Mustafa

Prof.

Tuğba

Assist. Prof.

Osmanlı padişahı Fatih Sultan Mehmet, sanatı seven, sanatçılara değer veren ve destekleyen bir kişiliğe sahipti. Sanata duyduğu ilginin yanı sıra bu alanda kendisini daha fazla geliştirebilmek adına dersler aldı. Aynı zamanda, hümanist entelektüel eğilimlerin de takipçisiydi. Bunların yanı sıra, çok yönlü kişiliği ile mimari tasarım, bronz döküm ve resimde perspektif konularının da takipçisi olduğu ve hayatının son on yıllık döneminde birçok İtalyan ve Yakın Doğu sanatçısı ile ilgili farkındalığının arttığı bilinmektedir. Kendisi özellikle İtalya ve İtalyan sanatçılarına odaklanmıştı. Sadece Fatih Sultan Mehmet değil onun oğlu II. Bayezid, 1502 ve 1506 yıllarında, Leonardo ve Michelangelo gibi usta isimleri İstanbul’a davet etti. Ancak, II. Bayezid’ın daha çok mühendislik alanındaki girişimleri öne çıkmıştır. Osmanlı padişahları içinde sanatla ilgilenen tek isim Fatih Sultan Mehmet değildir fakat 16. yüzyılda İstanbul’a figür sanatçılarının davet edilmediği de anlaşılmaktadır. 1578 tarihlerinde Sokullu Mehmet Paşa’nın sanat alanında girişimlerinin olduğu ve devlet albümü hazırlatmaya çalıştığı bilinmektedir. Aynı zamanda, 1575 ve 1578 yıllarında Paolo Giovio tarafından Osmanlı sultanlarının tasvirlerinin yer aldığı iki kitap yayınlanmıştır. Osmanlı Devleti’nde Fatih Sultan Mehmet ve Kanuni Sultan Süleyman dışındaki diğer sultanların fiziksel ikonografisi yoktur. Bu nedenle, Fatih Sultan Mehmet portreleri Osmanlı sanat tarihi içinde önemli bir yere sahiptir.Bu çalışmada Fatih Sultan Mehmet’in iki ressam, Gentile Bellini ve Şiblizade Ahmed, tarafından yapılmış olan portreleri incelenerek eserlerin benzer ve ayrışan yönleri gözler önüne serilmektedir. Aynı zamanda Gentile Bellini’nin tablosu (Fatih Sultan Mehmet Portresi) temelinde Şiblizade Ahmed’in tablosu (Gül Koklayan Fatih Sultan Mehmet Portresi) değerlendirilmektedir. Çalışma, Fatih Sultan Mehmet’le ilgili sadece iki tabloyla sınırlandırılmıştır. Bu sanat eserleri Fatih Sultan Mehmet’i farklı etkilere sahip aynı bakış açısıyla göstermektedir.&nbsp;Gentile Bellini’nin eserinde Fatih Sultan Mehmet Konstantinopolis’in Fatihi olarak tasvir edilmiş ve Osmanlı kültürel kavramlarıyla beraber ele alınmıştır. Bu tablo, Fatih’in batı Avrupa tarzında resmedilmiş bir görüntüsüdür. Bellini, Fatih’in portresini yapmaya İstanbul’da başlamış ancak Venedik’te tamamlamıştır. Tablonun ne zaman yapıldığı ile ilgili net bir bilgi bulunmamakla birlikte, Bellini’nin hayatına dayanarak tablonun 1480’lerde yapıldığı düşünülmektedir. Gentile Bellini’nin tablosu batı öğeleri ve Türk sanat imgelerini bir araya getirerek Fatih’in Konstantinopolis üstündeki gücünü göstermektedir.Osmanlı saray ressamları arasında yer alan Sinan Bey, büyük ihtimalle Avrupalı bir ressamdan eğitim almıştı. Gül Koklayan Fatih Sultan Mehmet Portresi gibi minyatür resimler üzerinde çalışmıştı. Osmanlı saray ressamı olarak doğu ve batı kültürlerinin sentezini resimlerde uygulayan sanatçı, sahip olduğu bilgilerini Şiblizade Ahmed gibi öğrencilerine aktarmıştır. Sinan Bey hakkında çok fazla bilgi bulunmamasına rağmen&nbsp;Şiblizade Ahmed’in portre çalışmalarında çok başarılı olduğu bilinmektedir. Hatta Şiblizade Ahmed’in portre yapımında Bellini kadar usta bir sanatçı olduğu da söylenmektedir. Bu açıdan düşünüldüğünde Fatih Sultan Mehmet’in gül koklarken yapılan portresi Şiblizade Ahmed tarafından resmedilmiş olabilir. Ancak, kaynakların büyük bir çoğunluğu tarafından bu tablonun Sinan Bey’e atfedildiği bilinmektedir. Aynı zamanda kesin olmamakla birlikte tablonun 1480 tarihinde yapıldığı düşünülmektedir. Ayrıca bu noktada Şiblizade Ahmed’in Avrupa tarzı portre yapımını ikinci kaynaktan, yani hocası Sinan Bey’den öğrendiği de göz ardı edilmemelidir.&nbsp;Her iki tablo da Fatih Sultan Mehmet’i farklı bakış açılarından temsil etmektedir. Sultanın fiziksel özellikleri hemen hemen iki tabloda da benzerlik göstermektedir. Bununla beraber, Gentile Bellini tablosunda Konstantinopolis’i fetheden ve Bizans hükümdarlığını ve kültürünü yok eden bir sultanı tasvir etmiştir. Bu da üstünlüğü ve gücü elinde tutan Fatih Sultan Mehmet’in Avrupa ve Avrupalı gözünde resmedilmesi anlamına gelmektedir. İki tablonun ortak özelliği olarak Fatih’in duygularını belli etmeyen bir tavırda çizildiği ve herhangi bir yüz ifadesine yer verilmediği görülmektedir. Ancak bununla beraber, Gentile Bellini tarafından resmedilen portre, Fatih Sultan’ın gerçek bir görüntüsü olmayabilir. Çünkü, 1480’li yıllarda II. Mehmet’in hasta yatağında olduğu bilinmektedir ve bu nedenle Bellini’nin Sultan’ı görerek portreyi yapmış olması düşük bir ihtimaldir. Sinan Bey’e atfedilen tablonun ise Gentile Bellini’nin tablosundan dönüştürüldüğü bilinmektedir. Ve belki de bu yüzden Sinan Bey’e atfedilen tabloda Sultan’ın yüzü ifadesiz bir şekilde resmedilmiş ve iki tablo arasında çok fazla benzerlik yer almıştır.Sonuç olarak, Gentile Bellini ve Sinan Bey/Şiblizade Ahmed’in tabloları kullanılan materyal temelinde renkler ve objeye dayanmaktadır. Bu tablolarda yer alan bütün özelliklere bakıldığında sanatçı ve resim arasında kutsal bir sınır vardır. Tablo var olan maddi zenginliği içerisinde yorumlanabilirken aynı zamanda sahip olduğu şuur içinde her zaman canlı kalmayı başaracaktır. Bir resmin sahip olduğu şuur onun fiziksel varlığıdır. Sanat eserinin içerisinde sahip olduğu yan anlamlar daima diğer insanlar için sır olarak kalacaktır. Bu doğrultuda, Fatih Sultan Mehmet Portresi ve Gül Koklayan Fatih Sultan Mehmet Portresi sahip oldukları belleği var oldukları cismani hâlleriyle taşımaktadırlar. Bu iki tablo sahip oldukları bakış açılarıyla Fatih Sultan Mehmet’in önemini ortaya koymaktadır. Ayrıca, Avrupalı bir ressamın yaptığı portre üzerinden yerel sanatçıya nasıl ilham kaynağı olduğunu göstermesi açısından da oldukça değerlidir.&nbsp;Bu çalışmada benzer ve farklı yönleri açısından iki tablo ele alınmış ve aynı zamanda her birinin özelinde önemi değerlendirilmiştir. Ayrıca her iki tablonun yapıldığı tarihten bugüne kadar getirdikleri hafızanın önemine değinilmiştir. Son olarak, Gentile Bellini’nin tablosunun ve Şiblizade Ahmed’in tablosunun farklı sosyal, kültürel ve tarihsel tutumları içinde nasıl yapılandırıldıkları incelenmiştir.

Gül Koklayan II. Mehmet Tablosunun Gentile Bellini’nin Tablosu Temelinde Kültürel Açıdan Önemi

Hüseyin

Master builder, a key factor in the construction production within the Ottoman architectural organization, is described with similar explanations in the terminology. Accordingly, a master builder such as a bricklayer master builder or a joiner master builder, is an assistant figure ranked between an apprentice and a master. In the modern sense, he is an assistant architect who acquires expertise and enforces the projects of the architects in the field. In the Ottoman era, the term was used to address the head person and technical inspector of various worker groups in a construction site. In that sense, he is an assistant and implementing person responsible to the ebniye khalifa.&nbsp;&nbsp;Construction production at various architectural styles and techniques began to rise together with the increasing innovation movements in the Tanzimat. Efforts were made to overcome this period in an environment where the number of well trained and qualified master builders/masters/architects was limited. Regarding the increased construction activities after the Tanzimat, the deterioration of the construction material standards (in terms of price, quality, measure, diameter, etc.) and the troubles caused by unskilled people with no construction knowledge, which is understood to have been common at the time, were reported officially by a group of master builders before the First Constitutional Period. The main resources of the study are archival documents, some of which will be put forth for the first time in this study, and the cases that were published in the central and provincial press. This study mentions the carried-out works/prepared plans based on the records and requests of the non-Muslim master builders who triggered the process of exams requirement for the construction master builders in the late Ottoman architectural organization. The obstacles to the application of exams to master builders/architects are presented within the frame of the Şehremaneti (Istanbul Municipality) and the Şûrâ-yı Devlet (Council of State) decisions, and the effects of this situation are exemplified with a Bursa case.&nbsp;A group of non-Muslim Joiner Master Builders submitted their complaints with regards to one of the most significant issues of the era in the construction sector and&nbsp;proposals towards its solution with a petition to the Şehremaneti (Istanbul Municipality) in the late 1875. Shortly, the content of the petition consists of the problems led by disqualified master builders working in the construction and the construction material standards of the era. As reported, some master builders working in the sector at the time were doing the pricing at their own discretion, causing financial harms to both public and state treasury, and the building owners were having arguments with the joiners for days due to their losses.The diameters, measures, costs of bricks, wood, and all the materials to be used in the Capital and the provinces were determined by erbab-ı vukuf (experts) till that time, and all the materials were manufactured, priced and delivered accordingly. However, it was stated that the abovementioned method was not followed during those dates, and people manufactured improper woods, erratic bricks and all kinds of other materials in a similar manner without paying attention to the measurements. The master builders who presented the petitions in order to avoid having such issues asked for a set-up of a guild and a chamberlain to be assigned for the joiners as for the other craftsmen.Upon the demand of the master builders, the certificate prepared by the Şehremaneti Keşif İdaresi (Istanbul Municipality Directorate of Surveys) was assessed by the Şehremaneti (İstanbul Municipality). Troublesome master builders were not knowledgeable enough to prepare building plans and they were not known by the Şehremaneti İdaresi (Istanbul Municipality Directorate) themselves and were not acknowledged officially in the bureaucratic system. Even though these illegal buildings constructed by those incompetent people were located and interfered with, that was not enough due to the weakness of sanction power of the Şehremaneti (Istanbul Municipality). Another problem was the lack of trustworthy and experienced master builders in the surveys and contracts of works given by the Şehremaneti (Istanbul Municipality). That problem had to be resolved by introducing regulations in order to prevent such cases. In this way, the surveys and contracts of construction activities would be done as it was supposed to be.&nbsp;In accordance with the schema prepared by the Şehremaneti (Istanbul Municipality) towards the solution of these problems, an exam would be carried out under the supervision of a commission. Master builders would be classified into three groups according to the results of the exam. Since the constructions they were going to undertake were to be different from each other in terms of their size, the first group of master builders would be superior to the second group, and the second group would be superior to the third one. Taking their superiority over each other and providing a guarantor, these people would be given grants for constructions. Sealed/approved by the Şehremaneti (Istanbul Municipality), sample copies of the documents containing the name/record, hometown, and place of residence of the master builder would be registered to a special account book. The names of those people acknowledged by the exam would be announced in the newspapers so that they would be known by the public. In the event that a dispute occured between the acknowledged master builders and building owners, these issues would be dealt with by the Şehremaneti (Istanbul Municipality). If the buildings were contracted to a joiner who did not have a grant or to a person from another group, and the building owner suffered a loss, then those cases would not be considered by the Şehremaneti (Istanbul Municipality). If unauthorized joiners or other people attempted to construct, they would be fined. The purpose of the announcement that the state would not consider cases about constructions contracted to unauthorized master builders was to direct the public to reliable and skilled master builders. One of the obstructions in the achievement of this objective was the problem of finding qualified staff in the construction sector. Although this practice was designed in this manner, the allocation of construction works only to master builders who passed the exam and granted allowance to build would pose a problem for those who did not take the exam even if they were skilled.The requirement of an exam for master builders in the Capital had similar effects in the provinces as well. A piece of news dated 1892 revealed that the architectural environment in Bursa at the time was not so different from the Capital, and this situation was closely being monitored and voiced by the press. According to the newspaper, master builders in Bursa were supposed to taking such an exam. As all residents and even the visitors of the city knew/saw, the existence of (incomplete) buildings with framed and covered wood on the streets was a evidence of the presence of unqualified master builders who could not make the projects according to the provided budget due to poor financial planning and, thereby, leaving the constructions unfinished.Even though the practice of authorization of the ebniye master builders via an exam was accomplished, it fell through in practice. Despite the fact that Sultan Abdulhamid II asked for the formation of an exam commission and holding the exams again, the Şehremaneti (Istanbul Municipality) did not make any attempts for that, and the task was decelerated. In 1909, the Şûrâ-yı Devlet (Council of State) discussed granting a diploma to unlicensed architects and master builders disclosing their capabilities with an exam and a fee considering their levels, taking into account the fact that the banning of those without a grant from construction would cause a social problem in terms of maintaining and supporting a family. Ultimately, the Şûrâ-yı Devlet (Council of State) abandoned the exam practice and arrived at the conclusion that a certain amount of fees would be charged merely from the master builders who would prove their skills by applying to the Sanayi-i Nefise Mektebi (Academy of Fine Arts).

Osmanlı’nın Son Döneminde Ebniye Kalfalarına Yapı İnşa İzni Verilmesi

Şakir

Assoc. Prof.

Siren

Sinagog kelimesinin etimolojik kökeni Grekçe συναγωγή/sunagogidir. Sinagog, yaklaşık olarak İ.Ö. 7. yüzyıldan itibaren İsrail topraklarında ve ardından sürgün yıllarında diasporada inşa edilen Yahudiliğe özgü çok fonksiyonlu kurumsal dini yapıları ifade eder. Bu yüzden sinagog, sadece התפילה בית) beit hatefila/dua evi) değildir. Dua evi fonksiyonuna ilave olarak, hem הכנסת בית) beit haknesset/toplantı evidir) hem de המדרש בית) beit hamidraş/eğitim evidir). Ayrıca דין בית) beit din/yargıçlar kurulu/ mahkeme) tarafından toplantı mekânı olarak da kullanılmaktadır. Söz ettiğimiz son üç fonksiyon, çoğunlukla yapı kompleksine dâhil olan müştemilatta (ek bölümlerde) icra edilmektedir. Öte yandan Osmanlı sınırları içerisindeki bazı kentlerde, söz konusu müştemilatın, gereksinme duyulduğu takdirde hastane ya da hapishane olarak kullanıldığı görülmektedir. Dolayısıyla bu makalede, öncelikle, Yahudiliğin ve Osmanlı Yahudi toplumunun vazgeçilmezi olan, çok işlevli kurumsal bir dini yapı ele alınmıştır. Bu yapı, bir yandan diaspora Yahudilerine ortak bir kimlik kazandırıp aidiyet sağlamakta ve bu aidiyeti koruma altına almakta, diğer yandan, gerek kent ve gerek diaspora coğrafyası bağlamında Yahudi topluluklarını âdeta bir tutkal gibi birleştirmekte ve bir arada tutmaktadır. O hâlde sinagogların, inşa edildikleri kentlerdeki Yahudi mahallesinin (Juderia’nın) tam merkezinde konumlanması ve mahallenin dini-toplumsal aidiyetini vurgulaması kaçınılmazdır.&nbsp;Osmanlı Dönemi İzmir’inin en eski sinagoglarından biri olan Portugal Sinagogu, Portekiz kökenli Yahudiler tarafından 17. yüzyılın ilk yarısında (tahminen 1630’lu yıllarda) inşa edilmiştir. İnşa edildiği yer, İzmir, Osmanlılar tarafından fethedildikten sonra Yahudilerin ilk yerleştiği bölgelerden biri olan Pazar (Çarşı) yeriydi. Aynı zamanda, sahile ve İç Liman’a oldukça yakın bir konuma sahip olan bu bölge, büyük bir çoğunluğu ticaretle uğraşan Portekiz kökenli Yahudiler için oldukça cazipti. Muhtemelen bölgenin güçlü ticari aktivitesinden dolayı sinagog, 17. yüzyılın ikinci yarısından itibaren kentteki Yahudi yerleşim alanının tam merkezinde kalmıştı. Söz gelimi Sabetay Tsevi tarafından 1650’li ya da 1660’lı yıllarda kullanıldığı düşünülen ev, Portugal Sinagogu’nun tam karşısındaydı. 19. yüzyılın ilk yarısında inşa edilen Hahamhane ve Rothchild Hastanesi ise, sadece on metre ilerideydi. Yine aynı yüzyılın eseri, ihtişamlı yapı Lazaretto, Havra Sokağı’nın Dikilitaş Sokak ile birleştiği noktadaydı. Havra Sokağı ile Hahamhane’yi birbirine bağlayan ve Rothschild Hastanesi yakınından son bulan Bohor Levi Sokak, Portugal Sinagogu’na teğet geçiyordu. Diğer sinagoglar ise, Portugal Sinagogu’na yakın mesafede inşa edilmişlerdi. 19. yüzyılın ikinci yarısında adları belirlenen Yahudi mahalleleri “Bene İsrael (İstiklal)”, “Çavez (Kurtuluş)”, “Tsontsino (Sakarya)”, “Hahambaşı (Güzelyurt)”, “Efrati (Güneş)”, “Yeni” ve “Hurşidiye”, Portugal Sinagogu’nun çevresini âdeta bir halka gibi sarmıştı. Yaklaşık olarak Portugal Sinagogu ile aynı tarihlerde inşa edildiğini belirlediğimiz diğer sinagog, Pinto Sinagogu’dur. Yeri, Smyrna Agorası kazı alanının hemen yanında Kadifekale eteğindeydi. Yahudi mahalleleri sinagoglar çevresinde şekillendiğine göre, İzmir Yahudilerinin 1630’lu yıllarda saptayabildiğimiz ilk yerleşim alanı, Portugal ile Pinto sinagogları arasında kalan topografyaydı. İzmir Yahudi Mahallesi’nin 1640 yılından itibaren yayıldığı alan, belli başlı sosyal ve dini yapıların inşa tarihlerinden yola çıkarak belirlenebilmektedir. Pazar yerinde bulunan Neve Şalom Sinagogu’nun kuruluş tarihi 1640’lı yıllardı. 1660 yılında Senyora (Giveret) Sinagogu inşa edilmişti. Senyora ve Neve Şalom Sinagogları arasındaki alanda 1660’lı yıllarda Orehim (Foresteros) ve Algazi sinagogları inşa edilmişti. Sinagogların yer aldığı ulaşım hattı ise, Havra Sokağı olarak tanımlanmıştı. Demek ki İzmir Yahudi Mahallesi, 1630 ile 1660 yılları arasında Portugal Sinagogu çevresindeki bölgede biraz Smyrna Agorası’na doğru, ama özellikle Pazar yeri ve İç Liman yönüne doğru yayılarak genişlemişti. Portugal Sinagogu’nun kentin ekonomik aktivitesi içerisindeki merkezi ve stratejik konumu, İzmir Yahudi Mahallesinin de onun çevresinde gelişip büyümesini sağlamıştı. O hâlde Portugal Sinagogu, İzmir Yahudi Mahallesinin kuruluş aşamasındaki başlangıç noktalarından biriydi.&nbsp;Portugal Sinagogu, 12 Aralık 1665 tarihinde, Sabetay Tsevi ile ilişkili olayların tam merkezinde yer aldı. Olayların fitilini ateşleyen faktör, İstanbul Hahambaşılığının, Sabetay Tsevi’ye ilişkin herem (uzaklaştırma/aforoz) kararı verdiği ve lanetlediği mektubun İzmir Yahudi toplumuna okunmasıydı. Tsevi karşıtı olarak, Hayim Pena hedef seçildi. Şabat sabahı, Portugal Sinagogu’na ibadete giden Hayim Pena, ona büyük bir öfke duyan Sabetay Tsevi’nin, beş yüz müridi ile birlikte sinagogu basmasına neden oldu. Bu olaydan sonra Portugal Sinagogu, Sabetaycıların İzmir üssü olarak anıldı. Sinagog, İzmir’i yerle bir eden 1688 depreminde yıkıldı. 1772 ve 1841 yangınlarında ise, tamamen yanıp kül oldu. Her seferinde sinagog tekrar inşa edildi. 1976 yılında geçirdiği yangında büyük hasar gördü, tavanı ve tüm ahşap doğramaları yok oldu. Yangın sonrasında uzun yıllar depo olarak kullanılan yapının zemini ve duvarları çimento sıva ile kaplanmış, doğu ve kuzey duvarlarındaki tüm niş ve pencereler kapatılmıştı. Güney cephesinin doğu ucundaki pencere bir giriş açıklığına dönüştürülmüş, avlunun kuzey duvarındaki giriş açıklığı örülerek iptal edilmişti. Yangın ve sonrasındaki kötü müdahalelerle özgünlüğünü büyük ölçüde yitiren yapı, 2017-2018 yıllarında gerçekleştirilen restorasyon çalışmaları ile özgün hâline uygun bir şekilde ayağa kaldırıldı. Restorasyon çalışmaları, yapıyı sinagog olarak kullanıldığı yıllarda gören, hatta görev yapan kişilerin verdiği bilgiler, eski fotoğraflar, sıva raspaları ve&nbsp;zemin araştırmaları ile elde edilen bulgulardan hareketle hazırlanan projeler doğrultusunda gerçekleştirildi ve 2019 yılından itibaren bir sivil toplum kuruluşu tarafından sosyal-kültürel tesis olarak kullanılmaya başlandı.

