Türk kültürünün yapı taşlarından birisi olan geleneksel dokumalar çeşitli amaçlar için üretilmiştir. Günlük kullanım eşyası olarak ya da çeyizlik amaçlı üretilen geleneksel dokumalar, yanışları bakımından çeşitli anlamları bünyelerinde barındırmaktadır. Anadolu insanının duygu ve düşüncelerini yansıtmakta en etkili iletişim aracı olan geleneksel dokumalar aslında sessizliğin sesi ve duyulmayan bir haykırıştır. Geleneksel dokumalarda yer alan yanışların anlamları, üretimi yapılan bölgelere göre farklılık göstermekle birlikte genelde dini inançları, asaleti, gücü ve çeşitli temaları iletenbir semboller kitabı gibidir. Sadece dokuyucuların hünerlerini göstermekle kalmaz aynı zamanda onların mesajlarını da ileten bir aracı vazifesini görür. Yanışların ortaya çıkışında iletişim, en önemli faktörler arasında yer almıştır. Ayrıca geleneksel dokumalardaki yanışlar estetik amaçlar kadar psikolojik etkileri için de ortaya çıkmıştır.Anadolu’daki önemli inançlardan birisi de kuşkusuz nazar inancıdır. Nazar değmesine engel olmak için de alınan birçok tedbir vardır. Bu tedbirler arasında yer alan muska yazdırma geleneği, geleneksel dokumalarda çeşitli renk, ebat ve şekillerde muska yanışı olarak karşımıza çıkmaktadır. Geleneksel olarak üretimi yapılan dokumaların en belirgin özelliği kendine has karakteristik özellikleri bünyesinde barındırması ve el emeği yoğun olarak üretilmesidir. Farklı bölgelerde çeşitli şekillerde karşımıza çıkan geleneksel dokumalar; üretildiği kültürün yaşam biçimini, inançlarını, duygularını anlatan en iyi örnekler olmasının yanı sıra gelenek ve göreneklerin kuşaktan kuşağa aktarılmasında da önemli bir rol üstlenmişler. Bu çalışmada Anadolu halk inançları arasında bulunan, kültürümüzde ve toplumumuzda önemli bir yeri olan nazar inancına değinilmiş, nazar inancına bağlı olarak ortaya çıkmış olan muska yanışları tespit edilmiş, bu yanışların hangi amaçlar için kullanıldığı, geleneksel dokumalardaki durum tespiti yapılarak dokumalardaki kullanımına ve yüklenen anlamlarına dikkat çekilmiştir. Muska yanışının belgelenerek bu konuda araştırma yapacak araştırmacılara kaynaklık etmesi ve geleneksel kültürümüzün içinde var olan bu yanışın gelecek nesillere tanıtılması amaçlanmıştır. Yöntem anlayışımız ışığında amaca ulaşmada gerekli araçlar olan gözlem, söyleşi ve yerinde inceleme teknikleri kullanılmıştır. Ayrıca dokumalarda tespit edilen muska yanışlarının çizimleri yapılarak ve fotoğraflanarak belgeleme işlemi gerçekleştirilmiştir. Yanışlar, simgeler ve semboller bir uygarlığın dili ve yazıtları kadar çok şey anlatabilen sembollerdir. İnsanoğlunun eskiden beri bir tutkusu haline gelen süslemek ve süslenmek geleneksel Anadolu halı ve kilimlerinde çeşitli ebat, renk, simge ve sembollerile ifade edilmiş yanışlar şeklinde karşımıza çıkmaktadır. Çeşitli duygu ve düşünceleri anlatmada kullanılan yanışlara yüklenen anlamların zenginliği ve çeşitliliği, geleneksel dokumaların tarih boyunca ileri bir düzeye ulaşmasını sağlamıştır.

