice
relationship as a way for the continuation of knowledge, (5) the development
of speciic approaches for the participation of the graduates of Fine Arts
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Faculties into conservation process (6)
the improvement of the active participation of the masters to building and
conservation activities in historic environments.
The LHTTA Project followed a
method involving a ive-stage work
program designed to understand,
document, transmit and conserve traditional building craftsmanship considering its intangible and tangible aspects. The stages of the work program
include the preliminary studies of the
project, the symposium for raising
awareness about local building culture
and building masters on society, the
workshop for developing master-apprentice relationships and exhibition.
The participants in the work program
are the conservation architect project
coordinator, the author of this article,
the students from the departments of
Sculpture and Interior Architecture,
the building masters experienced on
stone and timber and academicians.
The methodology of the work program
included architectural and folklore
methods together. In this respect, the
methods used through the project included the preparation of drawings,
photographic documentation, video recording, and in-depth interviews with
building masters.
Background Of Lhtta Project|
Preliminary Studies
Within the scope of preliminary
studies of the LHTTA project, certain
studies have been carried out to develop the consciousness of the students of
Fine Arts Faculties about the conservation of historic settlements, the restoration of traditional buildings and
the productions of traditional build-
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Millî Folklor, 2015, Yıl 27, Sayı 107
ing masters. In this respect, speciic
courses have been designed for the
students to include certain practices
of documentation and conservation of
traditional craftsmanship and of revitalizing the knowledge, techniques
and working methods of traditional
building masters.
The irst from the preliminary
studies is a speciic conservation
course of “Restoration of Stone Buildings” designed for the students of the
department of sculpture by the author
of this article in the 2012-2013 academic year. The course aims to raise
general awareness about the conservation of the historic buildings among the
students of the department of sculpture; and to teach about the knowledge and methods of the traditional
building masters of Anatolia; and, to
realize the signiicant role of sculptors
in constructing historic buildings during history and the similar aspects of
the working methods of sculptors and
building masters especially on making
architectural ornaments. Within the
scope of the course, the students were
clearly informed on the knowledge,
skill and cultural expressions of building masters embodied on architecture,
documentation methods and the revitalization and reinterpretation of the
working methods of building masters.
Among the preliminary studies
prepared for raising consciousness of
the students of the department of interior architecture, interior design project studios were designed for teaching
traditional craftsmanships. In this respect, within the scope of the interior
design studio focusing the project of
“Museum of Intangible Cultural Heri-
154
tage”, the students were informed on
the relationships between traditional
craftsmanships and architecture and
the signiicance of master-apprentice
relationships for the sustainability of
craftsmanships. The students were
expected to design speciic spaces for
carrying out traditional craftsmanships; and speciic classes for developing master-apprentice relationships
in a historic building. In the projects,
traditional craftsmanships were revitalized in the museum by using interactive and digital media.
Experiences Gained From
Lhtta Project
Within the scope of the LHTTA
project, to develop awareness about
local building cultures and building
masters in the society, a symposium
and workshop had been organized in
Faculty of Fine Arts in Selçuk University in May 2013 for one week. The
one-day symposium aimed to emphasize the activities of building masters
in traditional architecture and the
signiicance of master-apprentice relationships in the continuity of building
traditions. During symposium, participants mainly assessed the knowledge,
skills, and values of building masters
embodied on buildings; documentation
and conservation methods, the signiicance of the awareness-rising in society, training programs.
Development of master-apprentice relationships: Transmission of knowledge of masters to
students
The educational and training programmes are signiicant for the transmission of the knowledge of builders
to new generations in an applied way
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Millî Folklor, 2015, Yıl 27, Sayı 107
and revitalize the master-apprentice
relationship. Thereby, as a sample
training programme, a six-day workshop12 was organized in the studios
of the department of sculpture. The
workshop was planned to transmit the
knowledge and skills of the building
masters to the students of the department of sculpture; and to facilitate the
participation of the students of Fine
Art Faculties in the restoration process of historic buildings. The groups
practicing in the workshop consisted
of skilled master builders, particularly
those experienced in stone and timber
craftsmanship, from the Cappadocia
region and Konya, and students from
the Department of Sculpture working
as their apprentices.
Throughout the workshop, the
master builders transmitted their
knowledge and skills to three groups
of students through a variety of exercises. The study groups produced architectural elements and ornaments
from traditional architecture using
traditional techniques of stone and
timber craftsmanship in a masterapprentice relationship. During the
workshop, the students conducted indepth interviews, previously prepared
by the coordinator, with the master
craftsmen about the processes of their
education and apprenticeship, as well
as their experience in both restoration
and new building works. All the sessions of the workshop were recorded
on camera by the students.
