Ayşe

Prof.

Keyfoturağı Mosque is located in the Muğla Karabağlar Quarter, in the district of Yurtlar. It is assumed that the square planned mosque was named after the names of Ashab al-Kahf inscribed on the sanctuary walls. Over the course of time the name KehfoturağI has changed slightly both in sound and spelling and become KeyfoturağıThe mosque, constructed by Kadızade in 1287 A.H./1870 A.D. according to its inscription over the gateway door, was restored in 2005 when its roofing was also renewed.On the sanctuary walls of the mosque, between the upper windows, there are depictions inside panels. Some of the panels have completely disappeared and some seem to have been covered by whitewash. Although the surviving panels and their depictions were originally stencilled, most of them were retraced with oil paint and some sections are appended during restorations. The panels between the sanctuary windows are in three forms: square-like tetragon, transverse tetragon and rectangle. All the panel frames have an S curved border. Transverse tetragon panels have a common scheme. Each panel is divided into two equal sections with a column in the middle. The columns have plinths, spiral bodies and Corinthian type capitals. The lower halves of the oval formed medallions inside the panels are decorated with Baroque drapery motifs. The decoration program of the upper halves of the medallions is divided into two main groups. On the first main group there is a large acanthus motif on the top point of the medallion. There are two subgroups of this group. On the first subgroup there are burgeons among C and S curved winding branches growing both ways from the acanthus (West wall Panel 3, East wall Panels 2-3, South wall Panel 4, North wall Panel 3.5-8). On the second subgroup, on both sides of the acanthus, there are semicircle formed motifs filled with round shapes and burgeons among C and S curved winding branches (East wall panel 3, South wall Panels 4-5). On the second main group there are burgeons among C and S curved winding branches growing both ways from a crown-like motif consisting of volutes on the top point of the medallion (Dexter medallion on West wall Panel 2 and South wall Panel 3). Inside the medallions, the names of the Prophet Muhammad, his grandsons, four caliphs and Ashab al-Kahf are inscribed.The placing of mural paintings between the sanctuary walls is a characteristic that can be seen in diverse areas of Asia Minor, besides Keyfoturağı Mosque, especially in mosques in Denizli, Aydın, Manisa and Izmir dated to the 18th and 19th centuries. In some mosques mural paintings have been included in square or transverse tetragon formed panels. This characteristic seen in the Keyfoturağı Mosque has also been applied in some mosques in the Marmara, Central Asia Minor, and Aegean regions. Besides Keyfoturağı Mosque, the equal division of transverse tetragon panels into two by columns can be seen in some mosques of the same era in Istanbul and in the Aegean region. Floral, geometrical motifs and edifice depictions were included in the panels together or separately. As in the Keyfoturağı Mosque, oval or round medallions were sometimes included in the panels. Floral decorations or edifice depictions were sometimes included in the medallions. But more commonly, the names of the Prophet Muhammad, his grandsons, four caliphs and various religious inscriptions were included in these medallions. On the frames of the inscribed medallions Western decorative elements have been used, and stylized flowers and leaves have been applied with the vigorous C and S curves of the Baroque-Rococo insight. Such characteristic medallions which can be observed in mosques in the Balkans and diverse areas of Asia Minor are also observed in most of the mosques in Aydın, Manisa and especially in Denizli in the Aegean region where Keyfoturağı Mosque is located. On the panel depicting a mosque and on two rectangular panels in the Keyfoturağı Mosque, the date palm and cypress trees have similar iconographies. Date palms and cypress trees which are identified with the tree of life are frequently used as the symbol of life, immortality, eternity and heaven. Date palms and cypress trees are depicted separately or together and sometimes with the edifices on examples of miniature and handicrafts, especially on gravestones; and in the Westernization era, on mosques and tombs. In addition to floral and geometrical motifs on the decoration repertoire of mural paintings of Keyfoturağı Mosque, there is a two-minaret monumental mosque depiction on the south wall and a sailboat depiction on both ends of the north wall of the women’s court. Mosques and sailboat depictions, both solitary or within a landscape, can be observed in many places in Asia Minor, especially in Westernization era mosques or in civil architectural structures in Izmir, Aydın, Manisa and Denizli. Mural paintings, the first examples of which appeared in Turkish art in capital city Istanbul and extended to Asia Minor in the 19th century with the effect of miniature tradition, have started to be made in Western drawing insight and technique in Baroque, Rococo and Imperial style which were developed in Europe on the 18th century. On Westernization era mural paintings, fewer colours have been used, lightness-darkness degrees have precisely been applied and chirascuro effect has been reflected due to the effect of miniature and application features. Yellow, blue, brown and green colours have&nbsp;been used and chiaroscuro effect has been created by the shades of the same colour in order to bring volume on the panels and the depictions inside these panels which were placed between upper sanctuary walls of Keyfoturağı Mosque. On the frames of the medallions inside the panels, Western decoration elements including volutes, draperies, acanthus leaves, stylized flowers and leaves have been designed and applied with the vigorous C and S curves of the Baroque-Rococo insight. On the panel on the south wall, which is depicted with a mosque, two cypress trees placed among mosque domes, the placement of minarets bordering the mosque sideward and the placement of date palms next to the mosque by considering their dimensions are perspective trials. On the panels decorated with date palm, scaling the dimensions by considering the distance is also an evidence for the pursuit of perspective. On the sailboat depictions at North wall, the set up of the topsail and the motion of flags by the wind are also aimed to give a depth to the drawing. Sailboat depictions are Western attributed drawings of impressionistic insight.&nbsp;Most of the builders and craftsmen working in the Aegean coastal region of Asia Minor in the 18th and 19th centuries were of Greek origin. The design of the decorations on the upper and lower halves of the medallions, and the use of colours on the mural paintings of the sanctuary walls of Keyfoturağı Mosque can also be observed on the mural paintings of churches in Muğla and in the surrounding area from the same era. Therefore, it is possible that local or non-Muslim builders who have a grasp of the church decoration styles of the era may have worked on the sanctuary decoration program.&nbsp;Unfortunately, as a result of restoration made on the sanctuary of the mosque most of the decoration compositions of the medallions inside the panels have been deformed. Some depictions have been covered by whitewash. Retracing the motifs with different colours and appending them are malpractices which occurredon some drawings of the era. It is necessary that the whitewash and the appending should be removed and that the original view of the drawings should be revealed. In this way the mural paintings of Keyfoturağı Mosque, one of the significant representatives of the Westernization era in the Aegean region, may be handed down to the next generations in their original style.

A New Example to Art of the Depiction of the Westernization Era: Muğla Keyfoturağı  Mosque

Assoc. Prof.

Çiğdem

Assist. Prof.

After the demise of Mawlana Jalaluddin Rumi in 1273 in Konya, Alameddin Kayser wanted to build a tomb on top of Mawlana’s grave. This demand, which was approved by the Palace of the Seljuks, was realized by the Architect Bedreddin from Tabriz, who was one of his followers and known to be an expert in mathematics, chemistry, and alchemy.There is insufficient information about the shape and characteristics of the tomb, which was completed in 1274. The signature of Abdurrahman from Aleppo is the only source of information imprinted within the ornament inscription on the southern wall of the interior of the tomb, in which there is no document such as foundation record, document, epitaph, signature etc. about the dome. The name of Sultan Bayezid II, the 8th sultan of the Ottoman Empire, is mentioned within the epitaph of this signature. Since the Sultan’s reign was between 1481 and 1512, it is understood that the interior design on the surface of the dome was imprinted in the late 15th and early 16th centuries. This period corresponds to approximately 200 years after the construction of the tomb. Considering that the structure has been restored centennially, it is thought that it has been restored twice since it was constructed. More importantly, based on the situation revealed at the last restoration, it is understood that a complete renovation rather than partial configuration was undertaken. Based on the scrapings, it was determined that there were no different styles on the floor, and it was detected that the 15th century ornament style was original.&nbsp;Based on these scrapings, 6 paintings (100 x 60 cm) imprinted in miniature style were revealed on the sides of the four massive pillars bearing the Kubbe-i Hadra. During the restoration work which started in 2018, it was observed that these miniature paintings, which reflect the style of their time, were covered in the following periods and they were imprinted with interior design . It is unknown why these paintings, which were revealed on the sides of the massive pillars, were covered over in later periods.Despite the intensity of patterns within the interior design that was designed with Turkish art styled motives, the mentioned paintings had undetailed, plain, and balanced designs. Among their contents are paintings from nature such as the life of trees and springs as well as depictions of architectural structures. We estimate that these architectural structures depict the Konya Fortress and the Palace of the Seljuks. While it is apparent that each imprinted painting is differentiated from the others with slight differences, we can evaluate these miniature paintings, based on their characteristics, as unique examples of interior design art in tomb architecture. Not only is there no information or visuals in the archives concerning these paintings, but also there were no signatures or dates on the paintings themselves. However, since there is a unity of style on the ornament of the structure, it is easy to date it. It is apparent that the miniature paintings have the same period characteristics and style as the interior design on parts of the Dome such as the vault, the massive pillars, and the wall surfaces.It is worth mentioning that the patterns, motives, and script characters of the interior design , which have survived until today without much deformation, reflect the ornament style of the Timurid period. Our view is supported by the results of the study, namely that the close similarity between the domes of the structures in the miniatures and the dome styles of the Timurid architecture, and the expert expressions of the symmetrical nature depictions (204 x 125 cm) on the edges of the upper windows of the southern walls, bear the characteristics of the Timurid period. Furthermore, the craftsman applying this style, whose similar examples are observed in structures in Bursa and Edirne, is Mawlawi Abdurrahaman, the son of Mehmet from Aleppo. It is known that Abdurrahman was a craftsman who graduated from the Bursa school, which was an ecole in the art of ornament and which trained numerous craftsmen. Based on their signatures on the ornaments of the Yeşil Külliye (lit. the Green Campus) which they contributed to, it can clearly be seen that the craftsmen from Tabriz were also working in the Bursa school, which was an ecole. Since Anatolia and Iran were neighboring countries and since they were involved in various interactions in terms of culture and civilization throughout history, it was highly possible that craftsmen from Tabriz came to Konya and worked on the ornaments of the Mawlana’s Tomb or ornaments of similar structures as well. Therefore, the conclusion could be drawn that the Timurid style may very possibly have been used in the ornaments of the Kubbe-i Hadra and that these craftsmen contributed to the implementation of this style.We can see the traces of Ishraqi philosophy based on the oil lamp motif in the paintings. We can understand from the works of İsmail Rusûhi Ankaravi, an important Mevlevi Grandfather, that there is a close relationship between Mevlevi and Ishraqi.&nbsp;Likewise, the fact that one of the architectural structures in the tables resembles the Eflatun Masjid on Alâeddin Hill in Konya, and also the relation between Plato and Ishraqi, has caused our research to move in this direction. It is known that the way of thinking and the philosophical views of Plato, Suhreverdi, and Mevlânâ maintain a close relation to one another. Therefore, it was thought that the paintings in the tomb of a significant thinker such as Mevlânâ Celaleddin-i Rumi had a philosophy and that they were portrayed according to this understanding. When the figures, such as castle, hill, curtain, etc. portrayed in the paintings were analyzed in the context of Ishraqi, our evaluations were concluded in this direction.The Kubbe-i Hadra interior design, which we consider to have been completed with the skills of these craftsmen from Tabriz, together with its typeset, is the most important example in Konya to incorporate the ornament style of the Timûrid-influenced Sultan Bayezid II. era in regards to pattern, motive, and color.

