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CREATIVITY AND CRAFTS IN THE MUSLIM WORLD
Proceedings of the International Seminar on Creativity in Islamic Crafts 10-12 October, 1994, Islamabad, Pakistan
Önder Küçükerman, paper:
“CREATIVITY AND RICHNESS AT THE BASIS OF THE ANATOLIAN IDENTITY: TURKISH CARPETS AND HOUSES” p. 147-160,
CREATIVITY AND CRAFTS IN
THE MUSLIM WORLD
Proceedings of the International Seminar on
Creativity in Islamic Crafts
10-12 October, 1994, Islamabad, Pakistan
Önder Küçükerman, paper:
“CREATIVITY AND RICHNESS AT THE BASIS OF THE ANATOLIAN IDENTITY: TURKISH CARPETS AND HOUSES” s. 147-160,
Organization of the Islamic Conference
Research Centre for Islamic History, Art and Culture (IRCICA), İstanbul, Turkey
Lok Virsa Institute Ministry of Culture, 10 -12 October, 1994, Islamabad, Pakistan.
Crafts Development Program CDP
Islamic Craft Series: 7, PC/2004-2
Editor: Nazeih Taleb Maruf (IRCICA)
Cover Design: Hatice Polat and Selahaddin Uygur
Design: Nazeih Taleb Maarouf
Translation of certain texts: Abdulfattah al-Zein
Printing: Renk Grafik, İstanbul
365 pages
ISBN 92-9063-138-4
English version:ISBN 92-9063-138-4
TABLE OF CONTENTS
Preface: Prof. Dr. Ekmeleddin İhsanoğlu, Director General of IRCICA , I
Introduction: Nazeih Taleb Maarouf, V
Inauguration Program:
1- Address of Mr. Khawaja Shahid Hosain, Ex-Federal Secretary, Ministry of Culture, Sports and Tourism, Government of Pakistan, XXIII
2- Message of H.E. Dr. Hamid al-Gabid, Secretary General of QIC, XXV
3- Address of Prof. Dr. Ekmeleddin İhsanoğlu, Director General of IRCICA, XXVII
4- Address of Mr. Uxi Mufti, Executive Director of Lok Virsa, XXXI
5- Address of Mrs. Madeleine Gobeil, Representative of the Director-General of UNESCO, XXXIII
PAPERS
Historical Perspectives in Islamic Traditional Arts and Crafts
(Paper Presenter, Topic, Page)
1- Jean-Louis Michon, “Creativity in Traditional Islamic Arts and Crafts: Historical Perspectives”, 1
Creativity in Calligraphy, Marbling and Binding
2- Annemarie Schimmel, “Creativity in the Art of Calligraphy”, 17
3- Khalida Rahman, “Creative Spirit of the Traditional Art of Calligraphy, through the Contemporary Medium of Photography”, 31
4- Hikmet Barutçugil, “The Art of Marbling”, 35
5- Bassam Daghestani, “Binding Profession in the Muslim World”, 51
Sufi Vision and Innovation in Crafts
6- Jasleen Dhamija, “Sufi Vision and its Contribution to Islamic Crafts”, 63
7- Raja Fuziah bte Raja Tun Uda, “Innovation in Crafts”, 75
Islamic Decorative Motives and Miniature
8- Fay Frik, “Creative Vision in the Art of the Miniature”, 83
9- Valeria Fiorani Piacentini, “Nature and Decorative Motifs in Islamic Arts”, 93
Artisans and Islamic Architecture
10- Kamil Khan Mumtaz, “Crafts in Islamic Architecture”, 121
11- Omar Khalidi, “Crafts and Islamic Architecture: Illustration of the Craftspeople in Morocco, Iran, Turkey and Pakistan”, 131
Creativity in Carpets and Textiles
12- Önder Küçükerman, “Creativity and Richness at the Basis of the Anatolian Identity: Turkish Carpets and Houses”, 147
13- Eleanor Viegas, “The Development of Textile Skills of Asian Women in Birmingham”, 161
Craft Education and Relationship of Creativity, Skill and Tradition
14- Omar Amine Ben Abdallah, “Modern Modes of Education and Training in Crafts: The Role of the Government”, 169
15- Arline M. Fisch, “The Relationship of Creativity, Skill and Tradition in Craft Education with Emphasis upon Jewellery and Metalwork”, 175
Economic and Financial Factors - Employment of New Marketing Techniques
16- Jordi Musons I Marti, “Changing Perspectives of Crafts in New Economic Realities: Economic and Financial Factors”, 185
17- Omar Khalidi, “Employment of New Techniques for Promotion of Traditional Crafts”, 191
18- Dominique Bouchart, “Craft Villages and Employment of New Marketing Techniques”, 201
19- Clare Smith, “From Maker to Market: How the New Economic Realities Affect the Crafts Producer”, 213
Creativity in the Crafts of the Muslim World
20- M. A. Al-Hammad, “The Role of Arab Municipalities in the Revitalisation of Handicraft”, 225
21- Mushafiqa Kamal, “Crafts and Craftspeople in Bangladesh”, 231
22- Safeya Helmi Husseyin, “Innovation and Problems in the Development of Traditional Handicrafts in Egypt”, 237
