The Language of MOTIFS

Carpets, as textile products, have different characteristics that identify their value. Patterns have always been used in Turkish hand-made carpets, and have fitted the specific nature of the materials; one of the most essential techniques in a carpet is, of course, the knotting. A special characteristic of Turkish hand-made carpets is the use of the double knot, known as the Turkish or Gordes knot. Although designs and patterns change and develop, the Turkish carpet always retains its historical and traditional features.

Hand-made knotted carpets are used for various purposes by the local people in their region of origin. They are not only used as rugs, but they also serve such purposes as tent screens, paintings, cradle and sofa covers, wall hangings and prayer rugs.

The weaving of a carpet can take months or even years of skilful effort. Carpets, which can be kept and handed down from one generation to another, gain in value as their antiquity increases. Each region has its own techniques and own motifs. Although the use of motifs can change according to the regions of origin, the stories used in them never change. These specific motifs have been used since the first carpet was woven in Turkey.

The person who weaves a carpet reflects his feelings and thoughts; his life experience is given to that carpet. So, when a person looks at this piece of work, he can see the whole story, if he knows what motifs symbolise. Carpets are therefore not simply textile products; they have a 'life' inherited from its weaver.

When people have limitations while trying to express their feelings and thoughts, such as social limitations, they try to find codes and symbols to narrate them. Motifs were born from this need.

Motifs can be studied under three main headings, according to the needs they serve:
• Motifs used for reproduction and birth
• Motifs symbolising life (motifs used to express the essentials of life; motifs related to the production of life; and motifs used to protect life)

• Motifs related to death
A carpet weaver begins his masterpiece with motifs related to birth and reproduction, continues with motifs which symbolise life and finally ends with motifs related to death, so that one can see every detail of life in a carpet.

Motifs were born from the need to communicate. They have mysterious myths in their context and belong to the world of magic, so their use not only serves the need for decoration, but also the psychological meaning, more dominant than the aesthetic aspect.

Motifs used for Birth and Reproduction

1- Hands on Hips: This motif is the symbol of motherhood and fecundity. It has been called the bride - "gelin kiz", the girl with children - "cocuklu kiz", hook - "kanca", spiral - "sarmal", etc. in the various regions of Anatolia. It can be assumed that the origin of these motifs is the statue of the Queen Goddess, which was found in the excavations in Ahlatlibel, near Ankara, and dated 3000 B.C. Variations of this motif can be seen in Elazigsocks, in Sivas and Sivas-Sankisla kilims, in Konya and Kars-Gole carpets, in Yozgat, Çankiri and in the region of Ali Kuzey Kisla kilims, etc.

2- Ram's Horn: This motif, which is the symbol of strength, manhood, fecundity and bravery, is known by different names in Anatolia such as "boynuzlu yanis", "boynuzlu", "koçu yanis", "gozlu koç basi", etc. The motif is a ram's horn profile and looks like a new moon, used in different variations in Afyon, Kars-Ardahan,Çankiri-Orta, Elazig, Konya, Kahramanmaras kilims, Adiyaman cicim saddle-bags, Mugla-Milas carpets.
The bronze ram's horn in Frig style, found in Gordiyon, the capital city of Frikya, and the curved horns of the graveyard stones, are reminiscent of spirals which are the symbols of eternity. These spiral patterns changed into hook motifs as they have been adapted to the weavings. The examples of hook motifs can be seen in Canakkale carpets and in Kars kilims.

3- Fertility: In general, this motif symbolises the man-woman relationship and the process of reproduction. Wheat, ear of barley, poppy, melon, water-melon, pomegranate, grape, etc. have been used as fertility motifs.
The motifs which symbolise fatherhood and motherhood are seen a great deal in the weavings. Some fertility motifs have different types of motifs in themselves, like hands on hips, ram's horn and eye motifs, at the same time.

