Alper

Assist. Prof.

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

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

Sevinç

Assoc. Prof.

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

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

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ART-SANAT SELÇUKLU SAYISI

Resul

Assist. Prof. Dr.

Although the studies on construction materials and construction techniques have increased in recent architectural history research, they have not yet reached a developed level. The plan and space arrangements of historical buildings provide information about the level of architectural development of the period in which they were built. The ornamentation programs in the buildings show the reflections of the understanding of aesthetics and beauty. The construction and decoration materials used in the structures provide information about the geography and geoscience of the region. The simplicity or diversity of the use of construction and decoration materials in historical buildings reflects the architectural understanding of the region where the building was constructed. Another notable feature is the use of spolia. Due to the expedient procurement and straightforward applicability of the spolia material, it is encountered in every age. The high number and variety of spolia usage in Anatolia is worthy of particular interest.The choice and application of spolia materials during the Anatolian Seljuk Era and the Ottoman Empire reveal remarkable causes and consequences. It is seen that the use of spolia materials was abundant in the architecture of the Seljuk period. The fact that the Seljuks carried out many construction activities in the short time they spent in Anatolia must have caused them to prefer construction and decoration materials in buildings belonging to old and different societies, as well as the production of new construction materials. In the Middle Ages, traces of architectural pieces from the Hellenistic, Roman and Byzantine periods can be seen on the works of the Turkish-Islamic period, especially in the monuments in the Central and Western Anatolia Region. In Ottoman architecture, the use of spolia architectural pieces, especially in the Classical period, in harmony with the original material makes it difficult to immediately recognize the spolia material. When the architecture of Anatolian Seljuks and II. Principalities period is examined, spolia materials were used in columns, column bases and capitals, masonry, arches, balustrade panels, lintels and architraves, and were also used as an ornamental material. The reason why spolia is frequently preferred in centers such as Konya and nearby cities, the Western Anatolia Region, Bursa, Istanbul and Diyarbakır is that some buildings have become unusable and have turned&nbsp;into ready-made material warehouses. However, since Christian communities continue their lives and use their buildings in many settlements of the Eastern Anatolia Region, the use of spolia materials in Turkish-Islamic monuments is rare in this region.The Gevaş Izzettin Shir Mosque, located in the Gevaş district of Van province and although its first construction date is controversial, researchers generally accept that it was built in the 14th century, reflecting the characteristics of the Medieval Anatolian Turkish-Islamic mosque architecture with its dome in front of the mihrab and the transverse aisles behind it. The tomb inscription dated 1197, located to the east of the mosque mihrab, reveals that the architecture in the area began much earlier. A madrasah unit was added to the northern façade of the place of worship in 1594-1595, and a minaret was added to the western façade recently. It is understood from the traces on the walls of the work in the form of a complex and the restoration reports that it has undergone a restoration process spanning many years. However, these renovation works have also brought with them some questions.&nbsp;It is obvious that the tomb monument inscription on the east side of the area in front of the mihrab and some stones found in various parts of the building belong to another building. A total of 11 qualified spolia materials were found in this structure. It is thought that 8 of these belong to a tomb monument (gunbad) and two of them are tombstones. It is not clear whether one piece is an architectural piece or a tombstone. In addition, a large number of undecorated building stones, thought to be spolia, were used on the facades of the Izzettin Shir Mosque. Introducing the spolia stones that differ in structure gives ideas about which type of structure they belong to and from where they would have been brought.The inscription on the right side of the mihrab (Harim Stone No. 1) belongs to a grave monument (hazire) and the name of Shah Sarimuddin, who died in January 1197, is written on it. Harim stone no. 2 is located in the corner of the arch on the north nave and is a 5-armed medallion decoration on limestone. Stone no.1 on the south façade of the mosque has the same decorative composition as stone no.2 on the harim. Stones no.2 and no.3 on the south façade and stone 1 on the east façade have the same formal and decorative features.These stones, which are thought to be border arrangements, have a round-surface carving technique, a decoration similar to the “zencirek” motif, continued with broken and straight lines. The stone no.2 on the eastern façade of the mosque is a horizontal rectangle and there are three ornamental panels on it. Since these decorations were destroyed, their nature could not be understood. Composition panels were probably created from similar decorations. Madrasah student cell stone no.1 is a gravestone, but it has not survived to the present day because it was removed during repairs. There is a 10-pointed star motif in the center of stone no.1 on the north façade of the madrasah.&nbsp;Stone no.1 on the east façade of the madrasah is also a piece of a tombstone. There is a burning candle motif in the frame at the center of the stone. The candle pattern is filled with reverse palmette, knot and rumi motifs on both sides. In addition, there are white-textured limestone stones on a large surface on the upper rows of the eastern façade of the mosque. The fact that these stones are different from the other stone textures in the building shows that these undecorated stones were taken from another building.The spolia materials in Izzettin Shir Mosque and Madrasah should be divided into two groups: tomb monument architectural pieces and tombstones. It is thought that the majority of the decorated architectural pieces and facing stones belong to a tomb. The strongest evidence in this determination is that there is a grave monument that is meant by the word “hazire” in the inscription inside the harim. The other second evidence is the border decorations defined as the “zencirek” motif seen on the facades of this building, when we examine the tombs of the Seljuk Age in Anatolia, geometric border arrangements in the form of knitting and interlocking were frequently used in the transition section between the base of the buildings and the body. Another evidence that the stones belonging to the tomb were used is that the stones of harim 2, mosque south façade 1 and madrasah north façade 1 are similar to the use of medallions in the window and entrance openings in the tomb monuments. Since the stones of Harim 2 and the south façade of the mosque number 1 have the same symmetry, it is assumed that these stones were used as repeated decorations in the decoration program of the tomb where they were spolia. Or it can be thought that these stones were used in the arch spandrels of the entrance opening of the tomb. It is assumed that the stones numbered 1 of the madrasah student cell and 1 of the eastern façade of the madrasah are not architectural pieces but were originally used as gravestones.Van Province and its surroundings are located in the first-degree earthquake zone. Many monuments have been damaged or destroyed in the region which has witnessed devastating earthquakes throughout history. Since the tomb to which the spolia stones we examined within the scope of the study belonged was destroyed and became unusable, probably as a result of an earthquake, they were not used in the reconstruction of the tomb. Instead, it is thought that it was used in the repair of Gevaş Izzettin Shir Mosque as a more practical method. In addition, the placement of these spolia stones without regard to aesthetics and symmetry also indicates a local repair.&nbsp;Based on the evidence, the word “hazîre” in the inscription on the wall to the left of the mihrab was used not as a grave-burial area (cemetery) but in a context that would refer to a type of structure / grave monument in the sense of “mausoleum - tomb”. Thus, it is understood that this inscription does not belong to the mosque but is the inscription of the tomb where a person named Shah Sarimuddin was buried during the&nbsp;Ahlatshahs period. It is determined that the medallion decorations in the harim area, on the south façade and the north façade of the madrasah, the border decorations on the east façade of the harim and the white-toned limestone stones in the upper row are also stones belonging to this tomb due to their formal and decorative nature. The tombstone with a candle motif on the east wall of the madrasah and the tombstone used as a scarf stone in the student cell are also used in the building, and it is thought that these are the tombstones around the tomb we know of, or the stones brought from the nearby historical Turkish cemetery. In addition, the intense use of this spolia material on the eastern façade of the mosque is the strongest evidence that the tomb dated 1197 was located in this direction. In fact, this shows that Izzettin Shir Mosque may have been built in the 12th century before the 14th century and that a tomb was built near the mosque. The structures were probably damaged and destroyed by the effects of devastating earthquakes. While the mosque was being repaired, the inscriptions, architectural pieces and plastic decorations belonging to the tomb were used to raise the mosque. Thus, the existence of the earliest Seljuk Era tomb in the Lake Van Basin and in Gevaş was identified from the traces on the walls of the mosque built during the Seljuk period and the madrasah added during the Ottoman period and was brought to the history of architecture. As a result, and as indicated in Table 1, the spolia from the Izzettin Shir Mosque belong to the tomb dated 1197. However, the tombstones used in the madrasah are strongly dated to the 14th century.&nbsp;

Gevaş’ta Selçuklu Dönemi’ne Ait Olduğu Düşünülen Kayıp Kümbetin Muhtemel İzleri

Funda

Anatolian Seljuk architecture was strongly influenced by a fusion of Islamic, Persian, and Byzantine cultures, complemented by the region’s unique historical, cultural, political, and religious context. The buildings from this era are remarkable, particularly due to their simple and introverted architectural designs. The buildings were constructed as plain and unembellished structures but were enhanced with elaborate entrances throughout the early Seljuk eras. The architectural features of the period are asymmetrical plans, courtyards and iwans, decorations, and buildings composed of more than one function. The Anatolian Seljuk Period is characterized by numerous examples of combined-function buildings. These examples may serve several functions, such as madrasah-mosque, mosque-tomb, mosque-mosque, and mosque-madrasah-tomb. Combined-function buildings hold a significant place in architectural history, as they are considered to represent the earliest examples of social complexes that influenced the development of similar structures in the following centuries. These buildings, which served multiple purposes, such as religious, educational, and social gathering places, laid the groundwork for the design and functionality of future social complexes. Their innovative approach to combining different functions within a single building highlighted an advanced understanding of architecture’s role in societal development and community life. In these multifunctional buildings, depending on the specific needs of the time or location, two or three distinct functions were integrated into a single building. Despite the combination of various functions, the relationship between them could either be unplanned, as observed in the Madrasah-Darüşşifa (educational institution-hospital) buildings, or it could evolve naturally, as seen with mosque-tomb complexes. This versatility in function and the varying degrees of integration between different spaces reflect the adaptive and innovative approaches to architecture during that period. Research efforts have focused on identifying the construction periods of combined-function buildings as well as establishing a typological classification for these buildings. Studies on geometric analysis, however, have typically concentrated on Seljuk patterns. A limited amount of research employs the geometric analysis method to examine buildings that provide several functions. The studies use the geometric analysis approach to examine the mass relationship between the hospital and the mosque in Divriği Grand Mosque and Hospital. These researches&nbsp;have indicated that particular guidelines might have been applied when combining various functions. Analyzing the mass relationship is crucial for understanding the history of architecture because no source indicates whether the mass combinations in Seljuk architecture are regular or irregular. This study’s research issue focuses on determining if the relationship among diverse functional masses, which together form combined functional buildings, adheres to specific geometric and proportional rules. The objective of conducting geometric analysis on the plans and sections of Anatolian Seljuk buildings, which serve multiple functions, was to identify the proportions and principles guiding the arrangement of various functional masses.&nbsp;The module system, special triangle analysis (3-4-5 triangle, 30-60-90 degree triangle, or equilateral triangle), and application of the golden ratio have been used to analyze combined-function Anatolian Seljuk buildings.&nbsp;Module: These are units with fixed dimensions where an element repeats, either increasing or decreasing, by itself or through its multiples. Previous researches have established that the Anatolian Seljuk Period did not have precise module measurements. Thus, only modularity was proportionately investigated in these researches.Special Triangles: This kind of analysis investigates how equilateral and special (Pythagorean) triangles are used on drawings. The two triangle types most frequently employed in structural design are the right-angled isosceles triangle and the equilateral triangle, whose height is equal to the side of the square. The impact of special triangles on the forms or proportions of sections or facades will be examined in this study.The golden ratio: The formula (x+y) /x = x/y expresses the golden ratio. The golden ratio is obtained by splitting a line segment into two pieces so that the ratio of the long segment (x) to the total component (x+y) equals the ratio of the short segment (y) to the long segment (x). The study’s goal is to identify the alignments defined by the golden rectangle, which was created using the golden ratio rule as a guide.This study examined the plans and sections of seven combined-function buildings. This approach considers two sorts of functions when they come together: functions, such as mosque-tomb functions, and consciously created functions, such as Madrasah-Hospital functions. Within this framework, the emphasis lies on three instances of buildings that possess two primary functions that are interconnected, as well as four instances of buildings that have a tomb annexed to the main use. The designs and sections of the madrasah-tomb and mosque-tomb buildings were first studied in the analytical studies. Next, buildings that combine larger masses, like the madrasah-hospital and mosque-madrasah, were examined. Results of geometric analysis can thus be compared based on mass size, number, and function type. Çay Taş Madrasah, Beyşehir Eşrefoğlu Mosque, and Tomb, Amasya Burmalı Minare Mosque and&nbsp;Tomb, and Amasya Gök Medrese Mosque and Tomb were chosen for the first analysis group, where the tomb is integrated into the main purpose. The second analysis group buildings are the Divriği Grand Mosque and Hospital, the Kayseri Huand Hatun Social Complex, the Kayseri Gıyasiye Madrasah, and the Gevher Nesibe Hospital. Plans and sections of the buildings have been drawn using surveys of the buildings to illustrate their form and the interactions between the masses. Analyses were done on the drawings in the computer environment. It examined the usage of the modular system, special triangle, and golden ratio on the drawings. The investigations led to the determination of proportional and formal relationships between various functional masses, the golden ratio in plans, and corresponding triangles in sections. The dimensions of the portals and the positions and proportions of the tombs are determined by the golden rectangle in the plans of buildings where a tomb is connected to a main function, such as the mosque-tomb and madrasah-tomb.&nbsp;Golden rectangles on all façades have been noted to determine the exact positions and dimensions of the tombs in Amasya Gök Madrasah, Amasya Burmalı Minare Mosque, and Çay Taş Madrasah. Only the proportions of the northeastern façade of Beyşehir Eşrefoğlu Mosque’s tomb were accessible. The golden rectangle at Amasya Gök Madrasah determines the dimensions of the dome-covered naves within the building and the tower and portal located on the north façade.The golden rectangle in Amasya Burmalı Minare Mosque exhibits identical dimensions for both the tomb’s interior space and the area in front of the mihrab. The dimensions and proportions of the tomb at Çay Taş Madrasah, including the size, position, wall thickness, and entrance width of the main iwan and the adjacent domed classrooms, were determined using the golden rectangle.Golden rectangles establish the proportional connection between different masses on long façades in architectural plans that examine the two main functions (madrasah-mosque, şifahane-madrasah). The dimensions of the golden rectangles that determine the proportions of Kayseri Gıyasiye Madrasah, Gevher Nesibe Hospital, Divriği Ulu Mosque, and Hospital are the same. While the dimensions of the portals in both buildings are identified by the golden rectangles, no information is given about the sizes of the tombs.The dimensions of the mosque portal and the proportional connection between the madrasah and mosque buildings were determined using the golden rectangle in the Kayseri Huand (Hunat) Hatun Complex. The analysis does not provide any details concerning the tomb situated within the mosque.The findings demonstrate that the golden ratio had a crucial role in the design of multifunctional buildings in the Anatolian Seljuk Period. The golden rectangle on&nbsp;the plan indicates the position of a tomb combined with a main building. The study did not provide any information about the positions and sizes of the tombs that were combined with two main buildings. Modular systems, golden rectangles, and special triangles were used in the sections. Even though the golden square shows the inner sizes of the tomb and the naves of the Amasya Burmalı Minare Mosque, it does not how the tomb and mosque masses should be proportioned. A golden ratio can be used to show the relation between the height of the cone and the tomb wall, and the position of the dome springing line.In Amasya Gök Madrasah, the golden ratio between the dome and the cone was found. The equal-length triangles identify the cone’s height and shape, as well as the proportions of the spaces of the harim. The 2:3 ratio was used for the tomb’s mass and the harim’s inner areas. Modules, special triangles, and golden rectangles were also seen in Taş Madrasah and Beyşehir Eşrefoğlu Mosque. It shows the dimensions of the tomb in Beyşehir Eşrefoğlu Mosque and the relation of the harim and the maksure dome. In the Kayseri Huand Hatun Social Complex, the proportions of the dome and the tomb cone were identified by golden squares that were all the same size. The same 5-12-13 triangle identifies the division of the mosque vaults and the dome in front of the mihrab. The madrasah’s iwan and the harim’s dome are the same size when measured by the equilateral triangle.&nbsp;The golden rectangle at the Divriği Grand Mosque and Hospital sets the right height for the Hospital and the tomb, as well as the dome’s measurements in front of the mihrab. Equal-sided triangles shape the cones on the roof. The 8-5-17 triangle shows how high the lantern is on the dome, and the 5-12-13 triangle shows how the naves are arranged next to each other.&nbsp;The study’s results were evaluated based on parameters such as number of functions and mass size. Based on the plan, the golden ratio was essential when designing combined-function buildings during the Anatolian Seljuk Period. The golden rectangle shows the ratios of the two main masses in a building with two primary functions and a tomb, but it fails to demonstrate a relationship with the tomb’s plan. This shows that Anatolian Seljuk builders and designers intentionally used the golden ratio in their plans. The golden rectangle established the ratios between the various masses in the architectural layout of each building. Nevertheless, the outcomes of the cross-sectional analysis varied for each building. The data on proportional relationships for the sections was obtained from the modular system or golden rectangles. Conversely, the information regarding the formal connections between the masses was derived from special triangles. When a building serves two main functions, one of which is as a mosque, it is possible to identify the relative relationships between different masses within the building. However, if a building served as both a madrasah and a hospital,&nbsp;there was no connection between the two masses. The modular system determines the internal dimensions of architectural components, such as roofs and vaults, rather than how the masses are interconnected. The ratio of 2:3 does not accurately represent the proportional relationship between masses. It can be used to indicate the relative size of the cone compared to the main building in specific examples, such as the Amasya Gök Madrasah, Divriği Ulu Mosque, and Hospital. Special triangles were primarily utilized to determine the shapes of structural components such as cones and domes. The sizes of the domes and cones of the Amasya Burmalı Minaret, the Amasya Gök Madrasah, and the Kayseri Huand Hatun Social Complex were determined using similar triangles in their sections. No existing research has examined the impact of special triangles on the architectural design of Anatolian Seljuk buildings. Geometric proportions and features are commonly used in buildings with structural elements such as cones to maintain formal and proportionate relationships. The study reveals that it is crucial to consider geometric and proportional relationships when designing contemporary additions for historically significant buildings or surroundings. The research contributes to the conservation of historic buildings and provides essential insights into using geometry in architectural design within architectural history. This study has made a significant theoretical and practical contribution to the combined function buildings of the Anatolian Seljuk Period. The results indicate that Seljuk architecture keenly understands aesthetics and design.A constraint that extends the duration of the study is the difficulty in locating survey drawings of the buildings and then digitizing them. Therefore, the progress of these scientific inquiries relies on recording historical buildings and establishing and sharing a digital archive. Research will be done to analyze the social complexes and combined-function buildings built during and after the Anatolian Seljuk era. Periodic similarities and divergences in design choices can be identified using this approach.