An Analysıs of Paintings Recently Discovered in the Mevlana Tomb According to the  Philosophy of Ishraqi and Plato

İsmail

When the city was conquered in 1453, Byzantine structures such as official, civil and commercial buildings, roads, forums, churches and monasteries were already forming a built-up environment. As a consequence, the Ottoman administration just constructed new buildings in this environment and applied their own system to Byzantine structures. In the historical peninsula the ownership was either state-owned or a foundation owned. In Ottoman history, the only way to ensure continuity (which meant transferring the owned lands and buildings from generation to generation) was by establishing a Foundation.The Ottoman urbanization system was based on the application of the foundation system, which is the formation of a mosque-centered neighborhood. After the conquest, 85 neighborhoods with Turkish names were established. Generally, the places of worship remaining from Byzantium or newly built ones during the Ottoman period were in the centers of these neighborhoods. According to the “Istanbul Foundations registry book” dating to 1546, there were 2515 foundations established in 219 neighborhoods. This number increased to 3265 foundations in 226 neighborhoods in 1600 which shows the development of the neighborhoods and foundations. When the topographical factors affecting the settlement are examined, it can be seen that the fundament of the historical city has two parts. The city has a triangular topography divided into two by the Bayrampaşa (Lycus) Stream, which enters the city under Sulukule (Byzantine bastion) and passes through its middle axis. In this topography, the two main road system was applied from the east to the west; from the summit of the regions descending steeply to the shores of the Marmara Sea and from the top of the slopes descending perpendicular to the Golden Horn. These roads, which were built during the Roman period, were used as the main transportation axis on the Historical Peninsula throughout the Ottoman period and also today. On the peninsula, the Golden Horn - Marmara Sea connection on the north-south direction is&nbsp;the only road on the Golden Horn, Haydar, Saraçhane, Horhor, Yenikapı axis. Today, this connection is provided by Atatürk Boulevard, which was opened later, parallel to the old road.Earthquakes and fires have had significant effects on the settlement throughout the history of the city. In particular, the major and destructive earthquakes that took place in 1509, 1766 and 1894 caused serious damages and large-scale architectural changes in the city. Fires that occurred frequently inside the city wall of Istanbul during the historical period resulted in significant loss of life and property. Due to the frequent fires in the city, the old streets and parcels were changed often and there was no protection in the buildings except mosques. Under the title of socio-cultural development, which is one of the factors that affected settlements, in the Ottoman Islamic city the main elements of the settlement system were based on the mosque complexes and dervish lodges. Therefore, after the conquest some churches, in particular Hagia Sophia, were turned into mosques and dervish lodges. Apart from these structures, when the newly built mosque complexes (which have managed to survive until today), are analyzed with respect to the centuries, it is observed that 21 mosque complexes were built in the 15th, 16th, 17th, 18th and 19th centuries and they affected the regional settlement of the city. 9 of 21 complexes were built by Mimar Sinan. Similarly, there are 12 dervish lodges (mysticism centers established right after the conquest which survived and were developed during the Ottoman period and still exist in the present day), standing in the first area where they were built.When we examined the settlement from an ethnic view of point, it can be seen that from the conquest to the 1839 Tanzimat Edict, the ethnic minorities who had limited rights were living in specific areas in the historical peninsula: Greeks of Morea around Fener Gate, Thessaloniki Jews around Tekfur Palace Gate, Karaim people around Yeni Mosque, Armenians from Tokat and Sivas around Sulu Monastery, Copts and some Jews in Balat. By locating these residential areas in tenement districts that were both close to the city walls and at lower elevations due to the topography, a physical and hierarchical distinction was made with Muslim neighborhoods. During the Ottoman period, one of the most important elements affecting regional settlements in the Istanbul Historical Peninsula was state structuring. These are the administrative centers of the state, occupying large-scale lands such as palaces, military areas and mansions where high-level state officials carried out their duties. When the palace is referenced in the 16th and 17th centuries, it is referred to as the Saray-ı Atik (old Palace) in Beyazıt and the Saray-ı Cedid (Topkapı Palace). One of the first buildings built by the order of Fatih Sultan Mehmet after his conquest of Istanbul was the barracks known as the Old Rooms in Vezneciler. Along with the Ağa Gate under Süleymaniye, which had the status of today’s Land Forces Command, they are positioned around the first palace, Beyazıt Palace, to ensure its security and to dominate the entire peninsula. The other military areas in the historical peninsula are the Cebehane (ammunition barracks) next to Hagia Sophia, the New Rooms (janissary barracks and training room) in the wide area between the Orta Mosque in Ahmediye and Molla Fenari Isa Mosque (Likus Stream Valley), Yedikule (The inner fortress), the Wrestlers Lodge and training ground built by Fatih Sultan Mehmet on the land next to Şebsefa Hatun Mosque in Unkapanı, Çardak (fruit pier-customs area) on the Golden Horn near Ahi Çelebi Mosque and Barbaros Foundation Barrack Houses in Cankurtaran. Before the establishment of the ministries in the Tanzimat period in 1839, senior state officials fulfilled their official duties in the Selamlık section of their mansions. Because of this duty, the State dignitaries lived with their employees, known as the people of the door (Kapı Halkı), in their mansions which were built much larger than normal houses.

The Ottoman Period Settlement on the Istanbul Historical Peninsula

Müjde Dila

Res. Assist.

III. Selim döneminde yapılaşmanın başladığı ve II. Abdülhamid dönemindeki yoğun inşa faaliyetleri sonucunda günümüzdeki görünümüne ulaşan Yıldız Sarayı, pek çok araştırmaya konu olmuştur. Ancak, sarayda II. Meşrutiyet yıllarında gerçekleşen mimari müdahaleler, bilinmezliğini korumaktadır. Bu çalışma, II. Meşrutiyet döneminde Yıldız Sarayı’nda ‘sermimar-ı hazret-i şehriyari’ Vedad Bey yönetiminde gerçekleştirilen mimari faaliyetlere odaklanmaktadır. II. Abdülhamid’in 1909 yılında tahttan indirilmesinin ardından, onun, hanedan üyelerinin ve saray çalışanlarının yaşamış olduğu Yıldız Sarayı da hanedanın ikametgâhı olma niteliğini yitirmiştir. II. Abdülhamid’in otuz üç yıllık iktidarı ile özdeşleşen saray, II. Meşrutiyet yönetimi için, dönemin saray başkâtibi Halid Ziya (Uşaklıgil) Bey’in ifadesiyle “acayip” ve zorlu bir miras hâline gelmiştir. Önceki dönemin izleri mümkün olduğunca silinmeye çalışılırken, tahta çıkan V. Mehmed Reşad’ın ikameti için Dolmabahçe Sarayı uygun görülmüştür. Dolmabahçe Sarayı’nın sermimar Vedad Bey yönetiminde kapsamlı bir onarımdan geçirilmesi ile birlikle V. Mehmed Reşad ve maiyeti buraya yerleşmiştir. Yıldız Sarayı ise, Bulgar ve Sırp kralları gibi üst düzey ziyaretçilerin ağırlanmasında kullanılmaya başlanmıştır. V. Mehmed Reşad’ın tahta çıktıktan bir sene sonra, yaz aylarını Yıldız Sarayı’nda geçirmeyi talep etmesinin ardından, sarayda çeşitli onarımların gerçekleşmesi gündeme gelmiştir. Bu durum, Yıldız Sarayı’nı, hanedan tarafından kullanılan yapıların (Dolmabahçe Sarayı, Yıldız Sarayı, Topkapı Sarayı, Beylerbeyi Sarayı ile İstanbul’da bulunan kasırların) bakım ve onarımından sorumlu olan sermimar Vedad Bey için öncelikli bir çalışma alanı konumuna getirmiştir.&nbsp;Vedad Bey, görevi süresince, yapılacak her inşa ve onarım faaliyeti için düzenli olarak ön keşif (keşf-i evvel) defterleri tutmuştur. Cumhurbaşkanlığı Devlet Arşivleri, Hazine-i Hassa Ebniye Anbarları fonunun 1909-1914 arasına tarihlenen dosyalarının taranması sonucunda, Vedad Bey’in keşif defterlerinden 475 tanesi tarafımca tespit edilmiş ve incelenmiştir. Keşif defterlerinin yarısına yakını, Sultan V. Mehmed Reşad’ın ikametgâhı olan Dolmabahçe Sarayı ve ek yapılarını konu alırken; 84 keşif defteri ise Yıldız Sarayı’na ilişkin onarımlarını içermektedir. Bu tespit, V. Mehmet Reşad’ın baş mimarının, Dolmabahçe Sarayı’ndan sonra en yoğun çalıştığı yapının Yıldız Sarayı olduğunu göstermektedir.&nbsp;Saray için 1910 yılı sonu ve 1911’de hazırlanan keşif defterleri, Şale Köşkü, Merasim Köşkü, Küçük Mabeyn, Müzehâne, Yeni Köşk, Büyük Mabeyn, Cihannümma ve Çit Kasrı gibi pek çok yapıda çatı onarımı gibi bazı temel onarımları kapsamaktadır. Öncelikli olarak ele alınan yapı, Büyük Mabeyn’dir. Hem Vedad Bey’in keşif defterlerinde, hem de Halid Ziya Bey’in anılarında onarıma muhtaç durumda olduğu belirtilen Büyük Mabeyn, sarayın diğer yapılardan farklı olarak kapsamlı bir onarımdan geçirilmiştir. Ardından, Telgrafhane ile Büyük Mabeyn arasındaki alanda yer alan yapı grubunu (Kilere bitişik daireler, harem ağaları dairesi, telgrafhane ve civarındaki daireler) konu alan bir onarım planı hazırlanmıştır. Arka arkaya hazırlanmış olan bu keşifler, duvarların onarımı ve boyanması, kapıların boyanması, kırık camların yenilenmesi, panjur ve çerçevelerin onarımı, bazı daire ve avluların çiçekli çini ile kaplanması gibi birbirlerine benzer içeriklere sahiptir. Hepsinde ortak olarak vurgulanan ise, müdahalelerin mümkün olduğunca aslına uygun yapılmasıdır.&nbsp;Yıldız Sarayı’nın II. Meşrutiyet döneminde onarımdan geçen bir başka yapısı, Daire-i Hümâyun’dur. Padişahın kullanımına özel olan bu yapı için hazırlanan keşif defterlerinin, diğer daireler için hazırlananlara göre daha detaylı talimatlar içerdiği gözlemlenmiştir. Aynı dönemde, saray bahçesinde bulunan köprülerden biri değiştirilmiş ve yine saray bahçesine yeni bir tuvalet yaptırılmıştır. Ada Köşkü’nün giriş cephesi tamamen sökülerek yenilenmiş ve köşke bir kahve ocağı eklenmiştir. II. Meşrutiyet döneminde Yıldız Sarayı’nda herhangi bir ek yapı inşa edildiğine dair bir veriye ulaşılmamıştır. Bu kapsamda değinilebilecek nadir bir örnek, sarayın çeşitli mahallerine yerleştirilmek üzere Vedad Bey tarafından tasarlanmış olan asker nöbet kulübeleridir. Köşeleri pahlı kare planlı, üzerine bir alem yerleştirilmiş dilimli külah ile örtülü ahşap kulübeler, Milli Mimari üslubunu yansıtan küçük ölçekli tasarım örnekleri olarak dikkat çekmektedir. Vedad Bey’in bu bilinmeyen tasarımının çizimleri, üretim talimatları ve fotoğrafları, bu çalışma kapsamında tespit edilmiş ve incelenmiştir.&nbsp;Yıldız Sarayı’nda Vedad Bey yönetiminde gerçekleştirilen en kapsamlı müdahale, saray mutfağının yıkılmasıdır. Bu yıkım, Yıldız Sarayı’na ilişkin yeni bir tespit olması bakımından önem taşımaktadır. Mutfak yıkımını konu alan arşiv belgelerinde, saray mutfağına artık ihtiyaç olmadığı, bu sebeple yıkılacağı ve arazisinin bahçeye dönüştürüleceği ifade edilmektedir. 1909 tarihinde L’Illustration gazetesinde yayınlanan Yıldız Sarayı vaziyet planı ile Sedad Hakkı Eldem’in 1960’ların sonunda hazırladığı vaziyet planının karşılaştırılmasından yola çıkarak, yıkılan mutfak binasının Büyük Mabeyn ile Telgrafhane arasında, Ağalar Dairesi’nin hemen arkasında konumlanmış olabileceği anlaşılmaktadır. Vedad Bey’in saraya yaptırılan yeni mutfağı konu alan çeşitli keşif çalışmaları da mevcuttur. Bunlar arasında en dikkat çekici olanı, “Yıldız Saray-ı Hümâyunu’nda demirhanede tesis edilecek olan mutfakta bulaşık yıkamak&nbsp;için inşa olacak mermer tekneler” başlıklı olup hem yıkılan mutfakların yerine demirhanede yeni bir mutfak oluşturulmasının planlandığını ortaya koymakta; hem de yeni mutfakta kullanılacak olan mermer bulaşık teknelerinin tasarım ve üretim talimatlarını içermektedir. Saray mutfaklarının yıkılması ve demirhanenin mutfak olarak işlevlendirilmesini konu alan keşif defterleri ve yazışmaların tespit edilerek incelenmesi sonucunda, Yıldız Sarayı’na ilişkin büyük ölçekli ve önceki araştırmalara konu olmamış bir mimari müdahalenin detayları ortaya koyulmuştur.

