Traditional Arts and Crafts

Handicrafts :

Handicrafts have been around since man’s earliest days in accordance with the prevailing environmental conditions. The first examples were necessities such as protection or coverings. Handicrafts were later improved and adapted according to environmental conditions, eventually becoming "traditional" and accepted as an art that reflects the artistic sense, feelings and cultural characteristics of a society.

Traditional Turkish handicrafts form a rich mosaic by bringing together genuine values with the cultural heritage of the different civilizations which have passed through Anatolia over the millennia.

Traditional Turkish handicrafts include; carpet-making, rug-making, sumac, cloth-weaving, writing, tile-making, ceramics and pottery, embroidery, leather manufacture, musical instrument-making, masonry, copper work, basket-making, saddle-making, felt-making, weaving, woodwork, cart-making etc.

Weaving materials in traditional Turkish handicrafts consist of wool, mohair, cotton, bristles and silk.

Weaving can be done with all kinds of cloth, and produces plaits, carpets, rugs and felt obtained by spinning thread, connecting the fibers together or by other methods.

Weaving is a handicraft which has been practiced in Anatolia for many years and considered as a mean of earning a livelihood.

Embroidery, a unique example of Turkish handicrafts, is not only used for decoration but also as a means of communication tool with the symbolism in its designs. Today, embroidery made with tools such as the crochet needle, needle, shuttle and hairpin

designed either as a border or motif, and goes by different names according to the implement used and the technique. These include; needle, crochet needle, shuttle, hairpin, silk cocoon, wool, candle stick, bead and left-over cloth. Embroidery is generally seen in the provinces of Kastamonu, Konya, Elazığ, Bursa, Bitlis, Gaziantep, İzmir, Ankara, Bolu, Kahramanmaraş, Aydın, İçel, Tokat and Kütahya, although it is gradually losing importance and becoming restricted to trousseau chests.

Along with embroidery used in traditional costumes, jewellery is also commonly used as an accessory. All the civilizations which have existed in Anatolia have produced artistic works made from precious or semi-precious stones and metal. Turkoman jewellery is an excellent example of genuine methods that were brought to Anatolia by the Seljuks. In the Ottoman period, jewellery gained

importance in parallel to the development of the empire.

In the Bronze Age in Anatolia, bronze obtained by mixing tin with copper, and materials such as copper, gold and silver were also wrought and cast. The most used material is copper. Various techniques, such as casting, scraping, savaklama, küftgani, ajir kesme and kazima were used. There

are also different techniques for working other materials such as brass, gold, silver, and today these handicrafts are trying to be kept alive today by using high quality workmanship and a variety of designs. Copper, the commonest metal used today, is still used for kitchen utensils by plating it with tin.

Architecture, whose origins lie in a need to provide permanent shelter, has also changed and adapted in accordance with local environmental conditions. This development led to wood carving gaining its unique characteristics during the Seljuk period. Seljuk woodworking crafts include extraordinary, high-quality workmanship, the commonest products most common being mosque niches, mosque doors and cupboard covers. In the Ottoman period, these techniques were greatly simplified and applied mostly to objects in daily use, such as tripods, wooden stands for quilted turbans, writing sets, drawers, chests, spoons, thrones, rowing boats, low reading desks, Koran covers and architectural works such as windows, wardrobe covers, beams, consoles, ceilings, niche indicating the direction of Mecca, pulpits and coffins.

The materials used in woodworking were mostly walnut, apple, pear, cedar, ebony and rosewood. Wooden objects were created by such techniques such as tapping, painting, relief-engraving, caging, coating and burning, and these are still employed today. The use of walking sticks became popular in the 19th century, and these are still populare and made by the same methods in the provinces of Zonguldak, Bitlis, Gaziantep, Bursa, İstanbul-Beykoz and Ordu provinces. While the handles of walking sticks are made of

materials such as silver, gold and bone, the sticks themselves are usually made of rose, cherry, ebony, bamboo and reed.

Making musical instruments has been a tradition for many long years. These are made from materials such as trees, plants and the skin, bones and horns of animals, and are classified into string, percussion and woodwind groups.

