Art and Symbolism in a Group of Sect Banner
ABSTRACT
Throughout history, the banners are the sign... more Art and Symbolism in a Group of Sect Banner ABSTRACT Throughout history, the banners are the signs of states, armies, political or religious movements and groups have sometimes assumed wıth meanings and functions that correspond to the flag. Rather, it is noteworthy that the banner, which is known as a symbol of the army and the state in the military field, is also utilized by religious sects in Islamic sufism. Although the banners used in the sects were similar to the other banners in terms of form, but they diverse in that they carry symbols and phrases for the sects they belong to. In the researches and publications on the forms and meanings of the banners belonging to different periods in Turkish and Islamic societies, sect banners also have been mentioned. However, in these studies, the iconographic and the place of sect banners in Turkish art were not sufficiently examined. Among the sect banners that attracted attention with these aspects, 17 samples were examined and evaluated in detail from Ankara Ethnography Museum, Akşehir Nasreddin Hodja Archeology and Ethnography Museum and Yozgat Museum. In the article, after giving information about the use of the banner in sects: the banners in the aforementioned museums have been defined
The Tulip Period Buildings in Çanakkale
Abstract
“Tulip Period” style, which was born into a time... more The Tulip Period Buildings in Çanakkale Abstract “Tulip Period” style, which was born into a time of socio-cultural turmoil and changes during the Late Classical period of the Ottoman art, has found its counterpart in architecture as well. On the architecture of the Tulip Period, which is roughly associated with Sultan Ahmed III’s (1703-1730) reign, Western influence, especially from France, also begins to be observed. This period defines a process in which the Ottomans’ attempt to open to the West became concrete. Among the prominent figures of the period are the executives and artists such as grand vizier Nevşehirli Damat Ibrahim Pasha, Yirmisekiz Mehmed Çelebi, Ibrahim Muteferrika, miniaturist Levni, and poets Seyyid Vehbi and Nedim. In this period, when the fascination with flowers such as rose, hyacinth, narcissus and especially tulip peaked, the gardens of palaces and mansions built in Kağıthane and other places were decorated with various flowers; these flowers have found a place also in architectural decoration. The provincial examples of the architecture of the Tulip Period, which is mostly known for the artifacts in the capital city of Istanbul, did not attract much attention except for the Damat Ibrahim Pasha complex in Nevşehir. Recent research and publications indicate that the fashion of the capital city was traced in the buildings in the provincial area during this period, even though they are not as splendid as the examples of Istanbul. The same trend is also observed in the structures of the Tulip Period in Çanakkale. The buildings constructed in Çanakkale during this period are Hacı Süleyman Fountain (1718-1719) in Lapseki-Umurbey, Gelibolu Telli Fountain (1725-1726), Babakale structures (Hırzü’l-bahr Castle, Ulu Camii, double baths and fountains). The Hançerli Fountain in Gelibolu was repaired during this period. The Dede Fountain (1739) and Çarşı Hamam (Double Bath) (1742) in Bayramiç, may also be seen as a late reflection of the same style. Moreover, the buildings controversial in terms of chronology and Çanakkale’de Lâle Devri Yapıları 53 style (Bayramiç Çarşı Mosque, Bozcaada Alaybey Mosque, a fountain not inscription in Kilitbahir-Havuzlar, Babakale Hanım Fountain, Babakale Yukarı Fountain, Kadı and Kavga fountains in Umurbey) are not included in the article. These structures have been extensively examined in the surface researches we have been carrying out since 2005. Umurbey Hacı Süleyman Fountain has only an inscription. The fountain was probably destroyed in the early 20th century. Gelibolu Telli Fountain was built by Kaymak Mustafa Pasha, the son-in law of Ibrahim Pasha. Kaymak Mustafa Pasha’s main reconstruction activities in this region are Hırzü’l-bahr Castle, which he built on Cape Baba, and the town he established. Mustafa Pasha who built a bath and a mosque within the castle, got fountains built on the coast and in the country beside a grand mosque and a double bath. The fountain on the beach is a modest representative of the square fountains of the period with its elaborate architecture. The fountain in the south of the square is in the same style. However, its two sides were closed by the buildings constructed later. Ulu Cami (Great Mosque), with its architecture containing wooden masts and a ceiling, is an extension of a tradition that goes back to the Seljuk period. But it does not have any painted decoration on its wood. The double bath attracts attention with its tempperiodture pattern without private rooms and graffiti. The fortress reflects an architecture complying with the change in weapons and defense technology of the 18th century. It does not have high walls like medieval castles. It was designed to defend a certain point. The inscriptions of the fortress and the mosque were written by the poet Seyyid Vehbi. The Çarşı Hamam (baths) in Bayramiç is also of the style without a private room. The parts of the structure for undressing and tepidity were destroyed. On the tempperiodture domes, rosettes made with the printing technique on plaster attract the attention. The marble inscription preserved in Hadimoğlu Mansion today must belong to this structure. The relation between bath and aforementioned the inscription has been suggested by us for the first time. It is noteworthy that the artistic style of the period is followed in these buildings, especially in terms of architectural decoration. In particular, the motifs and compositions on marble on the facades of Babakale Yalı Fountain, Gelibolu Telli Fountain, Gelibolu Hançerli Fountain and Bayramiç Dede Fountain reflect the style of the Tulip Period. But, Bayramiç Dede Fountain and Bayramiç Çarşı Hamamı (bath), Babakale Ahmed Ağa Fountain and Biga Mustafa Fountain should be seen as examples of the post-tulip period.
