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93. Spoons with calligraphy from Konya
 
94. Embroidered hanging with calligraphy of "Allah"
 
95. Small beaded bag with "Allah", from Turkey
 
96.Embroidered hanging with calligraphy of "Allah", and beaded tassels
 
97. Back of Embroidered hanging with calligraphy of "Allah", and beaded tassels shown in pic.96
 
98. Beaded Amulet, Turkey
 
99 Pentagonal shaped weaving with "Allah"
 
100. Pair of small pentagonal shaped weavings with "Allah"
 
101. Picture frame from Anatolia with silk coccoons couched onto velvet
 
102. Detail of pic.101, picture frame from Anatolia with silk coccoons couched onto velvet
 
103. Intricately beaded animal amulet from Anatolia
 
104. Woman's hair ornament, Turkey
 
105.Angora fleece mittens
 
106. Kid skin kumiss bag
 
107. "Fly Palace" nazarlik seen in farmers' homes in Anatolia, constructed of dried peas and seeds.
 
 
 

Part 13


Calligraphy as Nazarlik


Saul next said that calligraphy is another form of nazarlik. Any of the traditional 99 names of God, quotations from the Koran or Hadith in written form are used to ward off evil. These may be found on such things as the spoons with calligraphy from Konya (pic. 93) on a variety of bags or hangings, such as the small bag from Uzbekistan shown in pic. 94.

The bag in pic. 95 is Turkish, and has a pouch to hold sacred objects, whilst the triangles are amulets and are filled with holy or sacred things..

The hanging in pic. 96 is also of ALLAH, and has a Russian print on its back (pic. 97).

Another example with calligraphy was the beaded amulet shown in pic. 98. This Turkish piece is both nationalistic and a nazarlik. It hangs on the rear view mirror in one's auto.

Saul showed another calligraphy piece with a pentagonal shape (pic.99). He also had a pair of small weavings with this same shape (pic. 100). These pieces are from Turkey and made by Central Asian immigrants. They have the same shape as the asmalyks that decorate the sides of the bride's camels in a wedding procession. If these were a little larger we might conjecture that they were intended to decorate the knees of modest wedding camels.

An unusual Anatolian piece in the calligraphy group was the picture frame shown in pic. 101. There is a crown above the space where the picture is to be placed and some writing below it. The flowers are composed of opened silk cocoons (detail, pic. 102).

It is believed that calligraphy does not have to be visible to be protectively effective. So many amulets contain a small piece of paper with something written on it. Next are some other small, beaded amulets that Saul showed (pic. 103). These are 19th century Anatolian, and were probably used on a horse or camel.

Picture 104 is of a Turkish woman's hair fall which is an array of beaded tassels, but perhaps an important array to its owners since the tag says "dowry" visibly.

The next pieces (pic.105) were two pairs of dowry mittens from the Konya Mountains, and probably used as nazarlik during a wedding ceremony. These mittens are made of the same angora material, using the same technique employed to weave the Anatolian tulus, the shaggy sleeping rug.

The piece in picture 106 is a kumus bag from S.E. Anatolia. Here the aspects of concealment and fertility are paramount.

The last piece, shown in picture 107 is a "fly palace." It is a farmer's nazarlik, hung in the home to bring prosperity and good luck. It is made from seeds and is from Konya.

The End

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