AN AESTHETICAL EVALUATION ON THE RAG DOLLS ÇOMAKDAĞ AND SOĞANLI

Abstract

Toy concept has uncertainties about how it came to exist exactly in history. Human beings depictured themselves with an effort to imitate nature. Besides, they created their three-dimensional figures using different materials. Even though such figures originated from religious worshipping, they evolved into plays. In addition to human figures, animal figures were made. Later, these figures became tools for fun of children. In this respect, toys have evidenced the development of history as well. They assisted in investigating the historical process of art, culture and science. Toy is the representation of a culture. For example, traditional rag dolls reflect the patterns, colors and styles of their culture. In this research, rag dolls of Turkish culture were discussed. There are several studies about these rag dolls, including their relationship with tourism and their contributions to local community. This research aimed to evaluate the rag dolls with regard to artistic qualifications. In particular, their aesthetical characteristics and their contributions to aesthetical perspective were evaluated. The research is a situation (case study) assessment in terms of qualitative research methods used. Data were obtained through document review. Local rag dolls of Çomakdağ and Soğanlı that are traditionally most-known were taken as example in this research. Both doll types were subjected to an evaluation on aesthetical values by using a form of the researcher. In this evaluation form, components and principles of artistic configuration and theories of art constituted the steps of artistic criticism. According to research findings, rag dolls of the study are rich in components and principles of artistic configuration. They were formed with an aesthetical consciousness. They bear the traces of history and culture. Considering their art theories, the first rag dolls were included in the formalist and expressionist theories whereas today’s rag dolls are functional as well as being the part of both theories above. Furthermore, the former ones are design samples although they are produced in the same types and in a large number. Instead of work of art, they can be regarded as the products of handicrafts. Consequently, formation of both types of rag dolls stems from an aesthetical consciousness. These dolls contribute to conveyance of aesthetical consciousness as well as culture. The children who play with them will be aware of the aesthetics.