Another art form is glazed earthenware tiles, which were brought to Anatolia by the Seljuks. Seljuk artists were especially successful at creating animal designs. The glazed earthenware tiles initiated in the 14th century in İznik, in the 15th century in Kütahya and in the 17th century in Çanakkale, made a posıtıve contributıon and brought new interpretations to Ottoman ceramic and glazed earthenware tile art. Between the 14 and 19th centuries, Turkish glazed earthenware tiles and ceramic art became world famous for their extraordinary creative workmanship.

The most distinctive examples of the glasswork of Anatolian civilizations illuminate the development of the history of glass work. Stained glass in different models and forms was developed by the Seljuks. In the Ottoman Empire, after the conquest of Istanbul, the city became the glasswork centre. Çeşmi-i Bülbül and Beykoz work are examples of techniques that still survive today.

The first production of glass in the form of a bead to ward of the evil eye was carried out by expert craftsmen in the village of Görele in the province of Izmir. It is possible to see beads for warding off the evil eye in every corner of Anatolia. It is believed that the malicious glances aimed at living things or objects can be averted by using these amulets. Amulets made of bead to ward off the evil eye are therefore put in places where everyone can see them easily.

Stonework plays an important role in exterior and interior decoration in traditional architecture. In addition to architecture, gravestones are other examples of stonework. Techniques such as carving, relief and inscription are applied to gravestones. The ornamental motifs used are plants, geometric motifs, writing and figures. Animal figures are less common. Human figures can be found in Seljuk period art.

Basket-making is carried out by weaving reed, willow, and nut branches in a way that has come down from our ancestors. It is now used for home decoration in addition to its original purpose of helping to carry things.

Packsaddles made of felt and rough cloth formed a sub-branch of traditional artwork during the period when saddles were commonly used in rural areas.

As a result of changing living conditions, and particularly industrialisation, the production of these has now pretty much ceased altogether.

By order of the Folk Culture Research and Development General Directorate, area inspections of handicrafts and expert producers are carried out each year. In these studies, works of art are photographed and recorded for the archives, which are available for use by scientists, experts and students interested in the field.

In order to promote handicrafts, the General Directorate holds exhibitions making use of this archive both inside and outside Turkey. Again with the support of the General Directorate, regional handicraft exhibitions are arranged for the purposes of promotion and to help artists to find markets for their products.

The General Directorate also holds an “International Folk Culture Congress” once every five years. Papers delivered at this congress and other articles from scientific meetings on this subject are published by the directorate.

All studies on handicrafts are also published.

Decorative Turkish Arts

Traditional Arts Using Metal

Traditional Arts Using Clay

Traditional Arts Using Wood

Traditional Arts Using Stone

Traditional Arts Using Glass

Traditional Arts Using Animal Materials

Traditional Arts Using Plant Fibers

Embroidery

Knitwear

Weaving

Tightening Works (weaving without tissue-felt)

Hand-Made Dolls

Craftsmen

Colour, Design and Painting in Traditional Arts

THIS TEXT IS TAKEN FROM THE OFFICIAL WEBSITE OF THE MINISTRY OF CULTURE AND TOURISM OF TURKEY FOR MORE INFORMATION CLICK ON THE OFFICIAL WEBSITE :

http://www.kultur.gov.tr/EN/belge/2-16306/traditional-arts-and-crafts.html

Some examples introduced during the workshops for the guests of IP (intercultural patchwork) in Turkey can be summarized as follows in brief:

MARBLING - Decorative Turkish Arts

The art of marbling on paper, or 'ebru' in Turkish, is a traditional decorative form employing special methods. The word 'ebru' comes from the Persian word 'ebr,' meaning 'cloud.' The word 'ebri' then evolved from this, assuming the meaning 'like a cloud' or 'cloudy,' and was assimilated into Turkish in the form 'ebru.' Marbling does actually give the impression of clouds. Another possible derivation of the word 'ebru' is from the Persian 'âb-rûy,' meaning 'face water.'