Architectural Interventions Conducted in Yıldız Palace During the Second Constitutional Period (1909-1914)

Seda

Emel

The open cisterns -also called Çukurbostan- built on the hills of Istanbul have been able to survive through centuries, beginning from the Byzantine period, and with specific changes in their functions. For example, before they turned into public spaces (parks/green areas) or semi-public spaces (such as a football stadium), they served as edible gardens for urban agriculture (both in the Byzantium and Ottoman periods), elephant houses for the elephants belonging to the Ottoman Empire, and mini football fields for local people mostly in the 1980s and earlier. As the above-exemplified functions indicate, these great pits had always been beneficial for society. Similarly, while they were part of the water supply system of Istanbul, the stored water was utilized for agricultural purposes. In brief, the practical use of cisterns in the past refers to publicness and public service. Whereas at present, even though they preserve and maintain their existence as public parks (and as a football stadium), the publicness of the parks is a topic of discussion, it is paradoxically invisible in the urban space. Thus, defining the cisterns as visible is not possible in today’s Istanbul, despite their historical background. In this perspective, the hypothesis pointing out invisibility has been suggested based upon the spatial reflections of Hannah Arendt’s discourses on visibility/appearance in the public realm. According to Arendt a) the most extensive publicity constitutes the appearance that the entire society realizes. Moreover, b) visibility defines publicness not only for today’s society but also for the community that lived in the past, and that will live in the future. On the other hand, c), as Arendt asserts, every being must be apparent and have a specialized form and benefit. Lastly, d) the public realm is rather peculiar to human nature than a handmade work or physical effort. Correspondingly, the purpose of the research is to investigate the reasons behind the facts that make the open cisterns (Çukurbostan) invisible –while they are expected to be visible.The Historical Peninsula that is located in the area surrounded by the Theodosian Walls comprises three open cisterns: the Cistern of Mocius (a public park), the Cistern of Aspar (a public park), and the Cistern of Aetius (a football stadium). These cisterns play a prominent role in the city by their several distinctive features, depending upon their locations and land uses. However, to highlight these great pits’ invisibility, one of them needed to be selected based upon its past and present conditions. Therefore, within the scope of this study, the Cistern of Aetius (Karagümrük Çukurbostanı, Vefa Stadium today) constitutes the case study because of its proximity to the Theodosian Walls and its location on the Mese (Mese in Byzantium, Divanyolu in Ottoman Empire and Fevzi Paşa St. today). With regards to its general features, the 20,700 square meters open cistern with about 11 meters of walls is located on a long crowded historical axis called Fevzi Paşa Caddesi (Mese, Divanyolu). Nevertheless, its connection to this historical axis was disabled after making it semi-public by the Vefa Football Club’s buildings and stadium. The findings show that the cistern turned into a semi-public space, because a stadium is open only when there is a football match. On the other hand, the architectural shape of the stadium hides the 1600-year old walls of the cistern. Therefore, the cistern is not visible, both physically and perceptionally.Accordingly, the reasons behind the invisibility of the open cistern are addressed through the Arendtian perspective. Concerning this, Arendt’s definitions of the visibility in public spaces that is summarized above in a, b, c, d refer to a set of contexts to investigate: the large scale context (a), historical context (b), small scale context (c) and social context (d). Consequently, the findings of contextual inquiry show that the Cistern of Aetius (Karagümrük Çukurbostanı) does not play a significant role in large scale connections to the Historical Peninsula and the rest of Istanbul, contrary to its proximity to the Theodosian Walls that represent the edges of the Historical Peninsula. Secondly, in the historical context, not having a connection to the cistern’s past due to hosting an architectural function that is not related to any public purpose is another main finding. Moreover, since the football stadium engages with a small group of people, the appearance of historicalness to the local people and tourists is a matter of concern. Otherwise, the crucial attachment with its past will completely disappear. Thirdly, the findings on the small scale context show the disconnect between the cistern and its local environment. The local citizens are neither able to directly enter and participate in the vast pit (because access is not provided), nor see the parts of the cistern from the streets that surround the pit. Lastly, the social context examination reveals that local governments and authorities are ignoring a possible public space with high potential thanks to both of its size and of the dense population of Karagümrük.&nbsp;Arendt multidimensionally questions the issue of visibility. In response to this, this study suggests relevant solutions for the visibility of the place. In order to be a part of the city on a large scale, the cistern should be turned into an entrance of the Historical Peninsula. To protect the historicalness, the walls of the cistern should connect to visitors from different perspectives. On a small scale, the cistern should be welcoming to every citizen for more publicness. Lastly, as a contextual solution, greening the pit is going to make the city have a new public green which is also relevant to the cistern’s previous uses . In conclusion, when the visibility problems of the open cistern can be overcome, it will fit into a meaningful whole as a new tourist destination in the Historical Peninsula.

Seeing the Invisibles of the Historical Peninsula: Arendtian View of the Cistern of Aetius

Zahide

The number of historical wooden houses in Istanbul are decreasing day by day. In Paşabahçe, which is a Bosphorus village on the Anatolian side, the splendid wooden mansions in gardens are still used as residences today. One of the two mansions handled in this study is actively used as residence, and the other is waiting for its new owner.It is estimated that Sunazırı Street Mansion was built in the middle of the 19th century. The owners of the mansion changed at the end of the 19th century or at the beginning of the 20th century, during which it underwent an extensive renovation process. Written sources about the renovation process could not be reached. The dates stated above were obtained from the existing owners. The alterations on the building have been determined from the narratives of the owners and the traces in the building. The construction system of the mansion is a wooden frame system erected from the masonry walls of the basement, and the inner walls are finished with the lath-and-plaster technique (bağdadi). Sunazırı Street Mansion has a symmetrical plan scheme with an inner-hall (sofa). The ceiling ornaments of each space (rooms, sofas or service areas) are different from each other. However, the most interesting feature of the building is the semi-circular shaped pediment on the front facade.The interventions carried out when the owners of the building changed are as followed: separating the sofas with woodwork separators/doors, turning the open entrance area into a windbreak by closing it with wooden windows, combining the balcony with the upper floor hall (sofa), and creating a new balcony in front of the former balcony. The additions in this period are not unqualified. In fact, they are qualified interventions of an earlier period. It is thought that no alterations have been made on the pediment during this renovation process because all the eaves in the building are consistent with each other.The remarkable Baroque style pediment of Sunazırı Street Mansion was also repeated in the Şekerpare Street Mansion. It is significant that such a specific element is repeated in two mansions which are very close to each other. Therefore, in order to understand at which level the similarity between the two structures are, documentation and survey studies were carried out on the Şekerpare Street Mansion and the results were examined analogically.The exact construction date of Şekerpare Street Mansion has not been determined as of yet. The mansion is a detached structure in a large garden on a sloping street (Şekerpare Street). The planning scheme, construction system and building materials of Şekerpare Street Mansion are similar to Sunazırı Street Mansion. Although the floor heights are similar in both structures, the Şekerpare Street Mansion is distinctively smaller than Sunazırı Street Mansion in terms of building area. There are no narrow service spaces between the front and back rooms in Şekerpare Street Mansion unlike the plan of Sunazırı Street Mansion. However, as in the Sunazırı Street Mansion, there are rooms on both sides of the inner-hall (sofa) and the doors opening to the garden at both ends of the sofa. Despite the similar floor plans, the Şekerpare Street Mansion plan is not symmetrical. At the present time, it is possible to determine that the place where the existing kitchen is located was initially exterior because when the wall between kitchen and the stair-hall is examined, it can be seen that the construction system of this wall and the exterior walls are the same. It is also estimated that the kitchen of the mansion was originally located in the basement, since the room (B03) in the basement has a furnace and chimney hole.The front façade has a symmetrical design and a balcony with a semi-circular pediment placed in the middle axis. Due to the reinforced concrete building adjacent to the mansion, the eastern facade is not visible today but the window traces can be determined on the walls inside. Thus, an accurate restitution of the mansion can be prepared. The basement floor plans of both mansions repeat the plan, with the inner-halls (sofa) the same as the upper floors. Considering the repeating upper floor plans and ornaments of ceiling claddings, the basements of both mansions were probably built and used as curtilage.Upon the examining of the architectural features and locations of the structures, various conclusions can be drawn. Similarities of construction systems and building materials can be considered ordinary. The resemblance of the plans are also remarkable. Moreover, the similarities between the semi-circular shaped, ornamented pediments and the interventions that have been added to the buildings show that the both mansions are related with each other. It is also possible that during the population movements of Paşabahçe, the owners of both mansions changed at the same time and were renovated by the same construction master(s). In order to be definite of all these consistent conclusions, more studies on Paşabahçe’s architectural history should be done and deepened.