Troia is one of the most famous ancient cities in theworld. With the declaration of 2018 as the y... more Troia is one of the most famous ancient cities in theworld. With the declaration of 2018 as the year of Troia, this important ancient city region came to the agenda again. It has created momentum in the tourism in Canakkale. Archaeological researches of Troia have been revealed historical importance of it. These archaeological excavations also provide clues about what people eat and drink in ancient times.The importance of local food in terms of gastronomy tourism has been emphasized by many researches. It is thought that gastronomy tourists or culture tourists can also be curious about what people eat in the ancient times. For this reason, it is thought that it can be created a touristic product accordingly. From this point of view, it is aimed to reveal the food culture of Troia by scanning secondary data sources in this study. As a result of the investigations, it can be said that the first one of the basic factors that affect nutrition in Troas region and Troia is the geography, Troy (Troia) National Park was founded in 1996 with the aim to protect the historical and cultural texture of the archaeological site of Troia (Troy) in the Ancient Troas and its surrounding. The prehistorical, proto-historical, Greek, Hellenistic and Roman periods of this region - especially Troia - have been extensively analyzed by scientists since the excavations of Schliemann. On the other hand, it cannot be said that the surroundings of Troy have been adequately analyzed in terms of Ottoman archaeology. Therefore, this article aims to examine the Ottoman settlements and material culture data within the boundaries of the national park. The importance of the Ottoman archaeology beginning to develop as a new sub-discipline in the Islamic Archaeology, which is a field of the historical archaeology, was emphasized by researchers such as Prof. Dr. Abdülcelil Temimî, Uzi Baram and Lynda Carroll. The archaeology of the Ottoman Empire, which spread over three continents, is undoubtedly a multidirectional and multidimensional field of study. Nevertheless, it appears possible to address the Ottoman past of an area bordered with Troy National Park within the scope of an article with its main lines. The Turkish settlement that started in this region in the 14th century developed under the Ottoman rule beginning from the Orhan Gazi period. Ottoman archives from the 16th century reveal that there are three villages around the ancient ruins of Troia (Hisarlık). These are Halilili (Halileli), Kumköy and Kalafatlu (Kalafatlı) villages. Yenişehir, located near the coast in the northwest of Hisarlık, is a Christian village built next to the ancient Sigeum (Sigeion/Sigée) probably in the 17th century. In the 17th century, Kal’a-i Sultâniye and Seddü’lbahr castles were built by Valide Turhan Sultan, the mother of Mehmed IV, on the entrance of the Dardanelles in the northwest of Eski Hisarlık and on the European coast respectively. On the charter
Abandoned windmills were characteristic sight of Çanakkale's architectural landscape during the O... more Abandoned windmills were characteristic sight of Çanakkale's architectural landscape during the Ottoman period (Figs. 1‐2). Many of these windmills were functioning until the 1970s, when farmers started to sell their grain to large electric‐powered factories and obtained their ready‐made bread from commercial bakeries following the modernization of agriculture. These abandoned windmills scattered across the landscape of Çanakkale are gradually disappearing from the ethnographic record of the region and becoming archaeological sites represented by a heap of stone rubbles. An examination of the activities took place around these structures may contribute to the reconstruction of region's picture, since they were once an integral part of the Ottoman rural economy at Çanakkale. Despite their important role within the local rural economy, there has been considerable lack of archaeological and ethnographic interest in windmills. This is in part due to the fact that material remains from the recent Ottoman past have often been viewed as irrelevant for archaeological research. Scholars recently started to place special attention upon the historical archaeology of Ottoman Greece. They started to provide us with new ways of looking in reconstructing the regional histories in rural areas that were once part of the Ottoman imperial system (e.g., Davis 1991; Brumfiel 2000). In this manner, this essay aims to underline the economic significance of windmills in reconstructing regional patterns of agricultural exploitation. It must also be taken into the consideration that the use of windmills was rather a recent historical development originating in the medieval period. The data obtained from the surface examinations could be combined with related historical accounts in the Ottoman archives, European travelers' notes, and oral history. It is hoped that this brief study concentrated on windmills could be of great importance to those archaeologists involved in rural site surveys carried out for the purpose of reconstructing the Çanakkale's past rural economy.