Anadolu Selçuklu Mimarisinde Birleşik İşlevli Yapılarda Kütle Biçimlenişinin ve Oranlarının Geometrik Analizi

Ayşegül

The political and artistic golden age of the Anatolian Seljuk State was experienced during the reign of Ala al-Din Kayqubad I. Ala al-Din Kayqubad is remembered for his magnificence and interest in art both during his own time and in the following centuries. Ibn Bibi, one of the sources of the period, mentions the buildings that the sultan himself designed, his examination of the drawn decorations or his visits to the construction site. Kubadabat Palace in Beyşehir, Keykubadiye Palace in Kayseri, Alara Castle Pavilion in Alanya, Alara Caravanserai in Alanya, Castle Palace in Alanya; Alâeddin Mosque in Konya, Yivli Minaret Mosque in Antalya, Hunat Hatun Madrasa and Bath in Kayseri, Tuzhisar Sultan Caravanserai in Kayseri, Sultan Caravanserai in Aksaray, Ilgın Hot Spring in Konya, Çubuk Çayı Bridge in Ankara, Konya Castle and city wall, which were all constructed by the Sultan himself. The repair of his castle and walls demonstrates his fondness for architecture and art. The common features of these structures that have survived to the present day are monumental and ostentatious facades, as well as remarkable decorations. It is known that 91 buildings, including original examples such as the Divriği Ulu Mosque and the Niğde Alâeddin Mosque, were built during the sultan’s rule. Given that the ruler reigned for only 17 years, it can be said that this figure is quite high and that the construction activities were accelerated during this period.&nbsp;Sultan Ala al-Din Kayqubad is a ruler who is remembered with pride by his era and beyond, with his political unity in Anatolia, the victory at Yassı Çimen and the measures he took against the Mongols. It can be assumed that Ala al-Din Kayqubad ‘s political success was reflected by architectural activities. Ala al-Din Kayqubad continued to be remembered for the structures he built or were attributed to him in Anatolia, even long after the Seljuk Period. A discourse attributed to Timur indicates how Ala al-Din Kayqubad was perceived in different periods. When Timur invaded Anatolia, he was asked why he had caused so much destruction. The story can be summarised as follows: I do not have the goods and treasure to build an inn in every village or a mosque in every city like Ala al-Din Kayqubad, just as he became famous for building, I will also become famous for destroying. This gives clues about the image of the Seljuk Sultan during his period. British traveler Harry Charles Lukach, who visited Konya in the early 1900s, compared Sultan Ala al-Din Kayqubad to Emperor Justinianus, described him as the greatest and most powerful benefactor of his dynasty, and stated that his name still lives on in these lands. These expressions reveal that Ala al-Din Kayqubad preserved his presence in these lands until the beginning of the 20th century, without losing anything from his image in the Seljuk period.The archive records from the Ottoman Period also provide insight into the perception of the sultan in Ottoman society. Many buildings are attributed to Ala al-Din Kayqubad. While it is stated in the records that Sultan Ala al-Din Kayqubad built 48 buildings, it is stated that he established a foundation for one building. The structures in question are located in the following cities: Adıyaman, Afyonkarahisar, Afşin (in Kahramanmaraş), Aksaray, Akşehir (in Konya), Alanya (in Antalya), Amasya, Ankara, Antalya, Beypazarı (in Ankara), Bor (in Niğde), Çay. (in Afyonkarahisar), Çermik (in Diyarbakır), Doğanhisar (in Konya), Eskişehir, Gazlıgöl (in Afyonkarahisar), Gerger (in Adıyaman), Günyüzü (in Eskişehir), Karahisar (Afyonkarahisar city center), Kırşehir, Kıreli Yarangömü (in Konya), Konya city center, Korkuteli (in Antalya), Kütahya, Nevşehir, Niğde, Niksar (in Tokat), and Silifke (in Mersin), Sinop, Sivas, Uluborlu (in Isparta), and Zara (in Sivas). It is evident from the inscriptions and sources that Sultan Ala al-Din constructed several notable edifices, including Konya Ala al-Din Mosque, Konya Hospital, Antalya Yivli Minaret Mosque, Alanya Ala al-Din Mosque and Alanya Ala al-Din Bath. It is understood that examples such as Niğde Ala alDin Mosque, Amasya Bimarhanesi (Mental Hospital), Afyonkarahisar Çay Mücahid Yusuf bin Yakub Mosque, the Madrasah, Caravanserai and Bath, and Antalya Atabey Armağan Madrasah are attributed to Ala al-Din Kayqubad, although there are other names as patrons in their inscriptions. The majority of these structures lack any inscriptions related to Ala al-Din Kayqubad or the Seljuk period and have undergone significant alterations. It is understood that some of the structures in this situation have ornamental features reminiscent of the Seljuk period. However, the majority of the structures subject to research were completely renovated during the Ottoman period or have not survived to the present day. The reasons behind the association of these structures with Ala al-Din Kayqubad remain a matter of debate.Upon examination of the structures subject to research, it becomes evident that some of them are attributed to Sultan Ala al-Din Kayqubad among the public. This suggests that the archive records may have indicated that these structures were built by Sultan Ala al-Din, influenced by the expressions spoken by the public. Currently, 43 of these buildings are named after Ala al-Din. The reason for this situation is that the name has become widespread among the public and has survived centuries later. It can be assumed that the buildings were named after their patrons when they were first built, as in the Niğde Ala al-Din Mosque, and in later periods they began to be called Ala al-Din. The reasons why these structures are associated with Sultan Alaeddin among the public can be attributed to historical memory or social memory. Societies create a collective memory that develops over time about events and historical figures that have an impact on the entire community. Historical heroes such as Köroğlu and Battal Gazi are examples of this collective memory that spans centuries. A collective memory has been formed for the Battle of Ankara and the Victory of Manzikert, which the society has developed over the centuries. Those who recall these conflicts exhibit comparable sentiments and discourses. It is postulated that Ala al-Din Kayqubad, the subject of this study, underwent the influence of this collective memory&nbsp;and established a distinct identity. The first Sultan that comes to mind when discussing the Anatolian Seljuks in Anatolian lands and even in some periods in different geographies is Ala al-Din Kayqubad, the personality of the Sultan was constructed with magnificent structures and monumentality. The Seljuk period is remembered in the collective consciousness for its magnificent portals, castle-like facades, blue to purple tiles, ceramics, brick minarets, and high-relief stone decorations, as well as for buildings displaying Seljuk features. These have been attributed to the period even if they are not. A similar approach is valid for Ala al-Din Kayqubad. Ala al-Din Kayqubad is regarded as the architect of structures associated with the Seljuks or the pr Ala al-Din Kayqubad e-Ottoman period. It is believed that Ala al-Din Kayqubad gained renown for centuries through his construction and construction, as evidenced by the saying of Timur that life is mortal and reputation is eternal, and therefore even buildings that he may not have built were named after him.It is assumed that some of the 54 works examined were built by Ala al-Din Kayqubad, some may be unknown patronages of the Sultan, and some were built by others but attributed to the Sultan. However, it is difficult to attribute all the buildings named after Ala al-Din to the sultan. It is known that 12 buildings were built by Ala al-Din Kayqubad. It seems difficult that the Sultan had 54 buildings built during his 17-year reign. Therefore, it must be assumed that some, if not all, of the buildings were attributed to Ala al-Din Kayqubad by society. The fact that Ala al-Din Kayqubad came to the fore in social memory with his architectural structures must have prompted Ottoman society to name some old buildings after him. The Sultan’s influence as a patron and the fact that many buildings were attributed to him did not seem strange to the researchers who studied these works. In the studies of the buildings mentioned, archival documents were taken into account and Ala al-Din Kayqubad was usually mentioned as the patron. In the absence of any inscription on the building to the contrary, archival documents must be taken into account. However, some studies have found that historical data and archive information do not coincide. These examples call into question the accuracy of such information in archival documents. However, since the architectural and ornamental details in some examples point to the Seljuk period, the information in the archival documents was accepted as correct. What is striking about this research is that the name of Ala al-Din Kayqubad, rather than that of any other Seljuk sultan, finds so much space in the archives and among the public. This situation is concrete evidence of how the image of the Sultan created during the Seljuk period grew and even became exaggerated over the centuries. This study tries to show what kind of impact the Seljuk Sultan Ala al-Din Kayqubad had on society and art even centuries later.By looking at the centuries-long adventure of Seljuk art as a means of communication through Ala Al-Din Kayqubad, this research reveals how Seljuk architecture and Seljuk sultans were perceived from the perspective of Ottoman society and how this perception was reflected in Ottoman documents, as well as examining the unknown patronages of Ala Al-Din Kayqubad. Considering these works as a whole allowed for different evaluations. The examination of the Ottoman archives with similar studies will make important contributions to the field of art history. It is hoped that this research will set an example for future studies.

Selçuklu Sultanı Alâeddin Keykubad’ın Baniliğiyle İlgili Osmanlı Arşiv Kayıtları Üzerine Bir Değerlendirme

Demet

Kütahya is one of the three cities located in the Inner Western Anatolia part of the Aegean Region of Turkey. The old settlement in the city center took place around Kapan Stream, which divides the city into two in the north-south direction. It is known that the first settlement in the city started in ancient times. The name of the city is mentioned for the first time by the ancient geographer Strabon. Strabon mentioned Kütahya as one of the cities of Lesser Phrygia and its name was Kotiaeion. Historical sources indicate that the city dates back to BC. 6. It shows that it was first under the rule of Lydia and then the Persians towards the end of the century. B.C. 4. The city, which was captured by Alexander the Great in the 16th century, was under the rule of the Bithynia and Pergamon kingdoms after his death. B.C. 1. century and AD. 4. It remained under the rule of the Roman Empire for centuries and then came under Byzantine rule. It is known that the city, which became an important bishopric center during the Byzantine period, and the castles, walls and bastions that still exist today, were built during this period. After the Byzantine Period, Anatolian Seljuk rule began in the city. Anatolian Seljuks defeated the Byzantines decisively in Malazgirt in 1071continued their advance in Anatolia and started settlement. In 1075, Kutalmış son Suleyman Shah conquered the region up to Iznik and declared Iznik the capital. The first conquest of Kütahya, which was on the route followed by the Seljuks in order to realize the conquest of Iznik, must have occurred between 1075 and 1078 by the Seljuks. It is accepted that there was a Turkish settlement around Kütahya after the conquest. However, the Crusaders, who captured Iznik in the First Crusade in 1097, came to Eskişehir and although the Seljuk sultan Kilijarslan I tried to stop the progress of the Crusaders there, he was unsuccessful, and the Crusaders from Marmara and Western Anatolia, which is estimated to include Kütahya, it came under Byzantine rule again, having allied with the Anatolian Seljuk. The second conquest of Kütahya by the Seljuks coincides with the Battle of Miryakefolon. It is generally accepted that the third conquest took place during the reign of Ala al-Din Kayqubad I, based on the construction inscription of the Yoncalı Bath built outside the city center, dated 1233. It is known that Kütahya, which constantly changed hands between Byzantine and Seljuk rule, was an important fringe city under Seljuk rule from the early 1230s. The information about this period in Kütahya is quite limited and the fact that the number&nbsp;of buildings that are known from the inscriptions that they were built in this period or that have survived until today is low is insufficient to shed light on the Seljuk period of the city of Kütahya. However, in the light of available data, it is possible to make some determinations about the urban settlement and structures of the period. The earliest known building built during the Seljuk period in the city center dates back to May 1237. This date is one of the years when the Anatolian Seljuks were in their heyday before the 1243 Kösedağ War. For this reason, the possibility that Kütahya, which was a commercial production site of important export materials such as alum and silver, was conquered at this time remains somewhat slim. Kütahya which was on the route followed by the Anatolian Seljuks to conquer Iznik, their first capital, should have been conquered in these years. Karacaviran (Karacaören) Ribat, which was found not in the city center but in settlements close to the center, is the earliest of the Seljuk period works and dates back to 1210. Although this indicates that the Turkish settlement in the city center dates back to the 1230s, considering the construction dates of the existing buildings, it is possible to talk about the existence of a Seljuk settlement around Kütahya before that. However, there is no record or trace of Seljuk settlement in the city center yet. Of the four buildings known to have been built during the Seljuk period, one of them is located where it was built, and the locations of the others are known, although they have lost their original state. The first of the two buildings in the city dated to the Anatolian Seljuk period due to construction inscriptions is Balıklı Mosque, dated 1237. However, since the building was later rebuilt, it lost its original form. The other building is the Hıdırlık Masjid, dated 1243-1244. The building was introduced as a masjid in the construction inscription, and it shows that it has similar features to the masjids of the Seljuks, which had an entrance unit, especially in the capital Konya. However, since the entrance section of the Hıdırlık Masjid was built with an iwan, it has been associated with the tombs with iwan built after it.There are two other masjids in the city center of Kütahya, the dates of which are unknown, but it is generally accepted that they were built by Imad al-Din Hezâr Dînârî. One of them constitutes the tomb part of the Dönenler Mosque today, and it is known that the Sadettin Mosque was built in its place. In addition, these structures with their current names; are located in Balıklı, Hamidiye, Börekciler and Pirler Districts. Among these neighborhood names, the names of Börekciler, Balıklı and Pirler neighborhoods were also mentioned by Evliya Çelebi. The fact that they are still called by the same name even today shows that the names of the neighborhoods have not changed since the Seljuk period and that settlements exist in these neighborhoods.The identity of Imad al-Din Hezâr Dînârî, whose name is mentioned as the patron in the works of the Seljuk period in the city center of Kütahya, has not been determined. It is assumed that he lived in Kütahya in the 1230-1240s due to the dates of the buildings he built, and it is accepted that he played an important role in the conquest&nbsp;of Kütahya by the Seljuks in this period and that he was one of the statesmen of the Anatolian Seljuks due to his patron status. The fact that the building, which was the Kütahya Mevlevi Lodge before being converted into the Dönenler Mosque in the city center, was built adjacent to the mosque built by Hezâr Dînârî under his name, caused him to be seen as one of Mevlana’s disciples and a representative of a Mevlevi order that had not yet been institutionalized in Kütahya. However, there is no record of Hezâr Dînârî in the works of Mevlâna and Sultan Veled, and his name is not recorded in the primary sources of this period, Ariflerin Menkıbeleri and İbn Bibi’s memoir.It is known that the Kütahya Ulu Mosque was built in the Ottoman period due to its inscriptions, Evliya Çelebi’s depiction of the building with wooden poles and E. H. Ayverdi’s publication of a sketch plan of the mosque based on these depictions allowed it to be evaluated within the group of wooden pole mosques built in the Seljuk Period. A mosque with wooden pillars built both during the Early Ottoman period and before that during the Germiyanids period is not yet known. In addition, due to the location where the building was built, it is close to the Seljuk period structures. Therefore, it is probable that a Seljuk mosque featuring wooden columns was constructed where the present-day Ulu Mosque stands. When we look at the architectural works in Kütahya during the Anatolian Seljuk period, it is seen that there are structures built only in the religious architectural group. Of course, it is unthinkable that works from other building groups were not built. It is inevitable that the trade route connecting the capital Konya to Istanbul passes through Kütahya and that structures such as inns and bridges were built on this route. It is only known that there are Eğret, Çakırsaz and Yeniceköy Caravanserais and Üçgöz, Altıntaş and Hacı Hamza Bridges on the road between Afyonkarahisar and Kütahya. In addition, it is said that the water of the sakahane, which is located on the lower floor of the Sadettin Mosque today, was brought by Hezâr Dînârî and that he had a masjid built here. Although it is stated in the construction inscription of the mosque that he was buried here after his death, there is no document or record to prove the accuracy of this information. The fact that the Sakhane continues to operate today strengthens the possibility of the existence of a water system built by Hezâr Dînârî.&nbsp;As a result, due to its geopolitical location, Kütahya was both a frontier city and was located on the trade routes connecting from Konya, the capital of the Anatolian Seljuks, to Istanbul and the Aegean Region. An attempt was made to describe the city of the period through the existing structures and the structures known to have been built during the Seljuk period.&nbsp;