Assessments on Two Mansions and One Identic Pediment in Paşabahçe

Özlem

Sinziana

Bir toplumun ortak zihni olarak ifade edilen kültür, kültürel simgeler ile aktarımını gerçekleştirmektedir. Kendine ait simgeler aracılığıyla her kültür, farklı deneyimlerin ve algıların aktarılmasını ve yaratılmasını sağlamaktadır. Bu noktada kültürel simgeler, bireylere inanma, hissetme, düşünme vb. biçimlerini aktararak anlamlandırmanın temelini oluşturmaktadır. Bir diğer ifadeyle kültür, bir toplumun hem toplum içindeki bireyleri arasında hem de diğer toplumlar ile olan ilişkilerinde iletişim aracı rolünü üstlenmektedir.&nbsp;Ulusal kültürel simgeler ulusların sanat anlayışlarını, tarihsel olaylarını, geleneklerini, inançlarını, gündelik yaşantılarını yansıtmaktadır. Aynı zamanda bireylerin yaşadıkları topluma aidiyet hissetmesine aracılık ederek kolektif duygunun yaratılmasına katkı sağlamaktadır. Kültürel simgelerin bir toplumun değerlerinin ve ortak anlamlarının aktarılmasında belirleyici ve kavramsallaştırıcı bir özelliği bulunmaktadır. Bu özellik, kendisine güç vermekte ve kavramsal bilginin parçalarının birleştirilmesinde insan hafızasında yer edinmesinde çok etkili olmaktadır. Kültürel simgelerin yokluğu durumunda bir kavramın yanlış anlaşılması ya da farklı şekillerde anlamlandırılması söz konusu olabilmekte, bu da kültürün sürekliliği ve gelecek nesillere aktarılması açısından bir tehdit oluşturmaktadır.&nbsp;Tarihe bakıldığında, Osmanlıdan Selçukluya, Selçukludan Orta Asya Türk topluluklarının sanat yapıtları incelendiğinde dokumalar, seramikler, çiniler, el yazmaları, mimari yapılar vb. eserlerin geçmişten günümüze belli bir gelişme kaydederek, dönemlerinin en iyi örneklerini verdikleri görülmektedir. Bu tarihî süreçte Türk süsleme sanatı, göçebe toplum sanatından, günümüz yerleşik toplum sanatına kadar geçen sürede, sosyal sınıf farklılığının getirisi olarak halk ve saray sanatı olmak üzere iki gruba ayrılmıştır.&nbsp;Türk süsleme motifleri kendi anlamları içinde bir bütünlük sağlayarak karşımıza çıkmaktadır. Türk desen ve motiflerini araştırırken kaynaklar dönemden döneme, yaşam biçimlerine ve inanç sistemine göre değişikliklere uğramıştır. Türk toplumunun göçebelikten yerleşik hayata geçişi, İslam dinini kabul etmeleri, farklı toplumlarla iç içe yaşamaları, Türk motiflerinin çok yönlü gelişmesine sebep olmuştur. Ortak efsaneler, inanç sistemleri, coğrafya ve iklim koşulları içinde Türk desen ve motifleri binlerce yıllık bir gelişme, olgunlaşma süreci geçirmiştir. Desen ve motif açısından iç içe geçen bu sanatlarda uygulandıkları alanlara göre başarılı örnekler verilmiştir.Daçyalıların antik dönemine kadar uzanan ortak bir kültürel mirası paylaşan Rumen halkı için ise ülkenin dört bir yanındaki saraylar, kaleler, kiliseler, manastırlar ve sinagoglar 12. yüzyıla kadar uzanan hareketli geçmişin mimari tanıklarıdır. Rumen halk sanatı da bugün çok popüler olan uzun bir geleneğe sahiptir. Boyalı yumurtalar, el sanatları, seramikler, ahşap işleri, cam işleri gibi alanlar bunun en canlı kanıtıdır. Bununla birlikte en yaygın geleneksel zanaat tekstildir. Dokuma ve nakış, katı kalıpları olan ve hatta yalnızca belirli bölgelerde insanlar tarafından bilinen bir tür gizli dil yaratmıştır. Bu bakımdan, Rumen kültürü içinde dönemsel olarak gelişim kaydedilmiş ve başarılı örnekler verilmiştir. Özellikle geleneksel halk giysileri, renkleri ve simgeleriyle ulusal mirasın hâlâ hayatta olan Rumen mitolojisinin ayrılmaz parçasıdır. Bu bağlamda geleneksel Rumen halk giysisi için aynı zamanda sanat ve tarihtir diyebiliriz. Gerek Rumen gerek Türk kültüründe geleneksel ürünlerde kullanılan motiflerin neleri anlattıkları nelerden bahsettikleri her dönemde insanların ilgisini çekmiştir. Motiflerin kendisini üreten insanla nasıl bir birliktelik kurulduğu, insan-motif ilişkisinin gelişim süreci anlaşılmaya çalışılmıştır. Çünkü değişen, her dönemin insanı değil, her dönemin sanatıdır.Türk süsleme desenlerinden hatayi, bulut, rumi, lale, çintemani, hayat ağacı gibi birçok motif ile oluşturulmuş eserlere bakıldığında dönemin halk giysilerindeki simgeler ve renklerin neler olduğu, kullanılan tekniklerin ve malzemelerin bilgisine ulaşılabilmektedir. Bu düşünceden yola çıkarak, çintemani, lale, yıldız, ağaç, kuş gibi motiflerinden yararlanarak bazı örnekler verilmiştir. Ağaç kültürü, halk sanatımızda halıda, kilimde, işlemelerde, çoraplarda olmak üzere birçok alanda kendini göstermektedir. Çintemani motifi, Osmanlı saray sanatında çok kullanılan bir motifken, aynı dönemin halk sanatlarında kendini hiç göstermemiştir. Lale motifi, Osmanlı saray sanatında altın dönemini yaşamış, halk sanatında da kendini kısmen ifade edebilmiştir. Yıldız motifi, Osmanlı saray sanatında olduğu gibi, halk sanatında da kendinden çok söz ettirmiştir. Kuş ve hayat ağacı motifleri ise Osmanlı saray ve halk sanatlarından çeşitli uygulamalarla günümüze kadar gelebilmişlerdir.&nbsp;Çini örneklerine bakıldığında ise, yıldız formlar üzerine uygulanan yoğun figür kullanımı görülmektedir. Bu çinilerde Selçuklu dönemi çinilerinde görülen firuze,kobalt mavisi, mor ve siyahın yanı sıra yeşil, kahverengi, sarı, kırmızı ve altın yaldız kullanımı dikkat çekmektedir. Milet işi diye anılan şeffaf sır altına mavi tonlarında, firuze, mor, siyah, yeşil renklerle boyanan ve beyazımsı krem rengi astarla kaplanan kırmızı hamurlu çinilere 14. yüzyıl sonlarında rastlanmaktadır. Bunlar, Erken Osmanlı döneminde en yaygın gruplardan birini oluşturan kırmızı hamurlu seramiklerdir. Bezemelerinde çiçek, yaprak, palmet, rumi, kıvrık dallardan oluşan bitkisel, yıldız, altıgen, rozet, helezon, dikey hatlı geometrik, balık, kuş gibi figürlü, dalga-kaya, inci dizisi gibi motifler kullanılmıştır. Sanatsal geleneklerin bir parçası olan bu motifler, sosyal statü, sevgi, beklenti, inanç, evlilik, bekarlık, göç, afet, hüzün, neşe, mutluluk, özlem, ayrılık, dilek ve daha birçok olguyu ifade ve sembolize etmek için kullanılmıştır.&nbsp;Rumen halk motiflerine bakıldığında ise daha çok gamalı haç, sekizgen, çember, daire, halat ve yılan gibi sembollerin kullanıldığı görülmektedir. Gamalı haç, güneşin sembolüdür. Aynı zamanda Romanya’nın etrafında dönen merkezi ve dünyayı temsil etmektedir. Yılan sembolü, Rumen kozmogonik efsanelerinde, dünyanın yaratılmasından önce dünyanın ağacında kıvrılmış görünmektedir. Bunun ise İmparator Yılan olduğuna inanılmaktadır. Daire sembolü ise çok eski bir dekoratif motiftir. Bugün bir güneş temsili olarak kabul edilmesine rağmen, güneş kültünün ortaya çıkmasından çok önce kullanılmıştır çünkü eski dinlerde daire kadın tanrıçaların temsilidir. Sekizgen ise kare ve daire arasında görünmektedir. Kare sınırlamadır ve daire sürekliliği ve sonsuzluğu temsil etmektedir. (Dünya (kare) ve gökyüzü (daire) arasında bir ara dünya).Rumen ve Türk halk sanatında rengin ve simgeciliğin incelendiği bu araştırmada her iki ülkenin de farklı kullanımlarının kültürleriyle, gelenek-görenekleriyle ve bulundukları coğrafyayla ilgili olduğu, benzerliklerin ve farklılıkların bu bağlamda tüm alanlarda kendini gösterdiğini söylemek mümkündür. Bu kapsamda halk sanatında da tekstilden dokumaya ve giysiye, seramikten ahşaba birçok alanda özellikle söz konusu ülkelerin kültürlerine özgü simgelerin kullanıldığı ve renklerinde bu noktada farklı anlamlar içerdiği görülmüştür. Renkler, toplumların kültürlerinde eski çağlardan bu yana önemli bir simge olarak yer almıştır. Kimi zaman yönler tanımlanırken (Türklerde binlerce yıldır siyah rengin kuzeyin sembolü olarak kullanılması, kuzeydeki denizin Karadeniz olması gibi), kimi zaman milli duygular ifade edilirken, cinsiyet tanımlanırken, dinî kimlikler belirlenirken (Yahudiler için mavi rengin, Müslümanlar için ise yeşil rengin kutsal renk kabul edilmesi), camiler, kiliseler, tapınaklar ve mimari yapılar süslenirken vb. renkler simgesel anlamları düşünülerek kullanılmıştır. Günümüzde ise eski devirlerin renkteki simgeselliği yerini işlevselliğe bırakarak farklı bir boyut kazanmıştır. Artık bireylerin konforu, sağlığı ve verimliliği düşünülmektedir. Her kültürde renkler tarihin ilk dönemlerinden başlayarak farklı algılanmış ve yansıtılmıştır. Ayrıca tarihî süreç içerisinde renklerin kültürlerde oldukça önemli simgesel anlamlar içerdiği ve bireylerin hayatlarına da yön verdiği görülmüştür. Bu bağlamda Rumen ve Türk Halk Sanatındaki renk ve simgeleri analojik bir yaklaşımla sunmayı amaçlayan bu çalışmada giysi, dokuma, seramik gibi alanlardan örnekler verilerek renklerin ve simgelerin kullanımı aktarılmış ve bölgesel farklılıklar kadar benzerliklerde ortaya konmuştur.

