ART-SANAT SELÇUKLU SAYISI

Nesrin Çiçek

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.

Edirne Üç Şerefeli Cami’de Hükümdarın Temsili: Yok Olan Mahfil-i Hümâyûn ve Kasr-ı Hümâyûn

Zeynep

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.

Amorium Kenti Kazılarında Ele Geçen Kemik Objeler

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.

Edirne’de Tarihî Bir Eğitim Yapısı: Bulgar Katolik Okulu ve Mimari Özellikleri

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.

Mimarbaşı Kasım Ağa ve Vakfı Üzerine

Atakan

Erkan

Prof. Dr.

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.

Birinci Ulusal Mimarlık Dönemi’nden Bir Örnek: Edirne İttihat ve Terakki Kulübü Binası

Begüm

Res. Assist.

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;

Yozgat Tokmak Hasan Paşa Camii Duvar Resimleri Üzerine Bir Araştırma

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;

İlk Tunç Çağı’nda Burdur-Antalya Çevresi’nde “Madalyon” Motifi Bezemeli Çanak Çömlek Üzerine Bazı Değerlendirmeler

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.

1905 Haritalarında Antalya Kaleiçi ve Çevresi

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.

Edirne Kaleiçi’nde Neoklasik Bir Sivil Mimarlık Örneği: İlhan Koman Evi

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.

İslam Öncesi ve Sonrası ile Ayasofya Camii Geometrik Desenlerinin Mukayeseli Analizi

Gülder

Emre

Hazal

Serpil

Seda

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;

Hattat Hayrettin Bey’e ait Hat Levhanın Koruma ve Onarım Çalışmaları

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 Camileri ve Kalem İşi Bezemeleri (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.

Atranos Kalesi Burç Kalıntılarının Belgelenmesi

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;

Dericilik Tarihinin Yok Olmaya Yüz Tutmuş Mirası: Isparta Tarihî Deri Fabrikası

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;

Bursa/Cumalıkızık Evlerinde Kapı Halka, Tokmak ve Aynaları

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 Mahallesi Merkez Camii Kalem İşi Süslemeleri

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.

Toplumsal Dönüşümün Mekânsal Yansıması: Taksim Belediye  Gazinosu, 1939

Şerife

Büşra

Engin

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.

Bizans Dönemi Kaya Oyma Manastırının Malzeme Karakterizasyonu ve Hasar  Değerlendirmesi: Kıyıköy Aya Nikola Manastırı Örneği

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.

Osman Hamdi Bey’in Resimlerindeki Motiflerde Stilizasyon ve  Anlam

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;

19. Yüzyılın İkinci Yarısı ve 20. Yüzyıl Başlarında İskenderun’da Sağlık  Kurumları

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;

Bursa’daki Osmanlı Yapılarının Geç Antik ve Bizans Dönemi Kapı  Çerçeveleri

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;

Trabzon Vazelon, Kaymaklı ve Sümela Manastırları’ndaki Post-Bizans  Dönemi Son Mahkeme Sahneleri

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;

Vakıf Belgelerinde “Musluk” Kavramı ve İstanbul’daki Örneklerine  İlişkin Bir Araştırma

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.

Perge Aşağı Şehir Bizans Dönemi Mimarisi

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;

Osmanlı Arşiv Belgelerinde Bilecik Osman Gazi Camii’nin Planları ve  Yanında İnşası İstenen Medresenin Projeleri

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;

Çerçili Nekropolü Oda Mezarları ve Kült Alanı

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Alper

Assist. Prof.

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

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

Sevinç

Assoc. Prof.

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

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

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İlkay Canan

Öğretim Görevlisi Dr.

II. Meşrutiyet Dönemi Resim Sanatında Nesne ve Özne Olarak Kadın

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

Üsküdar Ahmediye Külliyesi ve Lale Devri Mimarisi İçindeki Yeri

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

Türk toplulukları ve Türk toplulukları ile ilişkili diğer topluluklar hakkındaki Arkeoloji, Sanat Tarihi, Mimarlık Tarihi, Restorasyon-Konservasyon, Müzecilik, Güzel Sanatlar ve Sahne Sanatları alanlarındaki akademik araştırmalar ve yayınlar.