Kütahya’da Bulunan Anadolu Selçuklu Mimarisi Üzerine Bazı Tespitler

The definition and scope of conservation have evolved in parallel with the period, geography, country, and circumstances, and it finally took its current form. In the broadest general sense, conservation can be defined as all the efforts made to ensure that the changes and transformations that occur over time do not damage the authentic and historical identity of the cultural heritage assets. In the 19th century, the concept of authenticity entered the conservation agenda, laying the foundations of the understanding of authenticity in conservation by prominent theorists of the time. In the 20th century, the concept of authenticity, first addressed in Carta Del Restauro, emphasized the importance of preserving all valuable elements of buildings in their restorations and function choices, regardless of the era. These characteristics were also mentioned in the restoration articles of the Venice Charter, which is considered fundamental to conservation, emphasizing the need for restoration to be based on authentic and reliable documentation and for the respect of different era additions attributed to the monument. The criteria of authenticity and integrity have been elaborated upon in detail in the Operational Guidelines for the World Heritage Convention, published by UNESCO in 1977. The 1994 Nara Document on Authenticity is the most significant work on the subject, stating that the concept of authenticity consists of various criteria such as design, material, use, function, tradition, method, location and setting, spirit and meaning, and historical evolution. The concept of authenticity has subsequently been addressed in many texts by UNESCO and ICOMOS and information about the criteria for authenticity has been provided.&nbsp;The development process of the concepts of originality and authenticity in our country has changed and evolved parallel to the historical process of the understanding of preservation and has been established on a conscious basis. In the Ottoman Classical Period, it is seen that foundations had an important role in the field of conservation, while the actual operational and implementation period started in the 19th century. The process of conscious participation in the conceptual discussions on conservation in Europe was realised only in the Republican Period. Although there were important works of the experts of the period, the Venice Charter of 1964 for the protection of cultural assets in our country was adopted in 1967 and the international legal process started to be followed.The concept of authenticity has gone through various stages in the historical process and today it is defined by many different criteria. Authenticity, which was initially included in the conservation discourse as historical document value and historical authenticity, has expanded over time to include not only the appearance of the building but also elements such as form, material, structural system and craftsmanship. The fundamental principles of the concept of authenticity have increasingly included criteria such as function, period additions, environmental components, color, tone,&nbsp;and texture over time. It has reached its final form with the inclusion of spiritual, emotional, and sensory values, as well as the concepts of integrity. In this context, the authenticity status of the Sahabiye Madrasah, selected as the subject of study, was examined after the restorations; material, form, construction technique, function, location, and environmental originality were determined as the main criteria. Evaluations and inquiries were conducted accordingly.Sahabiye Madrasah, built by Sahip Ata Fahreddin Ali during the reign of Ghiyath al-Din Kaykhusraw III in 1267-1268, is one of the significant Middle Age structures of the Seljuk period. Located at the intersection of busy streets in the city center today, the madrasah is single-storey, four-iwan, porticoed, and built of cut stone, following a rectangular plan typology. It was designed around an open rectangular courtyard, with an entrance iwan featuring niches opening to the right and left walls, a large central iwan to the north, porticoes supported by four square columns on three sides, lateral iwans, and cells adjacent to the lateral iwans. There are massive corner towers at the corners of the building, which are designed with a simple form in the Anatolian Seljuk tradition, and the entrance to the building is provided by the monumental crown gate on the south facade. The monumental portal, which protrudes forward in a rectangular shape and exceeds the height of the facade, is the most ornate element of the building with its mass movement and height, and its upper part was renewed during the maintenance and repairs it underwent in the process.The fact that this important Seljuk structure dating back to the 13th century exists today is undoubtedly due to the maintenance and restoration processes it underwent throughout its historical journey. Considering these studies, knowing the history of restoration of a structure became essential to make informed decisions about conservation and to ensure the preservation of the authentic features of the building. Knowing the restoration history of the building enables the evaluation of both the conservation activities during the process and the current condition of the structure in terms of authenticity. Comprehensive research and archive surveys have been conducted for the restoration history of the structure, and information has been gathered from numerous written and visual sources. In the data obtained, it is observed that there is limited information regarding repair work from the Seljuk Period when the madrasah was constructed. It was determined that the structure underwent repairs during the Ottoman Period, although limited details about these repairs are available. According to records, the building underwent repairs in 1726 and 1909 during the Ottoman Period. Although repair documents were accessed from the Ottoman Archives of the Prime Ministry, specific details about the repairs are not available.Efforts and works related to the restoration of Sahabiye Madrasa progressed slowly during the early years of the Republic due to the difficult conditions prevailing in the country at that time, and it had to wait until the 1970s for comprehensive maintenance&nbsp;and restoration to be carried out. Work on the structure began in the early 1900s, with various research and small-scale repair efforts conducted by prominent figures of the era, including Albert Gabriel, Ali Saim Ülgen, and Mahmut Akok. During these works, the existing condition of the building was documented, drawings were made, photographs were taken, and simple repairs were carried out. In 1970, comprehensive repairs were carried out under the supervision of Erol Yurdakul, the director of the General Directorate of Foundations, by the General Directorate of Foundations and many sections of the building were reconstructed. In these applications, many interventions were made using cement and reinforced concrete materials in line with the conservation principles of the time. Another significant and comprehensive restoration of the building took place in 2010. During these efforts, even though it was aimed at rectifying practices that had damaged the authentic features of the structure, contradictory practices were also implemented. Following the section that describes the repairs the building underwent throughout its history; an evaluation section was created to assess the repairs in terms of their impact on the authenticity of the structure. The repairs to the building were scrutinized according to the fundamental criteria established for authenticity in international texts.&nbsp;This article aims to question the state of authenticity during the changes and repairs undergone by the structure over time and afterwards. In this context, the preservation activities of Kayseri Sahabiye Madrasah throughout its historical process were examined, and the changes and transformations were studied and presented chronologically. The interventions for the restoration of the structure during its long historical timeline were questioned within the framework of main criteria such as Material Authenticity, Formal Authenticity, Construction Technique Authenticity, Usage and Function Authenticity, and Location and Environmental Authenticity. These aspects were evaluated within the conditions created by the possibilities and perspectives of each period. In this scope, the development of the concept of authenticity in conservation was discussed first, and general information was provided about Sahabiye Madrasah, an important madrasah built in the Seljuk tradition. The maintenance and repair works carried out on the building from its construction period to the present day were narrated, and through the conservation efforts at Sahabiye Madrasah, an in-depth analysis of Turkey’s conservation history in terms of legal, administrative, organizational, and theoretical aspects was conducted. Important milestones in our country’s conservation history and the efforts made on the Madrasah by leading actors at various historical intervals were conveyed. In the evaluation section, the repairs the structure underwent over time were analyzed within the framework of authenticity criteria. Although there are numerous studies carried out on Kayseri Sahabiye Madrasah, the fact that there is no detailed research conducted on the repairs has been one of the most important reasons for the lack of attention to this topic. In this study focusing on the concept of authenticity during the maintenance and restoration process, repairs were evaluated by the international definition of authenticity, taking into account the conditions of the relevant period. The authenticity issues of the building and its status were assessed. The interventions in the Madrasah’s repair process were expressed through analytical narration on drawings obtained from archives and a timeline was prepared for the conservation and repair of the Madrasah and an intervention analysis for the repairs.When examining the restoration process of Sahabiye Madrasah, it is evident that the interventions made during the Ottoman and Seljuk periods were not conducted according to modern conservation principles. In these periods, the main purpose of conservation was to ensure the continuity of functionality and utility rather than the original qualities of the building. During the Republican period, the madrasah underwent two major restorations, with significant reintegration occurring particularly during the interventions of the 1970s. The various conservation practices carried out during these repairs reflect the conditions and perspective of the period. In particular, the frequent use of reinforced concrete has changed the details of the material and construction technique of the building and violated the principle of reversibility, one of the basic principles of conservation. Such practices have caused the building to lose its authenticity. When changing the function of monumental buildings, the building should be able to carry its new function and its original plan layout and spatial features should be mostly preserved a great extent. As a result, it is of great importance to preserve monumental buildings with their original components following international conservation standards and to pay attention to authenticity criteria in repair works. The subsequent conservation of buildings such as the Sahabiye Madrasah, which are fundamental elements of collective memory and urban identity, should be carried out meticulously and the practices should not cause the loss of the original features of the building and damage the cultural heritage.&nbsp;

Arşiv Belgeleri Işığında Onarımlarda Özgünlük Kavramı Üzerine Bir İnceleme: Kayseri Sahabiye Medresesi

Esra

Within the scope of the study, the Halil Dede Tomb in Aktepe Village of Ürgüp District of Nevşehir, which has not been included in the architecture and art history literature before, was analyzed in detail and described. The fact that the structure built in the Seljuk period was not recognized within the scope of architecture and art history and that it had not been subject to a scientific aspect before was seen as a deficiency in the field. In the study, the tomb of Halil Dede, one of the Khorasan saints of the Seljuk era, was tried to be explained in detail in terms of plan, material and ornamentation features; the origin and dating of the building, which has no information about it other than a repair inscription from the 19th century, it has been opened to scientific debate.As is known, although it is not welcomed in Islam, the Turks did not give up on building monumental tombs after the deaths of people who were at important positions in the state or believed to have high spirituality, and they continued these practices throughout the ages. Grave monuments, which were started to be built as a reflection of the pre-Islamic beliefs of the Turks, were built traditionally for centuries in every period and region. Within the scope of architectural actions that develop in direct proportion to the raw materials offered by geography with the arrival of the Turks in Anatolia, the stone was included first in the material list, which also affected the design and ornament processes; on the one hand building plans have diversified, and on the other hand, monumental tombs have constructed depending on the rank of the deceased. Grave monuments, built with various plan types in every period and region, on a scale ranging from the simplest to the monumental, have become one of the building types that determine the architectural face of Anatolia.Before explaining the technical and artistic features of Halil Dede Tomb, we need to briefly focus on the identity of Halil Dede; it is known that certain figures came to Anatolia in the 12th and 14th centuries to work for the spread of Islam in the region, in short, to carry out their duties as dervishes, and they were popularly called Khorasan Saints. It is believed that Halil Dede lived during the Anatolian Seljuk and Principalities period and that he was one of the seven brothers who came to Anatolia from Khorasan. There are different legends told among the public about Halil Dede. Even today, different legends glorifying the spiritual personality of Halil Dede are told among the public.Halil Dede Tomb, which is the subject of the study, is in the Ürgüp district of Nevşehir. The tomb is located on a slope overlooking the valley in Aktepe. The building covers a rectangular area extending in the north-south direction. The tomb, built with the masonry construction technique, has a plan consisting of two parts. The building consists of an entrance with an iwan, which can also be called a preparation area, and an interior space with a sarcophagus in the middle. In the iwan section located in the&nbsp;north direction, the iwan opening faces the east direction. The iwan consists of three round arches, and two of the arches have a ribbed form, slightly protruding from the mass. The main space is reached through the rectangular opening under the middle arch of the iwan. The lintel stone at the top of the opening, which has flat jambs on the sides, hides the segmented arch form on the portal. The opening at the entrance from the iwan to the interior space is designed on a very small scale and emphasizes the spatial difference between the iwan and the interior space with the elevation of a row of stones at the ground level. The main space has a rectangular scheme, almost square. There is an earthen grave under the sarcophagus in the tomb, which does not have a crypt on the lower floor. There are inscription stones at the head and foot parts of the sarcophagus. “Mihail bin Halil” is written on the headstone of the sarcophagus. In the interior, there is a small window opened on the east and south walls. The upper cover of the tomb is a round-arched vault on the inside in the iwan section, and an oval vault close to the dome in the main space, while both sections are covered with a flat roof on the outside. The cover system in the main space is a unique practice. The eight-arched upper cover, formed by partially placing thinner arches between the thick arches that intersect each other from four directions at the top, covers a rectangular area close to a square with a dome-like vault cover. One of the main elements that support the vault to create such a dome-like effect is that the arches covering the main space, which is not perfect square, have a very wide round form, that is, close to an oval. In this way, the feeling of a flat but very wide opening covering a small area creates the feeling of a space covered by a dome. At the same time, the fact that the rows of arches, emphasized by a relief at the top, continue uninterruptedly from the ground to the level of two rows of stones supports this feeling.In the tomb, which was built entirely with stone material, smoot-cut stone was used in the exterior corners of the façade, the entire southern facade and the interior, and rubble stone and rough-cut stone were used in other parts. The stone used in the construction of the building is a local material. The building material is described as soft and easy to process due to its volcanic character. Unlike the interior, which is in very good condition, the exterior of the building is in a very dilapidated state due to weather conditions. There is a lot of material loss and collapse, especially on the upper cover and on the façade walls along the western direction. The construction material shed from the building is piled up next to the building mass. It can be easily said that the Tomb of Halil Dede has a very unadorned exterior, generally devoid of any ornamental details. The only ornament that can be observed on the facade of the building is the inscription engraved on the stone inside the three-segmented arch on the entrance lintel. “Sahib-ül hayrat vel hasenat Hacı Mehmed 1254” is written on the entrance. This inscription, which is most likely to be a repair inscription indicating the repair of the building, indicates Rumi’s 1254 and therefore the Gregorian year 1838. It is noteworthy that there is more effective content regarding ornamentation practice in interior spaces. It has been possible to create a monumental impression in an area small enough to fit only the sarcophagus and for a single person to stand in front of the footstone. This monumentality is undoubtedly made possible by the eight-arched vault that descends almost uninterrupted along the body to the floor. Both the arch emphasis and the high-relief eight-segmented semicircular rosette placed at the intersection in the center have been increasing the lively appearance of the ceiling.There are no strict rules regarding the construction of grave monuments, which are created by the combination of the aesthetic understanding of the region where they are built and the local materials. Also, the fact that they are structures only for visiting purposes has provided them with a free application area and allowed the grave monuments to show such diversity. As in all building types, some plan types in grave monuments were applied specifically to a certain period and region, some plan types were applied in a limited number and abandoned, and some plans even took their place in the architectural literature as unique examples. In light of all this, even if there is no clear information regarding the identity of Halil Dede and the dating of his tomb, it is thought that it is possible to evaluate the issue, open it to discussion and reach a conclusion based on tangible information.At this point, it is thought that the first element that needs to be examined about the Halil Dede Tomb is related to dating. Rather than indicating the construction date of the building, the number 1838 is written on the inscription at the entrance to the main space; it is most likely that it is related to the repairs made by a charitable person during the 19th-century Ottoman period. The line “Sahib-ül hayrat vel hasenat”, which was written by mentioning the name of the benefactor Hacı Mehmed before the date specified in the inscription, is written on the buildings built to serve the common use of the people. This phrase, which means “the owner of goodness”, can be seen in the repair inscriptions placed after the restoration of damaged buildings, and it appears almost without exception, especially in fountains built for public use. The second element is related to the plan type and architectural details of the building. The scheme, which is composed of the iwan observed in the Halil Dede Tomb and an adjacent closed visiting area, brings to mind the tomb monuments of the Dehistan region, which include a preparation space, built by the Turks in pre-Anatolia. When the plan of the Halil Dede Tomb is examined, it is possible to say that the dual plan layout consisting of a tomb and iwan is one of the rare examples that are not repeated frequently within the scope of Turkish architecture developing in Anatolia. In the tomb, which refers to the Seljuk tradition with its cover as well as its plan, it is seen that the vault covering the main space is in a form that we can call unique, and unprecedented in the Ottoman architectural tradition. The eight-segmented vault covering, which covers the structure in the form of a continuous shell, has reminded us of pre-Anatolian Turkish tents as if referring to Seljuk architecture.&nbsp;As a result, when the plan, material and ornamentation details of the Halil Dede Tomb in Ürgüp Aktepe, which are discussed within the scope of the study, and the identity of Halil Dede are evaluated together; It has become clear that the tomb exhibits Seljuk characteristics in terms of structure and scheme, and that it was repaired in the 19th century after the destruction it suffered. As a result of the examinations, it can be seen that the repairs made in previous periods were based on materials and reinforcement. As a matter of fact, in the tomb, which has a very simple identity on the exterior, the main factors reflecting the Seljuk character are the plan, space setup and the covering system of the interior. Therefore, it is obvious that the Tomb of Halil Dede, a Seljuk period tomb monument, has preserved its Seljuk character despite the interventions it has seen over time.

