Şamanlar tarafından "deneyim" olarak ifade edilen Şamanizm, varlığı tüm insanlık tarihinde erken taş devrine ve daha da geriye kadar kanıtlanabilen, spiritüel etkili bir trans şekli olarak kabul edilmektedir. Klasik literatürde Türk Şamanlığının en önemli merkezini Rusya sınırları içerisinde olan Sibirya Bölgesi oluşturmaktadır. Ele alınan konu bu bölgede yaşamış topluluklar içerisinde Türk Şaman kültürüne sahip bölgenin Altaylar, Yakutlar, Samiler, Tuvalar, Hakaslar, Tofalar, Dolganlar gibi belli başlı önemli Türki kabilelerdir. Sibirya klasik şamanizmin anavatanı kabul edilmektedir. Bölgedeki Ural, Altay, Paleosibiryalı halklar özellikle de avcı-toplayıcı gruplar modern dönemlere kadar şamanistik uygulamalarda bulunmaya devam etmişlerdir.Babadan oğula miras yolu ile ya da "çağrı yöntemi" ile devredilen, kutsal bir kült eşyası kabul edilen Şaman giysi ve unsurları, Şamanı kozmik ve sınır ötesi âleme taşıyan bir araç olup onu toplumun diğer üyelerinden ayıran bir nişandır. Kutsal bir kült eşyası kabul edilen Sibirya Türk Şamanlarının giysilerine toplu olarak bakıldığında giysilerin biçimi anlam ve önemiyle ilgili olup tasarımı ise görselliğindeki zengin malzeme kombinasyonunda olduğunu görebilmekteyiz. Tasarım ve biçim ilişkisi farklı coğrafya ve kültürlerde etkileşerek çoğu zaman iç içe geçtiği örnekler bulunmaktaysa da olan değişiklikler aslını asla kaybettirememiş her defasında Şaman kültürü izi olduğu farkedilmiştir. Şaman giysisi, döneminin hayat görüşünü, sosyo - kültürel yapısını, dini bakışını yansıtırken Şamanın mistik gücünü, ruh halini, hayal gücünü fantastik şekilde ortaya koymaktadır. Giysi örneklerinde görülen kadın yada erkek Şamanların giysilerinde yada unsurlarında ayrım olmaksızın daha çok kadın giyimine yakın tutulan form ve renklerde olmasıdır. Giysi ve unsurlarla Şamanlar, doğanın insan yaşamı üzerindeki gizemli gücünü onu kutsallaştırarak ritüellerinde aracı olarak kullanmaktadırlar. Kullanırken de doğadaki canlıların güçlerini temsil eden unsurları bazen yalın çoğu zaman da çeşitli kombinasyonlarla biraraya getirerek giysilerinde ve davul üzerinde yer vermişlerdir

Shamanism, expressed as "experience" by shamans, is considered an early stone devolution in all human history and a spiritually effective trans-form that can be proved even further. In the classical literature, the most important center of Turkish shamanism is the Siberian Region which is located within Russia borders. Within the communities that lived in this region, the subject covered is the major Turkic tribes such as the Altay, Yakut, Samiler, Tuvalar, Hakas, Tofalar, Dolgan. Siberia is considered the homeland of classical shamanism. Ural, Altai, Paleosibiric peoples in the region, especially the hunter-gatherer groups, continued to find shamanistic practices until modern times. The shaman clothes and elements that are accepted as a sacred cult item, inherited from the Babylon through inheritance or "call method", are a car that carries the shaman with cosmic and cross-border tales and distinguish it from the other members of the community. When we look at the clothes of the Siberian Turkish shamans, which are accepted as sacred cult items, we can see that they are related to the formal meaning and importance of the clothes and the design is in the combination of the rich materials of visuality. Although there are examples where design and form relations interact in different geographies and cultures and often intertwine, it has been noticed that the changes that have never been lost are traces of shaman culture. The shamans' clothes reveal the mystic power, the mood, and the imagination of the shaman in a fantastic way while reflecting the life view, socio - cultural structure of the era, religious view. It is in the forms and colors that the female and male shamans, seen in the garment samples, are held closer to the female garments without distinction in the yada elements in the garments of the male shamans. Shamans with clothes and elements use the mysterious power of nature on human life as an instrument in their ritual by sanctifying it. While using them, elements that represent the powers of the living beings in the nature have sometimes been placed on their clothes and drums by bringing them together in many combinations.Shamanism, expressed as "experience" by shamans, is considered an early stone devolution in all human history and a spiritually effective trans-form that can be proved even further. In