Art and Symbolism in a Group of Sect Banner
ABSTRACT
Throughout history, the banners are the sign... more Art and Symbolism in a Group of Sect Banner ABSTRACT Throughout history, the banners are the signs of states, armies, political or religious movements and groups have sometimes assumed wıth meanings and functions that correspond to the flag. Rather, it is noteworthy that the banner, which is known as a symbol of the army and the state in the military field, is also utilized by religious sects in Islamic sufism. Although the banners used in the sects were similar to the other banners in terms of form, but they diverse in that they carry symbols and phrases for the sects they belong to. In the researches and publications on the forms and meanings of the banners belonging to different periods in Turkish and Islamic societies, sect banners also have been mentioned. However, in these studies, the iconographic and the place of sect banners in Turkish art were not sufficiently examined. Among the sect banners that attracted attention with these aspects, 17 samples were examined and evaluated in detail from Ankara Ethnography Museum, Akşehir Nasreddin Hodja Archeology and Ethnography Museum and Yozgat Museum. In the article, after giving information about the use of the banner in sects: the banners in the aforementioned museums have been defined
The Tulip Period Buildings in Çanakkale
Abstract
“Tulip Period” style, which was born into a time... more The Tulip Period Buildings in Çanakkale Abstract “Tulip Period” style, which was born into a time of socio-cultural turmoil and changes during the Late Classical period of the Ottoman art, has found its counterpart in architecture as well. On the architecture of the Tulip Period, which is roughly associated with Sultan Ahmed III’s (1703-1730) reign, Western influence, especially from France, also begins to be observed. This period defines a process in which the Ottomans’ attempt to open to the West became concrete. Among the prominent figures of the period are the executives and artists such as grand vizier Nevşehirli Damat Ibrahim Pasha, Yirmisekiz Mehmed Çelebi, Ibrahim Muteferrika, miniaturist Levni, and poets Seyyid Vehbi and Nedim. In this period, when the fascination with flowers such as rose, hyacinth, narcissus and especially tulip peaked, the gardens of palaces and mansions built in Kağıthane and other places were decorated with various flowers; these flowers have found a place also in architectural decoration. The provincial examples of the architecture of the Tulip Period, which is mostly known for the artifacts in the capital city of Istanbul, did not attract much attention except for the Damat Ibrahim Pasha complex in Nevşehir. Recent research and publications indicate that the fashion of the capital city was traced in the buildings in the provincial area during this period, even though they are not as splendid as the examples of Istanbul. The same trend is also observed in the structures of the Tulip Period in Çanakkale. The buildings constructed in Çanakkale during this period are Hacı Süleyman Fountain (1718-1719) in Lapseki-Umurbey, Gelibolu Telli Fountain (1725-1726), Babakale structures (Hırzü’l-bahr Castle, Ulu Camii, double baths and fountains). The Hançerli Fountain in Gelibolu was repaired during this period. The Dede Fountain (1739) and Çarşı Hamam (Double Bath) (1742) in Bayramiç, may also be seen as a late reflection of the same style. Moreover, the buildings controversial in terms of chronology and Çanakkale’de Lâle Devri Yapıları 53 style (Bayramiç Çarşı Mosque, Bozcaada Alaybey Mosque, a fountain not inscription in Kilitbahir-Havuzlar, Babakale Hanım Fountain, Babakale Yukarı Fountain, Kadı and Kavga fountains in Umurbey) are not included in the article. These structures have been extensively examined in the surface researches we have been carrying out since 2005. Umurbey Hacı Süleyman Fountain has only an inscription. The fountain was probably destroyed in the early 20th century. Gelibolu Telli Fountain was built by Kaymak Mustafa Pasha, the son-in law of Ibrahim Pasha. Kaymak Mustafa Pasha’s main reconstruction activities in this region are Hırzü’l-bahr Castle, which he built on Cape Baba, and the town he established. Mustafa Pasha who built a bath and a mosque within the castle, got fountains built on the coast and in the country beside a grand mosque and a double bath. The fountain on the beach is a modest representative of the square fountains of the period with its elaborate architecture. The fountain in the south of the square is in the same style. However, its two sides were closed by the buildings constructed later. Ulu Cami (Great Mosque), with its architecture containing