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Dick Osseman | all galleries >> Bursa >> Bursa Turkish and Islamic Arts museum >> Karagöz in Türk ve Islam müzesi > Bursa Islamic Art Museum May 2014 7279.jpg
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20-May-2014 Dick Osseman

Bursa Islamic Art Museum May 2014 7279.jpg

One of several the figures used in "oyunlar" (plays) around Karagöz. Wikipedia has an interesting entry, from which I quote: “Karagöz (meaning blackeye in Turkish) and Hacivat ( shortened in time from "Hacı İvaz" meaning "İvaz the Pilgrim", and also sometimes written as Hacivad) are the lead characters of the traditional Turkish shadow play, popularized during the Ottoman period. The central theme of the plays are the contrasting interaction between the two main characters. They are perfect foils of each other: Karagöz represents the illiterate but straightforward public, whereas Hacivat belongs to the educated class, speaking Ottoman Turkish and using a poetical and literary language. Although Karagöz has definitely been intended to be the more popular character with the Turkish peasantry, Hacivat is always the one with a level head. Though Karagöz always outdoes Hacivat’s superior education with his “native wit,” he is also very impulsive and his never-ending deluge of get-rich-quick schemes always results in failure. Hacivat continually attempts to “domesticate” Karagöz, but never makes progress.”

The puppets have jointed limbs and are made from the hide of a camel or a water buffalo. The hide is worked until it is semi-transparent; then it is colored, resulting in colorful projections. The lamp for projection is known as a ‘şem’a’ (literally: candle), but is (or: was) typically an oil lamp. Images are projected onto a white muslin screen known as the ‘ayna’ (= mirror). Projections are from the rear, so the audience does not see the puppeteer. Puppets are typically 35–40 centimeters in height.

In time, the Karagöz Theater created its classics; famous plays are, e.g. ‘The Fountain of Kütahya’, ‘The Witches’, ‘The false Doctor’, ‘The Excursion to Mandira’, ‘Tahir and Zürhe’ and ‘The Circumcision’. Each play has its own set of puppets; most of them are easily recognizable by the public, not only Karagöz and Hacıvat (who have fixed characteristics), but also stereotyped members of the Ottoman society: the Jew, the Laz (inhabitant of the Black Sea coast), the drunkard, the female dancer, etc. Even decor elements appear (house, bed, flower vase, fountain…). The set for ‘The Fountain of Kütahya’, for example, counts 17 items (11 personages, one group of dancers and five decor elements).

On the picture: Some characters from the play ‘Kanlı Nigar’ (Bloody Lady Nigar).
From left to right: Lady Nigar, Lady Zenne, Uzun Efe (a Zeybek warrior), Tuzsuz Deli Bekir (the drunkard) and Çelebi (a rich young gentleman from Istanbul).

Correspondent: J.M.Criel, Antwerpen.
Sources: ‘Günaydın Anadolu – Tradities van Turkije’ – cataloog Tentoonstelling Hessenhuis/Antwerpen 1988 ;
Mr. Şinasi Çelikkol from Bursa (puppeteer, initiator of the Bursa Karagöz Museum) & Wikipedia.


Elsewhere in Bursa there is a specific Karagöz museum, that I also show.

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