Yunus Aslan
Dr. Öğr. Üyesi / Assistant Prof.
- Kayseri Keykubadiye Sarayı Kazısı (Archeological Excavation)
- Niğde İli ve İlçeleri Arkeolojik Yüzey Araştırması (Survey)
- Kayseri Koramaz Vadisi Yüzey Araştırması (Survey)
- Kayseri Keykubadiye Sarayı Kazısı (Archeological Excavation)
- Niğde İli ve İlçeleri Arkeolojik Yüzey Araştırması (Survey)
- Kayseri Koramaz Vadisi Yüzey Araştırması (Survey)
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Symbols play a crucial role in various domains, serving as conveyors of meaning through concrete signs with abstract significance. In some periods, it is seen that certain symbols stand out uniquely to that period and some symbols are used repeatedly or transformed throughout the history. It is very difficult to reach definite conclusions about the origin of symbols in the history of art. However, the external and internal factors that influence the art, of course, shape the symbols that the work contains, as well as the work. A work of art, which is the product of a collective process is affected by many conditions such as the social environment, economy, material supply, geographical variables, the government, the wishes of the administrator and the artist, the understanding and style of art of the period, religion and sacred elements, the artist's experience and inner world. The work, which is formed by selection among all these variables is a cornerstone of the general art style. Anatolian Medieval art can be interpreted as the art of societies, not the art of individuals like modern art. In this respect, in the Turkish art and symbolism, where the state, religion and social powers come to the fore, these mentioned elements appear as the dominant and guiding power. Should the idea of "abstract symbolic style" be mentioned in Turkish art? Which factors influenced art and style? What is the place of stamps in the transformation of ancient symbols into art? In this study, answers to these questions and problems are sought.
Bu araştırma, mevcut taş eserlerden yola çıkılarak, yukarıda bahsedilen melek figürlü sahne ve bu sahnenin sembolik anlam içeriği üzerinedir.
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Two angel figures in Konya İnce Minareli Madrasah Stone and Wooden Works Museum are depicted running or flying towards each other or an object in the middle. These angel depictions were previously produced by and It was studied by Prof. Dr. Selçuk Mülayim and named as "Twin Angels". With the study done, “Where are the twin angels running or where are they flying?” search for an answer to the question. Within the framework of the study, the connection of another stone trestle in the Museum of Stone and Wooden Works with the stone works with angel figures was determined. Physical fitness, dimensions and semantic integration suggest that they were used together in the original of the mentioned stone works. Therefore, by comparing the mentioned scene with similar scenes and figures in various materials and styles, including from other cultures, analyzed from a fictional point of view. The aim of this article is to reveal that the architectural stone works, which are known to have been brought to Konya İnce Minareli Madrasah Stone and Wooden Works Museum from Konya Castle and registered in the inventories numbered 883-884 and numbered 935, were originally constructed together.
This research is on the above-mentioned angel figure scene and the symbolic meaning content of this scene, based on the existing stone works.
Art consists of three main elements such as subject, object and imagination. Here, the subject is the mediator, the creator of the work, while the imagination is the guiding force that determines the work. On the other hand, changes occur in the form and essence of the object through these two elements. The element of void is presented on the work at the desired, rate by these shaping elements in order to provide the imaginary and objective balance of the work. Although the use of void determines the aesthetic value of the work, "void" is sometimes given intuitively and sometimes directly physically in the work.
Things that are out of perceptible elements find meaning in our minds as "void". Object or matter, which is one of the three main elements of art (subject-object-imagination), is the physical representation of existence. Here, the subject is the tool that is the creator of the work, while the imagination is the guiding force that determines the work. The element of space is also presented or not presented on the work at the desired rate by these shaping elements in order to provide the imaginary and objective balance of the work. The use of space also determines the aesthetic value of the work from time to time. This "void" is given in the work, sometimes intuitively, sometimes directly, physically.
The objective use of space in works is different in different geographies; the meanings behind it vary in almost every work and style. While the first reason can sometimes be a function-oriented background, it sometimes contributes to conveying an emotion or a message. We clearly see the balanced void distribution in geometrical arrangements. Although the measured arrangement of geometry makes it difficult to understand the background - foreground dichotomy, it supports the balance of space. The same situation causes a decrease in the ground-space when examined in herbal ornamented contents. Natural or unnatural leaves, folded branches are never perceived as ground. This pushes the void into the background.
In this study, the element of "void" has been questioned specifically in art in terms of both "concept-image" and "object-work" relationship. The relationship between existence-nothingness, harmony-composition in ornaments, the element of "void" evaluated in terms of Turkish art, Islamic art, Western and contemporary art, as well as various works of art, through cultural connections through ornamental elements. As a result, this study, which examines "absence", reveals the indispensable existence of void in the name of existence and our obligation to it.