wooden masts and a ceiling, is an extension of a tradition that goes back to the Seljuk period. But it does not have any painted decoration on its wood. The double bath attracts attention with its tempperiodture pattern without private rooms and graffiti. The fortress reflects an architecture complying with the change in weapons and defense technology of the 18th century. It does not have high walls like medieval castles. It was designed to defend a certain point. The inscriptions of the fortress and the mosque were written by the poet Seyyid Vehbi. The Çarşı Hamam (baths) in Bayramiç is also of the style without a private room. The parts of the structure for undressing and tepidity were destroyed. On the tempperiodture domes, rosettes made with the printing technique on plaster attract the attention. The marble inscription preserved in Hadimoğlu Mansion today must belong to this structure. The relation between bath and aforementioned the inscription has been suggested by us for the first time. It is noteworthy that the artistic style of the period is followed in these buildings, especially in terms of architectural decoration. In particular, the motifs and compositions on marble on the facades of Babakale Yalı Fountain, Gelibolu Telli Fountain, Gelibolu Hançerli Fountain and Bayramiç Dede Fountain reflect the style of the Tulip Period. But, Bayramiç Dede Fountain and Bayramiç Çarşı Hamamı (bath), Babakale Ahmed Ağa Fountain and Biga Mustafa Fountain should be seen as examples of the post-tulip period.
Troia is one of the most famous ancient cities in theworld. With the declaration of 2018 as the y... more Troia is one of the most famous ancient cities in theworld. With the declaration of 2018 as the year of Troia, this important ancient city region came to the agenda again. It has created momentum in the tourism in Canakkale. Archaeological researches of Troia have been revealed historical importance of it. These archaeological excavations also provide clues about what people eat and drink in ancient times.The importance of local food in terms of gastronomy tourism has been emphasized by many researches. It is thought that gastronomy tourists or culture tourists can also be curious about what people eat in the ancient times. For this reason, it is thought that it can be created a touristic product accordingly. From this point of view, it is aimed to reveal the food culture of Troia by scanning secondary data sources in this study. As a result of the investigations, it can be said that the first one of the basic factors that affect nutrition in Troas region and Troia is the geography, Troy (Troia) National Park was founded in 1996 with the aim to protect the historical and cultural texture of the archaeological site of Troia (Troy) in the Ancient Troas and its surrounding. The prehistorical, proto-historical, Greek, Hellenistic and Roman periods of this region - especially Troia - have been extensively analyzed by scientists since the excavations of Schliemann. On the other hand, it cannot be said that the surroundings of Troy have been adequately analyzed in terms of Ottoman archaeology. Therefore, this article aims to examine the Ottoman settlements and material culture data within the boundaries of the national park. The importance of the Ottoman archaeology beginning to develop as a new sub-discipline in the Islamic Archaeology, which is a field of the historical archaeology, was emphasized by researchers such as Prof. Dr. Abdülcelil Temimî, Uzi Baram and Lynda Carroll. The archaeology of the Ottoman Empire, which spread over three continents, is undoubtedly a multidirectional and multidimensional field of study. Nevertheless, it appears possible to address the Ottoman past of an area bordered with Troy National Park within the scope of an article with its main lines. The Turkish settlement that started in this region in the 14th century developed under the Ottoman rule beginning from the Orhan Gazi period. Ottoman archives from the 16th century reveal that there are three villages around the ancient ruins of Troia (Hisarlık). These are Halilili (Halileli), Kumköy and Kalafatlu (Kalafatlı) villages. Yenişehir, located near the coast in the northwest of Hisarlık, is a Christian village built next to the ancient Sigeum (Sigeion/Sigée) probably in the 17th century. In the 17th century, Kal’a-i Sultâniye and Seddü’lbahr castles were built by Valide Turhan Sultan, the mother of Mehmed IV, on the entrance of the Dardanelles in the northwest of Eski Hisarlık and on the European coast respectively. On the charter
