Nesrin Çiçek

Assist. Prof.

The Islamic religion has always placed great importance on water. Therefore, building a water structure such as a fountain, sebil or a sadirvan has always been an important charitable deed, and fountains constitute the most common group. Fountains, exclusively charity works built inside settlements as generally independent structures, can be divided into groups like sadirvan fountains, column fountains, wall fountains, freestanding fountains, pit fountains, window fountains and fork fountains. They were built for charity to provide water for a district or street, or for mosque communities as part of a social complex. It is known that approximately 125 fountains were built in Edirne, which was the capital of the Ottoman Empire for a long period. The wall fountain of the Selimiye Complex is not among the currently nonextant or unused fountains. This paper examines the wall fountain of the Edirne Selimiye Complex, which was built by an anonymous architect at an unknown date, does not have an inscription nor is mentioned in the biographies and pious endowment charters of Sinan the Architect or in the Selimiye Booklet by Dayezâde Mustafa Efendi. The study shows that the complex has been extensively analyzed in terms of its layout, architectural characteristics and decorations, whereas the fountain has never been studied. This paper introduces the fountain on the northern outer court wall of the complex for the first time in terms of its architectural characteristics and examines it in terms of location, construction and period. The paper also discusses the importance of the fountain among the relatively unknown ones built by Sinan, and evaluates it within the context of fountains and fountain architecture in Edirne. The Edirne Selimiye Mosque, Sinan’s masterpiece, was built on the old palace grounds (Saray-ıAtik) on a ridge called Kavak Meydanı. The structure, built by Sultan Selim II in 1568-1574, constitutes a small social complex. Buildings making up the complex are located inside a large, rectangular courtyard, and the mosque consists of a darülhadis medrese (hadith school) in the southeast, a darülkurra medrese (Quran school) in the southwest, and a row of shops, a time setter house and a primary school in the west. The shops bound the complex, which is surrounded by walls on three sides around the mosque and outer courtyard. The fountain on the northern outer courtyard wall is one-sided, approximately 140×120 centimeters in size. Shaped as a shallow niche on the wall, the fountain has a cusped quadricentric arch. The fountain, which has a 40-centimeter-wide inscription gap above the arch bears no inscriptions of repair or construction. The structure lacks an ornamental slab, and the shallow niche features a spout with a cascaded and multifoil arch. This section, currently filled with cement, is shaped like a bowl seat, and the vat stone was seemingly replaced. On both sides ring holes are visible, which&nbsp;probably had chains attached to drinking bowls. In certain examples, these are used as clips to fix the tap. A plastic pipe, presumably connecting the fountain to a water outlet, is visible between the paving stones. The simple wall fountain has no reservoir. The women’s bathroom is located behind the structure. It is thought that water was supplied from the same water line, or the old Palace bathhouse, for the fountain and bathroom. It appears that Sinan generally integrated such water structures into complexes on courtyard walls instead of freestanding fountains. Wall fountains are frequently seen in Sinan’s designs before and after Selimiye, like in Istanbul Suleymaniye Mosque (1550-1557), Silivrikapı Hadım İbrahim Pasha Mosque (1551), Kadirga Sokollu Mehmet Pasha Mosque (1567-1572), Üsküdar Atik Valide Mosque (1571-1584), Yedikule Haci Evhad Mosque (1585), and Fatih Mesih Mehmed Pasha Mosque (1584- 1586). Analogs of the fountain designed as a shallow niche on the courtyard wall were used by Sinan on sebil fountains on both sides of the gate inside the Selimiye Mosque. Like these structures, known as vat fountains, the upper section of the fountain’s vat – the base of the niche - is believed to be shaped like a circular bench. Fountains of this type stand in the legs of central gate on the outer courtyard wall of the Sultanahmet Mosque, facing the courtyard. Design similarities with the Selimiye fountain manifest in the master-apprentice relationship between Sedefkâr Mehmed Agha and Sinan in an architectural expression in the Sultanahmet Complex. Fountains generally have inscriptions above their ornaments or arches, seen as stone or marble slabs with inscriptions of the builder’s name, construction date, and Quran verses and hadiths about water as a masthead. In conclusion, the unknown and previously unstudied wall fountain shows that the Edirne Selimiye Complex had another water structure along with a sadirvan, ablution taps, sebil fountains inside both sides of the entrance, and the octagonal pool under the muezzin’s platform. It is presumed that this fountain, unmentioned in the biographies and pious endowment charters of Sinan like his many other fountains, was arranged as a sebil fountain on the northern outer courtyard walls. This structure, presumably designed by Sinan, was possibly completed after the mosque along with outer courtyard walls and the spolia column.

Edirne Selimiye Külliyesinde Bilinmeyen Bir Çeşme

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

Hande

Öğretim Görevlisi

Zeynep

Assoc. Prof.

Funda

1950’li yıllar Amerika’nın savaş sonrası elde ettiği güç ile dünya ekonomisini ve kültürünü etkilediği yıllardır. Gelişen ulaşım ağları ile mobilite artmış, oteller dönemin sosyo-politik, ekonomik ve mimari durumunun bir sonucu olarak çoğalmıştır. 1950’li yıllar Amerika’da zincir otellerin ortaya çıktığı ve deniz aşırı taşındığı yıllardır. Mimarlık alanında ise Amerika’da dominat estetik 1950’lerde Uluslararası Stil’in Amerikan Modernizmi olarak adlandırılan bir versiyonunu takip eder ve Amerika’da modern zincir oteller bu kodlara uygun şekilde tasarlanmaya başlar. Hilton Oteller zinciri bu dönemin ekonomik, sosyo-politik ve mimari atmosferini yansıtan bir sonuç olarak doğar ve yayıldığı ülkelere Amerikan tarzı bir politikayı, yaşamı ve mimariyi sunarlar. Türkiye’de ise 1950’ler tarihçiler açısıdan birçok kırılmanın yaşandığı yıllar olarak adlandırılır. İlk kez çok partili düzene geçilirken Demokrat Parti rejimi ile Türkiye yüzünü Amerika’ya döner. 1950'ler, Türkiye'nin kapılarını uluslararası bir düzene açtığı yıllardır. Marshall yardımları, Kore Savaşına katılım ve NATO’ya giriş ile yeni bir düzene girilir. Uluslararası alanda varolma çabaları içerisinde turizm büyük önem teşkil etmekte, turizmi desteklemek için yatırımların teşviği devletin en önemli gündemlerinden birini oluşturmaktadır. İstanbul’da modern otellerin bulunmaması, 1950’li yıllarda gazetelerin makalelerine yansıyan genel bir eleştiridir. İstanbul Hilton Oteli’nin açılması Türkiye’de modern turizmin başlangıcı olarak kabul edilmektedir. Bu önermeden başlayarak, bu çalışma kapsamında İstanbul Hilton Oteli’nin Türkiye’de modern turizm ve turizm mimarlığı açısından olan etkileri paralel olarak tartışılmıştır. Turizm tartışmalarında Hilton Otel bir örnek teşkil ederken, mimari açıdan Hilton Otel’in diğer oteller üzerindeki etkisi, kopya/taklit tartışmalarını beraberinde getirmiştir. Hilton otelin gridal&nbsp;düzendeki cephe karakterinin ve ondan bağımsız olarak ona “karakter” katmak adına eklenen kabuk strüktürlerin kolaycılıkla ve yaratıcılıktan uzak olarak diğer binalarda tekrar edilmesi Şevki Vanlı tarafından 1958’de “Hiltonculuk” olarak eleştirilmiştir. Aynı tartışmalar yapının yerel mimarı olan Sedad Hakkı Eldem tarafından da gündeme getirilmiş, Hilton Otel yüzyıl ortası Türkiye mimarlığında özgünlük tartışmalarının odağı haline gelmiştir. Bu çalışmanın odak noktası 1950-1960 yılları arasında Uluslararası Stil’de yapılan ve İstanbul Hilton Oteli ile yapısal benzerlikler taşıyan Türkiye’deki otel binalarıdır. Çalışma amacıyla seçilen oteller Hilton Oteli ile en belirgin yapısal benzerliği taşıyan oteller arasından, 1950’li yıllarda inşa edilmiş ya da inşaatına başlanmış olan Büyükada Anadolu Klübü Oteli, Çınar Otel, Eskişehir Porsuk Oteli, Büyük Efes Oteli, Büyük Tarabya Oteli ile ele alınmış, bu oteller üzerinden Uluslararası Stil’in ve Hilton Otel’in Türkiye’de modern turizm mimarisi üzerindeki izleri sürülmüştür. Aynı zamanda daha önce tartışmalara katılmamış olan, sadece haberlerde yer almış ya da proje aşamasında kalmış olup Hilton Otel ile benzerlikler taşıyan diğer projelere de yer verilerek bu etkinin ne derecede yayıldığını göz önüne sermek amaçlanmıştır. Turizm tartışmaları içerisinde Hilton Otel sıkça bir model kabul edilmiş, sonrasındaki girişimler onunla karşılaştırılmıştır. Hilton Oteli daha sonra açılacak modern oteller için önayak olmuş, ona benzer otellerin yapılması turizm dergilerinde teşvik edilmiştir. Mimarlık alanında ise yaşanan en büyük tartışma, Hilton Otel’in gridal cephe düzeni, pilotiler üzerinde yükselen iki cephesi sağır dikdörtgen blok, transparan giriş kotundan oluşan mimari dilinin yayılması ve sonrasında gelen yapıların tartışmasız olarak standartlaşarak ona benzemesinden kaynaklanmaktadır. Hilton Otel'in tasarım kararlarının yarattığı estetik 1950'li yıllarda ilk olarak Şevki Vanlı'nın eleştirisini almıştır. Vanlı, Hilton'un dolaysız kopyasının sadece oteller değil sonraki konut ve hükümet binalarındaki uygulamalarına olan eleştirisini “Hiltonculuk” olarak adlandırmıştır. Vanlı, 1950'li yıllardaki binaların benzerliklerinin altını çizerek, balkonlu olup olmaksızın bu cephe dilinin yayıldığını ve otel odalarındaki modüler yapının bu işi daha uygulanabilir hale getirdiğini belirtmiştir. Bir süre sonra, cephedeki bu dil, rasyonel mimarinin temsili halini almıştır. Vanlı'nın “vasat yerli yapı tipolojisi” olarak nitelendirdiği bu dil, ona göre mimarların yeni bir anlayış aramaksızın yaratıcılıktan uzaklaşarak kolayca bu dili kabul etmelerinden kaynaklanmaktadır. Sonraki yıllarda SOM firması ile beraber otelin yerel danışmanlığını üstlenen Sedad Hakkı Eldem de bu tip binaların Anadolu’da koşulsuz yayılmasına olan eleştirisini dile getirmiştir. Çalışmanın sonuçlarına göre incelenen binaların, Hilton Oteli’ni şekillendiren Uluslararası Stil’de tasarlandığı görülmektedir. Uluslararası Stil’i oluşturan kodlar olan; pilotiler üzerinde yükselen prizmatik blok, gridal cephe düzeni, camlı giriş katı, teras çatı kullanımı gibi unsurlar bu otellerde mevcuttur. Aynı zamanda Amerikan&nbsp;ve teras barlar, restoranlar, yüzme havuzlu geniş peyzajlı alanlar gibi farklı mekansal unsurlar da farklı seviyelerde otellerin programlarında bulunmaktadır. Çalışma kapsamındaki oteller Hilton Otel ile ana prensipleri paylaşmalarına rağmen, aralarındaki farklılıklar belirtilmelidir. Tarabya Oteli, arazi şekli nedeniyle eğrisel bir plastisite kazanmıştır. Anadolu Klübü binası, aynı dilde yerel bir yorumlamanın örneği olup geleneksel Türk evi ile ilgili unsurlar ve yerel alışkanlıklarla şekillenmiştir. Eskişehir Porsuk Otel, V sütunları tarafından taşınan yüksek hacim ile giriş bakımından farklılık göstermektedir. Büyük Efes Otel, hacimler üzerinde yarattığı çeşitlilik ile rasyonel tutumu kırmış aynı zamanda 1960'larda ortaya çıkmaya başlayan açısal formlarla çevreye uyum sağlayarak farklılaşmanın ilk işaretlerini göstermiştir. Sonuç olarak, İstanbul Hilton Otel’in çalışma kapsamındaki otellerin mimari şekillenmesinde büyük etkisi görülmüştür. Bu anlamda yapılan kopya/taklit tartışmalarına karşı Hilton Otel’in yüzyıl ortası Türkiye’sinde bir öğrenme aracı olduğu düşünülmektedir. Bu anlamda yapılacak çıkarım Hilton Otel’in etkisinin Türkiye’de günün koşullarında dünyanın geri kalanına uyma tutkusu olarak görülebileceği yönündedir. Tanyeli, bir kavram olarak taklidin, gelişmekte olan coğrafyalarda olağan bir süreç olarak yaşanarak, orijinalin üretimini teşvik ettiğini ileri sürmektedir. Buradaki sorun, kopya ile orijinal arasındaki sınırların kesin olarak bölünmesidir; bu, özgünlüğün izlenmesini zorlaştırmaktadır, ancak daha yakın bir analiz çalışmanın özgünlüğünü ortaya koymaktadır. Bozdoğan ise “Hiltonculuk” olarak tabir edilen durumun taklitten öte, otel ve apartman gibi tekrara dayanan programlı binalar için rasyonel bir çözüm yolu olduğunu belirtmektedir. Bu sebeple, 1950'lerin mimari üretiminin, Türkiye'nin uluslararası bir yaklaşımı takip eden eğiliminin sonucu olarak ortaya çıktığı söylenebilir. Uz, mimarlığın önceki bilgileri genişletmeye dayandığını, bu nedenle mimarlıktaki “orijinal” ve “kopya” konusunun anlamsız olduğunu ifade etmektedir. Bu nedenle, son ürünü değil, sonucu oluşturan tüm süreçlere ve kavramlara bakmak gerektiğinin altını çizer. Bu anlamda tartışılan otel binaları, paralel olarak gelişen dünya anlayışının yansımasını gösteren örnekler olarak düşünülmelidir.

İstanbul Hilton Otel’in Türkiye’deki Yüzyıl Ortası Otel Binaları Üzerindeki Etkileri

İlona

Even though Orientalism, originating from the word Orient that refers to the sun rising in Latin, is defined as a phenomenon of the 19th century, its actual emergence dates back to the beginning of capitalism and geographical discoveries. Thus, while the phenomenon of Orientalism shaped within the mindset of capitalism in the 18th and 19th centuries points to Western interpretations filled with prejudices that have marginalized the East, the East is portrayed not only as a neighbor to the West, but also as its oldest cultural rival and the oldest colonial place. Orientalism is seen as the discourse of the power relationship between the two geographies, which are defined as the West and the East although their borders have not yet been determined by certain lines, on the cultural and ideological platform. In the 19th century, it becomes an Orientalist discourse and defines a concept clearly expressed in the work of Edward Said named Orientalism. According to Said’s discourse, there is an East that is portrayed from the West’s point of view and meets the notion of the other. On the other hand, the West defines itself as the dominant subject and exploits the other by degrading it to an object state and restructures it. The Eastern fashion, which started in the West having a certain economic and cultural level, spread across Europe through diplomacy, trade and war. In the 18th century, a new interest started in the Near and Middle East with trade and colonialism going beyond being just fashion. Now, an Eastern dream was in question. A century later, when this imagined East was replaced by the very real East that was visited and seen, new interpretations that shaped with political dynamics came to light. Orientalism entered Ottoman discourse in the second half of the 19th century. In a short time, the capital Istanbul began to take on an Orientalist atmosphere with its architectural structures, ornaments and decorative objects. The construction of the Çırağan and Beylerbeyi palaces and the furniture used in their decoration appeared as examples of this style. The orientalist depiction of the period of Sultan Abdülaziz was fed from two different sources. The first one was the Islamic component of Alhambra originated Moorish art and the other one was the radial passages of the Anatolian Seljuks also seen in early Ottoman art. After the reign of Sultan Abdülaziz, the Orientalist definition of the II. Abdülhamid period reached a different interpretation. Beginning as a fashion in the 18th century, Orientalism developed in the 19th century depending on the political goals, so it did not simply demonstrate a pleasure and taste for this century. As it became a political practice, the things of use began to express a political discourse way beyond fashion. In the last quarter of the 19th century, the Moorish style was replaced by the dominance of the “mashrabiya” (Islamic window screen) and mother-of-pearl works, in which Damascus and Jerusalem works were effective. The socio-political situation&nbsp;of the state, Sultan II. Abdülhamid’s start of creating his visible politics with the title of Caliph by turning his politics to the East and the relationships established with the East and Far East in this context would allow a large number of original Eastern and Far Eastern items to enter the palace. The Far East and the Indian influence, which began in the West at the end of the 17th century, became effective enough to determine a style in furniture until the end of the 19th century. This interest, which began with curiosity about unfamiliar civilizations, had a double-sided effect. While it was desirous to create a fantastic atmosphere with the production of imitations of this furniture in the West, in the Far East, with the Western interest, the furniture that was suitable for the lifestyle and use of the West begun to be produced and exported. In the Ottoman Empire, the furniture in the Orientalist style, especially those pieces coming through the Western channel, were nothing other than the import of Western fashion, while the ones that are supplied through direct procurement and gifts were the result of trade connections and political relations between states. Today, when the furniture used in the decoration the palaces, pavilions and mansions of the National Palaces are examined, the presence of a large number of Orientalist style objects of use have been determined. In the studies on the collection in question, it can be seen that the Oriental furniture, i.e. the ones specific to the East, are more noticeable in number than their Orientalist style counterparts. In this context, the furniture groups of the Dolmabahçe, Beylerbeyi and Çırağan palaces, which are suitable for the Orientalist view, can be defined as follows: Furniture produced for the Ottomans in the Western market, furniture where local styles and techniques are applied to the Western form, and gifted and/or purchased furniture. The definition of Orientalism in the Ottoman Empire is uncertain; Does it express a taste imported from the West or the re-adoption of the Oriental preference? As a matter of fact, the Ottoman Empire, which was an eastern state by its geographical location, would leave the Crimean War with the Western states as a part of the Western states for the first time in the first half of the 19th century. When defining itself as a Western state, it seems to be a natural process to adopt the Western-originated Orientalism at this point. However, although the re-interpretation of the tradition of Sultan Abdulaziz period (preparation of Usul-u Mimari-i Osmanî) is also seen as an interpretation of adopting his own values, the predominance of the Orientalist emphasis will leave this subject in suspense. The Orientalist perception of the end of the century is seen as a result of established political affinities and commercial connections. As a result, the Western-origin Orientalism adopted in the periods of Sultan Abdülaziz and II. Abdülhamid and encountered with different application practices is adopted only as a style in Ottoman geography and it can be stated that it was used instead of the Oriental style.

Oryantal mi Oryantalist mi? Osmanlı’da Oryantalist Algıya Mobilya Üzerinden Bir Okuma

Ayhan

Yahya

Res. Assist.

Traditional design strategies have been developed in different parts of the world in order to prevent the living spaces from extremely hot weather conditions. Spatial ventilation and cooling are among the most widely used strategies. Wind-catchers, the products of thousands year old information, are incomparable building components that provide spatial ventilation and cooling. A wind-catcher is known as badgir especially in the geographies where the influence of Persian architecture is widespread and malqaf in the geographies where the influence the ancient Egyptian culture belonging to the Pharaoh period and the Arab architectural influence is stronger. This building component is also referred to as wind scoop or wind trap in the related literature whereas the tower shaped type rising from the flat terrace is called the wind tower. The wind-catcher can be defined as the air-cooling channel that catches the high-level, less dusty wind through the upper openings and carries this air to various places such as the iwan, serdab (the cool room in the basement) and the rooms. The bodies of the wind-catchers can be of various shapes (quadrangular, hexagonal, octagonal or cylinder) or at different heights. The most distinguishing feature of them is the number of directions in which they take the wind (one, two, four, six and eight). From Egypt to India, the wind-catchers are still exhibited in many different regions of the Middle East, contributing to the original images of historical cities. These building components, which are so common in the Middle East geography, are also found in Şanlıurfa in the Anatolia region. The purpose of the present study is to examine the countries that have the tradition of using wind-catchers and to give information about their local names, forms and functions. The main aims of the study are to document the formal and functional aspects of the badgels in Şanlıurfa, which exemplify the wind-catchers in Anatolia, and to show their similarities and differences with the examples in the other geographical areas in the world. Method- A detailed field study was carried out to determine the traditional badgels of Sanliurfa, which are the examples of wind-catchers in Anatolia. After the interviews with relevant institutions and individuals, the remaining houses with wind-catchers were identified and the samples in the houses, where permission was obtained, were documented by photographs and drawings. The information acquired from the interviews with the locals was also included in the study. It has been determined that many of the examples encountered today are changed both formally and functionally. With the data obtained, it was determined how many different types of wind-catchers still exist in Şanlıurfa and their similarities or differences with the examples in the Middle East geography were investigated in terms of form and function. Findings- The wind-catchers in Şanlıurfa are called Badgel or Badia in the local language. The upper parts of the wind-catchers are located on the flat roof (dam) in the houses of Şanlıurfa. This part, or in other words the air inlet section is shaped to catch the wind. In traditional houses with one or two wind-catchers, these building components are only designed for the ventilation and cooling of the iwan unit. In the houses where a single wind-catcher is located, the direction in which this building component takes the wind is north. The wind entering through the north-facing opening of the wind-catcher descends from the air channel and flows to iwan through the opening just above the middle niche on the rear wall of the iwan. Hacı Hafızlar Mansion is one of the traditional houses of Şanlıurfa with a single wind-catcher, although the original form of the wind-catcher has been changed. Within the scope of this study, the drawings of this house have been produced according to its original structure. Some of the traditional houses have two wind-catchers, one definitely facing north and the other facing the northwest or west. These examples, which look in two different directions, transmit the wind from different directions downwards through the air ducts and they usually carry air to the air outlet holes on the two side niches on the rear wall of the iwan where the three niches are located. The traditional house in the Kendirci neighborhood of Şanlıurfa is one of the rare examples with wind-catchers facing the north and the west that ventilate the summer iwan. These important building components are documented with photographs and three-dimensional drawings along with the summer section of the traditional house. Result and Evaluation- Although the wind-catchers in Şanlıurfa have a name resemblance with the examples in Iran that are called badgir, they are more similar in form to the wind-catchers in ancient Egypt, which are called malkaf. It was determined that wind-catcher, which existed from Şanlıurfa to the middle of Iraq, had less height similar to those in Şanlıurfa and were located on the edge of the flat roof. The wind-catchers in Şanlıurfa are more similar to the examples in Mosul, both formally and functionally. Although wind-catchers in the Middle East were produced for the ventilation and cooling of the iwan, serdap and rooms, these building components were produced to ventilate and cool only one space (iwan) in Şanlıurfa. The niches in the back wall of the spaces in Iraq (especially in Baghdad) are the air outlet points of the wind-catchers. In the iwan of the traditional houses in Şanlıurfa, the same design concept can be seen in terms of the location of the air outlets. Furthermore, compared to the examples in the Middle East, the wind-catchers in the traditional houses of Şanlıurfa, where two wind-catchers are located, have a unique design concept because they both ventilate the same space.&nbsp;Wind-catchers, which are passive spatial cooling systems, are extensions of thousands of years of accumulation. This accumulation is not fully known even by the users living in the traditional houses of Şanlıurfa today. As the importance of wind-catchers was not understood by new generations, these components were altered or even destroyed. The wind-catchers, which have been used for spatial cooling in the houses of Şanlıurfa in the past, have been rediscovered in the context of this article and efforts have been made to uncover features that could be a source of inspiration for today’s designers. Emphasizing that the old has a strong potential to be a source of inspiration can be a starting point for designing the new.

Antik Rüzgâr Yakalayıcıların Anadolu’daki Örnekleri: Şanlıurfa’nın Badgelleri

Gaye

Tülay

Introduction, Research Questions and Purpose In this study, the use of stone in Gaziantep ‘s traditinonal architecture is discussed from past to the peresent day. The stone types used in city, the existing quarries, the dimensions of stone, and the process up to its use in the structure were examined through the stone builds which constitute the traditional architecture of the city. Currently, the fact that the authentic stone details are not known and there is not enough number of stone masons who can work with these details, in addition to insufficient application time, have a negative impact on restoration works in the city. Mostly Urfa limestone is used in conservation works because there are a few active quarries in the city. Thus, the aim of this study is to discuss the relevance of the stone used in restoration works instead of authentic stone. In addition to this, suggestions have been made about the methods that can be applied to quarry local stone.Literature Review In the study, work of local researchers were used to determine the traditional architecture features of the city. In this context, Cemil Cahit Güzelbey’s publications, interviews with local experts and the results obtained form field study have been useful. There are few written resources of knowledge on the traditional architectural features of the city. The study’s aim is to make this information more permanent by means of detail drawings developed over sample structures evaluated according to the order of historical development of the city.Methodology In this study, to investigate the development of urban architecture in the historical process and the local architectural features, the local researcher’s publications were compiled and then fieldwork was made to reach tangible data. For the purposes of this study, details of in-situ traditional architecture were documented through drawings and photography. One of the reasons for conducting this study was the fact that local stone quarries of the city were shut down, thus leading absence of local stone and perishing of stone masonry. With the laboratory results that constitute part of the research, the physical, mechanical and chemical properties of the stone types in the city were determined by scientific metods and the stones were classified. The same analysis was carried out on the Urfa lime stone, which is mostly used due to the lack of authentic material and economic reasons in restoration works and the suitability of the material selection discussed.Results and Conclusions As a result of the surveys conducted in and around the city, it was found that there was not enough stone quarry. The cost of the stone obtained from the city is approx imately twice as much as the cost of Urfa lime Stone These facts explain why local material is not preferred in restoration works. It is not possible to use the old stone quarries because they are in the urban areas of the city where it could be hard to acquire. However, at this stage, it is considered that the studies to be carried out in the vicinity of the city and the new stone reserve areas can be created and new quarries can be opened with the incentives of the state. If the local material needs of institutions carrying out restoration works are provided, a supply-demand equilibrium for use of local stone can be created. As a result of the material anaylsis, mechanical, physical, chemical properties of ‘Keymık’ and ‘Havara’ stones were determined. It is also seen that the ‘Carpın stone’which is defined as marble, is lime stone. One of the problems of the restoration projects in city, is that they are generally created with the idea of ‘renovation in accordance with the authenticity’. However, nowadays, with help of developing technology, consolidation methods in structural and material scale, are not preferred in restoration-conservation projects to carried out in the city. Instead, applications based on rebuilding are preferred by the contractor because they are easier to practice. The misapplication of traditional architectural details, the inadequacy of the work periods given by the institutions for restoration works, the price foreseen in the current bidding system, happen to be not only insufficient for the traditional stone dressing work, but also the number of craftsmen who know the traditional details in the city is almost insufficient to pass on the knowledge as reguired, to the most; thus these are the major problems identified in the city. In this context, the reorganizition of the current bidding system, the incentive practices for the implemention of traditional metods and details in restoration practices by institutions working in the field of conservation and the organization of various training programs with the support of professional chamber and non-govermental organizations for maintaining the tradional stonework, are measures that can be taken to solve the problems. According to the ICOMOS, Charter On The Built Vernacular Heritage (1999), Guidelines in Practice, Article 3; “The continuity of traditional building systems and craft skills associated with the vernacular has been fundamental for vernacular expression, and essential for the repair and restoration of these structures. Such skills should be retained, recorded and passed on to new generations of craftsmen and builders in education and training”. As a result, it is recommended that the practices be carried out while giving importance to the interdisciplinary studies based on scientific conservation approaches.

