Gökben Ayhan

Türk kültüründe özellikle ailenin mahremiyet anlayışı doğrultusunda sokağı seyretmek için kullanılan çıkmalar, geleneksel evleri güzelleştiren mimari elemanlardan olmuştur. Evlerin sokağa bakan cephesinde inşa edilerek sokak siluetine ahenk getirmiştir. İklime, doğaya ve geleneklere göre şekillenen çıkmalar, sokağın karakter kazanmasında önemli rol oynamıştır. Evin en sevilen köşesini oluşturan çıkmalar, içerisindeki sedirlerde dinlenilip sohbetler edilerek günün yorgunluğunun giderildiği alanlardan olmuştur. Günümüzde yaklaşık iki yüzü aşkın evin bulunduğu Ula’da söz konusu yapılar arasında toplam dört evde olmak üzere sınırlı sayıda çıkma kullanımına rastlanmıştır. İlçede Bekir Ağa (Muammer Ağa), Meşrure Özbay (Suna Hanım), Gökalp Gündüz ve Varol Eroğlu (Yüzbaşıların) Ev’inde çıkmaya yer verilmekle birlikte bu yapılar cepheleriyle göz doldurur. Ula’daki tüm örnekler, dikdörtgen formda çıkmalı yapılmaları ve evin örtüsünün bu kısımda da devam ettirilmesi bakımından ortak özellik gösterir. Evlerin düzgün parseller üzerinde yer almaları, yapıların cephelerindeki simetriye yansımıştır. Çoğunlukla çıkmalar, Ula’daki evlerin üst katında sofanın sokağa bakan cephesinin ortasına konumlandırılmıştır. Genel olarak Ula evlerinin karakteristiğine uygun olarak çıkmalar sade tutulmuştur. İlk kez bu çalışmada, Ula evlerindeki bu mimari eleman detaylı olarak ele alınarak örneklerin kendi içerisinde ve Türk sanatındaki yeri ortaya konulmaya çalışılmıştır.
In Turkish culture, especially in line with the family’s understanding of privacy, the canopies used to watch the street have been architectural elements that beautify traditional houses. It was built on the facades of the houses facing the street, bringing harmony to the street silhouette. The outcrops shaped according to climate, nature and traditions played an important role in the formation of the character of the street. The ledges, which form the most popular corner of the house, have been the areas where the tiredness of the day is relieved by resting and chatting on the sofas inside.
In Ula, where there are more than two hundred houses today, a limited number of bow window have been found, including a total of four houses among the buildings in question. In the district, Bekir Ağa (Muammer Ağa), Meşrure Özbay (Suna Hanım), Gökalp Gündüz and Varol Eroğlu (Captains) Houses have ledges but these buildings are impressive with their facades. All the examples in Ula have a common feature in that they are built in rectangular form and the house cover is continued in this part as well. The fact that the houses are located on smooth parcels is reflected in the symmetry of the facades of the buildings. Mostly, the bow windows are positioned in the middle of the street-facing façade of the middle hall on the upper floor of the houses in Ula. In general, in accordance with the characteristics of Ula houses, the bow windows are kept simple. For the first time, in this study, the architectural element in Ula houses was discussed in detail and the place of the examples in themselves and in Turkish art was tried to be revealed.

Since the mid-19th century, tobacco pipes have been one of the subjects that attracted the attention of researchers. These studies generally focus on the clay structures, clay and coating colors, types and ornamentations of the pipes, however no studies have been carried out directly on the glazed pipes.
Glazed pipes are produced in two styles, Western and Eastern style pipe. It has been applied to the types produced with and without heels of Western style examples. In  the Eastern style examples, besides the different types of bowls such as flattened round bowls, cylindrical bowls and tulip bowls, there are also special examples that go beyond the general types, such as in the form of shoes. The use of glaze can be seen both in the two-part mold making pipes and the pipes produced using the potter’s wheel. Glazed pipes are made of grey and kaolin clay or red clay. There is diversity in glaze colors. Light or dark green, opaque white, light or dark yellow, black and brown glazed samples of glazed pipes are found. Its visuality sometimes has been increased with herbal, geometric, figured
or written ornaments applied to glazed bowls.
As a result, while samples of Eastern style glazed pipes can be found especially in Ottoman area; one-piece pipes are mostly encountered in Central Europe. In this context, it is determined that the spreading area of three-part glazed pipes are wider than the one-piece ones. Eastern style glazed pipes may have affected Western style pipe or both types may have been influenced by each other