Tarihi ve Mimari Özellikleriyle Portugal Sinagogu

Lale

Muhsine

The subject of the study consisted of glazed pottery discovered from 2017-2018 excavations in Amorium, located in East Phrygia (modern Hisarköy, near Emirdağ, Afyonkarahisar). The finds which were discovered from trenches and drillings and a few from the surface within the Interior Wall (IW) area of the upper city were fragmented and incomplete. The potteries were studied by the method of discrimination of the item groups via total finds rather than similarity of the findspot levels and presentation of each trench and drilling. Thus, the spot areas of finds in table (T.1-16) differ though their grade levels are admissibly close.Red fabric glazed potteries belonged to food serving items of everyday life and kitchen related storage bowls with and without lids. Most of the fragments belonged to low circular based big sized shallow bowls/dishes, medium sized bowls and big sized plates. Some were probably lidded.Finds were classified as Monochrome Glazed Pottery, Monochrome Glazed Sgraffito Pottery, Slip-Painted Pottery, and Green and Purple Flecked Ware which was a subgroup of Polychrome Sgraffito Pottery. There were some congregating fragments which belonged to Miletus Type pottery.Examinations of pottery finds, which were discovered according to trench numbers and levels, provided the interrelated groups at the same level of each trench. In this regard, within the scope of polychrome sgraffito, Green and Purple Flecked finds held a more instructive qualification. The predominant finds group was monochrome transparent green glazed bowls and turquoise was the least.Finds of the same sort described as Green and Purple Flecked, Green and Purple Flecked Fette Ware, Purple-Brown Flecked Ware were discovered notably from the Amorium Upper City excavation and from excavation on the Eskişehir Karacahisar Castle located in Middle Asia Minor, from the settlements of Kotyaion, Midaion, Kanlıtaş Tumulus (Kuzfındık Village at the border of Eskişehir/İnönü-Kütahya), and Kilistra (Konya/Gökyurt) -declared without publication, from Western Asia Minor İzmir Kadifekale excavation by unpublished samples, excavations of Ayasuluk Hill in Ephesos, excavations of Artemision, Pergamon, Sardes, Aphrodisias, Hierapolis and Miletos and reached to Ilion/Troas.Besides monochrome potteries finds of polychrome sgraffito technique were discovered from Balat Ilyas Bey Social Complex examinations contemporaneously and from Ephesos Türbe excavations, and the Manisa Gülgün Hatun Bathhouse as local production. Also, from the same findspot, two finds decorated with monochrome green internally and with monochrome purpur and light green externally were significant in terms of association of both types. Yet, they represented a different ecole in the sense of at least colour scale and the decoration repertoire of Amorium finds. Craftsmanship was more elaborate, and the floral character was more significant as naturalistic. The use of decorations and craftsmanship of polychrome sgraffito finds from Ephesos and the Ayasuluk Hill St. Jean Church Atrium excavation which were described as 14th – 15th century local production were also observed as divergent. A number of polychrome sgraffito fragments were also discovered from İzmir, Kemalpaşa Nif (Olympos) Başpınar Church and Nif Lascarids Palace salvage excavations. They were similar to two potteries from Amorium in terms of edge form and decoration. But the data regarding their production and distribution was insufficient. The tones and use of colours and decoration compositions of finds from İznik (Nicaea) which was a pottery production spot in Post-Byzantine, Early Ottoman period, were different than the Amorium examples.&nbsp;Elemental fabric analysis of Pergamon finds proved that the monochrome glazed and flecked potteries belonged to the same production group. Similarities were detected between the Green and Purple Flecked wares discovered from Eskişehir, Karacahisar Castle and other pottery groups including the Green Glazed Sgrafitto. Undecorated monochrome green glazed fragments, which were at the same fabric pattern with finds described as Green and Purple Flecked Fette Ware in literature, were examined under the title of ‘Fette Ware’. The samples discovered from Pergamon and Sardis were detected by analyses as members of the same production group. It was reported, among Karacahisar Castle finds, that monochrome bowls glazed with green tones and polychrome sgraffito finds indicated a fabric pattern which was defined as fette ware.Most of the forms of polychrome sgraffito dishes and big sized plates among Amorium finds were similar to dark and light green monochrome glazed potteries which represented quality. The form, decoration composition, and motifs observed were typical examples of both types in the many other centres mentioned above. Other monochrome glazed Amorium finds which lacked the possibility of being analogue, because of quantitative rarity or lacking typical specifications, may be contemporary to other finds concerning their condition on findspot levels.&nbsp;&nbsp;More data was needed regarding the rare turquoise-glazed fragments currently discovered from Amorium. For such finds, two different production (Ephesos ve Pergamon) spots; where the exact location was not accurately defined in West Asia Minor, were detected. It was detected by the analyses that they were of Byzantine tradition by the clay character of the slip; but the opaque glaze made with the addition of copper oxide lead-alkaline alloy was an innovation.&nbsp;Among Amorium examples, a floral decorated bowl which was formed by an underglaze painting technique and brushstroke is reminiscent of Miletus Type potteries by its form and decoration, although the decorative use of the light blue tone was extraordinary when compared to cobalt. As well as the Miletus Type pottery fragments of the Amorium Upper City excavations which were dated to the middle 14th century were published, their decor colours were defined as cobalt blue. Yet, the green glaze of the external surface of some fragments indicated a similarity with the bowl represented here. It was detected that the rare Upper City finds were not of the İznik production Miletus Type. As well as it seems possible that this type of production in Miletus, Akçaabat nearby Ezine, Pergamon, Aphrodisias, Kütahya was known as geographically related to Kütahya; more finds were needed. Forms of slip-painted fragments from Amorium were also alike with monochrome and polychrome glazed sgraffito pots.&nbsp;When suggestions from other centres were taken into consideration, it seems possible to date the study area to middle 14th century - early 15th century. For counterparts of the Amorium find Miletus Type bowl, middle 14th – 15th century suggestions can be pursued; more data is necessary for a more precise dating. The contribution of other finds of the excavation may suggest a narrower chronology.

Amorium, Yukarı Şehir İç Sur Alanı Kazısından Geç Ortaçağ Sırlı Seramikleri Üzerine İlk Gözlemler

Feyza

Res. Assist.

Emre

Mine

Engin

In order to document and conserve immovable cultural assets in Turkey, inventory sheets have been used. These inventory sheets include written and visual information for definition of cultural assets. However, there is a lack of information in terms of risks and intervention decisions. It might not be enough using only listed cultural assets by inventories but also, they should be monitored according to their conditions. In addition, each phase of intervention should be defined and planned. A condition survey is a management tool for developing plans and consideration for further measures. In order to provide unity in efforts to monitor the conservation condition, a European Standardization Committee produced a standard, UNI EN 16096 titled “Conservation of cultural property-Condition survey and report of built cultural heritage”. It provides guidelines for a condition survey of built cultural heritage by stating assessment, documentation, recording and reporting methods. This European Standard, identifies maintenance measures and defines procurement needs for a group of buildings or a region. According to this standard, the statuses of the buildings can mostly be evaluated by visual observation, and simple measurements can be made if necessary. Relevant data and documents should also be collected and added to the status report. First, general information about built cultural heritage should be recorded - such as a description in the form of a short text of the condition, the symptoms, the type and extent of any damage and condition of the components. Defined symptoms of the structure are analyzed and divided into classes according to the physical state of a built cultural heritage. Condition class 0 refers to no symptoms whereas condition class 3 exhibit major symptoms. There are other classes - minor and moderately strong symptoms. Minor symptoms are few broken elements or worn paint, whereas moderately strong symptoms are localized damage caused by minor wet rot infestation and partial replacement. Major symptoms are leaking roof with damage and major damages. According to condition classes, risk assessments are carried out and their urgency is defined. Risk assessments include probable causes for recorded conditions, external actions affecting components, expected variations in external actions and probable consequences due to recorded conditions, probability that may cause further deterioration, requirements for further investigations and its effect on hidden damage, effect on historical significance and urgency of measures. Urgency class 0 refers to long term interventions, again urgency class 3 require urgent and immediate actions. Depending on the risk assessment, recommended measures for all components are defined in four different classes ranging from recommendation class 0 (no measures) to recommendation class 3 (major intervention based on diagnosis). Maintenance, preventive measures and simple repair can be recommended. Maintenance is defined as periodic preventive conservation actions aimed at sustaining the appropriate condition of the heritage. Preventive conservations are measures and actions taken in order to avoid and minimize future damage, deterioration and loss. Repair refers to actions that recover an object’s functionality and its appearance. These types of interventions are not only to conserve and maintain the significance of built cultural heritages but also to retain their authenticity and integrity. A condition report defines the process necessary for sustaining built cultural heritages in a stable and maintained condition. In its scope and terminology, it is suitable for historical buildings, especially for masonry. Determination of current conditions of historic masonry structures is a significant step for conservation studies. Even though the usage of this method is common for other stakeholders of this committee, it is still not applied to the process in Turkey. In addition, there is a lack of monitoring and continuous maintenance of cultural assets. After restoration, they are not monitored and maintained. The purpose of this paper is to transmit the international advancements identified with the procedure of documenting, analyzing and monitoring of cultural assets to the national area. This developed strategy furnishes an assessment method of historical components in different conditions and provides planning in a defined schedule. The selected method is to test the proposals made at the global level on national cases and discourse about the outcomes with comparisons. For this reason, the European Standard was used to determine condition reports of two masonry buildings: Matrone Church, Ildırı, İzmir and Çardak Khan, Çardak, Denizli. Matrone Church was built in the 19th century. However, it was abandoned in the early 20th century with the population exchange. It was demolished in 1948 and therefore, it was in ruins. With the excavations of Erythrai, the monument was listed as a part of a 1st degree archaeological site. Çardak Khan was built in the 13th century. It was used until the early 20th century with different functions and later abandoned in the 1960s. The building was listed in 1991. Due to vandalism, the walls of the Khan were damaged. The church ruin and abandoned khan were belonging to Turkish periods. Both monuments were compensated due to abandonment and anthropogenic reasons. Within this frame, architectural, structural and material properties of the historic buildings were defined. Structural failures and material deterioration were identified and categorized into three condition classes. Risk assessments including their urgency classes were performed and possible measures were proposed. The condition reports regarding the conservation state of historic masonry monuments prepared in the scope of this standard ease communication among different institutions of conservation and assure sustainability.

Tarihsel Yığma Yapıların Hâlihazır Koruma Durumunun İzlenmesi İçin Öneriler: Matrone Kilisesi ve Çardak Han Örneği

Onur

Esra

Culture is a whole and consists of the values that shape human life. As abstract concepts, cultural values are embodied in various forms, like a functional space, a tool, or a behavior pattern when they are involved in human life. In addition to cultural values, the lives of individuals are shaped by the political, economic and social conditions of the society in which they belong. With the change of these conditions, the spaces in which life passes are reshaped. In this process, changing lifestyles inevitably define new forms of behavior and create new spatial needs. As a natural consequence of this situation, new uses and spatial relations are expected to emerge.&nbsp;The relationship between society and space is a reciprocal and dynamic phenomenon. Lefebvre states that space is a product of society and that social, economic and political elements, which are unique to society, shape the physical environment. According to him, shaping is a mutual process, and the space produced by society becomes a means of reproducing itself. This statement explains how spaces and spatial fictions are formed that are distinctive for the society.The proclamation of the Republic in our country and the process of restructuring and development in every field after that has brought changes in the lives of the society and individuals. Studies on the spatial formation of the Republican era residence based on social and cultural change began to emerge in the early 2000s. Güney examined the spatial reflections of the new life that came with the Republic through period apartments in Ankara, while Erman et al. questioned the impact of social, cultural and economic changes on the shaping of the housing space via the research completed in 2007. In addition to similar studies, Dursun analyzed the dwellings that were built in different periods and belonged to different cultural groups within the urban fabric of Trabzon. The common results of these studies can be summarized as the space is shaped by the character of the period, each period creates its own space, cultural tendencies and cultural behaviors are embodied within space and spatial relations, and although similarities are observed in the use of space in different cultures, differences occur in spatial relations.It can be said that the effects of the modernization movement that started with the Early Republican era begun to be seen in Gaziantep city in the 1950s. Since these years, it is seen that modern life has started to come into being in the housing space and the traditional housing structure has been replaced by the houses designed with a modernist approach. Before the Republican era, traditional Antep Houses, which consisted of rooms facing the same courtyard or sofa, were the common residential buildings where crowded families resided in the city. Each of the rooms was a separate residence in itself and several generations lived in the same dwelling in a patriarchal family order. The changing socio-cultural and socio-economic structure inevitably affected the existing family life. The increase in the level of education of family members and the fact that women are more involved in business and social life together with men have enabled the outward way of life to become widespread. The individuals, who started to live their lives as required by modernization, turned to the renewal of the place where they lived. As a result of this, modern houses were built in this period in such a way that the elders of the family and each of the married children could live on a separate floor. It is possible to say that this situation is an indicator of the effort to maintain the family integrity in the modern housing life. Therefore, it is thought that the change in social and cultural structure is reflected in Gaziantep’s housing culture and the modernist attitude of the period has caused the change of housing schemes. This new architecture has also changed the shape and spatial relations of the residential space.In this context, the aim of this study is to determine the change of the configuration of the house based on the assumption that the housing is a reflection of the social life and the changing dynamics of the society affect the shaping of the housing space. In order to determine the effect of socio-cultural and socioeconomic changes on housing culture and housing, ten housing schemes that were built between 1960 and 1980 were analyzed. In addition, it was aimed to determine the effect of traditional and modern elements on the plan features and spatial structure in the shaping of the house. Space syntax analysis technique was used to observe the change.Space syntax analysis method was developed by Bill Hillier and his team at the University College of London (UCL) in the early 1970s. The aim of the method is to reveal the interactions of the spatial relations in a built environment with the social environment. In this study, space syntax analysis was performed by using the Depthmap X package program developed by Alasdair Turner and Eva Friedrich in UCL Space Syntax Laboratory between 2000-2011. Within the scope of the study, Step Depth Analysis and Justified Graph Analysis were performed by using space syntax method. In the frame of the analysis, residential spaces were grouped according to their functional features and user’s characteristics. Accordingly, spatial groups were as follows:a) Non-residential user spaces b) Residential user spaces c) Service locationsd) Halls and connection areasThe results of the study pointed out that traditional elements affect the formation of the housing plan, the configuration of the housing area changes over time and the impact of social and cultural factors on change. Although it was in the same geography, it was clearly seen that the changing of the life style and the differentiation in living culture conditions over time caused the housing scheme to change. This result confirmed once more that housing is a cultural element and it is a reflection of life.

Gaziantep Kent Konutunda Mekân Kurgusu Değişiminin 1960-1980 Dönemi Örneklerinde İzlenmesi

Filiz

Mehmet

One of the four main gates of Iznik (Nicaea) is the Istanbul Gate and most of it has survived until today. Before the restoration of the gate and the walls, this area was excavated between 2017 and 2018 under the direction of the Iznik Museum, and many findings have been brought to light. Among these findings, a group of clay lamps stands out for their decoration and shape. The aim of this study was to introduce these complete and almost complete clay lamps from the excavation of the İstanbul Gate of Nicaea.&nbsp;23 clay lamps are catalogued, identified and dated in this study. One of these lamps is of Pontic production since it has common characteristic features of this type of production such as a biconical (with two cones) body, wide, round central part, two opposite-sharp protruding views of the handle and nozzle, a wide filling hole in the circle with a circumscribed circle in the center, vertical-conical knob handle, wideoval wick hole in the nozzle, and slightly raised straight bottom. It is known that this type started to be produced between the end of the 3rd century and the beginning of the 4th century. It is also the most commonly produced type of the 4th century, and its production continued in the second half of the 5th and even in the beginning of the 6th centuries. These types of lamps were unearthed in the ancient settlements of South Russia (Chersonessos, Panticapaion Tyra, Ilurat, Kitey) and Anatolia (Amorium, Nicaea, Isparta/Çünür, Edirne/Hadrianopolis).&nbsp;Among the clay lamps, there are two lamps, which show characteristic features of North Africa production. The most common features of this type are the knob handle without a groove, a flat edge band with relief, stamped or moulded decorations, a narrow and shallow canal extending from the discus to the nozzle, and a slightly expanding ring base towards the handle. It has been very well established that these lamps were dated to the 5th century, and they were brought from Africa to other settlements between the 4th and 7th centuries. Moreover, it has been determined that one of the clay lamps analysed is an Asia Minor production. It was probably imported into the city of Nicaea between the 4th and 6th centuries.&nbsp;The other 19 clay lamps and their production center are the main discussion of this study. Even though a workshop or a production center could not be determined precisely for these lamps, they were classified in the same group in terms of their paste (with mica), shape and decoration features. Their shape and decoration motifs are similar to many general features of Anatolian products and this group was most probably produced in Asia Minor. Additionally, very similar lamps to this group have been found in the Roman Theatre of Nicaea, as well. These lamps were classified as Iznik (Nicaea) local production. Due to these reasons, this study suggests that the 19 clay lamps obtained from the Istanbul Gate are linked to these lamps, and could be considered as local productions of Iznik.These clay lamps have a rounded body, narrow and long nozzle, hollow discus, one filling hole in the center of discus, and a handle with one or two incised lines. The decoration repertoire generally consists of three or five concentric circles and geometric or floral motifs. In spite of apparent differences in the nozzle parts, they have some similarities with Delos dated to the 5th and 7th centuries. Supportively, the excavation finding in the Roman Theater of Nicaea was dated to the 5th and 7th centuries as well.Another remarkable point of this group defined by the current study is the “leaf” pattern, which is represented at the bottom of two clay lamps (Cat. No: 5, Cat. No: 21Kat. No 5). Generally, on the bottom of a lamp is an atelier’s mark place. However, the leaf pattern observed in these two clay lamps differs from an atelier’s mark. It could be suggested that these lamps are related to the ancient history of Nicaea.&nbsp;Some significant properties of Nicaea provide a basis for choosing the leaf, which looks like ivy, as a mark of potential local production of clay lamps. As the capital city of Bithynia and the accommodation center for several Roman emperors, Nicaea was an important cult area. Also, it was the sacred city where two ecumenical councils of the Christian world were gathered. These properties created a religiously and politically active history in Nicaea. Moreover, the city has been an important center of pottery production throughout history.Some stories found in the city are associated with the Pagan god Dionysus (Backhus), as also supported by depictions on ancient coins found in the city. As it is well known, ivy is one of the symbols of Dionysus. “Hederae/ivy” is a motif frequently used in many different works, including architecture, painting and small portable objects in the Roman and Early Christian Worlds. It is also widely used in discus and shoulder decoration of many clay lamps. It is associated with both Dionysus and the fertile soil of Nicaea, where pottery had been produced for centuries.&nbsp;Although the Istanbul Gate Excavation is finished, some excavations like the Roman Theater Excavation continue in Nicaea. Consequently, while the clay lamp production in the city is being reevaluated with new data, there is no doubt that the variety of lamp forms and decorations will be increased and updated, as well as workshop marks.