•Transmission of the Knowledge of Tuff Stone Craftsmanship
The irst group13 was composed
of three builders from the Cappadocia Region, highly-experienced in tuff
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stone craftsmanship, and three students working with them as apprentices. This group worked on two architectural elements of a traditional dwelling
from the Cappadocia region on a oneto-one scale and a small scale version
of a carved-out settlement. This group
irst constructed an ornamented niche,
including motifs carved in the shape
of a cockleshell and circular shaped
rosettes on a one-to-one scale. During
the work, the students were taught
about the traditional dwellings of the
region and the meanings of ornaments
and learned the carving techniques
of master builders. Secondly, a traditional ireplace of actual size, embellished with geometrical motifs, was
worked using an original stone block.
Finally, the group constructed a small
scale version of a typical carved-out
settlement of the Cappadocia region. A
photograph of a carved-out settlement
was used at the workshop as a model
for the students to produce the smallscale carved-out settlement and learn
to carve tuff stone.
•Transmission of the Knowledge of Marble Craftsmanship
The second group14 was composed
of a stone mason from Konya, particularly experienced in working with
marble, and three students working
with him as apprentices. This group
worked on a small scale replica of an
ornamental historic column. First, the
stone mason shared his ideas about the
general design of the column with the
students, especially its capital, base
and shaft, and described the process of
the work including drafting and chiseling. The capital of the column was to
be of the Ionic order and the base and
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Millî Folklor, 2015, Yıl 27, Sayı 107
the shaft of the column included various geometric and foliate motifs. The
students irst drew the motifs on the
marble block using tracing paper and
then they carved them, using traditional techniques and hand tools.
•Transmission of the Knowledge of Wood Craftsmanship
The third group15 was composed
of a master craftsman from Konya,
highly-experienced in timber craftsmanship, and three students working
with him as apprentices. Firstly, the
wood carver gave some general information about his craft, particularly
about relief carving.16 The work began
with a discussion about the design, a
geometric pattern was drawn on paper, and then it was transferred to the
surface of the wood by the students
with the help of the master. The carving process mainly involved removing
wood from a lat wooden panel using
traditional techniques and hand tools
like chisels.
Figure 2 The model of the carved-out settlement (Karakul 2015b)
Figure 3. Traditional ireplace (Karakul
2015b)
Figure 1 Traditional niche element carved in
Figure 4. Carving motifs on the ireplace (Karakul 2015a)
tuff stone (Karakul 2015a, 2015b)
156
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Millî Folklor, 2015, Yıl 27, Sayı 107
Figure 5. Carving the marble column capital
(Karakul 2015b)
Figure 6. Transmission of knowledge between
master-apprentice
knowledge of master builders with society, an exhibition organized by Fine
Arts Faculty of Selçuk University and
Turkish Folklore Research and Application Center, opened in the Intangible Cultural Heritage Museum of Gazi
University in October 2013. Through
the exhibition, the experiences gained
from LHTTA project were shared via
the graphic presentations and video
show of the collaborative works of
building masters and the students,
prepared during the workshop and
various student projects on museum of
intangible cultural heritage, particularly, traditional craftsmanships.
The student projects and workshop were exhibited to express both
their tangible and intangible aspects
by using their physical documentation
and video recordings. In this respect,
the visitors of exhibition realized the
details of the production process of
building masters, their ways of application of traditional craftsmanship
by using the digital tools besides the
exhibited works. Thereby, the LHTTA
exhibition presented an original displaying approach which is considerably different from the conventional
ones.
Figure 7. Transmisson of knowledge between
master-aprentice on wood carving (Karakul
2015b)
Sharing The Knowledge And
Experiences
As a irst step of analyzing experiences of LHTTA Project, to share the
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Figure 8. View from the LHTTA exhibition
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Millî Folklor, 2015, Yıl 27, Sayı 107
Figure 9-10. Models of student projects on
Interior architecture in the exhibition
Conclusion
As evaluated the experiences
gained from the LHTTA Project, it
158
can be stated that they considerably
helped to increase public awareness
about the conservation of the knowledge and skills of building masters in
society. The methods followed in the
project included a series of systematic practices which could be repeated
and applied in other educational institutions, like ine arts faculties and
vocational schools. The integration of
such studies for safeguarding traditional craftsmanship into the curricula of ine arts faculties and vocational
schools facilitates the participation of
the graduates in the restoration of historical buildings to be developed. Thus
the implementation of such studies
provides a way of conserving both tangible and intangible cultural heritage
in a holistic way.
