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84. Saul holding triangular shaped amulets
 
85. Detail of amulet shown on the left of pic. 84
 
86. Embroidered nazarlik hanging
 
87. Turkish horse's head band
 
88.Detail of Turkish horse's head band shown in pic. 87
 
89. Horse's head piece from Uzbekistan
 
90. Detail of head piece shown in pic. 89
 
91. Turkoman embroidered nazarlik hanging with horsehair braids
 
92. Detail of Turkoman embroidered nazarlik hanging with horsehair braids shown in pic.91
 
 
 

Part 12


Shape as Nazarlik


Next Saul pointed out that the shape of nazarlik makes a difference. He said that a noted Anatolian dervish held that the circle, the triangle and the six pointed star attract, and so deflect, the attention of the nazar. (Notice that a diamond is two triangles joined on a common side, and that a six-pointed star is composed of two overlapping triangles.)

These shapes, Saul said, are common in traditional tribal weavings. He acknowledged that the six-pointed star has seen less use in the 20th century, but suggested that this may be more a political statement than a shift in belief. He added that Islamic philosophy provides a coherent iconography of the meanings of various kinds of stars. Five-pointed, six-pointed, 7-pointed, etc.

Triangles that upper-pointing triangles such as those in the amulets Saul is holding in picture 84, symbolize unity with God. Picture 85 is a closer look at the one on the left

Note: While we are primarily treating "nazalik as shape" here, it is important to note that amulets have compartments that should have something sacred within them - like pages from the Koran, or earth from a holy place, etc., something we'll treat again below.

The small, beaded bag in pic. 86 is another example of the use of triangles pointing upward.

When triangles are reversed, with one point down, as in this Turkish horse's head band (pic. 87 with detail pic. 88) they are said to symbolize the fertility of the earth.

Picture 89 is another piece in which a triangular shape is prominent. This piece is a horse's head piece from Uzbekistan. Strong colors, graphics and a liberal decoration with tassels that employee beads all add to the protective power attributed to such a piece. A closer look at this triangular area is shown in pic.90.

The next piece (pic. 91) is made from a 19th century Turkman fragment and has added blue beads, cowary shells, tassels, etc. This was to hang in one’s tent or home. It was purchased from the wall of a home. A detail is shown in pic. 92. Color use and graphic design provide good protective impact.

Part 13: Calligraphy as Nazarlik
  
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