23- Khalil Tabaza, “Craft Movement Today A Historical Introduction: Identity, Preservation and Creativity” - 'Jordan as a Case Study', 247
24- Hisham Bikdash, “Handicrafts in Lebanon A Project for a College of Applied Arts”, 257
25- Syed Zulfida Noor, “The Malay Concept of Aesthetics with Special Focus on Crafts”, 263
26- Iqbal Alt Jatoi, “Folk Arts and Crafts in Pakistan”, 269
27- Shamim H. Zaidi, “Crafts along the Silk Route”, 277
28- Nawaf Hamed, “Creative Touches in Palestinian Handicrafts”, 283
29- P. L. Wroamer, “Present State of Crafts in Sierra Leone”, 287
30- Anifa Ahmetshina, “Crafts in Tatarstan”, 291
31- Anour Jrad, “Creation in the Field of Handicrafts: A Tunisian Experience”, 295
32- Yener Altunpaş, “Crafts Movement in Turkey”, 303
33- Bassam Daghestani, “Handicrafts in the United Arab Emirates”, 309
34- M. Cassiem Dharsey, “The Current Status of Islamic Art in South Africa: A Western Cape Perspective”, 315
35- Report and Recommendations, 327
PREFACE
Ekmeleddin İhsanoğlu
As we approach the 25th anniversary of the establishment of the Research Centre for Islamic History, Art and Culture in Istanbul (IRCICA), a subsidiary organ of the Organization of the Islamic Conference, some self-evaluation becomes necessary, which leads us to reformulate our numerous ambitious goals, so that the Centre could complete its tasks in the field of developing studies, researches and documentation in order to raise awareness within our communities and outside the Muslim world. The aim is to increase the cultural dialogue and to encourage the activities of research and documentation in this field, in such a way that will ensure a deep awareness of the role of culture in activating efforts of development in the member states.
The Centre endeavored to realize its goals in this field by using all available means and resources, ranging from publishing specialized books, preparing fairs, organizing conferences, lectures, and educational courses; creating a specialized library which gathers a number of important books and publications which deal with the issues of heritage, history, arts and Islamic studies; establishing a photography archive of the historical monuments in the Muslim world; organizing international competitions in the field of Islamic architecture, calligraphy, handicrafts and photography; publishing a news letter and preparing documentary films which would ensure a broader knowledge in this field.
As an important part of the Islamic cultural heritage, crafts development and documentation was one of the fields of study which were given particular importance by the Centre. This is because of several factors, the most important of which is the width of horizons which can be explored in highlighting this bright side of the Islamic civilization. The sector can also activate the development wheel in member countries. In addition, it is distinguished by its developing aspect, which, if well employed, can contribute to the activation of the cultural movement and highlight the contribution of certain parts of the Islamic Cultural Heritage in a way that will lead to a recognition of the importance of preserving its continuity. The main objective is to document the sector and bring to light its importance, since sectors and sections of it are facing certain obstacles and difficulties which not only prevent it from growing but also almost destroy some sides of it in many Muslim countries. These are due mainly to the increasing usage of machinery, the widespread mass production of machine-made products, the hard living conditions which push the artisans to leave the traditional job to work in factories, lack of funding, insufficient education and training opportunities, along with difficulties encountered in marketing among others.
While recapitulating and evaluating the steps taken by the Centre for introducing and documenting the crafts sector, and while publishing this volume on creativity and crafts in the Muslim world, we find that we have succeeded in providing what we can call a base for a specialized documentary library on some handicrafts subjects. By this we will be able to fulfill the gap relating to this part of our heritage. Previously, literature of this size and this level of specialization were not available. These are:
1- Prospects for Development of Traditional Crafts in QIC Countries, 1993.