Abstract: Located in the Sorkun district of the Bozkır/Konya, the “Aşağı Sorkun Mosque”, was built with wooden pillars and wooden ceilings. It consists of the harim (place of worship) section and divided into three naves; one is perpendicular to the mihrab wall with wooden poles, the other is the summer section to the east of the harim and the third is the wooden women’s gathering place. The first construction date of the wooden pillar type mosque is dated to the beginning of the 19th century, and its reconstruction is dated to the middle of the 20th century. The mihrab, pulpit and preaching lectern located in the sanctuary of the building are very important examples in terms of wooden decorations and handicrafts. In addition, there are wooden decorations on the lower ceiling and balustrades of the women’s mahfel, and on the molded horizontal pillows on the ceiling of the sanctuary. The detailed drawings of the wooden structural elements and the sections in the building have been drawn documented. In addition, the ornaments have been examined.
With this study, the architectural features of the Aşağı Sorkun Mosque, its current situation, some changes in the structure, repairs, destructions have been analyzed; It is aimed to determine the content and meanings of the ornaments by examining the wooden ornaments that have not been subjected to a detailed examination before.
Bu çalışmada, 2014-2019 yılları arasında Keykubadiye sarayı kazılarında ortaya çıkarılan tek renk sırlı çinilerin form, renk tonları, hamur yapısı ve et kalınlığı bakımından toplu bir değerlendirmesi yapılmıştır.
- At the point of belief, each of the concepts such as God and Heaven is generally one of the primary sacred concepts that people who believe in monotheistic religions encounter. The reflections of these two concepts on art since they are abstract concepts have to be through symbols. The use of symbolic signs in Turkish art is directly related to the stamping tradition. The stamp has been used in almost all kinds of materials as symbols reflecting the Turkish states and peoples identities. The joint use of the stamps of God and Heaven which we have encountered in Turkish art has been carried extensively through architectural tradition from Central Asia and Iran to Anatolia. In our work we see that this sacred tradition whose traces we follow with examples is applied with fine craftsmanship on many materials such as stone, plaster, brick, adobe and tile.
The use of these stamps produced as works of art is closely related to the similarity between the concepts of Heaven and God in the human mind. In this study, the use of God and Heaven stamps which express holiness from Turkish stamps was examined and questioned in terms of meaning.
Anahtar Kelimeler: Medrese, Kırşehir, Süsleme, Anadolu, Selçuklu, Cacabey, taş.
ABSTRACT
Madrasahs have an important place among the architectural works created in the Anatolian Seljuk period. The madrasahs, which met the educational needs of the period, stand out in terms of artistic decoration as well as their architectural functions. Cacabey Madrasah, one of the most important structures of Kırşehir, has four iwans and is in the plan group of madrasahs with closed courtyards and dome resting on supports. The madrasah, has a very rich content in terms of stone decoration. The botanical and geometrical ornaments are intense in the building; In some areas, elements such as three-dimensional spheres, stalactites and buttresses were used for decoration. While the building has a more simple and appropriate decoration content among its contemporaries, it is quite rich in terms of decoration variety compared to the region where it is located.
This study, It is about the examination of the stone ornaments in the Cacabey Madrasah and Tomb in Kırşehir and the reflections of the Seljuk-Ilkhanid influences on the decorations.
Keywords: Madrasah, Kırşehir, Ornament, Anatolian, Seljuk, Cacabey, stone
Bu çalışmada kutsal kavramı ve daire simgesi, bazı soyut ve somut örneklerle incelenerek, iki kavram arasındaki anlam bağlantısı sorgulanmıştır.
Abstract
The concept of sacred corresponds to the words "sacrum-sacer" in Latin, "hagios" in Greek, "kedusah" in Hebrew and "sacred, holy, divine" in English. It is a very difficult concept to describe or explain scientifically because it is included in the subject of sacred belief and emotion. Just as eternity and God himself are not fully explained; sacred also settles at a point that cannot be defined in the category of belief and whose transcendence is believed. In our opinion, sacred is that the believer comes into contact with the divine in an invisible (spiritual) dimension through image or emotion and the transcendent is perceived directly and instinctively. The sacred can be both knowable and unknowable according to one's life and belief experience. The transcendence that man wants to contact can be the sacred itself and the contact made with the transcendent can also be called sacred. While this situation, which happens personally, is called a miracle in some beliefs or religions, in fact, even just praying can be shown as an example of the contact between the sacred and the human. In this context, whatever means, this intuitive contact with the transcendent causes objects, places, symbols and even time to be remembered as sacred.
The attribution of sacred or holiness is often confronted with a strict devotion to the transcendent, eternal, absolute, unchangeable and hence the divine (Creator-God). The human race has attempted to reflect the divine quality that it is trying to grasp on the earth through arts and symbols, which are the means of manifestation of the sacred. Circle and sacred connections within the framework of our subject; It has been handled with its cosmological, philosophical, symbolic, artistic, mythological and architectural dimensions. At the point of meaning, it is understood through the analyzed examples and symbols that these two elements develop in connection in the human mind. The circle symbol, which has been repeated since ancient times and is one of the oldest signs, is one of the first reflections and representations of the sacred on earth. The reduction of the abstract divine quality to the concrete through symbolism can be explained as a natural reflex of the human mind for ease of comprehension. The perception of the circle, especially in primitive man, mostly comes across with celestial connections. The circle symbol must have been initially produced from celestial forms such as the Moon and the Sun, which it regarded as sacred in meaning. Considering the sky itself sacred, the person used the circle symbol as a sacred symbol in this context. Man, who can think and dream as much as what he sees and experiences, transforms the sacred image into a circular symbol at this point and reduces it to concrete. The circle symbol, as a divine human production on a spiritual basis, it is the representation of the sacred on earth.
