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70353,16-Utks-Ozetlerpdf.Pdf 16th INTERNATIONAL CONGRESS OF TURKISH ART: ABSTRACTS 16. ULUSLARARASI TÜRK SANATLARI KONGRESİ: ÖZETLER MINISTRGENERALY OF DIRECTORATECULTURE HACETTEPE KÜLTÜR VE GÜZELTURİZM SANATLAR BAKANLIĞI HACETTEPE AND OFTOURISM FINE ARTS UNIVERSITY GÜZEL SANAGENELTLAR GENEL MÜDÜRLÜĞÜ MÜDÜRLÜĞÜ ÜNİVERSİTESİ GENERAL DIRECTORATE OF FINE ARTS T.C. Kültür ve Turizm Bakanlığı Yayınları, No: 3642 Editor / Editör Serpil Bağcı Translation and proof reading / Çeviri ve Düzelti Serpil Bağcı Lâle Uluç Graphic design and application / Graf ik tasarım ve uygulama Yasin Büyüktaşkapulu Printing / Baskı Önka Matbaa www.onkamatbaa.com +90 312 3842685 © Scientif ic responsibility of the abstracts belongs to the authors © Özetlerin bilimsel sorumluluğu yazarlarına aittir. ISBN 978-975-17-4291-9 Print run / Baskı adedi 300 Ankara, September / Eylül 2019 The Local Organization Committee is grateful to the following for their collaboration and contribution to the16th International Congress of Turkish Arts: Members of the International and National Committees of the International Congress of Turkish Arts; the Turkish Ministry of Culture and Tourism, Directorate General of Fine Arts, Directorate General for Copyright; Hacettepe University, Faculty and Students of the Art History Department, Max van Berchem Foundation; Anatolian Civilizations, Cermodern, Erimtan Archeology and Art, and Rahmi Koç Museums, Vehbi Koç Ankara Studies Research Center; Mehmet Nuri Ersoy, Turkish Minister of Culture and Tourism, Deputy Minister Özgül Özkan Yavuz; Prof. Dr. Haluk Özen, Rector of the Hacettepe University, Deputy Rector Prof. Dr. Rahime Nohutçu, Dean of the Faculty of Letters Prof. Dr. Sibel Bozbeyoğlu; Member of the Presidential Council of Culture and Art Policies Havva Hümeyra Şahin; Turkish Ministry of Culture and Tourism, General Director of Fine Arts Assoc. Prof. Dr. Murat Salim Tokaç, Deputy General Director of Fine Arts Dr. Alper Özkan, Head of Department of Plastic Arts Berrin Kavlak, Ms. Pınar Coşkun, Mr. Başar Çavuşoğlu, Mr. Nihat Değirmenci, Dr. Massumeh Farhad, Prof. Dr. Scott Redford, Prof. Dr. Günsel Renda and Mr. Serhan Tuncer. 16. Uluslararası Türk Sanatları Kongresi Yerel Düzenleme Komitesi, Uluslararası Türk Sanatları Kongresi Uluslararası ve Ulusal Komite üyelerine, T.C. Kültür ve Turizm Bakanlığı Güzel Sanatlar Genel Müdürlüğü, Telif Hakları Genel Müdürlüğü’ne; Hacettepe Üniversitesi yöneticileri ve çalışanlarına, Edebiyat Fakültesi Sanat Tarihi Bölümü öğretim kadrosuna ve öğrencilerine; Max van Berchem Vakfı’na, Anadolu Medeniyetleri, Cermodern, Erimtan Arkeoloji ve Sanat ve Rahmi Koç Müzelerine, Koç Üniversitesi Vehbi Koç Ankara Araştırmaları Merkezi’ne; T.C. Kültür ve Turizm Bakanı Mehmet Nuri Ersoy’a, Bakan Yardımcısı Özgül Özkan Yavuz’a; Hacettepe Üniversitesi Rektörü Prof. Dr. Haluk Özen’e, Rektör Yardımcısı Prof. Dr. Rahime Nohutçu’ya, Edebiyat Fakültesi Dekanı Prof. Dr. Sibel Bozbeyoğlu’na; Cumhurbaşkanlığı Kültür ve Sanat Politikaları Kurul Üyesi Havva Hümeyra Şahin’e; T.C. Kültür ve Turizm Bakanlığı Güzel Sanatlar Genel Müdürü Doç. Dr. Murat Salim Tokaç’a, Genel Müdür Yardımcısı Dr. Alper Özkan’a, Plastik Sanatlar Dairesi