Dünden Bugüne Gaziantep Geleneksel Mimarisinde Taşın Kullanım

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

Ümmühan

The aim of this paper is to introduce several new findings from the Byzantine period recovered in Niksar. A few striking pieces found at Niksar are currently showcased at the Yağıbasan Madrassa. A selection of these include quatrefoil ceramoplastic decorations. Significant quantities of decorative quatrefoil ceramoplastic fragments (which are mostly seen in the Balkans and to a lesser extent in the capital Constantinople and Anatolia), have been found in Tokat and the surrounding area. Eyice, in his article on decorative pottery, notes that the remains of a church on the Dumanlı Plateau feature quatrefoil decorations. Several examples were also found in two churches, dated around the Middle Byzantine Period, during Excavations at Komana, managed by Burcu Erciyas. A study carried out by Erciyas and Sökmen identified decorative pottery in various areas around Tokat. Examples of quatrefoil decorative pottery were found in the village of Gökçeoluk at Niksar and the Kaplanlı site of Yıldızlı in the town of Çevreli of Almus during surveys made by the Tokat Museum following an illegal excavation. Various types of quatrefoil ceramoplastic pieces were possibly used as spolia in the Bibi Hatun Mausoleum in Tokat’s town center. The other striking pieces exhibited in the showcases at the Yağıbasan Madrassa are tile fragments from the Byzantine period. One of the fragments was made in polychrome glazed ware with cream-white fabric and composed of three combined pieces. The piece was decorated with a design of interlinking circles each with a cross in its center. The other tile fragment was made from a pinkish fabric in polychrome underglaze painted ware. Patterns on the fragment are drawn with a black contour. The body of a bird facing right is visible in the center of the fragment. Its wing is detailed by a line with three curves, decreasing in size towards the center. The parts displaying the bird’s head and feet are broken and missing. There are few known tile examples from the Byzantine period. Therefore, it was quite remarkable to find tiles from the Byzantine period in Niksar and it is a subject that needs to be investigated in detail. The fragments found in Niksar cannot be precisely dated due to their uncertain contexts and production locations. However, considering that tile production came into and went out of fashion during the Middle Byzantine period and that the area was conquered by the Turks immediately after 1071, they can possibly be dated to the period between the end of the 9th century and the first half of the 11th century. In addition to the tile fragments from Niksar, a tile fragment from the Byzantine period was also identified at the Tokat Museum in recent years. Data relevant to Byzantine tiles was also revealed during the Komana Excavations. The tiles identified in Tokat and Niksar are very significant as the data on Byzantine tiles is limited to the examples from Bulgaria, Constantinopolis (the capital of the Byzantine Empire), Bithynia, fragments from the Mosque of Cordoba, and the Crimea. The latest studies and tile analyses have shown that tile production in Preslav, Constantinople and Bithynia were different, suggesting that the tiles were made in different workshops. The tiles in Bulgaria - dated between the late 9th century and 10th century - were manufactured in kilns installed near the structures where they were found. It is unknown exactly where the tiles in Constantinople, dated between the end of the 9th century and the 11th century, were manufactured. Ettinghausen highlights this production diversity and puts emphasis on central production by one or multiple workshops, probably in or near Istanbul. Visual observations and scientific analyses on the Bithynia and Constantinople tiles as well as the dissimilarities between glaze colors and pattern characteristics indicate different workshops. Studies show that there was tile production in Bithynia. The currently unknown production site of the Tokat examples presents a new research subject. It is significant to find tiles as well as quatrefoil ceramoplastic decorations from the Byzantine period in Niksar. Both decorative elements are seen in the Balkans, the capital city and the surrounding area from the Byzantine period. Commercial and cultural connections between the Black Sea ports must be analyzed in order to explain the presence of the data in Tokat and Niksar. It is also necessary to consider Tokat’s relationship with the northern-southern and eastern-western road networks of Anatolia. Moreover, the cultural impact of the political changes in the Near East between the 8th and 13th centuries should be examined. Rejuvenated influences of the Sassanid and also Turkish and Islamic arts influences spread around the Black Sea by northward trade routes from the Near East. Therefore, relationships between the Byzantine capital, coasts of the Black Sea, and Turkish-Islamic arts – especially in the Near East – should be analyzed on a larger scale in order to determine the position of the ceramoplastic and tile fragments from Niksar and its surroundings within the context of Byzantine art.

Niksar’dan Bizans Dönemine ait Keramoplastik ve Çini Örnekleri

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

Hülya

Cüneyt

Canan Tolon and Sarkis Zabunyan are two artists who have an important place in both the national and international art world. This article surveys the work of these two important artists to reveal their relationship with memory. In this study, written and visual document analysis from qualitative data collection methods were used. Exhibitions, books and articles were scanned as sources of data collection and the data was interpreted descriptively. Although the works of Sarkis have been associated with memory countless times, the fact that Canan Tolon’s works are dealt with in this article can be considered as a novelty he brought to the field. The article is limited to certain studies of Canan Tolon and Sarkis Zabunyan in order to examine the relationship between memory and art more clearly. In post-industrial society, the crisis of time perception, which replaced the future orientations, directed the individual/ artist to hold onto memory. In the works of Canan Tolon and Sarkis Zabunyan, which are among these artists, we will see the relationship between personal narratives and memory in art. It would be appropriate to touch upon some explanations of the concept of memory before discussing how individual experiences and memory shape the work of these two artists. In antiquity, rhetoric and representation have been the most important elements of art that feed memory. Over time, memory tools have undergone technical and technological evolution. This evolution has gained another dimension with the invention of writing, printing and photography. These are technical and technological advances. In this context, the reason for the growing interest in the concept of memory is based on modernization processes. The speed created by industry, technological progress, changed people’s perception of time and shortened the time to experience things. These factors make it difficult to retain information in our memories. Moreover, two major wars, nuclear disasters, genocides and mass migrations in the 20th century reduced people’s hopes for the future. Especially since the 80s and 90s, this has been discussed intensively in both personally and social context by artists not only in Turkey but also globally with the memory issue such as history, past, memory, identity, ownership. Reconstruction, documentation, recollection, memory of space and personal memory have been frequently used by artists. In this context, our subjects on memory are two important artists who are accepted in the national and international framework; Canan Tolon and Sarkis. Memory; it regenerates according to time, space, object, smell, light, sound, and recreates its sensory and emotional existence. The ambiguity and blurry inherent in memory re-establishes itself in new memories and waits for the artists to emerge again in their next work. The problem of forgetfulness that emerged with the industrial revolution led the artists to work on the subject of memory. After the industrial revolution, in today’s world where new technologies and social traumas are experienced, the individual/artist feels the need to hold on to his memory. The emergence of new temporalities and hopeful prospects for the future turned into a crisis of time perception, and this crisis increased interest in memory and remembering. In this context, it will not be wrong to say that the artists consciously hide the events they have experienced, the subjects they have learned, their relationship with the past in their minds and reflect this in their works to the extent they want. In the works of Canan Tolon and Sarkis Zabunyan, who are two immigrant artists, explanations about the personal and cultural elements in their personal memory are interpreted to mobilize the memory of the audience. As a result of the analysis of the data obtained in this context, it was concluded that the experiences in the memory of the two artists were reflected in the work of art, and the effect of memory on the creation process was so strong that it could not be ignored. In short, the works of Canan Tolon and Sarkis were examined in terms of the relationship between memory and art. In the framework of Canan Tolon and Sarkis Zabunyan, the relationship of personal narratives to memory and the way personal experiences shape the works of these two artists have been covered sufficiently. Memory, the common point between these two artists, was the main focus of the study. In his works, Sarkis studied the phenomenon of memory more directly by means of objects, while Canan Tolon was the subject of indirect works by abstract expressions. Both artists combined time in memory with time of place and audience. In this way, they created a loop that is past and present. The ready-made objects used by the artists represented the flow from the past to the future. In short, it is clear that personal memory influences artists’ artistic practices and allows for alternative forms of representation rich in art. In general, memory is a phenomenon in the production of Canan Tolon and Sarkis. In the works of both artists, we can see the memory, the memory of the object and the memory of the space, as well as the personal memory. Various aspects such as the relationship of each study with another and the memory of the audience are involved.

Bellek ve Sanat İlişkisi: Canan Tolon ve Sarkis Zabunyan

İsmet

Kemal Batanay, one of the most talented composers of traditional Turkish music in classical form and style, benefited from many worthy masters and he has 55 music compositions in several forms. Batanay is also a well-known artist with his calligraphies as well as his compositions and there are 129 pieces of his calligraphic art in various museums and private collections. Describing Batanay as “an unpretentious poet who succeeded in singing the words in his music”, Muhittin Serin underlines Batanay’s competence in literature. In addition, Serin quotes 19 poems of Batanay to illustrate his competence on Turkish language. Serin’s expression, which points to Batanay’s identity as a poet, is also parallel to the fact that symbolist poetry attaches great importance to musicality, which emerged from the idea that puts music above all. Text and music are intertwined in sema ayini which is the product of the Mevlevi Sufi approach, in which symbolization dominates exposition. Therefore, this type of music composition might have been supported by non-musical elements by a composer like Batanay, who produced a considerable number of works on calligraphy and poetry. In the late 19th century, the symbolist movement, which emerged in French poetry, went hand in hand with music due to its nature which symbolizes poetry as a song of the heart. Connotation is one of the basic concepts in symbolist art. Its basic principle urges that the implicit narration of symbolism is provided by the slow invocation of the object or its mood without the object being called. Coexistence of music and lyrics, and emphasis on connotation in symbolism suggest that there may be reflections of the movement in religious music works, where symbolic narration is used extensively. Batanay produced valuable works not only in the field of music but also in other arts with literary value. Consequently, it is considered that he might have used a common narrative of all these areas in his works. This study examines how the composer used the concepts and the characters of the text in relation with the connotations towards the symbolic narration of the ritual in his composition. The analysis part depicts the poems, their translations in Turkish, and the makam structures accompanying the poems. It further interprets how the modulations throughout the composition supported the symbolic narration of the poem and the ritual. In accordance with the analysis, it is concluded that Batanay chose to express individual characters and subjects by using different makam structures; this resulted in divisions in the poems within themselves. and the semantic changes between verses are reflected in the modulations of the composition.&nbsp;In the first movement of the composition, Batanay utilizes different makams when the poem refers to God and human. Throughout the progression of human’s spiritual journey towards the highest level of being, the composition moves towards makams with tonics of higher pitches. For the emerging symbols and concepts of God, human, mystery, mutribân, Mohammad, Rumi and repentance, he uses new musical colors. It can be inferred that these concepts are reflected in the makam usage of the composer. When the text has the word mystery (sır) for instance, the makam structure is changed so that the previous makam is hidden, in parallel with the semantics of the word in issue. This corresponds to the hierarchical equality of music and text in the process of composition. In addition to composer’s approach that differences between these symbols and concepts are supported by different makam structures, the utilization of each makam structure also emphasizes the same symbol in a different way. For example; in the verses that praise Rumi, it is seen that the Hicazkar makam structure was diversified with the structures of Hüzzam and Hicaz Rumi makams. In the verses of the third movement which praise Mohammad, on the other hand, there is no diversity or color interrupting Evc makam, letting the makam structure remain absolutely intact, - as he undoubtedly acknowledges that Mohammad is the servant and messenger of God according to the belief in Islam. This usage of Evc makam only occurs in the transition of the first movement throughout the whole composition and this transition contextually symbolizes Mohammad, which shows the unity of symbolic expression and makam usage. Semantic contents of the words are supported with the music structure of the composition in Batanay’s approach. Consequently, it is possible to consider that his literary and religious sentiment is reflected in the symbolist approach in his compositions and his calligraphic artworks. At this point, the symbolism and its basic principles underline the points of connection between literature and music, and provide a favorable ground for enhancing the work’s semantic structure and increasing the comprehensibility of its context through various details. For the development of comparative studies in the field of approaches to composition, more research in line with this study should be conducted.

Batanay’ın Nikriz Mevlevî Âyini’nde Makamsal Sembolizm

Mustafa Çağhan

The mosque in Gümüş, a small town in Amasya region, draws attention because of the problem of identifying the patron. The Turkish inscription written in the Latin Alphabet “Yörgüç Rüstem Paşa Camisi 1426” on the plate on the portal, consubstantiating Yörgüç Paşa and Rüstem Paşa, identifies a historical figure who never existed as the patron of the building. This consubstantiation refers to two important actors in the construction process of the mosque: Yörgüç Paşa (d. 1442), the vizier of Murad II and Rüstem Paşa (d. 1561), the vizier of Süleyman I. In his twelve volumes city history, Amasya Tarihi, Hüseyin Hüsameddin states that the Great Mosque of Gümüş was built of timber by Yörgüç Paşa in 1430; the timber structure later burned down and Rüstem Paşa built the existing mosque in 1560- 1561. The vaqf records of Rüstem Paşa confirm the information given by Hüseyin Hüsameddin. According to his vaqf records, he restored the mosque of Yörgüç Paşa that had previously been ruined. The mosque is built of stone. The plan scheme is rectangular and divided into three naves by four unengaged pillars. The main nave is covered by three domes and the side naves are covered by three cross vaults each. The six columned last prayer hall is covered with a timber roof. The minaret built of stone is located on the northwestern corner of the mosque. The plan scheme of the Great Mosque of Gümüş is an example of the 14th and 15th century hypostyle mosque tradition called Ulu Cami (The Great Mosque). The Great Mosques of Early Ottoman cities such as Bursa (Ulu Cami and Şehadet Mosque), Edirne (Eski Camii), Filibe (Filibe Hüdavendigar Mosque), Bergama (Ulu Cami), Dimetoka (Çelebi Sultan Mehmed Mosque) and Tokat (Takyeciler Mosque) display the same plan scheme. All of these mosques, are covered by domes and/or vaults. Two 13th century buildings, the Gök Medrese Mosque and Burmalı Minare Mosque, could be discussed as archetypes of this plan scheme in Amasya region. In particular, the Burmalı Minare Mosque comes to the forefront with its structural similarity with the Great Mosque of Gümüş. It is also divided into three naves by four unengaged pillars, its main nave covered by three domes and side naves covered by three cross vaults each. This is an indication that this plan scheme was an earlier tradition within the Amasya region. This plan scheme was not a preference in the 16th century and beyond. During the time of Rüstem Paşa, Mimar Sinan was the chief architect. Only one building, the Piyale Paşa Mosque in İstanbul, designed by Mimar Sinan displays the Ulu Cami plan scheme. However, Mimar Sinan, who listed all the buildings commissioned by Rüstem Paşa in his autobiography, did not mention the Great Mosque of Gümüş. This indicates that, the Great Mosque of Gümüş was not built entirely in the 16th Century by Rüstem Paşa but restored and renovated as stated in his vaqf records. All of the 14th and 15th century Ottoman mosques displaying the Ulu Cami plan scheme were commissioned by Sultans. In fact, the Great Mosque of Sofia, is known as the first building displaying the Ulu Cami plan scheme that was commissioned by a vizier, Mahmud Paşa during the reign of Sultan Mehmed II. In respect to this, if the plan scheme of the Great Mosque of Gümüş was not modified during Rüstem Paşa’s restoration, this could be seen as a challenge to Yörgüç Paşa in the first half of 15th century. Yörgüç Paşa, who ruled the Vilâyet-i Rûm province comprising Amasya, Tokat, Çorum and Samsun regions, was a very powerful local governor with a tendency towards autonomy. The monuments which he and his family commissioned throughout the province (in Amasya, Tokat, Havza, Gümüş, Vezirköprü, Kavak and İskilip) between 1429 and 1442, were instruments indicating his economic and politic power. As Ayverdi states, it is impossible to accurately reveal which parts of the Great Mosque of Gümüş belong to 15th century’s original building, and which parts were added by Rüstem Paşa in the mid-16th century. However, the mosques that were commissioned by Yörgüç Paşa nearby (in Havza, Kavak and Vezirköprü), are built of stone and covered with timber hipped roofs. The Great Mosque of Merzifon, which was built by the order of Sultan Murad II, (whenYörgüç Paşa was the governor of the province), is built of stone and covered with a timber hipped roof, as well. In spite of his political ideas, Yörgüç Paşa was not supposed to build a mosque more monumental than the one built in Merzifon by the Sultan in the same time period. This study does not aim to reveal whether Yörgüç Paşa or Rüstem Paşa was the true patron who commissioned the building, rather it aims to examine the building in detail to date its parts and to discuss the architecture of the existing mosque within the traditions of 15th and 16th centuries’ architectural styles and techniques.

Gümüş Ulu Camii: Bani ve Dönem Sorunları Üzerine Bir Mimari Deneme

Dordaneh

Şiraz’da Pahlavi dönemine ait tarihi bölgede birtakım konut evleri bulunmaktadır. Bu konutlar modern mimariye uygun şekilde yapılmakla birlikte dekorasyonlarında geleneksel teknikler ve tasarımlar kullanılmıştır. Haft rang (yeni renkli) çini, bu tür evlerde en sık kullanılan dekoratif tekniklerden biridir. Bu süslemelerin Pahlavi döneminde Şiraz evlerinin iç ve dış görünümlerinde kullanılması, çağdaş İran mimarisinde gelenek ve modernitenin birleşiminin yeni bir örneğidir. Bu örneklerin kapsamlı incelenmesi, çağdaş İran mimarisinin daha iyi anlaşılmasını sağlayabilir. Buna göre, bu makalede, Pahlavi döneminde Şiraz konut evlerinin mimarisindeki yedi renk çinilerin dekoratif özellikleri ve çeşitli motifleri tanımlayıcı-analitik yöntemle incelenmiştir. Bu makalenin verileri alan araştırması ve kütüphane çalışmalarına dayanmaktadır. Bu amaçla Pahlavi dönemine ait Şiraz'ın kentsel alanı incelenirken, 20 evin yedi renk çinilerin dekorasyonu, uzam, çerçeveleme, motif ve desen çeşitliliği açısından sınıflandırarak incelenmiştir. Bu çalışmanın bulgularına göre, Pahlavi döneminde Şiraz evlerinin yedi renk çinilerin çerçevesinin çeşitliliği sekiz tipte görülmektedir: dikdörtgen, kare, birleşmiş geometrik şekiller, büyük medallion, eğri yüzeyler, dikey çatallı, taç, pencere çerçeveleri. İncelenen örneklerde kullanılan motiflerin çoğu rumî ve hatayî’dir. Şiraz’da Pahlavi dönemindeki yedi renk çinilerin baskın motifleri; çiçek, gül ve bülbül, rumî ve hatayî, madalyon şeklinde bulunan bitkisel desen ve desenleri içerir ve bunlar yedi renk çinilerin çerçevesini ve ana tasarımını oluşturur. Gül, bülbül, çiçek ve bitki tasarımlarını içeren bir grup motif, doğal türlerine benzer bir şekilde çizilmiştir. Diğer bir grup ise rumî, hatayî ve madalyon formları gibi soyuttur. Madalyonların bazılarında istisna olarak çiçekler gerçekçi bir şekilde kullanılmıştır. Yedi renk çinilerin çerçevesini süsleyen hayvan ve kuş figürleri iki tiptedir. Kelebekler, kuşlar ve hayvanlar avlanma sahnelerinde farklı türde kullanılmıştır. İnsan&nbsp;figürleri, antik çağı eserlerinde olduğu gibi, minyatürler veya basit bir şekilde tasvir edilmiştir. Doğal manzara desenleri, evlerin iç görünümünde bir cennet parçası andırmak amacıyla tasarlanmıştır. Mevcut örneklerde iki tip manzara deseni karşımıza çıkar: Biri daire şeklinde vazolar üzerinde, diğeri ise evin içini dekore etmek için bir çerçeve şeklinde tasvir edilmiştir. Çalışılan örneklerde geometrik motifler olarak şemse şeklinde on ve onaltı köşeli ve dört köşeli yıldızlar görülmektedir. Bu tür motifler hemen hemen Pahlavi dönemi yedi renk çinilerin çerçevesininin yarısını kaplamaktadır. Kaçar dönemindeki renk değişimlerinin izleri Pahlavi döneminde görülebilir. Shiraz yedi renk çinilerin diğer örneklerden ayıran, sıcak renklerin, renk çeşitlerinin, koyu ve parlak kontrastın, tamamlayıcı renk kontrastının ve renk uyumunun kullanılmasıdır. Bu dönemde, kenar boşluklarını veya madalyonları astarlamak ve bazı durumlarda yüzeyleri boyamak için siyah renk kullanılmıştır. Kaçar döneminde hakim olan yeşil renk, yedi renk çinilerin çerçevesindeki küçük ve dağınık yüzeylere dönüşmüştür. Sarı da benzer şekilde kullanılmıştır. Yukarıda belirtilen özelliklere ek olarak Şiraz yedi renk çinilerin rengi, İsfahan'ın renk özellikleri Pahlavi döneminde yedi renk çinilerine eklenirken, ana arka plan renkleri olarak yüksek seviyelerde mavi ve turkuaz renkler kullanılmıştır. Pek çok kırmızı çiçek çok fazla renk çeşitliliğine sahip çiçeklere dönüşmüştür. Bu dönemde, hatai çiçekleri birçok farklı renkte tasvir edilmiştir. Bu dönemin resim çalışmalarında ahenk, aydınlık ve karanlık kontrastlar da görülmektedir. Bu dönemde hayvan figürlerinin boyanması önceki dönemlere göre daha gerçekçidir. Yedi renk çinilerin motifleri ve desenlerinin tasarımında, ikide biri, dörtte biri ve sekizde biri simetri olarak kullanılmıştır. Bu dönemde daha çok dörtte biri simetri motifler yaygındır. Pahlavi döneminde çift olan çini çerçevelerinin yansıması ve benzerlikleri görülmektedir. Az sayıda çalışılan numunede simetri olmayanlar da gözlenmiştir.

Pehlevi Dönemine Ait Şiraz Konut Evleri Mimarisindeki Haft rang Çini Desenlerinin İncelenmesi

Jale Özlem

Among the many and varied findings from kurgans – the graves of Central and Inner Asian Turks - the placing of mirrors, especially bronze ones, is very important. Most of these mirrors were found in situ in positions such as the belt, hand, head, and chest of skeletons. This shows that these objects were used not only in daily life but they also had a place in Shamanistic practices as well as symbolical meaning. Furthermore, the loop on the reverse of the glass symbolises the gate which leads to the underworld. The mirror not only connects these two worlds but also looks into the other world, finds lost souls and protects them aganist the gaze of evil spirits. These mirrors are a kind of medium - they can provide information about the future and they also have some therapeutic properties. In some respects, they are reminiscent of Shaman drums, both in terms of form and features. Moreover it was noted that while some of them were found whole, some were only found in fragments. The ones found in fragments were broken consciously. So this point again proves their dual-usage. The mirrors of the Ancient Turks were found in the graves of men, women, and children. Later, namely in the Early Middle Ages metal mirrors became cult objects; the places where the mirrors found with altar stone and limestone fragments supports this idea. Furthermore these kinds of mirrors were associated with water by the Ancient Turks as these mirrors cast reflections as does water. As can be seen from the information above, it is possible to find mirrors from the very early periods of Turkish culture. We can classify these mirrors by their period, according to the form of their handles: looped handles, short handles at the rim, long handles at the rim. Some of them had no ornamentation while some of them had decorations on their reverse side. In the graves of Huns and Gokturks in particular, we observed Chinese mirrors or their imitations. Given that we think this point needs seperate research, this element was not detailed in our study. In the Tagar Period, we mostly see disc shaped mirrors which have loops on their reverse side, but in the forest-steppe regions these disc shaped mirrors have handles on their rim side. Theses looped mirrors were used by both men and women and carried in the purse. In some cases there was not one, but two mirrors. During the Tagar Period in particular the mirrors from the 8th – 6th BC are excessively large. The Tashtyk Period disc shaped mirrors are rimed and have spherical loops at the center. Numerous findings of metal mirror from the kurgans prove that they were used significantly during the Xiongnu Period. In this period again bronze ones were very popular. The disc shaped bronze mirrors with loops at the center, rim and border were characteristic of the Mayemir Culture (also known as the Early Pazyryk Period /Central Asian Huns/Xiongnu Period) of Gorny Altai. The Xiongnu Period mirrors which were excavated from the Pazyryk and Shibe kurgans, were mostly handled at the border and rarely had ormanents on the reverse side. However, a small selection of mirrors looped on the reverse side were found in this period. Some of these mirrors which had animal shaped handles or loops might be local products. The mirrors adorned with deer from places such as Buhtarma, Ordos, Tuva, Minusinsk Basin, Western Mongolia and Kirgizistan, support this idea. It is well known that the deer has an important place in Turkish culture and art and we see this traditional feature continuing on these mirrors too. Further evidence for this idea comes from Berel kurgan 8 - the mirror from this kurgan has a gryphon head on its handle and we know examples of these kinds of gryphons in Xiongnu art existed as horse ornaments or coffin nails. Almost all of the Gokturk Period mirrors that came from graves were found near the head of the deceased with a few seen on the belt or at the back of the horse. We have one very unique example where the head of the deceased was placed between two mirrors. In this research we wanted to pay particular attention to Chinese mirrors. Gokturks especially have strong relations with the Chinese in domains such as war, marriage, trade and etc. So it is only natural that we should come across Chinese mirrors in the lands of the Gokturks. For the Gokturk Period it should be noted that the mirrors from Mongolia and Southern Siberia were only found in women’s graves whereas a mirror from a Mongun-Tayga grave in the land of Tuva was found in a man’s grave. Our two late period examples come from two women’s graves in Astana, Kazakhstan. One of them was unearthed from Bozok Grave 4, which belongs to a Musulman woman. This is an important point because this mirror and the second example represent a transition from steppe culture to the Islamic Period. The aim of this research was to present and discuss the mirrors which originated from Central and Inner Asian early period Turkish graves.