The conservation approach of the
workshop is mainly based on meeting building masters and sculptors
for handing down the knowledge and
skills in traditional craftsmanship.
The workshop provided an appropriate way for the graduates of the Faculty of Fine Arts to join in the process
of conserving and restoring cultural
heritage. Throughout the workshop,
the traditional architectural elements
and ornaments were produced in stone
and timber by the master builders and
students together using traditional
techniques and tools. In the process,
the skills, knowledge and know-how
of the masters were transmitted to
the students through the production
of actual architectural elements from
traditional architecture. Thereby, this
exercise raised awareness about traditional building methods and the need
for their safeguarding in society, and
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Millî Folklor, 2015, Yıl 27, Sayı 107
contributed to the national studies in
Turkey.
The diversity and richness of traditional building methods in historical
environments in Turkey necessarily
entails the dissemination of the ‘living human treasures’ system from the
national to the local level. In Turkey,
there are only a limited number of master builders who are highly knowledgeable and experienced in local building
techniques and possess the required
skills. Unfortunately, they have not
previously been able to ind an appropriate forum for the transmission of
their skills to the current generation.
Thus, the cultural expressions that
could have been transferred by these
masters through traditional building
methods are disappearing from the
collective memory. The LHTTA project
also contributed to developing localization process of the national studies of
‘living human treasures’ system.
NOTES
1 ICOMOS Convention of Conservation of
Turkey’s Architectural Heritage, 2013.
http://www.icomos.org.tr/Dosyalar/ICOMOSTR_0623153001387886624.pdf
2 http://unesdoc.unesco.org/
images/0013/001325/132540e.pdf
3 http://www.unesco.org/culture/
ich/?pg=00061
4 http://www.unesco.org/culture/
ich/?pg=00061
5 www.unesco.org/culture/doc/src/00031-EN.
pdf
6 See Article 12 in the UNESCO 2003 Convention
7 Holistic conservatory framework which is
the main aim of this study, has started to be
discussed in certain publications and scientiic meetings recently. (BOUCHENAKI, M.,
2003, “The Interdependency of the Tangible
and Intangible Cultural Heritage” (Paper at
ICOMOS 14th General Assembly and Scientiic Symposium, Victoria Falls, Zimbabwe,
http://www.international.icomos.org/victo-
http://www.millifolklor.com
8
9
10
11
12
13
14
15
16
riafalls2003/papers.htm), (Isar, Y.R., 2004,
“Tangible” and “Intangible” Heritage: Are
they really Castor and Pollux?”, INTACH Vision 2020, New Delhi, November 2-4, 2004),
(Karakul, 2011).
http://www.unesco.org.tr/kultur.php?gitid=1
(accessed in 17.12.2009) Law numbered 5448
about the approval of the UNESCO convention 2003 was published in 21.1.2006 in
Resmi Gazete (http://www.resmi-gazete.org/
sayi/7599/5448-somut-olmayan-kulturelmirasin-korunmasi-sozlesmesinin-onaylanmasinin-uygun-bulunduguna-dair-kanun.
html)
http://aregem.kulturturizm.gov.tr/TR,12929/
yasayan-insan-hazineleri-ulusal-envanteri.
html (Retrieved March 15, 2015)
See the web site of Ministry of Culture.
(http://www.kultur.gov.tr)
Tahsin Kalender, a stone mason from Ahlat,
is the only master builder on the list of Turkey’s National Inventory of Living Human
Treasures. (See http://aregem.kulturturizm.
gov.tr/TR,12929/yasayan-insan-hazineleriulusal-envanteri.html)
The workshop was previously investigated
in the articles of the author entitled ‘An Integrated Methodology for the Conservation
of Traditional Craftsmanship in Historic
Buildings’ published in International Journal of Intangible Heritage in May 2015; and,
‘Geleneksel Yapı Ustalarından Öğrenmek’
published in Yapı Journal in October 2015.
The master builders in this group were Adnan Açıkgöz, Salih Yaşar and Atilla Özyürek,
and the students were Elif Dertli, Meryem
Hüsna Çelik and Gülay Kaya.
The stone mason in this group was Mehmet
Emin Kabakçı, the participating students
were İbrahim Demir, Abdullah Bayru and
Yunus İrice.
The master craftsman in this group was Ahmet Yılçay and the participating students
were Abdullah Gümüş, Furkan Payas and
Figen Demir.
Relief carving is a sculptural form in which
igures are carved into a lat panel of wood.
See http://en.wikipedia.org/wiki/Relief_carving (Retrieved March 12, 2015)
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