Although it is not known when and in which country the art of marbling was born, there is no doubt that it is a decorative art peculiar to Eastern countries. A number of Persian sources report that it first emerged in India. It was carried from India to Persia, and from there to the Ottomans. According to other sources, the art of marbling was born in the city of Bukhara in Turkistan, finding its way to the Ottomans by way of Persia. In the West, 'ebru' is known as 'Turkish paper.'

How Marbling is Done

Marbling is a most enjoyable art form, although one requiring great patience. The first thing is to select suitable paper, as not all paper can be used. The paper needs to be hard-wearing and able to absorb the paint thoroughly. Masters of calligraphy in former times preferred to write on what was known as 'dressed' paper, which had had a mixture of cornstarch and egg-white rubbed over its surface. Marbling practitioners, on the other hand, preferred raw, 'undressed' paper since the 'dressed' version did not absorb paint well.

A large, wide, shallow and generally rectangular tray is necessary for the practice of marbling. A kind of white gum obtained from the stem of the tragacanth plant is mixed in a bowl with water in specific proportions. Different substances, such as dried orchid tubers, flax or quince seeds and kerosene may be used instead of the tragacanth gum. The mixture is left to stand for up to 12 hours and stirred

occasionally. The gum eventually dissolves, and the mixture comes to take on the consistency of boza, a thick drink made of fermented millet.

Later on, the paint for the marbling is prepared in small cups. The paint to be used needs to be ground very finely, and should not be one of those vegetable or chemical paints that do not dissolve in water. After the paint has been dissolved in water in the little cups, two coffee spoonfuls of fresh cattle gall is added. The aim behind this procedure is to prevent the finely ground paint from sinking to the bottom and ensure that it floats on the surface. The paints of various colours prepared in this

manner are then spread over the boza-like mixture described earlier which has been emptied into the tray. The paint clings to the surface in small pools, which are then mixed or spread by means of a wooden stick, giving rise to surprising and fascinating designs. Specific designs can also be created according to the artist's wishes. The special paper laid over these designs is lifted to one side some 5-10 seconds later, in very much the same manner as turning the pages of a book, by holding it by two edges and being careful not to smear the paint. The paper is left to dry in a suitable place, the painted side facing upwards. In this way, designs with thousands of details and colours emerge. If the artist wishes to place writing or a flower motif between these designs, he employs another method. The writing or motif is drawn or scratched onto paper. A sharp implement is used to cut them out, and these are then fixed onto the marbling paper with a thin adhesive. The paper is then laid onto the paint in the tray as described above. After the marbling design on the paper has dried, the patterns that have been thinly glued onto the paper are removed, leaving an empty space. This method was discovered by the calligraphy and marbling master Necmeddin Okyay (1883-1976), for which reason marbling produced by that method is known as 'Necmettin Marbling.' There are several other varieties of marbling, such as 'oversize,' 'combed' and 'flowered.'

Marbling used to be extensively employed in bookbinding and calligraphy. On occasion, particularly interesting and attractive designs are used as pictures. Turkey has produced many great exponents of the art, such as Hatip Mehmed Efendi (18th century), Şeyh Sadık Efendi (19th century) and Bekir Efendi (early 20th century). Among the last great masters produced after Necmeddın Okyay, both Mustafa Düzgünman (born 1920) and Niyazi Sayın (born 1927) are particularly worthy of mention.

NEEDLE EMBROIDERY

Turkish needle embroidery is known as “Turkish lace” and does, indeed, resemble lacework at first sight. The two are actually different, however. Lacework is made by sewing onto an object, and is two-dimensional. Turkish embroidery is three-dimensional and may be used as separate, distinct ornament. Silk is the material most generally used for needle embroidery. The invention and development of needle embroidery is largely the result of Anatolia’s being on the Silk Road and having its own silk production. Embroidery is done by knotting with small needles. As the knots become denser, the plaits become smaller. Needle embroidery is done by making loops with threads and by pulling the needle and thread through the loop. There are two types of needle embroidery: square and

triangular. Needle embroiders can be either single or double-embossed. In single-embossed embroidery, the needle is first stuck into the fabric and the thread turned from right to left in order to form a circle. The loops are repeated with particular spaces between them, and thefirst line, called the giraffe, is thus constituted. On the return, the loop is made by passing it through the circle from left to right. The second line is made by repeating the same process by sticking the needle into the connecting point

in the first line or into the middle of the loop by forming designs such as root, rock and main embroidery that will create the main contour. Knitting designs are called single, rice, Mecnun home, Trabzon/trabzan. A flower or a leaf are accepted as examples of needle embroidery on their own. Compositions are formed by arranging the components in various forms. These compositions are as follows:

1. Chains 2. Yemeni (a head scarf made of woven cotton material) embroidery 3. Aigrette embroidery 4. Crown embroidery 5. Branch embroidery

6. Flowerpot embroidery 7. Cotton bag embroidery

Horse hair, antenna wire and nowadays even fishing line are used to make the designs stay up once they have been starched with egg white, sugar or gelatin. Natural silk thread and cotton thread are used in needle embroidery. Some types including decorative objects such as spangles, beads etc. may also be seen.

1st Picture: Butterfly, Ankara/Nallıhan 2nd Picture: Grapevine Rose, Elazığ

HOOKED NEEDLE EMBROIDERY

Although cotton thread is generally used in hooked needle embroidery, synthetic threads are increasingly preferred today. This is knitted by creating chains with the help of the hooked needle. A loop

is formed with the thread first, then the thread is bound around the knitting needle and passed through the snoop by pulling it. The loops are knitted one after the other in order to form the design. In some designs, the space between the loops is left empty unfilled with different loop numbers and binding types. Thus, new

designs are formed with different skips and different-sized holes, as well as with empty loops and full surfaces.

1st Picture: Pine embroidery, Afyon 2nd Picture: Garland, Istanbul

Colour, Design and Painting in Traditional Arts :Design:

Designs, the result of prevailing environmental conditions, are the cultural language and source of art. These symbolic designs reveal the characteristics of a society in social research.

The Turks continued to live in clans and tribes after migrating to Anatolia. After a long period of different beliefs, they finally turned to Islam but the heritage of the old beliefs, legends and myths are still alive and can be seen in various symbols that are used in the decorative arts today.

Design is the main component of ornamentation. In Anatolia, designs are known by different names, such as motif, im, yanis and nakis.

Different designs exist in all branches of traditional arts depending on the place, purpose of use or message contained. These may be vegetal (trees, flowers, fruits etc.), animal (birds, butterflies, horses, wild animals, snakes, scorpions etc.), objects (for daily use), figures (inspired from daily life etc.).

Colour- Painting:

Colouring is one of the oldest arts, the history of obtaining dyes from natural sources going back thousands of years.

It is true that human beings respect and admire the colours that exist in nature. The

relations between man and plants are a very old one. Early man not only used plants to feed himself, but also used leaves as a covering.

People realized the impossibility of coloring textiles with undissolved substances, and so used the root, body and leaves of plants. Besides plants, some dyes were also obtained from animals.

In Anatolia during the Ottoman period, coloring materials were exported until the 19th century, although the invention of synthetic dyes had a severe impact. Today, a few educational institutions in some regions are trying to keep the tradition of natural dyes alive.

People have considerable knowledge of natural dyes in some regions of Anatolia, especially those where rugs and carpets are produced. Families involved in rug-making keep such information on dyes a closely guarded secret.

The material “mordan” is used to prepare the object for coloring and help the object mainatin its colour. Aborvitae is the most commonly used kind of mordan in Turkey. Studies have shown that, red, green and yellow have historically been the most widely used colors.

Jewellery and Ornaments :

Embellishment, or the use of jewellery and ornaments, appeared in very early times, based either on a belief in or need for decoration, and has today become a living tradition.

Jewellery was made by small tribes with the natural materials available where they lived, in accordance with their beliefs and customs. It became a part of their tradition and was endowed with symbolic meanings. Jewellery made of stone, metal, wood, bone, fabric, glass or leftover materials are examples of this cultural heritage.

