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Ottoman Period
Carpet Art in the content of Traditional Hand weaving had continued Ottoman administration where had expanded to three continents had involved incomprehensible thoughts, unknown occupations; new values had been changed.
In Ottoman administer any kind of idea directed to wise benefit and advantage was open to perform unless it gave harm to state order. Even Islam did not have strict rules on the contrary there were a lot of sects like Sunni, Shiah, Bektashi, Akhi, Mevlevi, etc… This variety in Anatolia Turkmen provided variety in their weavings.
Carpet motives made in Turkish Art wholeness take us the Islam ornament order in geometrical basis chief Toddess Culture Hittite Civilization, simplicity of Mezopotamya and Ionia Civilization thought system of Shaman and Mandala in Middle Asia. Also the mysterious and enchanted meanings in these motives from very different associations by begin symbolized, So, Traditional Turkish Carpets have always taken their place universal art examples, Ottoman order is formed by public and palace. Rulling class was trained in their own limits and lived with that values. Artistic needs of the palace were provided by ''Ehlihiref Janissary Carps'' connected to gyneceum. Here Turkmen tribes and famous masters were worked by choosing from the public. Public was put in an order by artist establishments; and masters by guilds. Ottoman administration felt comfort since it had fertile inheritance of Seljukian, Byzantium, Eastern Europe, Egypt and it did not renew old values the effect of Mullahs; carried ordinary examples from the west and they realized late that new age began with new throughout. As a result of this, they vanished. Anatolia, Traditional Carpet Making were begin done by Turkmen and Postural Turkmen. During Ottoman administration a lot of Turkmen and Nomadic Tribes were placed into new lands at Thrace; most of them stayed in Anatolia were worked in mines, were called to military service. The others were killed or hand to escape since they were considered in connection with Iran and as rebellious. Turkmen and Nomadic Tribes stayed in Anatolia were put settled order by force and were worked at cotton. Fields instead of stock farming.
At the last period of Ottoman Administration masters and designs were brought from Iran and England because of degeneration of carpet production. This made creators of our carpet making inefficient and cheap carpet worker. Carpet Art was shaken from the base. At the end of Ottoman Period, Traditional Carpet weaving was considered as a cheap unworthy work made by simple Turkmen and nomadic people. Kilims were considered ordinary weavings used for packing carpets sent to bazaar. In transition period of industrialization, Carpet Art belongs to traditional weaving was lost its importance and underrated. Every production made by machines was supposed to be cheap and superior. But, western artists have just reached the abstract motive mentality of Anatolian Carpets at the beginning of 1900's.
The new way that European Art has reached since Renaissance was Abstract Art. These are motives and ornaments that have been used at Traditional Turk Carpets for years and underrated. Foreign publications that increase day by day tried to live leave carpet weaving art outside or connected to Christian society in any way. Also they wanted to separate to pieces these weaving samples and break the Turkish Art wholeness.
Difference of Anatolian Carpet and ornament analyses are made under foreign names and by strange words to Turkish like medallion, key hole. Our science and art institutions, museums and ones who make trade of these can not show encouragement to correct these faults against one-sided attitudes.
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