Abandoned windmills were characteristic sight of Çanakkale's architectural landscape during the O... more Abandoned windmills were characteristic sight of Çanakkale's architectural landscape during the Ottoman period (Figs. 1‐2). Many of these windmills were functioning until the 1970s, when farmers started to sell their grain to large electric‐powered factories and obtained their ready‐made bread from commercial bakeries following the modernization of agriculture. These abandoned windmills scattered across the landscape of Çanakkale are gradually disappearing from the ethnographic record of the region and becoming archaeological sites represented by a heap of stone rubbles. An examination of the activities took place around these structures may contribute to the reconstruction of region's picture, since they were once an integral part of the Ottoman rural economy at Çanakkale. Despite their important role within the local rural economy, there has been considerable lack of archaeological and ethnographic interest in windmills. This is in part due to the fact that material remains from the recent Ottoman past have often been viewed as irrelevant for archaeological research. Scholars recently started to place special attention upon the historical archaeology of Ottoman Greece. They started to provide us with new ways of looking in reconstructing the regional histories in rural areas that were once part of the Ottoman imperial system (e.g., Davis 1991; Brumfiel 2000). In this manner, this essay aims to underline the economic significance of windmills in reconstructing regional patterns of agricultural exploitation. It must also be taken into the consideration that the use of windmills was rather a recent historical development originating in the medieval period. The data obtained from the surface examinations could be combined with related historical accounts in the Ottoman archives, European travelers' notes, and oral history. It is hoped that this brief study concentrated on windmills could be of great importance to those archaeologists involved in rural site surveys carried out for the purpose of reconstructing the Çanakkale's past rural economy.
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ABSTRACT
Throughout history, the banners are the signs of states, armies, political or religious movements and groups have sometimes assumed wıth meanings and functions that correspond to the flag. Rather, it is noteworthy that the banner, which is known as a symbol of the army and the state in the military field, is also utilized by religious sects in Islamic sufism. Although the banners used in the sects were similar to the other banners in terms of form, but they diverse in that they carry symbols and phrases for the sects they belong to. In the researches and publications on the forms and meanings of the banners belonging to different periods in Turkish and Islamic societies, sect banners also have been mentioned. However, in these studies, the iconographic and the place of sect banners in Turkish art were not sufficiently examined. Among the sect banners that attracted attention with these aspects, 17 samples were examined and evaluated in detail from Ankara Ethnography Museum, Akşehir Nasreddin Hodja Archeology and Ethnography Museum and Yozgat Museum. In the article, after giving information about the use of the banner in sects: the banners in the aforementioned museums have been defined
Abstract
“Tulip Period” style, which was born into a time of socio-cultural turmoil and
changes during the Late Classical period of the Ottoman art, has found its counterpart
in architecture as well. On the architecture of the Tulip Period, which is roughly
associated with Sultan Ahmed III’s (1703-1730) reign, Western influence, especially
from France, also begins to be observed. This period defines a process in which the
Ottomans’ attempt to open to the West became concrete. Among the prominent figures of
the period are the executives and artists such as grand vizier Nevşehirli Damat Ibrahim
Pasha, Yirmisekiz Mehmed Çelebi, Ibrahim Muteferrika, miniaturist Levni, and poets
Seyyid Vehbi and Nedim. In this period, when the fascination with flowers such as rose,
hyacinth, narcissus and especially tulip peaked, the gardens of palaces and mansions
built in Kağıthane and other places were decorated with various flowers; these flowers
have found a place also in architectural decoration. The provincial examples of the
architecture of the Tulip Period, which is mostly known for the artifacts in the capital
city of Istanbul, did not attract much attention except for the Damat Ibrahim Pasha
complex in Nevşehir. Recent research and publications indicate that the fashion of the
capital city was traced in the buildings in the provincial area during this period, even
though they are not as splendid as the examples of Istanbul.