Selçuklu Dönemi’nden Bir Mezar Anıtı: Halil Dede Türbesi

Yunus

Words and concepts such as icon, symbol, stamp, sign, insignia, indicator, brand, symbol, emblem and trademark, basically have the same meaning. It is the concrete depiction of an idea or concept that cannot be perceived by the senses, having the common denominator of conventional meaning. In addition to symbols that can be defined as abstract signs, objects that replace something or depict it themselves also function as symbols.The work of art and the general art style are influenced by many factors such as the social environment, material supply, geographical variables, temporal changes, the government, the wishes of the ruling powers, the artistic understanding and style of the period, ancient and neighboring state cultures, religion and sacred elements, the experiences and inner world of the artist. It is affected by many variables. In addition to these, conditions such as the technology of the period, tools and construction techniques also have an impact. In Turkish art and symbolism, where the powers of state, religion and society come to the fore, these mentioned elements are the dominant and guiding force.&nbsp;Firstly, it is necessary to mention some concrete artistic symbol contents in Turkish art. For example, in terms of building architecture, “mosque” symbolizes Islam. While the mosque is one of the art symbols that have a concrete function, the symbol and decoration content included in the mosque has abstract features. On the other hand, “arrow” and “bow” are concrete war tools as objects, but the “bow-arrow” form engraved on the surfaces has become an abstract and artistic symbol. In this context, meaningful abstract symbols are sometimes based on meanings attributed to objects that have equivalents in nature, and sometimes on mental productions that have no equivalents in nature. In the second case, geometric shapes are widely preferred as tools for new and original symbols in Turkish art. While vegetal forms are generally transferred verbatim or stylized from similar examples in nature; It is abstract based on geometric forms and there is no need for stylization in practice.Figural decorations were used in two types: fantastic and natural. New species resulting from fantastic combinations of different species and figures encountered in nature have been symbolized through art and different meanings have been attributed to them. Predatory and powerful animals representing political power can be given as an example of this symbolization. Stylization can be seen in figural symbols and ornaments to the point of almost turning into vegetal ornaments. Although fantastic figures are not visible, they are not considered in the category of abstract art because they are created by the combination of two animal (or sometimes human and animal) figures existing in nature.Arts based on symbols and decoration continued through various evolutions until the end of the reign of the Great Seljuk and later Anatolian Seljuk states. Ornamentation maintained its importance in portable arts as well as in architecture. “Ornament”, as it is understood in our language today, refers to the compositions created by decorative elements on any surface or each of these elements. However, in the first sense of the word that comes to mind, the purpose here is not to fill the surface meaninglessly. The motifs, symbols and figures applied to the surface are carefully selected and applied as parts of an established tradition and the general style that was being created during the period.Geometric arrangements, one of the main types of decoration, are the preferred tools for reflecting abstract symbolic art content in a certain order. Geometric ornaments were used in early Islamic arts in the Umayyad Period and mostly in the Abbasid Period; In Turkish art, it started to develop together with the Karakhanids. Subsequently, the Ghaznavid and Great Seljuk states used rich geometric arrangements in almost every field. This tradition was transferred and continued to Anatolia through the Anatolian Seljuks. It is also known that indigenous ancient civilizations in Anatolia used geometric arrangements in both architecture and pottery. Unlike decoration, the origin of symbolic geometric forms can be traced in rock painting regions such as Kyrgyzstan Saymalitas, Kazakhstan Tamgalısay and Azerbaijan Qobustan, which is among the Central Asian cultural regions. Examples that are the continuation of rock paintings start from the east of Anatolia and extend to the central and western regions.If “Stamp-Tamga” is defined in a classically, it is the tool used to print a mark or insignia on something, and the sign itself is printed with this tool. Certain concrete and abstract shapes symbolically remind every community, nation, and state. These shapes are generally meaningful forms specific to that culture. Stamps are special signs that are used mostly by societies of Turkish origin, meaning the expression of belonging, membership, independence element, tribe-lineage unity, national membership and holiness.Stamps that turned into motifs, which is a phase in the transformation of stamps are a concept that emerged over time when the symbolic meanings in the background of the stamps were not recognized or known by the viewers. These elements, which are placed as symbols by the maker, are considered motifs and compositions for decorative purposes only. When taking step back and the symbolic aspect of geometric arrangements is investigated, the abstract symbolic content of the Turks is reached.Geometric arrangements whose meanings are not yet known cannot be considered in the symbol category. Stamps are created by stylizing objects that have counterparts in nature. As a result of this stylization, the art viewer cannot know from which object the symbol was originally derived. This situation makes the symbol abstract.&nbsp;Symbols are not always encountered as artistic content in terms of purpose. In this regard, for symbol to be defined as art, its functional aspect must be put in the background and its artistic aspect must be prioritized. If a symbol is presented in different forms in the public domain, without being part of mass production, this makes it part of art. This subject, which is like the difference in meaning between art and craft, can be interpreted as a work of art that displays unique features each time, as well as uniform elements, produced dozens of times. “Symbol” alone is not the subject of art. However, the symbol transformed into a work or included in the content of the work is the subject of art.Abstract symbolic content in Turkish art is mainly formed by Oghuz tribal stamps that signify national identity. In an artwork, stamps from different tribes are carefully placed by the artist, varying in number, size, and material. In addition to the tribal stamps found in Turkish culture and art, there are also more general sacred-common (superior) stamps that express common meanings. These common stamps are widely used in Turkish art. Unlike tribal stamps that convey belonging, common stamps are abstract symbols representing beliefs and sacred meanings. It is known that after the original purpose of stamps was fulfilled, they transformed into letters and writings as a means of communication. Initially known as stamps, these letters, with some modifications or directly turned into letters were put together to form words. However, at their core, they are all stamps. These letters, stylized as motifs, are repeatedly used in almost every element of Turkish art with an abstract meaning.&nbsp;Abstract symbols in Turkish art can be classified (in an open-ended manner) as national identity stamps, common identity stamps, sacred stamps, and letter stamps that have been transformed into the alphabet, based on existing data. Nearly all these symbols have geometric and angular lines and are characterized by abstract forms that do not refer to real objects. These symbols, applied with fine craftsmanship, are essentially messages and are reused in works of art by being stylized as motifs.&nbsp;These rich types of stamps found in every corner of Anatolia are important artistic contents in terms of Turkish abstract symbolic style. Abstract symbols are original products of the imagination. Understanding and examining the abstract symbolic language of a nation is essential for its art and symbolic history. After decoding the original meanings of these symbols, which are both abstract and concrete sources, they should be further examined for their effects and reflections on the art object.As a result, according to the available data, it can be said that there is an “abstract symbolic art style” that takes shape depending on the ancient Turkish culture and art and derives from Turkish stamps. This style indirectly penetrated art in terms of meaning during its period. Turkish art, which emerged because of the shaping of many political, religious and social factors emphasized in the relevant section, also includes&nbsp;the abstract symbolic style as a subheading. This style reveals the richness of mental and abstract thinking of Turkish states and communities.This study mentions the existence of the “abstract symbolic style” in Turkish art, which has not been brought to the fore sufficiently before. The “Abstract Symbolic Turkish Art Style”, which was introduced to the scientific world for the first time with this publication, should be examined with the methods and classifications that are the basis of science and should be developed with more symbolic and iconographic studies.&nbsp;

Türk Sanatında “Soyut Simgesel Üslup” Düşüncesinden Söz Edilebilir Mi?

Sahure

Assoc. Prof. Dr.

Diyarbakır Arkeoloji Müzesinde Bulunan Selçuklu Dönemi Kapı Aslanları

Zülal

Susuz Inn, constructed in the 13th century during the Seljuk period, stands as a remarkable example of Seljuk architecture. It exemplifies the distinctive characteristics of Seljuk caravanserais, which served as roadside inns providing safe havens for travelers and their animals along trade routes. Located on a crucial trade route of its time, Susuz Inn is now positioned along a major highway towards to the southern coast of Turkey, ending in the city of Antalya. This strategic placement underlines its historical importance in facilitating commerce and cultural exchange during the Seljuk era.Geographically, Susuz Inn is situated 76 kilometers from Antalya and 54 kilometers from Burdur, the province to which it is administratively affiliated. Its proximity to these significant urban centers underscores its role in the network of trade and travel that connected various parts of the Seljuk Empire.&nbsp;Despite the absence of a definitive inscription, the architectural and decorative features of Susuz Inn provide valuable clues about its origins. Based on stylistic and decorative comparisons with other contemporaneous caravanserais, researchers have attributed its construction to the period of Ghiyath al-Din Kaykhusraw, specifically between the years 1239 and 1240. This dating is not arbitrary but is derived from detailed studies of similar structures with known construction dates.Further speculation suggests that Susuz Inn may have been built during the reign of Ala al-Din Kayqubad I. This hypothesis is supported by stylistic similarities in the architectural elements and decorative motifs that align with other buildings from his reign. It is plausible that the same group of architects and stonemasons, who were active during the reigns of both sultans, might have been responsible for the construction of Susuz Inn.Susuz Inn’s architectural integrity has been preserved to a significant extent, particularly in its closed section, which retains its primary structural mass. However, the courtyard section did not withstand the ravages of time and did not survive to the present day. The most striking aspect of Susuz Inn is its portal, which is richly adorned with intricate decorations. In contrast, the interior and exterior walls of the structure are devoid of any embellishments, emphasizing the portal as the focal point of artistic expression.The decorative elements on the portal can be categorized into floral motifs, geometric patterns, text, and figures. These elements are meticulously carved into stone, showcasing the high level of craftsmanship that was prevalent during the Seljuk period. The main entrance gate, made of marble, is the most impressive part of the building, drawing attention to its ornate portal.The focus of this research is on five distinct geometric patterns and the main muqarnas found on the portal. These geometric patterns and the muqarnas are analyzed to understand their design principles and to propose methods for accurately redrawing them.First Border: The outermost border features an intricate composition of circular knots that develop around a central diamond-shaped motif. This motif is framed by broken lines that intersect repeatedly, creating a complex and visually engaging pattern. The meticulous arrangement of these elements demonstrates the Seljuk artisans’ proficiency in geometric design. Second Border: The second border consists of half-sixarmed star motifs. These stars are formed by breaking the lines at specific intervals and intertwining them in a harmonious arrangement. This border exemplifies the Seljuks’ ability to create dynamic and interconnected geometric patterns. Third Border: The third border, which is the most elaborately decorated, features a central ten-pointed star. From this star, broken lines intersect at various angles, forming a swastika and an intricate composition of irregular polygons. This border showcases the Seljuks’ mastery in combining geometric shapes to create intricate and meaningful designs. Fourth Border: The fourth border displays intricate geometric patterns that form hexagons and quadrilaterals. These shapes are created through the interlocking of broken lines, resulting in a visually complex and harmonious design. Fifth Border: The fifth border has the structure of octagonal patterns based on the gridal system. It consists of the intersection of segments surrounding octagonal forms. Main Muqarnas: The main muqarnas has a conical structure composed of seven layers arranged in a five-order sequence. This element is a prime example of the Seljuks’ skill in creating three-dimensional decorative elements that are both visually stunning and structurally functional.Seljuk stonemasonry represents a unique artistic tradition that emerged with the Turks’ adoption of Islam. The migration of Turkish communities from Central Asia to Anatolia brought about a fusion of artistic influences. The Anatolian Seljuk culture, influenced by both Islamic principles and indigenous Anatolian traditions, created a distinctive and rich ornamental style. This style is characterized by a blend of geometric precision and elaborate decorative motifs.The 11th to 13th centuries of the Anatolian Seljuk period witnessed a remarkable diversity in architectural surface decoration. This period is noted for its innovative use of various decorative techniques and materials. The geometric patterns and floral motifs used in Seljuk architecture often reflect Sufi concepts such as limitlessness, infinity, and diversity. These motifs transcend spatial boundaries, creating dynamic and interconnected designs that symbolize the infinite nature of the divine.The geometric and floral motifs in Seljuk decorations are not mere embellishments but are imbued with symbolic meanings. These motifs often reflect Sufi philosophical concepts, such as the idea of the infinite nature of the universe and the continuous&nbsp;renewal and transformation of life. The repetitive and interconnected patterns suggest a sense of order and harmony, which is a reflection of the divine order.The geometric shapes used in Seljuk ornamentation include circles, polygons, squares, rectangles, and triangles. These shapes are arranged within rectangular and square frames, adhering to the principle of surface filling, a common feature in Islamic art. This principle involves covering surfaces with intricate patterns, leaving no empty spaces, thus creating a sense of completeness and unity.The creation of geometric patterns in Anatolian Seljuk ornamentation involved meticulous planning and execution. The process began with the identification of the main pattern through projective photography and sketching. The centers of stars and circles were determined to establish the system networks. These networks were then constructed using the compass-ruler method, a traditional technique that does not rely on measurements but on the intersections of circles.This method involves creating patterns by dividing lines equally, drawing perpendicular lines, and extending lines with the help of a ruler. Secondary and tertiary networks are added by introducing new segments from intersecting points on the primary network. These networks are then coded with different colors to distinguish between various geometric arrangements.Muqarnas is a distinctive type of decoration in Islamic architecture, characterized by its three-dimensional, prismatic elements. Although primarily decorative, muqarnas also serves a structural function by transforming architectural elements into geometric forms. This transformation creates a visually complex and harmonious design that enhances the architectural space.The muqarnas at Susuz Inn exemplifies the Seljuks’ expertise in creating such intricate decorations. The conical structure of the muqarnas, with its seven layers arranged in a five-order sequence, demonstrates the complexity and precision of Seljuk stonemasonry. The use of muqarnas in Susuz Inn not only adds to the aesthetic appeal of the structure but also highlights the architectural ingenuity of the Seljuk artisans.Geometric orders are fundamental to Islamic art and architecture. These orders are defined by the spatial relationships and angles of lines, creating a grid system that allows for precise and systematic geometric arrangements. This grid method divides surfaces into equal units, enabling the creation of complex and harmonious patterns.In the case of Susuz Inn, the geometric patterns on the portal are established within a grid system. The limits of these geometric arrangements are clearly defined, and the relationship between the geometric units and the overall design is meticulously planned. This approach ensures that the patterns are not only aesthetically pleasing but also structurally sound.The analysis of geometric patterns in Susuz Inn involves a systematic methodology. The first step is to identify the main pattern through projective photography and sketching. The centers of stars and circles are marked to establish the system networks. These networks are then constructed using the compass-ruler method, which involves creating patterns without measurements.The process continues by dividing lines equally, drawing perpendicular lines, and extending lines with the help of a ruler. Secondary and tertiary networks are added by introducing new segments from intersecting points on the primary network. These networks are coded with different colors to distinguish between various geometric arrangements.Susuz Inn stands as a testament to the rich architectural and artistic heritage of the Seljuk period. Its intricate decorations, particularly the geometric patterns and muqarnas, reflect the Seljuks’ mastery in stonemasonry and their ability to blend diverse cultural influences into a cohesive artistic expression. Through meticulous analysis and reconstruction of these patterns, this research contributes to the preservation and appreciation of this architectural marvel.The detailed examination of the geometric patterns and muqarnas at Susuz Inn provides valuable insights into the design principles and techniques used by Seljuk artisans. The proposed methods for redrawing these patterns not only enhance our understanding of Seljuk art but also offer practical guidelines for preserving and replicating these intricate designs.In summary, Susuz Inn is more than just a historical structure; it is a symbol of the Seljuk Empire’s architectural and artistic achievements. Its intricate decorations and geometric patterns are a testament to the Seljuks’ ingenuity and craftsmanship. By studying and preserving these elements, we ensure that the legacy of the Seljuk period continues to inspire and inform future generations.&nbsp;

Susuz Han Taş Süslemelerinin Geometrik Örüntülerinin Çözümleme ve İnşası

Mine

İnce Minareli Madrasah is one of the important historical monuments of Konya. The stone, brick and tile decorations in the İnce Minareli Madrasah reflect the general architectural features of the Anatolian Seljuk period. It was built by a Seljuk vizier and is located to the west of Alaeddin Hill. The madrasah has a closed courtyard and a single iwan. There used to be a mosque next to the madrasah, but its minaret was destroyed. The minaret on the front façade of the masjid, which was built adjacent to the madrasah, was demolished in the past years. It is one of the three madrasahs in Konya whose courtyard is covered with a dome. The plan of the building, which has a uniform stone and brick workmanship, has a closed courtyard and belongs to the group of madrasahs with a single iwan. The symmetrical planned building is entered through the portal in the east. There is a pool in the courtyard in the center of the building. There are four student cells in the north and south, and the main iwan between two domed rooms in the west.The madrasah is decorated with tiles both inside and outside. It is believed that tiles were also used in the construction of its minaret. When the tile decorations in İnce Minareli Madrasah are examined, it is seen that the main iwan arches, window corners and pediments, the dome drum, the transition triangles to the dome and the interior of the dome are decorated with monochromatic glazed bricks and mosaic tiles. Although some tiles of the madrasah could not reach the present day, it is possible to find some information about them. This information obtained from various sources is also included in our research.The research focused on examining the tile decorations of the İnce Minareli Madrasah through field and space studies. We also documented the necessary photographs and conducted studies in the Konya Karatay Madrasah Museum warehouse where the tiles were kept. The aim was to take photographs and measurements of the tile pieces found during the excavations of the İnce Minareli Madrasah area, which is our research subject. All the findings obtained from the studies were documented and it was observed that there was a total of thirty-seven pieces of tiles, and that these works were registered in the inventory documents of the museum. These documents contain information such as the inventory number of the tile pieces, their location, and the periods they belong to. We obtained all the necessary information from these documents and used them in our research.Information about the tiles of the madrasah, which are not available today, was found from some sources. Similarly, old photographs of the architectural structure found in the sources allow us to have information about our research subject. The tiles of the madrasah architecture that are present in today’s structure have also important data from which we can obtain information about the tile pieces unearthed by excavations.Our research topic has been thoroughly examined with the help of the report prepared by the expert archaeologists of the Konya Museum Directorate and the information obtained from relevant sources. After analyzing the tiles found in the İnce Minareli Madrasah and those obtained from excavations, it is evident that some of the tiles found during excavations belong to the architectural structure, while it is uncertain whether some of them belong to the building. The tiles of the İnce Minareli Madrasah, which were unearthed by excavations, were identified based on the tiles found in the madrasah, and the research revealed the similarities of the tiles through photographs.&nbsp;When the general characteristics of the tiles unearthed during the excavations around the İnce Minareli Madrasah are examined, it is revealed that they are mostly damaged and broken. It can be seen that some tile pieces were later put on gypsum boards. It can also be seen that the tiles, which are glazed in monochromatic shades of eggplant purple and turquoise, are examples of both mosaic and monochromatic glazing techniques. No ornamentation was painted with a brush on the tile surfaces. It is clear that the tiles discovered during the excavation have geometrical forms and shapes.When we look at the tiles with mosaic technique, it is understood that they were made by creating a composition with geometric motifs. Star, triangle, rectangle, bow tie, square and hexagonal shaped tiles were used. Besides, it was determined that there were no ornaments with floral motifs. Single color glazed tiles are generally turquoise glazed pieces. While the use of hexagonal form is clearly seen in these tiles consisting of geometric forms; it can be said that forms such as star, square, triangle, rectangle, etc. were used, as the other pieces are broken. The cream-colored paste tiles were applied individually in the architecture or as part of an ongoing composition.These tiles are believed to have been added to the surface of the architecture by arranging tiles into various geometric compositions. The research includes photographs that illustrate similar tiled applications that can be found in some architectural structures from the Anatolian Seljuk period. Therefore, it was assumed that some of the tiles found had been used for the mosque’s mihrab, the madrasah’s minaret, and the madrasah’s wall surface. It was understood that some of the tiles were part of the border because of their continuous composition, even though some of them were applied to the architecture’s surface as a single piece. Photographs show those with similar compositions, which are identified in the research. There are also examples of tiles in various sizes that are different from one another in form and shape.&nbsp;Since not all the tiles of the madrasah are available today, it is not possible to determine the exact location of the tiles unearthed during the excavations. The form, shape and techniques of the tiles unearthed during the excavations are important elements that help us to determine the architectural element they were used for. The geometrical compositions of the mosaic technique tile fragments give us direction about their use in architecture. They indicate that they are part of an ongoing ornamentation or composition. The monochrome glazed pieces, on the other hand, indicate their use in architecture according to their form and shape. The tile fragments found consist of geometrically shaped pieces formed by combining geometrically shaped small tile fragments. No floral motif ornamentation is observed on their surfaces.&nbsp;The tile fragments, which are presumed to belong to the İnce Minareli Madrasah and the masjid, were marked in red on the plan of the architectural structure in order to understand where they belong. While the locations of some of the tile fragments could be determined with the information obtained from the relevant sources, visuals and photographs taken, predictions were made about some of them. Some of them were questioned whether they belonged to the madrasah or not. The form, composition and dimensions of the tile fragments allow us to make predictions about the places where they may have been applied. The iwan walls of the madrasah, cells, minaret, mihrab section and side walls of the masjid were identified as architectural sections where tile fragments could have been used.During the excavation, various tile pieces were discovered and given identifying names such as artifact 1, artifact 2, and artifact 3. Photographs were taken up to art 17 for documentation purposes. The tile pieces were analyzed in detail and categorized by inventory number, name, technique, location, dimensions, and definition under the title of the Artifact. The tiles made with the techniques frequently used in Turkish tile art, single-color glazed and mosaic techniques, are examined under the titles of artifact 1 and artifact 17. Tiles with mosaic technique are seen in; artifact 3, artifact 6, artifact 7, artifact 8, artifact 9, artifact 10, artifact 11, artifact 12, artifact 13, artifact 17, while tiles with single color glaze are seen in; artifact 1, artifact 2, artifact 4, artifact 5, artifact 14, artifact 15, and artifact 16.&nbsp;&nbsp;In this research, the excavated tiles from the İnce Minareli Madrasah, which is an architectural structure from the Anatolian Seljuk period, were studied to determine their corresponding architectural element by comparing them with similar tiled samples. The study aims to contribute to the preservation of tile art and cultural artifacts. The tiles found were documented with photographs and thoroughly described to add value to science and the art of tiles. This study is expected to inspire similar research and bring new knowledge to the field.This research, which is defined as the examination of the tiles belonging to the İnce Minareli Madrasah registered in the inventory of Konya Karatay Museum, deals with the tile fragments found as a result of the excavations. The tiles were analyzed in detail under the subheadings of “inventory number, work name and technique, location, dimensions and description”. This research, which was prepared by collecting sources and documents related to the subject, was prepared with the available information obtained. In this research, which is a long and laborious study; on-site studies, photographs taken, measurements taken, collection of sources and comparisons with similar tiles were made in order to examine the tile pieces. It is aimed to contribute to science and art with this original and qualified research.&nbsp;