Orta ve İç Asya Buluntularına Göre Erken Devir Türklerinde Ayna

Çeşitli işlevlerdeki yapılar ve yapı topluluklarının arazideki sınırlarını belirleyen, arsa, bahçe, avlu gibi açık mekanları çevresinden ayırmak amacıyla yapılmış, yapıyı çepeçevre saran duvarlar “çevre/ihata duvarı” olarak tanımlanmaktadır. Çevre duvarları sivil mimaride bu özelliklerinin yanı sıra güvenlik ve mahremiyet amaçları ile de kullanılmıştır. Anıtsal mimaride ise bunlara ek olarak bazı araştırmacılar tarafından yapının manevi sınırlarını tanımladığı düşünülen çevre duvarları sivil mimariden farklı olarak kesin bir ayrım oluşturmaz, yapının çevresi ile ilişkisini tamamen koparmazlar. Kapı, mekana girişi sağlayan bir eleman olarak yapının fonksiyonu ne olursa olsun çevre duvarının değişmez bileşeni olmasına rağmen pencereler yapının çevre ile ilişkisini sağlayan öğeler olarak çoğunlukla anıtsal mimaride kullanılmıştır. Çevre duvarları hangi amaçla yapılırsa yapılsın, yapıdan önce algılanan ilk kısım olma özelliği ile yapısal odak ve çevre ilişkisinde sınır koyucu, çevreyi şekillendirici bir özelliğe sahiptir. Geleneksel peyzajın ayırt edici öğelerinden biri olmasının yanı sıra dönemin toplumsal yaşam biçimine ilişkin bilgi veren tarihi belge niteliği taşırlar. Anıtsal mimaride çevre duvarları, mescit, medrese, türbe gibi küçük ölçekli yapılardan büyük ölçekli külliyelere kadar pek çok yapıda kullanılmıştır. Bu çalışma kapsamında dönemsel sınırlama yapılsa bile anıtsal yapıların tamamının ele alınması mümkün gözükmediğinden çalışmanın kapsamı karşılaştırma olanağı sağlaması açısından Sinan’ın İstanbul’daki külliyelerinin camilerini çevreleyen duvarlar ile sınırlandırılmıştır. Çalışmada bu camilerin pencereli çevre duvarlarının yapım teknolojisinin korunması için belgelenmesi amacıyla bileşenleri, bileşenlerinin birbirleri ile ilişkisi, boyut, biçim ve malzeme özelliklerine bağlı olarak incelenmiştir. Bugüne kadar Mimar Sinan külliyeleri ve/veya camileri ile ilgili pek çok araştırmacı tarafından pek çok çalışma yapılmıştır. Bunlar içerisinde çevre duvarlarını başlı başına ele alan çalışma bulunmamaktadır. Bu doğrultuda dokuz cami belirlenmiştir. Çalışmada öncelikle çevre duvarlarının yeri ve tarihsel süreçte plan şemalarındaki değişiklikler arşiv belgeleri eşliğinde incelenmiştir. Bu aşamada ayrıca duvarların bileşenleri sunulmuştur. Sonraki aşamada, çalışma kapsamına alınan yapıların çevre duvarlarının bileşenleri ve bileşenlerin birbirleriyle olan ilişkisi, arşiv belgeleri eşliğinde malzeme, boyut ve biçim özelliklerine bağlı olarak incelenmiştir. Çalışmadan elde edilen veriler, karşılaştırmalı tablolar ve görsellerle birlikte duvar örgüsü, harpuşta ve lokma parmaklıklı pencere başlıkları altında sunulmuştur. Kapılar çevrede duvarlarının sabit bir parçası olmasına rağmen, farklı bir çalışmanın konusu olabilecek detayda olmaları nedeniyle kapsam dışında bırakılmıştır. Çalışmada literatür taramasının yanı sıra çevre duvarlarının güncel rölöveleri ve yerinde yapılan incelemeler ile arşiv belgelerinden yararlanılmıştır.&nbsp;Çalışma kapsamında incelenen yapılar İstanbul’da ve genellikle sıkışık parsellerde, organik kent dokusu içerisinde yer alır. Bu nedenle her yapıda, yapıların etrafını tamamen çevrelemez, bazı yönlerde külliyede yer alan diğer yapılar ve/veya komşu parseldeki yapı veya çevre duvaları ile bitişiktir. Bu durumlarda duvarların plan şemaları parsele göre belirlenmiştir. Selatin camilerinde oldukça büyük olan dış avlu, iç avlu ve cami kapalı mekanını bazen de bunlara ek olarak hazireyi çevreler. Zemini toprak olup genellikle içerisinde yeşil alan ve yaya yolları bulunmaktadır. Çevre duvarları duvar örgüsünün haricinde genel olarak; kapı, pencere, harpuşta ve korniş elemanlarının birleşiminden meydana gelmiştir. Duvarların bileşenleri çoğunlukla benzer malzemeler ile yapılmış olup benzer biçimsel özelliklere sahip olmasına ragmen bazı yapılarda farklı malzemeler ile çeşme, sütun, kemerli geçiş gibi farklı öğelerin kullanıldığı da görülmektedir. Duvar örgüsünde kullanılan malzemeler çoğunlukla yapının önemine ve inşaat için ayrılan finansal kaynağa göre değişmektedir. Bazı yapıların farklı cephelerine, cephenin konumuna ve önemine bağlı olarak farklı malzeme ve işçilik uygulanmıştır. Çalışmada incelenen dört caminin çevre duvarlarının tamamı kesme taş, bir yapının tamamı derzli kesme taş, bir yapının ise tamamı kaba yonu taştan yapılmıştır. Diğer üç caminin çevre duvarlarında ise farklı teknikler bir arada kullanılmıştır. Bu üç yapının bir veya daha fazla duvarı kesme taş olacak biçimde, diğerleri derzli kesme taş, kaba yonu ve kesme taş ile tuğla almaşık teknikte uygulanmıştır. Çevre duvarlarının ana caddeye veya türbe gibi yapılara bakan kısımları malzeme kullanımı ve teknik bakımından daha özenlidir. Harpuşta, incelenen duvarların tamamında eğimli olan çatı kısmı ile kornişten meydana gelir ve incelenen yapıların tamamında harpuştaların malzemesi küfeki taşıdır. Şehzade Mehmed Camisi, Süleymaniye Camisi ve Zal Mahmud Paşa Camilerinin harpuştalarının çatı ve korniş kısımlarının arşiv kayıtları ve saha araştırmalarına göre bağımsız yapılmış olduğu görülmektedir. Diğer yapılarla ilgili kesin kayıtlara ulaşılamamış ta olsa korniş ve çatıyı meydana getiren taşların uzunluklarının farklı olması, parçaların birbirinden bağımsız olduğunu göstermektedir. Korniş silmeleri; kaval, kepçe, asaba, armudi ve 45 ̃ lik pah’ın farklı boyut ve biçimlerde birleşiminden meydana gelmiştir. İncelenen duvarlarda beş farklı şema kullanılmıştır. En sık kullanılan şema asaba ve 45 derecelik pahtan oluşur. Çatı kısımı ise çoğunlukla eğrisel üst kısım ile asabadan meydana gelmiştir. Şehzade Mehmed Camisi ve Haseki Camisinde ise, çatı asabasız olup eşkenar üçgendir. İncelenen pencerelerin boyutları farklılaşmasına rağmen tamamı lokma parmaklıklı olup çoğunlukla dikey dikdörtgen biçimlidir. Pencere yüksekliklerinde belirli bir standart bulunmamasına rağmen, yüksekliklerin iç avlunun dışarıdan görülmesine olanak sağlayacak yükseklikte inşa edildiği görülmektedir. Böylece aynı zamanda yapı ve çevresi arasında ilişki kurulması sağlanmıştır. Söveli, duvar örgüsünde yapılmış söveli ve sövesiz örnekleri bulunmaktadır. Kılıç Ali Paşa, Kara Ahmed Paşa, Süleymaniye, Atik Valide ve Zal Mahmut Paşa Camilerinin pencereleri eşit boyutlarda ve eşit aralıkla tekrar eden belirli bir düzene göre biçimlenmiştir. Ancak diğer yapılardaki pencerelerin büyüklüğü, şekli ve tekrarı düzensizdir. Özellikle Şehzade Mehmed ve Zal Mahmud Paşa Camilerinin türbe önlerindeki çevre duvarlarına farklı dönemlerde açılmış pencereler farklı boyut ve biçimlere sahiptir. Çalışma kapsamında ele alınan duvarların biçimlenme özelliklerinin, konum, topoğrafya, görsel kaygı ve yapının geçirdiği müdahalelere bağlı olarak farklılaşmasına rağmen, yapım tekniği, malzeme ve bileşenlerine bağlı olarak benzerlik gösterdiği görülmüştür. Duvar kimliğinin kent için tamamlayıcı bir değer olarak sürdürülebilirliğinin sağlanması, yapım tekniklerinin ve malzemelerinin korunmasına bağlıdır. Tarihsel önemlerinin yanı sıra, kenti bütünleyen bir değer olarak sürdürülebilirliklerinin sağlanarak korunmaları, gelecek nesillere aktarılmalarını sağlayacaktır.

Mimar Sinan Camilerinde Çevre Duvarı: Bileşenleri ve Yapım Teknikleri

Azize Melek

Pottery, which is known to have been produced over a long period of time from the 15th century to the beginning of the 20th century, has survived to the present day due to the existence of specific production centers. A few of the most important of these centers, İznik, Kütahya and Çanakkale completely fill the time period from the establishment of the Ottoman state to its demise.. The ceramics produced during Ottoman period in the 16th and 17th centuries had their greatest times not only in technical aspects but also artistic aspects. Iznik became the center of ceramic production in this period. From the 17th century onwards, negative changes in colors and glazes were observed. Improvements in quality decreased over time, and in the 18th century began to decline completely. Kütahya, which produces separately from İznik, stands out as an important ceramic center in this period. Between the 17th and 20th centuries, Çanakkale was known as another center of production alongside Kütahya ceramics. With the decline of ceramic production in Kütahya, Çanakkale ceramics gained importance. There were many closed (cube, jar, jug, etc.) and open (plate, bowl etc.) ceramics produced in Çanakkale. In addition to these types of ceramics, animal shaped vessels called trinkets were found. Among the most noteworthy animal-shaped vessels are those forms that we call “kangaroo”. Given that these kangaroo forms (which are not typically rendered in Turkish art) appeared so suddenly in Çanakkale ceramics and these forms haven’t previously been researched, this has formed the basis of our research. As a result of new research, the point when ceramic art production began was discovered in Çanakkale. Ceramics produced here date back to the 14th century. The development of Çanakkale ceramics and the ceramic centers of the Ottoman period (İznik-Kütahya) show a parallel artistic development. As a result of surveys carried&nbsp;out in Akköy in the Ezine district of Çanakkale, ceramic pieces from the 14th century have been included in the study as proof of this finding. The most important features that distinguish Çanakkale ceramics from other ceramics are the presence of figurative examples and the presence of different containers made with interesting applications. Among these examples, animal-shaped figurines are also found. Among the animal shaped figurines, examples of lion, horse, camel, deer, kangaroo, turtle, dog and bird shaped forms are familiar. The lion, horse, camel, deer, turtle, dog and bird forms used in these figurines are expected in Çanakkale ceramics since they are directly related to Turkish culture. According to research, Kangaroo shaped figurines samples had not been found in Turkish art. That is, until a group of figurine samples seen in Çanakkale ceramics refuted this thesis. The kangaroo can be described as a long-tailed, mouse-like creature that lives on the Australian continent. It is known that the Kangaroo was first introduced to world literature by Lieutenant James Cook in 1770. Later, in 1820, another captain, Phillip K. King, used the name “mee-nuah” “for kangaroo”, but this name has been forgotten. Besides the fact that kangaroos are the only large animals that can jump, they are one of the larger marsupials in the Macropodidae family. Their length is more than 1.5 meters - the most noticeable limb of the kangaroos being their tail, which is approximately 1 meter in length. Kangaroos are animals that can jump, but they can’t jump backwards. While their average life expectancy is 4-6 years, some are known to have lived up to 23 years. After the British discovery of Australia, it can be assumed that the kangaroos were known to the world. The first kangaroo depiction was attributed to George Stubbs (1724-1806, England), known for his oil painting “Kongouro from New Holland”. This painting was the first time that animals from the Australian continent were imported into Western art, and this was after Lieutenant James Cook’s first journey of discovery. Moreover, it is known that the figure of the kangaroo in the first state coat of arms of Australia was inspired by the painting of Stubbs. The kangaroo shaped figurines seen in the Çanakkale Ceramics are placed on a circle-shaped base, shaped in three-dimensional stylized forms. There are two legs on the front of the body. There is a long and curved tipped tail behind the body. A round opening is seen in the upper part of the tail. The kangaroo’s head is oval-shaped and has two long ears on the sides, a knob on its head. A small rosette in relief is attached to the middle of the chest. Seven kangaroo shaped figurines were found in this style. All of these figurines belong to the co Suna İnan Kıraç Foundation collection and are exhibited at the Kaleiçi Museum in Antalya. Within the scope of this research, many domestic and foreign museum inventories were scanned, and related resources such as books, encyclopedias, articles, theses, journals, etc. were analysed. However, apart&nbsp;from the seven kangaroo shaped figurines found in the Kaleiçi Museum in Antalya, no other examples were found. The first aim of this study is to pinpoint the timeline in which the kangroos, whose habitta is Australia, emerged in the world art. Furthermore, it was aimed to determine from who and from where they were affected in the process in which kangaroo shaped figurines seen in Çanakkale, which is one of the important ceramic centers of the Ottoman period, were turned into ceramic figurines When we look at previous studies on this subject, we can see that only general information is given regarding Çanakkale ceramics. There is no detailed information relating to this subject in scientific sources.

Sanatta Kanguru ve Osmanlı Dönemi Çanakkale Seramiklerinde Görülen Kanguru Biçimli Bibloların Araştırılması

Pınar

In this study, the origins of illuminated manuscripts were mentioned prior to the analysis of Early Byzantine illuminated theological manuscripts. While the illumination of papyruses, which are the pioneers of text materials, is rarely encountered, it is known that there are papyruses belonging to different disciplines, such as mathematics. There are also illuminations available in rolls, which is another text material. Information on the use of paintings together with the manuscripts is also available in Antique Period sources. Although there are numerous questions left unanswered in this regard, the subjects composing the content of Antique Period manuscripts or rolls reveal that the texts were definitely accompanied by paintings, regardless of revealing which subject was illuminated more. There are two opinions on the causes of the increase in codex illustrations, which were first used as a text material in the 1st century or an earlier period. The first opinion asserts that the paintings were used as a guide in manuscripts which comprised scientific and technical texts. However, accompaniment of the texts that are related to Christianity and which date back to the same centuries as narrative paintings constitutes a problem against this thought. Another opinion - agreed by most researchers - is that the narrative paintings first occurred in rolls which were used in Egyptian Art of the Hellenistic Period, and that they became a separate branch of art. Narrative painting is the most distinct characteristic of Early Byzantine Period manuscripts. It is a remarkable fact that there are traces of Classic Antique and Jewish Art encountered in these cycles while searching for the origins of narrative cycles. Large amounts of cycles, the superiority of the Old Testament cycles, arrangements of the Holy Book that were written separately, and stylistic and iconographic similarities of paintings found in these arrangements, can serve as a proof for these traces. Researchers, on the other hand, inquire whether there were narrative painting cycles&nbsp;in Jewish manuscripts despite the prohibition of painting by Judaism. Hellenistic Jewish Art might have encouraged the use of Old Testament subjects in Christian art. Yet, the most encouraging sample is the Dura Europos Synagogue frescos dating back to the 3rd century. Most researchers agree on the fact that Jewish manuscript art had an influence on the development of the illumination of Christian Old Testament themed manuscripts. However, their opinions differ when it comes to the issue of date. Admitting the existence of the Jewish Holy Book illumination leads us to the undeniable fact that these paintings are limited to the Old Testament only. On the other hand, if we assume that the illumination of the New Testament was created in the first centuries of Christianity, we come to the conclusion that the painting cycle may be a combination of both Greek-Roman and Jewish narrative art. Moreover, it is not possible to suppose that the Old Testament cycles come from a Jewish origin. In the study, Quedlinburg Itala (Ms. Theol. Lat. fol. 485 / LDAB 8476), Ashburnham Pentateuch, Rabbula Gospel (Rabbula Gospels Cod. Plut. I,56 / LDAB 115232), Paris Syrian Bible (The Syriac Bible of Paris Cod. syr. 341 / LDAB 115270), St. Augustus Gospel (Cambridge, Corpus Christi College 286 / LDAB 7481), British Library Cannon Tables (London, British Library Add MS 5111 / LDAB 7151) and Cotton Genesis (Lond.Cotton Otho B.IV / LDAB 3242) were analyzed under the title of Early Byzantine Period Illuminated Theological Manuscripts. Early Byzantine Period Purpura Codices: the Rossano Gospels (Codex Purpureus Rossanensis / LDAB 2990), Sinope Gospel (Codex Purpureus Sinopensis Paris, Suppl. Gr. 1226 / LDAB 2902) and Vienne Genesis (Vindob. Theol. gr. 31 / LDAB 3078), on the other hand, were analyzed under a separate title. Late Antique and Early Christian book luxury codices were the great traditional metropolitan centers which had become the seats of the early patriarchates: Rome, Alexandria, Antioch, and Constantinople. The earliest Biblical miniatures are from the luxuriously illustrated Books of Kings manuscript in Berlin, the so-called Quedlinburg Itala from the early fifth century. Three Greek manuscripts written on purple parchment and dating from the 6th century – the Vienna Genesis, the Gospel in the treasury of Rossano cathedral in Calabria, and the fragments of the Sinope Gospels in the Paris Bibliotheque Nationale can also be credibly attributed to the Eastern Empire, as can the remains of the Cotton Genesis, in London. The tendency towards formal abstraction is apparent in the Vienna Genesis and Rossano and Sinope Gospels, which are usually attributed to an oriental origin. Here Hellenistic tradition is combined with the hieratic style. The paintings in the Syriac evangeliary from Rabbula, now in Florence, executed at the Zagba monastery in Mesopotamia and dated to 586, are even farther removed from the antique tradition: the proportions of the figures do not conform to classical&nbsp;canon. Even the pictures of the seventh-century Syriac Bible still reflect a strong Hellenistic heritage within a specific Syrian tradition. Also it is largely deprived of its architectural function and often, as in the Rabbula Canon Tables, is filled with abstract and floral decorations, and crowned by flowers and birds. Fragments of four Greek Canon Tables in London show the full extent of ornamental richness and exuberance. The larger groups of illustrated biblical books were the Octateuch in the Greek East and the Pentateuch in the West Latin, of which one early, luxuriously illustrated copy has survived, the seventh century Ashburnham Pentateuch in Paris.

Erken Bizans Dönemi Resimli Dini El Yazmaları

Işık

The theological bases of the description of Saint john the Baptist as winged began with the fact that God called upon him by using the specific word messenger which is based on the root of the word angel, then strengthened through the belief for which Saint John the Baptist has been considered to be the resurrection of the Prophet Elijah, and raised furthermore with Saint John the Baptist’s angelic lifestyle in the desert in which he carried out all his missions such as being a Mediator, Messenger, Baptist and the first witness of Jesus Christ. Finally, those theological bases have been widely expanded by the interpretations of Church Fathers and theologians. Saint John the Baptist has been seen as an unique and sacred figure of the Christian art iconography due to the specific nature of his two different identities which blend into one personality for being a Messenger-Forerunner as the last Prophet of the Old Testament by “preparing the way of the Lord” and being the Baptist as the first Prophet of the New Testament by baptising the Lord. This position made him the Bridge between the Old and New Testament. The main significant source and starting point of the attribution of angelic features to Saint John the Baptist is in Mark 1:2-5 in which he was called upon by God himself using the word of angelon (ἄγγελόν) which means Messenger and Forerunner based on the word for angel in Greek. Hereby, an angel-like position is added to the components of his identity. One of the other important reason why Saint John the Baptist is attributed with wings is linked to his association with Elijah Prophet. The story of Elijah Prophet in which he was taken by God before his death and the belief of his future return on earth before salvation day and his transformation into an angel, feeds intensely the thought of the theological base of the angel-man combination in the frame of the Old and New Testaments relationship. The references from the Old Testament about his return and preparation of the way of the Lord before salvation day, are repeated during the announcement of Saint John the Baptist’s birth in the New Testament. It is revealed that this mission of preparing the way was given to John the Baptist. (Malachi 4:5, 3:1). There are obvious similarities between the words from Malachi in the Old Testament and the speech of the Angel to Zechariah during the Announcement of Saint John the Baptist in the New Testament. (Luke 1: 13-17). The same meaning could be found in the words from Zechariah on his doxology for his son. (Luke 1: 76-77). The identification of Saint John the Baptist as Elijah is emphasized in Matthew 11: 9-15 by Jesus himself as well as in one of the dialogue in Matthew 7: 10-13, in which Saint John the Baptist is directly called Elijah’s resurrection. (Matthew 11: 9-1) The common denominators between Saint John the Baptist and Elijah are observed as being Messengers and Forerunners as well as sharing the same way of life. This&nbsp;same lifestyle called Mimessis ton Angelon which means being angel-like, is linked with being ordered by the Archangel to go to the desert. Indeed, both of them spent secluded life in the desert in the form of the “Angel of the Wilderness” in order to be far from all temporary terrestrial things while inviting people to redemption from there. The term “Angel of the Wilderness” which has been attributed to Saint John the Baptist is due to this lifestyle and is mentioned in several sections of the Holy Book as a way of depicting him. For example, it has been used in Isaiah 40:3 as well as several times in the New Testament. (Isaiah 40:3 Matthew 3:1-3, Mark 1:2-4, Luke 3:2-6, John 1:23.) Identified as an Eschatological Prophet, Saint John the Baptist, had a gradual path. He was called upon with the word of Messenger-Angel by God and had been accepted as a prophet since his birth due to his association with Elijah. Then, through Jesus’s words, he earned the qualification which made him superior to the other prophets and started his new position for which he came to be seen as Angel-like. Another parallel between Saint John the Baptist and Angels could be found in the belief that the Angels were created before the big Creation. This thought has been defended by Church Fathers such as Origenus (184–254), Gregorios of Nazianus (330–390), Ioannes of Damascus (?-754) and Saint Ambrose (340–397). This association is linked with the story in Luke 1: 41-45 in the New Testament in which it is written that Saint John the Baptist was filled with Holy Spirit even before both his own birth and Jesus’ birth. The description of Saint John the Baptist as winged has been widely used in the production of icons, especially in Russian and Cretan art in the PosByzantine period, whereas, the first example as a monumental painting and part of the specific program were found in the south transept wall of Saint Achilles Church in Serbia, in 1296. The relevant explanation to the question of why this description was first found in Serbia, is that Serbia has its own iconographic program which evolved according to the specific orthodoxy understandings of Serbia. At this point, the Cult of Slava, which is the foundation of the Serbian orthodoxy, prepared the appropriate base for its implementation. The Cult of Slava includes components such as; confirmation of the first baptised person as Saint of the family, the strong importance laid on the concept of the ascetic life and Martyrs. In the frame of this characteristic mentality, Saint John the Baptist has been seen as Patron Saint of the country due to his Baptist identity and his ascetic life as “Angel of the Wilderness”. The example of the Church of Saint Achilles in Arilije, also was designed in accordance with the definition of Angel of the Wilderness. In this description, Saint John the Baptist is shown with tousled hair, frail, dressed in a camel feather tunic (shaped like an exomis) and tied with a rope in accordance with the general typology of the Bible. In this description, Saint John the Baptist is shown blessing with his right hand&nbsp;and holding with his left hand holding one liturgical vessel carrying his own head and one scroll on which is written a reference that can be found in both the Old and New Testament . (Malachi 3:1, Matthew 11:10, Mark 1:2, Luke 7:27) The presentation of the head placed on a plate, which is similar to the liturgical Echarchist vessel, is emphasizing both the Martyrdom of Saint John the Baptist and the sacrifice of Jesus. According to Ellen Schwartz’s article entitled “Russian Icons and Byzantine Legacy; The Angel of the Wilderness”, published in Byzantinoslavica volume 58 in 1997, this representation expressed the sacrifice of Jesus as a second time in liturgy through Saint John the Baptist’s demonstration. Those references could describe all identities of Saint John the Baptist such as a Prophet, an Apostle, a Martyr and an Angel. Appropriately, in the example of Arilije, those texts are written on the parchment of Saint John in which he is depicted in the position of the Messenger of Jesus. The second important example as a monumental painting after the Church of Saint Achilles in Arilije was placed in the Virgin Nativity Cathedral, Ferapontov Monastery in Russia which was renamed ‘The Museum of Dionisy’s Frescoes’ in 1975. The frescoes were painted by Dionysio (1450-1520) in the 16th century who was one of the most important painters in Moscow. The church was structured into three apses. On the central apse Theotokos Mary and Child Jesus in the orans position can be found. Saint Nicholaos is found on the south apse and on the north apse. Winged Saint John the Baptist is depicted as a half figure framed with a red line blessing with his right hand and holding one closed scroll in his left hand. The figure is depicted wearing a red exomis over a blue tunic in accordance with the Church’s colour spectrum. Other examples of Winged Saint John the Baptist as monumental paintings can be found in Saint Basilios Church in Nevşehir, Mustafapaşa (Sinasos) built in the 12th century. The paintings, however, belong to the 19th-20th century. Two examples of Winged Saint John the Baptist can be seen in two different positions and two different places inside the church. The first example is placed on the barrel vault at the entrance and can be identified as Deesis. The other one is placed on the Ikonastasis. The depiction on the Ikonastasis shows Winged Saint John the Baptist standing, dressed in a green exomis blessing with his right hand and holding a cross-tipped stick in his left hand. Walter Haring’s article “The Winged Saint John The Baptist; Two Examples in American Collections” published in The Art Bulletin 5 in 1922, is the main source of interpretation of the descriptions of Winged Saint John the Baptist on both formal and iconographic views. In this article, Haring has differentiated the depictions of Winged Saint John the Baptist into 3 groups. This classification includes Winged Saint John the Baptist representations such as standing from front, standing from profile in a supplication position and being a witness of his own birth which is rare but can be found in late Russian art. The first group includes the examples showing him from the front. The descriptions on the front also have different discourses in themselves. In addition to examples of Winged Saint John the Baptist depicted in front while carrying his own head on a plate like a liturgical vessel, there are examples of the same position while he is carrying the Child Jesus on a plate. In the same way, these two different depictions can also be seen in icons framed with several scenes of his life. The second group includes the examples showing Winged Saint John the Baptist from the profile. Generally, the Baptist is seen in accordance to his general typology from the Bible and standing from the profile in a supplication position on a mountain or rocky place. He is seen carrying one parchment and holding a cross-tipped stick which is a symbol of his martyrdom. In the upper left hand corner the representation of God or Jesus can be seen inside an illuminated place to which Saint John the Baptist is supplicating. His own head in a vessel can be seen on the ground, right next to the feet of Saint John the Baptist. At the lower part of the background, scenes of the beheading of Baptist, the Dance of Salome and the imprisonment of Baptist are depicted. The third group of the description of Winged Saint John the Baptist, shows him as a witness of his own birth. On this composition, Winged Saint John the Baptist can be seen behind the birth scene. Haring described this position of him as “a secondary figure” . Even though this description is rare, it differs from all other representations in terms of its content. Here, Saint John the Baptist directly indicates his own birth without any attributes except a scroll which are usually used in the other depictions, such as, an axe leaning on a tree, a cross-tipped stick and his own head or Child Jesus in a vessel. In addition to Haring’s classification, it is possible to add and refer to a fourth group of Winged Saint John the Baptist representations. The scene which shows Winged Saint John the Baptist among other Saints or Church Fathers, can mostly be seen in the Russian iconography. Here, the Baptist can be seen dressed in an exomis on top of a camel feather tunic, holding a closed or open scroll and standing at the same level as the other Saints without any hierarchical differences. The presentation of Winged Saint John the Baptist is an important description due to the different theological layers in both its emergence and the way that it has then been used as an icon. This depiction was found both as monumental paintings in the Slavic World under the influence of the Byzantine culture and widely used in icon productions mostly in Russian and Cretan art. On the other hand, no other example could be found neither in the main Byzantine lands nor in the Western Europe. Since the 17th century, this specific depiction of Saint John the Baptist as winged has been found worldwide, exclusively in Orthodox Art.

Kanatlı Olarak Betimlenen Vaftizci Yahya Figürü

Engin

It is the common opinion of social scientists that mass media is a great force that can influence and direct people. One of these posters is an important means of mass communication in terms of reaching many people. It is a graphic design product in terms of preparation. The main purpose and criterion of graphic communication is to communicate a message in a clear, economic and aesthetic way. Its economic means that the smallest number of visual images can transmit the highest number of information possible. This is also one of the basic rules of communication and each graphic element should be designed to increase the effect of the message. Planning is the first step in the design process. Within the framework of this plan, the design elements that would be appropriate to be included in the design are tried to be simplified and made easy to be perceived with the help of consultation and mind filter. Design elements that do not make any sense or have a meaning on their own (singular) are brought together around a purpose to create a new meaning. The new meaning and effect, that is, the integrity of all design elements, which emerge as a result of a special relationship, work or interaction between them in a creative way, is realized by means of visual invention. The most basic way to ensure the integrity of the various design elements is to create a balanced whole. Integrity prevents disintegration and clutter in the composition when properly constructed. When elements that are related to each other are grouped, elements with the same basic form, size, texture, color, or feeling can form the ideal integrity in a design. In a way, it is a dialectical interaction and the purpose of this union is to ensure the legibility and consistency of the design. G.1. Definition of graphic design elements On the poster floor, there are images of resistance against the coup attempt on the left side, images of the War of Independence on the right side, and faded (watermark). G.1. Semiotics evaluation Photographs of heroes who put their lives against the coup attempt constitute the semiotic reference of the poster. Armed photograph of Martyr Ömer Halisdemir and photographs of martyr female police officers stationed on a pale and blurred background expresses thankfulnes and gratitude to the soldiers and members of the police who were martyred in the coup attempt. The composition coming from the fluffy background towards the viewer refers to the presence of rescuers coming out of hopeless situations. It is seen that the Turkish Armed Forces prepared the poster for the 18 March Çanakkale Victory with the same semantic expression. G.1. Graphic design evaluation The poster design, which consists of photographs of coup heroes, is based on reality. The use of ready-made photography, which is considered to be an easy way for graphic design, has greatly reduced its artistic value. This design does not include any original structure in terms of design. The visuals in the foreground and in the background and the typographic elements related to the subject of the poster constitute integrity. The photos of Martyr Ömer Halisdemir and the women police officers who changed the course of the coup attempt were emphasized in the foreground by using prominent and large amounts. Stress; A direction, size, shape, texture, color, tone or line contrast can be achieved between the elements that should come to the forefront and those that should remain in the foreground. Concepts such as foreground and background are other visual design rules that should be mentioned with emphasis. A symmetrical balance has been created with the photos placed on both sides of the big photo and the background placed on both sides. Poster floor is divided into two parts as color. On the left side where the impact visuals are located, the yellow color is expressed in the right side where the War of Independence images are displayed in the twilight of the past. Result In the graphic design works with social content, it is a priority to have an effective (strong) structure before artistic and aesthetic concerns. An effective visual communication object should be of interest to the audience and be clear. Instead of gathering the audience’s attention at one point, a study that will divide the audience to different points and cause different interpretations leads to great losses in terms of meeting expectations. The posters prepared for the July 15 coup attempt are not problematic in terms of message expression, but the means used in the message expression are stuck in a narrow band. Considering the technological possibilities of today, it is very clear that they are very poor work. Moreover, the fact that it is prepared by professional agencies at secondary level is a very significant situation. A graphic design product should attract the attention of the target audience and visual elements should be handled with striking and unexpected approaches. The effective and arousing interest of the design depends on the fact that the visual elements to be used are handled with a comment other than the known, usual effects. While doing this, the designer should pay attention to the use of graphic language.

15 Temmuz Afişlerinin Göstergebilim Çerçevesinde Grafik Tasarım Yapısının Değerlendirilmesi

Mustafa

Prof. Dr.