Ula, one of the districts of Muğla, has largely preserved its traditional house texture. Houses in the district are mostly built on one wing of their gardens and have one or two floors. In Ula, as in the tradition of Ottoman-Turkish houses, there are examples of houses without a sofa, as well as plan types with an outer sofa, an inner sofa and a middle sofa. Most of the traditional Ula houses that survive today are examples from the early 1900s. There are more than two hundred historical houses in the district. Most of the residences, of which the single-storey samples constitute the majority, are about to turn into ruins. Ali Efendi’s House is among them. Today, the building is idle and losing its architectural feature day by day. In this study, the architectural and ornamental features of Ali Efendi’s House, which was not directly subject to any publication before, were examined. In addition to determining the place of the house in question between Ula and other Ottoman-Turkish houses besides the reflections of the local architectural features of the Ula houses, including his father Ali Efendi’s House, are emphasized on various construction activities carried out by Nail Çakırhan. Ali Efendi’s House, is one of the two-floor houses in Ula in harmony with nature. This house is also the house of the father of architect Nail V. Çakırhan (1910-2008), who won the Ağahan Award for applying the architectural tradition of Ula in his own house. The house of Ali Efendi, the father of Nail Çakırhan, where he was born and raised, is located at number 27 in the Alparslan Neighborhood of Muğla’s Ula District. The house was built on the northeast wing of the two-decare garden. The green painted lamb door, located in the northwest corner of the garden, opens to the courtyard. The building exhibits an example of the plan type with a middle sofa on both the ground floor and the upper floor. In the middle of the front of the house, there is a hexagonal projection of the ground and upper floor sofas rising on two floors. There is a kitchen, a middle sofa, a toilet and a bathroom on the ground floor. There are resting areas on the upper floor, including three rooms and a sofa. The connection between the two floors of the residence is provided by a single arm ladder located at the front of the house. Ali Efendi’s House was built in the years when Western influences began to reflect on the residential architecture in Ula. Spatial change in the process applied to a limited extent in the house, which largely preserved its traditional style. World-famous architect Nail Çakırhan has taken the traditional architecture of Ula, especially his father Ali Efendi’s House, as an example in his professional life. With the awareness of growing up in Ottoman-Turkish residential architecture in Ula, he has provided practical solutions to the realization of many house and tourism businesses in the province of Muğla. In this context, Nail Çakırhan, who pioneered the revival of the historical texture that was on the verge of extinction in the region, played an important role in keeping the architecture.

Hastane Mound which is in the vicinity of the ancient city of Thyateira, is located in the oldest settlement in the Akhisar district of Manisa. In excavations of Hastane Mound carried out in 2014-2018 fifteen clay figurines were found. One of the figurines is almost in intact condition and the remaining fourteen are in fragmentary pieces. Among the examined samples only species of two almost intact dog figurines with heads present and two horse figurines with parts of the heads preserved were identified. Three of the seven body sections found in the excavation should belong to either to horses, mules or donkeys. Among other samples include part of four bodies and five legs of whose species couldn’t be identified. Among these roughly hand-shaped and easy to carry three-dimensional figurine samples, which were probably functioned as toys for kids to play with, only one of them has the function as a whistle. The majority of the figurines are pasted with red earthenware and are primed yet only one is glazed. It is highly probable that all of the figurines were baked in two ceramic kilns found in the excavation area. Samples from the Hastane Mound Excavation dated to the 14th-16th century introduce new additions to the existing clay
figurines of the Turkish period.