In this study, the concept of sacred and circle symbol was examined with some abstract and concrete examples and the meaning connection between the two concepts was questioned.
Abstract
The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, that is, number symbolism emerges in various religious texts, myths or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree or layers of sky in Turkish mythology. Number eight is of a more rare usage besides numbers "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used from of old in Turkish culture. Paradise depiction primarily comes into prominence among the meanings attributed to number eight. In Turkish mythology, the tree which was created at the beginning had nine branches. One of these branches is lying in front of the gate of Tengri and the others are reaching to the eight edges of the earth believed to have so. The phrase of "eight paradises" comes into prominence with regards to the eight gates of the paradise in Islamic context. The symbolical reflections of number eight on art are seen as the tamga of "Paradise". The tamga of paradise emerges with regards to number eight as a form by being turned into a motif with geometrical ornamentations especially in Medieval Turkish Islamic architecture. The tamga which is reputable with the effect of Turkish culture has commonly been used in Islamic art. This tamga which is of subtypes in itself has been emerged on countless structures.
This paper is upon the various meanings attributed to number eight in the historical period and the usage of tamga of Paradise in Turkish art.
Keywords: Eight, Paradise, Tamga(Stamp), Mean.
The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred. Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif. Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly. This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.
Dünya üzerinde kalıcı izler bırakan insanoğlu, yaşamsal eylemlerinden biri olan sanatıyla da Tanrı’ya bağlılığını bildirmek istemiştir. Bu da Tanrı’yı ve o kültürün inancını sembolize eden eserlerin, yapıların, işaretlerin veya damgaların ortaya çıkmasına zemin hazırlamıştır. Türk ve İslam kültürünün yanı sıra başka inançlarda da önemli bir yeri olan “Tanrı” damgası, bu noktada karşımıza çıkmaktadır. Sembolik ve sanatsal değeri olan damga vurma geleneği, Türklerde boy damgalarının yanı sıra, bir kutsallık ifadesi olan “Tanrı-Tengri” damgası ile de kendini göstermektedir. Bu geleneğin izleri Orta Asya’dan Anadolu’ya kadar hemen her türlü malzemede, doğrudan damga olarak ya da motifleşmiş biçimde karşımıza çıkmaktadır.
Sembolizm kaynaklı bazı üretimler ve temsiller inanmaların gereklerinden birisidir. Bu simgeler zaman içerisinde savrulurken, anlamları değişmiş, unutulmuş veya anlamsızlaşmış olabilir. Fakat anladığımız kadarıyla, her sembol-damga ilk yapılışında yapan tarafından gayet anlamlıdır. Bu bakımdan hemen her türlü malzemede karşımıza çıkan Tanrı damgası eserlere rastgele ve manasız olarak yerleştirilmemiştir.
Bu çalışmanın konusu, Türk kültüründe “Tanrı” kavramı ve sanata yansıyan Tanrı damgası üzerinedir.
Anahtar Kelimeler: Tanrı, Damga, Türk, Sanat, Din.
Abstract
The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred.
Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif.
Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly.
This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.
Keywords: God, Tamga (Stamp), Turkish, Art, Religion.
Mülkiyet, aidiyet, bağımsızlık unsuru, boy-soy birliği, millet mensubiyeti ve kutsallık ifadesi işaretler olarak Türk tarihinin erken devirlerinden itibaren hemen her türlü malzemede karşımıza çıkan "Damgalar-Tamgalar" hiç şüphesiz Türk kültürünün vazgeçilmez uygulamalarındandır. Gittikleri ve yerleştikleri her coğrafyaya ebedi vatan olarak bakan atalarımız hayvanlarına, kulanım eşyalarına ve inşa ettikleri küçük veya büyük mimari eserlere ait olduklarını düşündükleri boylarının damgalarını vurmayı gelenek haline getirmişlerdir. Ancak, zaman içerisinde bazıları harflere dönüşerek yazıya geçmiş, bazıları da geometrik süslemeleri oluşturan kompozisyonlar içerisinde esas anlamından kısmen uzaklaşarak kompozisyonun bir elemanına dönüşmüştür. Anadolu'nun fethinde de rol alan Türk boyları fethettikleri ve yerleştikleri bu yerlere de çoğunlukla kendi boy adlarını vermişler, yaptıkları mimari eserlere ve kullanım eşyalarına da damgalarını vurmuşlardır. Anadolu Selçuklu Devleti'nin başkenti olan Konya ve çevresinde de bu durum oldukça yaygındır. Hem Oğuz boyları hem de diğer Türk boylarının yerleşim yeri (kasaba, köy, mahalle vb.) olarak Avşar-Afşar-Bay Avşar-Küçük Avşar, Bayındır-Bayundur, Döger-Duger, Bayat-Kara Bayat-Yağlı Bayat, Kayı-Kayı Hüyük- Kayı Ören, Kınık, Yazır, Salur, Çetmi gibi isimler vermişlerdir. Zaman içerisinde maalesef bu isimlerin bir kısmı unutulan tarihsel kimlikle beraber, beğeni anlayışlarının da değişmesiyle değiştirilmiştir. Bunun gibi evvelce damga-tamga olarak kullanılan işaret ve semboller de süsleme unsurları arasında yer alan geometrik motif ve kompozisyonlar arasına, bu tasarımı yapanlar tarafından tam da anlamı unutulmamış ancak esas anlamından uzaklaşmış olarak yerleştirilmiştir. Yapanın bildiği, fakat bakanın sadece bir süs unsuru olarak gördüğü bir duruma dönüşmüştür. Bu durumun en iyi uygulamalarını hiç şüphesiz Selçuklu Devleti’nin payitahtı Konya’da bulmaktayız. Bu çalışma Selçuklu döneminde Konya’da inşa edilen mimari eserler üzerindeki motife dönüşmüş olan damgalar üzerinedir.