An Analogical Approach to Colors and Symbolism in Romanian and  Turkish Folk Art

Nurdan

Öğretim Görevlisi

A collage is obtained by constructing it on a surface with any printed, etched or photographic material to create a new composition. Thus, an artwork can be created by using various materials that are not artistic per se, as they are used only to create a composition by being cut, pasted, added, etc. The collage technique associated with actions means deconstructing and rebuilding in all artistic fields. In this constructive understanding, the collage artist is not interested the individual design elements-the artist finds the piece that will be useful in the design. The concept of collage can be evaluated in two contexts. The first is “paste,” which refers to the technical construction of the collage and the dictionary meaning; the second is to bring together bakımından in terms of meaning. The action of sticking in collage is distinguished from other task elements in that it is not made simply for decoration purposes and does not include re-joining of broken pieces.As art is a part of life, it has created its own visual language and rules in every period. This identity, created in every work of art, is fed by the “present” we are in. Cubists were willing to face the realities of the period and handled the objects with their known aspects. Dadaists have tried more aggressive ways in the artistic context rather than the context of the period. Thanks to these aggressive attitudes, they allowed their independent thoughts to emerge. The Cubists, Futurists and Dada artists used collage according to their subject and style with using a variety of materials. Today, we see the collage technique in contemporary art in contemporary art formations such as Installation and Land art. It is used either as a reality or as a collage inserted into space.Cubists who make real objects a part of their art; also inspired many trends of modern art. For this reason, collage was first used by Picasso and Braque as an artistic form in the period 1911–14 termed Synthetic (Combinational) Cubism. During this period, Picasso and Braque opened doors to a different understanding by sticking non-art objects such as linoleum, newspaper, and wallpaper on to the surfaces of their works.There are three concepts of collage technique. Assembly, packing and photomontage. Assembly is considered a form of behavior and artistic production seen in twentieth-century art. The artist who applied the assembly technique for the first time in the history of art was Picasso. As a result of his creativity in art, he brought the third dimension to the collage technique and produced the first examples of the assembly technique. Dada movement artists, who used the montage technique the most, have often included politics and political messages in their assemblies, unlike artists in other movements. The main material of the photomontage technique also provided the artists with a rich opportunity for expression with darkroom processes, color, texture, detail shots or using these techniques simultaneously.Basic design elements ensure the creation of the desired and expected composition in the design process. A design is realized by using many elements and many principles together. What we describe as the basic design elements are divided into seven different branches; Line, Shape, Shape, Space, Color, Texture and Pattern. Line with an endless series of dots is an important tool in design. Thanks to this descriptive feature, it makes many contributions to the works. Lines contain various meanings depending on their location. Straight lines: while giving a feeling of simplicity, evoke strength and calm; Vertical lines: signify life, vitality and mobility; Horizontal lines give a sense of calm and death, while curved and spiral lines give a sense of energy and dynamism. In the historical process, it is seen that the line affected many artists and designers and the effect continued in every period. Picasso, Matisse, Pollock and Klee exemplify leading artists influenced by the power of the line. The shapes themselves, shapes in various features and designs give the space different effects. The use of shapes with different methods allows us to obtain novel and different shapes. The format in basic design literature allows us to perceive design elements in three dimensions. With the form element that allows us to express objects, works with aesthetic integrity are also obtained in terms of function. The spacer element, also defined as space, is the space between forms. It is possible to obtain the most accurate effect in a composition through the spaces that separate the object from the environment and make sense according to its function. Color is technically the wavelength of light that the human eye can see, and color acts as a powerful visual tool. Color harmony in any kind of work and production, where color is used as a basic language, gives a sense of order and inspires visual curiosity. Therefore, designers add aesthetic beauty to their designs with this design element. The texture has a three-dimensional structure. Detailed information about the internal and external structure of the object can only be accessed thanks to the texture. Pattern (Direction) is any visible edge of a surface. In two-dimensional designs, the pattern is presented with light and shadow, while the three-dimensional form gains volume. There are generally three main directions: vertical, horizontal and diagonal.After the literature review of the study has been completed, the application section follows. In this section, which includes experimental collage studies, interpretations are made about each of the works created with basic design elements. As a result, no matter what material is used in the production process of the collage, the feeling that it sets out to impress the audience has become a reality. Thanks to this effect, the language of reality has been shaped with a rich infrastructure. It has been concluded that this branch of art, which broadens the perspective of the designers, will enhance the value and originality of their designs that have their own interpretation power.

Examining Experimental Collage Applications with Basic Design Elements

The Baghdad Kiosk, which is located in the fourth court of Topkapı Palace, overlooks the most beautiful view of the palace. It was built by Murad IV (1612-1640) to commemorate the Baghdad Campaign in 1639. It’s architect was most likely civil chief-architect Kasım Aga. It is a structure with a central dome and four iwans. There is a cloister surrounding the windowed structure from the outside. Tiles adorn the upper parts of the lower windows on the exterior. The interior pendetives, iwan arches, spaces between the windows and insides of the cabinets were also tiled. Panels situated on the both sides of the fireplace and between the windows decorated with bird and kilin figures are in the reed style. Nakkaşbaşı Şah Kulu is the person who started this style at the Palace. This decoration style started in the mid-16th century and was generally used in other art forms and was seen in tile, illumination, fabric, binding, hand-srawing decorations and was seen in lacquer art in the 18th century. The panels in question are successful 17th century copies of the 16th century examples from the Topkapı Palace Circumcision Chamber (1640) facade tiles. The reed style in 17th century tile decoration can be seen in two buildings. These are the Topkapı Palace Baghdad Pavillion and the Cairo Aksungur Mosque. The panels in the Topkapı Palace Baghdad Pavilion are large reed leaves and hatayis coming out of the vase on both sides of the hearth. Bird figures are also seen among them. One of the panels on the walls is a panel of clay. This work is also one of the successful examples of the reed style. This same decoration is seen on the altars of the Aksungur Mosque in Cairo. Here too, the reed leaves coming out of the vase form the decoration. These panels are located on the facade of the Topkapı Palace Circumcision Room. It is a successful copy made in the 17th century. These decorations in the reed style in question are seen as Ottoman imitations on the Stroganoff Palace of Rome’s tiles in Italy. It is known that the Ayetel Kürsi of celi sülüs calligraphy in Topkapı Palace Baghdad Kiosk belonged to Enderuni Mahmud Çelebi of Tophane. Technically and artistically, the Topkapı Palace Baghdad Kiosk is the most prominent structure adorned with Ottoman tile art of the 17th century. It is also noteworthy for the successful other than the value of the adornments, it is also noteworthy for the successful application of tiles. Other than the tile calligraphy, the panels adorning the insides of the arches and the interior of the structure in reed technique were designed according the locations they were placed. The tiles in the structure were produced using the underglaze technique and were blue and white in color. The blue and white color creates harmony in a structure in which the tiles were used so extensively, creating a peaceful environment. While this condition is true for the Topkapı Palace Revan Kiosk (1635), Topkapı Palace Baghdad Kiosk, Üsküdar Tiled Mosque (1640) and the complex of Yeni Cami (1663), the blue and white color palette is also preferred in the tiles covering the entire structure, constructed in the second half of 17th century. In the 17th century, when the tile production was very intense, Kütahya and İznik workshops continued their production together. In this&nbsp;especially in the Topkapı Palace Harem, İznik and Kütahya tiles were used together in many buildings where tile decoration was applied. Apart from the few archive sources, it is possible to partially distinguish the production places of the tiles of the buildings in question from the selection of sizes and patterns. The Topkapı Palace Baghdad Pavilion’s exterior tiles resemble Kütahya in terms of size and patterns. The interior tiles are thought to be produced by İznik for the same reason. Based on the structures built in the 17th century, it is understood that there was an intense tile activity in this period. It is known that although ceramics export to Europe stopped in the 17th century, tile exports continued intensively. These tiles were uncovered in the structure known as the Red Tower in the Transylvanian Saropatlak Castle excavations in Europe. However, these tiles are different than the 17th century tiles. In addition to the monastery in Mount Athos, Greece, a small number of 17th century Turkish tile pieces were found in the castles in Moldavia Suceava and Iaşi. The Iznik tiles in the Mount Athos monastery are examples of naturalist flower decorated skirting tiles coming out of a pedestal bowl. Another structure mentioned in the correspondence from this period is the Crimean Khan Palace tiles. These tiles are also 17th century Turkish tiles. It is clear that not all of these are made in Iznik. Most of Iznik tile workshops remained unused after the construction of the Sultan Ahmed Mosque. Evliya Çelebi mentions more than three hundred workshops during the reign of Sultan Ahmed I (1603-1617), in which nine were open in Iznik by 1648.Therefore, in the exports and domestics market Kütahya became a second center. As it was seen in some examples, it is thought that the tiles that do not resemble both centers may have been made in Istanbul workshops.Iznik is one of the centers of the Ottoman Empire’s tile and ceramic production. The ceramic pots it produces are world famous. Also, Iznik tiles constitute the vast majority of the tiles that adorn the Ottoman buildings of the 17th century. Kütahya has been a center of tile and ceramics since the Principalities Period. Kütahya is seen as the second center after Iznik in the Ottoman Period. Especially, at the end of the 16th century and the at the beginning of the 17th century, Iznik and Kütahya were producing under equal conditions and designs. Kütahya remained in the background with the rise of Iznik tiles in 16th century. Undoubtedly, Kütahya continued its activities in this period as well. It is known that production in Kütahya was greater than İznik in the 17th century. Kütahya and İznik workshops continued to produce together in the 17th century when the tile production was very intense. In this case, Iznik and Kütahya tiles were used together in the Sultan Ahmet Mosque, Üsküdar Tiled Mosque and New Mosque and especially in the Topkapı Palace Harem where tile decoration was used. Apart from the few archive sources, it is possible to partially distinguish the production places of the tiles of the buildings in question from the selection of sizes and patterns. The façade tiles of the Topkapı Palace Baghdad Pavilion look like Kütahya in terms of size and patterns. The interior tiles are thought to be produced by Iznik for the same reason.