Bu makalenin konusunu, Birgi’nin Sarı Bey Mahallesi’nde Karaoğlu Mustafa Efendi tarafından 18.yüzyılın sonlarında, dikdörtgen planlı olarak duvarları moloz taş ile tuğla kırıkları örgülü ve üzeri kubbeyle örtülü biçimde inşa ettirilen Karaoğlu Camii’nin mermerden yapılan vaaz kürsüsü oluşturmaktadır. Camiyle aynı dönemde yapılan ve yapının tamamlayıcı öğeleri arasında yer alan minber ve vaaz kürsüsü döneminin süsleme anlayışını yansıtmaktadır. İlk kez bu çalışmada, detaylı olarak tanıtılan vaaz kürsüsü, iç mekânın doğu duvarının güney ucuna doğru gelecek şekilde duvara sabitlenmiştir. Vaaz kürsüsüne istiridye kabuğu formu, meyve tabağı, perde motifi, selvi ağacı ile S ve C kıvrımlarından oluşan Batılılaşma dönemi süsleme unsurları birlikte işlenmiştir. Bu süslemelerin tamamının vaaz kürsüsünde görüldüğü ender örneklerden biri olarak Türk-İslam Sanatı’ndaki vaaz kürsüleri arasında farklı süsleme anlayışıyla ayrıcalıklı bir yere sahip olduğu tespit edilmiştir. Bu vaaz kürsüsü, Birgi’deki Batılılaşma dönemi süsleme repertuarının en belirgin örneklerinden biri olarak karşımıza çıkmaktadır. Karaoğlu Camii’nin vaaz kürsüsündeki Batılılaşma döneminin süsleme repertuarı, hem İstanbul’da genellikle dönemin çeşme, sebil, mezar taşı gibi çeşitli eserlerinde, hem de İstanbul dışındaki örneklerinde görülen uygulamalarıyla benzer üslupta işlenmiştir.
ABSTRACT
The subject of this essay is the marble sermon platform of Karaoğlu Mosque which was built in Birgi Sarı Bey Street by Karaoğlu Mustafa Efendi towards the end of 18th century, planned in rectangular shape braided with rubble stones and brick pieces and covered with dome. Although the sermon platform apart from pulpit which are among the supplementary elements of mosque was built in the same period of building, it reflects the ornamental perception of the period. The sermon platform which is explained in details for the first time in this study is fixed on the wall towards the south edge of east wall of inner space. Westernization period ornamentation elements composed of oyster shell form, fruit plate, curtain motif, cypress tree and S and C curls were embroidered altogether. As a rare sample on which all of these ornaments are seen in the sermon platform, it was determined that this sermon platforms has an exclusive place with its different ornamentation among sermon platforms in Turkish-Islam Art. This sermon platform is accepted as one of the most distinctive samples of ornamentation repertory of Westernization period in Birgi. Westernization period ornamental repertory on sermon platform of Karaoğlu Mosque were embroidered in a similar style both with various works in Istanbul such as fountains, public fountain, gravestones and with the works observed out of Istanbul.