Art-Sanat Thematic Issue: The Seljuks

Assoc. Prof. Dr.

In Islamic architecture, special units allocated for caliphs and rulers to pray together with their entourages are called maksûre or mahfil. These units, called “Hünkâr mahfili” or “mahfil-i hümâyûn”, refer to special units in mosques, which are allocated for the rulers to pray with their entourages, surrounded by railings and generally built above the ground for security purposes. Since the Ottoman sultans performed their Friday and Eid prayers, as well as their Isha prayers on holy nights (Kandil) and Qadr nights, in one of the sultanate mosques in their city, the hunkar mahfils are mostly seen in the mosques of the Ottoman capitals and constitute an important part of the mosque architecture, especially in Edirne and Istanbul. Since the 17th century, special sections called “kasr-ı hümayun” or “hünkâr kasrı”, connected to the hunkar mahfilis were also built for the sultan to rest and to receive and meet some people when necessary. Some of the structures lost their functions with the declaration of the Republic and the abolition of the caliphate and disappeared over time for some reasons such as fire, earthquake. One of these examples is the disappeared hünkâr mahfili of Edirne Üç Şerefeli Mosque, which is the subject of our study, and the hünkâr’s pavilion, which was later found to be added to the kiblah wall. The sultan’s mahfil and pavilion, estimated to have been added in the 17th century, were introduced and examined in detail terms of their historical, architectural, and ornamental features. The buildings, known to have disappeared in 1935, will be compared with similar examples in Ottoman architecture and evaluated in terms of construction tradition and architectural features of the hunkar mahfili and pavilion.&nbsp;According to its inscription, Üç Şerefeli Mosque, built by Sultan Murad II in 1437-1447 (841-851), is a kulliye consisting of Saatli Madrasah, Peykler Madrasah, a school, a sebil, a fountain, and a hazire. The building, also known as “Yeni Muradiye”, “Muradiye”, “Cami-i Cedid”, “Cami-i Kebir” and “Yeni Mosque”, takes its current name from its three balconied minarets. It is recognized that it was built by the architects Muslihuddin and Şehâbeddin. The mosque, which has a rectangular plan close to a square, consists of a transverse rectangular prayer hall and a cloistered courtyard. The building is the first example of the centrally planned mosques of Ottoman architecture, and is extremely important with its courtyard with a cloistered courtyard with fountain. It is understood from the existing wall traces, repair survey lists of the mosque dating from 1753, 1759, and 1763, drawings, and photographs that there was a hunkar mahfili in the southeast corner of the harim. The first document regarding the existence of this mahfil, which was demolished in 1935, is the repair survey books from 1753 prepared after the 1752 earthquake. Here it is called “mahfi-i hümayun”. Apart from the repair survey documents regarding the Hunkar mahfili, another source is the repair documents carried out between 1890 and 1893. In the documents related to this repair, there are two plans with different scale, and section&nbsp;drawings of the mosque drawn by Deputy Engineer Avadis of Edirne Municipality of the time, and in these plans and section drawings dating from 1890 (1305), shows that the hunkar mahfili located in the southeast corner of the harim. The fevkani mahfil has a rectangular plan and rises on six pillars, four in the east-west direction and three in the north-south axis. These pillars, which sit on rectangular bases, reach up to the molding level of the sanctuary. It is understood that the first window of the eastern facade towards the kiblah was turned into a door for the hunkar mahfili, whose construction date is unknown.In a 19th-century photograph showing the kiblah direction of the Üç Şerefeli Mosque, a section elevated on two wooden poles adjoining the building is seen in the southeast corner. It is understood that this section, which was added later, was a hunkar’s pavilion connected to the mahfil. It has been determined that this part, which was stated in the repair survey documents dating from 1753, 1759, and 1763, as a “toilet, an ablution room, and a coffee room” is an example of the hunkar’s pavilions designed in connection with the mahfil since the 17th century. Traces of the roof can still be seen on the first window in the eastern corner of the outer walls. The window here was converted into a door and a connection was established between the mahfil and the pavilion.&nbsp;In conclusion, we can determine that there was hunkar mahfili and a hunkar’s pavilion connected to it, especially from the archive documents regarding the repairs in 1753, 1759, 1763, and 1890-93, C. Gurlit’s plans and photographs, and the existing traces of walls and windows in the southeast corner of the mosque. The fact that it was damaged in the 1752 earthquake shows that it existed before that date. It is learned that the hunkar mahfili and pavilion, which did not survive to the present day, had a toilet, ablution room, and a coffee room. A direct connection was established between the hunkar’s pavilion and the hunkar mahfili by furnishing it with an independent entrance separate from the entrances used by the community. It is estimated that the mahfil and pavilion, the date of construction of which is unknown, were added to the mosque in the 17th century, when Edirne became the capital for the second time and became the permanent residence of the dynasty as a political center, and most likely during the reign of Mehmed IV. It is an important example of the tradition of later placing hunkar mahfili in sultan mosques in Edirne. With these added structures, the founder of the building, Sultan Murad II, became a political and religious authority. Murad II and his successor, the sultan of the period, were symbolically represented in the eyes of the people of Edirne and in the mosque architecture.

Representation of Sultan in The Edirne Üç Şerefeli Mosque: Non Existing Mahfil-i Hümâyûn and Kasr-ı Hümâyûn

In this article, the bone artifacts unearthed during the excavations of the Amorium City are discussed. Some bone artifacts found during the excavations in the city between 1988-2005 were published. Unpublished objects are analyzed in this article and grouped according to their functions. Of the fifty-six artifacts evaluated in the article, fourty-nine were made of animal bones, three were made of teeth, and four were made of horns. The artifacts in the catalog were recovered from excavations in the Rock Tomb, the Enclosure, Large Building East and Church A in the Lower City, and Basilica B and the Inner Wall in the Upper City. Considering the bone finds, the fact that most of them do not have a feature that can be associated with their dating since their functions have not changed over the centuries, enabled the finds to be dated by looking at their stratigraphic context and examples with similar characteristics. The findings discussed in the article were analyzed in eight groups.In the accessories group, three hairpins, one bead, three rings, one fastener and a binding pin were found. All three of the hairpins in the catalog are without figures. two of the rings found are complete and one of them is broken. Other bone accessories thought to be used in clothing and jewellery include a bead and two fasteners. Various datings have been seen for these binders, which are thought to have been used to fasten fabrics together. Some finds unearthed during the excavations are discussed under the heading of tools, as they are tools used in various functions. Among the nine finds in the catalog, there are five tools thought to be used as scrapers, cutting tools and piercers, a spoon, an awl and a sewing needle. Three of the finds were made from animal teeth. Bone spoons in a similar form to the spoon in the catalog are generally thought to be used for crushing or mixing paint in medicine or cosmetics. Among the bone artifacts found in the excavations, fifteen pieces were evaluated as tool handles. The parts in question are mostly formed by shaping the bone and horn by holding a metal Tpye Three of the pieces are made of horn. Two tool handles, which differ from the others in form, are similar to each other, with an octagonal body and a hole in the middle. There are intertwined circular decorations made with incising on all sides of the other decorated tool handles. Among the tool handles, three undercorated bone artifacts that are only smoothed on the outside.There are five complete spindle whorls unearthed during the excavations. All of these fragments were recovered from the trenches in the Upper City. The other group in the catalog is appliques and furniture parts. Three pieces of appliqué were found in Amorium. There are decorations on the upper surfaces of the generally flat appliques. During the excavations, four pieces of furniture were found. All four of them are in different forms. The most striking among them is the piece in the form of a Corinthian capital. The other group among the bone finds are game pieces. Among these pieces,&nbsp;there is also a dice and a love stone. 5 parts that are not completed or considered as production waste were evaluated under the title of parts related to production. Apart from these sherds, a lid, a tube and a schematic decorated bone fragment were found.Most of the artifacts belonging to different functions were obtained from different trenches in the excavation areas. In this case, the finds were dated by examining the location-finding point-context relationship. The only bone found from the Rock Tombs is the hairpin. This piece has been dated to the Early Roman Period according to the dating of burial. The sewing needle found in the Enclosure 1st-5th century range; According to the context of the knife handle, cochler and furniture parts, it is dated to the Early Byzantine Period, and the fabric fasteners from the Destruction Layer are dated to the 9th century. The hairpin, plaque fragment, ring and knife handle recovered from Church A are dated to the Middle Byzantine period and the tool handle to the 9th century.In the east trench of the Large Building, tool handles, tooltips, box handles, furniture parts and a medical instrument were dated to the 9th century based on the Destruction Layer. In the area following the aforementioned layer, tooltips and handles and bone artifacts from the Large Building East are generally dated to the Middle Byzantine period. Other areas where bone finds are found from are Basilica B and the Inner Wall area, located on the mound of Amorium. The ring, fastener, knucklebtone and piercer tip recovered from Basilica B date back to the Byzantine Period; the pin, game piece, tool handle, applique piece and one undefined object context to the Early Byzantine Period; The spindle whorl has been dated to the Middle Byzantine Period. A spindle whorl recovered from the Inner Wall dates to the Middle Byzantine Period; ring, piercer/scraper tool to the Beyliks Period; awl, tool handle to the Beyliks-Early Ottoman Period; The two spindle whorls were dated to the Early Ottoman Period according to their formal and contextual characteristics.&nbsp;Most of the bone objects found in the Amorium City excavations are pieces that have preserved their functions for centuries. In this context, the pieces were dated by taking into account their contextual features. In the light of the data obtained, it has been seen that the bone objects belong to a wide range from the Roman Period to the Early Ottoman Period. This historical range, which is a result of the city’s settlement for centuries, has paralleled the sustainability of the functions of the bone finds.

Bone Objects Found in Amorium City Excavations

Merve

Res. Assist. Dr.

The transition from traditional education to modern education in the Ottoman Empire began in the 18th century, and military schools were first opened to train qualified officers for the army. The Tanzimat Edict, which was one of the most substantial steps of modernization and was declared in 1839, also pioneered changes in social, political, economic, and cultural areas. The innovations related to education were not included in the Tanzimat Edict directly, but it was understood that qualified individuals should be trained to make new practices and ensure the continuity of the Empire. This could be done with the modern education system and institutions instead of primary schools (sıbyan mektebi) and madrasahs. At the beginning of the transition period, training was provided in the existing structures, but due to the emergence of new education levels and the increase in students, the buildings began to be inadequate. So, the construction of new education buildings was emphasized. In the 19th century, new educational institutions such as primary schools (iptidai), intermediary schools (rüşdiye), high schools (idadi), sultani, vocational schools, and teacher’s schools began to operate, and new structures began to be built throughout the country.&nbsp;In the Ottoman Empire, people from different religious and ethnic groups lived together for centuries. As a matter of fact, in the 19th century, not only Muslims but also non-Muslims and foreigners started to open new schools throughout the country. The Reform Edict of 1856 and the Regulation of Public Education of 1869 provided the legal infrastructure in this regard. Thus, non-Muslims and foreigners were able to convey their educational approaches in their schools.&nbsp;The province of Edirne, which is adjacent to the capital Istanbul, is also a region where many new practices have been implemented and has hosted many people with different religious beliefs and identities. Bulgarians were one of the important groups living in the region, and they opened many schools in the province. According to the documents of the Ottoman Archives, 111 of the 472 Bulgarian schools in the country in the last quarter of the 19th century were located in Edirne province. As for the information in the 1891-1892 Edirne provincial yearbook, there are five Bulgarian boys’ schools and seven Bulgarian girls’ schools in the city center of Edirne. When these schools were opened by the Orthodox community, a Bulgarian Catholic School was also opened in the city.&nbsp;Bulgarian Catholic School was opened in the second half of the 19th century by the Resurrectionists, a group affiliated with the Polish Catholic sect, to spread the Catholic sect among the Bulgarians. This school first became operational in an existing wooden structure. A two-storey masonry building was built for the school in 1893, and after 1907 it turned into a magnificent structure with the addition of a new masonry building. In 1914, the Bulgarian Catholic School was confiscated by the Ottoman administration, and in the 1915-1916 academic year, the city’s first Girl’s Teachers School started to train in this building. Education was suspended during the First World War. Between 1918 and 1927, education was given again at the Bulgarian Catholic School, with the efforts of the Resurrectionists, who still exist in the region. When this group left Edirne in 1928, the education at the school ended. It was reopened in the 1960s with its original function. The building is still used as an educational institution today.&nbsp;The school has three floors and a basement floor. The short arm of the L-shaped building faces Balıkpazarı Street, and the long arm faces İzmir Street. According to the historical background and its architectural features, it is understood that the school is a structure consisting of two separate masses. So, the section, which is the short arm of the building and faces Balıkpazarı Street, was first built in 1893 and underwent extensive repairs in 1906 after the great fire in Kaleiçi. The long arm was also started to build in 1907.The building was built with stone masonry in the basement and brick masonry on the upper floors. The effects of neoclassicism can be seen on the facades and in plan features. There are moldings between floors and pilasters between windows throughout the building. Different plan schemes were applied on the short and long arms of the L-shaped building, which were built in different periods. The main entrance door on the eastern facade of the long arm of the building opens into a entrance hall. There are administrative units in the corridor in the south wing of this hall. After the entrance hall, there is another corridor bounded by round arches with aluminum joinery. The classrooms and stairs are accessed from this corridor. A similar plan scheme was applied on the other floors as well.&nbsp;Although the building has undergone various repairs, functional and structural changes in the process, the fact that the building has survived is very important for understanding both the history of education and the educational heritage. This study is aimed to determine the historical, cultural, social, and architectural values of a Bulgarian educational building constructed in Edirne in the 19th century. The purpose of usage and architectural development of the building has been revealed in the Ottoman Archive documents. Its importance has been emphasized in the context of education and architectural history, and the necessity of its conservation has been indicated.

A Historical Educational Building in Edirne: Bulgarian Catholic School and Its Architectural Features

Aysu

Assist. Prof. Dr.

Negative political developments in the Ottoman Empire in the 17th century caused the state’s administrative mechanism to be damaged. Since the beginning of the century, Mahpeyker Kösem Sultan and Hadice Turhan Sultan took over the state administration as the sultan’s representatives at certain intervals due to the inexperienced and young sultans. Therefore, people who were close to the queen’s mother, especially the eunuchs, also directly participated in the palace intrigues. What is interesting is that among these people were the chief architects of the century such as Kasım Agha and Mustafa Agha. Architects such as Kasım Agha gained the power to be influential in the appointment of grand viziers, and in time they turned into political architectural figures. This situation also reflects the changing position of the Ottoman chief architect in the palace.&nbsp;The participation of Ottoman architects in the political games of the age is directly related to the authority vacuum that occurred in the administration. As a matter of fact, during the reign of Sultan Ahmed I (1603-1617) and at the end of the reign of Sultan Murad IV (1623-1640), in the years when the state administration was strong due to the sultans in the reign, the intrigues of the architects are not mentioned. The role of architects in palace life coincides with the period when the sultan’s administrative power weakened and the queen’s mothers were administratively active.Architect Kasim Agha is undoubtedly one of the most controversial and uncertain historical figures among the Ottoman chief architects due to his interest in politics. Architect Kasim Agha, who had a close relationship with the political figures of the period such as the mother queen, the grand vizier, and the sultan’s hodja, distinguishes him from other architects of his time with his stubborn personality and incredible courage. Contrary to the Ottoman chief architects, who are generally rarely included in the works of Ottoman chroniclers, Kasim Agha found wide coverage due to his active role in political life. Ottoman historian Naîmâ Mustafa Efendi said that Kasim Agha was the weird of the era with his ambition for the World. Kasim Agha’s dominance in political life outweighed his architectural identity and played a decisive role in the political relations of the period due to his determined and stubborn temperament. Although he was the chief architect for the first time during the reign of Sultan Murad IV (1623-1640), he participated in the palace intrigues during the reign of Sultan Ibrahim I (1640-1648) and Sultan Mehmed IV (1648-1687) when the administration weakened.&nbsp;Undoubtedly, the changing political conditions of the era caused Kasim Agha to play an active role as an architect-politician in the relations of the period. After the death of Sultan Ahmed I (1603-1617) in the 17th century, the administrative turmoil caused by the constant change of throne in the Ottoman sultanate hurt the Ottoman&nbsp;Guild of Architects, which worked directly under the palace, and the chief architect, who was in charge of the organization. With the end of Sedefkar Mehmed Agha’s chief architect at about the same time as Sultan Ahmed’s death, the main structure of the Ottoman Guild of Architects began to weaken rapidly. Since 1617, chief architects were dismissed many times and brought back to the same position. This change, which took place after Sedefkâr Mehmed Agha’s chief architect at the Ottoman Guild Architects ended, experienced the second breaking point, especially when Kasim Agha was appointed chief architect. As can be observed in the life of Kasim Agha, the interest of architects in politics increased and architects began to be mentioned in the political games of the palace. For this reason, his chief architect was interrupted in the process due to his political relations and did not follow a stable course. In other words, his chief architect followed a course of development that was intertwined with his political life and was constantly influenced by each other.The waqf of Kasim Agha registered as Defter-i Evkaf-ı Mimarbaşı Kasım Ağa, was issued on March 12, 1641 and is a very valuable historical document in that it contains many details about the artist. Kasim Agha’s “Defter-i Evkaf-ı Mimarbaşı Kasım Ağa” waqf, dated Zilkade 29, 1050/March 12, 1641, is currently located in the Ankara General Directorate of Land Registry and Cadastre’s Kuyud-ı Kadime Archives, Vakf-ı Cedit, number 62. In this context, the origin of Kasim Agha, his family members, his mansion, the officials of the waqf, the fees they received, the architectural works of the waqf, the functioning of the waqf and the expenses of the waqf were mainly examined according to his waqf. In addition, the works of Ottoman historians, Ottoman archive documents, and kadı registers were used in the study, and the structure that he might have built was mentioned by name, and new findings about the Architect Kasim Agha were tried to be presented.

On Chief Architect Kasim Agha and his Waqf

Atakan

Erkan

Birinci Ulusal Mimarlık Dönemi genel olarak 1900-1930 yılları arasında etkisini göstermiş mimari akımdır. Dönem üslubu, özellikle II. Meşrutiyet’in (1908) ilanından sonra yaygınlaşmaya başlamıştır. Batılılaşma süreci ile birlikte Osmanlı mimarisindeki Barok, Neo-Renaissance, Neo-Gothic, Art Nouveau vb. Batı etkili düzenlemelere karşı çıkılmış ve dönemin mimarları tarafından ortak bir tutum sonucunda Osmanlı ve Selçuklu mimarisinin klasik unsurları yeniden hayata geçirilmiştir. Milli duyguların ön plana çıktığı bu dönemde özellikle II. Meşrutiyet ile birlikte İttihat ve Terakki Cemiyeti’nin siyasi ve kültürel alandaki çalışmalarının yansımalarını mimari alanda görmek mümkündür. Özellikle İstanbul ve Ankara gibi büyük şehirlerin yanı sıra ülkenin birçok şehrinde ulusal mimarlık üslubuna bağlı apartman, okul, müze, istasyon, han, postane, otel, cami, medrese, türbe, çeşme, köşk, iskele vb. birçok farklı işleve sahip yapılar inşa edilmiştir.Birinci Ulusal Mimarlık Dönemi’nin ortaya çıkışının başlıca sebeplerinden birisi siyasi alanda yaşanan gelişmelerdir. 1789 Fransız İhtilali ile başlayan milliyetçilik akımının yansımaları, özellikle 19. yüzyılın ikinci yarısı itibarıyla Osmanlı İmparatorluğu’nu etkilemiştir. Söz konusu dönemde Osmanlı aydınlarının faaliyetleri ile birlikte Türk milliyetçiliği ön plana çıkmıştır. Bu doğrultuda çalışmalar yürüten İttihat ve Terakki Cemiyeti özellikle 1908 yılından sonra siyasi alanda gücü eline almış ve kültür politikalarına destek vermiştir.&nbsp;Osmanlı mimarisinde geç klasik dönemde görülmeye başlayan değişimler 18. yüzyılın başlarından itibaren belirli ölçüde yaygınlık kazanmıştır. Bununla birlikte mimaride Batılı unsurlarla 18. yüzyılın ortalarından itibaren karşılaşılmaktadır. Barok etkiyi net olarak görüldüğü Nur-u Osmaniye Külliyesi (1749-1755) ile birlikte barok, rokoko ve ampir gibi Batı temelli üslupların mimaride yer bulduğu gözlemlenmektedir. 18. yüzyılın ikinci yarısı ve 19. yüzyıl boyunca başta İstanbul olmak üzere Osmanlı İmparatorluğu’nun farklı bölgelerinde inşa edilen yapıların belirli ölçüde söz konusu üslupların özelliklerini barındırdıkları görülmektedir. Milli duyguların ön plana çıktığı ve siyasi alandaki değişimlerin yaşandığı dönemde eğitimlerini tamamlayan Mimar Kemaleddin ve Mimar Vedat Tek, Birinci Ulusal Mimarlık Dönemi’nin oluşmasında büyük rol oynamışlardır. Dönemin mimarları, hâlihazırda uygulanan Batı temelli üsluplara karşı çıkmış ve yapılarında Osmanlı-Selçuklu dönemi klasik mimari unsurlarını kullanmaya başlamışlardır. Kültürel olarak milli bilincinin yükseldiği bu dönemde Selçuklu ve Osmanlı mimarisinin asli unsurlarının ön plana çıkarılması gözlemlenebilen çevre ile alakalı olmalıdır. Göktürk ve Uygur kültürlerinin en azından bölgesel ve yaşam biçimi farklılıkları sebebiyle Türk kimliğini vurgulayan genel bir milli mimari kültür yaratmak pek de mümkün görünmemektedir.Osmanlı mimarisinde özellikle 19. yüzyılın son çeyreğinde etkin olmuş dönemin önemli mimarlarından Alexandre Vallaury ve August Jasmund gibi isimler yapı faaliyetlerinde bulunmuşlardır. Bu dönemde Alexandre Vallaury’nin Duyun-u Umumiye İdaresi ve August Jasmund’un Sirkeci Garı gibi binaları, Batı etkili unsurların yanı sıra klasik Osmanlı mimarisinin unsurlarını da bünyesinde barındıran eklektik üslupta inşa edilmişlerdir. Bu gelişmelerin Birinci Ulusal Mimarlık Dönemi’nin ortaya çıkmasına zemin hazırlayan bir niteliğe sahip oldukları söylenebilir.Birinci Ulusal Mimarlık Dönemi genel olarak 1908-1930 tarihleri içinde etkisini göstermiş bir mimari üsluptur. Dolayısıyla hem Osmanlı İmparatorluğu’nun son yıllarında hem de Cumhuriyet’in ilk yıllarında ülkenin birçok yerinde bu üsluba dayalı yapı üretimi gerçekleştirilmiştir. Bu dönemdeki yapılar genel olarak simetrik bir görünüme sahip olacak şekilde inşa edilmiştir. Yapıların özellikle ana cephelerine özen gösterilmiş, diğer cepheler daha sade biçimde ele alınmıştır. Mimarideki Batı etkisine karşı bir tepki oluşturulmuş ve özellikle cephe tezyinatında taç kapı, kemer sistemleri, silmeler, simetrik hatlar, pencere sistemleri, geniş saçak gibi klasik Osmanlı Dönemi mimari unsurları kullanılmıştır. Mimari plastik olarak yapılarda genellikle Selçuklu üslubunda mukarnas, geometrik kabartmalar, taş rozetler, köşe sütunçeleri gibi unsurlara yer verilmiştir.Edirne şehrinde Birinci Ulusal Mimarlık Dönemi üslubuna bağlı olarak birçok yapı üretimi (Karaağaç Eski Gar Binası, Hacı Adil Bey Çeşmesi, Edirne Vakıflar Bölge Müdürlüğü Binası vd.) gerçekleştirilmiştir. Sarıcapaşa Mahallesi, Kıyık Caddesi’nde yer alan ve 1913-1914 yıllarında inşa edilen İttihat ve Terakki Kulübü binası makalenin konusunu oluşturmaktadır.&nbsp;İttihat ve Terakki Kulübü binasındaki çini süslemelerin niteliği ve yoğunluğu bakımından, Birinci Ulusal Mimarlık Dönemi üslubunda Edirne’de inşa edilen diğer yapılardan (Karaağaç Eski Gar Binası, Karaağaç Eski İstasyon Binası vd.) önemli ölçüde ayrışmaktadır. Yapının iç ve dış kısımlarında yer alan çiniler Kütahya’da üretilmiştir. Özellikle yapı içinde yer alan iki adet çini kompozisyonun hemen altında bulunan sanatçı isimlerinin varlığı, dönemin önde gelen çini ustası Mehmed Emin ve Edirneli Rıfat Osman’ın beğenileri doğrultusunda tasarlanmış olduğunu göstermektedir. Genel olarak İttihat ve Terakki Kulübü binasının plan kurulumu, taç kapısı, sivri kemerli pencereleri, silme hatları, geniş saçak sistemi, iç ve dış kısımlarda yer alan çini tezyinatı gibi mimari özellikleri barındırması açısından Birinci Ulusal Mimarlık Dönemi üslubunda inşa edildiği sonucuna ulaşılmaktadır.

