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ANADOLU SELÇUKLU Kçrvansaraylafflnda MEKAN- IŞLEV IUŞKİSİ İÇİNDE SAVUNMA VE BARINMA
ANADOLU SELÇUKLU KÇRVANSARAYLAfflNDA MEKAN- IŞLEV IUŞKİSİ İÇİNDE SAVUNMA VE BARINMA Doç.Dr JVyşd Tükel YAVUZ iadcJu Selçuklu mimarisinde en çok sayıda örneği bulunan, en zengin çeşitlenmiş ve en büyük öl- • Ji yapı gaibu kervansaraylardır. İnşaatlan 13. Yüzyıl boyunca yayılan, tarihli, tarihsiz, çoğu yıkıl mış veya sadece kaynaklarda adı kalmış, ikiyüz civarında Selçuklu dönenü kervansarayı saptanmış tır. Bunlardan yayınlanmış olan ancak yetmiş kadan bazı bilgiler verebilecek durumdadır, bunların da önemli bir kısmı kısmen yıkıktır^. Roma castrum'u, Bizans ksenekion'u, Maveraünnehirdeki nbatlar gibi askeri amaçlı yapıların bu kuru luşların öncüsü saydmalannm yanısıra eşanlamlı kullanılan han, kervansaray, nbat, zaviye, hankâh gibi isimler bize askeri-ticarî-sosyal amaçlan hakkmda ipucu vermektedir^. Sek^jklu ve daha sonraki dönemlerin tarih yazıcılan, tarihî olaylara bağlı olarak, bu dönem kervansa raylarından da bahsederler. Vakıf kuruluşları oWuklan için, günümüze kalanların sayısı az da olsa, vakfiyeler den çok değerli bilgiler edinmek mümkündür. Tarih araştırmacılan kaynaklardan ve yazıtlardan kervansaray lar hakkında önemli bilgileri bize aktarmaktadır, örneğin Osman Turan^, Altınapa, Ertokuş ve Karatay Han ların vakfiyelerini yayırüamış. bunlan incelemiş, devrin ve sonraki devirierin kaynaklan ışığında bu yapıların amaçlan, işleyişleri ve kullanımlan hakkında çok kıymetli bilgi ve yorumlan bilim dünyasına sunmuştur. Bir çok sanat tarihçisi ya Kurt Erdmann^ gibi toplu olarak ya da tek tek inceleyerek^ kervansarayları tanıtmışlar dır. Eserlerin günümüzdek ayakta kalmış olanlarını, çoğunu zor koşullarda da olsa, yerinde incelemek müm kündür. Yme de bu birikim ker\«nsaraylan tam olarak anlamak ue çok önemli birçok soruyu cevaplamak için 1. Bu çalifmanm temeli yazann seneler boyu yerinde yaptığı incelemelerdir. Arazi çabfmalan sırasında, yayınlarda kaydedilme miş, yorumlanmamış, planlara işlenmemiş veya yanlış yorumlanmış çok önemli veriler saptanmıştır. -
Illumination Underfoot the Design Origins of Mamluk Carpets by Peter Samsel
Illumination Underfoot The Design Origins of Mamluk Carpets by Peter Samsel Sophia: The Journal of Traditional Studies 10:2 (2004), pp.135-61. Mamluk carpets, woven in Cairo during the period of Mamluk rule, are widely considered to be the most exquisitely beautiful carpets ever created; they are also perhaps the most enigmatic and mysterious. Characterized by an intricate play of geometrical forms, woven from a limited but shimmering palette of colors, they are utterly unique in design and near perfect in execution.1 The question of the origin of their design and occasion of their manufacture has been a source of considerable, if inconclusive, speculation among carpet scholars;2 in what follows, we explore the outstanding issues surrounding these carpets, as well as possible sources of inspiration for their design aesthetic. Character and Materials The lustrous wool used in Mamluk carpets is of remarkably high quality, and is distinct from that of other known Egyptian textiles, whether earlier Coptic textiles or garments woven of wool from the Fayyum.3 The manner in which the wool is spun, however – “S” spun, rather than “Z” spun – is unique to Egypt and certain parts of North Africa.4,5 The carpets are knotted using the asymmetrical Persian knot, rather than the symmetrical Turkish knot or the Spanish single warp knot.6,7,8 The technical consistency and quality of weaving is exceptionally high, more so perhaps than any carpet group prior to mechanized carpet production. In particular, the knot counts in the warp and weft directions maintain a 1:1 proportion with a high degree of regularity, enabling the formation of polygonal shapes that are the most characteristic basis of Mamluk carpet design.9 The red dye used in Mamluk carpets is also unusual: lac, an insect dye most likely imported from India, is employed, rather than the madder dye used in most other carpet groups.10,11 Despite the high degree of technical sophistication, most Mamluks are woven from just three colors: crimson, medium blue and emerald green. -