Topkapı Palace Baghdad Kiosk Tiles

İlcan

Multi-layered settlements bearing the traces of different civilizations from different historical periods face the risk of extinction due to physical, social and economic problems. At this point, what can be done in terms of the conservation and sustainability of the culture, history, geography, socio-economic situation, traditional architectural texture, and natural and cultural heritage values of the settlements should be discussed. In this study, the main focus was on the cultural and natural heritage values of protected areas as urban archaeological sites and what can be done to carry these values into the future. In this context, the ancient city of Attouda in the Sarayköy District of Denizli province and the Hisar settlement, which was established on the ancient city at a later period, were evaluated as study areas. The research, which is based on sustainably preserving the natural and cultural values of the Hisar (Attouda), an urban archeological site, and transferring them to future generations, was carried out in three stages.In the first stage, written and visual sources and archaeological studies about the research area were examined, and face-to-face interviews were held with local people, experts on the subject and scientists who have carried out studies in this field of research. Concurrently, an institutional research was carried out to obtain visual and written documents on the subject of the conservation process in the field of research. The natural and cultural values of the area were determined and maps regarding the current situation were created with AutoCAD, Photoshop and Netcad programs.In the second stage, the decisions taken and the documents about the area to be declared as a protected area by the conservation committee and the works made for conservation in the following processes within the scope of analysis were primarily examined in the conservation history analysis of the research area and deficiencies and problems were determined. The strengths and weaknesses of the area were determined with the SWOT analysis aimed at preserving the area sustainably in line with the natural and cultural values of the research area, and opportunities and threats arising from the external environment were identified.Conservation and revitalization suggestions were made at a regional and settlement level based on the integrated conservation approach by evaluating the information obtained regarding the current situation of the area in order to revitalize the settlement&nbsp;by revealing the natural and cultural values of the area, to preserve and transfer it to future generations with all the studies carried out and the data obtained in the third stage. In the proposals, the values bearing the characteristics of the past were taken into consideration in a way that includes both the present and the future, and it was taken into consideration that surface exploration and archaeological excavation areas and the existing settlement should be managed in an interactive and holistic way without affecting each other.Considering the natural and cultural landscape characteristics of the Hisar (Attouda) settlement, located on the route of ancient cities (e.g. Aphrodisias, Trapezopolis, Laodikeia, Hierapolis, Tripolis), its region and the historical and socio-cultural settlements that stand out along the route and their proximity to each other, the use of a cultural route is envisaged as a conservation and revitalization proposal on a regional scale. In addition, for this purpose, the necessity of planning-implementation studies by the relevant public institutions and organizations was put forward in order to increase the quality of infrastructure and space, to make improvements in areas requiring urgent intervention on the determined route, to conserve and develop the natural, historical and cultural sites and structures considered as an element of the route, to increase visibility and accessibility, to re-use the buildings by giving appropriate functions within the scope of cultural tourism by abiding to the principles of the use and preservation.&nbsp;For the Hisar (Attouda) settlement, which is an urban archaeological site, conservation and revitalization proposals at the settlement level were discussed as (a) recommendations on conservation-oriented intervention areas in the context of cultural values, (b) recommendations on natural values, (c) conservation recommendations for surface exploration and excavation areas.Both traditional architectural texture conservation works and excavations should be planned in a way so that they do not affect each other but interact with each other and an approach to the conservation and sustainability of its cultural heritage and settlement texture should be adopted. All kinds of work to be done in the surface exploration and excavation area and in the urban site area should be carried out within the legal framework based on conservation principles. The excavations within the urban site boundary and the protection and exhibition of the archaeological findings afterwards and the restoration, renewal and rehabilitation works within the urban site should be planned and implemented together. Immovable cultural assets uncovered after excavations should be preserved in situ, and portable cultural assets should be preserved by being exhibited in or around the appropriate museum.As a result, evaluating the readability, preservation and enhancement of the unique natural and cultural features of the area, the recognition of the field and its contribution to regional development on the basis of preservation and stimulation that can be accurate and effective will allow the sustainability of the field from the past to the future on the axis of a rational and holistic approach. In this context, it is believed that the conservation and revitalization suggestions put forward on the basis of the integrated conservation approach with this research will contribute to the planning-design and implementation processes in order to preserve the historical past of the cultural heritage area of Hisar (Attouda), an area which has survived from the past to the present and has been shaped by changes and transformations in the historical continuity, and to protect and transfer it to the future generations.

The Conservation Approach in Urban Archaeological Sites: The Case of Hisar (Attouda), Denizli

Gamze

Toplumun gelenek ve göreneklerini yansıtan, gündelik yaşamdan kesitler sunan geleneksel konutlar, taşıdığı değerler sebebiyle korunması gerekli kültür varlıklarıdır. Bu kültür varlıklarından bazılarının zamanla kullanılamaz hâle geldiği ve sonrasında da yıkıldığı gözlemlenmektedir. Bu örneklerden biri de Edirne’nin Karaağaç Mahallesi’nde 866 ada, 10-11 numaralı parselde yer alan tescilli geleneksel konuttur. 2009 yılındaki belgeleme çalışmaları kapsamında, konutun rölövesi, rölöve raporu ve fotoğraf albümü hazırlanmıştır. Bundan on yıl sonra, alanda yapılan incelemelerde, yapının yerinde olmadığı ve sadece yapının izlerinin kaldığı tespit edilmiş ve bu tespitler fotoğraflanarak belgelenmiştir. Bu veriler, çalışmanın malzemesini oluşturmaktadır.Bu makalede, yöntem olarak literatür taramasından yararlanılmıştır. Ele alınan geleneksel konutla ilgili literatür taraması yapılmış ancak yerel ölçekte kalan bu yapıyla ilgili herhangi bir yayına rastlanılmamıştır. Bunun yerine Karaağaç konut mimarisiyle ilgili yayınlar incelenmiştir. Bu yapının özellikleriyle Karaağaç konut mimarisinin genel özellikleri karşılaştırılmıştır. Bunların yanı sıra yerinde korunamamış, mevcut olmayan bu yapı için nasıl bir önerinin sunulması gerektiği ve kültür miraslarının bakımsızlık nedeniyle yıkılmaması için ne yapılması gerektiğine yönelik literatür taraması yapılmıştır. Bu çalışmayla yıkılan bir kültür mirasının elde kalan verilerini literatüre kazandırmak hedeflenmiştir. Bu makalenin ikincil amacı da kültür miraslarımızın yıkılmasının önemli sebeplerinden biri olarak görülen bakımsızlık sorunuyla mücadele edebilmek için yeniden işlevlendirmenin önerilmesi ve özendirilmesidir.Kadim şehir Edirne’nin önemli sayfiye yerlerinden biri olan Karaağaç; savaşlar, antlaşmalar, işgal direnişi, referandum, devletlerarası el değiştirme, mübadele gibi birçok siyasi, tarihî ve sosyolojik olaya tanıklık etmiş bir yerleşimdir. Mübadele öncesine kadar, Türkler ile Gayrimüslim ailelerin bir arada yaşadığı bu yerleşimde, geleneksel konut mimarisinin geniş bir yelpazesiyle karşılaşılmaktadır. Bu makale kapsamında ele alınan konut, Karaağaç’taki diğer birçok geleneksel konut gibi iç sofalı plan tipinin karakteristik özelliklerini göstermektedir. Planda bir iç sofa ve dikdörtgen şekilli sofanın her iki uzun kenarında, ikişer odadan toplam dört oda bulunmaktadır. Yerleşimdeki birçok konutta olduğu gibi yapı, sokakla ilişkilidir. Yapının, Dilaverbey Caddesi’nden doğrudan bir girişi bulunmaktadır. Yapıya taş bloklardan oluşturulmuş iki basamaklı merdiven ile girilmektedir. Bunun yanı sıra, köşe parselde yer alan konutun, İstiklâl Caddesi’nden de arka bahçeye girişi yer almaktadır.Zemin kat, sofa ve dört odadan oluşmaktadır. Z1, Z2 ve Z4 odalarına sofadan; Z5 odasına, arka bahçeden ulaşılmaktadır. Z5 odasının kotu, arka bahçenin kotundadır. Geleneksel konut mimarisinde sıkça karşılaşılan pencere önü sediri, gömme dolap, gusülhane, ocak ve nişler bu konutta da kullanılmıştır. Z1 ve Z2 numaralı odaların pencere önlerinde sedir, sedirin tam karşısında Z1 odasında üç kanatlı bir gömme dolap, Z2 odasında ise dıştan iki kanatlı gömme dolap gibi görünen gusülhane yer almaktadır. Sedir, bu odalar için oturma işlevinde kullanılırken, bodrum kat için oluşturduğu yükselti sayesinde pencerelerin açılmasına olanak sağlamıştır. Zemin kattaki sofa, bir merdivenle sonlanmaktadır. Dört basamakla inilen ara sahanlıktan bahçeye çıkış sağlanmaktadır. Arka bahçede, muhdes bir tuvalet bulunmaktadır. Bahçe çıkışının olduğu ara sahanlıktan beş basamakla bodrum kata inilmektedir. Merdivenin hemen karşısında yer alan sofa altı (taşlık) mekânının, zemini taşlık olup tavanında döşeme kaplaması yoktur. Alttan örtülmeyen döşeme kirişlerinin yanı sıra mekânın ortasındaki ahşap dikmeler de görülmektedir. Sofa altı mekânının sağında, iki oda bulunmaktadır. Soldaki mekânlar, duvarla kapatıldığından belgelenememiştir.Cephelerde, Karaağaç’taki geleneksel konut mimarisinin tipolojisine uyan, sade ve simetrik bir anlayışın hâkim olduğunu söylemek mümkündür. Bununla birlikte tipolojiye uygun olarak girişler cepheden içeri çekilmiştir. Kuzeybatı cephesinde, girişin sağında ve solunda yer alan pencerelerden hemen sonra başlayan 45° açılı duvar, cepheye hareket katan bir öğe olarak kabul edilebilir. Yapının diğer yola bakan cephesinde, saçak altı silmesinin bezemesi dışında herhangi bir süsleme bulunmamaktadır. İç mekânı da oldukça sade olan konutun, sadece tavan çıtaları, tavan köşe silmeleri ve duvar silmeleri profillidir. Özgün yapım sistemi, ahşap karkas arası kerpiç dolgu olup üzerine kıtıklı çamur sıva yapılmıştır. Bazı cephelerde, kıtıklı çamur sıva üzerine kireç sıva uygulanmıştır. Sonradan müdahale edilen kuzeybatı cephesinin bir bölümünde tuğla kullanılmıştır. Beşik çatının ve bahçe duvarının üzeri alaturka kiremitle kaplanmıştır. 2019 yılında yerinde yapılan incelemeye göre, yapının temel kalıntıları, birkaç ahşap dikmesi ve dolgu malzemesi dışında yapıya ait hiçbir öğe kalmamıştır. Dilaverbey Caddesi’nden bitişik komşusu olan yapının duvarında, yıkılan geleneksel konutun duvar ve çatı izleri bulunmaktadır.Yıkılmadan önce bu kültür mirasının belgeleme çalışmaları tamamlandığından rekonstrüksiyon önerisi akla gelebilir. Ancak bu kültür mirası, savaş veya doğal afet gibi bir felaket sonucu yıkılmamıştır. Bu durumdaki bir kültür mirası için rekonstrüksiyonun uygun olup olmadığı koruma otoriteleri tarafından hâlâ tartışılmaktadır. Rekonstrüksiyon kararı alınsa bile, yeniden üretilecek yapı, tarihî bir değer taşımayacaktır. Geleneksel konutların terk edilmesinin ve yıkılmasının sebepleri araştırılmalıdır. Bundan sonra, diğer kültür miraslarımızın yok olmasını önlemeye yönelik çalışmalar yapılmalıdır. Büyük ailelerin küçük aileye dönüşmesi, gelir durumuna göre konut tercihinin değişmesi, çok amaçlı mekânlar yerine özelleşen mekânlara ihtiyaç duyulması ve yeni mekân gereksinimi, çağdaş yaşam araçlarına yönelme, kırsal yerleşimlerden kentsel yerleşimlere göç vb. modernite süreciyle karşımıza çıkan ve geleneksel konutların terk edilmesine sebep olmaktadır. Bunların yanı sıra yaşlılığa bağlı konut beklentisinin değişmesi, mirasçıların uzlaşamaması ve intikal işlemlerinin uzaması gibi sebepler de geleneksel yapıların işlevsiz kalmasına yol açmaktadır. Atıl kalan birçok kültür mirasının, bakım ve onarım çalışmalarında sürekliliğin sağlanamaması, bu yapıların yıkılmasına sebep olmuştur. Maalesef işlevsiz kalan yapıların yok olmaya mahkûm olduğu söylenebilir.Kültür mirasının yok olması, toplum için geri dönüşü olmayan bir kayıptır. Toplumsal kimliğin oluşumunda rol oynayan bu yapıların yıkılmasını önlemek gerekmektedir. Bu amaçla öncelikle kültür mirasının taşıdığı değerler tespit edilmelidir. Sonrasında belgelenmesi, kayıt altına alınması, tescillenmesi, sürdürülebilir bir koruma politikasının geliştirilmesi gerekmektedir. Kültür mirasının gelecek kuşaklara aktarılması, sürdürülebilir koruma politikalarının oluşturulması ve bu politikaların toplum tarafından benimsenmesi yoluyla sağlanabilir. Sürdürülebilir koruma yöntemi olarak bu yapıların yaşatılarak korunması önerilebilir. Bunun için günümüz konfor koşullarını sağlayacak düzenlemelerin yapılması gerekmektedir. Ancak yeniden işlevlendirme ya da işlevsel güncelleme adı altında yapının sömürülmesi de doğru değildir. Bu noktada dikkat edilmesi gereken husus, koruma - kullanım dengesidir. Bu dengenin kurulabilmesi için inşaat, makine ve elektrik mühendisi, sanat tarihçi ve koruma-restorasyon konusunda uzmanlaşmış mimarla birlikte disiplinler arası bir çalışma yürütülmelidir. Ortak yürütülecek çözüm önerilerinde hem kullanıcı istekleri hem de yapının özgünlük değerinin korunması göz önünde bulundurulmalıdır.