An Example from the First National Architectural Period: Edirne Union and Progress Club Building

Begüm

Tokmak Hasan Pasha Mosque, which was built by Çerkes Mehmed Pasha in the Şefaatli district of Yozgat and Paşaköy Town in 1773-74, is one of the fine examples of a mosque support and wooden ceiling in Anatolia. The exterior of the building, which consists of the sanctuary, narthex and the women’s gathering place, is unadorned and gives the impression of a simple village mosque. However, the interior of the mosque has a dense decoration repertoire. This decoration repertoire consists of wooden ceillings, mimbar, hand-drawn works on wooden column capitals, stucco mihrab and mural paintings. The most important factor determining the limits of the study is the intense decoration repertoire within the mosque. Within the scope of the article, since not all the decorations of the building are available to be examined in detail, only the mural paintings of Tokmak Hasan Pasha Mosque are discussed accordingly.&nbsp;A total of six murals are available in the sanctuary. Among these, Âlem-i lâhût, Mizan and Livâü’l-Hamd depictions have their subjects taken from the manuscripts. Apart from these three paintings on religious subjects, the depiction of the Blue Mosque (Sultan Ahmet), Mecca and a carpet depiction is also seen among the mural paintings of the structure.&nbsp;In particular, in order to make sense of the depiction of the world, Sufism was followed and the information between the First and Fourth Chapters of Ibrahim Hakkı of Erzurum called Mârifetnâme was used. The picture used in the chapter titled “Uluhiyet Âlemi” in Mârifetnâme was depicted in the mural painting of Tokmak Hasan Paşa Mosque with almost all its details. In this description, in which the creation order of the universe is depicted, heaven, hell and the Kaaba take place in a certain hierarchy. Heaven is shown in the top part of the composition as if to be exalted. The Kaaba in the middle of the composition is within seven rows of round arches intertwined. According to Mârifetnâme, this place symbolizes the sky consisting of seven layers. Below the schematized depiction of heaven, a rectangular script board painted in black and red is placed on the right and left sides. Black color symbolizes night and red symbolizes day with a Sun motif. On the panel symbolizing the night, “Sea of Blessings, Sea of Kamkam, Sea of Animals” and on the panel symbolizing the day, “The Sea of Flames, The Sea of Spread, The Sea of Partitioned Lifload” is written. The entire expression is difficult to understand in the Sufi view of Ibrahim Hakkı of&nbsp;Erzurum and related to the formation of the universe. In contrast to heaven, in the depiction of hell given at the bottom of the composition, elements such as the Pit of Gayya, the Cauldron of Tar, the Oleander Tree, and the Al-Sirat bridge are depicted. In the current situation, since the heavy plaster and paint spillage coincides with the section where hell is described, assistance was obtained from Mârifetnâme about the scripts and compositions in general of the depiction described. In the upper left corner of the depiction of Hell, there is a scale motif in the empty space. Islamic belief suggests that this scale, where the sins and good deeds shall be weighed on the Day of Judgment, has been used as a balancing factor that will ensure justice. This is also an area close to the section where the Al-Sirat bridge is depicted and serves as a reference to Islamic folklore.The Mizan depiction, which is depicted on the wall of the east side of the mosque and side by side with the depiction of Livâü’l-Hamd, is also mentioned in both the Qur’an and the Mârifetnâme. Since it means scales in Arabic, it is depicted in manuscripts and mural paintings with a scales motif. The depiction in the mural of this building was created by placing a double scaled scale in the rectangular panel. On the scale, two books of deeds are available in which rewards and sins are written. A single-domed mosque motif was embroidered in the space between the two panes. The mosque is illustrated with minbar and oil-lamp details. The scale and book used in the allegorical depiction find their place in Islamic folklore. Other mizan depictions in Anatolia are usually depicted with double-scaled scales; without using a book motif and script. Others have symbols such as scissors, tongue, and ear, which indicate the dervish lodge and the religious order. In this depiction of the Tokmak Hasan Pasha Mosque, no symbol indicating any dervish lodge and the religious order element was used. It is also depicted in a different style from the general Mizan depictions of the 18th-and 19th centuries.The last religious depiction of the mural paintings of the structure is Livâü ‘l-Hamd. The eastern wall of the mosque was depicted side by side with the Mizan depiction and serves as a reference to the afterlife. This motif, known as the Flag of Respect, is depicted as a spear stuck on a rocky ground. The depiction, as in the book pictures, appears with the pole head and three flag motifs placed on the spearheads at the top of the pole. There is a separate script on each flag. It is important in terms of transferring the definition in Mârifetnâme to the mural by the definition.Another panel depicts the Blue Mosque (Sultan Ahmet) in Istanbul. This structure, which is often depicted in Anatolian mural paintings, is depicted from the front with a view from the northwest side of the current mosque. In this picture, in where the trees are around it, the rules of perspective are processed in its lean form. There are errors of perspective, such as the fact that the trees in front are given a small size and&nbsp;the ones in the back are given a much larger size. At the bottom of the panel, the Blue Mosque (Sultan Ahmet) is written in Latin Alphabet and Turkish.&nbsp;The Mecca panel is also located on the western wall of the building. Masjid al-Haram is depicted here with the layout and surrounding texture just like in miniatures, but with a simpler drawing technique. The colors used do not reflect tradition. It differs from the depictions of the holy cities in Anatolia in terms of technique and style.The carpet depiction, which is rarely seen in Anatolian mural paintings, is seamlessly embroidered at the intersection of the eastern and southern walls of the building. Features such as the lack of use of traditional motifs and patterns in the carpet depiction in the medallion composition and vivid color preferences stand out. In the weaving depictions of the 18th and 19th centuries in Anatolia, tassels placed at the bottom of carpets, rugs, peshkir or prayer rugs give the impression that the weavings are sagging. Details such as folded appearances and stitch marks hanging on a hanger with a rope are also not included in the carpet depiction in the Tokmak Hasan Pasha Mosque. The depiction here appears as a simply shaped weave with no depth perception.&nbsp;In the restoration works completed in 2022, the artist’s inscription has been revealed on the western wall of the sanctuary. According to the inscription, the murals have been performed by Muhsin Bali in 1950. Tokmak Hasan Pasha Mosque is one of the reflections in Anatolia of the examples of traditional mosques with wooden support and wooden ceilings, which have been able to preserve their original texture with the repairs and additions they have undergone since the process they were built.&nbsp;

A Study on Mural Paintings of Yozgat Tokmak Hasan Pasha Mosque

Fatih

Burdur-Antalya çevresinde, Karataş-Semayük, Bademağacı Höyük, Höyücek, Hacılar, Hacılar Büyük Höyük ve Kuruçay Höyük Kazıları ile birlikte, bölgenin tarih öncesi dönemleri, yaklaşık 40 yıllık bir zaman dilimi içerisinde çok iyi araştırılmış ve arkeolojik açıdan ülkemizin en iyi bilinen bölgelerinden biri hâline gelmiştir. Bu bağlamda, kazısı tamamlanmış Karataş-Semayük, Bademağacı Höyük, Kuruçay Höyük ile 2011 yılında başlayan ve devam eden Hacılar Büyük Höyük Kazıları, İlk Tunç Çağı (İTÇ) çanak çömleği konusunda önemli veriler sunmaktadır. Karataş-Semayük’ün İTÇ tabakalarında bulunan bazı kaplar üzerindeki bir ya da daha fazla dairesel bezeme ile bunların ortasında yer alan yumru/çıkıntıdan oluşan bir motif ilk kez Machteld Johanna Mellink tarafından “Madalyon” olarak isimlendirilmiştir.&nbsp;Bugünkü bilgilere göre, Burdur-Antalya çevresinde, “Madalyon” motifi bezemeli çanak çömlek en erken İTÇ I’de Karataş-Semayük ve Pınarbaşı II’de saptanmıştır. Hacılar Büyük Höyük, İTÇ I tabakalarında “Madalyon” motifi bezemeye rastlanmamış, İTÇ II yerleşmesinde ise, 5 adet örnek ele geçmiştir. Söz konusu motifli çanak çömlek, bölgede İTÇ I’de Pınarbaşı II, İTÇ II’de, Hacımusalar Höyük, Karataş-Semayük, Bademağacı Höyük, Kuruçay Höyük ve Aziziye, İTÇ III’de ise, Karataş-Semayük’te belirlenmiştir.Burdur-Antalya çevresinde, Karataş-Semayük, Bademağacı Höyük, Hacılar Büyük Höyük ve Kuruçay Höyük’te İTÇ çanak çömleğine ait bazı örnekler, çizi, oluk, kabartma, boya ve baskı bezemelerle süslenmiştir. Yukarıda belirtilmiş tüm merkezlerde oluk ya da kabartma yöntemiyle yapılmış “Madalyon”, yatay/dikey bantlar, zikzak, sarkıntı, ters ve düz “V”, memecik, baskı, incrusté, boya gibi bezemeli örneklere göre oldukça az sayıda tespit edilmiştir. Bu durum söz konusu bezemenin dönemin çömlekçilik geleneğinde fazla tercih edilmemesiyle açıklanabilir. Bunun yanında motifin genellikle, küp, çömlek ve kalın kenarlı örneklerde belirlenmesi, bazı formlar için bunun bir çömlekçi işareti olabileceğini akla getirmektedir.Bazı araştırmacılar, arkeolojik buluntular üzerinde yer alan dairesel bezemeler hakkında önerilerde bulunmuştur. Marija Gimbutas iç içe yapılmış bazı dairesel bezemelerin “sembolik” anlamları olduğunu belirtmiş ve Malta’da MÖ 3200 civarına tarihlendirilen Ggantija, Hagar Qim, Bugibba, ve Tarxien’da yer alan tapınaklarda ve İrlanda’da mezar girişlerinde saptanan taşlar üzerinde tespit edilmiş snake coil eyes bezemelerinin tanrıçaları, güneşi ya da yaşam döngüsünü temsil etmiş olabileceğini önermiştir. Ursula Seidl, Assur Ticaret Kolonileri Çağı’nda, Kültepe (Ib ve II) ve Alişar, Hitit İmparatorluk Çağı’nda Boğazköy’de ele geçirilen bazı kaplarda görülen dairesel kabartmalar ile ortalarındaki yumruların daha erken örneğinin Karataş-Semayük’te bulunduğunu belirtmiş, bunun MÖ 2. binyıl öncesinde Anadolu’da görülen yerel sembollerden biri olabileceğini vurgulamıştır. Seidl’e göre Assur Ticaret Kolonileri Çağı’ndan, Hitit İmparatorluk Çağı sonuna kadar bazı kaplar üzerinde bulunan bu işaret Signe Royal’dır. Bunun yanında Seidl, söz konusu işaretin simgesel anlamlarının tam olarak bilinmediğini, kült kapları üzerinde görülen dairesel kabartmaların olasılıkla basit bir bezeme olmadığını düşünmektedir. Sedat Alp, çanak çömlek üzerinde yer alan bazı işaretlerin mülkiyeti, üretim atölyelerini, ender durumlarda kapların içindeki nesne ya da hacim ölçüleri hakkında bir bilgi verebileceklerini düşünmektedir. Hasan Peker, bu tür işaretlerin idari, ekonomik ve mülkiyet için kullanımlarının yanı sıra, bunların çanak çömleklerin yapıldığı atölyeyi, kapların üretim amaçları ve içerdikleri malzeme ile hacim ölçülerini de temsil etmiş olabileceğini önermiştir. Ayrıca, Peker’e göre olasılıkla bu bezemeyi taşıyan kaplar ve içerisindeki malzeme ile bazı resmî/idari yapılar arasında bir bağlantı bulunmaktaydı. En erken örnekleri Eski Hitit Dönemi’nde ortaya çıktığı düşünülen Anadolu Hiyeroglif yazısında profesyonel bir unvan olarak nitelendirilen Tabak L. 402 (SCUTELLA), Ekmek L. 181 (PANIS) ve Tekerlek L. 292 (ROTA) işaretleri ile bazı “Madalyon” motifleri benzerlik göstermektedir. Peker, hiyeroglif işaretler ile daha erken dönemlerde çanak çömlek üzerinde saptanan bazı motifler arasında, eşyanın tabiatı dolayısıyla benzerlik olabileceğini belirtmiştir.&nbsp;Çanak çömlek, mühür, ağırşak ya da tezgâh ağırlığı gibi buluntular üzerinde yer alan her işaret olasılıkla süsleme amacıyla yapılmamıştır. Bu bağlamda bezeme ve motif arasında bir ayrım yapılmalı, bazı motiflerin simgesel anlamları tartışılmalıdır. İTÇ I’de Hacılar Büyük Höyük ile İTÇ II’de Bademağacı Höyük’te belirlenen kent ölçülerindeki yerleşmeler, oldukça gelişkin sosyal ve politik yapıların varlığını ortaya koymaktadır. Tarımın, hayvancılığın ve ticaretin olduğu bu dönemde, söz konusu yapının bir düzen içerisinde devam edebilmesi için olasılıkla bazı semboller ve ideogramlar kullanılmıştır. Söz edilen yerleşmelerde yaşayan insanlar için “Madalyon” motifinin hangi anlamlar taşıdığını belirlemek oldukça zordur. Bunun yanında, İTÇ’de, Burdur-Antalya çevresinde “Madalyon”un genellikle çömlek ya da kalın kenarlı örneklerde saptanması, bunun çömlekçi işareti olabileceğini göstermektedir.&nbsp;Burdur-Antalya çevresinde ve Batı Anadolu’da İTÇ çanak çömleğinde bezeme genellikle tüm boyunu veya gövdeyi çevrelemektedir. Bu geleneğe “Madalyon” motifi uymamaktadır. Bu motiflerin olası kullanım amaçları özelinde yanıtlanamayan bazı sorular vardır: Niçin “Madalyon” motifi genellikle çömlek ya da kalın kenarlı kaplarda görülmektedir? Sıradan bir doldurma motifiyse niçin yer aldığı kapların gövdesini tamamen kaplamadı? Niçin diğer bezemelerden daha az görüldü? İTÇ insanları için simgesel anlamları var mıydı? İTÇ’de Burdur-Antalya çevresinde yapıldığı düşünülen ticaret içerisinde “Madalyon” motifini oluşturan oluk/kabartma yöntemiyle yapılmış her bir daire ile bunların ortasında bulunan yumrular, bazı malların içerik ya da hacim ölçülerini temsil etmiş olabilir mi? MÖ 3. binyılda olan örneklere çok benzeyen motifin MÖ 2. binyılda da bazı kalın kenarlı kaplarda görülmesi bir tesadüf müdür?&nbsp;“Madalyon” motifi, Burdur-Antalya çevresi, Batı Anadolu ve Orta Anadolu arasında MÖ 3. ve 2. binyıllar arasında kültürel süreklilik olabileceğini gösterebilir mi?Ele alınan malzeme içerisinde, aynı tipte motifler birden fazla yerleşmede belirlenmiştir. Bu sebeple, yerel mal gruplarından türetilmiş örneklerin üzerinde saptanan “Madalyon” motifinin kapların üretim atölyelerini gösteren bir işaret olduğunu söylemek çok zordur. Karataş-Semayük’ün mezarlık alanında, biri mezar, diğeri mezar kapağı olarak kullanılan sadece 2 adet küp üzerinde “Madalyon” motifi vardır. Bölgede ya da Batı Anadolu’da bilinen ve İTÇ’ye tarihlendirilen mezarlık alanlarında yer alan mezar kaplarında bu motife rastlanılmamıştır. Bu bağlamda “Madalyon” motifinin ölüm veya öteki dünya ile ilgili bir simge gibi düşünülmesi doğru değildir. Bunun yanında, Anadolu’da Neolitik Çağ’dan itibaren bazı nesnelerin koruyucu özellikleri olduğu düşünülmektedir. Büyük boyutlu kaplar içerisinde yer alan ürünlerin (tahıl ya da sıvı) belki de “Madalyon” motifi tarafından bir şekilde korunduğuna (nem, haşere gibi) ya da bereketinin arttığına inanılmaktaydı. Bu sebeple söz konusu motif süsleme amacıyla yapılmış bezemeler gibi kapların tamamında yer almamış, topluluğun bazı inançları doğrultusunda kullanılmış olabilir. Yukarıda değinilen görüşler dışında, yerleşmelerde konut amacıyla kullanılan binalar içerisinde bulunan “Madalyon” motifli kaplar için de farklı öneriler sunulabilir. Yerleşme sakinleri tarafından üretilen ya da ticaret yoluyla elde edilen ürünlerin içerik bilgileri ya da hacimlerine ilişkin bazı bilgiler bu motif aracılığı ile anlaşılmış olabilir. Örneğin, bir daire ile bir yumrunun temsil ettiği kap içerisindeki ürüne ihtiyacı olan kişi, bunu bu tip işaretler yardımıyla kolayca bulabilir. Bu fişleme diğer kaplara ait kapakların her defasında gereksiz yere açılmasını ve ürünlerin hava ile temasını engellemiş olabilir. Bu uygulama sayesinde kaplar içerisinde bulunan ürünler olasılıkla daha uzun süre saklanmıştır. Gelecek yıllarda Burdur-Antalya çevresi ile Batı Anadolu’da İTÇ’ye tarihlendirilen farklı yerleşmelerinin kazılması ve yeni bilgilerin elde edilmesi durumunda, bu yazıda “Madalyon” motifine ilişkin belirtilen görüşler daha farklı boyutlarda tartışılabilir.&nbsp;

Some Remarks on the “Medallion” Motif Decorated Pottery in the Vicinity of Burdur-Antalya in the Early Bronze Age

Evren

A document containing two maps of Antalya Kaleiçi drawn in 1905 and thirteen photographs of the castle walls and towers is located among the papers of the Council of State in the Ottoman Archive of the Presidency of the Republic of Turkey State Archives. The maps prepared on a scale of 1/1000 meters, were drawn by Ali Niyazi, senior lieutenant of the Fourth Battalion of the Antalya Regiment, and Ali Rıza, the colonel of the Antalya Regiment. The main subject of the document, where the maps are located, is a detailed investigation launched into allegations that Hüseyin Kenan Pasha, who served as the Mutasarrıf of Antalya between 1901 and 1904, and the merchant Sarı Simonoğlu destroyed the castle walls to use them in the flour mill they built in Antalya Port. The document containing the allegations and investigation records of the destruction of Antalya Castle is of great importance in understanding the appearance of the city in the early 20th century and showing the basic elements of a castle that no longer exists today, especially because of the photographs it contains and the maps prepared as part of the investigation.In the article, the 1905 maps have been utilized, supported by various written sources and visual documents, to extract the panorama of the city from the early 20th century. For this purpose, the focus was initially on the city’s port and its surroundings; significant structures in this area, such as the Antalya Gasworks (Gazhane), a mill, the Ottoman Tobacco Company building, a casino, the customs building, and the port office, as depicted on the maps, have been introduced. Later, information was given about the citadel of the city, and it was pointed out that there was a bathing structure in this area, as understood from the maps. According to the article’s claim, this structure, no longer standing today, may be related to the palace bathhouse in the Seljuk citadel. Another structure emphasized in this section of the article is the Bayrakdar Dede Tomb, which is no longer present today. It is possible that this tomb, shown near the Baruthane Tower on the 1905 maps, belonged to a warrior named Bayrakdar Dede because he was identified with the conquest of the city by Muslims and was elevated to the rank of saint over time.&nbsp;The article also addresses the city walls shown in the 1905 maps, along with the gates and towers atop the walls. Judging from the 1905 maps, it is clear that Antalya Castle remained largely intact in the early 20th century, with a substantial portion of its walls and towers still standing in solid condition. Furthermore, the maps reveal that Kaleiçi was divided into three distinct sections by two inner wall lines. In the maps, the towers on the external walls of Antalya Castle are numbered, starting from the northwest of the castle. Tower number 12 is designated as the “Clock Tower.” This nomenclature holds significant import as it challenges a prevailing claim suggesting that the clock tower in Antalya was erected in 1921. The meticulous examination of&nbsp;the 1905 maps, underscores the need for a correction in this historical narrative. The maps unmistakably pinpoint the original location of the city’s Clock Tower on a structure situated to the west of its current position, thereby rectifying the chronological misalignment attributed to the later construction date.As inferred from the 1905 maps, by the early 20th century, the city gates had largely lost their functions. The reason for this was the population growth of the city since the second half of the 19th century, and the walls losing their function to ensure the security of the city. These developments necessitated the creation of new openings at numerous points on the external walls or the removal of existing gates to facilitate transportation between the inside and outside of the walls. The concentration of gates and openings primarily in the southeast of the external walls indicates that urban development was occurring in this neighborhood during this period. Similarly, during this period, gates on the inner walls had also been removed. The reason for the removal of these gates was the loss of their function in controlling transitions between neighborhoods. This functional loss was influenced by changes like inter-communal relationships in Ottoman society since the Tanzimat period.On the other hand, the 1905 maps provide little information about the city’s neighborhoods and settlement plan, primarily because they focus on depicting the defence system and pay less attention to accurately capturing the street layout. Indeed, in these maps, the neighborhoods of Kaleiçi are only shown in broad strokes and very limited detail. In the areas outside the walls, the focus is on major religious and administrative structures, roads, and the bazaars near the city walls. In this area, firstly, the telegraph office, government building, and Government Avenue in the northwest of the city are depicted. Then, the area across from the castle gate (Kalekapısı), including the Zincirli Inn and the bazaar, is marked. The prominent structures and streets in the southeast of the city include Kurşunlu Madrasa, Değirmenönü Road, Yeni Kapı Avenue, Fener Avenue, Leski Coffeehouse, Rum School, and the Christian Cemetery.

Antalya Kaleiçi and Its Surroundings on the 1905 Maps

Mesut

Edirne, strategically positioned between Europe and Anatolia, has been a significant settlement site since ancient times. The city’s importance grew, evolving into a fortified city following the construction of a castrum by the Romans. After the Ottoman conquest, Edirne became the capital of the empire for a period, solidifying its pivotal role. Serving as the Ottoman gateway to the West, Edirne has consistently maintained its significance, adopting a new identity with the construction of monuments and civil architectural works. In this rich historical context, Kaleiçi, the city’s initial settlement, predominantly inhabited by non-Muslims, has steadfastly maintained its hippodamus-shaped layout dating back to the Roman era. This area, renowned for its distinctive settlement plan and houses, primarily crafted by Greek, Bulgarian, and Jewish artisans, faced considerable damage in the 1905 fire. Despite the devastation, Kaleiçi underwent a meticulous re-planning and reconstruction process. Some Kaleiçi houses, renovated by the new zoning plan and occupied by Turks after the population exchange, have managed to endure over time, preserving their historical features. The İlhan Koman House stands out as a significant example of this preservation effort.The İlhan Koman House, distinguished by its captivating architecture and decorations, has yet to be the focus of a comprehensive study. Existing research has been limited to brief architectural history investigations, mainly emphasizing stylistic aspects, with some passing mentions in studies on regional architecture. This study marks the first comprehensive exploration of the building, encompassing both its architectural and ornamental features, to make a substantial contribution and illuminate its significance within Edirne’s urban architecture and Ottoman residential architecture. For this purpose, the study involved a meticulous review of literature and archives related to the subject, followed by an on-site examination of the house. The gathered data from these endeavors were then subjected to a comprehensive analysis by comparing the architectural and ornamental features of the house with similar structures from its time to articulate its unique place in both Edirne’s urban landscape and Ottoman residential architecture.Situated at Maarif Caddesi No: 20 and known as the “İlhan Koman House,” this residence was originally built in 1908 by the Greek Doctor Dimsa. Subsequently, it changed ownership and was acquired by Doctor Fuat Koman. Initially referred to as the “Doctor’s House,” its nomenclature evolved to bear the name of the renowned sculptor İlhan Koman, who was born within its walls. Undergoing numerous restoration efforts, the house now serves as the Edirne Cultural Heritage Preservation Regional Board service building.This two-story house, featuring a hipped roof, was constructed as a wooden building set upon a masonry basement. Its facade design is characterized by a pronounced&nbsp;Neoclassical influence, evident in the composite-headed grooved plasters, floor moldings reminiscent of ancient entablatures, wide eaves, module windows, and triangular pediments. Noteworthy decorative elements include intricate console arrays and delicate flower rosettes. The facades facing the street and garden have been animated with projections such as bay windows and balconies. Numerous windows and doors have been strategically placed according to the internal floor plan to maximize the connection to the outside.&nbsp;The house, originally conceived as a doctor’s office, integrates traditional sofa plan schemes into its floor plans. On the ground floor, dedicated to spaces like the examination room and library, an inner sofa plan is employed. Meanwhile, the upper floor, serving as the primary living area, adopts a central sofa plan, with other rooms arranged around it. Notably, the expansive upper floor hall, designed with a large open space, serves as the venue for hosting guests and hosting various celebrations, including engagements and weddings. The bay window protruding from the facade accentuates this room, marking it as a central and distinguished space within the house. In a general overview, the planning of the house is influenced by traditional values, reflecting the usage patterns based on the homeowner’s social and cultural lifestyle.&nbsp;The neoclassical aesthetic is evident in the exterior design of the house seamlessly extends into its interiors, particularly showcasing the Baghdad-shaped ceilings adorned with intricate hand-drawn works and depictions. Executed in monochrome technique, these hand-drawn works create a captivating three-dimensional effect reminiscent of plaster relief. The monochromatic technique predominantly features floral motifs, such as ancient lotus and acanthus leaves, along with curved branches, and geometric compositions like meanders and series of eggs. The entrance hall, representing the pinnacle of the exterior neoclassical style, is resplendent with ceiling decorations, including an antique vase and fantastical figures like a griffin. However, the true opulence of the interior decorations lies in the depictions among these handdrawn works. Notably, frescoes take center stage, portraying rare scenes from ancient Greek temples and mythological narratives, a rarity within the Ottoman Empire. Portraits of key figures from the period are also prominently featured. On the ground floor hall ceiling, depictions of the Thesio and Erechtheion temples in Athens grace the space, while the staircase ceiling showcases the Parthenon Temple and Hadrian’s Gate. In the southwest corner room, there are two surviving portraits of Socrates and Homer. The identity of the partially deformed female portrait and the other destroyed portrait remains unknown. Although the depictions in the upper floor salon are no longer extant, historical records point to portraits featuring Artemis and Aphrodite and mythological scenes. The rooms flanking the entrance hall feature imaginative landscapes and depictions of specific locales like Rumeli Fortress and Fenerbahçe Cape. Executed with a realistic approach, these paintings reflect a romantic landscape sensibility. The deliberate inclusion of both ancient Greek and Istanbul-themed paintings in the ceiling decorations serves as a poignant indication of the owner’s allegiance to his cultural heritage and affiliation with the state to which he belongs.&nbsp; In a general sense, the İlhan Koman House, being a Greek house, exhibits characteristics of traditional Turkish homes through its plan, material-technical aspects, and projections like bay windows. Simultaneously, it portrays a Western character with its neoclassical facade design, strong connection to the exterior, and ceiling paintings inspired by Ancient Greek themes. Serving as a synthesis of Turkish and Greek residential architecture, the house stands out as a remarkable example of late Ottoman residential architecture in Edirne. Reflecting the socio-cultural features of its era in terms of architecture and ornamentation, the İlhan Koman House holds significant importance in both the architectural landscape of Edirne and Ottoman residential architecture. As such, it is a valuable structure that should be preserved and passed on to future generations.

An Example of Neoclassical Civil Architecture in Kaleiçi, Edirne: İlhan Koman House

Serap

The construction of the Hagia Sophia Church started in 532 and it was opened by Emperor Iustiniaus in 537. Since its erection, it has seen many repairs and additions. After the conquest of Istanbul, Mehmed the Conqueror established the Hagia Sophia Foundation. Following the conversion of Hagia Sophia into a mosque, a mihrab was built in the apse and a minbar was built next to it. It is stated in scientific sources that the minbar, muezzin mahfili (place of the assistant to the imam), four marble mahfils, preacher’s pulpit belong to the period of Murad III. However, İrteş argued that the features of the floral pattern behind the door of minbar belong to the Bayezid II period. This study will propose a dating based on the geometric patterns of the mosque.&nbsp;&nbsp;There are geometric patterns on the aforementioned building elements, and the analysis of these geometric patterns in the context of both the compass-ruler construction and the system behind them constitutes the basis of the study.Hagia Sophia is an important building as it provides a basis for comparing pre-Islamic and post-Islamic geometric patterns. Based on the examples found in this mosque, the study will try to identify the reasons for the usage of the word “Islamic” in characterizing geometric patterns.Looking at the historical process of geometric surface coating systems, it is possible to say that the intricacy of these systems is parallel to the development in science. In geometry, the 9th century was the period of translation and high scientific studies during the Abbasid period and is known as the period of “translation and transfer”. The first work translated in the field of geometry is Euclid’s Elements. Until this period, the geometric patterns in Islamic architecture were the continuation of the programme applied in the pre-Islamic buildings.&nbsp;&nbsp;In the period after the 10th century, which is called the “period of criticism and production”, geometric surfacing systems, like the developments in the field of geometry, were built with more complex structures. From then on, an artistic identity had started to be constructed with new designs in the Islamic process but taking its source from its past. The reason why geometric patterns are almost an identity is also the world of thought of that period, undoubtedly.&nbsp;The basis of the article is the analysis of all the geometric patterns applied in the mosque. These analyses will be performed with a compass-ruler construction. The geometrical structure behind the designs that sit on a correct structure constitutes scientific data. By dividing a corner angle into equal parts, patterns are classified by expressions such as fourfold, sixfold, etc. Or, as in the minbar, there are designs defined as a combination of four fold and six fold patterns on diagonally opposite corners.In the Hagia Sophia Mosque, geometric surface coating systems are found on the&nbsp;Beautiful Gate, the omphalion and the entrance vault. However, these patterns are not complex patterns and they are the basis of the difficult patterns of the Islamic period. These patterns include square grid, isometric base or 8.8.4 semi-regular system. The geometric patterns on the surface of the Islamic architectural fragments placed after the church was converted into a mosque involve more compass-ruler movements than in the pre-Islamic period and require much more difficult problems to overcome.Dividing an angle into three equal parts is an unsolved problem in the historical process. The design of the muezzin mahfil with its intertwined nonagons is related to this problem. For this reason we can analyze the pattern only by approximation.The applications on the minbar are not in accordance with the technique of the mosques built during and after the Sinan period. The minbars of Sinan period are in openwork technique. In addition, the geometric design within the circular frame in the centre of the minbar, especially in Istanbul mosques, is generally in the category of five-fold designs. The minbars of Şehzade Mosque, Kara Ahmed Pasha Mosque, Valide-i Atik Mosque, Rüstem Pasha Mosque, Azapkapı Sokullu Mehmed Pasha Mosque, Edirne Selimiye Mosque, Mesih Pasha Mosque, Zal Mahmud Pasha Mosque and Kılıç Ali Pasha Mosque are good examples. The pattern on the minbar of the Gülnuş Valide Sultan Mosque, which is considered to be a work of the last classical period, is also in the openwork technique with rotational symmetry. However, all geometric pattern lines on the minbar of the Hagia Sophia Mosque were applied with relief technique and the lines are carved like Anatolian Seljuk geometric patterns with a weaving effect (lines passing from top to bottom).The triangular side surface of the minbar has two triangular zones. In the small zone there is a combination of four fold pattern and six fold pattern. There are twelve-pointed stars, eight-pointed stars and between them five-pointed stars (not regular). The corner angle of these stars is 45 degrees. On the minbar of the Yavuz Selim Mosque (1522) there is the same pattern in the main triangular area.The large triangular region in the minbar was applied in Al-Saleh Tala’i minbar in Cairo (1300) with wooden material. The pattern was applied in the main triangular area of the minbar of the Manisa Sultan Mosque (1522) in the same technique as in the minbar of the Hagia Sophia Mosque. The fact that the two patterns on the minbar were applied with a similar technique on the minbar of Yavuz Selim Mosque (1522) and minbar of Manisa Sultan Mosque (1522) suggests that the construction date of the Hagia Sophia minbar may be the end of the 15th century or the beginning of the 16th century.In an analysis the “nizamî” (in accordance with the rules) of a geometrical pattern means that all the stars are bounded within a circle. The word “nizamî”, which entered the literature with this article, forms the backbone of the analysis.