2- Awards of the First International Islamic Artisans-At-Work Festival, 1999.
3- Traditional Carpets and Kilims in the Muslim World (Arabic), 2000.
4- Traditional Carpets and Kilims in the Muslim World (English), 2001.
5- Mushrabiyya and Stucco Colored Glass in the Muslim World, 2002.
6- Arabesque of the Crafts of the Muslim World, 2003.
7- Creativity and Crafts in the Muslim World, 2004.
8- Arts and Crafts in the Muslim World (forthcoming).
These volumes aim to present an academic documentation based on the site surveying of many craft subjects in the Muslim World. They include numerous statistics, tables and reports dealing with the present status of the sector prepared by specialized scholars from different countries, not only from the Muslim world, but also from Europe and the States. They all presented a resume of their experiences and practices in this sector. Among them were the academic historian, the scholar interested in the craft's daily affairs, the expert of raw materials and natural dyes, the specialist in marketing and distribution and the artisan searching for developing and promoting the product.
One of the main goals of the Centre has been to contribute to the encouragement of the scientific research activities; to assist the specialists of the field to know better the current status of the sector and its problems; to determine means of development and promotion and to encourage further researches and studies through comparison of its levels in different countries. This will help creativity in designs, in choosing raw materials and techniques, and even increasing opportunities of learning and training. So, generations of professional artisans will be rehabilitated. Moreover, chances of holding international and regional exhibitions with wider participation for artisans will be created and encouraged. Those volumes deal in general with the status of the artisans, development of skills and the impact of raw materials and tools on product quality. They also provide data on economic and financial affairs, the role of the governments and patronage, survey documentation, marketing and distribution channels, promotion and development of the products.
As we recall the stages through which the Crafts Development Program has passed, then we need to mention the organizing of many specialized seminars, exhibitions of artisans, and the First International Islamic Artisans-At-Work Festival with a participation of more than 2000 craftspeople from different Islamic countries. This comes in addition to the published books, brochures and posters, and the numerous opportunities provided by these international meetings to the artisans to meet each other in one hand, and to the concerned specialists in the other to exchange their experiences about this or that particular subject. We have no doubt that these efforts influenced some sectors of the society and stimulated a serious interest in the traditional crafts sector. Today we are witnessing a high degree of understanding of the real value and importance of the sector for the QIC member countries from the angles of culture, heritage, economy and tourism. We are witnessing also, now and then, many activities of fairs, lectures, symposia, and congresses dealing with different aspects of the sector. These activities are accompanied with good marketing opportunities for the products of the artisans along with a plenty of restoration projects in some traditional buildings. These are encouraged by a stronger feeling of the importance of the sector which represent a particular cultural identity which expresses cultural, touristic, economic and heritage riches.
In fact, these good initiatives taken in some countries of the Muslim world, give good promises for the future of the sector. It explores a developing movement which will motivate flourishing projects related to this fundamental Islamic cultural heritage. So there will be more advancing steps to recognize and get interested in this sector from several groups of the society, which will, finally urge efforts for more recognizing of the importance of the remunerative revenues of the sector.
Given their wide coverage as to subjects and places, we hope to see that one of the contributions of these volumes will be to promote academic research and studies in this specific field. Also, we hope they will provide researchers and those who are interested in handicraft studies with the necessary data that encourages further development projects. We look forward for more employment of our traditional heritage, as a whole, in the daily used products as it represents a characterized unique and creative identity of our cultural personality.
No doubt, realizing these good results will confirm our intention to go ahead with our plan in handling other handicraft subjects with more research, study and through specialized research seminars. The main aim will be to work for the documentation of these handicrafts, highlighting its importance and studying means of its development.
CREATIVITY AND RICHNESS
AT THE BASIS OF
THE ANATOLIAN IDENTITY:
TURKISH CARPETS, TURKISH HOUSES
ÖNDER KÜÇÜKERMAN, p. 147- 166
The cultural identity of Anatolian carpets and rugs is rooted in the admirable creativity, diversity and richness that can be traced all over the country. Every mountain and every valley was a source of inspiration for creative expressions. These expressions were experimented and developed over thousands of years. They are embodied today in the products of Anatolian crafts. Still lively in our time, these creative expressions are significant and colourful contributions to the Anatolian cultural heritage under all its aspects including design, production and marketing.