Remains from a Demolished Cultural Heritage: A Historical House in Karaagac

Keziban

Hüseyin

In the Dictionary of the Turkish Language Association, a motif is described as a decorative element that can be seen either as an ornament or as a separate entity. These are generally small elements that go together to make up an entire composition and may contain messages. Motifs are seen in all types of handcrafts and have a large part to play in weaving as well. These are elements in the language of the weaver that develop and survive across time, from the past to the present. Geometric, floral, figured (animal/human), symbolic, pictorial, and writing motifs are used in traditional weavings. In this study, the geometrical and floral motifs of Eastern Black Sea Region weavings are discussed. Geometrical motifs are lovingly incorporated in artworks and in other arts. These motifs consist of stars, hexagons, octagons, triangles, rhombuses, squares, and quadrilaterals. The floral motifs are basic elements in the Turkish decorative arts, and flowers, leaves, twig, fruits, and trees are sometimes presented in the same (naturalist) form in which they exist in nature, and they sometimes appear in a stylized manner. A field study was carried out in the Eastern Black Sea Region to obtain access to the approach to weaving used there, and carpets and plain weavings were photographed in detail. Information was acquired face-to-face interviews with weavers or those knowledgeable about weaving or who own weavings. Motifs were photographed, analyzed, and isolated for reproduction.&nbsp;Field study has shown that traditional weaving is still being produced in the Eastern Black Sea Region. The geometric motifs seen in these weavings include stars, rhombuses, and octagons. The rhombus and octagon shapes are generally used as medallions at the base of the weavings. The motifs used are symbols from folk systems of belief, such as the stars, the moon, and the sun. The motif is described as the symbol of the sky and eternity;&nbsp;it is loved and finds use in different forms in stone, wood, tile, metal, textile, weaving, and many other handicrafts. The Anatolian people believed that there has always been a link between the stars and human destiny. The star motif has long been used in weavings made in Anatolia, and it is very common in Seljuk carpets. The star motif can be seen in 13th century carpets in weavings in the Eastern Black Sea Region. The star motif is popularly used in the carpet in F. 8 in Bayburt and in the rug in F. 4.&nbsp;Hexagonal, octagonal, rhomboid, and square forms are seen in surface decorations in Turkish handcrafts, where they are often used as decorative elements that are applied to create certain areas on the surfaces. These geometric forms are also used in weavings, and they appear in medallions with hexagons, octagons, and rhombuses in carpets and plain weaves. Medallions consisting of rhombus and octagons are used on weaving floors in the region. A medallion consisting of six octagons lined up side by side lined up side by side is found on the bottom of the carpet in F. 10, found in the Şavşat district of Artvin. Medallions woven by rhombuses placed on top of each other form the bottom of the kilim pillow in F. 13 and are identified in Bayburt. It has been seen that the plant motifs in these weavings generally include those of the flower, branch, leaf, tree of life, and velvet. The tree of life symbolizes that the underground, the earth, and the sky are always connected with each other, and the velvet motif is considered to represent abundance and fertility.&nbsp;Floral motifs began to be seen in Turkish carpet art following the greater influence of Iran in the 16th century, and the richness of the motifs acquired was created by using natural motifs, such as those of the carnation, tulip, hyacinth, chamomile, rose, marshmallow flower, and peony, together with stylized plant motifs such as those of insects, buds, daggers, and leaves. The floral motifs used in the carpet panel found in F. 16 identified in Artvin are woven together in a naturalistic manner. It has been concluded that floral motifs are frequently used in plain weavings, especially in Artvin and Bayburt. In the rug wall exhibition in F. 18, F. 21, F. 25, it can be seen that flower branches and leaves are used in the ground spread. The flower motifs draw attention in the prayer rug in F. 28. The tree of life, a motif that is commonly seen among the herbal motifs, creates a vertical symbolism of life that is constantly developing and rising to heaven. The most important feature of the tree of life, located in the center of the world, is, as mentioned, the connection it makes among the underground, the earth, and the sky. The oldest carpets that use the tree of life motifs are animal figured carpets that date to the 14th and 15th centuries. It has been determined that the tree of life was used in plain weavings made in Kocabey Village, Şavşat district, Artvin Province, within the scope of the study. On the red floor of the wall exhibition discovered in Artvin and&nbsp;located in F. 31, bunches of flowers can be seen to emerge from ten vases colored blue and orange in three rows. One motif seen in the weavings is that of velvet, which represents abundance and fertility and is also used to destroy evil. In the field study conducted in the region, the velvet motif was found included in the weavings. It is seen that the rug floor mat in F. 33 in Bayburt, the Palaz rug in F. 36 in Giresun, and the zilli rug in F. 39 in Gümüşhane are popularly used versions of ground mats. It can be understood that the motifs used in the weavings in the field studies of ancient rug weaving in Central Asia continue up to the weaving of today and bear the traces of past cultures.

Geometric and Herbal Motifs Used in Kirkit Textiles from the Eastern Black Sea Region

Nurçin

Yelda

Compared to a rural settlement, a settlement that has different urban functions, that generates income from sectors other than agriculture and livestock, and that has such characteristics as trade, housing, administration, education etc. is called a city. The basic functions of cities have experienced change and transformation with urbanization. The effects of these changes and transformations are more prevalent in city centers. The craft spaces that have cultural value and where production and sales are made are generally located in historical city centers. These spaces both lead the work of the craftsman and gain value and meaning with the presence of the craftsman. A craft is a type of production that provides information about the cultural life of the city. In addition, it is a concept that reflects the lifestyles, thoughts and beliefs of societies.With globalization, one may see that a competitive environment has emerged in which local conditions (such as historical textures, traditional textures, architectural structures, lifestyles in the cities) have come into prominence. In this competitive environment, lifestyles in the city gain value in terms of identity and culture. Craft and craft spaces that have preserved their traditional production styles are also among the important symbols of identity and culture of the city. Craft spaces are areas that can transfer the social, economic and cultural structure of the city from the past to the present. These places can preserve their meaning and vitality with the presence of craftsmen. In historical city centers, craftsmen who do the same craft often coexist and these places are usually named after that craft type. For this reason, keeping craft and craft spaces alive is important for the sustainability of the city’s identity and culture.The city of Trabzon has many identity components in terms of natural, cultural and architectural aspects. It experienced its brightest period when trade was at its peak. It&nbsp;has been an important trade center on the Silk Road. As time passed, the importance of trade in the city increased and different types of services started to enter the city. Crafts such as shoemaking, woodworking, weaving, coppersmithing, silversmithing and quilting were very important in the city in the past. Since the trade was intense, the craft spaces in the city are important identity components integrated with the urban culture.The aim of this study is to examine the transformation of craft and craft spaces in the city of Trabzon, both spatially and socially in line with the views of craftsmen. In the study, the related literature was reviewed, an on-site detection and observations of the craft spaces were made, craft spaces were photographed, and craftsmen were interviewed. First of all, literature research on the city, urbanization, urban identity, urban culture, craft and craft spaces was made and maps, photographs and pictures were analyzed. The current spatial situation of craft and craft spaces was determined. Sharia records, travelogues, yearbooks, maps, photos, pictures, theses and books on the topic were analyzed, and craftsmen and related people were interviewed. Then, in order to find out about the current work-related problems of the craftsmen, an interview was prepared and the craftsmen were interviewed. The data obtained from the field study about the past and present were shown in maps. Thus, the spatial change and transformation of craft spaces in the city was revealed.The data obtained from the fieldwork and interview have shown that the types of craft have gradually decreased quantitatively and changed spatially. Crafts such as shoemaking, coppersmithing, quilting and tailoring can be defined as crafts that have survived up to the present day with a decreasing number; crafts such as jewelry, filigree and silkmaking can be defined as crafts that adapted to the technological, economic and socio-cultural conditions and improved; and crafts such as pottery, crate making, basketry, leatherwork and broomwork can be defined as crafts which have not been able to keep up with the ever developing technology and which have been unable to survive as a result of mass production techniques. The names of different parts of the city is an indicator that shows that a craft is still alive: Potter, Cratemaker Street, Tailors’ Street, Tailors’ Plaza, Saddlers’ Street, Shoemakers’ Street, and Coppersmiths’ Bazaar.Finally, planning studies should be carried out in order to protect, revitalize and sustain craft spaces by determining the problems and potentials of the area. It should be supported by developing craft-oriented urban policies with the cooperation of Public institutions, private investors, non-governmental organizations (NGOs) and the community itself. The city and urbanites must be brought together by creating craft-oriented cultural spaces where exhibition, research and educational activities can be organized in streets and squares that have an important role in creating urban space and craft identity. These spaces to be created will help ensure the sustainability of craft spaces.