Konya Karatay Müzesi Envanterine Kayıtlı İnce Minareli Medrese’ye Ait Çinilerin İncelenmesi

Mürüvet

Mehmet

Throughout human history, graves have been given great importance. This is in keeping with the beliefs and rituals that developed around the cult of death. However, in the case of inhumation burials, special attention was paid to the tombstones placed on the ground to identify the location of the deceased. There is a rich appearance in the tombstones that are made in different shapes and sizes. The writings and decorations on the surfaces of the tombstones also contribute to this. Tombstones with these features naturally contain cultural, social and religious data. It also reflects to us the periodic changes, tastes, and interactions. In this context, the decorated tombstones produced in Anatolia in the Middle Ages, especially during the Anatolian Selcuk period, deserve the attention they attract. In addition to being magnificent documents about the religious, cultural and artistic environment of the period in which they were produced, they also shed light on death-oriented beliefs. In particular, the figurative decorations on the tombstones are the best example of this situation. For this reason, a sarcophagus that is now in the Eskişehir Eti Archaeology Museum was taken to the center of the study.The sarcophagus, which is the focus of the study, is currently exhibited in the stone artifacts section of Eskişehir Eti Archeology Museum. While the work was previously located in Seyyid Battal Gazi Complex, it was transferred to Eskişehir Eti Archeology Museum between 31.06.1968 and 30.11.1981, according to the museum catalogue record. The sarcophagus is made of solid limestone and it has dimensions of 60x120x147 cm. On the sarcophagus without a pedestal; the entire prismatic cover part is decorated with text. According to the information in the text, the sarcophagus belongs to Mahmud bin Muhammed. The tombstone was made in 1311. There is a grooved strip just below the cover. This strip goes around all four sides of the sarcophagus. There is a figurative decoration made with the scraping technique on only one side of the sarcophagus. There is a deer with long antlers with its head turned backwards, a lion on either side of it with its front legs in the air, mouths open as if lunging and a rabbit in the corner. The tombstone, which has fine workmanship, does not have a head or footstone.&nbsp;&nbsp;&nbsp;The figures and composition on one side of the work were the focus of attention for some researchers. In the evaluations, the scene in question was described as a hunting or fighting scene. Again, each figure is interpreted individually. In particular, the lion and the deer are discussed in terms of their struggle, oppositional principles, and various symbolic aspects. However, there have not been many comments on the rabbit. Again, most research focuses on style and origin. Especially, the connection of the figures with Central Asia has been frequently examined. It has also generally been the subject of study along with similar figures in other tomb structures of the&nbsp;period. However, the relationship between these creatures and the scene itself with death remains in the dark.First of all, the work was produced in the Anatolian Seljuk period. It is known that figurative decorations, including lions, dear and rabbits, were used in many dears from architecture to handicrafts during this period. There is, however, a different world of meaning in each of these works. Nevertheless, the figures mentioned also found a place in works related to the death cult, from monumental tomb structures to tombstones. It can be seen that different compositions have been created in each of them. There are many figured sarcophagi and tombstones produced in the 13th and 14th centuries. Again, in the 15th century, the use of figures on gravestones continued, albeit in small numbers. These works, located in Afyonkarahisar, Kırşehir, Tokat, Malatya, Kırşehir and Konya, show that the use of figures was especially common in Central Anatolia. In general, figurative decorations are seen on tombstones on the side surfaces, covers or headstones. On ach tombstone, the deer, the lion, and the rabbit are brought together in a variety of compositions. Another point of interest is the appearance of the deer on sarcophagus-shaped tombstones produced in the Balkans in almost the same period. However, the exact scene in the work does not appear anywhere else. So the scene is unique. Therefore, in order to interpret the scene in the work, it is necessary to study each character individually and then evaluate the composition as a whole.Although the deer in the center of the composition is a hunting animal, it has different meanings in many cultures and religions. However, interestingly, it is a creature that has been directly associated with death from prehistoric times to the present day. The available findings show that deer skulls or antlers were placed in and on the graves. This reveals his direct relationship with death and the afterlife. Again, in the context of soul, underground spirit, and hunter-prey narratives, it turns into a metaphor for death. Especially in hunter- prey narratives, it is indirectly associated with fate, that is, life itself. Due to the double lions on the sarcophagus, the lion figure is one of the most frequently used figures in the Anatolian Seljuks. The lion, which is generally considered in connection with power, protection, frightening, talisman and astrological/cosmic, is also the symbol of light and illumination. Tomb structures are generally considered in two contexts. In the first one, lions, which are the symbols of light and the sun, were mostly seen as assistant spirits or spirits in the journey of the dead to the sky, guard spirits, and, together with various tree of life symbols, as vehicles for the soul’s transfer to the afterlife. It has also been interpreted as the symbol of caliph Ali and the symbol of sovereignty. In other words, it has been claimed that the owner of the tomb was a member of an order or a ruler. The rabbit located in the upper corner of the stage also has multiple meanings, such as deer and lion. Rabbit as god, taboo, sacred, substance or prey animal; it also appears in the context of underground spirits&nbsp;or life in the afterlife. Again, in medieval works, it refers to heaven-sky and eschatology with accompanying plants or celestial bodies. However, especially when written sources of the same period are considered, it is seen that the rabbit is a symbol of soul and heaven. In some societies, it is also accepted as death or a harbinger of death. This situation continues to this day. For example, among Tahtaci people living in Anatolia, seeing a rabbit while walking on the road is interpreted as death. Especially in the “Twelve Animal Calendar”, it is stated that there will be many deaths in the year of the rabbit and that this year represents hardship, cold and losses. Considering all this information, it is understood that the rabbit has a close connection with death.&nbsp;As a result of all this information, it seems correct to interpret the figures on the sarcophagus in Eskişehir Eti Archaeological Museum from a different perspective. First of all, the work is a very important example in terms of reflecting the culture, art and belief environment of Medieval Anatolia. Because the figures are in a work that directly reflects beliefs about death and the afterlife. Naturally, these should be evaluated with a focus on death rather than their general symbolic features. Again, it would be correct to name the entire scene, which is described as the hunting scene, differently. In particular, the deer between two lions directly refers to death, the soul, that is, the deceased person himself. Lions, the symbol of light, are positioned to illuminate the path of the soul, protect it, guide it, and even surround the soul by taking it between them, without attacking the deer, but attacking it. The rabbit, which is shown running to get out of the frame, has been added to the scene as a harbinger of death, bad luck (which is also bad luck), or death itself. Despite this scene, which is unique among the tombstones, the presence of the lion, deer and rabbit on contemporary or successive tombstones and in tombs and tombs also reveals the relationship of these figures with death. Although other works have different compositional setups in each unit- and each work should be examined on its own- the use of common figures strengthens this. An important question to ask here is " why the use of figures in tomb structures in a certain period and geography?”.As it is known, Medieval Anatolia; it is fed from three different sources: the Iranian-Sassanid environment, the indigenous cultures of Anatolia and Central Asia. Especially Central Anatolia and its surroundings, under the rule of the Anatolian Seljuk State, became an area where this rich artistic and architectural production could be directly applied. Naturally, it is not uncommon for such tombstones to appear in this geography where different tastes meet and are synthesized. Again, the fact that these are the result of cultural and artistic interaction should not be overlooked. As a result, even though the tomb owners were Muslims, they did not forget the beliefs they brought from Central Asia and were able to synthesize them with Islam.

Eskişehir Eti Arkeoloji Müzesinde Yer Alan Selçuklu Dönemi’ne Ait Bir Sanduka ve İkonografisi

Betül

Öğretim Görevlisi

Konya Alâeddin Camii Selçuklu Dönemi Kitabelerinin Hat Sanatı Bakımından Değerlendirilmesi

Berrin

Emine

Res. Assist.

Konya Karatay Madrasah was built by Emir Celaleddin Karatay in 649 [1251] during the reign of Sultan Izz al-Din Kaykaus II as it is understood from the construction inscription on the crown gate. The architect of the madrasah, which is a monumental structure with its crown gate, domed rooms next to the large iwan and the dome covering the central courtyard, is unknown. The interior decoration of the walls covered with mosaic tile ornaments and the dome make it stand out among the Anatolian Seljuk period buildings. The most magnificent part of the madrasah is the domed central space, including the large iwan. The eye-catching tiles using turquoise, dark blue and eggplant purple colors were made in mosaic technique. The madrasah is also an important building in terms of calligraphy with the variety of inscriptions. It is impressive to see a combination of inscriptions in jali thuluth as well as inscriptions in ma’kıli, braided and knotted kufic calligraphy, especially in kufic calligraphy. Among these inscriptions, the knotted kufic inscription on the skirt of the dome pulley of the building is a remarkable example with its design, letters and knots.&nbsp;There are general studies examining the architectural features and inscriptions of Konya Karatay Madrasah. However, there is no study that examines the structure of the letters and nodes in detail by making drawings of the sash inscription on the dome pulley and that will enable the application of this typeface, which was used in the 13th century, today. For this reason, this study focuses only on the knotted kufic sash inscription on the skirt of the dome pulley of the Karatay Madrasah in Konya.The knotted kufic calligraphy, which is the subject of the study, is one of the varieties of kufic calligraphy in architecture and created by drawing with drawing tools. Knotted kūfī is formed by twisting the vertical, diagonal and horizontal extensions of the letters on the line with circular or angular lines like a rope and forming knots within the letter. The spaces outside the text of knotted kufic inscriptions are often decorated with floral or rûmî motifs.When the history of knotted kufic is researched, it is widely believed that it developed in the Eastern Iranian region and developed as it spread westward. This type of writing, which was mostly used in architecture, intensified after the 11th century and was applied with materials such as stone, brick, plaster and tile mosaic. Kufic calligraphy is frequently seen in the inscriptions found in Anatolian Seljuk and Principalities period buildings. In addition to intense geometric ornamentation, kufic calligraphy with geometric principles is among the characteristics of the period. In some buildings of this period, an inscription showing similarities with the knotted kufic calligraphy in the Karatay Madrasah sash script was identified. Of these, the mihrab inscription of the Konya Alâeddin Mosque is identical in terms of design layout, lettering, knot, zulfa and decoration features on the inscription background. Another building with a font similar to the sash inscription of the Konya Karatay Madrasah is the Afyon Mısri Mosque. The sash inscription of the madrasah and the mihrab inscription of Afyon Mısri Mosque have the same font and features. However, since the letters in the inscription of the Mısri Mosque do not contain a meaningful text and the letters at the beginning and end are cut and placed, they cannot be read and it is not possible to trace a text. These two examples, which are similar to the sash inscription of the Karatay Madrasah in terms of type and ornamentation, do not have as wide a variety of letters and knots as the Karatay Madrasah sash inscription because they are shorter in terms of the area where they were written. In addition, the Kayseri Gülük Mosque mihrab inscription is also written in knotted kufic calligraphy. It is a beautiful work in terms of writing. When this work is compared with the Karatay Madrasah sash script, although it shows similar characteristics in terms of design layout, color and technique, it differs in terms of letters, knots, zulfa and background ornaments.&nbsp;The kufic script types, which were among the preferred inscriptions in the works of the Anatolian Seljuk and Principalities Period, were replaced by the developing jali thuluth calligraphy after this period. Jali thuluth calligraphy started to be preferred in the inscriptions in the buildings. For this reason, the sash inscription of Konya Karatay Madrasah attracted attention with its unique character in the knotted kufic calligraphy in the following periods.&nbsp;The knotted kufic sash inscription on the dome pulley of the Konya Karatay Madrasah is unique among its counterparts with its rich variety of knots. As is the case throughout the madrasah, the sash script is also composed of tiles. The letters of the sash lettering made with glaze engraving technique are eggplant purple, and the ornaments on the ground are decorated with turquoise colored rûmî composition. The dome diameter of the madrasah is 12 meters and the length of the inscription sash on the pulley of the dome is approximately 37.5 meters and its height is 91 cm. The text of the sash consists of the Basmala and the 255th and 256th verses of Surat al-Baqarah.In this study, qualitative research method and document analysis were used. First of all, the length and height of the sash was determined and then photographs were taken. The images taken were arranged together with the text readings and sorted side by side with the Adobe Photoshop program. Vector drawings were made in Adobe Illustrator program and transferred to digital media. The drawings were dimensioned in 1/10 ratio of 37.5 x 9.1 cm with a letter thickness of 2.2 mm.The design scheme of the sash script consists of three parts, the letters in the bottom line, the knots in the middle, and the zulfas at the top. The compositional shape consists of a horizontal, vertical and partly diagonal structure. Vertical lines were created by making connections to the letters other than the vertical letters, and a block image was created by balancing the gaps with the knots made to each letter. The ground of the text is also decorated with turquoise-colored ornaments in the form of a rûmî composition on sixty circular spirals lined up side by side.&nbsp;The individual, initial, middle and final forms of the letters in the sash script were identified one by one, and an alphabet table was created from the selected letters. Letters that are not in the text are left blank in the table. Kufic calligraphy inscriptions generally do not use periods. There is also no dot in the dotted letters in the sash inscription in the Karatay Madrasah.&nbsp;In the Arabic alphabet, letters such as alif, ṭa, ẓa, kaf, lām and lāmalif are composed of verticals. For this reason, their vertical parts are very suitable for making knots, and knots are most common in these letters in the kufic calligraphy. In addition, the letters cim, ḥa, ḫa, ḫā, dal, and zal in the kufic calligraphy have structures suitable for creating vertical or diagonal extensions. Therefore, extensions can be made to form nodes. The letters ba, ta, s̱̱a, ra, za, mim, nun, wāw, qāf, ya do not have a vertical or diagonal structure. However, in the Karatay Madrasah sash script, vertical/diagonal extensions were also made in these letters. The ends of these letters are mostly made to form an inverted rumi crest facing downwards.In the sash script, there are letters that can be perceived as knots as they are composed entirely of knots. Among these letters, knots in letters composed of verticals such as alif and lāmalif can be seen in every writing type of the kufic calligraphy. However, it is surprising that the letters sad and dat, which have a horizontal structure, are made in a form consisting of dense knots on two verticals. At the same time, these knots, which represent the letters sad/dat, also represented the letter lāmalif in the text. It was also determined that the same knots were also used in the writing of the word Allah for non-spelling ornamental purposes, and it was determined that these knots were used for multiple purposes in different places.It has been determined that the knots in the Karatay Madrasah sash script are independent of the letter on which they are located, and that the same knot can also be located on different letters. It was found that 93 different knots were made in sash script. Some of these knots also represent letters. In the design layout of the sash script, the knots are located on the vertical and diagonal extensions emerging from the letters. There are examples on a single vertical, on double verticals side by side, on a single diagonal extension, between two verticals with a distance between them, and on diagonal lines. The knots selected from the sash script were evaluated by categorizing and coloring them according to the stage of construction. It was also determined that the knots in the sash script of the madrasah contain various forms. They were analyzed by dividing them into groups as circle, cross, star and knots in the middle of two verticals with a distance between them. In order to ensure the repetition of vertical knots in the design construct of the sash script, it was seen that there were knots that did not have the quality of letters, but were made only to fill the gaps in the writing of the verse, and examples were given.In the Karatay Madrasah sash script, which is a unique example with its variety of knots, almost all knots are different. In the analysis of the knots, it was determined that a simple knot was developed and elaborated and transformed into different knots, and two different examples are given in the knot development table. This study also intends to make a methodological contribution to the new knot studies to be created by examining the knot systems detailed from lean movements.In calligraphy, the hooked part at the end of the letters is called zulfa. The upper end of the vertical or diagonal extensions of the letters in the Karatay Madrasah sash script, i.e. the zulfa, was made in different ways. Symmetrical zulfas on two verticals side by side, zulfas where two verticals meet at the top, zulfas used in right and left directions on a single vertical, and diagonal zulfas are listed as follows. The main characteristic of the zulfas in the sash script is that they are composed of rûmî motifs and end with crests in different shapes. The zulfas found in the sash script of the ma-u drasah were evaluated by dividing them into A-B-C-D groups.As a result of all these studies and analyses, a measured and regular font was created with the typographic arrangement made with the basic shapes of the knotted kufic letters in Konya Karatay Madrasah. In the light of all the data, a new design proposal was created and presented. Yunus Emre, one of the greatest poets of Anatolia, who was born during the construction years of the Karatay Madrasah, selected the couplet “Sevelim sevilelim, bu dünya kimseye kalmaz (Let’s love and be loved, no one is eternal on this world)” and prepared a plate in lines. With this study, the 13th century Karatay Madrasah knotted kufic font has been brought to the present day and a source has been created for the designs to be made with this type of writing in calligraphy. It is our hope that today’s calligraphers will produce new works by making use of this data.