The tradition of using jewellery and ornaments to complement traditional clothing still exists in traditional societies. The jewellery and ornaments used at wedding ceremonies in Anatolia differ according to the importance of the couple about to be married. For example, on the "henna night" (a party for a bride-to-be during which she and the other guests henna their hands and fingers, generally held one day before the wedding ceremony itself) the bride wears no ornaments, her clothes and jewellery being worn by another girl. It is considered inappropriate for a young girl to adorn herself before marriage, although she will do so before leaving her father's house, either to give a favorable impression or for protection from the evil eye. Jewelry and ornaments are also worn by children and adult males.

Although some traditions are about to disappear, there is a growing interest in using jewelry in accordance with authentic fashion.

THE “HENNA” TRADITION IN WEDDINGS :

Wedding ceremonies are generally start on Tuesday and end on Thursday, or start on Friday and end on Sunday. Costs and expenses of wedding are met by the bridegroom’s family. Despite differences in accordance with various locations wedding may be classified mainly as planting a flag, women’s entertainment of the night next before the wedding day the bride’s fingers freshly tinged with henna (Kına Gecesi), fetching the bride, bride’s veil.

Before the wedding as is done in the course of engagement ceremony invitation is distributed and everybody is invited for the wedding. While the bride’s family tries to complete preparations for trousseau, the bridegroom’s family tries to complete articles which required to be bought for the bride and which have been previously determined.

A wedding flag is planted by men coming from the noon prayer and friends of bridegroom at the bridegroom’s home. At some regions such thins as apple, onion, mirror, etc. are placed on top of the flag. Thus the wedding gets started.

Night Next Before The Wedding Day, A Women’s Entertainment Where Bride’s Fingers Are Freshly Tinged With Henna ( Kına Gecesi):

This night in which the bride will be together with her family, relatives and friends all of which are women is just before the day of fetching bride as known the main wedding day. This night which is called “Kına Gecesi” is celebrated in the bride’s home. The bridegroom’s family and other guests are met and hosted in the bride’s home.

Usually dry henna brought by the bridegroom’s family is broken to pieces in a silver or cupper vessel by a woman whose father and mother alive, not experienced any separation. After preparing the bride, veil ornamented with red flake is placed over her head, and she is brought into the middle with accompaniment of hymn, folk songs about henna. Hands and feet of the bride

are dyed with henna. The bridegroom’s side is under the obligation to put money in the hand of the bride. Dying ceremony of henna is different according to regions. The henna so dyed has such names and types as “iplik kınası” (henna for yarn), “sıvama” (smearing), “kuşgözü” (bird eye).

After leaving woman who came together for dying henna close friend of the bride remain with her and enjoy themselves till morning.

In some of our regions henna dying ceremony for bridegroom is also held in the bridegroom’s home.

Process To Fetch The Bride (Gelin Alma):

This day is named as “Gelin Alma” (to fetch the bride), “kız alma” (to fetch girl), “gelin götürme” ( to carry the bride), etc. Everybody is invited to fetch the bride. Guests go to fetch the bride on foot if not far, or by cars if too far to go. In some regions the bridegroom has not been allowed to accompany the bridal procession. Wedding flag, drum-pipe is included in the bridal procession. In some regions the bride is prepared by elderly women (yenge) who help and

attend the bride, but today generally in hair dresser, and then she is taken by those who came from the bridegroom’s side.

“Maidenhood Belt” (Bekaret kuşağı) is tied around the Bride’s waist by her brother or her close relative and then the bride says good-by to those who stay in home. The bridegroom’s family, having paid money for chest and money for door, causes the bride to get into the car.

After travelling around the village with the accompaniment of drum-pipe the wedding procession arrives in the home of the bridegroom. Mother-in law gives a gift to the bride when she comes in front of the door. After sequence of implementations believed to affect humour of the bride, the bride in the bridegroom’s arm is taken inside. After a while the bridegroom is taken out by his friends to bring him back at night. After bridegroom’s shaving, bath and dressing ceremonies the bridegroom is taken to the mosque for prayer at night (Yatsı Namazı) and then he is brought back home with ceremony. Religious marriage ceremony is performed for the bride and the bridegroom who is brought with accompaniment of hodja (preacher). Upon performance of this celebration which confirms the marriage the bridegroom is allowed to live together in the same house.

