Türk Şaman Giysilerine Semantik Yaklaşım

Rusya sınırları içerisinde olan Sibirya bölgesi geçmişten günümüze önemli Şamanlık (Kamlık) verilerini barındırmakta olup bu bölge, klasik literatürde Türk Şamanlığının en önemli merkezini oluşturmaktadır. Ele alınan konu, bu bölgede yaşayan çok sayıda topluluk içerisinden, Türk Şaman kültürüne dâhil olan ve tüm bölgenin ana tasarım tarzlarını yansıtan belli başlı kabileler ile sınırlandırılmıştır ki bunlar; Altaylar, Yakutlar, Hakaslar, Tuvalar, Tofalar, Dolganlardır. Babadan oğula miras yolu ile ya da “çağrı yöntemi” ile devredilen, kutsal bir kült eşyası kabul edilen Şaman giysileri, kozmik ve sınır ötesi âleme taşıyan bir araç olup onu toplumun diğer üyelerinden ayıran ve izole yaşam tarzlarının bir göstergesi olan bir nişandır.
Giysilerin tasarımlarının bütününe bazen gök hayvanı olan kuş, bazen ise yer hayvanı olan geyik, mus, ayı hâkimdir. Ancak gök ve yer hayvanlarının birlikte temsil edildiği tasarımlara da rastlanmaktadır ki bu en eski Türk Şaman kostümlerinin esasını oluştururlar.
Tek başlarına dinî bir kozmografi oluşturan Şaman giysilerinde, biçim ve tasarımın birbirinden farklı kavramlar oldukları görülmektedir. Biçim, Şaman giysisinin anlam boyutu ile tasarım ise form ile alakalıdır. Dolayısı ile biçim Şamanik insanın simgesel anlatımı olan gök ve yer hayvanının biçimleridir. Oysa tasarım zaman içerisinde gerek işlev gerekse mana olarak farklı anlamlar yüklenen ve etkileşimler sebebi ile değişime uğrayan bir yapı arz ederler. Sokulan yeni formlar ve oluşturulan tasarımlar bize Şamanlık sisteminin millî gelişimini göstermektedir.
Geçmişten günümüze din olup olmadığı tartışıla gelen Şaman giysileri diğer dinlerin ve çeşitli toplulukların baskısı altında ve her toplumda görülen kültürel yozlaşmadan nasiplerini alarak geleneklerinden önemli ölçüde uzaklaşmışlar eskiye oranla önemlerini ve orijinalliklerini kaybetmişlerdir.

Siberian region being within Russian borders is host to important Shaman data from past to this date, and forms the most important region for the “Turkish Shamanism”. The subject under examination addresses main design types that reflect the style of the region and among many tribes; those which had been selected are qualified within Turkish Shaman cultural criterion and they had been limited to some major tribes which are: Altai, Yakut, Hakas, Tuva, Tofa and Dolgan tribes.
The Shaman clothing which passes from father to son through inheritance or “Call Method” has been considered a form of sacred cult articles which were accepted as cosmic accessories that would transfer one into another universe which in turn has separated the owner from the rest of the members of the community and became the symbol of their isolated lifestyle.
Almost all decorative elements of their clothing are consist of either aerial animals “Birds” sometimes ground animals such as deer, moos or Bear. However, it is possible to come across Shaman clothes designs which depict both aerial and ground animals together which form the basis of the oldest Turkic Shaman costumes.
Style and design have been noticed as different concepts in Shaman costumes which form a religious cosmography when stood alone. As style is to do with “expression” side of the shaman’s dress, design is related to “the form” of it. Based on this, style is developed in a way which is in symbolic expression of shamanic person these are shapes of aerial and ground animals. However, the design reflects the signs of modification either on the basis of functionality or meaning throughout the time due to interaction. New forms being added and new designs being made indicates us the national development of system of shamanism.
Shamanism that still has been on the forefront of a debate whether it is a religion or not, under oppression of other religions, shamanic costumes also have been influenced by cultural corruption which was seen almost in every society by significantly deviating from their traditions, in comparison to the past they have lost their authenticity and importance.

Siberian region being within Russian borders is host to important Shaman data from past to this date, and forms the most important region for the “Turkish Shamanism”. The subject under examination addresses main design types that reflect the style of the region and among many tribes; those which had been selected are qualified within Turkish Shaman cultural criterion and they had been limited to some major tribes which are: Altai, Yakut, Hakas, Tuva, Tofa and Dolgan tribes.
The Shaman clothing which passes from father to son through inheritance or “Call Method” has been considered a form of sacred cult articles which were accepted as cosmic accessories that would transfer one into another universe which in turn has separated the owner from the rest of the members of the community and became the symbol of their isolated lifestyle.
Almost all decorative elements of their clothing are consist of either aerial animals “Birds” sometimes ground animals such as deer, moos or Bear. However, it is possible to come across Shaman clothes designs which depict both aerial and ground animals together which form the basis of the oldest Turkic Shaman costumes.
Style and design have been noticed as different concepts in Shaman costumes which form a religious cosmography when stood alone. As style is to do with “expression” side of the shaman’s dress, design is related to “the form” of it. Based on this, style is developed in a way which is in symbolic expression of shamanic person these are shapes of aerial and ground animals. However, the design reflects the signs of modification either on the basis of functionality or meaning throughout the time due to interaction. New forms being added and new designs being made indicates us the national development of system of shamanism.
Shamanism that still has been on the forefront of a debate whether it is a religion or not, under oppression of other religions, shamanic costumes also have been influenced by cultural corruption which was seen almost in every society by significantly deviating from their traditions, in comparison to the past they have lost their authenticity and importance.