The Vakf Institution in Ottoman Cyprus
Ottoman Cyprus A Collection of Studies on History and Culture Edited by Michalis N. Michael, Matthias Kappler and Eftihios Gavriel 2009 Harrassowitz Verlag · Wiesbaden ISSN 0932-2728 ISBN 978-3-447-05899-5 The Vakf Institution in Ottoman Cyprus Netice Yıldız * Introduction: The legacy of Vakf in Cyprus The pious foundations, called vakf (Turkish: vakıf ) or evkaf (plural) in Cyprus were launched on 15 th September 1570 by converting the cathedral of the city into a mosque and laying it as the first pious foundation in the name of the Sultan followed by others soon after. Since then it has been one of the deep-rooted Ottoman institutions on the island to survive until today under the office of the Turkish Cypriot Vakf Administration (Kıbrıs Türk Vakıflar Đdaresi) (Fig. 1). Alongside its main mission to run all the religious affairs and maintain all religious buildings, it is one of the most important business enterprises in banking, farming and tourism sectors as well as the leading philanthropy organisation in the Turkish Cypriot society. Among its most important charity works is to provide support and service to people of low income status by allocating accommodation at rather low cost, or to give scholarships for young people, as it did in the past, using the income derived from the enterprises under its roof and rents collected from its estates. Besides this, the institution incorporates a mission dedicated to the preservation and restoration of the old vakf monuments in collaboration with the Department of Antiquities and Monuments. Another task of the vakf was to ensure the family properties to last from one generation to the others safely in accordance with the conditions of the deed of foundation determined by the original founder. -
The Rinceau Design, the Minor Arts and the St. Louis Psalter
The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1 -
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International Journal of Human Sciences ISSN:2458-9489 Volume 17 Issue 1 Year: 2020 The conservation and restoration performances under Seljuk Architectural Patronage Tülay Karadayı Yenice1 Abstract The aim of this study is to expose the similarities between the restoration, conservation, and also reparation works focused on the monumental and public building under the Architectural Patronage of Seljuk Sultans in Anatolia. Reparations and present restoration approach through the protection – reparation examples they made in their periods. The research method is based on a comparative analysis of the approaches followed in the restoration and restoration of monumental structures built by previous civilizations in the territories dominated by the Seljuk state of Anatolia. In the scope of the study Aspendos Theatre, Aksaray Sultan Caravanserai and Sultan Alaaddin Bridge will be taken up it will be tried to understand the principles in the restoration efforts of the Anatolian Seljuks and light the way for the present restoration studies with the achieved accumulation and experience. As a result of the research, the findings indicate that the modern Seljuk state era has been applied to the repair-conservation of monumental monuments very close to the contemporary principles of contemporary restoration. Keywords: Architecture, conservation, culture, renovation. Reparation. Introduction Conservation phenomenon – a historical house, a monument, a city or a cultural landscape– they produce complex network of meanings and their symbolic strength contributes to their recognition as relevant cultural properties. Contemporary approaches to conservation consider that cultural heritage is preserved not because of the values, functions or meanings they had in the past, but for the messages and symbolism they communicate in the present time and for the future generations (Pereira, 2007). -