Folk Plays - Spectacle Plays - Shows

KARAGÖZ

Karagöz is a shadow play whose true form is the moving of beings named as designs made from skin of a camel or cow with sticks on a white curtain by reflecting light behind them. The play takes its name from its main character “Karagöz”.

The source of shadow plays is accepted as southeastern Asian countries. There are different views about it coming to Turkey. One of the views is that the plays such as “ember armlet” and “dream tent” known in Middle East are shadow plays and they’ve been brought to Anatolia during migrations. Other view is that the shadow play has come into Turkey after Yavuz Sultan Selim, who had conquered Egypt in 1517, had brought the shadow play artists to Turkey.

Karagöz had become one of the most enjoyed entertainment methods of public, which mainly focused on public types beginning from the 18th century. Karagöz is played depending on the talent of an artist. Moving the design on curtain, voicing them, dialects or imitations are all made by the artist.

The subjects of Karagöz plays are funny elements. Double meanings, exaggerations, verbal plays, imitating accents are the main elements of the comedy.

1. The beginning section in which Hacivat comes to the curtain singing semai and Karagöz’s calling him after saying a lyric poem and in which Karagöz and hacivat quarrel is called “Mukaddime”. In this section, the play’s philosophical and Islamic mysticism and showing the realities are underlined by the lyric poem Hacivat said.

2. In the “muhavere” section, there’s a one-to-one conversation apart from the series of events based only on word of Karagöz and Hacivat. Muhavere may be in rigmarole. In this section the personal characteristics and opposite natures of Karagöz and Hacivat are underlined. Muhaveres may both be related or not be related to the play. Besides there are Muhavere with double Karagözs inconstant muhavere or middle muhavere types.

3. The section where the story is mainly expressed and the other characters come on the curtain is the “fasıl” section. The play takes its title according to the subject of this section. The players leave the curtain in any way toward the end of the play. Only Hacivat and Karagöz remain on the curtain.

4. At the ending part of the play, the ending is informed with the conversation of Karagöz and Hacivat and apologies are made for any mistakes of the event to the spectators and the announcement of the following game is made and the play ends.

In Karagöz play, there’s satire and irony. These ironies may reach to the state administrators with a humorous style.

The main characters of the play are Karagöz and Hacivat. Karagöz represents the public’s morals and common sense. He speaks as he is. Hacivat is educated in Moslem theology school and he’s unreliable and following the order. The other characters are Tuzsuz (Salties) Çelebi, Drunk, Baberuhi, Albanian, Jewish, Circassian, Kurdish, Laz, Addictive, males taking female parts etc.

Karagöz was interested and supported by the Palace. Karagöz had took place in the festivals and circumcision ceremonies of princes.

Karagöz is especially integrated with the Istanbul centered Ottoman culture. It is possible to see the life of Istanbul in Karagöz plays. Aghas, Great Marriage, Boat and Tahmis are Ferhad and Şirin, Fisher, Leila and Majnun, Wrong Marriage Tahir and Zühre, Yalova Pleasure, Karagöz’s Clerkship, Karagöz’s Love, Karagöz’s doctorate etc.

The Technique of Karagöz

The white curtain on which Karagöz is played is named as “mirror”. At first the curtains were 2x2.5 m. then they began to be made in 110x80 m. size. In the inner side, below the curtain there is an “edging wood”. There are also cymbals, tambourines, canes, pipes and lamps to illuminate the curtain. These are on the edging wood. The designs used in the play are 32-40cm sized and they are generally made from the skin of camel or

cows. The skins are made transparent with a special method. Then they are embroidered with sharp painted blades called “nevregan”. The pieces are tied with ropes named rafters or catgut. Then the designs are painted with Indian ink or root paints.