Öz İşaret, alâmet ve bayrak olarak kullanılan, geçmişten günümüze formları, yapım teknikleri, süsleme teknikleri ve türleri bakımından değişiklik gösteren sancak alemleri, milletlerin, ta-rikatların kendine özgü gelenek ve göreneklerini yansıttığı sembollerden oluşmuştur. Bunlar içerisinde Türk dönemi sancak alemleri, boynuz, lale, ay, ay-yıldız gibi çeşitli sembollerin dışında yazılar ve kimi zamanda bunlara eklenen başta ejder olmak üzere kuş, aslan gibi fi-gürlerin yer aldığı; padişahların, sadrazamların, komutanların ve şeyhlerin simgesel objele-rinden biri olmuştur. İlk kez bu makalede, Hacıbektaş Veli Müzesi'ndeki üçü vitrinde teşhir edilen ve yedisi depoda muhafaza edilmekte olan Hacı Bektâş-ı Veli dergâhında kullanılan toplam on adet sancak aleminin maden türleri, teknikleri, boyutları ve süsleme kompozis-yonları bakımından detaylı olarak tanıtılmıştır. Çalışmada, Hacı Bektâş-ı Veli dergâhındaki alemleri yapan ustaların Bektaşi tarikatının inanç ve adetlerini bu objelerin yanı sıra dergâhta kullanılan keşkül, teber gibi eserlerle de ortaya koyduğu saptanmıştır. Ayrıca Hacıbektaş Veli Müzesi'ndeki söz konusu eserlerin Osmanlı dönemi sancak alemlerinin yelpazesini de farklı örnekleriyle genişleterek zenginleştirdiği tespit edilmiştir. Anahtar Kelimeler: Hacıbektaş Veli Müzesi, dergâh, sancak alemleri, maden sanatı, ejder figürleri, kitabe, delik işi tekniği STANDARDS IN THE MUSEUM OF HACIBEKTASH VELI Abstract Standards were used as signs, heraldic devices and flags, and have shown a development in forms, production techniques, ornamental techniques and species through time. Nevertheless , they reflect the authentic traditions and customs of nations and religious orders with aesthetic concerns. Within them, standards of the Turkish period are objects with various symbols like horn, tulip, crescent, crescent-star as well as inscriptions, sometimes accompanied with figures such as dragons, birds and lions, and they served as symbols of sultans, grand viziers, commanders and sheikhs during battles. For the first time this article presents ten standards from the Hacıbektash Veli Museum; three of them are currently on display and seven are in the Museum depot. These standards are hereby studied in detail with respect to

A Research On The Figurative Bird Ornamentation On Pipes
Various numbers of pipes were produced both in Istanbul and in the central Anatolia in the Ottoman Empire. They are usually called in respect to the shape of their bowls. Pipes vary in their figuration, ornamentation and types. Geometric, plantal, written or figurative ornamentations might be seen either all together or each separately on pipes. Lion, mask or bird depictions might be seen among the samples of figurative. In light of the scientific articles in the field, the number of the pipes with bird depictions can be said to be much further than the pipes with lion and mask depictions. On this article, the primary aim of this article is about the pipes with figurative bird ornamentations. On the other hand, it should be underlined that the number of the pipes with bird depictions is not plentiful when the found-examples are taken into consideration. It is noteworthy that this figure has been used in times with pleasure.
This article, therefore, aims at analyzing and clarifying on which pipes bird depictions are represented, on which part of the pipes those depictions are located in and to what extent the bird depictions are represented either separately or with some other figurative decorations. Found in various places, the pipes with bird ornamentations are also going to be considered in comparison to other bird decorations existing in some other branches of arts in the rubric of Islamic Art.
Key Words: pipe, clay, type, ornament, bird figure

Smyrna Antik Kent, Agora Kazıları’nda çıkan Osmanlı seramikleri arasında önemli bir grubu lüleler oluşturmaktadır. 2007 ve 2008 yıllarında Agora ve Basmane olmak üzere iki mevkide yapılan kazı çalışmalarında 2251 lüle ve lüle parçası ele geçirilmiştir. Lülelerin bu kadar yoğun ele geçmesi, çok sayıda tipin varlığının tespit etmemizi sağlamaktadır. Silindir çanaklı, yuvarlak çanaklı, yivli çanaklı, nervür çanaklı, yayvan çanaklı, basık yuvarlak çanaklı, süzgeç çanaklı, kaideli ve süzgeçli çanaklı, basık kaideli, disk kaideli ve lale çanaklı lülelere yoğun olarak rastlanmaktadır. Bu tiplerin yanı sıra sadece bir örneği bulunan tipler de görülmektedir.
Smyrna lüleleri, Agora ve çevresinde yoğun lüle kullanımının olduğunu göstermekle birlikte bu kadar yoğun lüle buluntusu, yakınlarda bir kahvehane veya imalathanenin varlığına işaret etmektedir. Ancak lülelerin büyük çoğunluğunun kullanılmış olması ilk ihtimali kuvvetlendirmektedir.
2007-2008 yıllarına ait tarihi tespit edilebilen Smyna lüleleri, 17.yüzyılın başı ile 20.yüzyılın başı arasına tarihlenmektedir. Örnekler, lüle üretiminin başından sonuna kadarki dönemi kapsamaktadır.
Smyrna örneklerinin bire bir benzerlerine diğer merkezlerde görmek mümkündür. Bu bağlamda Smyrna’da ele geçen lüleler, zengin bir lüle panoraması sunmaktadır.

