1. Introduction: Motif as a Cultural Sign
In Turkmen visual tradition, the “gol” motif is not merely ornamental but a marker of tribal affiliation, ritual beliefs, and social organization. Each gol, with its distinct geometric form, conveys a symbolic message preserved across generations and recognized as the visual signature of its tribe.
2. Geometric Structure and Tribal Diversity
According to UNESCO reports and academic studies, gol motifs belong to the five major Turkmen tribes, each with unique geometric and symbolic features:
• Tekke gol: Tribe of Tekke; star-shaped with angular lines. Symbol of power, centrality, and tribal authority.
• Salor gol: Tribe of Salor; cruciform and symmetrical. Symbol of unity, social order, and cohesion.
• Dinark gol: Branch of the Yomut tribe; angular forms with repeated geometry. Symbol of movement, dynamism, and visual heritage.
• Kepse gol: Another Yomut motif; repetitive and balanced structure. Symbol of generational continuity and preservation of tradition.
• Ertmen gol: Tribe of Chandor; compact and enclosed forms. Symbol of protection, cohesion, and cultural boundaries.
• Gulli gol: Tribe of Ersari; flower-like forms with warm colors. Symbol of nature, fertility, and harmony with the environment.
• Tank Nasha gol (Tenek-Nasha): Tribe of Arabtshu; complex and interwoven forms. Symbol of mystery, cultural intricacy, and layered meanings.
• Saryk gol: Tribe of Saryk; sharp, dense forms with bold colors. Symbol of authority, independence, and strong tribal identity.
3. Semiotics of Gol Motifs
Semiotic studies reveal that gol motifs function as a visual language transmitting the following concepts:
• Tribal identity: Each motif serves as the visual signature of a tribe.
• Ritual beliefs: Certain motifs, such as Toghr (eagle), symbolize power and protection.
• Connection to nature: Flower-like forms symbolize fertility and ecological harmony.
• Social structure: Repetition and geometry reflect order and generational continuity.
4. Regional and Comparative Links
Comparative research from the University of Isfahan shows that some Turkmen motifs resemble those found in Sistan and Khorasan carpets. These parallels indicate cultural interaction and the spread of a shared visual language across Central Asia.
5. Conclusion
Turkmen gol motifs are a geometric language of identity—visual codes embedding history, belief, and social organization. Their analysis provides not only aesthetic appreciation but also deeper insight into Turkmen culture and its place within the broader heritage of the region.
References
• UNESCO: Traditional Turkmen Carpet-Making Art in Turkmenistan
• Research on Toghr Gol – Alzahra University & University of Tehran
• Comparative study of Turkmen and Sistan motifs – University of Isfahan