ABSTRACT
Tamgas seen on almost every materials since the earliest dates of Turkish history are undoubtedly among the indispensable use of Turkish culture as the signs of ownership, belonging, independency factor, tribe and ancestry unity, nationality and holiness statements. Our ancestors who regarded every geography where they went and settled as their motherland forever, made it a tradition to mark the tamgas of their tribes on their animals, on the things they used and on the small or big architectural works they built. However, some tamgas turned into letters and text in time and some of them having become somewhat distant from main meanings turned into an element in compositions which revealed geometrical ornamentations. Turkish tribes that had a part in the conquest of Anatolia, mostly gave the name of their own tribes to the places they conquered and settled and marked their tamgas on the architectural works they built and on the things they used as well. This situation is considerably common in Konya, which was the capital city of Anatolian Seljukian State, and its surroundings. Both Oghuzs tribes and the other Turkish tribes gave the names such as Avşar-Afşar-Bay Avşar-Küçük Avşar, Bayındır-Bayundur, Döger-Duger, Bayat-Kara Bayat-Yağlı Bayat, Kayı-Kayı Hüyük- Kayı Ören, Kınık, Yazır, Salur, Çetmi to their settlement areas (towns, villages, districts and etc.). Unfortunately, some of these names were changed in time as the historical identity was forgotten and inclination perception changed. The meanings of such kind of signs and symbols that had been used as tamgas before, weren't completely forgotten by the designers but they were placed among the geometrical motifs and compositions as elements of ornaments with a distant meaning. It turned into a situation that the designer knew the fact but the viewer regards this as an element of ornamentation. The best uses of this situation are undoubtedly seen in Konya, the capital city of Seljukian State. This paper is upon Turkish tamgas that turned into motifs on architectural works built in Konya during Seljukian period.
Kültür ve Turizm Bakanlığı ile Selçuk Üniversitesi adına Prof. Dr. Ali Baş
başkanlığındaki bir ekip tarafından 2015 yılından bu yana sürdürülmektedir. 2014
yılında yapılan sondaj çalışması ve sırasıyla 2015, 2016, 2017 yılı kazı çalışmaları
sırasında, çeşitli buluntular elde edilmiştir. Bu buluntulardan künk, tuğla ve tandır
örnekleri bizim araştırma konumuzu oluşturmaktadır. Bahsi geçen buluntuların
incelenmesi saray mimarisi ve dönemin saray yaşamı hakkında bilgiler vermesi
bakımından önemlidir. Ortak bir çalışma olan bu makalede, künkler Ezgi Temekoğlu,
tuğlalar Yunus Aslan, tandırlar ise Mevlüt Anıl Fidan tarafından incelenmiştir.
Thesis Chapters
between 13th-14th centuries in downtown Kırşehir. İn scope of work were examined two
mosques, four tombs and a madrasa total seven samples . One of the buildings belongs to the
principalities and the other six belong to the Anatolian Seljuk period.The study includes detailed
analysis and investigation of the stone decorations of the mentioned buildings.
First chapter, Introduction section, under this headline: Definition of the subject, Limits
and Term, Method, Publications and Researches on the subject, Kirsehir History and 13-14th
Century Stone Decoration were discussed.
The second part is the section where the main subject of the thesis is processed.The
ornamentation characteristics of the structures were defined under the title of Stone Decoration
(13-14 th century) in Kırsehir Central Turkish Period Buildings. The structures are given
chronologically under their titles.In this chronological order, the construction dates of the
buildings were taken into consideration. While defining the building decorations, a sequence was
followed from outside to inside of the building. Resources have been consulted at required points,
and references have been referred to with these footnotes.The studies were supported with
drawings and visuals. In the the third chapter, the "comparison" title was mentioned in Kırşehir
Special and Anatolian-wide similar to the Kirsehir stone decorations. In the forth chapter
decorations; It was evaluated and analyzing in terms of material under the evaluation. The fifth chapter is the ”result“ part. In this section, the synthesis is ummarized
completely.