4- Human Figure: It can be assumed that the human figures are added to weaving to remember and commemorate a specific person. The figures which are seen in the wall panels of Catalhoyuk are mostly related to hunting magic. The oldest human figure can be seen in the Pazirik carpet. Human figures on weavings are generally related to children and symbolise the weaver's wish and expectation of having children. Sometimes they were woven for the memorial of a dead child.

5- Hair band: Anatolian women have narrated their expectations and status and the important events which have happened in their lives symbolically by shaping their hair. The hair band used in weavings symbolise the a marriage. If a woman adds a small piece of hair to her weaving, this symbolises the woman's desire to remain 'Immortal'.

6- Earrings: Earrings are the traditional marriage gifts throughout Anatolia which has not changed for centuries. If a young girl adds an earring motif to her weaving this means she wants to tell her parents that she desires to marry.

7- Fetter: A fetter is an item which is used to prevent a horse from running by tying its legs to each other. In the use of this motif, the weavers symbolise their wishes for the continuation of their family, their love and devotion to each other, etc.

8- Chest: This motif symbolises the dowry chest which has traditionally been brought to every girl who is on the verge of marriage. When a girl is born or she has reached a specific age, her dowry begins to be collected in this chest.
As the materials collected in this chest will be used in the future home of the girl, every expectation and wish of the weaver is reflected in the knitting, weaving and embroidering as well as her wish for a child.

9- Love and Union (in the Far East, like 'ying-yang'): This motif which belongs to t Far East in origin symbolises dualism.
Within the commentary of Anatolian society it is referred to as "love and union" as welt as "the night and the day". This motif is usually narrated with the colours which are in opposition to each other. By transporting a point from each colour to the other the weavers symbolise that there is nothing simple and completely easy in nature. The even numbers, especially the number 2, is the symbol of fertility and reproduction in Anatolia.

10- Star: In Anatolian weavings, stars are the symbol of happiness, and do not refer to stars in the sky in their more usual meaning. In the majority of art works, from miniatures to weaving, the motifs such as "cloud", "dragon", and 'zumrud-u anka' (a mythological bird) are used as symbols when describing the sky.

Motifs Symbolising Life
1- Motifs used to express the essentials of life
A- Running Water motif:

Water is one of the essentials of life, so it has always been used. In the regions in which there is drought, the motif of running water is usually used.

2-Motifs related to the protection of life:
A- Burdock
B- Hand, Fingers and Comb
C- Amulet and evil eye
D- Eye
E- Cross
F- Hook

3- Motifs used to protect life:
A- Snake
B- Dragon
C- Scorpion
D- Wolf's mouth, Wolf's print, Monster's feet

Those societies which lived in caves in ancient times were afraid of wild animals, so by bringing with them a piece of each animal of which they were scared, they felt secure. In the various wall panels of Catalhoyuk, the paintings of the wild animals, such as leopard, eagle and vulture, can be observed.

4- Motifs related to Immortality and the Family:
A- Tree of Life

These motifs are used as they are believed that they protect the lives and the properties or possessions.

The common element of religions which have only one God, is the tree. Humans lived with their belief in the after-life and it is symbolised with the tree of life. In the majority of regional weavings, birds will fly when the time for death has come; they are called 'can kusu' (bird of life) and are seen on the tree of life.

B- Family
The Turks, also, have used for centuries some specific signs for concepts like family, nomadic family, tribe and nations. These motifs can be observed in various places from the weavings to graveyard stones.

Motifs related to Death

A- Bird Motifs
The bird motif has had many different meanings in Anatolian culture. While birds such as the owl and the raven have been accepted as bad omens, birds such as pigeons, turtle doves and nightingales are accepted as good omens. The bird is generally accepted as the symbol of happiness, pleasure and love; it symbolises the soul of the dead. They have become identical with women.
Birds are also a religious symbol; they show expectation of information and hope for the future. They are also the symbols of strength and have served as the symbols of states, which were established in Anatolia over the centuries.

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