Comparative Analysis of Geometric Patterns of Hagia Sophia Mosque in Pre-Islamic and Post-Islamic Periods

Gülder

Emre

Hazal

Serpil

Suriye ve Sînâ yarımadasında İslamiyet öncesine ait Arapça yazıtlar üzerinde yapılan araştırmalar, Arap yazı sisteminin (hurûfü’l-hicâ) Fenike alfabesiyle bağlantılı olan bitişik Nabat yazısının devamı olduğunu ortaya çıkarmıştır. Kuzey Arabistan’dan Hicaz bölgesine nakledilen Nabat yazısının farklı karakterlere sahip iki üslubu olduğu bilinmektedir. Bu tip yazıların Cahiliye devrinde “cezm” ve “mesk” olarak anıldığı rivayet edilmektedir. İslam dinini kabul eden hemen hemen tüm kavimler tarafından benimsenen Arap yazısı, birkaç yıl sonra İslam’ın ortak değeri hâline gelmiştir. “Arap çizgisi” kelimesi zamanla “İslam çizgisi” niteliğini kazanmıştır.Emevî, Abbasî, Fatımî, Eyyubi, Memlük, Selçuklu, İlhanlı, Timur, Safevi, Akkoyunlu gibi devlet ve hanedanlar dönemlerinde daima ilgi çekici bir sanat olarak görülen Hüsn-i hat sanatı, ilgiyle yükselişini sürdürmüştür. Hükümdarların veya devlet adamlarının hat sanatının öncülüğünü üstlenen ve bunu yaklaşık beş asır sürdüren Osmanlı hükümdarları arasında II. Bayezid, IV. Murad, II. Mustafa, III. Ahmed, II. Mahmud, Sultan Abdülmecid ve Sultan Reşad hat sanatıyla aktif olarak meşgul olmuşlardır. İstanbul’un hat sanatındaki müstesna yeri İslam dünyasında “Kur’an Hicaz’da indirildi, Mısır’da okundu, İstanbul’da yazıldı” ifadesiyle tescillenmiştir.Arap yazı sisteminde harflerin çoğu kelimenin başına, ortasına ve sonuna göre değişmektedir. Harflerin yan yana gelince kazandığı görünüm zenginliği, aynı kelimeyi veya cümleyi çeşitli kompozisyonlarla yazabilme imkânı, sanatta aranan yeniliğin ve sonsuzluğun kapısını da açmıştır.Çizgiyi sanata dönüştürmede en önemli görev kaligrafiye, is mürekkebine ve kamış kaleme düşmektedir. Kalemin tutulması, kalemin dönmesi, buna göre çizgiyi dolu kalem ağzı veya ince ve dikey olarak tutarak kâğıda yaslanması ile ortaya çıkan harf veya yazının mükemmelliğini sağlamaktadır. Çizgiler ve satır sonları da nokta hesabıyla belirlenmektedir. Bunun için “mıstar” adı verilen bir araç kullanılmaktadır. Uzun bir süre boyunca güzelliği arama çabaları sonucunda harf boyutları nihayete ermiştir.Hattatlık İslam tarihi boyunca en önemli sanat dallarından biri olmuştur. Özellikle matbaanın yaygın olarak kullanılmadığı dönemlerde önemli bir meslek kolu&nbsp;hâline gelmiştir. Hat sanatında öğrencileri hocalarını taklit ederek geliştiğinden bu sanatla uğraşanlar, tıpkı hocaları gibi yazmayı ve üsluplarını bu şekilde korumayı ilke edinmişlerdir. Ancak daha sonraki yüzyıllarda taklit durumuna farklı bir yorum yapılmıştır. Her yeni hattat, bu konuda yetişkin ve yetkin olduğunu kanıtladıktan sonra kendi sanat yorumunu ortaya koymuştur. Arapça konuşulan ülkelerdeki hattatların okumada fazla zorluk çekmemeleri sebebiyle istiflenmiş yazılarda harflerin sergilenmesine uymadıkları görülmektedir. Anadolu hattatları ise ayet ve hadislerin hatalı okunmasına sebep olmamak için teşrihlere büyük önem vermişlerdir.Bu çalışmada 19. yüzyıla ait hat levha ve çerçevesinin koruma-onarımı yapılmıştır. Hattat Hayrettin imzalı, celi sülüs müsenna zerendüd levha hicri 1310, miladi ise 1892 tarihlidir. Siyah zemin üzerine altınla çekilmiş celi sülüs hat levhada “Besmele” yazılıdır. Hattat Hayrettin Bey’in hayatı ile ilgili çok az bilgi bulunmaktadır. Ünlü hattat Çarşambalı Mehmet Arif Bey’in (1828-1893) öğrencisi olduğu bilinmektedir. Çeşitli kaynaklarda Hayrettin Bey’in, Talik hattı Çarşambalı Mehmet Arif Bey’den meşk ettiği yazmaktadır. Hat eserde barok dönem etkileri görülmekte olup çiçek motiflerinde ise rokoko üslubu ön plandadır. Türk rokokosu olarak da bilinen çiçek motifleri açık kompozisyon olup devam edilebilecek izlenimi vermektedir. Altın ve gümüş varak kullanılarak yapılan çerçevede ise birbirini tekrar eden iç içe geçmiş çiçek motifleri bulunmaktadır.Oldukça hasarlı durumda olan eserin bozulmalarının tespiti için belgeleme çalışmaları yapılmıştır. Belgeleme aşamasında eser sırasıyla görünür (VIS), eğimli-yandan (RAK), mor ötesi (UV) ve kızıl ötesi (IR) ışıklarla incelenerek bozulma durumu ve eserin yapım aşamaları hakkında bilgi elde edinilmiştir. Bu incelemeler yer yer ışık mikroskobu ile desteklenmiştir. Hat levhanın görünür ışık (VIS) ile de tespit edilen daha önce geçirdiği onarımlar morötesi (UV) ışık ile daha belirgin hâle gelmiştir. Yapılan incelemeler doğrultusunda tespit edilen bozulmalar uygun lejantlarla ve Photoshop programı yardımıyla hat ve çerçevenin fotoğrafları üzerine işlenmiştir. Ayrıca SEM-EDX analizi ile Besmele’nin yazılı olduğu kısımda altın kullanıldığı saptanmıştır. Çerçevede ise yaldızla birlikte gümüşün de kullanıldığı tespit edilmiştir. Altının safa yakın, gümüşün ise düşük değerde olduğu analiz sonuçlarındaki bakır ve malahit oranından anlaşılmıştır. SEM-EDX analizi ile aynı zamanda pigment tanımı da yapılmaktadır. Hat levhada bu analiz sonuçları tek başına yeterli olmasa da baryum beyazı, siyah demiroksit, az miktarda ultramarin, titanyum beyazı, litopon, demir oksit, fazla miktarda organik malzeme, alçı ve kil saptanmıştır. Pigmentlerin belirlenmesi, rötuş aşamasında uygun renklerin seçilmesi açısından oldukça önemlidir. Belgelemede elde edilen bilgiler ışığında koruma-onarım sürecine başlanmıştır.&nbsp;Bu aşamada önceki onarımlarda spreyle kalın bir şekilde verniklenen hat levhanın yüzey gerilimini azaltmak için vernik temizliğine başlanmıştır. Verniğin spray olarak&nbsp;uygulanması sebebiyle, levhanın yüzeyinde noktasal, düzensiz, pütürlü/pürüzlü bir görünüm oluşturmuştur. Mikroemülsiyon yöntemi kullanılarak yapılan temizlik işleminden sonra hat levhanın kabaran, kalkan alanları Evacon-R ile sağlamlaştırılmıştır. Son yıllarda özellikle kâğıt ve deri konservasyonunda kullanan Evacon-R; asitsiz, pH değeri nötr, çekme yapmayan, geri dönüşümlü esnek bir yapıştırıcıdır. Evacon-R ile kalkan, kabaran kısımlar yapıştırıldıktan sonra içe konkav şeklindeki deforme olan kısımlar düzleştirilmiştir. Hat levhanın zayıflayan taşıyıcısının güçlendirmesinde orta kalınlıkta asitsiz petek karton kullanılmıştır. Burada yapıştırıcı olarak Plextol B 500 tercih edilmiştir. Eskimeye karşı dirençli (ageing), yüzeye homojen bir şekilde nüfuz edebilen ve uygun ıslatma özellikleri sebebiyle tercih edilen Plextol B 500 termoplastik akrilik bir reçinedir. Bu şekilde hem hat levha sağlamlaştırılmış hem de düz bir satıh oluşturulmuştur. İnce kâğıt hamuru metilselüloz ve Evacon-R 1:1 oranında karıştırılarak boya tabakasındaki kayıp alanlara dolgu yapılmıştır. Rötuş aşamasında ise uygun renkte saf ezme altın ve Paraloid B-72 içeren Kremer marka restorasyon boyası kullanılmıştır. Vernikleme işlemlerinin ardından çerçeve onarımı ile çalışma tamamlanmıştır.&nbsp;

Conservation of Calligraphy by Calligrapher Hayrettin Bey

There is no precise information on when Demirci, the second farthest district from Manisa city center, was established. There is the ancient city of Saittai/Sidas in the village of İcikler, approximately 40 km. away from the district. It is possible to see the remains of the ancient city on the walls and courtyards of some houses in the district center and villages. In the district center and villages, there are also buildings from the Turkish-Islamic period. The subject of our study consists of three village mosques in Demirci, two of which are not in use today and one of which is open for praying. The mosques have been evaluated in terms of plan, material use, and ornamentation.&nbsp;There is a plaque on the eastern façade of the Marmaracık Village Mosque, which is open to worship today, stating that it was built in 1227 (Hijri)/ 1811-1812 (Gregorian) and repaired in 1950. Archive records contain information about the orator working in the mosque. In the documents about the Köylüce Village Old Mosque, which was built by the village people and is not in use today, it is mentioned that a orator worked in the mosque in 1819. There is an inscription dated 1292 (Hijri) / 1874-1875 (Gregorian) on the west façade of the building. This date in the inscription probably refers to the repair date of the building. Likewise, there is information about the Old Mosque of Kızılca Village, which is not in use today, that an imam was in charge in the village in the 16th century. However, there are three inscriptions on the building, and two of the inscriptions have the dates 1216 (Hijri) / 1898-1899 (Gregorian). In another inscription, the date 1265 (Hijri) / 1848-1849 (Gregorian) is written. The dates on the inscriptions are likely to be repair dates. Of the three mosques that constitute the subject of our study, the name of the master is mentioned only in the Marmaracık Village Mosque. In the center of the wreath-shaped ornament on the northern body wall of the harim, there is a statement which says that it was repaired by a master named Ahmet Azak from Bigadiç in 1950. All of the buildings have rectangular plans and are covered with wooden ceilings and hipped roofs.During the Westernization period, wall paintings emerged as a new genre. Examples of wall paintings are commonly seen in Western Anatolia. They are found in both religious and civil buildings constructed in the provinces of Denizli, Aydın, Muğla, Manisa, Afyon, and Uşak. Wall paintings are applied on plaster and wood materials. Wall paintings, which are considered as a new genre, have a wide range of subjects. Landscape paintings are among the most frequently seen wall paintings. Architectural space drawings come after landscape paintings. In architectural space depictions, the most common theme is the mosque. The majority of the mosques with domes and minarets are examples from the capital. Another common motif in mosques and residences is the depiction of flowers in vases. Flower motifs with leaves are depicted in different vases. Tree depictions are also a preferred subject in&nbsp;pencil decorations and the most common ones are cypress trees, date palms, orange, and lemon trees. The curtain motif, which expresses the other world and the world we live in, is used on mihrabs and in frames. The curtain motif is accompanied by the oil lamp motif. Behind the curtain decorations separated on both sides, the perception of an imaginary space is tried to be evoked. In religious and civil buildings, it is possible to see the clock motif, which entered the art of decoration with the influence of the Westernization period. Table clocks, pendulum clocks, and pocket watches are included in the ornamentation program of civil architecture, mosques, and tombs in different forms. The time expression specified in clock decorations refers to the time when the decoration was completed. There are also clock decorations on tombstones. The time expression given on the tombstones indicates the time of the person’s death. Writing ornaments are also a very common type of hand drawings. Generally, the inscriptions are addressed in “S”-”C” curved baroque medallions or in the form of rectangular plates. There are examples of some writing decorations made in mutual stacking (musenna).&nbsp;In the Marmaracık Village Mosque within the scope of our study, text ornaments in baroque medallions, leaf and zigzag motifs on the window pediments of the harim, stacked text on the eastern façade and mosque ornamentation (musenna) were addressed together. Here, the mosque has a dome and four minarets with two balconies on each. “Noah’s Ark and Ashab-ı Keyf” is written in stacked script just below the women’s mahfil. To the east of the mihrab, a square clock ornament attracts attention. The clock, depicted with a dome and two minarets, shows 11.45. The specified time is likely to indicate the time when the ornamentation was completed. Kızılca Village Old Mosque has pencil ornaments on plaster on the harim body walls and mihrab. The mihrab arch is divided vertically into four sections. In each section, there are shapes in the form of a beyzi form and eight-armed star ornaments in the center. In the mihrab niche, there is a curved curtain motif with tasseled ends and an oil lamp motif hanging from the center. A zencirek motif borders the mihrab from two directions. The corners and the crown of the mihrab are decorated with floral ornaments. Baroque medallions and writing ornaments in rectangular plates are also seen. On the eastern axis of the southern body wall, the curtain motif gathered on the sides in the frame and the stacked writing style ornamentation in the middle stand out. All of the wall paintings of the Old Mosque of Kızılca Village were addressed in the form of a painting. Medallions and plates are reflected as if they were hung on the wall with the help of nails. There are vases and flowers coming out of them in the mahfil section in the north. Compared to the other two mosques, the hand drawings are simpler in Köylüce Village Old Mosque. There are writing decorations in medallions on the south and east facade. On the southern and eastern facades, red flowers with green leaves accompany the writing decorations at the level of the upper cover.&nbsp;There is no information about the identity of the artists who made the decorations on the buildings. When the hand drawings are evaluated in terms of subject and technique, it is seen that the motifs are repetitive. Especially in Marmaracık Village Mosque and Kızılca Village Old Mosque, the Surah of Conquest and the stacked text ornament are similar applications. Within this context, it is thought that the artist who made the ornaments is the same person. The number of mosques around Manisa, Denizli, and Afyon where similar ornamentation programs were carried out by local artists is pretty high. The Old Mosques of Köylüce and Kızılca Villages are in danger of extinction today. After the construction of new mosques in the villages, the disappearance of many old village mosques is inevitable.

Marmaracık- Köylüce- Kızılca Köyleri Mosques and Its Painting Works (Demirci –Manisa)

Selahattin

Zahide

The four districts of Bursa, namely Orhaneli, Harmancik, Keles, and Buyukorhan form the mountain region of Bursa, and this area was the main part of the Feudal landlords of the Byzantine until the Atranos castle was taken over by the Ottomans during Orhan Beg times. Orhaneli is one of these four districts with mountainous geography in the south of Bursa and it was founded by Emperor Hadrianus under the name Hadrianoi (ad Olympum) in the 2nd century. It was taken under control of the Ottoman Principality in 1325 and the Atranos Castle belonging to the Eastern Roman Empire was destroyed after the Ottoman conquest. This region was called Atranos after the Ottoman conquest and continued to be called Atranos until the early days of the Turkish Republic.The remains of Atranos castle are 2 km north of Orhaneli city center and these remains are in the vicinity of an open-mine field. No conservation work has been done or no protection measures have been taken for the castle, which was declared a 3rd-degree archaeological site by the authorities in 2014. Even though the region of the Atranos Castle remains was registered as a protected area by the Ministry of Culture, Bursa Regional Board for the Protection of Cultural Heritage, no further work had been pursued for the area. The remains of towers, which are left extremely vulnerable to environmental conditions, are rapidly disappearing. Comparison of the current state of the remains with the earlier photos is also supporting the continuous erosion of the remains. For this reason, a documentation study was carried out to determine the existing tower remains and the foundation line before any possible archaeological excavations. This is the first study as a documentation study of the area. Data for the documentation studies was obtained by laser scanning and drone scanning of the remains.Atranos Castle, shaped according to the topography, was built on bedrock. It was observed that the main wall surrounding the castle was broken at many points according to the geographical features. However, the inability to clear the entire area of vegetation did not allow the identification of the remains, and therefore a precise site plan could not be obtained. During the earlier registration works, the area where the castle remains were located was marked as an isosceles trapezoidal area. The castle covers an area of approximately 150 meters in the north-south direction and 110 meters in the east-west direction. The two surviving tower remains of the castle, which were documented within the scope of the project discussed in this study, are located on the eastern wall running parallel to the highway. According to the findings of this east wall, Atranos Castle was fortified with circular towers located at about equal intervals on the corners and long wall surfaces. To obtain a precise castle plan and to produce an accurate restitution, the entire area with dense vegetation needs to&nbsp;be cleaned. After the cleaning, precise information about the castle walls can be obtained. The documentation of Atranos Castle within the scope of this project yielded the remains of two prominent tower remains on the eastern wall, the remains of two tower foundations, and partial remains close to the foundation of a body wall. About 25% of the two prominent towers are still standing and their inner and outer diameters are approximately 2.30 m and 6.80 m, respectively. The height of the remains of the castle was determined to be around 7.50-8.00 m from the lowest point. The fact that a straight line was detected at the upper points of the castle towers despite the vegetative formations and the calculations made based on the gaps of the decayed wooden beams show that the castle towers had a height approximately close to their current height in their original state. The rough masonry walls were built with mortar and supported with wooden beams that had not survived. The walls were filled with rubble stone. Although stone material is generally used, brick is also used occasionally. The brick material seems to have been placed not in a specific pattern but rather randomly.Structural deterioration and material deterioration were observed in the remains of Atranos Castle. Structural deterioration is characterized by cracks and section loss in the tower wall. These are dangerous deteriorations that threaten the remains structurally. Comparing the photographs taken in 2019 around the site with the photographs taken in 2021, it is seen that erosion is effective even in a very short period. In 2003, the remains of wooden beams identified by the researchers also did not survive to date. As material deterioration, surface losses in the stone material, voids in the original masonry of the interior and exterior façade parts, stone-brick-wood material deficiencies, surface pollution like carbon accumulation and black crust formation, herbaceous and woody vegetative formations, and non-original additions were identified. In light of the damage assessments, any reconstruction recommendations were avoided, and it was emphasized that the tower remains should be reinforced to ensure their survival until detailed investigations begin.The castle certainly has cultural and archaeological value, but it is disappearing. Its current condition needs to be revealed and brought to the agenda. In this way, it is aimed to arouse curiosity in the academic and local environment, to attract tourism and academic interest, and to increase economic mobility by contributing to local tourism. It is thought that the study has a high potential to open a new way for academic studies and may have an accelerating effect on the start of archaeological studies around the castle.

Documentation of Atranos Castle Tower Remains

Ayşe

The art of leather lived its golden age in the Ottoman Period. In the early periods of the Ottoman Empire, nomadic Turkish tribes dealing with leather were forced to settle in places close to the cities, although the Turks were busy with leatherwork in Anatolia during the Anatolian Seljuks and Principalities periods. Thus, an active commercial life has emerged. Turkish leathers have become known all over the world and have been exported to Europe for centuries. It has had a significant impact on the commercial life of cities such as Istanbul, Edirne, Kayseri, Trabzon, Ankara, Bursa, Manisa, Tokat, Konya, Diyarbakır and Urfa. Turkey’s most beautiful sahtiyans were made in Diyarbakir, Urfa and Tokat; Red sahtian was produced in Diyarbakir, yellow in Mosul and Kayseri, and black in Urfa. In Kastamonu - Safranbolu, it was produced by a leather factory. One of the regions where leather production is made in Anatolia is Isparta. Isparta leather business has developed both in the city center and Yalvaç district. Tanneries with the old name of tanners and tanneries in Isparta were established in the 16th century in the old Debbağhane District, which is known as Kurtuluş Mahallesi. It got this name because animal skins are tanned. Today, this place is called the “old tannery” among the people. However, leather processing workshops were moved to Sermet District and continued to function in this district. The tanneries were moved to the Leather Organized Industrial Zone in 2009, as they remained inside the settlements and caused environmental pollution.In the 18th century, the importance of yarn and weaving in the city trade in Isparta and the widespread application of different business lines such as carpet making, rose making, crockery, disclaimer, shoemaking, and light fabrication paved the way for the commercial progress that the city would make in the middle of the 19th century. In particular, the art of tanning and shoemaking has advanced so much that tradesmen, notables and courtiers in Istanbul wore mest and shoes made of sahtiyans called Isparta yellow and Isparta red. It is known that handicrafts and crafts such as cotton and wool weaving, rope making, felt making, bell making, saddlery and saddle making have been made in the region since the Seljuks. Many industrial heritages such as weaving factories, leather and leather factories, wine, beer and liquor factories, rose oil and perfume factories, mills and dyehouses were built for industrial branches. While some of them have not survived by being demolished, some of them continue to serve. Some buildings remain derelict and need extensive repairs. One of these structures is the Historical Leather Factory of Isparta. Animal husbandry, which is an activity of the nomadic culture in Isparta and its districts, is highly developed; wool and leather were produced depending on animal husbandry. Since Isparta leather is an important line of business for the regional economy, factories have been established in the city centre and Yalvaç District for extensive leather production. Because leatherwork continued in different places over time, both factories began to collapse and&nbsp;&nbsp;were on the verge of disappearing.In 1891, a water-powered leather factory was built on the land behind Hüseyin Baş Mill in Dere District, named “Şayak Weaving Company”. Four Turkish masters were brought from the aba factory in İslimiye from Bulgaria, and Rumelian serge was produced by these masters. This factory was closed after working for six years. The company, which was established under the name of Şayak Company, bought land on the upper side of Hüseyin Baş Değirmen in Dere District, established a Şayak Manufacturing Factory, and started to produce durable fabrics in the form of aba. Due to this, the factory was closed for a short time.A new company was established in the Şayak Factory in cooperation with the French, French style leather, leather, screw, oskar were produced and its capital was provided by the tradesmen. In 1926, with the efforts of Isparta Deputy İbrahim Demiralay, Antalya Ziraat Bank Manager Ali Rıza Şalvarcı and Lawyer Hasan Fehmi, the company became official and was taken under the protection of the state. In 1927, with the initiatives of the people of Isparta, a turbine-powered leather factory was built. After this factory became operational, it produced several types of leather and sent these products to metropolitan cities such as Istanbul and Izmir. In 1929, the worldwide economic imbalances affected the factory negatively and brought it to the point of bankruptcy. Due to the lack of working capital, he could not advance his work. After this negative process, the factory was liquidated and abandoned, and the company was dissolved. The factory was purchased by Mustafa Toka, one of the carpet merchants of Isparta, in 1948, and some of it was converted into a carpet yarn factory.Located in the city centre of Isparta, this factory has neither been registered nor has it been extensively or partially repaired. It is aimed to be demolished by the Municipality of Isparta within the scope of the zoning plan planned to be built in the Dere District. For this reason, this structure, which is under many risks of both natural, human and administrative origin, needs to be documented, protected, and comprehensively repaired urgently. However, there are security problems due to the location of the building. The point where the building is located is thinner etc. It has been a stopover for some people. For this reason, field studies have been in a process that threatens security. However, despite these conditions, the sketches of the building were taken and the survey was tried to be taken out. The repairs and usage patterns of the factory were investigated, the traces on the building and the data about the building were tried to be reached from oral sources, and the protection problems were determined. With this study, it is aimed to shed light on future studies by drawing attention to the preservation status of the building, which has left a mark in the urban memory of Isparta and is an industrial heritage.&nbsp;

Extinct Heritage of Leathering History: Historical Leather Factory in Isparta

Zerrin

Cumalikizik, which was a village in the east of Bursa until 1987, is a residential area that has been brought to the status of a neighbourhood affiliated with the Yıldırım District centre after this date. Bursa and Cumalikizik were on the UNESCO World Heritage List in 2014. It preserves its feature of being the earliest Ottoman village that has survived to the present day and the best preserved its originality.&nbsp;In this study, the rings, and knockers, which attract attention with their functionality on the doors, as well as with their different types and decorations, are discussed in Cumalikizik houses. Rings and knockers, which are almost the sound of doors and combine the aesthetic understanding of the period in which they were built and the subtleties of socio-cultural life, continue to be used in Cumalikizik houses.&nbsp;Within the scope of the study, the rings, and knockers on the doors of 135 houses in Cumalikizik Village were determined by scanning the area, and 66 rings and 40 knockers were examined. These are classified into main and sub-types as rings, mallets, and mirrors.The 66 door rings found in Cumalikizik Village have a circular form and were made in the iron forging technique. Within the scope of the study, the rings are divided into two main types, the section of the ring is round, and the section of the ring is rectangular, and the body is twisted, and the body is determined by grooves. It has been seen that round-section rings are widely used in Cumalikizik houses.The most distinctive features of the rings in terms of decoration are the mirrors. The main structure of the mirrors is divided into four main types of round, sliced, triangular and polygonal shaped, and subtypes as 4, 12, 13 and 14 sliced ones with sliced circumferences.There are different decorations in the hole work technique on the 52 mirrors examined. They are grouped as circular interlaced, abstract leaf form, Rumi-palmette motif, and keyhole. A decoration in the form of oval interlocks formed between the concentric rings can be seen on the round-shaped mirrors. It is the most common type among Cumalikizik ring mirrors. A decoration consisting of holes resembling an abstract leaf form was applied to the other types of mirrors with a round shape. In the mirrors examined, the circle is the most common decoration after the inserts. Those with Rumi-palmette motifs and key-shaped holes are represented with a few examples.Another functional and aesthetic element that defines the doors of Cumalikizik houses is the knocker. The hammers are made of brass, iron and sheet metal using the casting technique and, in a few instances, the forging technique. Embellishments made with the hole work technique were applied to the mirrors of the knockers.&nbsp;Three main types of Cumalikizik knockers were determined as C-shaped, vertical U-shaped and L-shaped hammers.In the first type, the outer frame of the mirrors gives an image defined by S - C curves, large at the top and smaller round protrusions on the sides. The inside of the mirror is five vertical rectangles in a row. This arrangement, seen in the mirrors, has also been interpreted as a musanna of the word “Allah” or a design written “Mashallah”. Among the knocker mirrors examined in Cumalikizik, this type was the most adopted. Mirrors of the second type are largely similar to those of the first type. Only their outer frame reminds us of a stylized sliced palmette form. A similar arrangement in the holework decorations of the mirrors can be thought of in the same way. Although the predominant use of these two types in Bursa and its environs points to a ramming development that became widespread and diversified with the Westernization period, it shows that it turned into a unique form and narrative by being reproduced with new patterns. In the scope of the study, the third type was the imperial style inspired closed palmette type, which is very common in Anatolia but less preferred in Cumalikizik. In the studied Cumalikizik houses, there are also examples of C-shaped knockers without volutes whose mirrors are determined by radial rods. Radial rods, which are widely used with different materials and techniques in 19. century imperial-style decorations have also taken their place in knocker mirrors with the same admiration.The second type found in Cumalikizik houses in the form of the main body in the form of a U crowned with a crown with palmette motifs and folds in the middle with arms coming from both sides. Although it is not common in Cumalikizik, its examples can be seen in different regions and centres.L-shaped hammers, another type of knocker identified in Cumalikizik, although one of the most common types in Anatolia, were rarely preferred in Cumalikizik.The widespread use, form, material and technical features of the door rings and knockers of the examined Cumalikizik houses are the continuation of a tradition which was initially imported from Europe and later localized. The stylistic features seen in 18th and 19th-century Ottoman architecture and decoration show a similar development in rings and knockers, which are the metal sounds of the doors. However, the diversity seen in other regions and centres in the same period was either not created in Cumalikizik or its examples were limited. There is no date on the door rings and knockers of Cumalikizik houses that have survived to the present day. Additionally, Cumalikizik samples which use more traditional forms and mirror decorations, mainly date from 19. century, with later examples from the 20. century extending to the present day spanning a wide period.&nbsp;&nbsp;