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Symbols play a crucial role in various domains, serving as conveyors of meaning through concrete signs with abstract significance. In some periods, it is seen that certain symbols stand out uniquely to that period and some symbols are used repeatedly or transformed throughout the history. It is very difficult to reach definite conclusions about the origin of symbols in the history of art. However, the external and internal factors that influence the art, of course, shape the symbols that the work contains, as well as the work. A work of art, which is the product of a collective process is affected by many conditions such as the social environment, economy, material supply, geographical variables, the government, the wishes of the administrator and the artist, the understanding and style of art of the period, religion and sacred elements, the artist's experience and inner world. The work, which is formed by selection among all these variables is a cornerstone of the general art style. Anatolian Medieval art can be interpreted as the art of societies, not the art of individuals like modern art. In this respect, in the Turkish art and symbolism, where the state, religion and social powers come to the fore, these mentioned elements appear as the dominant and guiding power. Should the idea of "abstract symbolic style" be mentioned in Turkish art? Which factors influenced art and style? What is the place of stamps in the transformation of ancient symbols into art? In this study, answers to these questions and problems are sought.
Bu araştırma, mevcut taş eserlerden yola çıkılarak, yukarıda bahsedilen melek figürlü sahne ve bu sahnenin sembolik anlam içeriği üzerinedir.
-
Two angel figures in Konya İnce Minareli Madrasah Stone and Wooden Works Museum are depicted running or flying towards each other or an object in the middle. These angel depictions were previously produced by and It was studied by Prof. Dr. Selçuk Mülayim and named as "Twin Angels". With the study done, “Where are the twin angels running or where are they flying?” search for an answer to the question. Within the framework of the study, the connection of another stone trestle in the Museum of Stone and Wooden Works with the stone works with angel figures was determined. Physical fitness, dimensions and semantic integration suggest that they were used together in the original of the mentioned stone works. Therefore, by comparing the mentioned scene with similar scenes and figures in various materials and styles, including from other cultures, analyzed from a fictional point of view. The aim of this article is to reveal that the architectural stone works, which are known to have been brought to Konya İnce Minareli Madrasah Stone and Wooden Works Museum from Konya Castle and registered in the inventories numbered 883-884 and numbered 935, were originally constructed together.
This research is on the above-mentioned angel figure scene and the symbolic meaning content of this scene, based on the existing stone works.
Art consists of three main elements such as subject, object and imagination. Here, the subject is the mediator, the creator of the work, while the imagination is the guiding force that determines the work. On the other hand, changes occur in the form and essence of the object through these two elements. The element of void is presented on the work at the desired, rate by these shaping elements in order to provide the imaginary and objective balance of the work. Although the use of void determines the aesthetic value of the work, "void" is sometimes given intuitively and sometimes directly physically in the work.
Things that are out of perceptible elements find meaning in our minds as "void". Object or matter, which is one of the three main elements of art (subject-object-imagination), is the physical representation of existence. Here, the subject is the tool that is the creator of the work, while the imagination is the guiding force that determines the work. The element of space is also presented or not presented on the work at the desired rate by these shaping elements in order to provide the imaginary and objective balance of the work. The use of space also determines the aesthetic value of the work from time to time. This "void" is given in the work, sometimes intuitively, sometimes directly, physically.
The objective use of space in works is different in different geographies; the meanings behind it vary in almost every work and style. While the first reason can sometimes be a function-oriented background, it sometimes contributes to conveying an emotion or a message. We clearly see the balanced void distribution in geometrical arrangements. Although the measured arrangement of geometry makes it difficult to understand the background - foreground dichotomy, it supports the balance of space. The same situation causes a decrease in the ground-space when examined in herbal ornamented contents. Natural or unnatural leaves, folded branches are never perceived as ground. This pushes the void into the background.
In this study, the element of "void" has been questioned specifically in art in terms of both "concept-image" and "object-work" relationship. The relationship between existence-nothingness, harmony-composition in ornaments, the element of "void" evaluated in terms of Turkish art, Islamic art, Western and contemporary art, as well as various works of art, through cultural connections through ornamental elements. As a result, this study, which examines "absence", reveals the indispensable existence of void in the name of existence and our obligation to it.
Abstract: Located in the Sorkun district of the Bozkır/Konya, the “Aşağı Sorkun Mosque”, was built with wooden pillars and wooden ceilings. It consists of the harim (place of worship) section and divided into three naves; one is perpendicular to the mihrab wall with wooden poles, the other is the summer section to the east of the harim and the third is the wooden women’s gathering place. The first construction date of the wooden pillar type mosque is dated to the beginning of the 19th century, and its reconstruction is dated to the middle of the 20th century. The mihrab, pulpit and preaching lectern located in the sanctuary of the building are very important examples in terms of wooden decorations and handicrafts. In addition, there are wooden decorations on the lower ceiling and balustrades of the women’s mahfel, and on the molded horizontal pillows on the ceiling of the sanctuary. The detailed drawings of the wooden structural elements and the sections in the building have been drawn documented. In addition, the ornaments have been examined.