Karagöz, which was the most important entertainment of Ottoman period, was played in ramadans, circumcision feast festivals, coffeehouses and gardens. Karagöz, which is known to address to social events of the period, criticizing them, were prevalently played in Istanbul. This was spread to other parts of Anatolia by the artists going on tours.

Today, Karagöz that is one of the most introductory elements of our country are played in the tourist hotels and restaurants. But spectators generally reach it by television.

The studies related to the art of Karagöz that is tried to be continued by a limited number of artists are conducted by the Presidency of Turkey National Center of International Puppet and Shadow Play Union (UNIMA) and the Ministry of Culture.

Keloğlan :

Keloğlan (Turkish: bald boy) is a fictional character from the Turkish culture.

As a well-known character - also known as keleşoğlan - Keloğlan has a problem of being bald from birth.[1] He is the substitute of the Anatolian people who can have big dreams who are virtuous, prudent, a little bald, a little romantic and very sportive.

Stories about him were staged by Fisko Birlik, Danone Çocuk Tiyatroları and many special societies many times and attracted a lot of attention and applause. Also, there is Keloğlan ve 300 Magiclandli -written by Çalım Baya educational- seminar with music and dance intended for followers.

Also, his tale was serialized by Necdet Şen in his comic book Hızlı Gazeteci in 1989 at Cumhuriyet newspaper. In 1991, Remzi Bookstore published a book telling a story of him about not being able to fit in and having to make a choice between the rules and his own principles.

Nasreddin Hodja :

A 17th Century miniature of Nasreddin, currently in the Topkapi Palace Museum Library

Nasreddin Hodja is a satirical Sufi figure, sometimes believed to have lived during the Middle Ages (around 13th century) and considered a populist philosopher and wise man, remembered for his funny stories and anecdotes. He appears in thousands of stories, sometimes witty, sometimes wise, but often, too, a fool or the butt of a joke. A Nasreddin story usually has a subtle humour, but it is claimed that within the tale there is usaully also something to be learned.

Claims about his origin are made by many ethnic groups. Many sources give the birthplace of Nasreddin as Hortu Village in Sivrihisar, Eskişehir Province, present-day Turkey, in the 13th century, after which he settled in Akşehir, and later in Konya under the Seljuq rule, where he died in 1275/6 or 1285/6 CE. The alleged tomb of Nasrudin is in Akşehir and the "International Nasreddin Hodja Festival" is held annually in Akşehir between July 5–10.

As generations have gone by, new stories have been added to the Nasreddin corpus, others have been modified, and he and his tales have spread to many regions. The themes in the tales have become part of the folklore of a number of nations and express the national imaginations of a variety of cultures. Although most of them depict Nasreddin in an early small-village setting, the tales, like Aesop's fables, deal with concepts that have a certain timelessness. They purvey a pithy folk wisdom that triumphs over all trials and tribulations. The oldest manuscript of Nasreddin dates to 1571.

Today, Nasreddin stories are told in a wide variety of regions, especially across the Muslim world, and have been translated into many languages. Some regions independently developed a character similar to Nasreddin, and the stories have become part of a larger whole. In many regions, Nasreddin is a major part of the culture, and is quoted or alluded to frequently in daily life. Since there are thousands of different Nasreddin stories, one can be found to fit almost any occasion. Nasreddin often appears as a whimsical character of a large Albanian, Arabic, Armenian, Azerbaijani, Bengali, Bosnian, Bulgarian, Chinese, Greek, Hindi, Italian, Judeo-Spanish, Kurdish, Pashto, Persian, Romanian, Serbian, Russian, Turkish and Urdu folk tradition of vignettes, not entirely different from zen koans.

1996–1997 was declared International Nasreddin Year by UNESCO.

Tales :

The Nasreddin stories are known throughout the Middle East and have touched cultures around the world. Superficially, most of the Nasreddin stories may be told as jokes or humorous anecdotes. They are told and retold endlessly in the teahouses and caravanserais of Asia and can be heard in homes and on the radio. But it is inherent in a Nasreddin story that it may be understood at many levels. There is the joke, followed by a moral — and usually the little extra which brings the consciousness of the potential mystic a little further on the way to realization.