Dergi Sahibi: İstanbul Üniversitesi Türkiyat Araştırmaları Enstitüsü (adına Enstitü Müdürü Prof. Dr. Ayşe Zişan Furat)

ResearchBib

Islamic World Science Citation Center (ISC)

Access to Mideast and Islamic Resources (AMIR)

International Medieval Bibliography (IMB)

Akademik Araştırmalar İndeksi (Acar Index)

Arastirmax

JournalTOCs

Türk Eğitim İndeksi

Scopus

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

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@METRIC_ARTICLES

@METRIC_OPENACCESS

Art-Sanat

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

Owner: Istanbul University Research Institute of Turkology (on behalf of Director of the Institution Prof. Dr. Ayşe Zişan Furat)

@INFO_TAB_ABOUT

Editor in Chief

Co Editor in Chief

English Language Editor

Redaction

Editorial Board Member

@INFO_TAB_BOARDS

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

Aim & Scope

ScopusEmerging Sources Citation Index (ESCI)EBSCO Art &amp; Architecture SourceTÜBİTAK-ULAKBİM TR IndexDOAJErih PlusIslamic World Science Citation Center (ISC)Access to Mideast and Islamic Resources (AMIR)International Medieval Bibliography (IMB)SOBIAD Sosyal Bilimler Atıf DiziniAkademik Araştırmalar Index (Acar index)ArastirmaxJournalTOCsResearchBibTürk Eğitim İndeksi (TEİ)

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published <a href="https://publicationethics.org/" target="_blank">by the Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">the Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">the Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. Plagiarism Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 15 or 20%. Double Blind Peer-Review After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Policies

The journal is an open access journal and all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the <a href="https://www.budapestopenaccessinitiative.org/read" target="_blank" style="background-color: transparent;">BOAI</a> definition of open access.The open access articles in the journal are licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank" style="background-color: transparent;">CC BY-NC 4.0</a>) license.

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

Authors publishing with the journal retain the copyright to their work licensed under the Creative Commons Attribution-NonCommercial 4.0 International license (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/</a>) and grant the Publisher non-exclusive commercial right to publish the work. CC BY-NC 4.0 license permits unrestricted, non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.

To guarantee that all papers published in the journal are maintained and permanently accessible, articles are stored in Dergipark which serves as a  national archival web site and at the same time permits LOCKSS to  collect, preserve, and serve the content.Additionally, authors are encouraged to self-archive the final PDF version of their articles in open electronic archives with  that conform to standards of Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>). Authors should provide a link from the deposited version to the URL of IUPress journal website.

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

Ethics

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

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/172395B610F14DE1A70863DF7F923B59" target="_blank">Copyright Agreement Form</a>. The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment.When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor to provide retractions or corrections of mistakes.

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

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

Peer Review

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

Writing RulesPublication Principles and Writing Rules of Art-Sanat JournalArt-Sanat Journal is an electronic journal with international academic referees which is published twice a year (January and July). In Art-Sanat Journal, published openly on DergiPark Open Journal Systems; only original, scientific and scholarly articles on Archeology, Art History, Architecture History, Conservation-Restoration, Museology and Performing Arts about Turks and communities related with Turks are accepted.To contact, our e-mail address is <a href="mailto:art-sanat@istanbul.edu.tr" target="_blank">art-sanat@istanbul.edu.tr</a>. (Direct messaging on DergiPark site is inactive. If you have any inquiries, please send an e-mail to the aforementioned address.)Our web pages are             <a href="https://iupress.istanbul.edu.tr/en/journal/art-sanat/home" target="_blank">https://iupress.istanbul.edu.tr/en/journal/art-sanat/home</a>                                               <a href="https://dergipark.org.tr/iuarts" target="_blank">https://dergipark.org.tr/iuarts</a> The languages of Art-Sanat Journal are Turkish and English. The articles which are sent to the Journal are analyzed by the editor and the board of publishing, then forwarded to three academic referees and should at least two of them approve, they are then published. The writers of the articles are not disclosed to the referees.Copyright:All rights reserved by Art-Sanat Journal. The publication rights of the published articles belong to Art-Sanat Journal. The author has the legal and scientific responsibility for the contents of the articles. The visual materials (figures, photographs, pictures, drawings, plans, etc.) used in the articles should not be used without reference and the author has to obtain permission for the copyrighted material. The legal responsibility for these issues belongs to the authors. The sources for the visuals must certainly be openly stated and permission to use the copyrighted material must be obtained. In case a visual belong to the author, a statement in which the copyright belongs to the author is declared should be added under each visual.The articles submitted for publication in the Art-Sanat Journal should neither have been published elsewhere nor have been submitted to another journal. The IThenticate (Plagiarism Prevention Program) is used to ensure plagiarism control for each submission.If an article is based on an acheological excavation, the head of the excavation, the excavation team, the institution(s) that support the excavation and project code name/number or official permit date and number must be stated in the footnote section. If the article is written by someone else than the head of the excavation, the permit obtained from the head of the excavation must be uploaded to the system and also stated in the footnote section. If the article is about some artifacts that are displayed in a museum, the date and number of the official permit of the study obtained from the related museum directory must be stated in the footnote section. Any study about historical sites, such as ruins, requires an official permit from the public autorities and institutions involved. General Information:In case the article is generated using a master’s or doctorate thesis, an asterisk (*) should be added at the end of the article heading, then the details concerning the thesis’ author, name, in which university it was written, the names of the institution, department and the advisor must be stated in the footnote section. If the article is supported by any project including BAP and funded financially from any source, after the “Conclusion” part, there must be a “Financial Support” section with the information about type and the code of the project, stating that the study received financial support.As of 2020, “Permission from the Ethical Board” must be obtained and attached to the study if the article is written utilizing one or any combination of applications such as surveys, interviews, conversation, focus group study, observatios, experimenting etc.The articles submitted to Art-Sanat Journal must be in Microsoft Word format. Under the title of the article, the author's name and surname should be included. After the name of the author, the asterisk (*) should be used as a footnote sign and the job title, the institution and the e-mail address of the author and the submission date of the article should be specified at the bottom of the first page. ORCID number should also be written under the author’s name. Articles with multiple writers should include each author’s ORCID number. If you do not have an ORCID number please register: <a href="https://orcid.org/" target="_blank">https://orcid.org/</a>.Articles should have Turkish and English titles, abstracts (150-200 words) and 3-5 keywords.  After the English abstract, the Turkish articles should contain an English extended summary of 800-1000 words. The English articles should contain a Turkish extended summary of 800-1000 words.The articles should consist of “Introduction”, numbered subheadings, “Conclusion” (Evaluation and Conclusion are two separate sections) and “Bibliography/References”. The visuals should be placed in a suitable way between paragraphs (F.1).Each of the visual material must be in jpeg format with a resolution of at least 300 dpi (images with a poor image quality will not be used). For the visual materials used in the article, numbering should be done with the abbreviation bold F. (F.1., F.2., F.3., etc.). The description of the visual material should be specified below the material in parentheses. If visual material belongs to the author, it should be indicated.Article should be written in Times New Roman, 12 pt., 1.5 line spacing, before 6NK-after 6NK spacing and both side justified. Footnotes should be written in Times New Roman, 10 pt., 1 line spacing and both side justified. Words that need to emphasized should be written in italic. The Quotations less than five lines should be written in quotation marks in the same paragraph and the quotations longer than five lines should be written separately 1 cm inside from left and right sides of page, blocked and in 8 pts. The article should not exceed 10.000 words, the visuals used in the article should not be more than the number of text pages and also maximum 25 images are allowed. The visuals which are directly related to the subject should be preferred with reference to comparison images. Images should be numbered in the text and used in the relevant place.