Konya Karatay Medresesi Düğümlü Kûfî Kuşak Yazısının Hat Sanatı ve Düğüm Özellikleri Bakımından İncelenmesi

Sara

Tasarım, geçmişten günümüze sanat eserleri ile kültürel mirasa olan ilgiyi ve etkiyi yansıtan önemli bir disiplindir. Günümüzde, tasarımcılar, geçmişin sanat eserlerinden ilham alarak yeni ve yenilikçi tasarımlar ortaya koymaktadır. Tasarım eylemi, belirli bir sonuca ulaşmak için tanımlanan bir süreçtir ve aynı zamanda yaratıcı, yenilikçi, katılımcı ve eleştirel bir yaklaşımı hedeflemektedir. Tasarım eğitimi, öğrencilere problem çözme tekniklerini öğretmeyi ve çok yönlü düşünme becerilerini geliştirmeyi amaçlayan teorik bir çerçeveye dayanmaktadır. Sanat eğitimi, diğer disiplinlerden belirgin bir şekilde ayrılmış ve özgün bir pedagojik yaklaşım geliştirmiştir. Bu da tasarım atölyelerinin öğrenci ile öğretmen arasındaki diyalog ve değerlendirme türlerine odaklanmasını sağlamıştır. Öğrenciler, sanat atölyelerinde belirsizlikle ve öğrenme süreciyle karşılaşırken çevre ile kurdukları kavramsal ilişkiyi farklı seviyelere taşımak ve yeni eğitim ortamının gereksinimlerini karşılayacak şekilde dönüştürmek için çaba gösterirler. Sanat eğitimi, soyut düşünme ve kavram üretme üzerine odaklanan tasarım dersleri tarafından oluşturulmakta ve yaratıcılığın gelişimine olanak tanımaktadır. Ayrıca, sanat dersleri, problem çözme ve öğrencilere değerlendirme yapma sürecinde de önemli bir rol oynamaktadır. Atölyeler, öğrencilere tasarım hakkında öğrenme ve tasarım eylemi hakkında bilgi edinme fırsatı sunmaktadır. Sanat eğitim süreci ilerledikçe, öğrenciler tasarım süreci ve entelektüel hareketlerle ilgili yöntemleri öğrenmeye çalışmaktadır. Temel sanat eğitimi, öğrencilere sanatın temel prensiplerini, tekniklerini ve kavramlarını öğreten kapsamlı bir eğitim programıdır. Bu program, resim, heykel, grafik tasarım, fotoğrafçılık, seramik ve tekstil sanatları gibi çeşitli sanat disiplinlerini ihtiva etmektedir. Ayrıca, temel sanat eğitimi, sanat tarihini, sanat teorisini, felsefeyi, estetik kavramları ile beraber sanat eleştirisini de kapsamaktadır. Bu eğitim, öğrencilerin yaratıcı düşünme becerilerini, problem çözme yeteneklerini ve özgüvenlerini geliştirmelerine yardımcı olmaktadır. Temel sanat eğitimi, öğrencilere sanatın farklı yönlerini tanıtarak onların sanatsal ifadelerini ve yeteneklerini genişletmeyi amaçlamaktadır.&nbsp;Bu makale, Trabzon Üniversitesi Güzel Sanatlar ve Tasarım Fakültesi’nde 2023- 2024 eğitim öğretim yılında Resim Bölümü’nde verilen temel sanat eğitimi dersinde, Selçuklu Dönemi eseri olan Varka ve Gülşah mesnevisinin minyatürlerinin kullanımını ele almaktadır. Bu minyatürler, öğrencilere temel tasarım öğelerini anlamaları ve Gestalt kuramlarını uygulamaları için zengin bir kaynak sunmaktadır. Öğrenciler, bu tarihî eserleri analiz ederek ve yeniden üreterek hem Selçuklu sanatının estetik değerlerini hem de kendi yaratıcılıklarını geliştirme fırsatı bulmuşlardır. Öğrencilerin çalışmaları genel olarak çeşitli tarzları ve teknikleri içermektedir. Çalışmalar detaylara ve gerçekçi dokulara önem vererek doğanın güzelliklerini yakalamış, soyut düşünce ve duygulara yönlendirmiştir. Aynı zamanda hikâye anlatımı ve karakter gelişimi açısından da dikkat çekmiştir. Öğrencilerin çalışmalarındaki çeşitlilik, sanatın farklı&nbsp;yönlerini anlamalarına ve kişisel tarzlarını geliştirmelerine yardımcı olmuştur. Her bir öğrencinin kendine özgü bir yaklaşımı ve ifade tarzı olduğu gözlemlenmiştir. Genel olarak, öğrencilerin çalışmaları yaratıcı ve çeşitli bir perspektif sunmaktadır.&nbsp;Selçuklu Dönemi resim sanatı, İslam Öncesi Dönem ile Orta Asya’ya özgü sanat formlarıyla ilişkilidir. Selçuklu okulu, İran’da Selçukluların hâkimiyet döneminde ortaya çıkan bir resim akımının parçasıdır ve aynı zamanda insan figürleri ile çiçekler gibi unsurların sıkça kullanımı ile bilinmektedir. Renklerin yoğun ve dikkat çekici kullanımı, özellikle kırmızının hâkimiyeti, bu sanat akımının en belirgin özelliklerindendir. Abdü’l-Mü’min İbn Muhammed El-Hoyi gibi önemli sanatçılar, Varka ve Gülşah gibi klasik eserleri resmetmişlerdir. Hoyî’nin eserleri, Anadolu Selçuklu Dönemi’nin özelliklerini taşırken canlı renkleri ve detaylı işçilikleriyle dikkat çekmektedir. Ayyukî, 11. yüzyılın başlarında yaşamıştır ve ünü, aşk temasını ele aldığı Varka ve Gülşah adlı mesnevisiyle duyulmuştur. Varka ve Gülşah, Farsça bir aşk mesnevisi olup yaklaşık iki bin beyitten meydana gelmiştir. Bu eser, Fars edebiyatındaki ilk hikâye manzumelerinden biridir ve 10. yüzyılın sonları ile 11. yüzyılın başları arasında yazılmıştır. Hikâye Arapça kaynaklardan esinlenmiş olup Ferhad ve Şirin gibi aşk hikâyelerine de benzemektedir. Eserde, aşık ve sevgilinin hikâyesi basit ve sade bir dille anlatılmıştır.&nbsp;Trabzon Üniversitesinde gerçekleştirilen eğitim sürecinde, birinci sınıf resim bölümü öğrencileri, Selçuklu Dönemi minyatürlerini inceleyerek ve yeniden üreterek sanatsal becerilerini geliştirme fırsatı bulmuşlardır. Öğrencilere ders kapsamında, Varka ve Gülşah mesnevisinin hikâyesi ile tarihi anlatılmış ve minyatürler detaylı bir şekilde incelenmiştir. Daha sonra, yeniden üretim kavramı örneklerle açıklanmış ve öğrenciler bu minyatürlerden ilham alarak kendi eserlerini oluşturmuşlardır. Bu süreçte, öğrenciler temel sanat ögeleri (nokta, çizgi, renk, biçim, yön, ölçü, aralık ve doku) ve Gestalt kuramlarını (yakınlık, tamamlama, benzerlik, süreklilik ve şekil-zemin) aktif bir şekilde kullanarak minyatürleri yeniden ele almışlardır. Bu süreçte öğrenciler, günümüz olaylarıyla harmanlayarak yeniden ürettikleri eserleri analiz etmişlerdir. Öğrencilerin ortaya koymuş oldukları eserleri yan yana koymak suretiyle yapılan analizlerde, minyatürlerin sağladığı görsel ögelerin kullanımı ve kompozisyon üzerindeki etkisi derinlemesine incelenmiştir. Öğrencilerin yapmış oldukları çalışmalar, çeşitli tarzları ve teknikleri içermesiyle dikkat çekmektedir. Her öğrenci, sanatın farklı yönlerini anlamak ve kişisel tarzını geliştirmek için farklı yaklaşımlar benimsemiştir. Bu çalışmalar hem teknik hem de estetik açıdan zengin bir çeşitlilik sunmaktadır. Her bir öğrencinin kendine özgü yaklaşımı ve ifade tarzı olduğu gözlemlenmiş olup bu da çalışmaların bireysel yaratıcılığı ve özgünlüğünü vurgulamaktadır. Genel olarak, öğrencilerin eserleri, yaratıcı bir perspektif sunmakla kalmayıp sanatın çok yönlü doğasını da sergilemektedir. Bu çeşitlilik, öğrencilerin sanatsal ifadelerini genişletirken, onların özgüvenlerini ve problem çözme yeteneklerini geliştirmelerine de katkı sağlamıştır.&nbsp;Her bir çalışma, öğrencilerin Selçuklu Dönemi minyatürlerinden ilham alarak yarattığı yeni eserleri tanımlamaktadır. Temel bileşenler, kullanılan renk paleti, kompozisyon elemanları ve semboller gibi detaylar her çalışmada belirtilmiştir. Bu açıklamalar, öğrencilerin sanatsal süreçlerini ve tercihlerini daha iyi anlamamıza yardımcı olmaktadır. Öğrencilerin sanatsal tercihleri ve yaratıcı yaklaşımları, eserlerin özgünlüğünü vurgulamaktadır. Minyatürlerin temel unsurlarını ve kompozisyonlarını anlamak için farklı yaklaşımlar kullanılmıştır: Çalışmalarda kullanılan semboller ve figürler, zengin anlam katmanları sunmaktadır. Örneğin, nar ağacının dalları bereketi ve yaşamın devamlılığını simgelerken farklı renklerdeki atlar tutku, güç, cesaret, dinginlik ve sakinliği temsil etmektedir. Kuşlar özgürlüğü, ruhsal yükselişi ve huzuru; yeşil ağaç figürü doğayla olan bağlantıyı, büyümeyi ve yenilenmeyi simgelemektedir. Ayrıca, çadır ve cenaze töreni gibi sahneler, soyutlama ve semboller aracılığıyla yeniden yorumlanarak derin anlamlar kazanmıştır. Öğrenciler, geometrik şekiller ve soyut figürlerle minyatürlerden ilham alarak yeni kompozisyonlar oluşturmuşlardır. Bu çalışmalarda, renk paletlerinin genişliği dikkat çekmektedir. Lacivert, kırmızı, pembe, sarı, turuncu, yeşil, mavi ve altın gibi renkler, eserlerde canlılık ve dinamizm sağlamıştır. Renklerin sembolik anlamları da çalışmalarda önemli bir rol oynamıştır. Kırmızı genellikle tutku ve enerjiyi; mavi dinginlik ve derinliği; yeşil doğayı ve yaşamı; sarı neşe ve iyimserliği temsil etmektedir. Bu sembolik renkler, eserlerdeki duygusal ve tematik katmanları zenginleştirmiştir. Gestalt prensipleri, öğrenci çalışmalarında önemli bir rol oynamaktadır. Şekil-zemin ilişkisi kullanılarak kompozisyonlara derinlik ve bütünlük kazandırılmıştır. Özellikle üst üste binme ve çevre kapanması teknikleri, figürler ve unsurlar arasında görsel bir ilişki kurarak eserin anlatmak istediği duygusal ve sembolik mesajları güçlendirmiştir. Öğrenci çalışmalarında doku, kompozisyona derinlik ve gerçekçilik katmak için önemli bir unsur olarak kullanılmıştır. Lacivert boya (lapis lazuli) gibi değerli malzemeler zemin kaplamasında tercih edilmiştir. Mat dokular, izleyicinin eseri daha yakından hissetmesine olanak tanımaktadır. Fırça darbeleriyle zemine doku hissi verilmiş ve bu şekilde şekil-zemin ilişkisi vurgulanmıştır. Çalışmalarda hem yatay hem de dikey yönlerin baskın olduğu görülmektedir. Dikey yönlerin baskın olduğu eserlerde, figürler ve diğer unsurlar yukarı doğru hareket hissi verirken yatay yönlerin baskın olduğu çalışmalarda denge ve düzen hissi ön plandadır. Simetri, öğrenci çalışmalarında sıkça kullanılan bir ögedir. Kompozisyonlarda simetrik düzenlemeler, denge ve uyum hissi yaratmaktadır. Simetrik biçimlerin kullanımı, eserlere estetik bir bütünlük kazandırırken, izleyicinin dikkatini merkezi noktalara çekmektedir.&nbsp;Trabzon Üniversitesi öğrencilerinin aldığı temel sanat eğitimi dersleri, Selçuklu sanatını analiz etmek ve çağdaş sanatın temel kavramlarına değinmek açısından önemli bir katkı sağlamıştır. Bu dersler, öğrencilere sanatın evrensel dilini kullanma ve anlama becerilerini geliştirme fırsatı sunmuştur. Ayrıca, kültürel mirasın ve sanatın evrenselliğinin önemini vurgulamış ve öğrencilere benzersiz bir bakış açısı kazandırmıştır. Bu makale, öğrencilerin sanat yoluyla öğrenmeyi temel alan bir öğretme/ öğrenme modeliyle yeni bir yaklaşım getirdiğini ve bu yaklaşımın Selçuklu sanatını uluslararası alanda tanıtmak için önemli bir araç olduğunu belirtmektedir.Öğrencilerin yeniden kompozisyon yapma ve değerlendirme süreçlerinde minyatürler temel bir kaynak olarak kullanılmış olup eserlerinde özgünlük ve yaratıcılık ön planda tutulmuştur. Minyatürlerden esinlenerek ortaya koydukları yeni eserlerle, sanatın evrensel dili aracılığıyla toplumsal bağlar kurulmuş ve kültürel mirasa olan katkılar açıkça ortaya konmuştur. Bu süreç, öğrencilerin estetik değerlendirme becerilerini geliştirmelerine yardımcı olmuş ve yeniden üretim yöntemi, ikili karşıtlıkları kullanarak anlamı sorgulamanın önemli bir aracı olarak ele alınmıştır. Bu yaklaşım, öğrencilerin sanatı anlama ve ifade etme yeteneklerini geliştirirken kültürel mirasın ve sanatın evrensel niteliğini vurgulamaktadır.&nbsp;Yeniden üretim, metin malzemelerine dayanarak geliştirilen bir taktiktir ve egemen anlamın var olmadığını savunmaktadır. Bu süreç, kültürel ürünlerin ve sanat eserlerinin mekanik yeniden üretimin etkisi altında nasıl değiştiğini ve yayıldığını vurgulamaktadır. Bu bağlamda, yeniden üretim, orijinal eserlerin otantikliğini ve eşsizliğini sorgularken aynı zamanda sanatın ve kültürün demokratikleşmesine katkıda bulunmaktadır. Mekanik yeniden üretim, sanat eserlerini daha geniş kitlelere ulaştırarak onların erişilebilirliğini arttırmaktadır. Ancak bu durum, eserin orijinal bağlamından koparılmasına ve anlamının dönüşmesine de sebep olabilir. Bu dinamik, kültürel ürünlerin sürekli bir dönüşüm ve yeniden yorumlama sürecine tabi olduğunu ve tek bir doğru veya egemen anlamın var olamayacağını göstermektedir. Bu sebeple yeniden üretim süreci hem sanatın hem de kültürel ürünlerin evrimine ve yayılımına dair önemli içgörüler sunmaktadır. Yeniden üretim, bilgiyi tersine çevirme amacıyla kullanılmakta ve anlamı sorgulamanın bir aracı olmaktadır. Bu makale, resim eğitiminde yeniden üretimin önemini vurgulamakta ve Trabzon Üniversitesinde gerçekleştirilen “Temel Sanat Selçuklu” atölyesinde yapılan çalışmalara odaklanmaktadır. Bu çalışmalar, Selçuklu sanatını bir araç olarak kullanmakta, yeniden üretim yöntemini benimseyerek çizgi, biçim, yönelim, doku, renk ve Gestalt kuramı gibi konuları sorgulamaktadır. Öğrenciler, verilen ikili karşıtlıklar aracılığıyla benzersiz sonuçlar ortaya koymuştur. Tasarım aracı olarak Selçuklu sanatı kullanılarak Varka ve Gülşah minyatürleri soyut terimlerde yaratıcı eserler olarak yeniden tasarlanmıştır. Her bir öğrencinin eseri, benzersiz bir hikâye anlatımını ve sanatsal ifadeyi temsil etmektedir. Bu temsil aynı zamanda sanat eğitiminin Temel Sanat Dersi için özel olarak uygulanan yeni bir bakış açısı sunabileceğini göstermektedir. Verilen problemler aracılığıyla üretilen eserlerin çeşitliliği, öğrencilerin entelektüel becerilerini geliştirdiğini ve kendilerini daha rahat ifade edebileceklerini göstermektedir. Öğrencilerin bu temel sanat eğitimi dersleri, sadece Selçuklu Dönemi sanatına değil, aynı zamanda çağdaş sanatın temel kavramlarına da değerli bir katkı sağlamaktadır.&nbsp;Sonuç olarak, sanatı tasarım sürecinde bir araç olarak görmek ve ondan yararlanmak, sanat eğitimi açısından büyük önem taşımaktadır. Temel Sanat Dersleri, sanat yoluyla öğrenmeyi temel alan öğretme/öğrenme modeli sayesinde öğrencilerin yaratıcı düşünme becerilerini, estetik duyarlılıklarını ve teknik yeteneklerini geliştirmelerine olanak tanımaktadır. Bu yaklaşım, sadece bireysel yaratıcılığı teşvik etmekle kalmaz, aynı zamanda öğrencilere benzersiz ve yerel değerlere yeni bir bakış açısı kazandırmaktadır. Bu yeni eğitim modeli, Selçuklu sanatının derinlemesine analiz edilmesi ve uluslararası alanda tanıtımının yapılması açısından da büyük önem taşımaktadır. Selçuklu sanatının estetik ve kültürel mirasını günümüz sanat pratiğine entegre etmek hem tarihsel farkındalığı arttırmakta hem de bu mirası çağdaş sanatla buluşturarak yeni ve ilham verici perspektifler sunmaktadır. Böylelikle, sanat eğitimi yalnızca geçmişin bir yansıması olmaktan çıkmakta aynı zamanda da geleceğin sanatsal ve kültürel biçimlerini şekillendiren dinamik bir süreç hâline gelmektedir.

