Shebeke Art

The word “shebeke” means “net” or “lattice” which is composed of seperate wooden bars without clue and nails. The master at first makes standart details of various forms of firm sorts of wood (box-tree, walnut, beech, oak), then assembles design composing the surface of the window or the door, the built-in closet or the pavilion according to ready – made pattern.

Traditional compotisions of shebeke are “jafari”, “sakkiz”, “onalty”, “gullaby”, “shamsi”, “gellu” and “bendi-rumi”.

Shebeke art is unique and its tradition is often compared with European stained-glass window, sometimes they are considered be equal. Shebeke and stained-glass window really have some common features. The main mathematical of these kinds of art is stained glass. Therefore the main means of artistic expression is the same: it springs up as a result of the light flowing through the stained glass. But shebeke and stained-glass window have absolutely different figurativve language.

The visual language of shebeke is like geometrical ornamet of the carpet. Geol or medallion, rosette is the main element of a carpet composition. The combination of various or the same geols makes central ground of a carpet. It is assumed that geols in due course passed to the sphere of shebeke surviving their formal structure. But the logics of form-making gives the opportunity to affirm the reverse. Just in shebeke patterns the geols make complimentary compositions where the figure is equal to the ground: so Turkish visual language is incarnated in the itspurity and completeness of signs. In the majority of geometric cartpets, on the contrary, there is a central coloured ground serving as a background for the ornament. The principe of polyiconity doesn`t work here. It means that the language of shebeke is initial in regardof artistic language of the carpet but the last one having tried influences strange to Turkish culture in due course has under-gone the transformations and simplification. The language of shebeke, on the contrary, preserved its initial purity and completeness.

Shebeke tradition is unique so that it makes possible in equal measure to solve sucsessfully problems of design both in the interior and exterior of buildings. Shebeke design in most cases face internal and external space at the same time. Shebeke tradition doesn`t bear insincerity; geometry of its forms excludes the penetration of all incidendal and provisional into structure of artistic image. It differs shebeke form monumental forms of figurativve arts and on the contrary brings together with abstract art.

Shebeke patterns are like mosaics of the life itself – they are diverse unpredictable as well.

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