With this study, the architectural features of the Aşağı Sorkun Mosque, its current situation, some changes in the structure, repairs, destructions have been analyzed; It is aimed to determine the content and meanings of the ornaments by examining the wooden ornaments that have not been subjected to a detailed examination before.
Bu çalışmada, 2014-2019 yılları arasında Keykubadiye sarayı kazılarında ortaya çıkarılan tek renk sırlı çinilerin form, renk tonları, hamur yapısı ve et kalınlığı bakımından toplu bir değerlendirmesi yapılmıştır.
- At the point of belief, each of the concepts such as God and Heaven is generally one of the primary sacred concepts that people who believe in monotheistic religions encounter. The reflections of these two concepts on art since they are abstract concepts have to be through symbols. The use of symbolic signs in Turkish art is directly related to the stamping tradition. The stamp has been used in almost all kinds of materials as symbols reflecting the Turkish states and peoples identities. The joint use of the stamps of God and Heaven which we have encountered in Turkish art has been carried extensively through architectural tradition from Central Asia and Iran to Anatolia. In our work we see that this sacred tradition whose traces we follow with examples is applied with fine craftsmanship on many materials such as stone, plaster, brick, adobe and tile.
The use of these stamps produced as works of art is closely related to the similarity between the concepts of Heaven and God in the human mind. In this study, the use of God and Heaven stamps which express holiness from Turkish stamps was examined and questioned in terms of meaning.
Anahtar Kelimeler: Medrese, Kırşehir, Süsleme, Anadolu, Selçuklu, Cacabey, taş.
ABSTRACT
Madrasahs have an important place among the architectural works created in the Anatolian Seljuk period. The madrasahs, which met the educational needs of the period, stand out in terms of artistic decoration as well as their architectural functions. Cacabey Madrasah, one of the most important structures of Kırşehir, has four iwans and is in the plan group of madrasahs with closed courtyards and dome resting on supports. The madrasah, has a very rich content in terms of stone decoration. The botanical and geometrical ornaments are intense in the building; In some areas, elements such as three-dimensional spheres, stalactites and buttresses were used for decoration. While the building has a more simple and appropriate decoration content among its contemporaries, it is quite rich in terms of decoration variety compared to the region where it is located.
This study, It is about the examination of the stone ornaments in the Cacabey Madrasah and Tomb in Kırşehir and the reflections of the Seljuk-Ilkhanid influences on the decorations.
Keywords: Madrasah, Kırşehir, Ornament, Anatolian, Seljuk, Cacabey, stone
Bu çalışmada kutsal kavramı ve daire simgesi, bazı soyut ve somut örneklerle incelenerek, iki kavram arasındaki anlam bağlantısı sorgulanmıştır.
Abstract
The concept of sacred corresponds to the words "sacrum-sacer" in Latin, "hagios" in Greek, "kedusah" in Hebrew and "sacred, holy, divine" in English. It is a very difficult concept to describe or explain scientifically because it is included in the subject of sacred belief and emotion. Just as eternity and God himself are not fully explained; sacred also settles at a point that cannot be defined in the category of belief and whose transcendence is believed. In our opinion, sacred is that the believer comes into contact with the divine in an invisible (spiritual) dimension through image or emotion and the transcendent is perceived directly and instinctively. The sacred can be both knowable and unknowable according to one's life and belief experience. The transcendence that man wants to contact can be the sacred itself and the contact made with the transcendent can also be called sacred. While this situation, which happens personally, is called a miracle in some beliefs or religions, in fact, even just praying can be shown as an example of the contact between the sacred and the human. In this context, whatever means, this intuitive contact with the transcendent causes objects, places, symbols and even time to be remembered as sacred.
The attribution of sacred or holiness is often confronted with a strict devotion to the transcendent, eternal, absolute, unchangeable and hence the divine (Creator-God). The human race has attempted to reflect the divine quality that it is trying to grasp on the earth through arts and symbols, which are the means of manifestation of the sacred. Circle and sacred connections within the framework of our subject; It has been handled with its cosmological, philosophical, symbolic, artistic, mythological and architectural dimensions. At the point of meaning, it is understood through the analyzed examples and symbols that these two elements develop in connection in the human mind. The circle symbol, which has been repeated since ancient times and is one of the oldest signs, is one of the first reflections and representations of the sacred on earth. The reduction of the abstract divine quality to the concrete through symbolism can be explained as a natural reflex of the human mind for ease of comprehension. The perception of the circle, especially in primitive man, mostly comes across with celestial connections. The circle symbol must have been initially produced from celestial forms such as the Moon and the Sun, which it regarded as sacred in meaning. Considering the sky itself sacred, the person used the circle symbol as a sacred symbol in this context. Man, who can think and dream as much as what he sees and experiences, transforms the sacred image into a circular symbol at this point and reduces it to concrete. The circle symbol, as a divine human production on a spiritual basis, it is the representation of the sacred on earth.