the classical literature, the most important center of Turkish shamanism is the Siberian Region which is located within Russia borders. Within the communities that lived in this region, the subject covered is the major Turkic tribes such as the Altay, Yakut, Samiler, Tuvalar, Hakas, Tofalar, Dolgan. Siberia is considered the homeland of classical shamanism. Ural, Altai, Paleosibiric peoples in the region, especially the hunter-gatherer groups, continued to find shamanistic practices until modern times. The shaman clothes and elements that are accepted as a sacred cult item, inherited from the Babylon through inheritance or "call method", are a car that carries the shaman with cosmic and cross-border tales and distinguish it from the other members of the community. When we look at the clothes of the Siberian Turkish shamans, which are accepted as sacred cult items, we can see that they are related to the formal meaning and importance of the clothes and the design is in the combination of the rich materials of visuality. Although there are examples where design and form relations interact in different geographies and cultures and often intertwine, it has been noticed that the changes that have never been lost are traces of shaman culture. The shamans' clothes reveal the mystic power, the mood, and the imagination of the shaman in a fantastic way while reflecting the life view, socio - cultural structure of the era, religious view. It is in the forms and colors that the female and male shamans, seen in the garment samples, are held closer to the female garments without distinction in the yada elements in the garments of the male shamans. Shamans with clothes and elements use the mysterious power of nature on human life as an instrument in their ritual by sanctifying it. While using them, elements that represent the powers of the living beings in the nature have sometimes been placed on their clothes and drums by bringing them together in many combinations. In this research, a catalog study was conducted in order to analyze the symbols used on the shaman clothing elements on samples. In the cathedral; The elements used by the shaman, the shaman head, the shaman shoe and the shaman are classified as "dressed in the size", "dressed in the head" and "dressed in the leg", while the elements used by the shaman (Kam) are taken as a whole. Charts, Place of Use, Material Used, Color, Symbol are given under 4 main headings. In the study, Shaman (Kam) assessment of Garments, exist for scientific research on the shaman's dress, written and visual sources were examined. Shamans from different Turkic tribes Clothing Components (accessories and attachments), in comparison, colors, symbols, materials, usage and meaning by examining the location, prepared a catalog. The aim of preparing the catalog, Turkish shamanistic elements of the information contained in the sources about the clothes, to bring together the visual and the similarities and differences in comparison to reveal. Khakassia, Siberia, the Buryat shaman clothes, Altai, Buryatia, Tuva, Khakassia shaman caps, shoes, Buryats of the ring and metal elements, Altai, Siberia, and use in Eurasian clothes, Tuva, Eurasia, Sami, Altai, Siberia shaman drum and mallet, bone, Feathers, tassels, bear claws, and so on. In Siberian shaman garment Plain rough weaving, leather rope, colored rope tassel, bell and many metal elements, puppets are used. Especially on the shoulders, underarms and skirts of the clothes, a large number of ropes and tassels are used. treatment on a large collar on leather clothes In another example, metal bracket, round metal pieces of different sizes on the chest, in the belt part color processing and shoulders and the flanks plurality of colored threads and fabric pieces, tassels, bells were used on the body in different sizes. In another example of clothing, the dress is designed with a long rounded, highly rounded collar and a length up to the wrist. There are thin fur ribbons in collar and sleeve mouth. In the middle of the back is used a triple metal pendant and a thick long tassel weave strip under the skirt. A large number of fabrics and string long stalactites on the back continue to the shoulders, shorter group stalks up to the short stalks arms. Vignetting, coffee and cream tones, red, yellow and white colors are used. Eez middle and back shaman symbols, tree of life, and eye symbols used on clothes Siberian shamans, animals are decorated