In this respect, carpets are one of the most important categories of Turkish crafts. A stud of their features in various re ions of Anatolia would provide authentic sources of reference for each of these regions. It would also show that the carpet is both a cultural treasure and an economic resource. Carpets and rugs of Anatolia acquired both a distinct cultural identity and a production potential. They also became a medium of expression conveying cultural, social and even polttical messages.
The Turkish house: the concept of an architectural space shaped over centuries by Turkish carpets
What is the role played by the traditional Turkish craft of carpet-making in the creation of an authentic architecture? Various studies carried out on this topic have answered this question in the same way. Traditional carpet-making has played a multi-dimensional role in the creation of the Turkish house through gradual developments over centuries. In the first place, Turks recorded their own history in the traditional carpets, because we find in them genealogical evidence and family emblems registered skillfully and şubtly. Secondly, patterns of the carpets contain symbols and even codes which tell us about the cultural environment and inputs from other cuitures that prevailed before and during the period when they were produced, and also about happiness, calamities, nature, architecture, jewellery and ornaments. Furthermore, traditional carpet-making helped the long process of a creativity which emerged in Central Asia and ended up in Anatolia where it was further refined and gave rich and varied products. Practical facts of daily life, as well as popular beliefs, friends, ancestors, and memories, all are to be traced between the knots of carpets.
Carrying the carpet means carrying everything
Carrying the carpet anywhere at times of migration means carrying all the historical evidence recorded on it, that is everything related to the past. The crucial factor in this process is the craft through which cultural messages are embodied in the carpet, renewed and transmitted. Hence, the peculiar traces that weavers left across historical periods can be considered as a special travel book where information to be carried from the past to the future is outlined. No doubt, these traces are important messages transmitted to subsequent generations.
Carpets are documents
In fact, in every period of history, people have used weavings to record visual information. This has added a great value to the medium, because in fact, the primary material used for weaving does not have any value in itself. If a carpet is unraveled, it does not have any value anymore as raw material. The thread is not precious like gold or silver. This is also the most interesting point about the recording of culture on carpets, because this makes it possible that the visual messages be preserved in a safe way. That is, every carpet will remain alive and carry these massages as long as its material is physically in good state.
In reality, the weaving technique is not a complicated one. The knots gain significance with the messages that they register through the various shapes and colours given to them. Thus, with the passage of time, carpets have become one of the most interesting systems of recording of human history.
For the above reasons, carpets have a cultural value. But at the same time, they fulfill a practical function in daily life as an economic reality. These roles and functions of carpets were combined in Anatolia in a way that Turkish carpets have added significantly to the value of the housing space.
According to the contemporary terminology of design, this process can be termed as “the multidirectional continuity of an identity”. It can also be defined as “the manifestation of a cultural identity in the most suitable environment”, which is the house. Briefly, Turkish Anatolian carpets have been the source of an authentic architecture, by shaping it with a kind of visual code that reflects a centuries-long experience accumulated and preserved during the migrations from Asia to Anatolia.
Anatolian carpet weaving has preserved its authentic and traditional character over centuries without any interruption or discontinuity. The established relation between the carpet on one hand, and the housing architecture created in Anatolia and known as the “Turkish house” on the other, has contributed to the continuity of the carpet tradition.
Identity of the space in the Turkish houses and rooms: carpets, rugs and cloth
The principal and determining elements of the identity of the architectural space in the traditional Turkish house are carpets, rugs and other cloth. The original design principles of traditional carpets had an amazingly important role in shaping the Turkish house in Anatolia.
Tents: the sky above, the earth beneath; between them, the carpet
During migrations to Anatolia and the old nomadic way of life, carpets were an integral part of the tents. Tents were com osed of ieces we would call today “prefabricated” which were quickly set on the ground. The carpet was put directry on the ground, to constitute the floor of the house. This practice was certainiy continued during the early times after settlement in Anatolia.
Similarly, it is observed that the wooden floor of the Turkish house built after
settlement has also been affected by this tradition. An examination of the wooden floor with respect to the materials and techniaues of construction reveals that the basic principles of the tent are reflected in it. These principles have been preserved and applied as if the house were a fixed tent.
The floor constructions of some old Turkish houses extant in Anatolia are as follows: the basis of the house is first covered with rush matting. Then, a layer of soil is pressed on it. And on top is the carpet. Thus, the carpet is laid on a natural and simple base. In Anatolian houses, daily life was spent mostly by working, standing or sitting on carpets, rugs, mats, etc. Sometimes felt too was used for the purpose.