Author Guidelines

Ensure that the following items are present:●    Cover letter to the editorü    The category of the manuscriptü    Confirming that “the paper is not under consideration for publication in another journal”.ü    Including disclosure of any commercial or financial involvement.ü    Confirming that the statistical design of the research article is reviewed.ü    Confirming that last control for fluent English was done.ü    Confirming that journal policies detailed in Information for Authors have been reviewed.ü    Confirming that the references cited in the text and listed in the references section are in line with CMOS 16.●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/172395B610F14DE1A70863DF7F923B59" target="_blank">Copyright Agreement Form</a>●    Permission of previously published copyrighted material if used in the present manuscript●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A6C642AF6B244E3B07BD89275AFFD2B" target="_blank">Title page</a>ü    The category of the manuscriptü    The title of the manuscriptü    All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addressesü    Corresponding author’s email address, full postal address, telephone and fax numberü    ORCIDs of all authors.●    Main Manuscript Documentü    The title of the manuscriptü    Abstract (150-200 words)ü    Key words: 3 to 5 wordsü    Extended Summary (800-1000 words) in Englishü    Main article sectionsü    Grant support (if exists)ü    Conflict of interest (if exists)ü    Acknowledgement (if exists)ü    Referencesü    All tables, illustrations (figures) (including title, description, footnotes)

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E-ISSN	2148-3582
Yayın Aralığı	Yılda İki Sayı
Editör	İbrahim Çeşmeli
Art-Sanat Dergisi’nin amacı, Türk toplulukları ve Türk topluluklarıyla ilişkili diğer toplulukların sanatı, sanat tarihi ve arkeolojik verileri ve diğer sanat alanlarıyla ilgili bilimsel çalışmaları desteklemek, yayımlamak ve geliştirmektir. Türk toplulukları ve Türk toplulukları ile ilişkili diğer topluluklar hakkındaki Arkeoloji, Sanat Tarihi, Mimarlık Tarihi, Restorasyon-Konservasyon, Müzecilik, Güzel Sanatlar ve Sahne Sanatları alanlarındaki akademik araştırmalar ve yayınlar. Dergi Sahibi: İstanbul Üniversitesi Türkiyat Araştırmaları Enstitüsü (adına Enstitü Müdürü Prof. Dr. Ayşe Zişan Furat)

Art-Sanat

SON SAYI

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ÖNE ÇIKAN

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

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ÇOK OKUNAN

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METRİKLER

DUYURULAR

ABONE OL

İLETİŞİM