Door Ring, Knocker and Mirrors in Bursa/Cumalikizik Houses

Raziye

Esra

It was a tradition during the Ottoman period that mosques, where the public both worshipped and socialized, which led to the mosques gaining importance, were built with different qualifications than other structures, and this varied among local artists who raised themselves as masters or artists in rural areas. The artists who have gained notoriety as a result of their travels have given the structures in the areas where they have visited a unique identity. Local artists who brought the empire’s art language into the countryside and blended it with the rural did not reflect their identities in their works, resulting in the emergence of anonymous art shaped by the master-apprentice relationship. These unique practices arose because of the locality being shaped by being blended with Western influences and are applied to stone, wood, and plaster.The Black Sea Region, which is distinct from other regions in Anatolia due to its unique architectural identity, is the leading place in Anatolia where hand-drawn ornament is used extensively. Trabzon, located in the east of the Black Sea, is home to numerous structures with significant historical and artistic value in terms of architecture and ornament. Mosques which are evaluated in the religious structures group and have survived since the Ottoman period, are significant due to the interior ornaments, which reflect the fashion at the time and are associated with various symbolic meanings. One of these is the Central Mosque (1871 - 1872) in Doğancı neighbourhood (village) of Şalpazarı county in Trabzon. No information exists regarding the constructive, craftsman and miniaturist of the mosque built during the end of the 19th century, in which village settlement was started to be established.&nbsp;Although it reflects the general characteristics of regional architecture, the mosque, which should be evaluated in the category of anonymous Anatolia works in terms of presenting significant data of folk art, differs from the mosques where it is in terms of the colorful interior hand-drawn ornaments. The ornaments are applied to stone, wood, and plaster materials. While the depictions on the main walls indicate the 19th century as the year of construction, the ornaments on the mihrab, chair, minbar, gathering-place rails, and columns carrying the gathering-place must have been built in the first half of the 20th century. The differences in color, style, and technical aspects used in the ornamentation of other architectural elements compared to the original wall ornaments indicate that the units could have been colored during the 1935 restoration. Furthermore, the color differences show that the ornaments throughout the building have recently been overhauled, and the deformed parts have been attempted to be completed. The extensive use of maroon and blue colors suggests that this attempt was made in or after 1967, the year Trabzonspor was founded.The hand-drawn ornaments in the Doğancı Neighborhood Central Mosque shaped with botanical and geometrical designs, object designs, and writings demonstrate a composite order in which the changes brought about by Western style blended with the “traditional.” In mosque decorations, eclectic elements with the meaning of “Empire,” which was the art movement of the time, and the mixed style that emerged with eclectic identity can be found. The empiric effect can be seen in mosque decorations, such as the reflection of the frames on the window as a triangular pediment, which is a neoclassical application, the ancient effects seen in vase forms, the use of bay leaves and lotus flowers, the radial rod bundles that are frequently used in artworks at capitals, and the reflection of textile products such as curtains and tassels to art. The naturalism, density, and diversity seen in flower forms, leaf-filled S-curves, and C-S evoke neo-baroque, while attitudes such as the limitation of motifs with a contour, and the decoration of the entire surface with spring branches without leaving any space evoke rococo and reflect the eclectic style.The flower, tree, and leaf depictions emerging out of the vase, among which different species such as starflower pomegranate flower and verbena which are plants mentioned in the Quran and recall heaven, have been identified, are the decorations that we encounter widely on the mosque body walls. The use of motifs representing flower, fruit, and tree species mentioned in the holy book and claimed to represent heaven in the mosque decoration plan should be related to keeping the image of heaven alive in the minds of the congregation and reminding them of what needs to be done to be rewarded with heaven. The inclusion of the minaret, which emphasizes the importance of prayer in “reaching heaven,” the tomb, which recalls themes such as “death” and “the hereafter,” and the clock, which also emphasizes the passage of time, in the decoration program supports this situation from an iconographic standpoint. Furthermore, the oil lamp seen on the tomb and on the mihrab, as well as the candlestick-candle motifs on the mihrab, are mentioned in the 35th verse of the Nur Surah in the Qur’an as tools representing the “light of Allah.” The world motif, which means “guiding, pointing, keeping the community in unity, gathered under,” on the mihrab, has symbolic meanings, such as the congregation’s unity and solidarity in the mosque.With the rich iconographic expressions included in the motifs used in the decoration program, the mosque, is one of the best examples where the free expression of the artist’s mind and taste are expressed and the capital style is reflected in the country in terms of depictions on the wall, almost functions as a guide for Muslims to enter heaven. It is worth noting that the artist, who works technically entirely within his possibilities, skillfully paints plants for the area he will design motifs and creates diversity when designing vases, flowerpots, flower types, and leaf motifs by adding his unique interpretation, not with a single pattern.The hand-drawn ornaments of the Şalpazarı/Doğancı Neighborhood Merkez Mosque, which combine Ottoman late-period mosque decoration tradition with a local&nbsp;&nbsp;sense of art, resisted the destructive effects of time and have survived to the present day. These hand-drawn ornaments, the subject of this article, provide insight into the world of thought and belief of the region’s people, as well as their taste, while also answering questions such as how the hand-drawn ornaments found in many parts of Anatolia are applied in the Eastern Black Sea region, to what extent the changing art language of the 19th century was reflected in the region, and how much traditional practices were included.

Trabzon/Şalpazarı/Doğancı Neighborhood Central Mosque Hand Drawn Ornaments

Meltem

Gazino venues and entertainment culture date back to the years before the founding of the Republic of Turkey. However, the transformation of these venues into modern platforms for public enjoyment was largely influenced by the ideologies of the early republican era. The fact that most entertainment facilities were built and rented by the state since the 1930s indicates the critical role of these venues as schools of modernization and Westernization in the context of building a new nation-state. In this regard, it is to say that early republican gazinos were developed parallel to the reforms, modernization efforts, and founding ideologies.The emergence of spatial practices that offer individuals the opportunity to participate in cultural activities was realized with the decision to adopt the goal of modernizing the public through the disciplines of architecture and city planning. Therefore, architects and urban planners played a significant role in realizing radical social transformations through design disciplines during the early republican period. The assignment of foreign architects and urban planners, invited to Turkey from countries such as Germany, Austria, France, and Switzerland, to design public spaces and buildings with different missions, has been particularly effective in rapidly shaping the urban and architectural transformation process. In this context, both prominent foreign and Turkish professionals collaboratively participated in design projects as intellectuals appointed by the state, reflecting the ideology of being modern citizens of society through spatial exemplifications.The Western entertainment practices brought with the designed socialization venues were effective instrumental tools in demonstrating modern life to Turkish society and offering liberating activities to women and men. During the transition to secular culture, such venues were significant in recreating the habits and attitudes of predominantly Muslim society with Western codes, especially womenPublic venues including gazinos, theaters, operas, cinemas, community centers, and clubs, which became widespread in the country, especially in the 1930s and 1940s with the support of the state, were designed as unifying meeting points to bring modern Turkish women and men together and to strengthen social interaction. Although the construction of these new facilities seemed an attempt to ‘beautify’ cities, they were closely related to the political ideology of the early republic. With the spatial practices provided, these facilities were a manifestation of the dominance of the new political governance over the prior Ottoman authority: and functioned to bring about transformations in the daily life practices of the society.As this article suggests, gazinos, one of the entertainment facility types built to provide Western-style entertainment services, served as spatial structures that shaped the practices of the society in public spaces. These structures have been crucial as they exemplified new habits for individuals, unlike the religious-centered traditions of the previous Ottoman reign.Taksim Municipal Gazino, which is the focus of the article, has been one of the iconic examples of early-period gazinos in Turkey serving as a tool in promoting the secularization ideology of the state. In this regard, the study makes a socio-spatial analysis of Taksim Municipal Gazino, intending to reveal what the edifice tells us about the social transformation process of the early republican society. The spatial analysis examines the ‘educative’ role of the state-supported architect, Rüknettin Güney, in creating modern gazino practice through the photographs and architectural drawings of the building. The literature review, revealing the fictional and real memories of gazino visitors, highlights the contexts in which this practice has offered freedom of socialization to subjects and contributed to strengthening women’s position in society.On the one hand, the findings show that the gazinos that opened in the early republican years played an ideological role in transforming social practices. On the other hand, it shows that architects, who assumed the role of ‘cultural leader’ with the support of the state, initiated social transformation with the designs of these spaces. The analysis of the interior and exterior spaces of the gazino, which encouraged women and men to be in the same environment, socialize, drink alcoholic beverages, and dance, allows for witnessing the emergence of new bodily practices, values, and norms.The study argues that individuals who have experienced the gazino space have internalized, transformed, and socially reproduced the social practices required by this space over time. Although the modernization process of Turkish society is often considered a ‘top-down’ ideological project, this study discusses that Istanbulites have also produced their modern codes over time. In this respect, the edifice became one of the first early-period gazinos where the social practices offered by the state were transformed by society. In the second half of the twentieth century, this transformation in the gazino culture continued and reached new dimensions. In the 1970s, gazinos became more widespread entertainment venues, appealing to greater segments of the public. Throughout this process, gazinos served as spatial tools that strengthened the social position of female regulars in the public sphere.

A Spatial Reflection of Social Transformation: Taksim Municipal Gazino, 1939

Şerife

Büşra

Dünyanın hemen her bölgesinde oluşturulmuş olan kaya oyma yapılar, toplumların mekânsal, tarihî, sosyal ve kültürel yaşamına dair değerli bilgiler taşımakta, oluşturuldukları dönemin mimari tarzına ve inşaat tekniğine dair bilgiler vermektedir. Bizans İmparatorluğu Dönemi’nde inşa edilmiş kaya oyma yapılar da dâhil olmak Türkiye’nin her bölgesinde farklı dönemlerde çeşitli fonksiyonlara hizmet için oluşturulmuş yüzlerce kaya oyma yapı bulunmaktadır. Bunlardan Kırklareli Kıyıköy’de bulunan Aya Nikola Manastırı, Erken Bizans Dönemi’nde inşa edilmiş önemli bir kaya oyma yapı örneğidir. 6. yüzyılda yapılan ve ilk adı Ayia Triada olan bu manastır 1922 yılına kadar aktif olarak kullanılmıştır. Yapı 3 nefli, bazilikal planlıdır. Bu yapı türünün plan tipi ve üretim yöntemi olarak benzerleri Erken ve Orta Bizans Dönemi’nde Frigya, Likonya, Kapadokya ve Kilikya’da da oluşturulmuştur. Kaya oyma tarihî yapılar oldukça fazla olsa da bu yapıların incelenmesi ve restorasyonuna dair çalışmalar diğer yapı türleri hakkında yapılan çalışmalara göre oldukça kısıtlı ve yüzeyseldir. Bu çalışmada literatürdeki bu eksikliğin giderilmesine katkı sağlamak hedeflenmiş ve Aya Nikola Manastırı’nda yapılan çalışma sonuçları kullanılarak Bizans Dönemi’nde benzer tipte oluşturulmuş kaya oyma yapılar için kapsamlı koruma adımlarının sunulması amaçlanmıştır. Çalışmanın yöntem aşamaları manastırın mevcut durumunun analizini, manastıra ait yapı malzemelerinin fiziksel, mekanik ve kimyasal özelliklerinin belirlenmesini ve koruma önlemleri ile önerilerinin sunularak çalışmada uygulanan yöntemlerin benzer yapılarda da kullanılabilmesi için temel bir adım setinin oluşturulmasını içermektedir.Kıyıköy Aya Nikola Manastırı’nda (KANM) ilk aşamada yapılan mimari incelemeye göre bu yapı Soğucak Kireçtaşı Formasyonu’nda bulunan masif bir kayanın oyulmasıyla oluşturulmuş ve bazı tavanlara yığma yapıdaki gibi beşik tonoz şekli verilmiştir. Manastır, bazilikal planlı, üç nef ve üç apsisli bir kilise, ayazma ve mezar odası olmak üzere üç ana bölümden oluşmaktadır. Kutsal su içerdiği kaynaklarda bildirilen ayazmada hâlen su mevcuttur. Yapının tek cephesi olan kuzey cephesinde yığma revaklardan oluştuğu tahmin edilen ek bir mekânın izlerine rastlansa da kaya oyma kısım ve bu alan arasındaki duvarlar yıkılmıştır ve kalıntılar tam değildir.Çalışma yönteminin ikinci aşamasında Aya Nikola Manastırı’ndan taş, tuğla ve harç örnekleri alınarak, elde edilen bu orijinal malzemelerin mekanik, fiziksel ve kimyasal özellikleri tespit edilmiştir. Ayrıca Bizans Dönemi tuğlaları ve kaya oyma yapılar hakkında daha önce gerçekleştirilmiş benzer çalışma verileri ve elde edilen bulgular kullanılarak sistematik bir karşılaştırma yapılmıştır. KANM’nin kaya ve tuğla malzemesinin fiziksel, mekanik ve kimyasal özelliklerini değerlendirmek için yapılan deneylerde, kaya örneğinin düşük dayanımlı (~6 MPa), yüksek poroziteli ve kapiler su emme katsayısı yüksek (~10 &gt;3 kg/m2 √h) bir kireçtaşı olduğu tespit edilmiştir. Ayrıca, tuğlanın basınç dayanımının (~13 MPa) kayanınkinden yüksek olduğu ve bu değerin literatürde Bizans tuğlası için bildirilen ilgili değerlere yakın olduğu görülmüştür. Tuğlanın da su emme katsayısı ve porozitesi kayanınki gibi yüksektir.&nbsp;Kayanın kimyasal özellikleri X-Işını Kırınımı (XRD), X-Işını Floresansı (XRF) ve Fourier Dönüşümlü Kızılötesi Spektroskopisi (FTIR) teknikleri kullanılarak analiz edilmiştir. Bu deney sonuçlarına göre kaya yüksek miktarda CaO ve az miktarda MgO ve Fe2 O3 içeren yüksek karbonatlı bir kireçtaşıdır. Yapıdan alınan harç örneğinde gerçekleştirilen asit kaybı deneyine göre harçta bağlayıcı/agrega oranının 1:2 olduğu belirlenmiştir. Bu deneyde harçtaki karbonatlı agregaların asitte çözünerek bağlayıcı/ agrega oranını etkilememesi için deney öncesinde bu çalışmada malzeme eksikliği sebebiyle gerçekleştirilmeyen petrografik analizin de yapılması ve bu analizin kayaç içeriğinin belirlenmesinde de alternatif olarak değerlendirilmesi önerilmektedir. Bu sonuçlara göre tuğla ve kaya onarımında kullanılacak malzemenin basınç dayanımının sırasıyla 13 ve 6 MPa basınç dayanım değerinde olması gerekmektedir. Onarım malzemelerinin toplam porozitesi %34’ten az, gerçek yoğunluğu yaklaşık 2.6 g/cm3 ve su emme katsayısı en çok 10 kg/m2 √h olmalıdır.Manastırda yapılan hasar analizine göre strüktürel olan ve olmayan pek çok hasar tespit edilmiştir. Strüktürel hasarlar; parça kopması ve yapısal çatlaklar, strüktürel olmayan hasarlar ise parça kopması, kavlanma, kabuklaşma, çiçeklenme, biyolojik kolonizasyon, lekelenme, erozyon ve aşınmadır. KANM’deki çatlakların depremlerden veya kaya oluşumundan kaynaklandığı gözlemlenmiş olup çatlak ve yarıklar bulunan bu yapıyı sağlamlaştırmak için özgün malzeme ile uyumlu malzemelerden yapılmış ek taşıyıcı yapı elemanlarının tasarlanması önerilmiştir.Yapısal olmayan hasarlardan en çok görülen çiçeklenme ve biyolojik kolonizasyonun ana sebebi, yapının oluşturulduğu kayanın üzerindeki toprak tabakasından yapıya geçen nemdir. Bu nem kaynağını kesmek için toprak ve kaya arasına ayırıcı tabakaların tasarlanması veya yapı çevresine kuyular açılması öngörülmüştür. Biyolojik kolonizasyonda öncelikle kaya yüzeyindeki likenlerin faydalı mı yoksa zararlı mı olduğu tespit edilmelidir. Bunlara müdahale gerekliyse su buharlı temizlik gibi geleneksel bir yöntem veya temizleyici bakteri ve jeller kullanılabilir. Çiçeklenmenin önlenmesi için bu hasara sebep olan üç ana faktörden birinin bertaraf edilmesi gerekmektedir. Kumlama veya lazerle temizleme gibi yöntemler bu hasarın sadece belirtilerini ortadan kaldırmaktadır. Yapıdaki su sorununun çözülmesi ile bu zararın ortadan kaldırılabileceği, tuz çıkarma yönteminin malzemeden tuzu uzaklaştırarak bu hasarı önleyeceği tespit edilmiştir Yapısal olmayan diğer hasarlara çözüm olarak, yapıdaki nem kaynağının ortadan kaldırılması, yüzeyi korumak için çeşitli su iticiler, emülsiyonlar, grafiti önleyici yüzey kaplamaları kullanılması önerilmiştir. Bu tür yüzey koruma ürünlerinin kaya yüzeyine zarar verdiği birçok restorasyon uygulaması mevcuttur. Kullanılacak ürünler seçilirken kayada oluşacak yan etkiler de göz önünde bulundurulmalıdır.İnsan kaynaklı hasarları önlemek için eğitim ve bilinçlendirme; mekân içinde iklimsel etkileri azaltmak için nem ve sıcaklık kontrolü ve yapı genelinde önleyici koruma önlemlerinin oluşturulması önerilmektedir.Kaya oyma Kıyıköy Aya Nikola Manastırı’nın ender görülen mimari üslubuna ve özgün malzemesine rağmen, bu çalışmanın yöntem ve sonuçları ile benzer özellikler taşıyan diğer Bizans Dönemi kaya oyma yapılarında da uygulanabilecek kapsamlı bir belgeleme, teşhis ve restorasyon yöntemi ortaya koymuştur. Benzer kaya oyma yapıların korunması için temel uygulama adımları oluşturulmuş ve hasarları gidermek için bazı önlemler önerilmiştir. Sonuç olarak, laboratuvarda ve sahada yürütülen çalışmalarla, kaya oyma yapıların korunması, sağlamlaştırılması ve gelecek nesillere aktarılmasına katkı sağlanması amaçlanmaktadır.

Material Characterization and Damage Assessment of Byzantine  Rock-Cut Monastery: A Case Study of Kiyikoy Hagia Nicholas

Evrim

In Osman Hamdi Bey’s paintings, versatile expressions, meanings, and contents were encountered. In most of his works, he included the space, from, and motifs of Eastern culture. He handled the figures and objects he dealt with in a realistic method, preserving their forms. His pictures are photographic, like the frame of a moment. Therefore, he evokes a feeling of unfinishedness in his paintings.&nbsp;Including Osman Hamdi Bey’s work analysis within the scope of the research; will enable them to know how the relationship between meaning, form and content in their works is handled. With the knowledge of this situation, it is hoped that it will shed light on how the relationship between motif and stylization in the artist’s paintings can be related. The motifs in Osman Hamdi Bey’s paintings are carpet and kilim motifs of different cultures, as stated in the scope of the article. The research includes who these cultures are. In addition, the stylization tendencies of the motifs in his paintings are also mentioned. In addition, the content of the subject has been enriched by making comparisons between contemporary artists and their works, and their common and separated aspects from the artist have been examined. Within the scope of the subject, three paintings made by the artist at different times were analyzed. These works are Ab-ı Hayat Fountain, Weapon Dealer and Woman with Mimosa. In his paintings made at different times, stylistic changes were observed over time. Different stylistic features were identified in his three paintings and what these points were was explained. In addition, the analysis of the works of Şeker Ahmet Pasha and Nazmi Ziya Güran, who are the contemporary artist, is included in the subject and the differences in interpretation between the artists are determined. It was revealed that all three artists applied different identities, structures and shaping orientations in the same period. It can be stated that their similar points are the stylizations they applied in their paintings. Many artists who are contemporary of the artist in Turkish art have progressed in either a realist or an impressionist line. However, although a realistic style draws attention in Osman Hamdi Bey’s paintings; The stylization orientation on the floors, walls and motifs in his paintings has drawn attention. For this reason, it is hoped that Osman Hamdi Bey’s paintings will reveal a situation that could not be detected and researched before. With the research of this subject in Turkish art; Due diligence will be made about why stylization is important in a painting.&nbsp;In order to realize the meaning and content of Osman Hamdi Bey’s paintings, the following titles are included in the research: The Relationship between Motif and Stylization, Stylization and Meaning: “Ab-ı Hayat Fountain”, Pictorial Style and Meaning: “The Gun Dealer”, Analysis of the Work: “Woman with Mimosa”.The relationship between motif and stylization is mentioned in the title titled “Relationship of Motif and Stylization”. It has been explained that stylization is a technique&nbsp;&nbsp; and a method of expression. What the motif is and how it is handled in the works of the artists are examined. In addition, the artists who included stylization in the motifs in their paintings were identified and exemplified.Stylization and Meaning: “The analysis of Osman Hamdi Bey’s Ab-ı Hayat Fountain” under the title “Ab-ı Hayat Fountain” has been made. The figure, rug, fountain, and space in the work are emphasized; Information on how the stylization is done on prominent motifs is given. In addition, it was determined and explained to which regions the motifs belong. In addition, Şeker Ahmet Paşa’s work called Self-Portrait was included and a comparison was made with Osman Hamdi Bey’s Ab-ı Hayat Fountain; The differences and common aspects of both artists are mentioned.Osman Hamdi Bey’s work titled Pictorial Style and Meaning: “The Gun Dealer” is included in the title “The Gun Dealer”. The column capital and the motifs on the weapon in the work were examined and how the artist handled the stylization was examined. In addition, the work analysis of his contemporary Nazmi Ziya Güran and the work of Osman Hamdi Bey and Nazmi Ziya Güran were compared. Similar features of artists working in two different styles were highlighted. Thus, the interpretation differences in the works of the artists were determinedAnalysis of the Work: In the title of “Woman with Mimosa”, the stylistic difference of the artist was revealed. In the study, it was determined that Osman Hamdi Bey used different techniques together in his paintings. It is known that he is an Orientalist among many sources. Although it is Orientalist as an approach to the subject, it has been realized that it is not a correct approach to limit the artist only to this movement. The artist’s work named Woman with Mimosa was evaluated in this context. It has been understood that her work titled Woman with Mimosa is different from other works of the artist, as it contains both Impressionist and Orientalist influences. In this respect, it has been concluded that the painting is suitable for stylization, as wide brush strokes, a transfer away from details and instant impressions draw attention.As a result, the technique and expression orientation Osman Hamdi Bey used in his paintings; is proof that the artist should not be limited to only one movement. In order to understand the subject, sub-titles and artist examples are included in the research. Although the techniques used by Osman Hamdi Bey in the works of contemporary artists are different, similarities have been identified in the stylization technique. In this respect, it is important to analyze the artist’s work to understand the modern line of Turkish art and to enlighten future generations. In addition, it is thought that it will contribute to the reader realising how the stylization technique is used in Turkish art and with which objects and expressions it is applied.

Stylization and Meaning in the Motifs in Osman Hamdi Bey’s Paintings

Servet

From the establishment of the Ottoman Empire, the most significant healthcare institutions, known as “Darüşşifas”, began to give way to modern hospital structures from the 19th century onwards. During this period, numerous hospitals were constructed for various purposes under different names. Quarantine stations, established in port cities as a precaution against epidemic diseases, were also crucial in this field. The city of İskenderun, which began to develop in the 19th century, was one of the important port cities where a quarantine station was established. From the late 19th century to the early 20th century, İskenderun had two quarantine buildings, a military hospital, a Gureba hospital, and a French hospital providing healthcare services.It is understood that the first step in the field of healthcare in İskenderun was the construction of a quarantine station to apply quarantine measures to incoming traders. In 1848, there was knowledge of the existence of a quarantine organization in the city. By 1853, a quarantine station and quarantine pier were built in İskenderun. There is no detailed information available regarding the architecture of the quarantine building. However, based on a photograph found in the Yıldız Archive’s II. Abdülhamid Khan Photo Album, it is assumed that the flag-bearing building in the center was the quarantine building. The two-story structure with wooden windows had a wooden veranda on the second floor. It is understood that the building had a traditional residential architectural style with its pitched roof and alaturka tile covering. Due to its small size, the quarantine station proved insufficient for interventions, leading to the decision to construct a new quarantine station in 1868. According to a drawing found in Ottoman archives, the building consisted of a rectangular hall in the center with rectangular rooms on either side. There were doors at both ends of the hall. The facade drawing indicates vertical rectangular windows, and the roof was covered with alaturka tiles.The second quarantine station served İskenderun adequately until 1896. As the needs at the port increased over time, efforts to expand and renovate the building began. It was decided to construct a new building with three rooms on the existing quarantine site, and Sultan Abdülhamid’s approval was obtained in 1896. Information that the two-story vacant building left by the quarantine was converted into a hospital after the quarantine left suggests the possibility of a new building being constructed in place of the old quarantine building. The upper floor of the newly built hospital building was used as an examination room, while the lower floor served as a pharmacy. This building primarily served as a military hospital for the treatment of soldiers. There is no available data regarding the architecture of this building. However, the military hospital became inadequate due to the population growth in İskenderun and the city’s expansion. Therefore, a new and larger hospital with a pharmacy and thirty-six beds was planned to be constructed. Construction began in 1903, and it was named the Hamidiye Gureba Hospital in honor of Sultan Abdulhamid II. From an old photograph of the building, it is evident that the structure was single-story built on top of a ground floor, with access&nbsp;&nbsp;to the upper floor via a double-sided staircase. There is no available data on the floor plans of the building, but it is understood that the central staircase on the front facade led to a central hall or lobby, with rooms on either side. The upper floor of the hospital was used as dormitories, a kitchen, and a servant’s room, while the ground floor served as a pharmacy. The ground floor had rectangular windows, while the upper floor featured round-arched windows.One of the significant developments in the field of healthcare in İskenderun was the construction of a modern hospital building during the French colonial period. There is some variation in the dating of the building, with some sources suggesting 1928, while others indicate a range of 1930-1932. However, in research conducted in 2018, an original inscription was discovered in the first-floor meeting room of the Catholic French School, which was built by the mission group St. Joseph de l’Apparition in İskenderun. This French inscription indicates that the hospital was constructed between 1927 and 1929. The building was constructed as a single-story structure above a ground floor and had a symmetrical plan consisting of three blocks extending in a northwest-southeast direction. There was a central block in the middle and two rectangular side blocks extending northeast-southwest on both sides. Connection corridors were built to connect the blocks, and the central block was kept short, creating an “H”-shaped plan. The building consisted of a central corridor with various-sized rooms on both sides of each floor. The main facade (northeast) featured a pointed-arched entrance section, Palladian arched windows, and triple windows that added visual interest. On the other facades, round windows were used on the ground floor, and rectangular windows were used on the upper floors.The original inscription for the French hospital has not been found in the building. It is presumed that the inscription niche was located above the door leading to the balcony on the second floor of the central block. However, old photographs of the building show that the original door featured a Palladian arched triple arrangement. Therefore, it is suggested that the inscription may not have been placed due to the mismatch between the inscription’s form and the architectural design of the building.Of these institutions, only the hospital built during the French colonial period has survived to the present day. From an architectural perspective, the quarantine stations were small-scale, wooden structures designed to respond to immediate needs. These characteristics reflect the general character of the first Ottoman quarantine stations. No architectural data were found regarding the military hospital, which was reported to be larger than the quarantine stations. The Gureba Hospital represents a significant development in İskenderun’s healthcare system, serving as the city’s first modern hospital during the Ottoman Tanzimat era. The French hospital in İskenderun was the most comprehensive healthcare institution in the city, both in terms of architectural size and spatial functionality.&nbsp;

The Health Institutions in Iskenderun in the Second Half of the 19th Century and the  Beginning of the 20th Century