İznik / Nikaia, İstanbul Kapı Kazıları’ndan Pişmiş Toprak Kandiller

Murat

Lecturer

As in many cultures throughout history, people who have economic and political power in Turkish culture have played a founder/patron role in public architecture examples. Public architecture is not only a charity work, but also the public image of the person who put the structures into service to the public. In other words, monuments which bear the name of the patrons provide to the founders/patrons visibility in the region where the structure is located. It is an indisputable fact that men have built more buildings than women in terms of the gender of the founders during the Ottoman period. However, Turkish women took part in architectural activities as founders/patrons too.&nbsp;It can be observed that the number of architectural activities of women as patrons increased following the Classical Age, at which point, the economic and political power of the Ottoman Empire was at its peak. Harem women -mothers, wives and daughters of the Ottoman Sultans- were the predominant ones within this founder/ patron group. They built many more structures than other female groups throughout the Empire. Therefore, women of royal dynasty (Harem women) provided their public visibility through architecture, from Istanbul to Anatolia and even to the Arabian Peninsula. It is observed that this situation is far more visible in Üsküdar than the other cities of the Empire, but the Historical Peninsula is in Istanbul. When the monumental structures of Üsküdar are examined, it is also understood that the majority were built by -or dedicated to- women patrons. There are only three monumental architectural examples built by male patrons: Rum Mehmed Pasha Complex, Şemsi Pasha Complex and Selimiye Complex.Most of the monumental buildings in Üsküdar were built by -or dedicated toGülfem Hatun, Mihrimah Sultan, Nurbanu Sultan, Kösem Sultan, Gülnuş Sultan, Mihrişah Sultan, and Rabia Şermi Sultan. These buildings are monumental and mostly large complexes rather than small-scale units. When the other architectural activities of the founders are examined, it is seen that they prefer Üsküdar to position their monumental or multi programed structures. Also, almost all of the multi programmed and monumental structures of Üsküdar were built by Ottoman Harem women. By revealing the reasons for this situation, it can be possible to give a different perspective to the urban identity of Üsküdar.In order to establish a theory, the historical, demographic, political and geographical characteristics of Üsküdar should be analyzed. Thus, the identity of the city can be revealed and the abovementioned architectural activities will be understood.Üsküdar has been an important settlement throughout history since the Byzantine period. When the history of the city is examined it is understood that the strongest definition of Üsküdar’s role on the stage of history is its being the location of headquarter of the rebels-enemies, who intended to take the Byzantine throne.In 1352, the city was joined to the Ottoman territories by Orhan Gazi. In the Classical Age of the Ottomans, together with Eyüp and Galata, Üsküdar was descibed with the name of “bilad-ı selâse kadılıkları”. This description, which represents the three major towns outside the city, reveals the position of Üsküdar in the capital. The ratio of the city to the Istanbul population at the end of the 19th century was 95671/873565. Although this ratio seems to be small, Üsküdar is second after Beyoğlu in terms of population.Üsküdar was visited by both the emperors and Harem women in the Byzantine and Ottoman periods, for excursions and hunting. This feature should be considered as revealing the difference of Üsküdar from other regions of Istanbul.When the books of European travelers who came to Istanbul in 16th-19th centuries by the attraction of Eastern charm are examined, it can be seen that they could not find the mysticism which they were looking for in the European side and that they felt that emotions in Üsküdar.&nbsp;The most stressed feature of Üsküdar as a city was holiness. Üsküdar and other Anatolian territories are considered as “Arazi-i Tahire”, because they are not separated from Mecca and Medina by large rivers. The number of tekkes (Islamic monasteries) in the city represents the perception of holiness. Moreover, 83 tombs and 8 cemeteries are important elements that make up the mystical atmosphere of Üsküdar.The examples built by Harem women in Üsküdar are Gülfem Hatun Complex, Mihrimah Sultan Complex, Atik Valide Complex, Çinili Complex, Yeni Valide Complex, Ayazma Mosque, and Beylerbeyi Mosque. These buildings are emphasized urban images, due to their monumentality and being multi-programmed complexes as well as their positions in the city.&nbsp;In this context, due to the abovementioned characteristics, Üsküdar is the secondary prestige area of Istanbul after the Historical Peninsula where Ottoman Sultans and Pashas mostly preferred to locate their architectural monuments. The most important position which can be considered after the Ottoman Sultans and Pashas in terms of politic and economic power is the position of Valide Sultan. The abovementioned examples were built by -or dedicated to- Valide Sultans except for the complexes of Mihrimah Sultan and Gülfem Hatun.Üsküdar is a secondary version of the prestige area status of the Historical Peninsula. While sultans and pashas -also Harem women- mostly preferred to locate their buildings in the Historical Peninsula, valide sultans and Harem women preferred Üsküdar. This situation shows that there was a hierarchical urban image area in Ottoman capital. Thus, Üsküdar gained the status of being a prestige area which Harem women -especially the valide sultans- put forth their images in the eyes of public.

Üsküdar: Harem Kadınlarının Prestij Sahası

İpek

Fatma

Kamusal yeşil alanlar toplumlara demokratik, sosyal ve ekonomik yararlar ve sağlık ve ekolojik sürdürülebilirlik alanlarında katkılar sağlar. Üretildikleri dönemlerin sosyo-politik ve ekonomik özellikleri ile şekillenen kamusal yeşil alanların geliştirilme süreçleri ve tasarım kriterleri incelendiğinde, bu kamusal alanların o dönemlerdeki iktidar ve güç sahiplerinin sosyo-politik ideolojilerini yansıtan önemli araçlar olduğu ortaya çıkmaktadır. Bu çalışma Türkiye’de ‘millet bahçeleri’ (nation gardens) üretmeye yönelik devlet politikalarını ve bu alanların fiziksel planlama ve tasarım özelliklerini tarihsel süreç içinde incelemeyi amaçlamaktadır. Bu amaçla araştırma, Osmanlı İmparatorluğu ve Türkiye Cumhuriyeti dönemlerindeki kamusal yeşil alanların tasarlanmasına yönelik gelişen ve her dönem değişen politikaların üretilmesine neden olan temel politik ve ekonomik durumları analiz etmektedir.&nbsp;Bu çalışmada, kamusal yeşil alanların Türkiye, Osmanlı İmparatorluğu ve öncesi tarihi dönemlerdeki ekonomik, politik ve sosyal süreçlere dayalı gelişimleri ikincil kaynaklara dayanarak araştırılmış ve elde edilen bilgiler ilişkilendirilerek sunulmuştur. Ayrıca, Mayıs 2018’de Başkan Recep Tayyip Erdoğan’ın duyurduğu ‘millet bahçesi’ projelerine dair internet haberleri ile plan ve uygulamalara dair görseller beraber incelenmiş ve günümüzde millet bahçelerinin üretilmesine yönelik karar mekanizmalarının nasıl işlediği ve bu kamusal yeşil alanların hangi tasarım ve planlama özelliklerini barındırdığı araştırılmıştır.&nbsp;Makalenin ilk bölümü Türkiye’deki kamusal yeşil alanların gelişimini, Osmanlı İmparatorluğu ve öncesi ve Cumhuriyet dönemlerine uzayan tarihsel gelişimin bir parçası olarak alma niyetiyle şekillenmiştir. Yeşil alanlar dâhil olmak üzere tüm kamusal alanlar, çeşitli dönemlerdeki ekonomik, politik ve sosyal özelliklere bağlı olarak devletin politika ve araçları olarak geliştirilir ve tasarlanır. Osmanlı İmparatorluğu öncesi dönemde Anadolu ve Ortadoğuya yayılan birçok farklı kültürün özelliklerini ve sembollerini içeren Anadolu ‘bahçe’leri vardır. İmparatorluk zamanında özellikle Lale Devri ve Tanzimat Devri’ndeki modernleşme adımları ile önce mesire alanları ve saray bahçeleri ve ardından parklar geliştirilmiştir. Erken Cumhuriyet dönemindeki modernleşme ve “millet” yaratma girişimleri sonucu ortaya yeni tür parklar ve günümüzde duyurulan millet bahçesi projeleri kendi zamanlarının koşullarını yansıtarak&nbsp;gelişmişlerdir. Cumhuriyet’in ilanı ile II. Dünya Savaşı sonuna kadar süren ve ‘Türk Milleti’ni oluşturmaya yönelik devrimler ve modernleşme projelerinin geliştiği dönemde, kentlerin mekânsal planları ve uygulamaları içinde kamusal yeşil alanlar bu hedeflere yönelik geliştirilmiştir. Kentlere kırsal göçün ve sanayileşme ile kentleşme seviyelerinin arttığı 1960 ve 1980 arasında, yerel yönetimlerin de kamusal alanların üretiminde etkin olduğu ve mahalle parklarının da geliştirildiği görülmektedir. Neoliberal yani piyasa odaklı gelişen iktisadi ve siyasi yaklaşımlarla şekillenen ve 1980lerden günümüze uzanan dönemdeyse, özel sektör eliyle alışveriş merkezleri gibi ‘tüketim odaklı’ mekânların yanısıra genelde büyükşehir belediyeleri eliyle büyük metrekareli ve ticari kullanımları barındıran park alanları, arazi değerleri göreceli düşük ama halk erişimine uzak kent çeperlerinde yer bulmuştur. ‘Millet bahçeleri’ ise çok yeni (2018) olarak ve merkezi hükümet eliyle uygulanmak üzere gündeme gelmiştir.Gündemdeki millet bahçesi projelerini daha iyi anlayabilmek için, makalenin ikinci kısmı Başkan Erdoğan’ın bu konu üzerine yaptığı bazı konuşmaları incelemekte ve projenin Türkiye ve hükümetin uluslararası ve ulusal itibarı ve ‘gelenekler’ üzerinden önceki dönemlerle olan ilişkisini analiz etmektedir. Başkan Erdoğan’ın Türkiye’nin her şehrine bir millet bahçesi yapılması projesini açıklamasının ardından, farklı birçok şehirde millet bahçeleri açılmış ve Mekânsal Planlar Yapım Yönetmeliği’ne ‘Millet Bahçeleri’ maddesi eklenmiştir. Bu maddedeki millet bahçesi tanımı, ağırlıkla park alanı büyüklüğüne referansla yapılmıştır. Cumhurbaşkanlığı seçimleri sonrası hükümetin “ilk 100 gün” programı ve vaatleri içinde, Çevre ve Şehircilik Bakanlığı on adet millet bahçesi geliştirmiş ve açmıştır. Bu çalışmanın tamamlandığı Kasım 2019 tarihi itibariyle, uygulaması bitmiş ve açılmış millet bahçesi sayısı sadece İstanbul’da beş ve diğer illerdekilerle beraber 25 civarındayken, tüm Türkiye’de 100 kadarının plan ve projesi bitmiştir. Ancak Çevre ve Şehircilik Bakanlığı tarafından hazırlanmakta olan ve millet bahçeleri için yer seçimi ve tasarım kriterlerini tarifleyecek Millet Bahçeleri Kılavuzu henüz yayınlanmamıştır. Mevcutta uygulanmış veya planlanmış millet bahçelerine dair çok sayıda parça parça gazete, televizyon ve internet haberleri vardır.&nbsp;Bu haberleri inceleyerek; günümüzdeki millet bahçelerine dair karar verme süreçleri, yer seçimleri ve plan ve tasarım kriterlerine dair ne tür ortaklık ve benzerlikleri ortaya koyabiliriz? Bu soruya odaklanan makalenin son kısmı, öncelikle millet bahçesi projelerine dair konuşmaları ve ardından uygulanmış millet bahçelerinin inceleyerek karşılaştırmaktadır. Sonuçlara göre; ne Yönetmeliğe millet bahçesi tanımının eklenmesi basit teknik bir konudur, ne de Başkan Erdoğan’ın yaptığı açıklamalar sadece kişi başına düşen yeşil miktarının arttırılmasını amaçlamaktadır. Bu konuşmalar millet bahçelerinin Türkiye’nin uluslararası platformdaki itibarı ve hükümetin yerel ve küresel rakiplerine karşı gücü ve değerler ve gelenekler açısından önemli olduğuna vurgu yapmaktadır. Bu hâliyle günümüz millet bahçeleri, Türkiye’de geçmiş ve günümüzdeki dönemlerde farklı isimler ile kamuya sunulan ve devlet tarafından özellikle uluslararası ve ulusal platformlarda güç ve politik ideolojilerini ifade etmeye yönelik kamusal yeşil alanlar farklı değildir. Ayrıca, bu sembolik mekânlar gündelik sosyo-mekânsal pratiklerin eş zamanlı bir şekilde tekrar tekrar yapılandığı sahneler olmuşlar ve vatandaş, millet ve toplum gibi kavramlara dayalı yeni kimliklerin gelişmesine aracılık etmişlerdir. Bu tariflenen iki niyet günümüz ve geçmiş dönemlerin kamusal yeşil alanlara dair politikalarında tekrarlanmaktadır. Ancak günümüzdeki millet bahçelerinin sunumu, özellikle 19. ve erken 20. yüzyıldaki örneklerden Batı stili modernleşme hedeflerine vurgu yapmayarak da farklılaşmaktadır.&nbsp;Açılmış millet bahçeleri genelde 20.000 metrekare ve üstündeki alanlarda gerçekleştirilmiştir. İlk aşamada yapılanlar ağırlıkla kent içinde kalmış, toplu taşıma olanaklarına yakın ve artık kullanılmayan futbol stadyumlarında yapılırken, ikinci (mevcut) aşamadaki millet bahçeleri ise, imar planlarında da tariflenerek ve genellikle şehir dışındaki büyük alanlarda yer bulmuştur. Mevcut millet bahçeleri çok çeşitli kullanım ve faaliyet alanlarını barındırırken, ağırlığın açık aktivite alanlarına (spor ve oyun alanları olarak) ve ayrıca “doğal elemanların” özellikle su öğeleri (genellikle gölet) ile birbirinden farklılaşmış çiçek bahçeleriyle bir araya getirildiği alanlara verildiği görülmektedir. Yapılı çevre elemanları ise genellikle bir cami, ‘millet kıraathanesi’ (okuma salonu ve çay evi beraber) ve kapalı/ açık otoparktan oluşmaktadır. Çalışmamızın sonuç kısmında tüm bulgular birlikte değerlendirilmiş ve millet bahçelerinin plan ve tasarım kriterlerinin geliştirilmesinde yerel ihtiyaçlar ve isteklerin de karar verme süreçlerine entegre olmasının altı çizilmiştir.

Türkiye’deki Kamusal Yeşil Alanların Tarihsel Gelişimi ve Yeni “Millet Bahçeleri”

As an individual of the society in which they are grown, artists reflect the values, sensibilities, beliefs, love, and excitement of that society in their work. Undoubtedly, one of the primary values of Muslim societies is the Prophet of Islam, Muhammed. For this reason, the works on his life and love in the hearts have taken a great place in the art accumulation of Muslim Turks throughout history. From literary arts to ornamentation, from architecture to music, in the various branches of art, the precious works put forward on this subject are also one of the most effective means of transferring the love of the Prophet Muhammed to the next generation.One of the arts where love of the Prophet is handled is calligraphy. With its widespread use in Ottoman language “hüsn-i hatt”, calligraphy is described as the art of measured and beautiful writing in the Arabic alphabet in accordance with the aesthetic base formed in its historical process. Those who perform this art are called calligraphers. Islamic writing started to gain an aesthetic dimension with the encouragement and advice of the Prophet Muhammed. It can be said that writing began the process of becoming an art in that period as a result of the efforts to record the revelation. As a matter of fact, his advice to scribes regarding the manner of writing show that the Messenger of Allah also gave importance to the aesthetic aspect of writing. The hadith which means “Allah is beautiful and loves beauty” has been the guide of those who are looking for beauty in every subject. It was also known that the Prophet insisted on the importance of learning and teaching writing. The calligraphers, who took their inspiration from the Qur’an and recommendations of the Prophet, worked on writing with the excitement of worship and made it a branch of art unlike any other culture. This art, which completed its course of development, especially on the writing of the Qur’an, matured and diversified in the hands of Muslim artists who have devoted themselves and has taken its place as a beautiful element in every field where writing was used over time.For centuries, calligraphers created numerous beautiful works on the exemplary personality and hadiths of the Prophet Muhammed, and especially on the Qur’an and verses. The majority of these works, which are the most beautiful examples of the expression of love of the Prophet through art, were handwritten books. The first thing that comes to mind when book is said in Islamic society is Mushaf, namely the Holy Qur’an. Islamic writing showed its historical development on writing of the Qur’an. Just as writing Mushaf is the aim of every calligrapher, Mushafs are the works of calligraphers that show the most care and skill. The Qur’an is the most important trust that the Messenger of Allah left to Muslims. Serving the Qur’an means gaining the sake of Allah and the pleasure of the Prophet.Among handwritten books, hadith, schamail and dalail books related to the branches of science that deal with the Prophet and his words and behavior constitute an important area. Although most of these books were written without regard to the artistic aspect, there were also books and magazines written by master calligraphers, which have artistic value with their illuminations and bindings. Forty hadith magazines were among works written by calligraphers with care due to rumors stating that those who know the forty hadiths by heart will be rewarded on doomsday.A group of calligraphy works containing the hadiths of the Prophet Muhammed were also known by the names of kıt’a and murakkaa. In an average book page size, the writings written in one or several fonts are called kıt’a, and kıt’a albums attached to each other and folded together are called murakkaa. As they were stored in cabinets and bookcases, these works were also bound carefully as books, and illumination or marbling were applied in their ornaments. Almost all Turkish calligraphers performed this kind of work. On the other hand, some literary texts written by the poets as praise to the Prophet were also included in the kıt’a and murakkaa.The panels, one of the most common calligraphy works, were works that adorned the walls, prepared for hanging somewhere and looking across. On these panels there were sometimes compliments written about the Prophet, verses expressing praise to him, mostly verses and hadiths containing brief and concise messages. Muslims decorated their living spaces with the wise words and advice of the Prophet Muhammed and showed their love and affection towards him.Among these panels, Hilye-i Şerîfe had special importance in terms of expressing the love of the Prophet. Hilye, which means “ornament, adornment, jewel, beautiful characteristic, beautiful face” in the dictionary, is a concept that refers to poetic or prosaic literary work which expresses the blessed qualities and beauties of the Prophet Muhammed, and on panels written by calligraphers. Hilye, which was formed as a result of love and respect for the Prophet, became more widespread in Ottoman culture, gained great importance and reputation, and it was customary to ask a calligrapher to write a hilye and hang it on the wall, and some beliefs occurred around them due to the sacred meaning they carry. The first and most important example of the hilye form in Turkish literature is “Hilye” written by Hâkanî Mehmet Bey in 1007/1598-99. After this work, the word hilye became the general name of work created especially about the body structure and characteristics of the Prophet. The work, which started with a poem about Basmala, later mentioned narration of the Caliph Ali about the hilye and its virtues. In Istanbul libraries, there are many handwritten ones that involve couplets explaining the features of the Prophet’s body structure.Writing of hilye in panels and ornamenting it were unique to Ottoman Turks, and no such practice was observed in other Islamic countries. Although it was not explicitly included in references, it is accepted that the panel-shaped hilye was written for the first time by calligrapher Hâfız Osman (d. 1110/1698). These works continue to&nbsp;be the center of attention of art lovers in our time as they were in the past, and very beautiful examples are produced by today’s calligraphers both in their classical form and with their new and different trials.