with so many pieces of iron, body slamming each other's interests are strong voices in every move. These voices are necessary for spirits. As a result, we see that the Siberian shaman garments are extremely rich in terms of the elements and colors used, and that they use a lot of symbols. In the shaman's garment, the red strip which is from the Double to the right is then tied to the waist. A large number of colored ropes and fabrics are used under the armpit and on the chest at the skirt end. Red stripes were formed on the neck and neck of cream color base. The ends are blue and white, red chest and armpit tassels, red, green and orange thread on the skirt tip, mainly in cream-colored tassels. There are no ornaments in the symbolic elements of the garment other than the fabric and the tassels formed from the whiteness. Buryat Shaman clothes are simple designs with long sleeves, up to ankle but with much richer tassels, colored braids and round gold-colored metal. The arm cuffs are made of cream and pink lumbar support on black. It is used on short hangers that hold colored rope and tassels in both hands. In Buryat Shaman's garment where the color richness is the title, blue, mainly pink, green and pink colors are used. In the case of the other garment, it is made up of strips extending from the level of the shovel bones to the two arm ends on the flat surface extending to the basin and used in the basin direction. There are a large number of long beads and fabric materials on the arms under the arm, tassels and stalactites called Kunus and Kıasan, shorter on the back. A large bell and round metal elements were used in the middle of the back. In addition to the stalactites consisting of fabric, metal, rope, and seashells extending all the way to the ankle surrounding the skirt edge of the dress, there is a thick red strip at the rear and a small bell and metal elements at the end. In the example where relatively few colors are used, the cream color is used with deep red, white strips, gold whiting, coffee and black tufts. There are no linear symbols on the clothes, the symbols are ring, sea shell, colored fabric, metal and tassel. The direct center of life is symbolized in the red belt. In the middle of the back is the original metal moon symbol found in the design of the garment to illuminate the road in the journey of the cam. The Hakas shaman headgear is also placed on the top of a plain, deer horn and fur, fabric floor like a garment. At the back of the head is a group of horse heads combined with red fabrics. Reminiscent of natural materials, zigzag green process reminds of water. The use of red color represents power. The shaman uses the power and sanctity of nature in the head of deer horn, fur and horse tail. The Eurasian shaman head was designed from tufts to cover a large part of the face to the bottom of the nose, made of rope and beads forward through a metal crown. In the headline, stalactites consisting of metal and beads extending from the sides down to the chest are used in the ear. The shells on the tassels used to accelerate the passage in the title symbolically occupy the shells. Another Eurasian shaman head rests in the shape of a helmet, and the fingertip metal, estimated to be 7-9, merged on top of the skull like a skull. Dummy heads in the title are arranged as metal. The bead, rope and fabric parts of the metal head to the face extend to the lip level. There are stalactites from cloths and feathers. The puppets are on the front of the head, representing seven of Ulgen's daughters. The feather is believed to belong to the bird of wisdom and represents spiritual forces. The number of beads is five, nine or sixteen. In some titles, two seams are added in addition to these. One of these kings symbolizes the cloister of eternity, is knotted from nine places, and the other piece is stuck on top of it. The Altay shaman title is a four-sided sea shell on the head which is designed as fez. At the bottom of the headline there are 9 shells in a row and 16 shells in the second row. The fur is used on the top and bottom edges of the head. Or, in the same style designed with a flusher, the metal and jewelery ornaments are made in two lines and each line is separated by a fur. Under the head there are variable tufts of length. The ornaments are decorated with zigzag and sequins. In another example of a different Altay headgear, deer horns are depicted at the top of the head made of fabric