Varka ve Gülşah Minyatürlerinin Temel Tasarım Atölyesinde Yeniden Üretimi

Sevcan

Res. Assist. Dr.

In this study, an evaluation was made on the forms due to the problems in terminology in ceramic art. This research, which is limited to the Anatolian Seljuk and Principalities Periods, aims to make a correct explanation of the jugs, which are among the ceramics produced in countless forms, but are generally not studied and constitute only one group, and to create a typology. In order to create a typology of jugs, firstly the concept of jug was emphasized and detailed information about the conceptual confusion was given. The inconsistencies in the publications on jugs, ewers and carafes were pointed out, and then the typology was created and information was given about the Seljuk and Principalities Period jug forms. Various sources were scanned to determine and find the form types used in the works in which we investigated the test forms of the Anatolian Seljuk and Principalities periods. During the research, it was understood that the carafe and ewer forms found in some sources, which were not defined as jugs but were jugs, were considered as jugs. Therefore, first of all, a detailed form evaluation was carried out to clarify the names of these parts.At the beginning of the study, it was understood that there were problems in the naming and form details of the jugs, which have always had an important place in ceramic art and history, like other ceramic vessels. Elements of the human body are used in the naming of vessel parts (mouth, lips, neck, shoulders, abdomen/body, feet, etc.). However, it is noteworthy that local and foreign researchers generally do not use a common language regarding ceramic forms. When discussing ceramic vessels in terms of form, different names are used for all the details starting from the mouth to the foot, i.e. the base. For this reason, many terms and concepts have emerged in ceramic art. In addition, the common use of some concepts in contemporary ceramic art and handicrafts in the field of ceramics has increased the confusion in naming and form descriptions in these fields. However, in some publications, examples that we know as jugs or mugs are referred to as jugs, while those we know as jugs are referred to as pitchers/ewers or carafes.When we examine the examples of closed-form vessels and jugs illustrated in books, articles, papers and theses written in the field of Islamic and especially Seljuk period ceramics, one of the problems we encounter is that there are different names for the same type of vessels. The main problem arises when these vessels with various functions are used interchangeably. For example, a similarly shaped jug may be called a jug, ewer or jug in different publications. This leads to serious confusion in form and function. However, due to the differences in the ceramic jargon of archaeology and art history, art historians mostly prioritize function. For this purpose, a study has been prepared to draw attention to the functional confusion as well as to the form types of the jugs, which are the main subject of this study.When typologizing vessels, many common characteristics must be brought together and arranged in order of priority. The most important criteria for differentiating the main forms are size and proportion, followed by body and rim form, and attachments (handles, lugs, spouts, feet, bases, etc.). Once the vessel repertoire has been divided into main groups, attachments should play a role in the subgroups. Although the main vessel forms can be classified under different names according to their various attachments, the skeleton of the typology should be formed without going beyond this grouping. Accordingly, a jug should be classified according to the characteristics of the main vessel type, even if it is called beak-mouthed or double-handled under the narrow-mouthed pottery group. Vessel forms arranged according to a certain principle are the most important factor in establishing a correct typology.Although at first glance one might think that there is a great variety in the forms of jugs, ewers and carafes, it can be accepted that they are period-appropriate variations of certain forms whose origins go back to very ancient times. Considering their relationship with water as well as their construction techniques and form details, it is understood that these designations were made according to certain characteristics of the vessels. The main similarity between the jug and the pitcher in terms of function is that water and similar liquids are poured through a protruding spout. The main difference between them is that the liquid is poured from the spout on the jug and from the spout on the ewer.The most important feature of the jugs is that they are cooked at a low temperature, so they remain porous and sweat by slightly leaking water, thus keeping the water cool. Since the jugs are directly related to water, there is no need to call them water jugs. However, they are sometimes named after honey, molasses, oil and various other liquids. In some publications, jugs are included in closed-form ceramics, as mentioned above, and sometimes they are analyzed under the name of beverage serving vessels. For example, beverage serving vessels consist of large jugs, ewers, bottles and flasks used for transferring liquids. The smaller ones are glasses and mugs. The fact that jugs are not generally included among beverage serving vessels, or that these vessels are called jugs or mashrapa instead of jugs, may be due to their different intended use. The jug has a wider mouth and a beak, making it suitable for use at the table. The jug, on the other hand, is convenient to carry and has a large volume to increase the liquid capacity. In general use, the jug serves to serve individual vessels (cups and mugs). The jug is both hand-carried and can be passed from hand to hand to drink from. The pitcher serves to slow down and control the flow of liquid, whether for cleaning hands and bodies or for serving drinks. In bottles, this controlled flow is realized thanks to the thin long necks. The bottles also have neck collars that prevent slipping from the hand.The jugs may be of different heights, but when they are typified according to their body forms, their rim diameters and heights are consistent based on certain measurements. Thus, clearer conclusions can be drawn based on their heights and rim diameters under different groups. According to the dimensions given in various publications, the average height of the jugs ranges between 15 cm and 40 cm and the average rim diameter between 4 cm and 10 cm regardless of their base, body, neck and rim forms. These vessels do not have spouts, have variable body and neck forms, and have as many handles as desired. The form details of the jugs found in our study and grouped according to their body forms are given under subheadings. Glazed or unglazed jugs were produced in different forms for various purposes during the Seljuk Period. These are products with various forms, usually with bulging bodies, with or without necks, with narrow or wide rims, of medium height and in sizes that can be carried by hand, with one or two handles, sometimes without handles and spouts. In some regions that have reached the mass production stage, it is possible to further diversify the forms of jugs beyond the detailed characteristics described above.In order to create a form typology of the Seljuk and Principalities Period jugs, this study is based on the jug drawings in various publications of the period. Forms of the same type, which are defined differently from each other, have been grouped under suggested headings and generalizations have been attempted. The publications reviewed and the drawings and decorative features of the examples in many studies were carefully analyzed and grouped under specific form headings. The jugs, analyzed only according to their body forms, vary according to their rim and base forms. Since creating a typology of the jugs in such a way that the rim and base parts of the jugs are also integrated with the body parts would further complicate the already existing form typology, only the bodies were taken as the basis for the typology. Accordingly, two types of jugs with mold-made and wheel-made bodies were produced. Molded jugs with two-piece bodies have three different body forms. They are grouped as two-piece spherical body jugs, two-piece conical-spherical body jugs and two-piece conical body jugs. Wheel-made jugs have spherical, flattened conical, ovoid and oval bodies.Most of the two-part globular jugs found in Anatolia were recovered from sites dating to the Seljuk, Principalities and Early Ottoman periods. During the research, it was possible to compare the jugs dated to the Seljuk period of the 12th and 13th centuries with those dated to the 14th-15th centuries of the Principalities period. Thus, it was found that the Seljuk period jugs with the same technique were found frequently, and that the bodies were produced in various forms such as two-part spherical or flattened spherical form, conical at the bottom and spherical at the top, or vice versa. In addition, it was found that the bases were generally in the form of low ring bases and high bases in the form of goblet feet, and the necks were in the form of conical or cylindrical shapes opening from the body to the mouth.It is understood that the Anatolian Principalities and the Ottomans, the successors of the Seljuks, were the successors of each other in ceramic works as in many other artifacts, but they continuously improved their production within their periods by making innovations. Therefore, considering these changes over time, we can say that the jugs were stable in their main form, i.e. the body form, but managed to create diversity in the form of add-ons, i.e. the base, handle and neck forms.

Testi: Anadolu Selçuklu ve Beylikler Dönemi Örneklerine Kavramsal ve Tipolojik Bir Yaklaşım

Abdül

Ala al-Din Kayqubad I, who was considered the most successful sultan of the Anatolian Seljuk State, appointed his younger son Izz al-Din Kilij Arslan as the heir before his death. However, after his death, his eldest son Ghiyath al-Din Kaykhusraw II, who was the malik of Erzincan, was declared sultan with the efforts of prominent statesmen. In his early years, Kaykhusraw II tended to continue his father’s policies and to this end he engaged in diplomatic relations with other states as his father had done. Accordingly, he received the ambassadors of foreign countries who had come to Kayseri during his father’s lifetime and sent an envoy to Mongolia. Afterwards, he renewed the treaties of allegiance with the Ayyubid rulers of Damascus and Aleppo, which had been concluded during his father’s reign. Soon other Ayyubid kings and Artuqid emirs also became his subjects. Thus, he formed a strong front against the Ayyubid dynastry of Egypt. However, in the same years, he remained under the influence of Sâdeddin Köpek and his negative attitude towards significant statesmen who had served for years caused the state to be in a difficult situation in overcoming the challenges in the following years. During this period, the elimination of experienced statesmen such as Kayırhan, Kemâleddin Kâmyâr, Şemseddin Altun-aba, Hüsâmeddin Kaymerî, and Tâceddin Pervâne paved the way for the emergence of the Baba Ishak rebellion. Ghiyath al-Din Kaykhusraw II, who lost power after the rebellion, suffered a heavy defeat in the Battle of Köse Dağ when the Mongols arrived in Anatolia while he was striving to ensure political unity in Anatolia. The plundering of important cities by the Mongols after the battle caused the Seljuks to lose their sovereignty in Anatolia. While efforts were being made to reestablish sovereignty, the sudden death of the sultan at a young age increased the chaos within the Seljuk State, contributing to its collapse.&nbsp;Ghiyath al-Din Kaykhusraw II’s private life has been the subject of controversy among historians. His marriages, fondness for women, alcohol, and entertainment have been emphasized, focusing on his failures in state governance. It is even suggested that the sultan died as a result of an attack by one of the wild animals he kept. Despite these controversies, architectural works during this period are noteworthy. It is seen that the commercial, religious and social structures built in parallel with the development of the state during the reign of his father Ala al-Din Kay-Qubad I continued uninterruptedly during the reign of Ghiyath al-Din Kaykhusraw II. The Sultan’s works in the field of art are also observed through the coins he minted. Particularly, the intensive minting of coins featuring the composition known as the lion and sunface is an example of this situation.By our study, 99 coins belonging to the period of Ghiyath al-Din Kaykhusraw II have been identified in the inventory of the Bursa Archaeology Museum. Excluding&nbsp;duplicates, a catalogue has been created from 46 pieces. Although there are tarnishes and abrasions on the surfaces of the coins, they have survived to the present day in their general condition. However, it is not possible to say the same for the copper-based coins. The coins were minted between 634 AH (1237 AD) and 644 AH (1246–47 AD). The years 639 and 640 AH are the most common, appearing on half of the works. In 18 works, the date could not be determined. However, 10 of them could be dated according to the caliph’s name and order in the front inscription lines. All coins were produced using the minting technique. The coins were produced using silver and copper metals. Silver material was more commonly preferred compared to copper. An example of gold material, which is known to have been used in the coins of this period through publications, is not found in the inventory of the Bursa Archaeology Museum. The average weight of silver coins is 2.84 grams, while copper pieces weigh 3.65 grams on average. The average diameter of silver coins is 22.2 mm, while for copper pieces, it is 22.9 mm. Among the coins, 55 were minted in Sivas, 33 in Konya, and 1 in Ankara. The minting location of 10 coins could not be determined. Kufic calligraphy was used in the inscriptions of 80 coins, while Seljuk cursive script was used in 19 coins.The ornamentation program of the coins includes geometric, botanical, and figural elements. Among these, the pearl series border, one of the most common geometric decorative elements, is used in almost all coins. Additionally, stars, circles, three dots, reverse S, crescents, and knot motifs are other geometric ornamentation elements. Botanical elements consist of curved branches, rumi, and tulip motifs. The most frequently used curved branch motif is created by extending the last letter of the inscription lines.&nbsp;The lion and sun-face elements are seen as figural ornamental elements. The composition, typically supported by geometric elements such as stars, circles, and S-curves, repeats itself with minor variations. Religious and astrological approaches play an important role in the composition. The sun cult, adopted by many societies for thousands of years, has created richness in its depictions over time. At times, the composition is depicted in a purely abstract form, while at other times it is represented anthropomorphically or directly in the form of a human figure. The lion, on the other hand, is associated with astrology or depicted as an element of power. The earliest examples of compositions bringing together the two most powerful elements of earth and sky can be found in the Persian and Mesopotamian regions. Influenced by Zoroastrian beliefs, the composition developed in these regions has been shaped within the framework of different symbolic narratives over time. In Turkish art, the composition is found before and after Ghiyath al-Din Kaykhusraw II. There are different views on the symbolic expression in the lion and sun-face composition. The most prominent of these is the symbolism of love, based on the identification of the sun with the woman&nbsp;and the lion with the man. The other view is related to the astrological symbolism that Ghiyath al-Din Kaykhusraw II was the symbol of rulership. In another view, the composition is interpreted as a representation of the victory won as a result of the Babai Rebellion during the reign of Ghiyath al-Din Kaykhusraw II. Similarly, the composition has also been associated with the conquest of Samsat and Diyarbakır and the suppression of the Babai Rebellion. These views are interrupted by the composition’s depiction of a double lion. The fact that the usage of lion and sun elements to symbolize power and dominance in artistic depictions and societal narratives for thousands of years makes it a valid and reasonable interpretation for the artworks of this period. Additionally, the moustache detail seen in the depiction of the sun-face on the coins of Ghiyath al-Din Kaykhusraw II suggests that it symbolizes a man. Therefore, it is likely that the sun-face figure symbolizes Sultan Ghiyath al-Din Kaykhusraw II or the Islamic caliph of that period mentioned just above the depiction. This interpretation is supported by the lion or lions standing just in front of the sun-face, representing the army (military power). In addition, when the radial arms of the sun in the sunface figure in the composition and the points between them are examined, 3 different types are seen. It is understood that the die of type A was used in Konya and Sivas, the die of type B was used only in Sivas, and the die of type C was used only in Konya. Therefore, the types must indicate the place of minting of the coin.The ornamentation and inscription elements in the coins that constitute our subject have 4 different arrangements. The date of minting is determined in this grouping. The 1st Type belongs to the years 634-636 AH, the 2nd Type to 638-641 AH, the 3rd Type to 641 AH, and the 4th Type to 642-644 AH. While the 1st group has a simpler arrangement, in the 2nd Type, where more than half of the coins are seen, the obverse is decorated with a lion and sun-face composition. The place of printing on the reverse causes the group to be divided into sub-groups. The years 638 AH (1240 AD) and 641 AH (1243 AD), which constitute the date range of the 2nd Type, are significant due to the occurrences of the Baba İshak Rebellion and the Battle of Köse Dağ. The 3rd Type can be considered as a transition between the 2nd and 4th Types. While the obverse repeats the 2nd Type, the reverse is a preparatory frame for the pearl-strung square frame seen in the 4th Type. The 4th Type repeats almost the same layout on the obverse and reverse. The absence of figural decoration and the increased use of religious expressions in the inscriptions on this group’s coins are noteworthy. This situation can be associated with the transition of the caliphate from Mustansır-Billâh to Musta‘sım-Billâh, and thus, the personal attitude of the new caliph.&nbsp;The coins from the reign of Ghiyath al-Din Kaykhusraw II period, which we examined within the scope of our study, are important in terms of representing continuity in Turkish art as well as constituting a distinctive group with examples featuring the lion and sun-face compositions.

Bursa Arkeoloji Müzesindeki II. Gıyâseddin Keyhusrev Dönemi Sikkeleri

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İlkay Canan

Öğretim Görevlisi Dr.

II. Meşrutiyet Dönemi Resim Sanatında Nesne ve Özne Olarak Kadın

Seda

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

Üsküdar Ahmediye Külliyesi ve Lale Devri Mimarisi İçindeki Yeri

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

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

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

İbrahim

Prof. Dr.

ResearchBib

Islamic World Science Citation Center (ISC)

Access to Mideast and Islamic Resources (AMIR)

International Medieval Bibliography (IMB)

Akademik Araştırmalar İndeksi (Acar Index)

Arastirmax

JournalTOCs

Türk Eğitim İndeksi

Scopus

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

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Art-Sanat

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Editor in Chief

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English Language Editor

Redaction

Editorial Board Member

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Art-Sanat Dergisi’nin amacı, Türk toplulukları ve Türk topluluklarıyla ilişkili diğer toplulukların sanatı, sanat tarihi ve arkeolojik verileri ve diğer sanat alanlarıyla ilgili bilimsel çalışmaları desteklemek, yayımlamak ve geliştirmektir.Türk toplulukları ve Türk toplulukları ile ilişkili diğer topluluklar hakkındaki Arkeoloji, Sanat Tarihi, Mimarlık Tarihi, Restorasyon-Konservasyon, Müzecilik, Güzel Sanatlar ve Sahne Sanatları alanlarındaki akademik araştırmalar ve yayınlar.