Türk Hat Sanatında Hz. Muhammed Sevgisini Konu Alan Çalışmalar

İlkay Canan

Harika Lifij was born on 7 April 1896 in Amasya. In the years when Harika Lifij was born, the state was going through a process of educational reforms and new regulations as part of its efforts to survive, however the degree of participation of girls in education was still a matter of discussion. Since there were no schools for girls, she attended a boys’ primary school in Amasya. She came by this opportunity for education by virtue of her father’s position as the head of the National Education Board. Harika Lifij came to Istanbul in 1905 with her family. She received training to become a teacher in Dar-ül Muallimat-ı Aliyye (Teacher Education School for Girls) in Istanbul. Müfide Kadri (1889-1912), one of the first women painters, taught her painting. Müfide Kadri appreciated Harika Lifij’s paintings and advised her not to give up painting. Halide Edib Adıvar (1882-1964), who supported the Constitutional Monarchy project specifically with her early novels, was among her teachers. She graduated from school in 1911 but did not start teaching there right away. During this period, she travelled with her aunt and painted freely. In 1914, she was appointed to one of the new Numune schools as an art teacher. She taught painting in many schools for girls and high schools. In 1920, she started teaching in Istanbul Dar-ül Muallimat (Girls’ Teacher School), from where she graduated. While teaching, she also followed the contemporary painting exhibitions. In 1917, she met Avni Lifij, who at the time was a juror in the Exhibition of Vienna. For this exhibition, Harika made a mythological painting called İlahlar Eğleniyor (Deities are Amused). Meanwhile she completed another painting called Ahenk (Harmony).Harika Lifij started participating in the significant exhibitions of the period. She participated in the 1st Galatasaray Exhibition in 1916 and the 2nd Galatasaray Exhibition in 1917, held at İstanbul Beyoğlu Galatasaraylılar Dormitory, War Paintings and Others/The Şişli Workshop Painting Exhibition in the years 1917-1918 (December-January), and the Exhibition of Vienna in 1918 at Vienna University. Harika attended the first painting exhibition of the Republican era in the Turkish Hearth building on 19 October 1923 in Ankara. Her works in the First Ankara Painting Exhibition were highly praised by the critics.&nbsp;She also attended a Painting Workshop where Mr. Muazzez held classes. She attended some classes in İnas Sanayi-i Nefise School as a guest student. She closely followed her teacher Halide Edib holding meetings to protest the invasion of Istanbul and mobilising the people for liberation and to save the country. With the passing of time, Harika would become a versatile Turkish woman of the Republican era, closely following the political events of the period. The influence of the training Harika Lifij received can be seen in the progress of her style. One of her early teachers, Müfide Kadri, was an artist representing the first generation of Turkish female painters. She learned the significance of figures and colours from Müfide Kadri and the impressionist technique from Avni Lifij; however, a more classical style can be observed in her own paintings. In her landscape paintings it can be seen that she depicted various parts of Istanbul and especially Yeşilköy. She worked with Avni Lifij in nature. During these trips, she got information from Avni Lifij to improve her painting technique. Painting was the common interest of Avni Lifij and Harika. Although not many of her paintings are known in the present day, from the paintings obtained, it can be understood that Harika Lifij liked to paint mythological themes. It can be observed that she preferred to use nature sketches in the background of the mythological subject. In her self-portrait, with a realistic approach, she depicted herself with a serious expression. Among her strong social-psychological stance with her posture and facial expression, it is significant as a documentary of her time. This painting is also an illustration of her western identity as a female artist in the beginning of the 20th century. When she was uncertain about colour, she drew the pattern on another paper and tried to experiment with various colours on the pattern. After Avni Lifij’s death on 2 June 1927, she devoted her life to protecting the art and the rights of Avni Lifij. In this regard, she organised an extensive retrospective exhibition of Avni Lifij’s works.To date, many studies have been conducted on Turkish female painters by many researchers. Among those, there are no studies that examine Harika Lifij by herself. Particularly at the stage of building up her own language of painting, she separates from the other female painters of her time with her mythological subjects. The artist writes in her memoirs that she continued painting in form of sketching until 1957. After that, she completely stopped painting because of the difficulties in transferring the paintings, but she continued teaching. In 1951, at the age of 55, she retired from teaching, which she passionately had done for thirty-seven years. In her late years, she wrote her memoirs in various art magazines, such as Sanat Çevresi, Hayat Tarih ve Edebiyat, and Ankara Sanat. These memoirs are mostly about the formation of Avni Lifij’s paintings and her reminiscences with Avni Lifij. This study examines the identity, biography and samples from the paintings of Harika Lifij who lived in Istanbul in the 20th century, and who was one of the most significant female painters and art teachers of her era.

Harika (Şazi Sirel) Lifij; Sanatçı Kişiliği ve Resimleri Üzerine

Jale Özlem

The Gokturks (The Gokturk Khaganate) have various burial traditions such as grave complexes, monumental graves and graves. And one of the grave types of them is memorial-grave. Among these memorial-graves there is an ornamented group which was located especially in Mongolia. These memorial-graves has four or more stone plates that form square or quadratic shape. Related with them, our research area consists of four stone plated memorial-graves that were located at an almost certain place, at the south part of Baykal Lake.Before defining the four plated and ornamented memorial-graves of Mongolia, we shortly need to give some details of the various burial traditions of Gokturk Period. The Chinese Annals have valuable information about the burial traditions of Gokturks, besides the written heritage of them. According to the Chinese Annals, Gokturks put the corpse in to the tent, sacrifice horse or/and sheep and cut their faces and hands by knife as mourning. Then they turn around the tent for seven times and burn the death with his clothes and belongings. After that, they burry the ashes of the death in to the grave and rise a statuette on it. Besides the cremation, they have other burial traditions such as mummifying the corpse and putting it in to the grave room; burying the death in to the ground; hanging the death which was in the sarchopage, on a tree; leaving the death on a bower; putting the bones, which were separated from the death, into a bowl. These various burial traditions make us think that the “memorial-graves” were sometimes made for to bury the ashes of the corpse or constructed only for memory of an important person. Again according to the Chinese Annals, Gokturks sometimes set a wooden pole at the center of this kind of graves and hanged the meat of the sacrificed animal on this pole. This detail is important for us because the information from the Annals and the archeological findings and traces coincide with each other and that point let us to name this kind of graves such as “memorial grave”. One more important detail about these grave is some of them have inscriptions, that has memorial expression about the death person, on their stone plates. So this detail again supports us about the naming of these graves.&nbsp;These kind of graves four or more stone plates but in our study we only reference to the four plated and ornamented ones. Ashat, Ongot, Satar Suluu, Kosho-Tsaydam, Kuli-Chor, Olon-Nuur, İshe Nor, etc. are among these four stone plated memorial graves. One of their characteristic is they are mostly located on a certain place; the south part of the Baikal Lake. They have various ornaments. Among ornaments of these graves are animal, human, plant and geometrical representations take place. At this point we have to mention that as seen on the Anonim IV JL 230 memorial grave from Tonyukuk Complex, sometimes the stone plates can have the same composition or sometimes different ornaments.We can classify the ornaments of the Gokturk Period memorial graves from Mongolia such as:1. Human, Bird and Geometric Ornaments 2. Animal Representations 2.1. Animal and geometric ornaments 2.2. Phoenix representaions 3. Geometric Ornaments 3.1. Rhombic ornaments 3.2. Cell ornaments 3.3. Zigzag ornaments 3.4. Fish scale 4. Plantal OrnamentsAmong the animal representations bird, phoenix, ibex and lion are seen. And ornamental motifs are composed of lotus, curved branches and etc. The rhombic and cell ornaments are the most popular parts of these geometrical patterns. Of course all these ornaments have some symbolical meanings such as eternity, re-birth, dominance and royalty etc. And also we have to mention that ibex, deer, bird and lion are related with Shamanism in Turkish culture. On the other hand lotus is mostly seen in Buddhist art. It means that the ornaments of Mongolian memorial-graves are both carry the traces of Shamanism and Buddhism.&nbsp;&nbsp;Besides these features they also have some symbolical meanings. As mentioned before, these kind of graves that have square or quadratic form, symbolically can be related with four main directions which also means eternity, cosmos, centralism, etc. This symbolism which has very strong root can be traced back to the very earliest times such as Okunyev Culture; for example, one of the famous cosmos schema of them was shown by a square in the circle. On the other hand the stone sculptures and altars that were in the center of these memorial graves and have roundish form can be accepted as the reflection of the World or Life Tree.One of the most important detail about these ornamented memorial-graves from Mongolia is their representations that can be similarly seen not only in early period Turkish art but also in Turkish Islamic Period, with almost same symbolical meanings. In other words these graves, besides their functions and symbolical meanings, take attention by iconographically repeating the familiar representations for many centuries in Turkish art.

Moğolistan’da Bulunan Göktürk Dönemi’ne ait Süslemeli Anı-Mezar Örnekleri

Although the complex of buildings in the historical city center lost its integrity with the destructions in the 20th century, the mosque continues to be the most qualified example of Ottoman architecture of the city. The issue of commissioning has not been clarified since its building, which has been dated to the sultanate of Sultan Süleyman and the architect of Mimar Sinan, and was not included in the lists that recorded the works of Sinan and evoked earlier examples of Ottoman architecture in terms of mass composition. There are various opinions about the construction date of the mosque, patronage and the architect. The documents related to the construction of the mosque in the documents belonging to the period of Suleyman the Magnificent were interpreted as the building was built by him. Some other researchers claimed that the building was built by Selim II, son of Sultan Süleyman, the governor of Konya. In addition to Mimar Sinan, the names of Architect Acem Ali (Alâeddin Ali Bey) and Architect Cemâleddin from Aleppo were proposed as the designers of the building, for which we do not have any information about its architect.The aim of this study is to investigate similar attitudes in the Sinan period mosques in Istanbul by examining the design approaches by comparing the formal features of the building such as space dimensions and arch formation with other structures. If the arch types encountered in the building are considered together, it can also be seen that previous architectural experience gained from the construction of important works that were completed in Istanbul in the period of Mimar Sinan was used in this structure, prior to the date when the Sultan Selim Mosque was allegedly built. Interesting findings have been reached in terms of ratio research in horizontal and vertical projection planes, and the introduction of this design approach and comparison of this approach with other buildings will be considered as a separate publication.The pointed arch (1) between two pillars bearing the central dome of the building in the direction of the qibla, the arches (2) connecting the feet to the wall buttress at the north of the harim, three pointed arches (3) that continue from the north wall to the&nbsp;mihrab wall on the east and west of the middle nave, the arches (4) that connect these feet and columns to the walls behind them, the arch (5) below the upper floor of the northern wall, the pointed arches (6) in the narthex porches on the north facade of the mosque and discharging arches (7) over the window and door openings were examined in terms of dimensions and centers of the arcs that set the arches up. Examples of two-centered pointed arches, which were built using points found by dividing the opening, are also found in the 19 mosques built in the Mimar Sinan period in Istanbul, which we have classified in our previous studies.The arch (1) that connects the feet carrying the dome is a two-center pointed arch close to the circle with an opening of 12.85 m and a height of 6.50 m and similarly, on the other direction (2) has an opening of 13.70 m and both of them have a 1.52 m width in plan. These arches are the elements of rising cubic parts that dominate the structure’s outer appearance. Zal Mahmut Pasha Mosque (1577) is similar to this structure in that the arches carrying the dome have a 12.42 m span and 6.32 m height. Fatih Bali Pasha (1546), Kılıç Ali Pasha (1581) and Üsküdar Mihrimah Sultan Mosques (1547) are the structures where the circular arch is used in a similar size.The arches (3) between pillars at the springing line of 5.60 m above ground with a 6.00 m opening are all typical pencî pointed arches which are formed by dividing the span by 5. The arches (4) that connect these feet and columns to the walls behind them are all these types of two centered pointed arches with approximately 5.30 to 6.00 m span size. The same type is frequently used in the discharging arches (7) over the window and door openings. There are similar pointed arches connecting the feet in the walls at the same elevation as the windows and doors under the small domes on the east-west facades of the harim. It is seen that this arch type is the most preferred type among the 19 Mimar Sinan period Istanbul mosques with 40 percent indoors. Fatih Nişancı Mehmet Pasha, which has an eight-supported plan scheme, and Fındıklı Molla Çelebi and Topkapı Kara Ahmet Pasha Mosques, which have a 6-supported scheme, are smaller applications where the arches carrying the main dome are this (1:5) type. In Şehzadebaşı, Süleymaniye, Üsküdar Atik Valide, Azapkapı Sokullu Mehmet Paşa and Üsküdar Mihrimah Sultan Mosque, such (1:5) arches dominate the interior appearance of the building. Similar examples of span size of these arches are 5.67 m in the Fındıklı Molla Çelebi Mosque, 5.70 m in the Topkapı Kara Ahmet Paşa Mosque and 5.70 m in the Şehzadebaşı Mosque.The arch (5) with 2.65 m width in plan on the north wall on the entrance door is a round arch with 13.40 m span which has the springing line at 2.25 m above the floor. The narthex portico is wider and higher in the middle, three identical arches on each side, with seven pointed arches that sit on the walls on both sides and 6 columns in the middle. All of the arches (6) seen on the front and connecting the columns to the&nbsp;north wall are two-centered pointed arches consisting of springs drawn from the points found by dividing the opening by 7. The pointed arches with an opening of 5.17 m in the first row of five-unit porticoes of the Üsküdar Mihrimah Sultan Mosque narthex are of the same type as the portico arches seen here. Süleymaniye Mosque courtyard porches are an example where both (1:5) and (1:7) proportioned pointed arches are used together. The ones used in the five-unit narthex porticoes of Eyüp Zal Mahmut Pasha Mosque are pointed arches with a 4.14 m span and (1:7) ratio, which is very similar to the arches we find here. We encounter the same type (1:7) at Üsküdar Atik Valide Mosque narthex on the east and west facades of the first-row porticoes with a 4.45 m span. Considering the data obtained, it is understood that Konya Sultan Selim Mosque can be evaluated with the works of Mimar Sinan in the first half of the 16th century. In addition, it was seen that further research was needed to compare the works of pre-Sinan architects with their works to understand the reason of the visual similarity of the building with the pre-classical mosques.

Konya Sultan Selim (Süleymaniye) Camii Biçim Özellikleri ve Müellif Mimar Meselesine Bir Katkı

Şule

Rabia

Eskişehir Ziraat Bank Building (1928-1930) is one of the branch buildings which was designed by Giulio Mongeri (1873-1951) in Anatolia for Ziraat Bank during the Early Republican Period. The building’s design has features of the later as First National Architectural called Movement and it is one of the symbol buildings of urban identity. The building began to be constructed in 1928, and the opening ceremony took place on 29 October 1930 during the celebration of the seventh anniversary of the Republic. In 1978, the company planned to demolish the building. In 1979 it was registered as an Immovable Cultural Property to be Protected since it belongs to the pre-1930 Republic Era. In 2005, it was designated as Protection Category I (one).&nbsp;Over time, the building underwent various interventions. However, it is hard to follow these because of the lack of any restitution project records. During our research on the building’s interior, it was possible to investigate only the customer hall on the ground floor of the building, due to security measures. The study aims to reveal the original architectural and artistic elements of the building by tracing the changes in the structure and comparing it with other buildings. Our examination of Ziraat Bank Eskişehir Branch Building’s historical process was completed using documents, photographs, and reports from Eskişehir Region Directorate of Cultural and Natural Heritage Preservation Board, and Municipality of Tepebaşı, Eskişehir. While the plan was analyzed, we used records from before alteration current project and from the 2013 alteration project obtained from T.C. Ziraat Bank Construction Management Department’s Archive.&nbsp;The First National Architectural movement took place between ca. 1908 and 1930 very higly. The forerunners of this movement were Architect Kemaleddin, Vedat (Tek), Arif Hikmet (Koyunoğlu), and Giulio Mongeri. This movement was initiated to create an architectural identity in which the Seljuk and Ottoman styles were revived in the last period of the empire with new materials and techniques. It ended around the mid-1930s because it became impossible to reflect the young Republic’s modern characteristics and new spatial needs. Giulio Mongeri is one of the Levantine architects who had a significant role in the First Nationalist Style. Giulio Mongeri was born in Istanbul and completed his education at the Brera Fine Arts Academy in Milan, Italy. After he returned to Istanbul, he started his own business working on free architectural works from his office. Later he became one of the teachers of the Academy of Fine Arts (Sanayi-i Nefise Mektebi) and worked there at intervals from 1909 to 1928. He carried out many projects mostly in Istanbul and Ankara, such as Karaköy Palace (1920), Maçka Palace (1922), Osmanlı Bank (1926), Iş Bank (1929), Ziraat Bank (1929), the Headquarter’s Building of Tekel (1928), and elsewhere.Since he was an official architect of Ziraat Bank, he built many branch buildings in several cities such as Izmir, Aydın, Kütahya, Manisa, Adana etc.. Mongeri made a significant contribution to the history of Turkish architecture with several examples in three different styles: “Western-influenced Eclectic Style,” “First National Architectural Movement,” and “Modern Architecture.” One of the First National Architectural style buildings which express the Seljuk and Ottoman architectural elements was Ziraat Bank Eskişehir Branch Building (1928-1930). The building’s facades have classical elements of the style, such as reliefs, the shape of windows, plasters, details emphasizing the entrance, etc. The facades were not organized symmetrically because of the built-up area, except the entrance facade. The front of the building that faced the streets had more ornaments and reliefs than the rear of the building . Facades were partitioned vertically and horizontally with moldings and plasters. The form of the windows varied across floors. Vertical elements created a rhythm on the facades and thus the building is cited as an example of the effects from Renaissance style during the First National Architectural Movement. Ornaments which were placed above the windows of the first floor matched the Bursa typed arches in the customer hall. The arches which reflect the 14th and 15th Century Ottoman Architecture were assembled with muqarnas headed pillars as one of the most determinative elements of Seljuk and Ottoman Architecture. Reliefs under the arches, motives on the pillars, and the above-mentioned elements are the representatives of the movement. Vertically placed ornaments from both exterior and interior created unity in the design. The building has three floors: the basement functioned as storage, the ground floor was available for banking services, and the first floor was planned as lodging for employees of the bank. Today these lodging areas have been transformed into offices.&nbsp;The changes and their effects on Ziraat Bank, as one of the symbol buildings of urban memory, are evaluated in the concluding section of this article. Except the main entrance door and the label of the bank had been changed repeatedly and some of the reliefs are not preserved, also some other few changes, the building facades still have some of the original elements. Maintenance applications conserved the roof. The building’s historical area totally changed over time and thus, it became hard to recognize the historic building in its modern surroundings. In the interior, the furniture, heating systems, and lighting systems have changed due to technological developments. These changes were made with sensitivity so as not to harm the unique elements of the building as much as possible. The columns and arches have been particularly well preserved.&nbsp;The results of our research show that Mongeri used the features of First National Architectural movement in the arrangement of the facades, in the entrance hall, and in the customer hall using Bursa arches, muqarnas, hatayi, and so on, and all these elements are still intact today. Although the building’s holistic value has been reduced because of changes in the entrance door, the non-existence of original furniture, the addition of a new interior door, and modifications related to technological improvements, the building still has the characteristics of the First National Architecture Movement.