The same trend is also observed in the structures of the Tulip Period in Çanakkale. The
buildings constructed in Çanakkale during this period are Hacı Süleyman Fountain
(1718-1719) in Lapseki-Umurbey, Gelibolu Telli Fountain (1725-1726), Babakale
structures (Hırzü’l-bahr Castle, Ulu Camii, double baths and fountains). The Hançerli
Fountain in Gelibolu was repaired during this period. The Dede Fountain (1739) and
Çarşı Hamam (Double Bath) (1742) in Bayramiç, may also be seen as a late reflection
of the same style. Moreover, the buildings controversial in terms of chronology and
Çanakkale’de Lâle Devri Yapıları
53
style (Bayramiç Çarşı Mosque, Bozcaada Alaybey Mosque, a fountain not inscription
in Kilitbahir-Havuzlar, Babakale Hanım Fountain, Babakale Yukarı Fountain, Kadı
and Kavga fountains in Umurbey) are not included in the article.
These structures have been extensively examined in the surface researches we have been
carrying out since 2005. Umurbey Hacı Süleyman Fountain has only an inscription.
The fountain was probably destroyed in the early 20th century. Gelibolu Telli Fountain
was built by Kaymak Mustafa Pasha, the son-in law of Ibrahim Pasha. Kaymak Mustafa
Pasha’s main reconstruction activities in this region are Hırzü’l-bahr Castle, which he
built on Cape Baba, and the town he established. Mustafa Pasha who built a bath and
a mosque within the castle, got fountains built on the coast and in the country beside a
grand mosque and a double bath. The fountain on the beach is a modest representative
of the square fountains of the period with its elaborate architecture. The fountain in
the south of the square is in the same style. However, its two sides were closed by the
buildings constructed later. Ulu Cami (Great Mosque), with its architecture containing
wooden masts and a ceiling, is an extension of a tradition that goes back to the Seljuk
period. But it does not have any painted decoration on its wood. The double bath
attracts attention with its tempperiodture pattern without private rooms and graffiti.
The fortress reflects an architecture complying with the change in weapons and defense
technology of the 18th century. It does not have high walls like medieval castles. It was
designed to defend a certain point. The inscriptions of the fortress and the mosque were
written by the poet Seyyid Vehbi.
The Çarşı Hamam (baths) in Bayramiç is also of the style without a private room. The
parts of the structure for undressing and tepidity were destroyed. On the tempperiodture
domes, rosettes made with the printing technique on plaster attract the attention. The
marble inscription preserved in Hadimoğlu Mansion today must belong to this structure.
The relation between bath and aforementioned the inscription has been suggested by
us for the first time. It is noteworthy that the artistic style of the period is followed in
these buildings, especially in terms of architectural decoration. In particular, the motifs
and compositions on marble on the facades of Babakale Yalı Fountain, Gelibolu Telli
Fountain, Gelibolu Hançerli Fountain and Bayramiç Dede Fountain reflect the style of
the Tulip Period. But, Bayramiç Dede Fountain and Bayramiç Çarşı Hamamı (bath),
Babakale Ahmed Ağa Fountain and Biga Mustafa Fountain should be seen as examples
of the post-tulip period.
