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It is suggested that production of pile weavings indicated as one of the works of the Turkish culture who adopted a summer pasture–winter quarters life style in the past, is inspired from animal hides and tulus which look like artificial hide are the first step in transition to carpets. Yuruks, who move to highlands with their animals in summer, have utilized tulus in a wide area of usage. Because they occupy a small place when folded and may be easily carried due to lightness. Tulus are composed of woof, warp and pile systems just like carpets. Different from carpets, there are wide plain weave areas between pile (loop) rows. Unprocessed mohair is also used in addition to spun or non-spun wool threads in tulu weavings. Collections have a great significance in conservation and transmission of societies’ cultures from generation to generation. Being a part of Turkish culture, tulus have been noticed lately by researchers and collectors, because they did not have a commercial value until recent history. However, tulus have not only a traditional but also a modern appearance thanks to their plain forms of expression. So that, tulus which could not find any area of use in their own locality are intensively demanded in many foreign countries such as USA, Canada and Australia. Graphic images in which texture is at the forefront instead of designs are formed with tulu weaving technique and this is a fashionable style in today’s interior space design. Despite the demand from abroad, tulu weaving and selling is decreasing year after year in our country. While tulu weaving was done in almost all regions of Anatolia in the past, today tulu weaving is ongoing only in Sivas Yıldızeli, Balıkesir İvrindi, Kütahya Simav, Aksaray Sultanhanı, Konya and Malatya. The main reason of it is the difficulty for the Turkish companies in competition with the companies in countries like Pakistan, China and Iran where hand weaving and repairing is cheaper and so prices are lower. The difficulties in finding quality raw material and weaver are also effective in this situation. Most of tulus weaved in the past have disappeared by wearing out as a result of usage. When this situation is taken into account, recording, protection and conservation of remaining parts of the values, which establish a connection between past and future, become much more important in order to ensure cultural sustainability. The chosen part of weavings from the tulu collection of Vardarsuyu Family, who are in the business of carpet import and export till 1983, have been examined within the content of this study. Observation slips for samples are filled and their properties such as raw material, size, pile length, color and composition are recorded. In addition, photographs of the tulus examined were taken and their scale drawings were made. This study aims to transform the information about tulus in the collection in a written form and to bring it to weaving literature, to be a resource for the new modals that may be weaved in the future and so that to contribute to transmission of weaving culture from generation to generation.

Culture, Traditional Weavings, Collection, Carpet, Tulu, Mohair

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