Başkanı Berrin Kavlak’a, Pınar Coşkun’a, Başar Çavuşoğlu’na, Nihat Değirmenci’ye, Dr. Massumeh Farhad’a, Prof. Dr. Scott Redford’a, Prof. Dr. Günsel Renda’ya ve Serhan Tuncer’e kongrenin gerçekleşmesindeki katkıları için teşekkür eder. Akar, Tuba FIRE, WATER, STEAM AND SMOKE: TECHNICAL PROBLEMS/ QUESTIONS OF THE HAMAM Fire, water, steam and smoke; the main elements and technical problems & questions of a hamam building; “Zeyd rents a waqf hamam from its mutevelli and when he burns his own wood in the hearth of the külhan and wishes to sell the soot that forms in the hearth of the külhan, does the waqf mütevelli have the power to say that he will obtain it and sell it, thereby prevent Zeyd from taking it? Answer: No.” So says the sheikhulislam Abdürrahim. This fatwa states that the soot, which is accumulated in the külhan and used in ink-making, can solely be used by the operator of the hamam. It also clarifies another issue: the use of the shaft above the door between the ılıklık and soğukluk, since it is explained that the shaft was used to collect soot. After all, the Süleymaniye Mosque had a soot room, collecting the soot created by the oil-lamps to be used in the manufacture of ink. Why should there not be a similar system in hamams? However this issue loses its validity with Zeyd’s question. The fire in thekülhan would turn into smoke, the particles in the smoke would turn into soot, and the soot would turn into ink. So, what was the shaft for? Murathan Mungan writes in his Kadından Kentler: “One of the drops accumulating on the dome of the frigidarium plumps up and falls on Nebahat Abla’s face, as it slides down towards her eye, she wipes it off her forehead.” This was exactly the purpose of the shaft between the ılıklık and soğukluk; the hot air that escaped from the ılıklık into the soğukluk would pass through this shaft. Otherwise, just as in Mungan’s observation, the hot and humid air entering the soğukluk would rise towards the dome and condense upon hitting the cold surface of the dome to fall down as a water drop. This technical problem was most likely experienced by old building masters and solved accordingly; constructing a ventilation shaft between the ılıklık and soğukluk. 5 Why then, did this shaft not exist in all hamams? Was it possible to carry out a chronological analysis of this solution to condensation, which the old masters had found? Also, was this shaft the only solution or could the problem be resolved with the use of plaster on the hamam dome? The fact that plasters used in hamams are hydraulic, and that water vapour can permeate through them has already been elaborated through laboratory analyses. Could the water vapor permeability capacity of dome plasters enable the hot and humid air to be released without condensation? It was not only water vapor but there was also waste water that needed to be drained from the hamam. So, how was this done? This matter was the subject of various şer-i sicils due to disputes concerning the repair and maintenance of waste water drainage channels, as well as their relationship with their surroundings. Fire, water, steam and smoke; their entrance and exit, as well as their routes within the hamams are the main issues of this