Giulio Mongeri’nin Erken Cumhuriyet Dönemi Yapısı Eskişehir Ziraat Bankası’nın Kültürel Miras Yönetimi Kapsamında İncelenmesi

Kemal

Varlıklı Romalılar, Erken İmparatorluk Dönemi’nde kendileri, aileleri ve köleleri için mezar yapıları yaptırmıştır. Gösterişli definler için urnalar (kül kapları) kullanılmış ya da kabartmalı mezar stelleri yapılmıştır. Et yiyen manasına gelen sarkofaj (lahit) ancak az sayıda kişinin yaptırabildiği mezarlarken lahitlerin anıtsal boyuttaki versiyonları olan mozoleler çok özel kişiler için nadiren inşa edilmiştir. Günümüzde Ozan Anıtı olarak adlandırılan tek hacimli anıt mezar, Helenistik dönemden itibaren Anadolu’da yaygınlaşmaya başlayan Yunan tapınağı formundaki mozole geleneğinin bir devamı olarak karşımıza çıkmaktadır. “Ölüyü tanrılaştırmak, yüceltmek, kahramanlık seviyesine çıkarmak, ölümsüzleştirmek, şan ve şeref sahibi yapmak” bu tip mezarların yapılış amaçlarından bazılarıdır.Ozan anıtı, günümüzde Malatya İli, Darende İlçesi, Ozan Köyü’nde 154 ada, 20 parselde, köyün çeperinde, kayısı bahçeleri içerisinde yer almaktadır. Yapının üzerinde yazıt bulunmadığı gibi, yapı hakkında kaynaklarda herhangi bir bilgiye de rastlanmamıştır. Dolayısıyla yapının inşa tarihi ve banisi hakkında kesin bir kanıya varmak olası değildir. Yapım tekniği, üslubu ve dekoratif öğelerin niteliği göz önünde tutularak anıtın Roma İmparatorluk dönemine ait olduğu ve kabaca M.S. 2. yüzyıla tarihlendiği görülmektedir. Nitekim başlangıçta basit çadır kamplarına sahip olan Samosata, Zeugma ve Dura Europos’un yanı sıra Fırat Nehir hattının önemli geçitlerinden biri olan Melitene, M.S. 2. yüzyıldan itibaren Roma İmparatorluğu tarafından Part İmparatorluğu’na karşı bir lejyon şehri hâline getirilmiştir.Yunan tapınağı formundaki mozole geleneğinin ilk örneklerinden biri, Ksantos’taki (Xanthos) Nereidler Anıtı’dır (M.Ö. 400-380). Nereidler Anıtı, dikdörtgen ve yüksek bir podyum üzerinde İyon düzeninde bir tapınak formuna sahiptir. Benzer şekilde Ozan Anıtı da İyon düzeninde bir tapınak formunda tasarlanmıştır. Ancak Roma tapınaklarında da yaygın olarak görülen yüksek podyum kullanımının aksine Ozan Anıtı’nda podyum kullanılmamıştır. Yapının yerden yüksekliği yaklaşık 6,5 metredir. Batı cephesinde yer alan giriş kapısı, kapı üzerindeki tepe penceresi ve doğu cephesindeki tepe penceresi dışında tüm cepheleri özdeştir. Cephelerde bir yapı kaidesi ya da stilobat üzerinde yükselen dört adet İyon sütunu ve üstlerinde yine İyon düzeninde bir saçaklık yer almaktadır. Bu saçaklık üç fasyalı bir arşitrav, düz bir friz ve kornişten oluşmaktadır.&nbsp;Cephedeki sütunlardan köşede bulunanlar 3/4 sütun, ortada bulunanlar ise yarım sütundur. Cephelerine taşıyıcı özelliği olmayan yarım sütun yerleştirilmiş bu tip tapınaklar, Antik Yunan döneminden itibaren kullanılmış ve pseudoperipteros olarak adlandırılmıştır. Yalancı peripteros anlamına gelen bu tipte, tapınağı çevreleyen yarım sütunlar yapının peripteros olduğu, yani dört tarafı serbest sütunla çevrilmiş olduğu izlenimini vermektedir. Sütunların arasında her cephede simetrik olarak yerleştirilmiş üç adet küçük niş bulunmaktadır. Bu nişler yerden yaklaşık 4 metre yükseklikte ve saçaklığa yakın bir biçimde konumlandırılmıştır. Nişlerin çerçevelerine iki adet sütunla taşınmış kemer formu verilirken nişlerin hemen altında aşağı doğru sarkmış kalın girland rölyefleri yerleştirilmiştir. Bu nişlerden batı ve doğu cephelerinde ortada bulunanlar pencere fonksiyonu görecek şekilde açılmış ve çerçeveleri dikdörtgen formunda tasarlanmıştır.Girlandlar (askı-çelenkler) Roma dönemi lahitlerinde insan ve hayvan figürlerinin yanı sıra en sık kullanılan süslerdir. Bu süslerin anlamını açıklayan yazılı kaynaklar bulunmamaktadır. Söz konusu çelenkler çoğunlukla çiçek, meyve, defne, meşe, sarmaşık yaprağı ve çam kozalağı gibi bitkisel elemanların bir araya getirilerek kurdeleler ile sarılması sonucu oluşturulmuştur. Girlandlı süslemelerin Roma dönemindeki ilk örnekleri M.S. 1. ve 2. yüzyılda üretilen mezar sunaklarıyla kül urnalarında görülmektedir. Girlandlı lahitler ise 2. yüzyılın başlarında ortaya çıkmış, ortalarında yaygınlaşmış ve aynı yüzyıl sonlarında yaygın kullanımını kaybetmeye başlamıştır. Roma İmparatorluğu Kapadokya Eyaleti sınırları içerisinde bulunan ve bir kısmı girlandlı olan lahitler de çoğunlukla 2. yüzyılın sonlarına tarihlenmektedir.Aslında girland motifi, Roma döneminden önce kare veya daire biçimli bir taban üstünde yükselen sunakların süslenmesinde kullanılmıştır. Helenistik dönem girlandları, sadece yapraklardan yapılmış olup incedirler, ortalarında kalınlaşmazlar ve aşağıya doğru sarkmazlar. Roma İmparatorluk dönemi girlandları ise ortalarında kalınlaşır ve aşağıya doğru sarkarlar. Bu bilgiler ışığında Ozan Anıtı’nda karşılaşılan girlandların Roma Dönemi’ne ait olduğu ve kabaca M.S. 2. yüzyılda yapıldığı anlaşılmaktadır. Ayrıca girland ve üzerlerindeki nişler, anıt mezarın yapıldığı kişiye ithafen dönem dönem adak adandığını ve bu adakların nişlere yerleştirildiğini düşündürmektedir.Yapının genelinde taşlarda yüzey kaybı bulunmakta, yer yer strüktürel hasarlar da görülmektedir. Yapının en büyük problemi cephelerde köşe taşlarında görülen kopmalar ile yapı kaide ve temelindeki eksik taşlardır. Yapının çevresinde zemin kotu düşürülmüş, anıtın temelleri açığa çıkmıştır. Bu eksiklikler nedeniyle duvarların taşıyıcılık özelliği zayıflamış, beden duvarından ayrılmalar meydana gelmiştir. Yapının üst örtüsündeki eksiklikler de yapıyı olumsuz etkilemektedir. Kimi yerde arşitrav ve korniş arası bölge yok olmuştur. Üst örtüdeki bitki oluşumu da yapıda dış kütlede görülen önemli bozulmalardandır. Üst kaplama büyük ölçüde yok olmuş ve anıtın üst örtüsü düz çatı hâlini almıştır.&nbsp;İç mekânın genelinde yüzey kirliliği hâkimdir. Yapının güney duvarında kesme taş yüzey sonradan oyularak mihrap benzeri bir niş oluşturulmuştur. Kesme taş yüzeylerde kısmi derin oyuklar bulunmakta, taşların bir kısmında da yüzeysel aşınma görülmektedir. Tavan yüzeyinde tonoz üzengi/başlangıç kotundan itibaren yoğun bir karbon tabakası/yüzey kirliliği ile bazı bölümlerde nem ve buna bağlı tuzlanma görülmektedir. İç mekân döşeme kaplaması kısmen yok olmuş, kısmen toprak dolgunun altında kalmıştır.Ozan Mezar Anıtı, büyük ölçüde fiziksel bütünlüğünü koruyarak günümüze ulaşmıştır. Restitüsyon çizimleri, yapı üzerindeki mevcut izler ve benzer dönem yapıları incelenerek hazırlanmıştır. 20. yüzyılın başlarında Anadolu’yu gezerek pek çok tarihi eseri tespit eden Gertrude Bell’in Anadolu’da fotoğrafladığı binalar arasında Ozan Anıtı da yer almaktadır. Bu fotoğraflardan anlaşıldığı üzere, yapıdaki bozulmaların büyük bir bölümü fotoğrafların çekildiği tarihte de mevcuttur. Yapının kare formu ve birbirini tekrar eden cephelerden oluşması, eksik yapısal detay ve motiflerin tamamlanmasında kolaylık sağlamıştır. Cephelerde görülen büyük boyutlu detay ve malzeme eksiklikleri, yapı üzerindeki diğer elemanlar incelenerek tamamlanmıştır. Anıtın restorasyon projesi büyük ölçüde restitüsyona dayalı olarak hazırlanmış; yapının en doğru şekilde ayakta tutulabilmesi ve geleceğe aktarılabilmesi için gerekli müdahaleler belirlenmiştir.Ozan Mezar Anıtı, Roma dönemi anıtsal mezar yapılarının günümüze iyi durumda ulaşmış seçkin örneklerinden biridir. Bu özelliğine karşın yapı gözden kaçırılmış, tarihi ve mimari özellikleri üzerine herhangi bir çalışma yakın geçmişe dek yapılmadığı gibi onarımı da gündeme gelmemiştir. Yapıya ait rölöve, restitüsyon ve restorasyon projeleri, ilgili Koruma Bölge Kurulunca onaylanmış olup, restorasyon projesinin uygulama aşamasına geçilmesi beklenmektedir. Anadolu’nun zengin kültürel mirasının bu denli önemli bir örneğinin özenli bir restorasyon sürecinin ardından bölgenin kültür turizmine önemli bir katkı sağlayacağı düşünülmektedir.

Malatya Darende’de Unutulmuş Bir Roma Mozolesi: Ozan Anıtı, Mimari Özellikleri ve Koruma Sorunları

Korkmaz

Yunus

Bitlis Castle is located in the center of the Bitlis province within the borders of the Eastern Anatolia Region. The Iskender Stream to its west and The Dideban Stream to its east form a natural moat around the castle on a rocky hill, which is higher than its surroundings dominating the region.Pipe finds, which were obtained in excavation works in Bitlis Castle in 2018, will be examined and evaluated within the scope of the present study. Pipe finds in a large number of different forms and decoration features were obtained in the areas, called P and R 14-15 and a drilling in excavation works in Bitlis Castle in 2018. As a base, out of these pipe finds sieve bowl pipes were examined in an earlier published study, so they were excluded from the present one.&nbsp;&nbsp;The most common groups of forms were comprised of sieve and non-sieve shallow rounded bowl pipes in the Bitlis Castle excavation in 2018. In addition to these groups, pipe samples with forms of disc bowl, round bowl, biconical bowl, lily bowl, sack-shaped bowl, cylinder bowl, and a great number of pipe finds only with flue were also found. Pipe finds in different forms were largely of clean paste, little and smallsized additive, and they were a little porous and hard-baked. The pipes, examined in the present study consist of 113 finds in total, including sieve, shallow rounded bowl pipes (24 pieces), disc bowl pipes (5 pieces), round bowl pipes (22 pieces), biconical bowl pipes (7 pieces), lily bowl pipes (3 pieces), sack-shaped bowl pipes (9 pieces), cylinder bowl pipes (3 pieces), shallow round base pipes (1 piece), and the pipes only with flue (32 pieces).Besides these, a find, which was not examined in existing publications, and which is considered to be a cup for embers as may be inferred from coal dust and burns was also revealed. Some additives such as mica, lime, sand, and fireclay exist in the pastes of the examined pipes. The pipe pastes were in red, grey, pink, and brown with white colours having different tones of the mentioned colours. Different decoration techniques such as incised, imprint, roulette, and molding were applied on the pipes singly or along with a few of them. In addition to pipe finds; coffee cups, ceramic pieces, metal objects, and coins were also found in both exposals of the spaces. The place where a great number of finds, belonging to daily life, were attained, is considered to have been used as a public space. It is known that people used to go to coffeehouses after hammams in the Ottoman period. It is indicated that these places might have been used as coffeehouses as they were situated in the south of the castle near the hammam and particularly as pipes and coffee cups were intensively found. A space, which is considered to be a palace, and a hammam were found in the excavation conducted in Bitlis Castle today. The space, which was built with mortarless dry walls, is considered to belong to the 18th and 19th centuries. Some finds, which are considerably significant in terms of the history of Bitlis Castle, were detected in the drilling work in the excavation area. The entire discontinuance of pipe finds after reaching a definite depth in the drilling work provides notably important data in terms of dating.&nbsp;Black, glazed sieve, shallow round bowl pipes and large-sized, red-lined, glazed disc sieve and lily bowl pipes were found right after digging approximately 20 cm in the exposals in the excavation; thus, the pipe finds, obtained in that section, which was a late Ottoman settlement, are dated to the 19th century which it is known to have been the last settlement in the castle. It is noted in the English consul J. Brant’s reports that the castle was brought into total use in 1836. One of the reasons for dating the pipes to the 19th century is that there were not any other available pipe finds following the similar samples in different areas and a 1810-11-dated coin, belonging to the period of Mahmut II.&nbsp;The pipes that mainly belonged to the 18th century was sack-shaped bowl, biconical, shallow round bowl pipes and additionally, 1701-1702-dated Mustafa II-period, 1737-1741-dated Mahmoud I-period, 1788-dated Abdulhamid I-period coins were obtained. However, out of these pipe types, the ones with a paste colour in oyster white tones were attained in deeper parts than other pipe finds, predominantly in the drilling section, and they are considered to belong to the period between the 17th century and the first quarter of 18th century as the coin, found with the pipes, could not be read because of corrosion. Although obtaining coins along with the pipes provides significant data for dating, it became difficult to date the pipes more precisely because the coins were in juxtaposition and most of them could not be read because of corrosion. Besides the coins, many coffee cups obtained also confirmed the existing data. Apart from black pipe finds, the other samples, which are similar in terms of both form and decoration, were widely seen in Anatolia and out of Anatolia, thus indicating that only black glazed pipe finds, found out in Bitlis Castle, were local production and that the other samples, belonging to the 17th-19th centuries, were imported to the region through trade. In relation to Bitlis castle excavation pipes of the year 2018, it is noted that other finds besides pipes, obtained in two exposals covering a limited part of the excavation area of the drilling work support each other. A part of the area presents stratigraphically explicit data and permits the finds to be more precisely dated. The excavation work in Bitlis Castle in the forthcoming years will provide a significant contribution to a more extensive evaluation of the excavation work area and particularly pipes by means of stratigraphical data.

Bitlis Kalesi Osmanlı Dönemi Lülelerinin Değerlendirilmesi (2018 Yılı Kazı Sezonu)

Sait

Naif resim, sanat tarihinde belli bir dönemin, akımın ve kuramın sanatsal özelliklerinden bağımsız bir şekilde çalışmaların yapıldığı bir resim anlayışıdır. Mesleki bir eğitim geçmişi olmayan naif ressamlar, akademik resim tekniklerine sahip olmadan ve güncel sanatsal eğilimlerden uzak şekilde iç yaratıcı dürtülerine göre çalışırlar. Çalışmalarında çoğunlukla doğup büyüdükleri çevrenin sıradan yaşam sahnelerini ve halk sanatıyla ilişkili konuları ele alırlar. İmgelem dünyalarını doğrudan aktaran naif ressamların çalışmalarında fantastik, sembolik, gerçeküstücü, yergilerin ve eleştirel içeriklerin yanı sıra tarihsel ve sosyal sorunları ele aldıkları görülebilmektedir. Çocuksu bir duyarlılıkla yaratılan resimlerde her biçim, titiz bir anlayışla en ince ayrıntısına kadar resmedilir. Naif ressamlar, anlatılan hikâye ve olaya odaklandığından çoğu zaman perspektif, ölçü ve denge gibi sanatsal kurallara uyma konusunda kaygı duymadan ve yaratım sürecinde akademik anlamdaki sanat ürünleriyle karşılaştırma yapmadan çalışırlar.&nbsp;Urfa’daki mahallî ressamlık geleneğinde konuların kurgulanış biçimi ve izleyiciyle kurdukları bağ açısından “Urfalı foto-yorumcu/gerçekçi” tarzda çalışan ressamlardan ayrı olarak ortak bir eğilim gösteren naif ressamların çalışmalarında önemli bir yaratıcılığın olduğu ve naif resmin genel özellikleri açık bir şekilde görülebilir. Urfalı naif ressamlar üretim sürecinde çevreden herhangi bir müdahale ve yardım almadan bireysel olarak, kendi düşsel dünyalarına ve izlenimlerine dayanarak resim yapmaktadırlar. Bu resimlerin teknik yönünden ve evrensel boyutundan söz edilebilir. Ancak bu resimler, konu bakımından yerel aklın ve beğeninin ürünleri olarak ortaya çıkmıştır. Çalışmalarda yoğun bir gerçekçiliğin yanı sıra düşsel unsurların, sözlü halk edebiyatının ve folklorik değerlerin yansımalarını görmek mümkündür. Ressamların olabildiğine saf ve yalın bir anlayışla yaptıkları resimlerin, yaşanmışlığın imgelemdeki izdüşümleri olarak üretildikleri söylenebilir. Bu yönüyle, Urfalı naif ressamların çalışmalarının, sanat piyasasının tüketim ve asimile eden ortamından uzak ve çağdaş/ akademik/entelektüel sanatsal kalıplara başvurulmadan yapılmış Türkiye’deki gerçek&nbsp;naif sanatın önemli örnekleri olduğu ileri sürülebilir. Bu çalışmada, üslup anlayışı ve bakış açısıyla yerel yaşamı ve folklorik temaları resimlerinde önemli bir öge ve imge olarak ele alıp yorumlayan farklı kuşak ve anlayışta resim yapmış ressamlara değinilmiştir. Akademik resim anlayışından ve dış etkenlerden tamamen bağımsız, naif sanat anlayışı doğrultusunda ve bireysel yaklaşımlarla çalışmalar üretmiş olan Urfalı naif ressamlardan Namuslu Ali, Osman Güngör, Şefika Güneş, Naci Büyükkırcalı, Abdurrahman Birden, Abdurrahman Polat, Neşet Uçkan, Necmi Kaya ve Muharrem Çelik’in çalışmaları naif resim ekseninde incelenmeye çalışılmıştır.&nbsp;Çalışmaları ve renkli yaşantısından dolayı Urfalı naif ressamlar içinde en ilginç ressam, (asıl işi oto boyacılığı olan) Namuslu Ali lakabıyla bilinen Ali Tökgöz’dür. Bir dönem Urfa’nın birçok iş yerinin tabelasında ve duvarında resimleri bulunan Namuslu Ali’nin ne yazık ki günümüze sadece ahşap plaka üzerine endüstriyel yağlı boya ile yaptığı iki resmi ve Müslüm Parmaksız Evi’nin duvarına yaptığı bir resmi ulaşmıştır. Namuslu Ali, Urfa’nın tarihi yerlerini konu aldığı resimlerini naif bir resimleme anlayışıyla ve olasılıkla hayalden resmederek yapmıştır. Urfalı naif ressamlar içinde değerlendirilen diğer önemli ressam Osman Görgün’dür. Çalışmalarında yoğun olarak horozları ve horoz dövüşlerini konu edinen Görgün’ün, resimlerinin bazı açılardan akademik bir bilinçle yapıldığı hissedilir. Ancak resimler yakından incelendiğinde, resmin imgelenişinde ve biçimlenişinde naif anlayışın egemen olduğu ve zorlama bir boyamanın olmadığı, rahat ve içtenlikle yapıldığı açıkça gözlemlenmektedir. Grubun öne çıkan bir diğer ressamı ise Nine Ressam olarak bilinen Şefika Güneş’tir. Okuma yazması olmayan ve ileri bir yaşında resim yapmaya başlayan Güneş’in çalışmalarında doğduğu, büyüdüğü köy yaşantısının yanı sıra yerel halk edebiyatından geniş ölçüde yararlandığının izlerini görmek mümkündür. Güneş, çevresindeki akademik ve foto-yorumcu ve amatör ressamların resim anlayışına hiç özenmeden, naif karakterini yitirmeden çocukluk anılarına ilişkin pek çok ögeyi, manzarayı koruyabilmiş ve bunları sade bir gerçeklikle resimlerine yansıtabilmiştir. Resimlerindeki abartı, basitlik, yalınlık ve olağanüstülük gibi durumlar gerçeklikten kaçış veya onu yapamamasından değil, daha çok düşsel yanı ve coşkuyu ön plana çıkarmasındandır. İşçi emeklisi olan Naci Büyükkırcalı, resimlerinde Urfa’da günümüzde kaybolmuş el sanatlarının, yıkılmış/yıktırılmış ve tahrip olmuş yapıların, eski Urfa evlerindeki ev ahalisinin günlük yaşam sahnelerini sabırlı ve titiz bir boyama tekniğiyle, kendine özgü üsluplaşmış naif bir dille betimlemektedir. Büyükkırcalı’nın resimlerinin naif ve naif olmamak arasında bir yerde olduğu söylenebilir. Çünkü bazı resimlerinde fırçasını ustalıkla kullanmasının yanı sıra sağlam kompozisyonların, büyük bir dikkatle ve özenle biçimlendirilmiş ve renklendirilmiş bir teknik ile yapıldığı görülür. Ressamlığa şövale tabelacılığı ile başlamış olan Abdurrahman Birden’in resimlerinin önemli bir bölümünde, Urfa’daki günlük yaşam sahnelerine ilişkin tasvirlerin varlığı göze çarpar. Bir zamanlar her bayramda Urfa’nın çeşitli mahallelerinde kurulan tahtadan salıncak ve dönme dolaplar, sokak aralarına kurulan şehriye makineleri, halı örenler, Abdurrahman Birden’in belleğinde yer etmiş ve buna benzer birçok çalışmayı kendine özgü üslubuyla, katışıksız olarak resmetmiştir. Abdurrahman Birden’in naif boyamanın yanı sıra tabelacı titizliğiyle ve ince fırça vuruşlarıyla resimlerini sabırlı bir şekilde yaptığı görülür. Şövale tabelacılığından gelen bir diğer naif ressam ise Abdurrahman Polat’tır. Yıllarca kamyon, römork, okul, resmî kuruluş/daire, kıraathane, hacı duvarı ve dinî mekânları çalışmalarıyla süsleyen Polat; zaman buldukça çocuksu bir coşkunun yanında âdeta bir resim işçiliği ile yaptığı, kırsal yaşamı kendine özgü vurgularla betimlediği resimleriyle Urfa’daki naif resmin konu ve biçim yönünden çeşitlenmesine ve gelişmesine önemli katkı sağlamıştır. Düş gücüyle oluşturulan bu çalışmalarda herhangi bir müdahale veya yönlendirme gözlemlenmemektedir. Aksine, saf ve titiz bir duyarlılıkla yapılmış resimlerdir. Asıl mesleği eczacılık olan ve daha sonra resim yapmaya başlayan Neşet Uçkan’ın sakin ve rahat tarzında güzelleştirmeci ve zorlayıcı bir resimlemenin olmadığı görülmektedir. 1985 yılından bu yana tutarlı bir şekilde pastel boya kullanarak yaptığı Harran resimleriyle Urfalı naif ressamlar arasında konu ve teknik yönünden ayrı bir yerde duran Necmi Kaya, zamanla kendine özgü bir naif resim dili geliştirmiştir. Kaya’nın resimlerinde daha çok Harran’daki geleneksel yaşantının çeşitlemeleri görülmektedir. Bu çeşitlemelerde; onun saf bir içtenlikle Harran manzarasına ilişkin bir dizi tutarlı görsel düşünceler ürettiği izlenebilir. Akademik bir sanat eğitimi almamış olan Muharrem Çelik’in, sıra dışı içerikteki anlatımı ve tarzıyla Urfalı naif ressamlar grubunda kendine özgü bir yeri vardır. İmgelerin betimlenişi açısından naif-dışa vurumcu olarak değerlendirebileceğimiz resimlerde, yoğun olarak çiğ ve pastel renkler kullanılmıştır. Naif bir duyarlılığın yanı sıra mizahın ve yerginin olduğu çalışmalarda ilginçlik ve içtenlik birçok açıdan duyumsanmaktadır.&nbsp;Sonuç olarak, Türkiye naif resminde saklı kalmış estetik bir değer olarak değerlendirilebilecek Urfalı naif ressamlar, yaşadıkları çevrenin yaşantısını kişisel, estetik, kurgusal, saf ve titiz bir resim anlayışıyla betimlemişlerdir. Urfalı mahallî ressamlık geleneğinde naif tarzda çalışan ressamlar; naif resmin genel özellikleri çerçevesinde, yerel aklı ve beğeniyi birbirine eklemleyerek, hiçbir sanatsal biçime entegre olmadan, üretim sürecinde çevreden herhangi bir müdahale ve yardım almadan, kendilerine özgü ortak bir konu etrafında bireysel, güçlü, naif bir resim dili oluşturmayı başarmışlardır.Teknik açıdan Urfalı naif ressamların resimlerine bakıldığında, her ressamın kendi içgüdülerine ve sezgilerine bağlı olarak, yaşamsal deneyiminden ve gerçekliğinden yola çıkarak resimler ürettiği izlenebilmektedir. İncelenen bazı örneklerde, gerçekçi ve detaycı bir resimleme üslubunun ve yumuşak renk geçişlerinin olduğu, bazı örneklerde ise daha yüzeysel ve yalın bir biçimleme anlayışının hâkim olduğu görülebilmektedir. Bireysel sanatsal deneyim ve birikime göre kimi ressamların resimlerini sağlam bir kompozisyon, figür ve perspektif kullanarak yapılandırdığı izlenebilirken kimi örneklerde ise çocuksu bir duyarlılıkla saf, katışıksız bir resimlemenin ön plana çıktığı görülebilmektedir.