Amaç ve Kapsam

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

Dizinler

Dergi yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için: <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> Gönderilen makaleler derginin amaç ve kapsamına uygun olmalıdır. Orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmayan, her bir yazar tarafından içeriği ve gönderimi onaylanmış yazılar değerlendirmeye kabul edilir. Makale yayınlanmak üzere Dergiye gönderildikten sonra yazarlardan hiçbirinin ismi, tüm yazarların yazılı izni olmadan yazar listesinden silinemez ve yeni bir isim yazar olarak eklenemez ve yazar sırası değiştirilemez.İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir. Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.İntihal Ön kontrolden geçirilen makaleler, iThenticate yazılımı kullanılarak intihal için taranır. İntihal/kendi kendine intihal tespit edilirse yazarlar bilgilendirilir. Editörler, gerekli olması halinde makaleyi değerlendirme ya da üretim sürecinin çeşitli aşamalarında intihal kontrolüne tabi tutabilirler. Yüksek benzerlik oranları, bir makalenin kabul edilmeden önce ve hatta kabul edildikten sonra reddedilmesine neden olabilir. Makalenin türüne bağlı olarak, bunun oranın %15 veya %20'den az olması beklenir.Çift Kör Hakemlikİntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Editör, makalelerin adil bir şekilde çift taraflı kör hakemlikten geçmesini sağlar ve makale biçimsel esaslara uygun ise, gelen yazıyı yurtiçinden ve /veya yurtdışından en az iki hakemin değerlendirmesine sunar, hakemler gerek gördüğü takdirde yazıda istenen değişiklikler yazarlar tarafından yapıldıktan sonra yayınlanmasına onay verir.

Politikalar

Dergi açık erişimlidir ve derginin tüm içeriği okura ya da okurun dahil olduğu kuruma ücretsiz olarak sunulur. Okurlar, ticari amaç haricinde, yayıncı ya da yazardan izin almadan dergi makalelerinin tam metnini okuyabilir, indirebilir, kopyalayabilir, arayabilir ve link sağlayabilir. Bu <a href="https://www.budapestopenaccessinitiative.org/translations/turkish-translation" target="_blank" style="background-color: transparent;" rel="noopener noreferrer">BOAI</a> açık erişim tanımıyla uyumludur.Derginin açık erişimli makaleleri Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank" style="background-color: transparent;" rel="noopener noreferrer">CC BY-NC 4.0</a>) olarak lisanslıdır.

Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz.

Yazarlar dergide yayınlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları  Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır. CC BY-NC 4.0 lisansı, eserin ticari kullanım dışında her boyut ve formatta paylaşılmasına, kopyalanmasına, çoğaltılmasına ve orijinal esere uygun şekilde atıfta bulunmak kaydıyla yeniden düzenleme, dönüştürme ve eserin üzerine inşa etme dâhil adapte edilmesine izin verir.

Editörler, yayınlanan makalede, bulguları, yorumları ve sonuçları etkilemeyen küçük hatalar tespit edilirse düzeltme yayınlamayı düşünebilirler. Editörler, bulguları ve sonuçları geçersiz kılan büyük hatalar / ihlaller söz konusu olduğunda, makaleyi geri çekmeyi düşünmelidir. Yazarlar tarafından araştırma veya yayını kötüye kullanmaya yönelik olasılık söz konusu ise; bulguların güvenilir olmadığına ve yazarların kurumlarının olayı soruşturmadığına dair kanıtlar var veya olası soruşturma haksız veya sonuçsuz görünüyor ise, editörler endişe ifadesi yayınlamayı düşünmelidir. Düzeltme, geri çekme veya endişe ifadesi ile ilgili olarak <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> ve <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> yönergeleri dikkate alınır.

Dergide yayınlanan tüm yazıların korunmasını ve kalıcı olarak erişilebilir olmasını sağlamak için makaleler, ulusal bir arşiv sitesi olarak hizmet veren ve aynı zamanda LOCKSS'in içeriği toplamasına, korumasına ve sunmasına izin veren Dergipark'ta saklanmaktadır.Ek olarak, yazarların kendilerinin makalelerinin son PDF sürümünü Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>) standartlarına uygun açık elektronik arşivlerde arşivlemeleri önerilir. Yazarlar, yayınladıkları arşiv versiyonundan, İ.Ü. Yayınevinin dergi web sitesinin URL'sine bağlantı sağlamalıdır.

<div style="text-align: left;">Art-Sanat Dergisi, yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için adres: <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></div>Gönderilen tüm makaleler orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmamalıdır. Her bir makale editörlerden biri ve en az iki hakem tarafından çift kör değerlendirmeden geçirilir. İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir.Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.

Etik

Dergi araştırma etiğinde en yüksek standartları gözetir ve aşağıda tanımlanan uluslararası araştırma etiği ilkelerini benimser. Makalelerin etik kurallara uygunluğu yazarların sorumluluğundadır.<ul><li>Araştırmanın tasarlanması, tasarımın gözden geçirilmesi ve araştırmanın yürütülmesinde, bütünlük, kalite ve şeffaflık ilkeleri sağlanmalıdır.</li><li>Araştırma ekibi ve katılımcılar, araştırmanın amacı, yöntemleri ve öngörülen olası kullanımları; araştırmaya katılımın gerektirdikleri ve varsa riskleri hakkında tam olarak bilgilendirilmelidir.</li><li>Araştırma katılımcılarının sağladığı bilgilerin gizliliği ve yanıt verenlerin gizliliği sağlanmalıdır. Araştırma katılımcıların özerkliğini ve saygınlığını koruyacak şekilde tasarlanmalıdır.</li><li>Araştırma katılımcıları gönüllü olarak araştırmada yer almalı, herhangi bir zorlama altında olmamalıdırlar.</li><li>Katılımcıların zarar görmesinden kaçınılmalıdır. Araştırma, katılımcıları riske sokmayacak şekilde planlanmalıdır.</li><li>Araştırma bağımsızlığıyla ilgili açık ve net olunmalı; çıkar çatışması varsa belirtilmelidir.</li><li>Deneysel çalışmalarda, araştırmaya katılmaya karar veren katılımcıların yazılı bilgilendirilmiş onayı alınmalıdır. Çocukların ve vesayet altındakilerin veya tasdiklenmiş akıl hastalığı bulunanların yasal vasisinin onayı alınmalıdır.</li><li>Çalışma herhangi bir kurum ya da kuruluşta gerçekleştirilecekse bu kurum ya da kuruluştan çalışma yapılacağına dair onay alınmalıdır.</li><li>İnsan öğesi bulunan çalışmalarda, “yöntem” bölümünde katılımcılardan “bilgilendirilmiş onam” alındığının ve çalışmanın yapıldığı kurumdan etik kurul onayı alındığı belirtilmesi gerekir.</li></ul>

Makalelerin bilimsel ve etik kurallara uygunluğu yazarların sorumluluğundadır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığı konusunda teminat sağlamalıdır. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir.Gönderilen makalede tüm yazarların akademik ve bilimsel olarak doğrudan katkısı olmalıdır, bu bağlamda “yazar” yayınlanan bir araştırmanın kavramsallaştırılmasına ve dizaynına, verilerin elde edilmesine, analizine ya da yorumlanmasına belirgin katkı yapan, yazının yazılması ya da bunun içerik açısından eleştirel biçimde gözden geçirilmesinde görev yapan birisi olarak görülür. Yazar olabilmenin diğer koşulları ise, makaledeki çalışmayı planlamak veya icra etmek ve / veya revize etmektir. Fon sağlanması, veri toplanması ya da araştırma grubunun genel süpervizyonu tek başına yazarlık hakkı kazandırmaz. Yazar olarak gösterilen tüm bireyler sayılan tüm ölçütleri karşılamalıdır ve yukarıdaki ölçütleri karşılayan her birey yazar olarak gösterilebilir. Yazarların isim sıralaması ortak verilen bir karar olmalıdır. Tüm yazarlar yazar sıralamasını <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/A4E637DA3AC245719F4B4042E0758B0F" target="_blank">Telif Hakkı Anlaşması Formunda</a> imzalı olarak belirtmek zorundadırlar.Yazarlık için yeterli ölçütleri karşılamayan ancak çalışmaya katkısı olan tüm bireyler “teşekkür / bilgiler” kısmında sıralanmalıdır. Bunlara örnek olarak ise sadece teknik destek sağlayan, yazıma yardımcı olan ya da sadece genel bir destek sağlayan, finansal ve materyal desteği sunan kişiler verilebilir.Bütün yazarlar, araştırmanın sonuçlarını ya da bilimsel değerlendirmeyi etkileyebilme potansiyeli olan finansal ilişkiler, çıkar çatışması ve çıkar rekabetini beyan etmelidirler. Bir yazar kendi yayınlanmış yazısında belirgin bir hata ya da yanlışlık tespit ederse, bu yanlışlıklara ilişkin düzeltme ya da geri çekme için editör ile hemen temasa geçme ve işbirliği yapma sorumluluğunu taşır.

Baş editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, cinsel yöneliminden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti eder. Baş editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır.Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve Dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Seçilen makaleler en az iki ulusal/uluslararası hakeme çift taraflı kör hakemlik ile değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.

Hakemlik Hakkında

Baş editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirirler. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti eder. Baş editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır. Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemler, araştırma, yazarlar ve/veya araştırmaya fon sağlayanlarla çıkar çatışması içinde olmamalıdır. Hakemler değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.Baş Editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar.Seçilen makaleler en az iki ulusal/uluslararası hakeme değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin değerlendirmeleri objektif olmalıdır. Hakem süreci sırasında hakemlerin aşağıdaki hususları dikkate alarak değerlendirmelerini yapmaları beklenir.-Makale yeni ve önemli bir bilgi içeriyor mu?-Öz, makalenin içeriğini net ve düzgün bir şekilde tanımlıyor mu?-Yöntem bütünlüklü ve anlaşılır şekilde tanımlanmış mı?-Yapılan yorum ve varılan sonuçlar bulgularla kanıtlanıyor mu?-Alandaki diğer çalışmalara yeterli referans verilmiş mi?-Dil kalitesi yeterli mi?Hakemler, gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir.

Art-Sanat Dergisi Yayım İlkeleri ve Yazım KurallarıArt-Sanat Dergisi yılda iki defa (Ocak ve Temmuz) yayımlanan uluslararası akademik hakemli elektronik dergidir. DergiPark Açık Dergi Sistemleri’nde yayımlanan Art-Sanat Dergisi’nde Türk ve Türklerle ilişkili topluluklar hakkındaki Arkeoloji, Sanat Tarihi, Mimarlık Tarihi, Koruma-Onarım, Müzecilik ve Sahne Sanatları alanlarında özgün araştırma makaleleri kabul edilmektedir.  İletişim için e-mail adresimiz: <a href="mailto:art-sanat@istanbul.edu.tr" target="_blank">art-sanat@istanbul.edu.tr</a> (Dergipark üzerinden mesaj gönderme sistemi aktif değildir. Her türlü sorunuzu e-mail adresimize iletebilirsiniz.)Web sayfalarımız: <a href="https://iupress.istanbul.edu.tr/tr/journal/art-sanat/home" target="_blank">https://iupress.istanbul.edu.tr/tr/journal/art-sanat/home</a>                                <a href="https://dergipark.org.tr/iuarts" target="_blank">https://dergipark.org.tr/iuarts</a>Art-Sanat Dergisi’nin dili Türkçe ve İngilizcedir. Gönderilen makale editör ve yayın kurulu tarafından incelendikten sonra, üç hakeme gönderilmekte ve en az iki hakemin olumlu karar vermesi durumunda yayımlanmaktadır. Makale yazarlarının isimleri hakemlere bildirilmemektedir.  Telif Hakkı:Art-Sanat Dergisi'nin tüm hakları saklıdır. Yayımlanan makale ve yazıların yayın hakkı Art-Sanat Dergisi’ne aittir. Yayımlanan makale ve yazıların içerikleriyle ilgili yasal ve bilimsel sorumluluklar yazarlarına aittir. Makale ve yazılarda görsel malzemenin (fotoğraf, resim, çizim, plan, v.s.) kaynak gösterilerek kullanılması ve telif hakkı olan malzeme için yazarların izin alması zorunludur. Bu konularda da yasal sorumluluk yazarlara aittir. Makalede yer alan görsellerin kaynağı mutlak surette belirtilmeli ve telif hakkı olan malzeme için izin alınmalı, eğer görseller yazara ait ise görselin altına yazarın adı verilerek kendisine ait olduğunu belirten bir ifade eklenmelidir.Art-Sanat Dergisi’ne yayımlanmak için gönderilen yazılar, daha önce yayımlanmamış veya yayıma sunulmamış olmalıdır. Dergiye gönderilen makalelerde intihal kontrolünü sağlamak için, IThenticate (İntihali Engelleme Programı) kullanılmaktadır.Makale bir kazı çalışmasına dayanıyorsa, kazı başkanı, kazı ekibi, destekleyen kurum bilgileri ve proje kodu veya resmi iznin tarih ve sayısı dipnotta belirtilmelidir. Makale yazar (ları) kazı başkanından farklı ise çalışmanın yapılması için kazı başkanından alınan izin yazısı sisteme eklenmeli ve dipnot ile belirtilmelidir. Makale bir müzede sergilenen eserler hakkında ise ilgili müze müdürlüğünden çalışmanın yapılması için alınan resmi iznin tarih ve sayısı dipnotta belirtilmelidir. Ören yeri gibi her türlü tarihi kalıntı ile ilgili çalışmalar için ilgili kamu kurum ve kuruluşlarından izin alınmalıdır.Genel Bilgiler:Makale bir yüksek lisans veya doktora tezinden üretildiyse makale başlığına * dipnot eklenerek tezin yazarı, tezin adı, yapıldığı üniversite, enstitü, anabilim dalı ve danışman bilgi eklenmelidir.Makale bir BAP dahil olmak üzere herhangi bir proje tarafından desteklenmiş ve finansal destek alınmışsa, sonuç bölümünden sonra Finansal Destek maddesi yazılmalı ve proje türü, kodu ve finansal destek alınmıştır ibaresi eklenmelidir.2020 yılı itibariyle makale başvurularında anket, mülakat, görüşme, odak grup çalışması, gözlem, deney gibi teknikler kullanılarak hazırlanan çalışmalarda Etik Kurul İzin Belgesi'nin yer alması gerekmektedir.Art-Sanat Dergisi’ne gönderilen makaleler, Microsoft Word formatında olmalıdır. Makale başlığının altında yazarın adı ve soyadı yer almalı, yazar adına dipnot formatında yıldız (*) verilerek ilk sayfanın altında yazarın unvanı, varsa çalıştığı kurum (üniversite, fakülte, bölüm v.b) ve e-mail adresi ve yazının teslim tarihi belirtilmelidir. Ayrıca yazar adının altında ORCID numarası yazılmalıdır. ORCID numarası olmayan yazarların <a href="https://orcid.org/" target="_blank">https://orcid.org/</a> adresinden kayıt olmaları gerekmektedir. Birden fazla yazarlı makalelerde tüm yazarların ORCID numarası eklenmelidir. Makalelerde Türkçe ve İngilizce başlık ile öz/abstract (150-200 kelime) ve 3-5 anahtar kelime olmalıdır. İngilizce özetten sonra Türkçe makaleler için 800-1000 kelime arasında İngilizce Extended Summary (Genişletilmiş Özet), İngilizce makaleler için ise 800-1000 kelimelik Türkçe Genişletilmiş Özet eklenmelidir.Makaleler Giriş, numaralandırılmış alt başlıklar, Sonuç (Değerlendirme ve Sonuç iki ayrı bölümdür) ve Kaynakça bölümlerinden oluşmalı, görseller paragraflar arasında uygun yere yerleştirilmelidir. (G. 1)Gönderilecek görsel malzemenin her biri en az 300 dpi çözünürlükte jpeg formatında olmalıdır (görüntü kalitesi düşük görseller kullanılmayacaktır). Yayında kullanılacak görsel malzemeler için koyu (bold) G. Kısaltması ile numaralandırma yapılmalıdır (G. 1, G. 2, G. 3 gibi). Görsel malzemenin açıklamasının altında parantez içerisinde mutlaka kaynak belirtilmelidir. Görsel malzeme yazara ait ise belirtilmelidir.

Yazım Kuralları

Aşağıdaki listede eksik olmadığından emin olun:●    Editöre mektupü    Makalenin türüü    Başka bir dergiye gönderilmemiş olduğu bilgisiü    Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)ü    İstatistik kontrolünün yapıldığı (araştırma makaleleri için)ü    İngilizce yönünden kontrolünün yapıldığıü    Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiğiü    Kaynakların CMOS (The Chicago Manuel of Style) 16’ya göre belirtildiği●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/A4E637DA3AC245719F4B4042E0758B0F" target="_blank">Telif  Hakkı Anlaşması Formu</a>●    Daha önce basılmış ve telife bağlı materyal (yazı-resim-tablo) kullanılmış ise izin belgesi●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2EA29D8EB7DA471CBFE05C7AEABD2854" target="_blank">Kapak sayfası</a>ü    Makalenin türüü    Makalenin Türkçe ve İngilizce başlığıü    Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonra şehir ve ülke bilgisi de yer almalıdır), e-posta adresleriü    Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosuü    Tüm yazarların ORCID’leri●    Makale ana metniü    Makalenin Türkçe ve İngilizce başlığıü    Özetler: 150-200 kelime Türkçe ve 150-200 kelime İngilizceü    Anahtar Kelimeler: 3-5 adet Türkçe ve 3-5 adet İngilizceü    Makale Türkçe ise, 800-1000 kelime İngilizce genişletilmiş özet (Extended Summary)ü    Makale ana metin bölümleriü    Finansal destek (varsa belirtiniz)ü    Çıkar çatışması (varsa belirtiniz)ü    Teşekkür (varsa belirtiniz)ü    Kaynaklarü    Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)

<div><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/A4E637DA3AC245719F4B4042E0758B0F" target="_blank">Telif Hakkı Anlaşması Formu</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/3AE76D354B0342E0B7EBA96A6697CE22" target="_blank">Kapak Sayfası</a></div>

Art-Sanat

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