paper. This article aims to pose technical questions about the hamam, to identify and resolve technical problems using primarily historical sources and other literature which directly and/or indirectly relate to hamams. ATEŞ, SU, BUHAR VE DUMAN: HAMAMIN TEKNİK SORU(N)LARI Ateş, su, buhar ve duman; hamam yapısının temel unsurları ve çözülmesi gereken teknik sorunları ve soruları; “Zeyd bir vakıf hamamı mütevellisinden isticar ve kendi odununu külhanda yakmağla külhanın ocağında kurum hasıl olmağla ol kurumu Zeyd alub bey’ murâd etdikde mütevelli-i vakf ben alub bey’ ederim deyü Zeyd’e aldırmamağa kâdir olur mu? el-Cevâb: Olmaz.” der fetvasında şeyhülislam Abdürrahim. Böylelikle hamamın külhanında biriken ve mürekkep yapımında kullanılan kurumun, hamamın işletmecisi/ kiracısı’nın faydalanabileceği bir mesele olduğu açıklığa kavuşur. Bununla birlikte, hamamda ılıklıkla soğukluk mekânları arasındaki kapı açıklığının üstünde yer alan bacanın ne işe yaradığı meselesi de açıklığa kavuşur. Çünkü, bu bacanın isin toplanması amacıyla yapıldığı söylenmiştir. Ne 6 de olsa Süleymaniye Camisinde de mekânın içinde yanan kandillerden çıkan isin toplanması ve mürekkep yapımında kullanılması durumu söz konusudur. Buna benzer bir şey hamamlarda da olabilir miydi? Fakat, Zeyd’in sorusu ile bu durum doğruluğunu yitirmişti. Külhanda yanan ateş dumana, dumanın içindeki partiküller kuruma, kurum da mürekkebe dönüşecekti. Peki, bu baca ne işe yaramaktaydı? “Soğukluğun kubbesinde biriken damlalardan biri dolgunlaşıp yüzüne düşüyor Nebahat Abla’nın, gözüne doğru inerken elinin tersi ile alıyor alnından.” diyor Murathan Mungan “Kadından Kentler” adlı romanında. İşte tam da bu işe yarıyordu ılıklık ile soğukluk arasındaki baca; ılıklıktan soğukluk mekânına giren sıcak hava, bu bacadan dışarı çıkıyordu. Aksi durumda aynen Mungan’ın gözleminde olduğu gibi, soğukluk mekânına giren sıcak ve nemli hava, yükselerek soğuk olan kubbe çeperine çarpacak ve yoğuşarak aşağıya damla olarak düşecekti. Bu teknik sorunu düşünüp, belki de deneyimleyip, çözmüştü eski yapı ustaları, ılıklıkla soğukluk arasında havalandırma bacası yaparak. Ilıklıkla soğukluk arasındaki bu baca peki neden bütün hamamlarda yoktu? Yapı ustalarının yoğuşma sorununa karşın bulmuş oldukları çözümün kronolojik analizi mümkün müydü? Ayrıca baca tek bir çözüm müydü, yoksa sıvayla da bu sorun çözülebilmekte miydi? Hamam sıvalarının hidrolik olması ve su buharı geçirme gibi özellikleri laboratuar analizleri ile ortaya konulmuştu. Kubbede kullanılan sıvanın su buharı geçirme kapasitesi, kubbe yüzeyine çarpan sıcak ve nemli havanın yoğuşma olmadan dışarı atılmasını sağlayabilir miydi? Hamamlarda dışarı atılması gereken sadece su buharı değildi, aynı zamanda hamamın pis/kirli sularının da hamamdan ivedilikle çıkarılması önemliydi. Ne de olsa hamama giren temiz su kadar kirli su da dışarı çıkmalıydı. Peki, hamamlardaki kirli su nasıl tahliye edilmekte idi? Bu konu çeşitli anlaşmazlıkların içerisinde şer’i sicillere konu olmuş; hamam pis su tahliye kanallarının tamiri, bakımı ve çevre ile ilişkisi kadı sicillerine yansımıştı. Ateş, su, buhar ve duman; hamama girişleri ve çıkışları ve aynı zamanda hamam içindeki gezintileri
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