Urfalı Naif Ressamların Resimlerinin Renk, Kompozisyon, Mekân ve Konu Açısından İncelenmesi

Darüşşifas are health institutions that are related to today’s hospitals in terms of their functions. However, they differ in terms of how the needs of these structures were handled by foundations. In darüşşifas, apart from health care, many activities were conducted such as plant cultivation for herbal medicine, or the nutrition of patients and physicians. In addition, the master-apprentice relationship, which constituted the backbone of traditional medical education, was organized at these institutions.The Seljuk darüşşifas were built as madrasah1 plan schemes with iwans-courtyards. In Anatolia, next to the Seljuk darüşşifas, medical madrasahs were built as well. In the darüşşifa foundations constructed in Anatolia, the style of the double madrasah with iwans and courtyards was adopted and developed as a building type in Anatolian Turkish Architecture. This type consists of spaces opening under a riwaq, instead of them directly opening to the courtyard. Vaults, cones and domes were used in the covering systems of Anatolian Seljuk Darussifas. Stone and brick were used as materials.&nbsp;&nbsp;The Ottoman State continued to use the old Seljuk darüşşifas, adding various extensions to them, and the blueprint madrasah plan scheme with riwaqs-courtyards in its simplest form was implemented for new structures as well. Darüşşifa structures that provided health services to people later failed to meet the requirements of the more recent eras, as their inadequacies began to become evident. Some of the darüşşifa institutions that were unable to respond to the conditions of the modern era began to serve the mentally ill. The darüşşifas were provided with various extensions in order to help them regain their functionality.The Ottoman military, which lost its power in the stagnation period, turned its face to the west in order to take precautions against failures. Until this period, which is generally referred to as Westernization, the Ottoman darüşşifas had maintained their traditional forms consisting of rooms arranged around a central courtyard which evoke the plans of madrasahs. The first innovations in the field of health in the Ottoman Empire were realized after 1789 in Selim III’s reign. These innovations were first implemented in the army, parallel to new military arrangements, and started to be applied to general public health as well during Abdulmejid’s reign.Military hospitals, which make up the first examples of innovation in the field of health, were set up using the barracks plan scheme, and they formed a bridge between the first modern hospitals built for civilians and the darüşşifa. These buildings were constructed with a barracks plan scheme representing the military order. In the first civilian hospitals which began to be constructed after some military hospitals, instead of open riwaqs, passages were provided in the form of closed corridors just like those in military barrack plans. In line with the health conditions of the period (in which epidemic diseases were rife), hospitals with independent units were built and these were later connected via enclosed ports to enable easier access throughout the complex. Although the innovations brought into the health institutions of the Ottoman Empire were first seen in the capital and its environs, in line with increasing needs (caused by epidemics, war, internal conflicts, etc.), they started to be implemented in Anatolia as well. These developments in health structures in the capital and the provinces formed the basis of the hospitals of the Republican period.This study, which we have called “The Development of Late Ottoman Health Structures and Their Investigation through the Example of Adana Province”, contains a comprehensive examination of the historical development of Ottoman health institutions in the capital city (Istanbul), showing their locations, construction dates, plans, architectural features, and the way they altered over time. The study proceeds with a detailed examination of the health structures identified in the province of Adana, which grew in significance in the Ottoman Empire in the 19th century. In line with this, the study was completed in three main stages. In the first stage, architectural projects of the Ottoman health buildings found in literature were evaluated, theses and articles written on the subject were examined, Ottoman archives were delved into, and the literature was searched through. In the second stage of the study, health institutions identified in Adana province were examined on-site and detailed descriptions were drawn up. In the third stage, the health foundations of Adana province were evaluated in a more general way.Within the scope of the study, 7 health structures were identified in Adana province, including its centre and sanjaks. 3 of the 7 detected structures have survived to the present day while 4 of them have not. The structures that have survived to the present day are the Mersin Millet Hospital, Silifke Gureba Hospital and the Kozan Old Hospital, and detailed on-site analyses are concentrated on these three buildings. The Adana Gureba Hospital, Tarsus Gureba Hospital, Hamidiye (Ceyhan) Gureba Hospital and the Adana Municipality Hospital, on the other hand, have not survived to the present day. These structures are documented mostly by archival research. Due to requirements of expansion in health structures and inadequacy of old buildings for new equipment, new structures had to be built. And as the old structures in hospital complexes lost their function, they could not be preserved.The study also briefly examines the evolution of health institutions in the Ottoman state which developed in 19th century and tracks the traces of these structures in the Adana province. The main aim of this study was to make a contribution to literature in the fields of architectural history and conservation.

Geç Dönem Osmanlı Sağlık Yapılarının Gelişiminin Adana Vilayeti Örneği Üzerinden İncelenmesi

Ceren

Zeynep

In the process of the spread of Christianity, the development of the concepts of faith and worship began to appear through various pursuits. In the early Christian period, the believers chose to spend all their lives devoting themselves entirely to spiritual life and being free of worldly pleasures in order to be closer to God and to become true disciples. These people, who are described as hermit monks and ascetics, were revered as saints. The believers regarded them as a saints after their death. Some of them passed away redeeming themselves from sins and some became martyrs because of their faith. Both life processes have not lost their popularity since the 4th century to the present day because they represent devoted lives for Christianity and serve as a model for other believers as well. There are various objects including depictions of Saint Symeon Stylites the Younger, Saint Onouphorios, Saint Nicholas, Saint Tryphonos, and Soldier Saints Georgios and Demetrios, who became the instructive and revered saints of the Christian world from different regions and with different life stories. The concept of carrying objects containing depictions of the saints, which are thought to be protective because the saints sacrificed their lives for a sacred purpose and believed to have healing abilities, and going on pilgrimage by visiting saints’ tombs, which are believed to be sacred since they were buried there or martyred, have been accepted in Byzantine society since the 4th century onwards.&nbsp;Along with the spread of Christianity, it is visible that the concepts of pilgrim and pilgrimage gained importance. The facts of pilgrim and pilgrimage are identified with the spiritual journey to the loca sancta between the beginning of the 4th century and the 7th century. The believers following the traces of the spiritual journey on which Constantine I’s mother Helena once had gone to find the true cross where Jesus had been crucified has hence developed into the concept of pilgrimage. The purpose of pilgrimage travel differs according to believers. The main reasons for pilgrimage are worship, donations and offerings, redemption of sins or getting advice to heal physical or mental ailments. The pilgrims purchased souvenirs made of various materials from the loca sancta or the sacred area visited on the route. As the popularity of pilgrimage increased, so did the variety of souvenirs or protective objects purchased by pilgrims. Encolpia, pilgrimage flasks, oil lamps, censers, tokens rings, liturgical seals and cross pendants were bought by pilgrims. The concept of pilgrim on the other hand is fully associated with the ascetic life in Early Christianity. Christian believers, who performed a pilgrimage by visiting a loca sancta, also showed great interest in ascetic monks who have a very important place in Early Christianity. Ascetic monks who established a life that isolated themselves from worldly riches for eternal salvation were later honored by being declared saints. For centuries, pilgrimage has been performed to pay homage to the hermit monks who have played an important role in the beginning of the Christian faith and are examples for conveying this doctrine to believers, and these sacred visits are maintained within the same emotion and faith today as well.Haluk Perk Museum, which has quite original and various objects dated back to different periods of the Byzantine Empire, has a distinguished position in Turkey. The token, medallion pendants and small icons in the Haluk Perk Museum stand out as important concrete documents that provide information about faith, worship and pilgrimage. As well as the depictions of pillar saints or martyr saints, these objects including depictions of Mary with the title of Mother of God and whose protective identity is emphasized contain both faith and protective and healing talisman functions. The terracotta token, the small hematite icon, the small steatite icon, three medallions and nine encolpia date back to the Early Byzantine Period. They will be presented in detail. They are also very important objects to emphasize the features of their periods. The pilgrim token, which occupies a privileged place among these objects, is a typical example of the Symeon token of the 6th and 7th centuries. This token, one of the rare specimens found in Turkey, is probably of Antioch origin. The double sided icon, which is made of hematite and contains Saint Onouphrios on the one side and the “Daniel in the lions’ den” depiction from the Old Testament on the other side, must have been made for a devout Christian who believed that it would provide divine protection, goodness and healing. Although there is no clear information about the production date of the icon, it is thought that it can be dated between the 12th and the 14th centuries. The icons were proctective objects. The steatite is also believed to be a proctective substance. In our study, both of them will be discussed in a detailed way. The inscription on the object can be partly read because it is broken. However, since the person on the object has a bishop attire, he must be St Nicholas because it is his characteristic costume. Taking into consideration the popularity of steatite in the Byzantine world, the object has been ascribed to the period between the 11th and the 13th centuries. Three encolpia on which we see Virgin Mary in three different types of depiction are rare examples of which we cannot come across many similar ones. In the first one, the reverse was destroyed. In the second one, the reverse was devoted to the military Saint Georgios; in the third one, the martyr Saint Tryphonos of Nicaea is depicted. Although the encolpion varies according to the pendant, it is estimated that they belong to the period between the 10th and 14th centuries due to the depiction types and iconographic details of these three objects. The three bronze objects whose obverse and reverse have depictions and are probably attached to a similar medallion by means of rings are among the interesting examples of the collection. Although their exact forms are not certainly known, they are thought to be bracelets, necklaces, belts or pendant fragments. The objects having the inscriptions and depictions of saints were used in Christianity for centuries in order to obtain divine help. Finally, the six clover-shaped encolpion pendants included in the collection repeat one another in both the form and the depictions on them. It is known that this kind of pendant, which actually emphasizes a cross in its clover form, has become widespread since the 10th century and it is under consideration that the examples in the museum date back to the 12th and 14th centuries.

Haluk Perk Müzesi’nden Örnekler Eşliğinde Bizans İmparatorluğu Döneminde İnanç, Münzevi Yaşam, Hac ve Hacılık Kavramları

Hülya

A museum is an institution where works and objects related to the natural sciences, archeology, ethnology, history, the fine arts and technique are regularly exhibited. The museum aims to contribute to the development of human knowledge through these works and objects. Today’s contemporary museums include exhibition areas, art workshops, libraries, and recreation areas. Children’s museums are places where children learn through play and discovery in environments designed for them. Children’s museums and museums areas designed for children, which are the subject of the research, should create a desire for discovery by children.&nbsp;In order to gain scientific and cultural experiences, environmentally-friendly planning systems for children, children’s libraries, and children’s museums were established in our country and many other countries.Children’s museums create and provide workshops for children of different age groups and study classes for children. There are different ways of learning within these museums, which also includes playing games. The game has an important effect on learning because it activates all the senses of children and ensures that the information is permanent. In these museums, there are places where different cultures are introduced and the objects specific to that culture are experienced by children.It is possible for children to experience cultural activities such as painting, drama, and music in these museums. In children’s museums, it is the aim for a child to learn by living in a dream world and to obtain permanent information. The first children’s museum in the world was founded in 1899 in the United States. Children’s museums are institutions that offer learning management, including implementation. The Brooklyn Children’s Museum, the Boston Children’s Museum, the Canadian History Museum, Children’s Museum Department, and the London Children’s Museum (KidsQuest Museum) offer interactive displays. Museums such as the Boston Childrens Museum have become places that introduce the world to children and families and gives them various experiences. In the Canadian Children’s Museum, children discover the history of countries through play. Children’s museums provide an enjoyable and permanent knowledge for a child’s understanding of art, culture, and history. In the ‘Dress up station’ section of the London Children’s Museum (KidsQuest Museum), children wear costumes of the heroes in the story and combine their imagination with these accessories.&nbsp;Interior orientations in children’s museums should be in an uncomplicated order. Direction signs, images, and maps should be appropriate for the size of children. Classical exhibition units or technological exhibitions are used together as display elements in the interior of contemporary children’s museums. Stationary, dynamic, and interactive display techniques can be used together. Display elements such as kiosks, showcases, boards, and plinths are used. In museums designed for children, they are provided with interior fittings designed according to their size to feel closer to the space.The Hasan Ali Yucel Children’s Museum, the Ataturk and Children’s Museum are some of the museums designed for children in Turkey. The Ataturk and Children’s Museum is located in Yalova. The founder and first president of the Republic of Turkey, Mustafa Kemal Ataturk, used this place as temporary housing when he came to Yalova. There is a reception area on the ground floor of the two-storey building and a graphic design on the ground about the places to be seen in Yalova. Display units with interactive display elements and videos are installed. In the museum, there are information boards about Atatürk and his spiritual children, and information about Ataturk’s studies in education. The exhibition units in the Ataturk and Children’s Museum are designed for primary school children to read the texts about Ataturk and his spiritual children and to learn about them using an interactive board. The display elements are used in different depths and colors on the same surface. On the second floor there is a section where children can do painting activities. Although it was not designed as a children’s museum, as in the example of the Ataturk and Children’s Museum, memorable information can be obtained by tapping and interacting, especially where primary school age children are the primary target visitor. The rooms are divided into certain concepts. In the interior design and display elements of the Atatürk and Children’s Museum, warm colors and dynamic forms are used to attract the attention of children. As in this museum and other museums designed for children, the dimensions of the exhibition elements are designed at a height that children can reach.&nbsp;As a result, interactive children’s museums need to be established in order to ensure that the knowledge and education of children is permanent. In Turkey, the increase in the number of display samples used ins interactive museums will have a significant impact on education. In museums planned for children, using digital bases and video presentations for research, and using the beneficial aspects of technology, will be beneficial for the cultural development of young people.

Çocuk Müzelerinde İç Mekân Tasarımları: Atatürk ve Çocuk Müzesi İncelemesi

Melis

This study aims to examine the photographs of Ara Güler, which have an important place in Turkish photography, reflecting Istanbul tavern culture in the context of social memory. TDK defines the word ‘memory’ as follows: “The subjects that are experienced are recalled by means of the power to consciously store their relationship with the past, through repertoire, mind, and memory.” Memory is needed for recall. Information obtained by experience or by other means is stored in memory for recall. Memory has been a topic of discussion since Ancient Greece because of this extremely important task. Memory, which for centuries was thought to be only personal , began to be examined socially in the 20th century. The term social memory was first used in 1902 by the Austrian author Hugo von Hofmannsthal, but it was Maurice Halbwachs who developed and researched this concept in depth. Halbwachs argues that the memory that belongs to the individual can only be determined socially and can exist socially. Halbwachs’ theory contains reference points that enable us to recall memories. These reference points may be a perfume scent, a piece of music or a photograph. Like individual memories, societies also have well-established reference points in their collective memories. Since photography is a reference point, it is closely related to both individual and social memory. Jan Assmann, believing that Halbwachs’ theory did not suggest a means of transferring experiences within the group to later generations, developed the theory of cultural memory. These special carriers may be shamans, bards, griots, priests, teachers, artists, scribes, scholars and all the people who are authorized to carry information, regardless of their names.With the invention of photography in the 19th century, the photographer emerged as an important carrier of cultural memory. Considering these theories, the first type of photography that comes to mind is documentary photography. Documentary photography can be regarded as a realistic and objective representation of things of historical significance. The photograph has been regarded as a document from the moment it was invented. Therefore, it is possible to date the history of documentary photography back to the invention of photography. The first examples of documentary photography were given by David Octavius Hill and Robert Adamson in 1842, a few years after the invention of photography. In the following years, many photographers carried out studies in this field. Documentary photographers finally appeared in Turkey, though later than in Europe. The first examples of Turkish documentary photography were produced in 1930 by Selahattin Giz. In the 1950s, photographers such as Ara Güler, Yıldız Moran, Semiha Es, Ozan Sağdıç and İnal Tengizman started to attract attention in Turkish Documentary Photography. The photographs of the taverns, which are the subject of our study, were also taken by Ara Güler.Ara Güler, who has an important place in Turkish photography, was born on August 16, 1928 in Istanbul. Güler’s career began while working in film studios while still in&nbsp;high school. In 1950, he began working as a journalist at Yeni Istanbul Newspaper. The 1950s was the decade in which Güler started to rise rapidly in his career. The photographs taken in Istanbul taverns, which are the subject of our study, are also among the works of Güler from the 1950s and 1960s.&nbsp;The city of Istanbul, which was founded 3000 years ago, has a rich tavern culture due to being a port city. It is known that in Istanbul, which was first called Byzantion and then Constantinople, there were various taverns called taverneia, pouskareia, kapeleia. During the Byzantine period, the area where the taverns were most concentrated in Constantinople was the area around Eminönü and Galata. After the conquest of Istanbul by the Turks, the structure of this region was not changed and the tavern culture continued in the same locations as prior to the conquest of the city. During the Ottoman period, taverns, like other professional guilds, belonged to a “Gedik”. Hamr Emini was the head of the taverns and was chosen from the non-Muslim population. Legal taverns were called “Gedikli Meyhane” and illegal taverns were called “Koltuk Meyhanesi”. “Gedikli Meyhaneler” and “Koltuk meyhaneleri” served different social classes. “Gedikli Meyhaneler” served socio-economically higher-class people, and “Koltuk meyhaneleri” served socio-economically lower-class people.&nbsp;In the 1950s, machinery started to be used in the agricultural inductry and as this situation increased unemployment in the rural areas People started to migrate to the cities which had just started to industrialize. As a result of this, Istanbul became one of the cities that received a lot of migration and the socio-cultural structure of the city began to change. In the early years of migration, migrants from the countryside filled the “Koltuk Meyhaneleri” that had served the lower classes for centuries. The photographs taken by Ara Güler in the “Koltuk Meyhaneleri” and other taverns of Istanbul in the 1950s and 1960s serve as a reference point for us to remember these nostalgic taverns in our social memory.