The rosewater sprinkler in Mugla Museum with an architectural
depiction on it is the primary subject of this article. The rosewater
sprinkler exhibited in Mugla Museum is made up of two main parts:
one is the body and the other is the neck. Both the thin ring base and
the pear shaped body of the sprinkler are made of copper which then,
has been alloyed- made tombac. Octagonal neck screwed to the body,
with an adjacent single holed spout on the top are made from bronze
together. All floral, geometric and architectural depictions used as the
ornaments on the rosewater sprinkler seem to have been made through
carving, embossing and engraving. The featured ornament on the
rosewater sprinkler is located on the part surrounding the body
horizontally. In three different sections from the top to the bottom
ornamentations are carved on the sprinkler. The carved ornamentations
on the lower side of the body depict some big jagged leaves, the ones in
the middle depict some slightly curled- S shape-like- leaves, and the
rest on the higher side of the body depict on medallions. In the oval
shaped medallions a tree with large branches and leaves as the
prominent figure of the depiction is located; on the two sides of which
there are two buildings which can also be regarded as the examples of
some public architecture.
Even though this rosewater sprinkler, exhibited in Mugla
Museum, has a lot of characteristics in common with other sprinkles in
terms of the floral ornamentations carved on the body, the shape of it
and the manufacturing process, yet; the unique architectural depiction
on it, still, differentiates it from all other sprinkles that have been
studied and represented in the very recent publications. In this context,
the craftsman or the person who asked the craftsman to make this
sprinkler seem to have been very familiar with the recent innovations,
techniques, and materials which had, concurrently, been used in
miniatures, ceramics, glass and tile arts mostly depicted on tombstones
or other architectures of the Turkish and Islamic Arts.
On this account, the rosewater sprinkler exhibited in Mugla
Museum can be deemed as a piece of art made in the mid nineteenth
century when the form, ornamentation technique, and the
manufacturing process are taken into consideration in comparison with
the other sprinklers which were made in Ottoman metalwork between
the at the end of seventeenth and at the beginning of twenty centuries.
Key Words: Mugla Museum, metalwork, rosewater sprinkler,
tombac, architecture depiction

Hasankeyf’te 1986 ile 2009 yılları arasında, 1992 ile 1998 yılları arası hariç olmak üzere, kazısı yapılabilen alanlardan çok sayı da bütün veya bütüne yakın, tipi belirlenebilen ya da kırık parçalar halinde 750 lüle ve lüle parçası ele geçirilmiştir. Hasankeyf Kazısı lüle buluntuları içerisinde 12 tip tespit edilebilmiştir. Bunlar arasında silindir çanaklı, torba biçimli çanaklı, karinalı çanaklı, yuvarlak çanaklı, basık yuvarlak çanaklı, süzgeçli basık yuvarlak çanaklı, lale çanaklı, krater biçimli çanaklı, dikdörtgen çanaklı, kaideli ve süzgeç çanaklı, disk kaideli ve silindir kaideli lüle tipleri yer almaktadır.
Hasankeyf lüle buluntuları, bölgenin lüle tiplerini yansıtması açısından önem taşımaktadır. Hasankeyf lülelerinin tipleri, hamur ve astar renkleri ile süsleme repertuvarı doğrultusunda merkezdeki lüle kullanımının 17. ile 20. yüzyılın başları arasında var olduğu anlaşılmaktadır.