rubbers. In the design of the title, in addition to different thickness stalactites, metal long elements and braids were used. In addition to the bells in the metal elements, long, approximately the same length of metal bars were used in triplicate groups. It is believed that other metals, such as rattle, scare off evil spirits with the sounds they multiply. The deer horn symbolizes spiritual forces. The Altay Shaman head is covered with a metal eagle, bull horns and two eyes and a hairy sable or other rodent animal's fur. There is an eagle metal element and a hill in the front of the connection of the head to the four sides. It was seen that the head of the head was the geometric metal clasps and the fabric was hanging down from the ear level. Eagle is the symbol of sun and sky god in the oldest Turkish communities of Altay. Bird horns as power elements in the title, bird symbols to reach the right, and eyes for symbolic significance. Tuva The head of the shaman is the head of the head, which is the symbolic place of the pugu bird in the title. Sometimes the wings of a bird are sometimes used as an intermediary in communicating with the shaman's gods in designs where the head is not cut off. It is seen that the head is embroidered and the bead tufts are especially longer on the sides to the nose level. The symbol is the bird of wisdom. During the ritual, the eagle, as a shaman's guardian, mediates by bringing the shaman and his victims to the souls without appearing in the eye. Eagle feathers, beads on top of the head, eye, metal and beads on the head of the design is made of bead stalactite in the direction of the ear to the chest is used. Eagle's feathers accompany the spiritual gentle on the ascension to the chest. The eagle is believed to be the guardian and protector of the shamans. For this reason, eagle feathers are used in the headline and in the corners. The eyes used to strengthen the perception and the stalactites next to the head are used to support the transient. Bordeaux, blue, white, green, colors are designed in weight. Buryat Shaman was made using shells in stalactites in a helmet-shaped headpiece called Orgay, which was made entirely of metal elements. Metal elements are placed in ring, bell, chain and amorphous plane. The number of metal powers and seashells as well as the girls of Ulgen have been symbolically used, but no color has been used. In shaman shoe short or long examples, motifs in Siberian shoe leather and woven design are front plan. The geometric motifs on the skin are blue, green, red, navy blue. Saka shaman shoes are made up of leather wigs, and there are tassels surrounding the wrist part. It is designed with natural skin color and there are no symbols other than tassel detail. Buryat Shaman used burgundy and metal as a garment element on numerous items of clothing, geometric and bell elements, as well as symbolic metal pieces. In rites, it is seen that, in addition to being wounded by the sounds of the metals, in order to remove evil spirits, they are used formally as animals, in four-dimensional geometric materials. In another example, it is seen that Buryat Shaman clothes used a large spring-like metal apparatus, along with bells and metal clasps on the back. The Sami shaman moth, for example, is processed on a knob made from a tree branch, with bare skin wrapped around the handle, and a metal clasp with tassels on the skin hint. There is a zine-like line ornament on the dome. The handle is decorated with materials such as rope, bead, fabric, picture, ring to scare a kind of evil spirits. Tunguz In the case of the deer horns that stand out in the title of shaman, there are pieces of fabric that are embroidered on both horns except for the fabric parts with bright colors like red and yellow on the horn. The fabric is black in color, with geometric shapes in gold and silver colors on it. The horns used are mostly deer, bull horn. The horns are seen in the titles of Yakut, Tunguz and Buryat Shamans. Other objects such as shaman clothes, shaman headgear, masquerade as a tool of metamorphosis, drum, pendulum mirror and the symbols on it form a whole. The shaman's tools and utensils help the shaman in his new identity as a symbol of the shaman, with a new and different meaning outside of himself. Shaman clothes and elements are regarded as an integral part of it. This study was aimed at collecting together with visual samples of researches about Turkish shaman clothes.