He was born thirty thousand years ago in the silence of death. When he realized that the breath would not return, he put beads, bracelets and rings on his grave, made of stones, horns and bones, shell shells, to bless him and make him feel peace where he was going, to protect him from the evil of darkness.
Then he adorned his neck, his arms, his hands, his head, and his feet with jewelry to protect himself from the evil and the dangers that he could not deal with; and he offered them to his gods. And he looked at the image reflected in volcanic glass, different from the jewelry, more beautiful... From that moment when he went beyond religion, he never took off his jewelry again; he found his beauty in the beauty of jewelry. As he passed quietly through time, he adorned them with the brightest, most dazzling mines and stones. 6000 years ago, he discovered that in this land, the most magical of the mines in Anatolia could be cultivated and gold, and all other precious metals and stones, and jewelry was indispensable.
Jewelry in Anatolia, such as the amazing beauty of the Oya loom is presented with examples processed and the period is becoming indispensable to people of the oya, such as jewelry. The worshipping of Artemis, the Mother Goddess of Anatolia, and the worshipping of the Mother Goddess in the motherland of the Hellenes, also shaped the art of jewelry of the period. Universal, the protector of civilization, the ruler of nature and the Queen of bees, found three different characters of the goddess in the motifs of bee, Crescent and Hawk seen in jewelry. Bees in earrings, applets, brochures and pinballs; crescent in earrings and pendulums; on Brooch and pendulum, the Hawk was used. Centuries later, the Golden earrings, agate and amber necklaces and buttons, in particular, formed the most beautiful examples of granulation technique.
Anatolian jewelry belonging to archaic and classical periods had an impressive artefacts from the simplicity. In the garlands, which are widely constructed with the techniques of artichoke and mincing, vegetable motifs, pomegranate, oak Acorn and animal heads were embroidered in the pendant and pandantives. Crescent, the symbol of the moon goddess, was everywhere in Anatolia, just like in all of the Asia-Pacific cultures.
The most striking feature of the jewelry of the period was that semi-precious stones and glass use on them were greatly increased; the jewelry was now colorful.
It was the Hellenistic period in Anatolia where jewelry art and jewellery craft reached its peak. During the archaic and classical ages, jewelry made almost exclusively as a presentation to temples and tombs, and rarely used, entered the daily lives of people in the Hellenistic period. Upon the discovery of rich mineral deposits in Thrace, the Hellenistic jewelry used in human and animal figures enriched with abundant granulation and filigre and pointed out the period of precious stones and jewels. Gemstones such as Emerald, Ruby, Agat, aquamarin, grena, karneol, Sardis, plasma, amatist, which were carried to Anatolia by the Eastern campaigns of Alexander The Great settled in Hellenistic period. There were also differences in motifs; menadlar and Eros, Negro depictions, lions, bulls, deer, such as the heads of animals were often used.
Among the differences that the Jewelry acquired during its journey in Anatolia, the most unique one, the Turkmen tribes who came to these lands with the Seljuks were the differences brought. The Turkmen jewelry tradition was based on a very fine art, whose roots were very ancient, full of secrets. The way of placing precious stones in jewelry produced with the simple tools of traditional technology, geometric patterns used, and the originality of the Turkmen jewelry tradition were reflected and reflected.
Until the time of the Ottoman Empire, all kinds of precious metals, precious stones and decorative techniques were tried and various models and shapes were developed in Anatolia. The Ottomans inherited an extremely rich jewelry tradition shaped by thousands of years of invasions and migrations. They did the best they could and brought the art of jewelry to its zenith. As the power of the Ottoman Empire increased, the importance of jewellery craft increased. Other than Istanbul, precious metals such as Trabzon, Samsun, Sivas, Van, Erzurum, Erzincan, Gümüşhane, Bitlis, Kula, Eskisehir, Diyarbakır, Mardin, Midyat, Damascus, Halep, Cyprus, Prizren were processed with different techniques. In the first period, the more simple jewelry later became an integral part of the clothing and became increasingly more ostentatious. The jewelry, such as the chariot, necklace, bracelet, ring, veneer, seal, engagement, halber, pazubent, button, cross, chain, watch, mole, belt, belt buckle, were the most preferred items.
The most important feature of the Ottoman jewelry was the variety of the Empire. Apart from the use of many different pieces side by side, the jewelry, which was used with a great harmony of contrasting colors, created and reflected the authenticity of the Ottoman Empire.
Today's culture is shaped and shaped on this magnificent jewelry tradition of Anatolia. The intricacies of jewelery techniques, the depth of which is stored in detail, the richness of designs that follow the traces of cultures that have evolved as they pass through each other, inherited from the jewelers who have been raised in these lands for thousands of years. Anatolian jewelry from the Persians to the Hellenistic period, Roman culture to the Ottoman period, the journey of these jewelers are now continuing...