Toplumsal Bellek Kaydı Olarak Ara Güler’in Meyhane Fotoğrafları

Selvin

Özge

Glass, which has been around for a long time, served as one of the first discoveries of handicrafts, a fascinating material of naturalness, purity, and aesthetics. This unique material encountered in both industrial and artistic fields for centuries, has applications in many different techniques since its discovery, adapted to ever-evolving technology, and expanded its usage areas. Advances in technology have led to an increase in production speed and diversity, and hence an increase in consumption.It is formed by melting raw materials such as glass, sand, soda, feldspar and lime at high temperatures. Glass behavior is related to the microstructures of materials, that is, the atomic order. In glass, atoms are arranged in a certain order in unit size. However, this order is not preserved at long distance. The basic unit structure of glass is silica tetrahedron, which consists of a single silicon atom surrounded by four oxygen atoms. Silicon has a valence value of +4 and consists of regular tetrahedra with a silicon atom in the center and four oxygen atoms around it. Atoms are bonded by ionic and covalent bonds. Glass contains more than one oxide. These oxides are generally classified in 3 groups as; Glass Forming Oxides, Modifying Oxides, and Conditional Glass Makers. Glass has high viscosity even at high temperature with an inorganic-based silicate system that solidifies without crystallization at normal temperature.&nbsp;While the natural resources of these raw materials are decreasing day by day, they cause environmental problems such as energy spent, water, and soil pollution. In parallel with the growing human population, the number of studies on recycling has increased significantly to offset consumption needs. One of the biggest problems of industrialized countries is deterioration of the natural balance due to increased resource consumption. Soil, air, and water pollution caused by raw material consumption is the main environmental problem.By transforming solid wastes, a country’s economy is supported and environmental pollution is reduced. In addition, raw material is saved. Recycling is the process of converting waste that can be recycled to secondary raw materials through various separation stages. Recycling in glass will contribute to the reduction of energy spent during production and the prevention of air pollution and excess water consumption by ensuring the protection of primary raw material resources. Glass can be recycled infinitely without compromising on quality with each conversion. Waste glass is not only transformed for the glass industry. Apart from this, it is also used in the construction industry, in the production of asphalt materials, and in many areas as decorative material. Thus, recycled waste glass contributes to the national economy and environmental protection.Within the scope of this study, glass operation and packaging waste was used as a different approach in mold forming techniques, which have an important place in glass&nbsp;art. In order to avoid the thermal expansion coefficient incompatibility, glass from the same production was preferred in the enterprise. Within the scope of the studies, only two types of compatible glass was used together. Expansion coefficients of the two types of glass was very close to each other. No cracking or breakage was observed on the surface of the glass after use. Mold forming techniques are defined as the process of removing models from the mold by filling them with glass after firing the molds of the desired models with heat resistant materials. The technique has its origins in Mesopotamian and Egyptian civilizations.Many years after its discovery, it was put into practice by artist Henri Cross and emerged as an improved firing technique. This technique is created by preparing a model first. The prepared model can be made from many different materials. The most preferred modeling products for this technique are clay, beeswax, silicon, or plaster. After the model is made, its weight is calculated and the amount of glass required is determined. Plaster and silica etc. are used in mold making after the modeling. The materials are heat resistant refractory materials. Different materials supporting plaster and silica can be added for mold removal. After removing the mold, if the model is made of wax, the wax is melted with water vapor and removed from the mold. In this emptied area, glass as much as the weight of the model is added and put into the oven. Glasses are completely fused with the effect of temperature in the oven and a filled surface is obtained. It was possible to find many artists in the world who use waste glass in different techniques and evaluate them artistically. It was observed that waste glass was turned into art objects by using techniques such as glass forming with open flame, stained glass, mosaic, and fusion. The mold forming method is an important technique that requires effort in terms of material usage and the construction process.

Atık Camların Kalıpla Şekillendirme Tekniğinde Kullanımı

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Alper

Water is the source of life for all living things. Because of our need for water, mankind has always seen water as a sacred element throughout history. Water, over artifacts and monuments symbolized life, healing, fertility, strength, beauty and enjoyment. It was seen as sacred in Turkey and was believed to be the spirit of water. In addition, water was associated with fortune, life, soul, chance, fortune, conscience, and character. In Turkish culture and the Islamic faith, water and rain are considered as the source of life and abundance. In Turkish-Islamic architecture, waterspouts are called corten. Waterspouts protected mortar and masonry walls from corrosive effects by getting rid of rain and snow water away from the wall and foundation. In the Anatolian Seljuks and Dynasties periods, a large part of the cortens in architectural works was made simple and another was meant to be figurative. The pre-Islamic and Islamic beliefs of Turks determined their view of water. Cortens was produced positively in the context of these religious beliefs. It is known that the cortens, especially those with figures, are made with symbolic purposes such as fertility, abundance, happiness, and power. Therefore, the figures are in direct relation with these concepts. The usage of animal figures was avoided apart from these meanings. Although Islamic belief and Turks perceived water positively, the Christian faith and the Latins perceived water as positive in the spiritual direction and negative in the material direction. Sacred water was used for religious rituals. No doubt the most important of these rites is baptism, which is seen as a spiritual cleansing rather than a material one and early Christians emphasized the spiritual aspect. During the Middle Ages, the Western Christian world did not accept bathing as an innocent practice leaving out it in religious rituals. Many monks and saints believed St. Francis of Assisi’s idea that an unwashed body is a sign of piety! For this reason, Western society avoided water except for the occasional bath. In the 12-14th centuries, the works of Gothic architecture started in Europe. In this architectural understanding in which religious structures are predominant, buildings tend to rise vertically. In Gothic architecture, the waterspouts represented as figures that provide the evacuation of rain water are called gargoyles. The gargoyles have a terrifying psychological effect on the believer. These are mostly waterspouts with plastic properties made in the form of terrifying demonic creatures. In the medieval Christian world, the church taught religion to society through art. That is, art was made for the purpose of religious propaganda. In the Middle Ages, the Church even resorted to the most formidable forms of evil in order to spread its religious teachings. Some gargoyles served as a moral reminder to sinners, and because gargoyles were thought to represent the souls condemned for their sins, it was suggested that sinners were forbidden to enter the church. By reflecting the horrible appearance of hell, Satan, which is an unconventional image that does not conform to the church, reminds people that they will be safe in the sacred church. Although some gargoyles are quite simple in design, the&nbsp;majority of them are decorated in detail. These are decorative carvings representing grotesque animals, birds, dragons, satyrs, mermaids, snakes, and many other themes. They can also be in the form of fascinating hybrids and mythical creatures such as semi-human semi-animal figures. The functional purpose of the gargoyles is the waterspout. The symbolic aim is to ward off evil. The waterspouts in religious and secular buildings served the same purpose in different architectures throughout the 12-14th centuries. The figured waterspouts are shaped differently in proportion to the value judgments, beliefs, traditions, cultural and architectural heritage of societies. Due to the ban on animal and human figures in Islamic architecture, the figured ornament was rarely seen. The Turks have a moderate approach to figurative ornaments due to their old beliefs. In the Anatolian Seljuk architecture, almost all the building groups have symbolic, mythological, astrological, cosmological and talismanic figures. We usually see figured ornament around openings such as doors and windows, but it is rarely encountered in the waterspouts. Cortens have symbolized power, strength in relation to protection while symbolizing goodness, abundance and mercy in relation to rain. The cortens associated with guardianship of religion generally had been located on facades trough the roads where people can see easily. In the cortens, animal or human figures can be seen. Animal figures include depictions of lions, rams and bulls. Mythical creatures include depictions of dragons. The lion is the symbol of strength; the rams and bulls are symbols of abundance, and the dragon symbolizes both abundance and power. The Abbey Church of Saint Denis in France is accepted as the first Gothic structure. The eastern section of the church was designed by Abbot Suger. The Western world inherited the Greek, Hellenistic, Etruscan and Roman architectures and adapted these ancient styles to gothic architecture. The understanding of ornaments in Gothic architecture developed in the scholastic thinking of the church. All the decorations around the religious buildings were made parallel to the teachings of the church. Emphasis on the instructional use of visual imageries, resulted in the creation of many monsters. The animal figured waterspouts were used in the western world by Greeks and Etruscans who especially preferred those with lion heads. The gargoyles depict a wide variety of animals and imaginary creatures that we tend to associate with evil. It is not a coincidence that they often have cloven hooves, bat wings, goat beards and horns. Gargoyles were consciously depicted as demons and associated with evil. The use of these figures in waterspouts caused them to consider water as a symbol of disaster and trouble. Since Turkish-Islamic architecture has a limited number of cortens showing figures, we tried to include all the samples. The cortens are classified according to the&nbsp;figures they depict. As there is a large number of gargoyles in Gothic Architecture, we included only a few samples. Some examples of gargoyles in churches or monasteries in different parts of Europe were compared. Similarities between these gargoyles were found in different structures. Finally, similar and different characteristics of the figured waterspouts in two separate cultures are indicated.

12-14. Yüzyıl Türk-İslam Mimarisi ile Gotik Mimarisindeki Figürlü Yağmur Olukları Üzerine Bir Karşılaştırma Denemesi

Sevinç

Drawing attention with its decorations in addition to its architectural features, Double Minaret Madrasa has been the center of attention of many researchers and has been examined in many respects. Our aim is not to repeat the evaluations and studies related to the structure, but to present new suggestions for its ornaments. A large part of the decorations of the madrasa has been destroyed and only the entrance facade has survived. Unfortunately, in the recent restorations, the extent of this damage has increased. Within the scope of our research, new determinations have been made regarding the original status of some decorations in the structure. Built in 1271, the Double Minaret Madrasa was abandoned over time, and the stones of the building were used in the construction of other buildings. Excavations were carried out in the structure under the presidency of Prof. Dr. Haluk Karamağaralı between 1963-1965, and restorations were carried out in various periods. The ashlar facing of the structure ends in the upper part of the pointed arches of the openings that leads to ascend to the minaret inside. There is almost a square panel just above the opening which leads to ascend to the left (north) minaret. In this panel, which is made with Mâ’kılî writing style, an arrangement consisting of turquoise and eggplant purple colored glazed tiles and bricks is seen. In this writing style based on geometric basis, all the letters are angled. In the ornament, the word “Allah” is placed in four different directions. The missing tiles were renewed, the writing panel was completed, and the unglazed tiles were painted in the repairs carried out in 2007-2008. However, various errors in the writing and completions of the current panel are striking. This panel decorating the minaret base has a mathematical arrangement. Letters are placed in two rows; there are gaps between the leaning unglazed bricks. These areas are filled with (baklava) diamond-shaped and eggplant-purple glazed tiles. Thus, the name “Allah” has been made apparent with the eggplant purple tiles. The areas around the unglazed bricks and eggplant purple tiles are surrounded by turquoise glazed tiles. In the restoration, it is understood that the tips of letters on the left side of the panel are not completed and the “elif “ letter in the upper left corner is missing. Additionally, one arm of the swastika was left missing. A panel is located just above the opening leading to ascend to the right (south) minaret. In the panel, the original of which consisted of mâ’kılî style writing, there are geometrical looking irregular shapes instead of writing. It is understood that the work underwent a repair in an unauthentic way. It is seen in the panel that the names of “Muhammad”, “Ebubekir”, “Omar”, “Osman” and “Ali” are respectively written with Arabic letters in the mâ’kılî writing style. The current panel should be completely replaced and completed in accordance with the original. In the upper part of the bases, an arrangement of brick and tile is seen. In this ornament, square shaped turquoise tiles were placed between long rectangular unglazed bricks. The same ornament is repeated on the eastern and southern facades of the bases. However, in the restoration work, the same decoration which should be on the top of the left side minaret is left unpainted. On the outer sides of the both minaret bases (north and south), a large panel of tiles was placed. In the panels, which are understood to be formed with tile mosaic technique originally, two wide borders circle the big medallion in the middle. There is a palmette lotus frieze in the first row. Unglazed bricks and turquoise colored tiles were placed in skipping form in the second row. In the corners of the medallion, the plant ornamentation in from of palmette, rumi and curly branches is repeated. The border forming the frame is thick and its surface is decorated with a geometric decoration made of pentagons in two rows. There are 12 pointed arched niches in the polygonal section which enables the transition from the shoe cabinet section to the cylindrical body. It is understood from the traces that these niches with different widths were adorned with ornaments made with tile mosaic technique originally. It can be detected from the old traces that four of the pointed arched niches had plant decorations. In the plant ornamentation, there are palmettes at the ends of the interwoven hexagrams. Ornament made in accordance with the principle of infinity; the palmette ends of the stars are connected by concave curves and a hexagonal is formed. The palmettes decorate each corner of the hexagon. The decorations inside the other niches have almost disappeared. Minaret bodies are completely decorated with a beautiful harmony of bricks and tiles. Bricks shaped in different sizes, such as square and rectangle, are arranged in horizontal plane. Square shaped eggplant purple colored tiles are placed between the bricks. In the body ornament of the minarets, the name “Muhammed” which is written with eggplant purple glazed tiles in the mâ’kılî writing style is seen. Thin, rectangular turquoise colored tiles were mortared between both bricks and the joint gaps surrounding the eggplant purple glazed tiles. Turquoise and eggplant purple colored tiles have been destroyed much faster because they have no organic bond with the structure and most of them have come off. One of the few examples, whose portal was crowned with double minaret, Sivas Double Minaret Madrasa is one of the most important works in terms of Turkish art. The double minaret integrates the portal with its decoration and adds color to the stone structure with its tiles. In the double minaret, in which turquoise and eggplant purple colored tiles were used, mâ’kılî writing is seen as well as geometric and plant ornaments in parallel with the decoration features of the period. These decorations are important in terms of reflecting the characteristics of the period. The blanks between the letters and the gaps have the same widths in mâ’kılî writings with angled, plain, sharp, lines. The master followed these rules in the examples of the Double Minaret Madrasa, but also filled the inside of the lines that made up the letters, resulting in seemingly thicker letters. In Mâ’kılî writing, words having high religious meanings and in this writing style words like Allah, Muhammad, Ali, Ebubekir, Omar, Osman and Kalima Shahadah are often used. The masters showed not only manual skills but also mathematical and design proficiencies. It is no doubt that the tiles of the Sivas Double Minaret Madrasa, which has been destroyed for the most part presently, are among the most outstanding examples of Anatolian decorative arts and reflect the fancy and tastes of their periods. Therefore, urgent measures should be taken to prevent further damage to the building both in terms of architecture and decoration.

Sivas Çifte Minareli Medrese’nin Minarelerindeki Tuğla ve Çini Süslemeler Üzerine Yeni Öneriler

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Öğretim Görevlisi Dr.

II. Meşrutiyet Dönemi Resim Sanatında Nesne ve Özne Olarak Kadın

Seda

First thirty years of the 18th century was a milestone for the Ottoman society, culture, and architecture because when the Treaty of Passarowitz was signed, a long period of peace started between the Ottoman and Western civilization. Besides, the superiority of Western societies was accepted by the Ottoman Empire. Therefore, the first envoys were sent to Europe. Yirmisekiz (twenty-eight) Mehmet Çelebi is the first envoy sent to France. Mehmet Çelebi observed a lot of palaces, gardens, cities, military postures, press housings in France, and on his return to the homeland, he brought with him the plans of these structures in his travel guide. He even had the plans of some important French palaces and gardens. When Sultan Ahmed III and his Grand Vizier Damat Ibrahim Pasha read this travel guide, they were impressed a lot. Therefore, they immediately commissioned public works in Istanbul. For this reason, new palaces, kiosks, pavilions, medium-sized complexes, a lot of fountains, and sebils (Sebil is a public donation, for the distribution of cold drinking water, sweet drinks or fruit juice to passers-by in cups) were started to be built. Instead of grand mosques and social complexes of the 16th and 17th century’s Ottoman architecture, in 1718-1730, the so-called Tulip Era, public structures were built. Until the end of the 16th century, the Ottoman Empire’s economy was in good condition. However, in the 17th century, it entered a recession. Therefore, only medium-sized complexes, a lot of fountains, kiosks, and summer palaces could be built in the first thirty years of the 18th century. Uskudar Ahmediye Complex, built in 1722 or during the Tulip Era, was one of these buildings. Eminzade Haci Ahmed Aga, a chamberlain of the navy yard in the Ottoman Empire, commissioned Ahmediye Complex. Uskudar Ahmediye Complex consists of a mosque, primary school (Islamic monastery), madrasah, library, two fountains, WC, tomb, burial area reserved for special people, and a room to show azan times. These units are located around a court. The court has a small pond, as well. If we look at the location plan, we can see that the Uskudar Ahmediye Complex has an asymmetrical composition. Buildings of the complex are built according to specific geometrical shapes like square, octagon, and polygon. Almost all the buildings are covered by domes. In addition to this, vaults are used in some places, as well. Although Uskudar Ahmediye Complex generally shows classical Ottoman architecture features, some parts exhibit Western and Eastern styles. For instance, the sebil has a polygonal plan like Early Baroque style. Besides, Uskudar Ahmediye fountain and minbar of the mosque have some flower motifs from Eastern cultures. Also, the Ahmediye fountain and the sebils have multifoil arches coming from the Antiquity and Early East culture. We know that Uskudar Ahmediye Complex have neither entirely Western nor Eastern architecture features. It is a classical Ottoman architecture example but, in some parts of this complex, the reflections of the Eastern and Western architectures can be seen. Indeed, the first thirty years of the 18th century were a transition period for the Ottoman architecture. During the first thirty years of the 18th century, there was the Baroque and Rococo style in Europe. Notably, the Baroque style was the most prominent style in France during Louis IV’ time, which is famous for the palaces built. The exterior facades of these palaces are generally plain, but the interior design is more elaborate. In the decorations, which bears traces of the Baroque style, is seen botanical patterns like leaf Frisians, seashells, and flyaway figures. After the Baroque style, the Rococo style, which was a decorative art, emerged in Louis V’s period in France. The number of columns and pilasters, which had been used as exterior architecture, had decreased. The rococo style includes S and C crimped branches, toothed medallion, seashells, and acanthus leaves. Versailles Palace is the most notable example of Baroque and Rococo style in France. The baroque and rococo styles did not enter in the Ottoman Architecture until after the transition period called the Tulip Era, which began in 1718 and continued until 1730. Indeed, it could be said that the effects of this era can be seen in the Ottoman architecture until 1740. The Tulip Era brought some novelties (such as wide eaves and more decorations) to the Ottoman architecture. These new decorations were from Persian and especially Indian and Mughal cultures. Another novelty was polygonal buildings which were generally seen at the sebils of this period. This was coming from the West and called the Early Baroque style. Although some parts of Uskudar Ahmediye Complex reflects Eastern and Western architectures, the architectural elements and details of the buildings in the complex are traditional. In other words, the buildings in the complex generally have Classical Ottoman architecture features. Also, some details and decorative motifs of the complex are from the Eastern and Western architectures. In conclusion, Uskudar Ahmediye Complex is a building that displays the features of the transition period from the classical Ottoman architecture to the Baroque style.