Ayşın

The relative scarcity of archaeological data about Bursa (Prousa-Brusa) in Bithynia, considered one of the bigger centres of Bithynia in antique and medieval sources is not a coincidence. The fact that Hellenistic, Roman, Byzantine and Turkish civilizations have been founded on the same territory, thus the congested settlement plan restricting underground research is the main reason for the limited archaeological findings and data. Nevertheless, it is possible to find traces of Late Antiquity and Byzantine architecture history in re-used architectural sculpture in Early Ottoman buildings. When Bursa was conquered by Turks in 1326, a great number of Byzantine buildings, some of which were still being used as well as those that had lost their function, became the sources of material in creating the architecture specific to the new civilisation. The reuse of a great variety of building and decoration components, such as column capitals, bases and shafts, cornices, parapet slabs, and doorframes belonging to the Late Antique and Byzantine periods have been found in most of the Ottoman buildings.&nbsp;Doorframes as an important decorative and also constructive part of architecture have not been adequately addressed by researchers. Late Antique and Byzantine doorframes in the three Ottoman buildings in Bursa are taken as the subject of this study. Most of the thirty-three doors of Hüdavendigâr (Murad I) Mosque in Çekirge (1364/1365-1385) the main entrances of Lala Şahin Paşa Madrasa (first half of the 14th century) and Hatice Sultan Tomb (early 16th century) are framed by re-used marble jambs, lintels and lintel crowns. This study aims to document and evaluate the aforementioned doorframes by technique, material and especially in terms of their moulding profiles to determine the relation with Constantinople and related centres, local features if they exist. Additionally, another objective of the study is to provide suggestions for dating.The main features of the Late Antique and Byzantine doorframes emerged in the first century AD. Marble doorframes consist of two parallel jambs placed on a monolithic threshold in an arched opening, slightly projecting from the wall surface, a monolithic lintel resting on them, and a monolithic lintel crown at the top. The outer and inner faces of the doors are framed. The jamb and lintel blocks meet diagonally on the outside and straight at the back. The lower moulding of the lintel crown is placed on the lintel by projecting outwards and downwards.The variation of the door frames is manifested in their profiling. The surfaces of the jamb, lintel and lintel crown blocks are generally embellished with flat surface mouldings that are retracted from the outside to the inside and arranged gradually. The jamb and lintel profiles of each frame are the same. The most common profiling of Late Antiquity consists of two flat bands, a large astragal, and a flat band at the top. The typical profile of the lintel crown consists of flat bands and cyma recta sometimes decorated with a motif, cross or monogram. In medieval buildings, the convex moulding has a smaller but more plastic appearance, and proportions and mouldings arrangements changed.Doorframes belonging to the Late Antique and Byzantine periods in Bursa were used with their original function, preserving their original characteristics both in terms of technical and formal features. Some doorframes of Hüdavendigâr Mosque, contemporary with the building or made during later restoration works, were produced and installed by imitating Byzantine examples.&nbsp;Twelve different profilings were identified in the jambs and lintels of approximately thirty doors investigated in Bursa. While some are composed of concave or cyma recta following the flat bands gradually placed, others have astragal instead of cyma recta, and they vary according to the number, proportion, shape and ordering of mouldings.All doorframes except the Lala Şahin Paşa Madrasa’s doorframe which is of rudist limestone of Gebze, are made of Proconnesian marble which is very common in Bithynia since Antiquity. The fact that they are carved from Proconnesian marble as well as the parallelisms to the examples of Late Antique and Byzantine buildings in Istanbul point to a direct correlation between the architectural decoration of Bursa and the Capital. The reused doorframes in Bursa, belonging to different dates from Late Antiquity to the Late Byzantine age, are comparable with those of the examples of İstanbul (Konstantinos Lips, Pantatokrator, Pammakaristos and Khora Monastery churches), Bithynia (Koimesis Church in Nicaea), and some other sites where Proconnesian marble was exported (Hosios Loukas Monastery).&nbsp;The usage pattern of doorframes in three Ottoman buildings in Bursa does not contradict the views put forward on the use of spolia in Ottoman architecture. Although Hatice Sultan Tomb is a 16th-century building, the abundant use of spolia is comparable to those found in Early Ottoman buildings. The marble columns and doorframe are used on the prestigious facades of the building with their original functions. The numerous doorframes of the Hüdavendigâr Mosque are a good expression of the practice and principles of reuse. The frames of the opposing doors in the mosque are similar. Although all the doors in the madrasa have approximate dimensions, it is observed that the doorframes were placed not randomly, but following a certain order principle.&nbsp;

Late Antique and Byzantine Doorframes of Ottoman Buildings in Bursa

A. Nazlı

Many sources have influenced the iconographic development of the Last Judgment scene, pronounced Ημέρα της κρίσης (Imera tis krisis) in Greek. The Gospels and Apocryphal texts find the belief that the second visit of Jesus will bring about the end of the world and victory over the Devil.&nbsp;The iconographic development of the apocalyptic scene and the organisation of the compositional elements in the scene developed over time in Byzantine art. Although the choice of subject matter varies occasionally, Byzantine art has a clear hierarchical organisation. The traditional scheme of the Apocalypse in Byzantine art consists of a single surface and a hierarchical arrangement of themes from top to bottom.The earliest known scenes of the Apocalypse come from the Gospel of Matthew. A fragment of a 4th-century sarcophagus in the Metropolitan Museum of Art in New York depicts Jesus with a sheep on his right and a goat on his left. A similar narrative in the Church of San Apollinare in Nuova in Ravenna dates back to the 6th century.&nbsp;Traditional Byzantine Apocalyptic scenes were formed by the juxtaposition of themes over time. Researchers note that the earliest example of a traditional Apocalyptic scene is found in the narthex of the Church of Hagios Stephanos in Kastoria, dating back to the 9th century. The mandorla in the scene depicts Jesus, the Judgement Apostles, angels, the Weighing of Souls and the Devil. The apocalyptic scene is found mainly in churches dating back to the 9th, 10th and 13th centuries in the Cappadocia region. It took time for the apocalyptic scene to reach its characteristic theme and the compositional order that emerged with the creation of the iconographic programme. The 11th and 12th century Gospel folio, now in the National Library of France, reflects the Byzantine hierarchy of the Last Judgement. Another example that fits the general theme is the 11th or 12th century Apocalyptic scene in the Church of Santa Maria Assunta on the island of Torcello in Venice. Hanging on the west wall, the scene is depicted with the Anastasis and is separated by bands.In the Byzantine tradition, Apocalyptic scenes were placed on the west wall. When the Apocalyptic scenes in Sümela, Kaymaklı and Vazelon Monasteries are analysed, it is seen that the scenes are not mounted in certain parts of the buildings. For example, in the Catholicon of Sümela Monastery and Vazelon Monastery, the scene is depicted on the facades of the buildings. At the same time, the western wall is preferred in the Catholicon of Kaymaklı Monastery. Although figurative depictions on the facades of churches are not very common in Anatolia, examples of the practice can be found in Europe, especially in the Balkans. In Byzantine architecture, it is observed that figurative depictions were made on the facades starting from the 10th century and continued in the 11th and 12th centuries. The stucco remains on the west facade of the Catholicon of the Hosios Loukas Monastery in Greece, and the figurative depictions on the west facade of the St. Georgios Church in Kurbinovo and the Holy Anargyroi Church in Kastoria are among the Balkan examples. However, the western facade of the Voronet Monastery in Suceava, which has figurative decorations on all its facades, has a scene of the Apocalypse.The paintings have many features in common in all the selected monasteries. For example, in the Apocalyptic Composition dating back to the 19th century in the catholicon of the Vazelon Monastery, the figures are portrayed with thin, long fingers and dark skin tones. Instead of flamboyant and idealised depictions, realistic depictions in a naturalistic style are preferred. Some of the figures, especially the angels, have prominent body lines. The emotions in the gestures and mimics of the figures, which have survived to the present day despite being destroyed, are reflected to the viewer. Pastel tones were preferred in the clothes of the figures. Next, in the Apocalypse composition dated 1622 in the catholicon of Kaymaklı Monastery, the use of brown, red, blue, yellow, and especially pink colours come to the fore. The figures here are also depicted in a realistic style without being idealised. It is seen that the body lines of the figures are prominent, too. The figures in the last apocalyptic scene of Sümela Monastery, which dates back to the 18th century, are depicted in a realistic style without being idealised, as well. The figures are again depicted as thin, tall and with dark skin tones, and brown and brown tones are preferred. Therefore, it can be concluded that they have many features in common.The placement and distribution of the themes in the Apocalypse scenes follow the traditional Byzantine scheme. In the Catholicons of the Vazelon and Kaymaklı Monasteries, almost all of the themes in the traditional Apocalypse scene are used. In contrast, in Sümela Monastery, only the depictions in the upper parts were evaluated due to the destruction of the scene. For this reason, the theme preferences in the third line of the scene cannot be fully understood.In conclusion, it is understood that the Apocalypse scenes in Trabzon monasteries dating to the post-Byzantine period largely conform to the traditional Apocalypse scene scheme in Byzantine painting. However, the depiction of Apocalyptic scenes on the facades of the analysed buildings is also remarkable. The fact that the tradition of figurative depictions on facades, which has examples in the Balkans, is not preferred in Anatolia once again reveals the importance of the analysed buildings.&nbsp;

Post-Byzantine Period of Last Judgment Scenes in Trabzon Vazelon, Kaymaklı and  Sümela Monasteries

Muradiye

Nilgün

Throughout the history of humanity, water has been one of the most decisive elements in the life of human beings, in terms of the geographies where civilizations were established. Especially in the religion of Islam, it has been accepted that one of the greatest rewards is to deliver water to people and other living things. These services were encouraged and expanded through foundations, which are one of the most important parts of Turkish and Islamic tradition. In the foundation civilization, which reached its peak in the Ottoman Empire, especially the sultans, lady sultans and high-level administrators had waterways and water wells dug, built maksems, fountains and public fountains and put them at the service of humanity. The endowments recorded centuries ago show how detailed these services were handled. It is noteworthy that different terminologies are used for water services in foundations. One of these terms, which draws attention in terms of the variety of usage in documents, has been the term “tap”.As it is known, the content of some terms and concepts changes over time, leaving their place for new meanings. During the studies on ndowments, this concept was considered a subject that should be addressed later on. In this study, it has been determined that this term corresponds to more than one meaning by drawing attention to the term “tap”, which is built in the service area of water foundations and mentioned in the foundation charters, and the areas where it is used. These are; the tap as a mechanism directing the flow of water, the tap as an architectural type of edifice, the tap built within an architectural program, and the tap as a freestanding stone tank.The types of tap in the first three groups were also emphasised with examples of the parts selected from the endowments and detailed explanations were given. It has been observed that the first group is today’s faucets, and the taps in the second group are individual foundation-originated architectural edifices and are early examples of public fountain structures built to provide water service to people, especially in hot climates during summer times. The third group of taps are elements designed together with and placed into the building within an architectural program. These are usually found in mosques for ablution areas, built as a large reservoir with taps on them, or in the form of carved stone tanks with taps placed inside a building or a wall.The taps, on which very limited research has been done and which constitute the main subject of this study, are the individual elements that will be defined and named as stone taps in the fourth group. These are architectural elements carved from marble or stone, in the form of tanks with taps, placed in a place that is independent of the architecture but functionally related. Most of these taps are items dedicated to people for drinking water, performing ablution or watering animals in courtyards of social buildings such as mosques, madrasahs, dervish lodges and tombs, as well as near the city gates. The fact that they have been interfered with due to technological changes in water transportation over time and the portability of these taps has made it difficult to see in-situ examples today. Some of them were taken from the building they were in, transferred to another building or museum, or used for other purposes in the same location. Some of the taps have been preserved in their original states, with a well or a pump next to which water is drawn.In this essay, especially since the term tap is frequently written in the endowments of foundations established in Istanbul, the documents about the buildings in Istanbul were studied being selected by the drilling method. Four examples found in the physical locations which are mentioned in the selected documents were evaluated in terms of forms, materials and ornaments.The stone taps studied in this essay are rectangular, made of marble and rough-cut stone. Only one example has a stone-made cap on it. In this stone cap, a hole where the water is filled draws attention. It is understood from traces that the hole was covered with a hinged and locked bronze cover. None of the stone taps have taps, that is armatures, varying from one to five on the front and side faces. However, they have holes pointing to the armatures’ locations are visible. It was observed that, geometric niches, vegetal ornaments and inscriptions declaring the donors, who made the stone tap, in the form of cartouches were preferred in the decoration programs.When historical buildings and their surroundings are examined in light of this information obtained from archive documents, it is possible to encounter such elements not only in Istanbul but also in many other historical settlements. For this reason, it would be scientifically beneficial to conduct more comprehensive research and a site survey on stone taps.&nbsp;

The Concept of “Tap” in Foundation Documents and a Survey on Their On-Site  Examples in Istanbul

Ayça

Özgü

Pamphylia bölgesinin önemli kentlerinden biri olan Perge’de yerleşim, Akropolis ve Aşağı Şehir olarak adlandırılan bölge olmak üzere iki alanda yoğunlaşmıştır. Bu çalışmanın içeriğini Aşağı Şehir dokusu içinde yer alan Bizans Dönemi yapıları oluşturmaktadır. Bu yapılar arasında biri kentin katedrali olan beş kilise ve bir de işlevi kesinleşmemiş bir trikonkhos bulunmaktadır. Birbirini kesen kuzey-güney ve doğubatı doğrultulu iki ana cadde boyunca konumlanmış Roma Dönemi kent dokusu Erken Bizans Dönemi’nde bozulmamış, bir takım değişiklik ve eklemelerle kullanımı devam etmiştir. Şehir kapısının yakınında, agoranın güneyinde yer alan Güney Kilise (Bazilika A) üç nefli, transeptli ve galerili bir bazilikadır (F. 2-F. 4) ve kireçtaşı kesmetaş bloklar ve az miktarda küçük moloz taşlarla inşa edilmiştir. Yapının batısında kare planlı, dört tarafı portiko ile çevrili bir de atriumu bulunmaktadır. Narteksi olmayan kilisenin naosuna atriumdan doğrudan giriş sağlanmaktaydı. Arkeolojik verilere göre nef ayrımını sağlayan sütunların tuğladan kemerlerle birbirlerine bağlandıkları öne sürülebilmektedir. Nefleri ayıran stylobatların üzerinde, daha sonraki bir evreye ait olan ve nefler arası geçişi engelleyen moloz duvarlar ortaya çıkarılmıştır. Yapının içten yarım yuvarlak apsisi ve apsisin iki yanında ikişer mekân biriminden oluşan pastophorion odaları vardır. Kilise doğuda düz bir duvarla sınırlandırılmıştır. Kilise synthrononunun ve doğu duvarının mermer levhalarla kaplı olduğu tespit edilmiştir. Transept kolları beden duvarlarının dışına taşmaktadır ve yan nefler transept kollarını sarmaktadır. Bu düzenleme, yapının planını T formuna dönüştürmektedir. Kilisede bulunan mimari plastik elemanlar arasında 5-6. yüzyıla tarihlenen örneklerin olması, yapının mimari özellikleriyle de örtüşmektedir (F. 10a, F. 10b). Bu veriler ışığında kilisenin en erken 5. yüzyıla ait olabileceği düşünülmektedir.Kuzey-güney doğrultulu sütunlu ana caddenin batısında konumlanmış bir diğer anıtsal bazilika, Kuzey Kilise (Bazilika B)’dir. Beş nefli ve transeptli bu bazilikanın boyutları sebebiyle kentin katedrali olabileceği düşünülmektedir (F. 11-F. 13). Duvarlarında düzgün kesme taş ve devşirme blokların kullanımının yanı sıra bol miktarda tuğla, kiremit kırıkları ve harç dikkati çekmektedir. Özellikle doğu duvardaki izlerden duvarların kaplama levhalarla örtülü olduğu anlaşılmaktadır. Yapının batısında bir atrium ve bir de narteks yer almaktadır. İçten yuvarlak apsisinin iki yanında iki katlı pastaphorion odaları yer bulunmaktadır. Yapı doğuda düz bir duvarla sınırlandırılmıştır. İç ve dış yan nefler birbirinden farklı genişlikte, dış yan nefler transepti sarmayarak düz bir koridor şeklinde devam etmektedir. Bu özellikleriyle dış yan neflerin katekümenlerin kullanımı için koridor niteliğindeki mekânlar oldukları öne sürülebilmektedir. Kuzey Kilise’nin 5.-6. yüzyıllarda inşa edildiği önerilebilmektedir.Aşağı Şehrin doğu-batı doğrultulu sütunlu caddesinin kenarında, 100 m kadar uzunluğa ulaşan bazilikal planlı bir başka kilise daha mevcuttur (F. 20, F. 21). Batısında narteksi ile doğusundaki beş cepheli apsisi tespit edilebilen Doğu Kilise’nin (Bazilika C) beden duvarlarının düzensiz kalıntıları günümüze gelebilmiştir. Duvar yapısındaki büyük bloktaş ve tuğla kullanımı, yapıyı Erken Bizans Dönemi’ne tarihlemektedir. Doğu Kilise, uzunluğu ile alışılmışın dışında bir örnek oluşturmaktadır.&nbsp;Kuzey-güney doğrultulu sütunlu caddenin doğu-batı doğrultulu cadde ile birleştiği bölgenin hemen güneyinde, Kapalı Yunan haçı planlı bir kilise yer almaktadır (F. 24, F. 25). Bu küçük boyutlu yapı caddenin ortasından geçen su kanalını engelleyecek şekilde yerleştirilmiş olduğundan kanalın kullanılmadığı dönemde yapılmış olmalıdır. Kilisenin apsisinin kuzeyinde ve güneyinde duvarın içine açılmış birer niş yer almaktadır. Haç planlı naosun kubbesi dört sütunla desteklenmiştir. Yapıya giriş batı duvarındaki kapıyla sağlanmaktadır. Ayrıca kuzey duvarında da bu yönden bitişik Roma anıtına bağlanan bir açıklık vardır. Yapının duvarlarında kaba yonu ve devşirme kesme blok taşlar kullanılmış, düzensiz yerleştirilen taşların araları tuğla kırıklarıyla doldurulmuştur. Duvarların bazı kısımları sadece tuğla malzemeyle örülmüştür. Yapının apsisinin kuzey duvarında fresko izlerine rastlanmıştır. Elimizdeki verilere göre kilisenin 10. yüzyılda inşa edildiği önerilebilmektedir.Doğu-batı doğrultulu cadde üzerinde, kentin batısında yer alan Palaestra’nın içine, daha sonra tetrakonkhos planlı bir yapı inşa edilmiştir. Bu yapı Palaestra’nın kuzey duvarını kesse de kullanımını engellemeyecek bir konumdadır (F. 28). Bu özellikleriyle Tetrakonkhos inşa edildikten sonra, işlevi değiştirilse de Palaestra’nın kullanımının devam ettiği söylenebilir. İçten ve dıştan dört yapraklı yonca planı gösteren bu yapı, dört yönde apsis benzeri dört eksedradan oluşmaktadır. Merkezde yonca planı çevreleyen bir dehlizi bulunmaktadır. Eksedralar, çevre dehlizine ikişer sütunla açılmaktadır. Tek katlı ve olasılıkla ahşap çatıyla örtülü Tetrakonkhos, Palaestra’nın taşları kullanılarak inşa edilmiş, bu blok taşların arasında moloz taş, tuğla ve tuğla kırıkları kullanılmıştır. Benzerleri dinî amaçla kullanılmış bu yapı, 5. yüzyılın ikinci yarısı ile 6. yüzyıla tarihlenmektedir.&nbsp;Aşağı Şehir’de Bizans Dönemi’ndeki bu yapım faaliyetlerinin yanı sıra, Güney hamamın ve Agora’nın merkezindeki Tholos’un onarım ve eklemelerle kullanımının devam ettiği anlaşılmaktadır. Kent surları dışında kalan Tiyatro ve Stadion’un da 5-6. yüzyıllarda kullanıldıklarına dair veriler vardır. Aşağı Şehrin kent dokusunun 7. yüzyıla kadar korunduğu anlaşılmaktadır. Perge kenti büyük olasılıkla 616 yılındaki depremle büyük hasar görmüştür. 10. yüzyıla tarihlenen Küçük Kilise, bu dönemde kentte sınırlı da olsa bir iskânın olduğunu göstermektedir.

Byzantine Architecture in the Lower City of Perge

Ramazan

Osman Gazi (1258-1324) is the founder Ottoman Principality and Dynasty. Most Ottoman chronicles associate the foundation date of the state with 1299/1300 which is the conquest date of Karacahisar. It is stated Bafeus (Koyunhisar) Battle (1302) won by Osman Gazi against the Byzantines has a significant role in his appearance on the stage of history. Thanks to locations taken after such a battle, the path to İznik and Bursa was opened to Osman Bey. When Osman Gazi died, he was ruling the lands between Eskişehir and Bursa and blockading İznik and Bursa.&nbsp;A tahrirat was written to Mâbeyn-i Hümâyûn-ı Mülûkâne Başkitâbet-i Celîlesi of Mektûbî Kalemi of Hüdavendigar Vilayeti. The subject of the correspondence is related to the construction of a madrasah adjacent to the Gazi Mosque in BilecikAs a result of the research, Keşfi Evvel Defteri of the madrasah and a map of the location have been prepared. According to the inquiry carried out, it was required to purchase a dwelling that cost three thousand kuruş (penny) and then in order to expand the location. It was calculated that the total cost of the construction would be twenty-nine thousand three hundred and eighteen kuruş when the cost of the dwelling was taken into consideration.&nbsp;In the Keşif Defteri, there is a sketch of the eastern entrance facade of the madrasah with image drawing and inscription of mürtesem-i amûdî (facade) on it. By providing measurements on the drawing, facade, door and window heights were written next to related parts with a red pen. In the mürtesem-i amûdî sketch of the facade, the height of the facade was drawn beginning from the ground line up to the basement level and from the basement to the eaves. In the centre of the facade, there is a handrail stair leading to the entrance door and it has a symmetric design.&nbsp;We understand that the drawing provided together with the resm-i musattahı (plan-section) record of the building is the plan sketch of the madrasah. In the drawing, wall lengths, window and gate openings were written with a red pen and the drawing were designed in this manner. According to the drawing, the madrasah is composed of a rectangular and closed inner courtyard positioned in an east-west direction in the centre and rooms lining around the courtyard.&nbsp;Among the sketches, there is a plan on which it is written the Osman Gazi Mosque. The harim section of the mosque has a rectangular plan in a North-south direction, and there is a courtyard in the east-west direction to the west of the sanctuary. In the northern section of the courtyard, there is a square-base minaret adjacent to the main wall of the mosque and a madrasah adjacent to the wall of such minaret. The madrasah is composed of cells constructed side by side with a rectangular plan. With two steps taken upward from the courtyard, it is passed through gezinti, vakithâne and abdesthâne units.The new madrasah to be constructed has been designed to include the dwelling to be purchased, the western section of the Mosque’s courtyard and the abdesthâne of the existing madrasah.Ayverdi states that there is no building in Bilecik, which dates back to the period of Sultan Osman Gazi, and the Osman Gazi Mosque in Bilecik dates back to the Sultan Orhan foundation. The Mosque was burnt completely during the fire set by the Greeks invading the region during the War of Independence, together with the old Bilecik town; only its minaret and ruins of the walls have survived to this day.&nbsp;On November 3-22, 2008, cleaning and excavation works were carried out around the building by Erdal Mean under the supervision of the Museum directorate. With the findings unearthed during such excavation, data validating the plans in the archive have been obtained. E. Mean excavated by separating the area as A and B sections. Especially the clean-cut block stones unearthed in the excavation of Section A and pipes with lenght of 9 m and extending towards the centre of Section A have revealed that such section is the rectangular planned courtyard.&nbsp;During the excavation, rubble foundation ruins and early-period slate grounds were found between the minaret and the northern wall of the courtyard. The minaret of mosque survived intact today and has square bases, a cylinder body and a single balcony. To the South of the minaret, a six-line repair inscription dated 1848 in Gregorian (1265 in the Islamic Calendar) was found, which indicates the period of Sultan Abdulmecid. As a result of findings unearthed during the excavation works in B Section, it has been understood that such section belongs to the square planned mosque.&nbsp;The documents have revealed a significant discovery in terms of the architectural history of the Ottoman period; because we do not have any information about the original states of the buildings which were destroyed during the fire, except for the minaret. Our knowledge, apart from the documents obtained in the archive, consists of this for now. The mosque was certainly repaired several times during history, but I think that its original state is the same as the plans I have published due to the sloping and narrow conditions of its land. It has been foreseen that such walls would be removed as a plan for a new madrasah would comprise the courtyard and a part of the existing madrasah. During the excavations, ruins belonging to the courtyard and madrasah walls were found. Accordingly, it is understood that despite the efforts and works made for the construction of the new madrasah, it could not be applied and remained in the Project stage. I am publishing this exciting discovery for the first time, and I feel very happy to introduce it to the scientific world to provide a basis for future studies.&nbsp;&nbsp;

Plans of Bilecik Osman Gazi Mosque and Projects of the Madrasah to be Built  Adjacent to it in Ottoman Archive Documents

İbrahim

İslahiye and its surrounding areas are one of the regions of Anatolia with a large amount of historical and archaeological studies. Nevertheless, there remains a little research related to Roman artifacts and no comprehensive studies that cover the Roman period. In 2009 we conducted surface surveys and khamosorion-style graves were discovered in the area called Leçe, located in the northern part of İslahiye. These findings were published in 2016. The tombs are dated to the 5th or 6th centuries AD. The existence of a very complex network of Roman roads has also been identified in the same place. In 2021 our surveys concluded that the road network extends to Örtülü Castle, the Beyler district of İslahiye and Nikopolis Castle in the center of the district. Also, a settlement at the foot of the Amanos Mountains and a necropolis consisting of a Tepeobası rock chamber tomb and various khamosorion tombs were identified and the related studies were published by our team in 2016. In addition, many archaeological sites of various types that date to the Roman Period have been identified. All these discoveries indicate an active Roman presence in the region and, therefore, demonstrate a need to increase the number of surveys and studies in this area. More detailed studies in 2021 were conducted in the framed chamber tombs and the area used for burial rituals by using surveys. This was a site that our team had previously been aware of when conducting the surveys. It is located on the western end of the Çerçili district about 5 km west of the town of İslahiye at the eastern base of the Amanos Mountains. It is also located about 1 km north of the Tepeobası Necropolis and it is close to the mound where the settlement from the Roman period was discovered. The chamber tombs, sacrificial niches and the area for burial rituals were made by carving out rock blocks from the southern slope of this large rocky area. The sacrificial niche is located at the western of the necropolis site. It is understood that there are two sacrificial niches here. The first niche was made by carving a rock block 1 meter above ground level. The front side of the niche faces south. The lower part of the niche has been destroyed due to road construction. The width of the base is 1,20 m and the height is 0,90 m. The second sacrificial niche is located on the north side of the same rock block. The front side of this niche faces east. An important place that we have also identified at this site is the area used for burial rituals. This area is 6x4 meters and it is in front of the entrance of Rock Chamber Tomb 5 just east of the sacrificial niches. During our examination, it was understood that this place was created specifically to facilitate the final rituals necessary before the burial of the dead. In addition, one of the important sets of tomb structures we have identified in this area is 21 rock tombs. When naming these tombs, it was necessary to use some abbreviations, starting from the west. The Çerçili Necropolis Area West is abbreviated as ÇB. The tombs located eastward from the Çerçili Necropolis Site are referred to as Çerçili Middle West, abbreviated as ÇOB, indicating the tombs located between Çerçili West and East. The necropolises to the north of this area are referred to as ÇOB-N, and the tombs located to the north and at a higher elevation of this site are referred to as Çerçili North, abbreviated as ÇK. The tomb located in the easternmost part is abbreviated as Çerçili East or ÇD. Most of them are chamber tombs with arcosolium and klinai. Some of them are quite well preserved, while some are scarcely intact, and some are almost destroyed. Chamber tombs were created by carving out blocks of rock. In most of the graves, the entrance is narrow but long. All these entrances, however, are in a Dromos-style shape with openings on the top. The length of the dromos entrances, which are more clearly visible in the western chamber tombs, is about 2 meters. The main entrance doors of the rooms have dimensions ranging from 0,80-1 m wide and 0,60-1 m high. The width of the burial chambers varies between 6 m2 and 20 m2 . There are 3 arcosolium carved on the east, west and north walls of the rooms. An aesthetic connection is formed within the architecture of the arcosolium in the form of an inverted triangle. The entrances of some of the burial chambers are completely closed. It was seen that they were covered with soil and olive tree saplings were planted over them. It is understood that some of the rooms have been used as storage by the villagers in the district. Similar examples of these types of chamber tombs and areas used for burial rituals are found in Pirin/Perre in Adıyaman, Besni Yukarı Söğütlü, Gaziantep Doliche/ Dülük, the Zeugma/Belkıs tombs in the districts of Oğuzeli, Yavuzeli and Araban. The framed necropolis, which we think was created to reflect aspects of the local pagan belief, cannot be dated later than the 1st or 2nd centuries AD. We believe that the chamber tombs and the site used for burial rituals discussed in this study will form a very important foundation for further studies of Roman period artifacts in the region.&nbsp;

Chamber Tombs of Çerçili Necropolis and the Cult Area

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