In this study, the concept of sacred and circle symbol was examined with some abstract and concrete examples and the meaning connection between the two concepts was questioned.
Abstract
The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, that is, number symbolism emerges in various religious texts, myths or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree or layers of sky in Turkish mythology. Number eight is of a more rare usage besides numbers "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used from of old in Turkish culture. Paradise depiction primarily comes into prominence among the meanings attributed to number eight. In Turkish mythology, the tree which was created at the beginning had nine branches. One of these branches is lying in front of the gate of Tengri and the others are reaching to the eight edges of the earth believed to have so. The phrase of "eight paradises" comes into prominence with regards to the eight gates of the paradise in Islamic context. The symbolical reflections of number eight on art are seen as the tamga of "Paradise". The tamga of paradise emerges with regards to number eight as a form by being turned into a motif with geometrical ornamentations especially in Medieval Turkish Islamic architecture. The tamga which is reputable with the effect of Turkish culture has commonly been used in Islamic art. This tamga which is of subtypes in itself has been emerged on countless structures.
This paper is upon the various meanings attributed to number eight in the historical period and the usage of tamga of Paradise in Turkish art.
Keywords: Eight, Paradise, Tamga(Stamp), Mean.
The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred. Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif. Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly. This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.
Dünya üzerinde kalıcı izler bırakan insanoğlu, yaşamsal eylemlerinden biri olan sanatıyla da Tanrı’ya bağlılığını bildirmek istemiştir. Bu da Tanrı’yı ve o kültürün inancını sembolize eden eserlerin, yapıların, işaretlerin veya damgaların ortaya çıkmasına zemin hazırlamıştır. Türk ve İslam kültürünün yanı sıra başka inançlarda da önemli bir yeri olan “Tanrı” damgası, bu noktada karşımıza çıkmaktadır. Sembolik ve sanatsal değeri olan damga vurma geleneği, Türklerde boy damgalarının yanı sıra, bir kutsallık ifadesi olan “Tanrı-Tengri” damgası ile de kendini göstermektedir. Bu geleneğin izleri Orta Asya’dan Anadolu’ya kadar hemen her türlü malzemede, doğrudan damga olarak ya da motifleşmiş biçimde karşımıza çıkmaktadır.
Sembolizm kaynaklı bazı üretimler ve temsiller inanmaların gereklerinden birisidir. Bu simgeler zaman içerisinde savrulurken, anlamları değişmiş, unutulmuş veya anlamsızlaşmış olabilir. Fakat anladığımız kadarıyla, her sembol-damga ilk yapılışında yapan tarafından gayet anlamlıdır. Bu bakımdan hemen her türlü malzemede karşımıza çıkan Tanrı damgası eserlere rastgele ve manasız olarak yerleştirilmemiştir.
Bu çalışmanın konusu, Türk kültüründe “Tanrı” kavramı ve sanata yansıyan Tanrı damgası üzerinedir.
Anahtar Kelimeler: Tanrı, Damga, Türk, Sanat, Din.
Abstract
The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred.
Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif.
Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly.
This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.
Keywords: God, Tamga (Stamp), Turkish, Art, Religion.
Mülkiyet, aidiyet, bağımsızlık unsuru, boy-soy birliği, millet mensubiyeti ve kutsallık ifadesi işaretler olarak Türk tarihinin erken devirlerinden itibaren hemen her türlü malzemede karşımıza çıkan "Damgalar-Tamgalar" hiç şüphesiz Türk kültürünün vazgeçilmez uygulamalarındandır. Gittikleri ve yerleştikleri her coğrafyaya ebedi vatan olarak bakan atalarımız hayvanlarına, kulanım eşyalarına ve inşa ettikleri küçük veya büyük mimari eserlere ait olduklarını düşündükleri boylarının damgalarını vurmayı gelenek haline getirmişlerdir. Ancak, zaman içerisinde bazıları harflere dönüşerek yazıya geçmiş, bazıları da geometrik süslemeleri oluşturan kompozisyonlar içerisinde esas anlamından kısmen uzaklaşarak kompozisyonun bir elemanına dönüşmüştür. Anadolu'nun fethinde de rol alan Türk boyları fethettikleri ve yerleştikleri bu yerlere de çoğunlukla kendi boy adlarını vermişler, yaptıkları mimari eserlere ve kullanım eşyalarına da damgalarını vurmuşlardır. Anadolu Selçuklu Devleti'nin başkenti olan Konya ve çevresinde de bu durum oldukça yaygındır. Hem Oğuz boyları hem de diğer Türk boylarının yerleşim yeri (kasaba, köy, mahalle vb.) olarak Avşar-Afşar-Bay Avşar-Küçük Avşar, Bayındır-Bayundur, Döger-Duger, Bayat-Kara Bayat-Yağlı Bayat, Kayı-Kayı Hüyük- Kayı Ören, Kınık, Yazır, Salur, Çetmi gibi isimler vermişlerdir. Zaman içerisinde maalesef bu isimlerin bir kısmı unutulan tarihsel kimlikle beraber, beğeni anlayışlarının da değişmesiyle değiştirilmiştir. Bunun gibi evvelce damga-tamga olarak kullanılan işaret ve semboller de süsleme unsurları arasında yer alan geometrik motif ve kompozisyonlar arasına, bu tasarımı yapanlar tarafından tam da anlamı unutulmamış ancak esas anlamından uzaklaşmış olarak yerleştirilmiştir. Yapanın bildiği, fakat bakanın sadece bir süs unsuru olarak gördüğü bir duruma dönüşmüştür. Bu durumun en iyi uygulamalarını hiç şüphesiz Selçuklu Devleti’nin payitahtı Konya’da bulmaktayız. Bu çalışma Selçuklu döneminde Konya’da inşa edilen mimari eserler üzerindeki motife dönüşmüş olan damgalar üzerinedir.