Üsküdar Ahmediye Külliyesi ve Lale Devri Mimarisi İçindeki Yeri

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Art-Sanat Dergisi’nin amacı, Türk toplulukları ve Türk topluluklarıyla ilişkili diğer toplulukların sanatı, sanat tarihi ve arkeolojik verileri ve diğer sanat alanlarıyla ilgili bilimsel çalışmaları desteklemek, yayımlamak ve geliştirmektir.

Türk toplulukları ve Türk toplulukları ile ilişkili diğer topluluklar hakkındaki Arkeoloji, Sanat Tarihi, Mimarlık Tarihi, Koruma-Onarım ve Müzecilik alanlarındaki akademik araştırmalar ve yayınlar.

Dergi Sahibi: İstanbul Üniversitesi Türkiyat Araştırmaları Enstitüsü (adına Enstitü Müdürü Prof. Dr. Mustafa Balcı)

ResearchBib

Islamic World Science Citation Center (ISC)

Access to Mideast and Islamic Resources (AMIR)

International Medieval Bibliography (IMB)

Akademik Araştırmalar İndeksi (Acar Index)

Arastirmax

Index Copernicus

JournalTOCs

Türk Eğitim İndeksi

Emerging Sources Citation Index (ESCI)

Ebsco

TR Dizin

SOBIAD Sosyal Bilimler Atıf Dizini

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Art-Sanat

The Art-Sanat Journal is an international academic refereed e-journal that is published semi-annually. Original articles and studies in Archaeology, Art History, History of Architecture, Restoration-Conservation and other related areas are considered for publication.

Owner: Istanbul University Research Institute of Turkology (on behalf of Director of the Institution Prof. Dr. Mustafa Balcı)

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Editor in Chief

Editor

Managing Director

Language Editor

Editorial Board Member

Advisory Board Member

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The aim of Art-Sanat Journal is to support, publish and develop scientific studies related to the art, history of art, archaeology and other art fields of Turkish, Turkic communities and other communities related to Turkic communities.Academic researches and publications on Archeology, History of Art, History of Architecture, Conservation-Restoration, Museology and performing arts about Turkish, Turkic communities and other communities related to Turkic communities.

Aim & Scope

Emerging Sources Citation Index (ESCI)EBSCO Art &amp; Architecture Source TÜBİTAK-ULAKBİM TR DizinIslamic World Science Citation Center (ISC)Access to Mideast and Islamic Resources (AMIR)International Medieval Bibliography (IMB)SOBIAD Social Sciences Citation IndexAkademik Araştırmalar Index (Acar index)ArastirmaxJournalTOCs ResearchBibIndex of Turkish Education<ul> </ul>

Indexing and Abstracting

The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. The Journal gives priority to original research papers submitted for publication.

Policies

Art-Sanat Journal is an open access journal which means that all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author.The articles in Art-Sanat Journal are open access articles licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0) (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/deed.en/" target="_blank" style="font-size: 9pt;">https://creativecommons.org/licenses/by-nc-nd/4.0/deed.en/</a>)

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles.

Authors publishing with Art-Sanat Journal retain the copyright to their work, licensing it under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) license and grant the publisher non-exclusive right to publish the work.

Art-Sanat Journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the Committee on Publication Ethics (COPE), the Directory of Open Access Journals (DOAJ), the Open Access Scholarly Publishers Association (OASPA), and the World Association of Medical Editors (WAME) on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a>All parties involved in the publishing process (Editors, Reviewers, Authors and Publishers) are expected to agree on the following ethical principles.All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Each manuscript is reviewed by one of the editors and at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unnethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. In accordance with the code of conduct we will report any cases of suspected plagiarism or duplicate publishing.

Ethics

The journal adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules.-    Principles of integrity, quality and transparency should be sustained in designing the research, reviewing the design and conducting the research.-    The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.-    The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.-    Research participants should participate in the research voluntarily, not under any coercion.-    Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.-    The independence of research must be clear; and any conflict of interest or must be disclosed.-    In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.-    If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.-    In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=artsanat_copyrightagreementform.doc" target="_blank">Copyright Agreement Form</a>. The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment.When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor to provide retractions or corrections of mistakes.

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation. Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.Short presentations that took place in scientific meetings can be referred if indicated in the article. The editor hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims. Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors. Refused manuscripts and graphics are not returned to the author. The copyright of the published articles and pictures belong to the Journal.

Peer Review

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation. Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. Editor-in-chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts. The selected manuscripts are sent to at least two national/international referees for evaluation and publication decision is given by editor-in-chief upon modification by the authors in accordance with the referees’ claims. Editor in chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal. Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review. - Does the manuscript contain new and significant information? - Does the abstract clearly and accurately describe the content of the manuscript? - Is the problem significant and concisely stated? - Are the methods described comprehensively? - Are the interpretations and consclusions justified by the results? - Is adequate references made to other Works in the field? - Is the language acceptable? Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side. A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process. The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

LanguageThe language of the journal is both Turkish and English.Publication Rules and Writing StylesArt-Sanat Journal is an international, academic, refereed, electronic journal published twice a year (January and July). The Art-Sanat Journal is published on Dergipark Open Journal Systems and only original and scientific and scholarly articles about Archeology, History of Art, History of Architecture, Conservation-Restoration, Museology and Performing Arts about Turkish, Turkic and Turkic-related communities are accepted.Our e-mail addresses for the communication and article submission:<a href="mailto:art-sanat@istanbul.edu.tr" target="_blank">art-sanat@istanbul.edu.tr</a>   Websites:<a href="https://art-sanat.istanbul.edu.tr/tr/_" target="_blank"></a><a href="http://istanbul.edu.tr:8080/en/journal/art-sanat/home" target="_blank">http://istanbul.edu.tr:8080/en/journal/art-sanat/home</a> The author has the legal and scientific responsibility for the contents of the articles. The visiul materials (figures, photographs, pictures, drawings, plans, etc.) used in the articles should not be used without reference and the author has to obtain permission for the copyrighted material. The legal responsibility for these issues belongs to the authors.The articles submitted for publication in the Art-Sanat Journal should neither have been published elsewhere nor have been submitted to another journal. The IThenticate (Plagiarism Prevention Program) is used to ensure plagiarism control for each submission.Articles in Turkish and English are accepted for the journal. After the submitted article has been reviewed by the editors and editorial board, it is sent to three referees and published when at least two referees make positive decisions. The names of the authors are not sent to the referees.The articles submitted to Art-Sanat Journal must be in Microsoft Word format. Under the title of the article, the author's name and surname should be included. After the name of the author, the star (*) should be used as a footnote sign and the job title, the institution and the e-mail address of the author and the submission date of the article should be specified at the bottom of the first page. ORCID number should also be written under the author’s name. (If you don’t have an ORCID number please register: <a href="https://orcid.org/" target="_blank">https://orcid.org/</a>)Articles should have Turkish and English titles, abstracts (150-250 words) and 3-5 keywords.  After the English abstract, the Turkish articles should contain an English extended summary of 800-1000 words. The English articles should contain an Turkish extended summary of 800-1000 words.Each of the visual material must be in jpeg format with a resolution of at least 300 dpi (images with a poor image quality will not be used). For the visual materials used in the article, numbering should be done with the abbreviation bold F. (F.1., F.2., F.3., etc.). The description of the visual material should be specified below the material in parentheses. If visual material belongs to the author, it should be indicated.Article should be written in Times New Roman, 12 pt., 1.5 line spacing, before 6NK-after 6NK spacing and both side justified. Footnotes should be written in Times New Roman, 10 pt., 1 line spacing and both side justified. Words that need to emphasized should be written in italic. The Quotations less than five lines should be written in quotation marks in the same paragraph and the quotations longer than five lines should be written separately 1 cm inside from left and right sides of page, blocked and in 8 pts. The article should not exceed 25 pages, the visuals used in the article should not be more than the number of text pages and also maximum 25 images are allowed. The visuals which are directly related to the subject should be preferred with reference to comparison images. Images should be numbered in the text and used in the relevant place.

Author Guidelines

Before beginning the online submission process please read the Information for Authors and make sure you have the followings available:Article submissions should be submitted Dergipark or directly to the e-mail address <a href="mailto:art-sanat@istanbul.edu.tr" target="_blank">art-sanat@istanbul.edu.tr</a>Cover letter to the editor<ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>Confirming that “the paper is not under consideration for publication in another journal”.</li> <li>Including disclosure of any commercial or financial involvement.</li> <li>Confirming that the statistical design of the research article is reviewed.</li> <li>Confirming that last control for fluent English was done.</li> <li>Confirming that journal policies detailed in Information for Authors have been reviewed.</li> <li>Confirming that the references cited in the text and listed in the references section are in line with Chicago Manuel of Style.</li> </ul> </ul><a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=artsanat_copyrightagreementform.doc" target="_blank">Copyright Agreement Form</a> Permission of previous published material if used in the present manuscript<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E21E2F4BAC3A4E809A6AC8ADD1E81106" target="_blank">Title page</a><ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>The title of the manuscript both in the languge of the manuscript and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address, telephone and fax number</li> <li>ORCIDs of all authors.</li> </ul> </ul>Main Manuscript Document<ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in the language of manuscript and in English</li> <li>Abstracts (150-200 words) both in the language of manuscript and in English</li> <li>Key words: 3-5 words both in the language of manuscript and in English</li> <li>Extended Abstract (600-800 words) in English (for the articles which are not in English)</li> <li>Grant Support (if exits)</li> <li>Conflict of interest (if exits) </li> <li>Acknowledgement (if exits)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li> </ul> </ul>

Art-Sanat complies with Chicago Style of Manual 16th Edition for referencing and quoting.Authors who would send proposals to the journal are kindly invited to follow the examples given below when writing the footnotes and compiling the bibliography. These examples are borrowed from the Chicago Style of Manual (http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html).Further information and numerous examples about the “notes and bibliography” system are available at the 14th and 15th chapters of the Chicago Manual of Style (16th edition).Examples:FF first footnote, NF next/short footnotes, B bibliographyThe Books (one author)FF  Laurie Bauer, A Glossary of Morphology (Edinburg: Edinburg University Press, 2004), 55.NF Bauer, A Glossary of Morphology, 55.B  Bauer, Laurie. A Glossary of Morphology. Edinburg: Edinburg University Press, 2004.The Books (two authors)FF   A. Nazarov Bakhtiyar and Denis Sinor, Essays on Uzbeks History, Culture and Language,  Research Institute for Inner Asian Studies, (Bloomington: Indiana University, 1993), 55.NF   Bakhtiyar and Sinor, Essays on Uzbeks History, Culture and Language, 55.B     Bakhtiyar,  A. Nazarov and Denis Sinor. Essays on Uzbeks History, Culture and Language. Bloomington: Indiana University, 1993. The Books (Three authors)FF  E.R. Tenişev, A.M. Şçerbak and D.M. Nasilov, V.M Nadelyayev, Drevnetyurkskiy Slovar, XXXVIII, (Leningrad:  Leningradskoe Otdelenir, 1969), 60.NF Tenişev, Şçerbak and Nasilov, Nadelyayev, Drevnetyurkskiy Slovar, 25.B Tenişev, E.R., A.M. Şçerbak and D.M. Nasilov, V.M Nadelyayev, Drevnetyurkskiy Slovar. XXXVIII. Leningrad:  Leningradskoe Otdelenir, 1969.For four or more authors, each of them is cited in the bibliography, only the first author’s name is cited in footnotes and “et al.” is added next to it, which stands for “and the others”.The abbreviation op. cit. which is used in some referencing styles is not used in the Chicago Style.If there is an editor/translator in addition to the authorIf there is an editör or a translator then one should cite it as “ed.” or “trans.” in footnotes; as for the bibliography “Edited by” or “Translated by”.FF  Peter B. Golden, An Introduction to the History of the Turkic Peoples, trans. Osman Karatay, (America: Harrassowitz Verlag, 1992), 36. NF Golden, An Introduction to the History of the Turkic Peoples, 36.B Golden, Peter B. An Introduction to the History of the Turkic Peoples. Translated by Osman Karatay. America: Harrassowitz Verlag, 1992.VolumesFF  Robert Dankoff and James Kelley, Mahmûd al-Kashgarî, Compendium of the Turkic Dialects-Dîwân Lugât at-Turk, (Harvard: University Printing Office, 1985), 4: 100.NF Robert Dankoff and James Kelley, Mahmûd al-Kashgarî, Compendium of the Turkic Dialects-Dîwân Lugât at-Turk, 4: 90.B Dankoff, Robert and James Kelley, Mahmûd al-Kashgarî, Compendium of the Turkic Dialects-Dîwân Lugât at-Turk. 4 vols. Harvard: University Printing Office, 1985. A chapter/section in a bookFF Beatrice Forbes Manz, “Timur”, The Rise and Rule of Tamerlane, (Cambridge: Cambridge University Press, 1989), 90-120.NF Manz, “Timur”, 90-120.B Manz, Beatrice Forbes.  “Timur”, The Rise and Rule of Tamerlane, 90-120. Cambridge: Cambridge University, 1989.If the book is published in multiple formats, the one that is used is cited. URL is given for the online books that are cited. The access date can be added on prefence. If the page number is missing, either the title of chapter or another number can be added.  FF Peter Golden, An Introduction to the History of the Turkic Peoples (America: Harrassowitz Verlag, 1992), Accessed September 18, 2019.<a href="https://www.researchgate.net/publication/281319978_An_Introduction_to_the_History_of_the_Turkic_Peoples" target="_blank">https://www.researchgate.net/publication/281319978_An_Introduction_to_the_History_of_the_Turkic_Peoples</a>NF Golden, An Introduction to the History of the Turkic Peoples, 206.B Golden, Peter. An Introduction to the History of the Turkic Peoples. America: Harrassowitz Verlag, 1992. Accessed September 18, 2019.   <a href="https://www.researchgate.net/publication/281319978_An_Introduction_to_the_History_of_the_Turkic_Peoples" target="_blank">https://www.researchgate.net/publication/281319978_An_Introduction_to_the_History_of_the_Turkic_Peoples</a>Journal article, copyrightFF John E. Woods, “The Rise of Tīmūrid Historiography”, Journal of Near Eastern Studies, 46/2 (1987), 81-108.NF Woods, “The Rise of Tīmūrid Historiography”, 81-108.B  Woods, John E. “The Rise of Tīmūrid Historiography”,  Journal of Near Eastern Studies, 46/2 (1987), 81-108.Journal article, translationFF  Michiko Kakutani, ”Friendship Takes a Path That Diverges,” trans. Zadie Smith, Review of Swing Time, New York Times, (2016), 69-90.NF Kakutani, ”Friendship Takes a Path That Diverges,” 69-90.B  Kakutani, Michiko. ”Friendship Takes a Path That Diverges.” Translated by Zadie Smith, Review of Swing Time. New York Times. 2016: 69-90.Newspaper article, publishedFF Rebecca Mead, “The Prophet of Dystopia,” New Yorker, April 17, 2017, 2.NF Mead, “The Prophet of Dystopia,”, 2.B Mead, Rebecca. “The Prophet of Dystopia.” New Yorker, April 17, 2017.Newspaper article/report, electronicIf the author of an article or report is not specified, then the citation should begin with the title of article/report.FF “Snap Makes a Bet on the Cultural Supremacy of the Camera.” New York Times, March 8, 2017. https://www.nytimes.com/2017/03/08/technology/snap-makes-a-bet-on-the-cultural-supremacy-of-the-camera.html.NF “Snap Makes a Bet on the Cultural Supremacy of the Camera.” B “Snap Makes a Bet on the Cultural Supremacy of the Camera.” New York Times, March 8, 2017. <a href="https://www.nytimes.com/2017/03/08/technology/snap-makes-a-bet-on-the-cultural-supremacy-of-the-camera.html" target="_blank">https://www.nytimes.com/2017/03/08/technology/snap-makes-a-bet-on-the-cultural-supremacy-of-the-camera.html</a>.Book ReviewFF Michiko Kakutani, “Friendship Takes a Path That Diverges,” Review of Swing Time, by Zadie Smith, New York Times, 7 (2016), 67.NF Kakutani, “Friendship Takes a Path That Diverges,” 67.B   Kakutani, Michiko. “Friendship Takes a Path That Diverges.” Review of Swing Time, by Zadie Smith. New York Times, November 7, 2016.ThesisFF Cynthia Lillian Rutz, “King Lear and Its Folktale Analogues,” (PhD diss. University of Chicago. 2013), 90. NF Rutz, “King Lear and Its Folktale Analogues,” 90.B  Rutz, Cynthia Lillian. “King Lear and Its Folktale Analogues.” PhD diss., University of Chicago, 2013.Encyclopedia entryFF Ahmet Temir, “Mongol (or Turko-Mongol) Khanate,” Encyclopedia of Turks, v. 8, (Ankara: Yeni Türkiye Publications, 2002), 416-432.NF Temir, Mongol (or Turko-Mongol) Khanate”, 416-432.B Temir, Ahmet. “Mongol (or Turko-Mongol) Khanate.” Encyclopedia of Turks. 8: 416-432. Ankara: Yeni Türkiye Publications, 2002.  Unpublished anouncementFF Erdal İnönü and Harun Doğan, “Some Discoveries that are Named After Turkish Scientists” (The anouncement that was presented in the II. National Symposium of History of Science and Philosophy Work Group, Assos, 18-20th June 2004).NF İnönü and Doğan, “Some Discoveries.”B İnönü, Erdal and Harun Doğan. “Some Discoveries that are Named After Turkish Scientists.” The anouncement that was presented in the II. National Symposium of History of Science and Philosophy Work Group, Assos, 18-20th June 2004.Manuscript FF Salih b. Nasrullah, Ghayat al-itqan fi tabdir badan al-insan, İstanbul, Süleymaniye Library, Ayasofya 3682, 26a.NF Salih b. Nasrullah, Ghayat al-itqan, Ayasofya 3682, 23b.B Salih b. Nasrullah, Ghayat al-itqan fi tabdir badan al-insan, Istanbul, Süleymaniye Library, Ayasofya 3682, 1a-311a, Copy date 10 Rebiülevvel 1135 (19th December 1722).Archive documentFF The Ottoman Archives of the Prime Ministry (OAPM), Cevdet Askeriye (C.AS.) 71/3352, 9 Şevval 1211 (April 07, 1797).NF OAPM, C.AS. 71/3352.B The Ottoman Archives of the Prime Ministry (OAPM). Cevdet Askeriye (C. AS) 71/3352, 9 Şevval 1211 (April 07, 1920).FF Topkapı Palace Museum Archives (TPMA), E. 3202-2=597-2-7.NF TPMA, E. 3202-2=597-2-7.B Topkapı Palace Museum Archives (TPMA). E. 3202-2=597-2-7.WebsiteFF Yale University. n.d. “About Yale: Yale Facts.” Accessed May 1, 2017. https://www.yale.edu/about-yale/yale-facts.NF “About Yale: Yale Facts.”B Yale University. n.d. “About Yale: Yale Facts.” Accessed May 1, 2017. <a href="https://www.yale.edu/about-yale/yale-facts" target="_blank">https://www.yale.edu/about-yale/yale-facts</a>.

Ensure that the following items are present:●    Cover letter to the editorü    The category of the manuscriptü    Confirming that “the paper is not under consideration for publication in another journal”.ü    Including disclosure of any commercial or financial involvement.ü    Confirming that the statistical design of the research article is reviewed.ü    Confirming that last control for fluent English was done.ü    Confirming that journal policies detailed in Information for Authors have been reviewed.ü    Confirming that the references cited in the text and listed in the references section are in line with CMOS 16.●    <a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=artsanat_copyrightagreementform.doc" target="_blank">Copyright Agreement Form</a>●    Permission of previously published copyrighted material if used in the present manuscript●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A6C642AF6B244E3B07BD89275AFFD2B" target="_blank">Title page</a>ü    The category of the manuscriptü    The title of the manuscriptü    All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addressesü    Corresponding author’s email address, full postal address, telephone and fax numberü    ORCIDs of all authors.●    Main Manuscript Documentü    The title of the manuscriptü    Abstract (150-200 words)ü    Key words: 3 to 5 wordsü    Extended Summary (800-1000 words) in Englishü    Main article sectionsü    Grant support (if exists)ü    Conflict of interest (if exists)ü    Acknowledgement (if exists)ü    Referencesü    All tables, illustrations (figures) (including title, description, footnotes)

Art-Sanat

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