Whatever the basıc constructıon material; wood, stone or else, on top of it
there was always a carpet or a rug.
On the other hand, the most important feature of the traditional Turkish house was that the interior design of the rooms was changed more than once during a day in order to serve dififerent purposes. This was a legacy of life in the tent observed later in the house. The possibility to make changes in the usage of space durıng a day was due to the simplicity and flexibility of construction materials.
The choice of materials and weaving techniques for carpets also reflect the concern for facilitating life. The materials were also solid enough to resist all kinds of housework done on them. Another practical reason for such concern was that people used to sit, and perform prayers on the carpet. These two functions are marked by the fact that man is always in close contact with nature.
Taking into account that people used to sit on the carpet and sleep on a mattress laid on it, the carpet is a symbolic, slight but meaningful separation between man and his environment.
In the light of the above, the main functions carpets fulfilled in the furnishing of rooms in the traditional Anatolian Turkish house can be summarized as follows:
1. In the rooms, there is a ground cover such as a carpet or rug, which has a precise identity.
2. Around -the ground cover there are sedirs, raised above the ground. As a -general-rule, sedirs designed as a part of the architectural-construction. These wooden sedirs also are covered with special carpets.
Carpets represented optimal solutions not only as identity markers in the house, but also as regards their manufacturing. This contributed to their preservation all through the migration process. Many other products used during migrations lost their utility value after settlement. But carpets with their multidimensional characteristics’ as identity markers, became an essential element of the house, performing functions similar to those of a flag.
The geometric design of carpets was such that it was composed of right angles. This played a role in shaping a similar geometric design for rooms. At the same time, the dimensions of carpets were also a determining factor for the dimensions of rooms. A glimpse at the various standard dimensions of carpets and the functional names they were given will better indicate their multisided influence on the housing architecture. In general, carpets used in the Anatolian Turkish house were defined, named, produces and used according to their places and functions, as follows:
- Ground carpets which take different names such as “half ground”, “central carpet”, etc. These carpets measure 12 square meters on the average and form the basic ground cover of rooms.
- Side carpets are long carpets bordering the ground along the walls. - Sedir covers.
- Cushion covers.
- Fireplace carpets are woven specially to surround the fireplace. - Corridor coverings
- Trunk covers
- Cradle covers
- Bed covers which started to be produced after the bed was introduced to the Turkish house
These and other functions of carpets indicate that they are determinants of the usage, design and even shape of the interior space in Turkish houses. Still today, products of the main carpet-weaving centres of Anatolia are in the standard dimensions as was required for the above functions, as a continuation of the traditions.
Tents, which were designed in a way to meet the requirements of nomadic life, acquired many significant aspects which influenced the housing architecture created after settlement. However, at that stage, new problems were encountered when it came to introducing elements of construction such as “upper floor”, “staircase”, or “window” which were not needed in the tent. The tradition of the earpet quickly accommodated the new needs; and, carpets started to serve additional functions, such as covering the stairs.
On the other hand, new spaces named “sofa” were created as a common area between the rooms. New, bigger carpets were needed for this area. Hence, sofa carpets were produced.
With these developments, the carpet, which used to constitute a criterion, or standard, for the tent started to perform similar functions for a totally new architecture. With time, it became one of the key factors of the construction industry...
Rooms and carpets
Interior areas which were principal components of the traditional Turkish ~6 house created in Anatolia can be called “rooms” in actual terminology. However, taking into account the functions they used to fulfill in the traditional house, it would be more appropriate to consider each of these areas as a “house” in itself. In fact, parts of the tent, which are the origin of these rooms, were called by various names meaning “house”.
The most important feature of rooms, which played a role in the conception of the Turkish house, is that each one served a combination of functions. Similarly to the “movable house” of nomadic life, the room in the old höuse is an area where various acts of daily life such as seating, eating, work and sleeping were performed.
And carpets were the main determinant of these areas.
Generally speaking, the smallest unit of this concept of space is the room and the area around. It is interestıng to note that this unit has never been used alone; each building was composed of at least two rooms; the volume of space increased with the number of rooms. But dimensions of rooms were almost always standard because they were determined by the size of their basic component, the carpet.