Craft and Craft Spaces from the Past to the Present: Example of Trabzon City

Zeynep

Deniz

Hande

Modernite kapsamında iç mekânın maddeselliği, modernlik tanımının karmaşıklığını yansıtmaktadır. Bu karmaşıklığın kurucu ögelerinden biri ise teknolojiyle ilerleyen ilişkidir. Yirminci yüzyılda, oldukça dinamik değişkenliklerle şekillenen materyallik kavramı, mobilya alanını da etkilemiştir. Bu makalede, mobilyanın önemini tartışmak amacıyla mobilya, malzeme nitelikleri, üretim teknolojileri, zanaat bileşenleri ve zorlukları açısından araştırılmaktadır. Çalışmada ayrıca, mobilya tasarımı tarihinde, özellikle de materyal odağında eşsizliğiyle, Türkiye’de üretilmiş yüzyıl ortası modern mobilyaları; malzemeler, üretim teknolojileri ve zorluklar başlıkları altında incelenmektedir. Bu tarihî bağlamın maddi niteliklerini anlamak için daha önce belgelenmemiş ve orijinal kaynaklardan mikro geçmişleri bir araya getirmeye ve farklı kültürlere ses vererek tarihin batı ve batı dışı ikilemlerinden farklı bir perspektiften algılanmasını sağlamaya yardımcı olan sözlü tarih yöntemi, üretim, çağdaş koşullar ve tasarımcıların kişisel deneyimlerinin arkasındaki felsefeyi kendi sözleriyle ortaya çıkarmak üzere çok önemli bir metodolojik araç sağlamıştır. Bu yöntem, çalışmanın modern mobilyalar ve özellikle Türkiye’deki malzemeler hakkındaki sınırlı olan bilgiye önemli ölçüde katkıda bulunmasına olanak vermiştir.&nbsp;Verileri elde etmek için tasarımcılar, zanaatkârlar veya akrabaları ile görüşülmüştür. Görüşülen altı tasarımcı, içmimarlık eğitimi almıştır: Sadun Ersin, Yıldırım Kocacıklıoğlu, Önder Küçükerman, Bediz Koz, Babür Kerim İncedayı ve Yavuz Irmak. Vefat etmiş dört tasarımcının üç akrabasıyla görüşme gerçekleştirilmiştir: Baki Aktar’ın (iç mimar) oğlu mimar Sadık Aktar, Sadi Öziş’in (sanatçı, heykeltıraş) oğlu mimar Neptün Öziş ve Danyal Çiper’in (mimar) yeğeni Arıl Cansel. Son olarak dört zanaatkâr veya yakınları ile görüşmeler yapılmıştır: Mehmet İrfan Dolgun, Mustafa Plevne, Metin Atabey Ata’nın oğlu Erol Ata ve Minas Boyacıyan’ın oğlu Artun Boyacıyan. Materyal doğrudan gözlem yoluyla anlaşılabilse de görüşmelerden elde edilen mikro tarihler, Türkiye’deki mobilyanın hikâyesine katkı sağlayarak mevcut kayıtlı bilgileri zenginleştirmiştir.&nbsp;Türkiye’nin en öne çıkan malzemelerinden biri olan ve mobilyada kullanımı malzemenin dürüstlüğü ile yakından ilintili olan masif ahşap, tüm görüşmeciler tarafından özellikle belirtilmiştir. Benzer şekilde Erol Ata, özellikle 1960 yılına kadar sentetik malzemeler yerine yalnızca masif ahşap gibi doğal malzemelerin kullanıldığından bahsetmektedir. SİM Mobilya Fabrikası (SİM Mobilya) firmasının (1957) kurucusu Mehmet İrfan Dolgun’un da belirttiği gibi, yüzyıl ortası Türkiye’de sadece birkaç yıl dayanabilecek düşük kaliteli malzemeler bulunmaktaydı. Ancak zamanla malzeme ve üretim kalitesi artmış; bu dönemde ahşap üretim süreçleri ve teknolojisi gelişmezken, Türk mobilyasında metal işçiliğinde önemli gelişmeler yaşanmıştır. Irmak’a göre, metal levhalar daha ucuz olduğu ve seri üretilebildiği için, 1960’lı yıllarda Türkiye’de metal mobilya, çoğunlukla ofis mobilyaları üretiminde yaygınlaşmış; Masis ve Arma gibi şirketler ilk seri üreticiler olarak ortaya çıkmıştır. Bununla birlikte, ahşap mobilyalar, daha yüksek iş pozisyonlarındaki yüksek sosyal sınıf müşterilerin ofisleri için talep görmüştür. Türkiye’de formika üretimi ve daha sonra yonga levhalar sektörün ilerlemesini müjdelemiş; formika çok geçmeden Türkiye’de yoğun şekilde kullanılmaya başlanmıştır.Yüzyıl ortalarında Türkiye’de üretim daha çok zanaatkârın yeteneklerine ve mevcut malzemeye bağlı olarak küçük atölyelerde el üretimine dayalı tekniklere dayanmaktaydı. Bu atölyeler çoğunlukla, eğitimin uygulamalı deneyim yoluyla verildiği bir usta-çırak ilişkisi içinde düzenlenmekteydi. Zanaatkârların çoğu gayrimüslimdi ve geleceğin üreticilerini ilk yetiştirenlerdi. Sınırlı uzmanlık ve malzeme, yaratıcı çözümler gerektirdiğinden, üretilen mobilyaların kalitesi o zamanlar çoğunlukla zanaatkârlığa bağlıydı. Türk çıraklar kalfalık kazandıkça atölyeleri yürütmeye başlamışlar, böylece üretim el yapımı veya bireysel olarak kalmıştır. Seri üretim ise, zamanla en önemli konulardan biri hâline gelmiştir. Irmak, Türkiye’de seri üretimin metal mobilyalarla başladığını, Aktar ise Moderno’nun özellikle yeni makinelerin geliştirilmesiyle seri üretime geçiş yapan lider şirketlerden biri olduğunu belirtmektedir. Türkiye’de yüzyıl ortası modern mobilya üretimindeki zorlukları; malzemeler, teknoloji, literatür kaynakları, üretim alanı ve personeldeki çeşitli sınırlamalardan kaynaklanan zorluklar olarak tanımlamak mümkündür. Tasarımcılar da teknolojik sınırlamalarla engellenmiştir. Personel ve üretim alanlarıyla ilgili sınırlamalar kapsamında, atölyelerde bir veya iki zanaatkârla çalışıldığı için üretim süreci çok yavaş ilerlerken, mekân koşulları da üretim kalitesini etkilemiştir.&nbsp;Sonuç olarak, bir ürünün materyalliği konusunda inceleme yapmak, mikro tasarım tarihinin bir ülkenin ekonomik, kültürel ve toplumsal durumundaki gelişmelerle bağlantılı olarak okunmasına izin vermektedir. Dahası, bir mobilya parçasının malzeme niteliklerini anlamak, sadece formlara veya stillere değil, aynı zamanda kültürel üretimlere de dayalı sonuçlar ortaya koyarak, Türkiye’nin gelişme süreci ve çabalarının hikâyesini anlatmaktadır. Malzemeleri, uzmanlık veya teknolojideki sınırlamaların kapsamını kavramak; mobilyaların okunmasını değerli kılar. Doğal, sentetik ve yaratıcı olmak üzere üç malzeme kategorisinin bu çalışmada sunulmuş olan hikâyesi, malzemelerin hem farklı kullanımlarını açıklamakta hem de daha önce belgelenmemiş tasarımcıları, üreticileri ve firmaları ön plana çıkartmaktadır. Türk tasarım tarihine bu katkının yanı sıra, bu çalışma, malzeme ve üretim tekniklerinin evrimini ortaya koymaktadır. Dahası, hikâyeleri belirli mobilya parçalarına bağlayarak, mobilya yalnızca bir eser olarak değil, aynı zamanda bir insan, malzeme ve teknik topluluğunun sonuç ürünü olarak da belgelenebilir. Bu çalışmada aktarılmış olan sözlü tarih, Türkiye’deki modern mobilya hakkındaki bilgi birikimine önemli ölçüde katkı sağlamayı amaçlamaktadır. Modern mobilyada kullanılan malzemelerin hikâyesi, Türkiye’ye özgü malzeme ve üretim tekniklerinin belgelenmesini sağlamıştır. Bu çalışma, yirminci yüzyılın ortalarında Türkiye’de geleneksel ahşap mobilya yapım yöntemlerinden yeni malzeme ve tekniklere dönüşümünü kültürel ve materyal modernleşme aracı olarak açıklamaktadır. Türk tasarımcılar, el üretimi ve sınırlı malzemeler kullanarak, sahip oldukları kısıtlı olanaklarla mobilya üretmeye çalışmışlardır. Bu sınırlamalar, bir endüstrinin büyümesine ve bu deneylerden ders çıkarmasına yol açmıştır. Dolayısıyla bu çabalar, Türkiye’de modern mobilyanın önemi konusundaki farkındalığın geliştirilmesi yoluyla dünya düzenine uyum sağlamanın ve uluslararası arenaya katılmanın yolları olarak okunabilir.

Materiality of Mid-Century Modern Furniture in Turkey

Mustafa

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Alper

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

A Comparison Experiment on the Figures of the Rainspout in Gothic Architecture and Turk-Islam Architecture in the 12th and 14th Centuries

Sevinç

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

New Proposals for the Brick and Tile Decorations on the Minarets of Çifte Minareli Medrese (Double Minaret Madrasah) In Sivas

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İlkay Canan

Öğretim Görevlisi Dr.

Women as the Object and the Subject of Art in the 2nd Constitutional Period

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.

Uskudar Ahmediye Complex & Its Place in the Architecture of the Tulip Period

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

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

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Art-Sanat

@INFO_TAB_ABOUT

Editor in Chief

Editor

Managing Director

English Language Editor

Editorial Board Member

Advisory 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

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

Indexing and Abstracting

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

Policies

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

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

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

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

Ethics

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

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

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

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

Peer Review

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

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

Author Guidelines

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

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

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

Issue Type	Regular
Issue Date	05.02.2021
Editor(s)	Mustafa Balcı
Cover (PDF)
Front Pages (PDF)

Art-Sanat

ISSUE 15, 2021

A New Example to Art of the Depiction of the Westernization Era: Muğla Keyfoturağı Mosque

An Analysıs of Paintings Recently Discovered in the Mevlana Tomb According to the Philosophy of Ishraqi and Plato