Başur Höyük, Siirt’in batısındaki Botan vadisindeki Aktaş köyünde yer almaktadır. Höyüğün üzerinde  yakın zamana kadar bulunan modern köy tahrip olmuştur. Muhtemelen bu köy yerleşmesine ait olan lüleler büyük çoğunluğu yüzeyde ele geçirilmiştir. Başur Höyük’teki 2007–2009 yılı arasında yapılan kazılarda toplam 112 lüle ve lüle parçası bulunmuştur. Lüle parçaları arasında yedi tip görülmektedir.  Bu tipler arasında başta kaideli ve süzgeç çanaklı ile süzgeçli basık yuvarlak çanaklı lüleler olmak üzere yuvarlak çanaklı, basık yuvarlak çanaklı, silindir çanaklı lüleler, disk kaideli ve lale biçimli lülelere rastlanmıştır. Örnekleri arasında belli tiplerin yaygın olduğu görülen Başur Höyük lülelerinde tütünün yanı sıra afyonda içilmiş olabilir. Ağızlık, çubuk ve lüle olmak üzere üç parçadan oluşan lülelerde çubuk, çanağa veya duman yoluna takılmaktadır. Her iki tipteki lüleler, Başur Höyük lüle buluntuları arasında görülmektedir. Kilden  yapılmış olan lüleler genellikle sert, açık gri hamurlu ve siyah perdahlıdır. Özellikle üzeri kazıma, baskı ve rulet baskı tekniğiyle yapılan bezemeler örneklerde görülmektedir.“Kaideli ve süzgeç çanaklı lüle” ve “süzgeçli basık yuvarlak çanaklı lüle” tipinin diğer tiplere göre daha yoğun olması bu iki tipin daha çok tercih edildiğini ortaya koymaktadır. Genellikle Anadolu’da Çattepe Höyük, Türbe Höyük, Bitlis Kalesi, Hasankeyf ve Harput gibi yerlerde görülen bu iki tip, aynı  zamanda Anadolu dışında Tel Aphek, Horvat Zikhrin ve Khirbet Hatara gibi yerlerde de görülmektedir. Başur Höyük lüle buluntuları, 17. ile 19. yy arasındaki yerleşime ait buluntular arasında yer almaktadır.

Pipes Found at the Excavations of the Tumulus Başur
Başur Basur Tumulus is at the villages of Aktaş, in the Bohtan Valley northwest of Siirt. The modern village which h as be en on the tumulus until recently i s destroyed. Probably, most of the pipes which belong to the settlement of the village has been found on the surface. A t the excavations which were arranged at Basur Tumulus between the years 2007-2009, 112 pipes and pipe fragments have been  found out.There are seven types of pipe fragments. They are, mostly base and sieve bowl pipe, shallow rounded bowl pipe with sieve, and also rounded bowl, shallow rounded bowl, cylender bowl, disc-shaped and lily-bowl pipes. Especially “base and sieve bowl pipe” and “shallow rounded pipe with sieve” are common types. May be these two pipe prefered the other pipes. Not only tobacco but also opium may have been smoked at the Basur Tumulus pipes among whose samples some specific types are common.

For the pipes which consist of three parts as pipe, chibouk and mouthpiece, chibouk is inserted in stem socket or bowl. Both these two types of pipes are seen among the findings of Basur Tumulus. The majorty of the pipes made of clay are tough, pale gray clay and black slip. The decorations which are especially made with the techniques of incise, press and roulette press are seen in the samples.The fact that the types; “base and sieve bowl pipe” and “shallow rounded bowl pipe with sieve” are more superflous than the other types proves that these two types are more common in the area. These two types which are usually seen in the places such as Cattepe and Türbe Tumulus, Castle of Bitlis,  Harput and Hasankeyf in Anatolia, are at the same time seen in the places such as Tel Aphek, Horvat  Zikhrin and Khirbet Hatara in the out of Anatolia.The pipe fragments of Basur Tumulus have been among the findings belonging to the settlements between the seventeenth and nineteenth centuries.