Anatolian cities conveying the identity of the Turkish house
Examples of historical houses in various Anatolian cities and towns reflect the process whereby a traditional housing architecture and an identity of the use of space have developed on the basis of the carpet. Seen from outside, these old, interesting houses- reflect different syntheses of the same architectural identity. But inside; one can easily-note that carpets, rugs and cloth had a considerable influence on the conception, use and division of the interior space. Though various types of carpets were used in these houses depending upon the social and economic status of the dweller, this effect has always been present.
Carpets in Istanbul
One of the most interesting manifestations of the identity of the Turkish house,
which was based on the concept of the carpet created in Anatolia, is observed in Istanbul, the old capital city.
In Istanbul, the concept of the Turkish house has manifested itself in a great
varie of architectural inter retations and was sometimes a lied on a much larger scale. Early examples of this development can be seen in the Topkapı Palace which is composed of many extraordinary constructions designed by eminent architects of their time. These buildings too were conceived on the basis of the carpet, because daily activities were carried out on the carpet.
Topkapı Palace had a very important role both in keeping the tradition of the Turkish house and enriching it with new orientations. The corps of artisans and architects working in the Palace not only built a palace complex but they also supported and encouraged the production of carpets by setting the tradition of the carpet against the background of the throusand-year-old city.
The power and continuity of the identity of the Turkish house was reinforced by the contributions of hundreds of master artisans working in the Palace. A grand-scale organisation of carpet production was carried out under the control of the state. Its products represented the tradition of the Turkish house. At any moment of time, this organisation also embodied the most advanced production techniques. Inevitably, the search of perfection had created a competition among artisans. Everyone tried to excell in the art. The aim was two-fold: embellishing the architectural space with carpets, and running largescale workshops for carpet production.
Underlying the aim of providing for large-scale carpet production was the objective to produce new prototypes reflecting the traditional identity of Turkish carpets. Accordingly, even carpets produced for popular use were controlled regularly to preserve their characteristics as regards their embodied identity, the production technique, as well as the balance between pricing and quality. Hence, the carpet continued to be a part of everyday life, but at the level of the state, it was one of the products of the national identity.
The Industrial Revolution which took place in Europe in the l9th century has influenced carpet production in Turkey. The scale of production and marketing increased, and international organisations were established. Carpets bearing traditional characteristics started to be produced in big dimensions. For example, the magnificent grand rug at the ceremonial hall of Şale Pavilion of Yıldız Palace is a product of that period. Later palaces such as the Dolmabahçe are also decorated with carpets of such big dimensions. It is interesting to note that the same factories where such carpets were produced also worked on smaller and simpler carpets for use in houses.
Turkish carpet-making industry has preserved its characteristics and scale until our time. But the role of the carpet as a determinant of the architecture has generally lost its importance.
Carpets continue to be part of daily life. Traditional carpet-weaving preserves its importance, and workshops in Anatolia are operated at an accelerated pace. The tradition of the carpet, which played an impoıtant role in shaping the architecture of the Turkish house, is preserved today with the same degree of creativity.
Commercialisation, the problem of change of identity and possible solutions
As known, carpet weaving is not very difficult from the technical point of view. For this reason, authentic motifs and their “spirit” are subject to change. Carpets and rugs have been traded in the Anatolia for the last three centuries. Inevitably, this trade directed especially to the West, has affected the characteristics of the product.
At the same time, the traditional weaving centers acquired the character of manufacturing units. In fact, the commercial potential required for such a trade-oriented production was cultivated in the historical development process of carpet-making. But when the trade-oriented production system materialised, artistic traditions which were developed over millenia were “re-designed” without enough care and attention. As a consequence, the authentic characteristics of the products were lost.this, in turn, resulted in a weakening of the commercial performance.
These trends of the last two hundred years could be reversed only with the implementation of some important projects at the initiative of the State. These projects have led to the establishment of carpet-producing villages, cities and zones. For instance, Hereke carpets, -which are densely woven but thin and materials with the highly developed technology of modern times. This is an example of how problems such as the loss of traditional characteristics can be solved through the involvement of the State.
In sum, with respect to creativity and diversity, the most interesting and most
significant aspect of Anatolian carpet-making Is that an authentic housing space and architecture was created on the basis of the traditional software embodied in carpets. The subtle equilibria between the dimensions of the space and those of the carpets reflect the interesting harmony, the unity, and in a sense, the communication established between them. Hence, the traditional identity was preserved while creativity and diversity were achieved.