ABSTRACT
Throughout history, the banners are the signs of states, armies, political or religious movements and groups have sometimes assumed wıth meanings and functions that correspond to the flag. Rather, it is noteworthy that the banner, which is known as a symbol of the army and the state in the military field, is also utilized by religious sects in Islamic sufism. Although the banners used in the sects were similar to the other banners in terms of form, but they diverse in that they carry symbols and phrases for the sects they belong to. In the researches and publications on the forms and meanings of the banners belonging to different periods in Turkish and Islamic societies, sect banners also have been mentioned. However, in these studies, the iconographic and the place of sect banners in Turkish art were not sufficiently examined. Among the sect banners that attracted attention with these aspects, 17 samples were examined and evaluated in detail from Ankara Ethnography Museum, Akşehir Nasreddin Hodja Archeology and Ethnography Museum and Yozgat Museum. In the article, after giving information about the use of the banner in sects: the banners in the aforementioned museums have been defined
Abstract
“Tulip Period” style, which was born into a time of socio-cultural turmoil and
changes during the Late Classical period of the Ottoman art, has found its counterpart
in architecture as well. On the architecture of the Tulip Period, which is roughly
associated with Sultan Ahmed III’s (1703-1730) reign, Western influence, especially
from France, also begins to be observed. This period defines a process in which the
Ottomans’ attempt to open to the West became concrete. Among the prominent figures of
the period are the executives and artists such as grand vizier Nevşehirli Damat Ibrahim
Pasha, Yirmisekiz Mehmed Çelebi, Ibrahim Muteferrika, miniaturist Levni, and poets
Seyyid Vehbi and Nedim. In this period, when the fascination with flowers such as rose,
hyacinth, narcissus and especially tulip peaked, the gardens of palaces and mansions
built in Kağıthane and other places were decorated with various flowers; these flowers
have found a place also in architectural decoration. The provincial examples of the
architecture of the Tulip Period, which is mostly known for the artifacts in the capital
city of Istanbul, did not attract much attention except for the Damat Ibrahim Pasha
complex in Nevşehir. Recent research and publications indicate that the fashion of the
capital city was traced in the buildings in the provincial area during this period, even
though they are not as splendid as the examples of Istanbul.
The same trend is also observed in the structures of the Tulip Period in Çanakkale. The
buildings constructed in Çanakkale during this period are Hacı Süleyman Fountain
(1718-1719) in Lapseki-Umurbey, Gelibolu Telli Fountain (1725-1726), Babakale
structures (Hırzü’l-bahr Castle, Ulu Camii, double baths and fountains). The Hançerli
Fountain in Gelibolu was repaired during this period. The Dede Fountain (1739) and
Çarşı Hamam (Double Bath) (1742) in Bayramiç, may also be seen as a late reflection
of the same style. Moreover, the buildings controversial in terms of chronology and
Çanakkale’de Lâle Devri Yapıları
53
style (Bayramiç Çarşı Mosque, Bozcaada Alaybey Mosque, a fountain not inscription
in Kilitbahir-Havuzlar, Babakale Hanım Fountain, Babakale Yukarı Fountain, Kadı
and Kavga fountains in Umurbey) are not included in the article.
These structures have been extensively examined in the surface researches we have been
carrying out since 2005. Umurbey Hacı Süleyman Fountain has only an inscription.
The fountain was probably destroyed in the early 20th century. Gelibolu Telli Fountain
was built by Kaymak Mustafa Pasha, the son-in law of Ibrahim Pasha. Kaymak Mustafa
Pasha’s main reconstruction activities in this region are Hırzü’l-bahr Castle, which he
built on Cape Baba, and the town he established. Mustafa Pasha who built a bath and
a mosque within the castle, got fountains built on the coast and in the country beside a
grand mosque and a double bath. The fountain on the beach is a modest representative
of the square fountains of the period with its elaborate architecture. The fountain in
the south of the square is in the same style. However, its two sides were closed by the
buildings constructed later. Ulu Cami (Great Mosque), with its architecture containing
wooden masts and a ceiling, is an extension of a tradition that goes back to the Seljuk
period. But it does not have any painted decoration on its wood. The double bath
attracts attention with its tempperiodture pattern without private rooms and graffiti.
The fortress reflects an architecture complying with the change in weapons and defense
technology of the 18th century. It does not have high walls like medieval castles. It was
designed to defend a certain point. The inscriptions of the fortress and the mosque were
written by the poet Seyyid Vehbi.
The Çarşı Hamam (baths) in Bayramiç is also of the style without a private room. The
parts of the structure for undressing and tepidity were destroyed. On the tempperiodture
domes, rosettes made with the printing technique on plaster attract the attention. The
marble inscription preserved in Hadimoğlu Mansion today must belong to this structure.
The relation between bath and aforementioned the inscription has been suggested by
us for the first time. It is noteworthy that the artistic style of the period is followed in
these buildings, especially in terms of architectural decoration. In particular, the motifs
and compositions on marble on the facades of Babakale Yalı Fountain, Gelibolu Telli
Fountain, Gelibolu Hançerli Fountain and Bayramiç Dede Fountain reflect the style of
the Tulip Period. But, Bayramiç Dede Fountain and Bayramiç Çarşı Hamamı (bath),
Babakale Ahmed Ağa Fountain and Biga Mustafa Fountain should be seen as examples
of the post-tulip period.