ABSTRACT
Tamgas seen on almost every materials since the earliest dates of Turkish history are undoubtedly among the indispensable use of Turkish culture as the signs of ownership, belonging, independency factor, tribe and ancestry unity, nationality and holiness statements. Our ancestors who regarded every geography where they went and settled as their motherland forever, made it a tradition to mark the tamgas of their tribes on their animals, on the things they used and on the small or big architectural works they built. However, some tamgas turned into letters and text in time and some of them having become somewhat distant from main meanings turned into an element in compositions which revealed geometrical ornamentations. Turkish tribes that had a part in the conquest of Anatolia, mostly gave the name of their own tribes to the places they conquered and settled and marked their tamgas on the architectural works they built and on the things they used as well. This situation is considerably common in Konya, which was the capital city of Anatolian Seljukian State, and its surroundings. Both Oghuzs tribes and the other Turkish tribes gave the names such as Avşar-Afşar-Bay Avşar-Küçük Avşar, Bayındır-Bayundur, Döger-Duger, Bayat-Kara Bayat-Yağlı Bayat, Kayı-Kayı Hüyük- Kayı Ören, Kınık, Yazır, Salur, Çetmi to their settlement areas (towns, villages, districts and etc.). Unfortunately, some of these names were changed in time as the historical identity was forgotten and inclination perception changed. The meanings of such kind of signs and symbols that had been used as tamgas before, weren't completely forgotten by the designers but they were placed among the geometrical motifs and compositions as elements of ornaments with a distant meaning. It turned into a situation that the designer knew the fact but the viewer regards this as an element of ornamentation. The best uses of this situation are undoubtedly seen in Konya, the capital city of Seljukian State. This paper is upon Turkish tamgas that turned into motifs on architectural works built in Konya during Seljukian period.
Kültür ve Turizm Bakanlığı ile Selçuk Üniversitesi adına Prof. Dr. Ali Baş
başkanlığındaki bir ekip tarafından 2015 yılından bu yana sürdürülmektedir. 2014
yılında yapılan sondaj çalışması ve sırasıyla 2015, 2016, 2017 yılı kazı çalışmaları
sırasında, çeşitli buluntular elde edilmiştir. Bu buluntulardan künk, tuğla ve tandır
örnekleri bizim araştırma konumuzu oluşturmaktadır. Bahsi geçen buluntuların
incelenmesi saray mimarisi ve dönemin saray yaşamı hakkında bilgiler vermesi
bakımından önemlidir. Ortak bir çalışma olan bu makalede, künkler Ezgi Temekoğlu,
tuğlalar Yunus Aslan, tandırlar ise Mevlüt Anıl Fidan tarafından incelenmiştir.
between 13th-14th centuries in downtown Kırşehir. İn scope of work were examined two
mosques, four tombs and a madrasa total seven samples . One of the buildings belongs to the
principalities and the other six belong to the Anatolian Seljuk period.The study includes detailed
analysis and investigation of the stone decorations of the mentioned buildings.
First chapter, Introduction section, under this headline: Definition of the subject, Limits
and Term, Method, Publications and Researches on the subject, Kirsehir History and 13-14th
Century Stone Decoration were discussed.
The second part is the section where the main subject of the thesis is processed.The
ornamentation characteristics of the structures were defined under the title of Stone Decoration
(13-14 th century) in Kırsehir Central Turkish Period Buildings. The structures are given
chronologically under their titles.In this chronological order, the construction dates of the
buildings were taken into consideration. While defining the building decorations, a sequence was
followed from outside to inside of the building. Resources have been consulted at required points,
and references have been referred to with these footnotes.The studies were supported with
drawings and visuals. In the the third chapter, the "comparison" title was mentioned in Kırşehir
Special and Anatolian-wide similar to the Kirsehir stone decorations. In the forth chapter
decorations; It was evaluated and analyzing in terms of material under the evaluation. The fifth chapter is the ”result“ part. In this section, the synthesis is ummarized
completely.