Traditional weavings; one of the building blocks of Turkish culture are manufactured for various purposes. Traditional weavings that are produced for daily use or as a dowry, accommodates various meanings in terms of their motifs. Traditional weaving, the most effective communication tool reflects the feelings and thoughts of the Anatolian people are actually the sound the silence and heard a shout. The meaning of the motifs’ located in the traditional weavings. vary according to the region of production and are usually like a book of symbols conveying religious beliefs, nobility, power and a variety of themes. Not only show off their skills of the weavers also acts as a mediator transmitting their messages. Communication in the emergence of the motifs, were among the most important factors. In addition motifs of traditional weaving, emerged for aesthetic purposes has also emerged as the psychological effects. One important belief in Anatolia is of course, the belief in the Evil eye. There are many measures taken in order to prevent the evil eye. The amulets print tradition that is one of the measures, emerges as an amulet motif at a variety of colors, the size and shape in traditional weaving. The most prominent feature of the weavings that are produces traditionally to accommodate the unique characteristics of the site and hand-made production. The traditional weavings are encountered in various ways in different regions; are the best examples which describe the lifestyle, beliefs, feelings of the culture that is being produced and as well as have played an important role in the transfer customs and traditions from generation to generation. In this study the evil eye belief that is between the Anatolian folk beliefs and has an important place in our culture and our society is mentioned, amulet motifs which appeared to be due to the belief in the evil eye faith the have been found, attention is drawn to which purposes of this motif is used, performed due diligence in traditional weaving, the use of weavings and the meaning attributed. İt is purposed to source for researchers to do research on this issue by documenting the amulet motif and to introduce this motif that exists in our traditional culture to the next generation. Observation, interviews and on-site inspection techniques that are essential tools in achieving the objective are used in the light of our methods understanding. In addition, by drawing on the amulet motif identified in weaving and photographed documentation was carried out. Motifs, symbols and emblems are symbols that can tell you a lot as language and inscriptions of a civilization. To decorate and to prink that have become a passion of mankind from of old, emerges as motifs xpressed by various sizes, colors, symbols. The richness and diversity of meanings given in the motifs that are used to describe thoughts and feelings, has enabled traditional weavings to reach a high level throughout the history. Motifs seen in traditional weaving, divided into groups according to their meaning are subjected to a classification. They are classified into three main group as: motifs associated with birth and proliferation, motifs symbolizing life and motifs about death. Amulet motif is occured among motifs in the prevention group that is located in motifs symbolizing life. Motifs associated with evil and evil has been used considerably in traditional weaving. Past and present in all societies consciously or unconsciously emerged and managed to protect an important part in keeping the eyes and motif associated with evil eye belief system has been used considerably in traditional weaving. In traditional folk life, the easiest way to protect against evil eye, found their evil motives are woven texture. Therefore, eye motif is being weaved at the beginning and the end of carpets and rugs called “kilimlik”with the aim of coming good to the evil eye. Thus, it is thought to prevent the evil eye weaving and weavers. There are also people measures in place, using a blue field against the evil eye beads woven. Responds with eye to eye is considered to be the most simple resist techniques. The only way to protect yourself from harm came from the striking force came from eye, again utilized from eye. So each object in the form of eye either as such or by changing the color and shape evil eye amulet as a repellent pattern has taken place in the weavings. Triangle is the simplest form of the amulet motif appeares. Overall, the amulet motif symbolized by an equilateral triangle which is a geometric form; rather varies according to region. Amulet motif in traditional weaving; to be protected from fear, has been a motif often used. So; the weavings where the amulet motif take place, it is very precious in the eyes of the people of Anatolia. Because it is believed to protect the weavers’ home, happiness from evil and is a kind of amulet that is laid down. As in all traditional art to symbolize any feelings and thoughts intense as observed in traditional weaving or that is intended to describe a certain idea of the origins accepted other society by the symbolic burning of personality based on the belief that bears common values, there are inherent meaning and history of these motifs. Traditional weavings have an important role in transmitting cultural values of the past to the present day and has established an organic link which is intertwined with human. İt represented the common property of the people live together, beliefs, customs and has led to their separation from the others. Man's common cycles (existence, life, birth, wedding, reproduction, death) symbols, as in all cultures also in the Turkish culture was transferred to fabric as the voice of all the feelings and thoughts that can not said and was conveyed to all mankind. The symbols that play a role to impose a set of ideas to society and to be transferred from generation to generation, have take shape as inscription providing information about the structure of society and values. Caves and rock walls scratch marks in the period up to the present day, human developed symbols and didn’t remove these symbols from their lives as a part of life. All of the symbols fed from tradition and that arise in intensity people's happiness, fear, beliefs and feelings are hosting uniquely human emotions and thoughts. Following the discovery and development of patterning techniques of weaving patterns, the Turkish culture has been an important tool to transfer to future generations. These motifs, taking also into another symbolic cases such as color, has a symbolic expression of the emotions today, and has been an interpreter. Motifs play an important role in the formation of an order in society. The origin of the traditional values that brings together community members, as long as noted silent rules will continue to function in society. Although there are many changes in the meanings given to motifs due to many reasons (geographical, socio-cultural, political, religious) the core has been shaped by the same logic. Nazar faith is not understood correctly in Turkish society. Religion and superstition, it is possible to encounter each other involving applications. Adverse effects on society by accepting Islam has strengthened the belief in the evil eye amulet and pray with the people reject Islam and continued to prohibit the use of the application. Also very much against the amulet burning in our traditional woven in this case is the nature of the documents. It is observed that the results of research conducted on an area of the fabric detected burning amulet shaped around a particular form triangle triangular form clearly reveals the connection with the exit point of the amulet burning. Both ornamental purposes as well as for the protection of the fabric in one of the pre-Islamic amulets used in combustion and after Islam and is known to be continued to be used. The concept of evil hidden in the depths of history has been shaped in different ways in all community resources. Nazar amulet and belief remains widely validity and functionality in almost every segment of society. Are found in a wide variety of regional and similar applications throughout Anatolia to protect them from the evil eye. The first thing people have applied for protection from the evil eye, evil people or objects that will be, will be far away from the thought of evil people. To counter the evil eye protection function of the believed to be the amulet printing in traditional woven come up as an amulet burning, but also love that touch only the intended use of traditional weaving, longing, sadness, emotions such as pain and faith proves that the interpreter. Anatolia woman fears on that given place in weaving, have proved that there is nothing to be afraid of going to actually burn the amulet