Graded-In Textiles
Graded-In Textiles For a list of each of our partner commpany’s patterns with Boss • Indicate GRADED-IN TEXTILE on your order and Boss Design Design Grades visit www.bossdesign.com. To order memo will order the fabric and produce the specified furniture. samples visit the websites or call the numbers listed below. • Boss Design reserves the right to adjust grades to accommodate price changes received from our suppliers. • Refer to our website www.bossdesign.com for complete pattern memo samples: www.arc-com.com or 800-223-5466 lists with corresponding Boss Design grades. Fabrics priced above our grade levels and those with exceptionally large repeats are indicated with “CALL”. Please contact Customer Service for pricing. • Orders are subject to availability of the fabric from the supplier . • Furniture specified using multi-fabric applications or contrasting welts be up charged. memo samples: www.architex-ljh.com or 800-621-0827 may • Textiles offered in the Graded-in Textiles program are non- standard materials and are considered Customer’s Own Materials (COM). Because COMs are selected by and used at the request of a user, they are not warranted. It is the responsibility of the purchaser to determine the suitability of a fabric for its end use. memos: www.paulbraytondesigns.com or 800-882-4720 • In the absence of specific application instructions, Boss Design will apply the fabric as it is sampled by the source and as it is displayed on their website. memo samples: www.camirafabrics.com or 616 288 0655 • MEMO SAMPLES MUST BE ORDERED DIRECTLY FROM THE FABRIC SUPPLIER. -
Selçuklu Devlet Adamlarından Celalettin Karatay'ın Türk Eğitim
T.C. SELÇUK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ İLKÖĞRETİM ANABİLİM DALI SOSYAL BİLGİLER ÖĞRETMENLİĞİ BİLİM DALI YÜKSEK LİSANS TEZİ SELÇUKLU DEVLET ADAMLARINDAN CELALETTİN KARATAY’IN TÜRK EĞİTİM SİSTEMİNE KATKILARI VE ESERLERİ DANIŞMAN Yrd. Doç. Dr. Zeki ATÇEKEN HAZIRLAYAN Ömer EVİN KONYA 2010 T.C. SELÇUK ÜNİVERSİTESİ Sosyal Bilimler Enstitüsü Müdürlüğü BİLİMSEL ETİK SAYFASI Bu tezin proje safhasından sonuçlanmasına kadarki bütün süreçlerde bilimsel etiğe ve akademik kurallara özenle riayet edildiğini, tez içindeki bütün bilgilerin etik davranış ve akademik kurallar çerçevesinde elde edilerek sunulduğunu, ayrıca tez yazım kurallarına uygun olarak hazırlanan bu çalışmada başkalarının eserlerinden yararlanılması durumunda bilimsel kurallara uygun olarak atıf yapıldığını bildiririm. Öğrencinin Adı Soyadı (İmza) Ömer EVİN I T.C. SELÇUK ÜNİVERSİTESİ Sosyal Bilimler Enstitüsü Müdürlüğü YÜKSEK LİSANS TEZİ KABUL FORMU Ömer EVİN tarafından hazırlanan ‘Selçuklu Devlet Adamlarından Celalettin Karatay’ın Türk Eğitim Sistemine Katkıları ve Eserleri’ başlıklı bu çalışma 29/01/2010 tarihinde yapılan savunma sınavı sonucunda oybirliği/oyçokluğu ile başarılı bulunarak, jürimiz tarafından yüksek lisans tezi olarak kabul edilmiştir. Yrd. Doç. Dr. Zeki ATÇEKEN Danışman İmza Prof. Dr. Yusuf KÜÇÜKDAĞ Üye İmza Yrd. Doç. Dr. Kemal GÜVEN Üye İmza II ÖNSÖZ İbn-i Haldun tarih için; “Suyun, suya benzemesinden daha çoktur, hâlin maziye benzemesi.” der. Bu sözü ile tarihin insanoğlu hayatında ne derece önemli olduğunu asırlar öncesinden vurgulamaktadır. Bize düşen görev ise geçmişte yaşanan olaylardan dersler çıkartarak, gelecekte emin adımlarla ilerlemektir. Bunun içindir ki tarihi ve tarihi olayları iyi algılaya bilmemiz gerekir. Anadolu Selçuklu Devleti, özellikle kültür ve medeniyet yönüyle, biraz daha öne çıkan bir Türk devletidir. Bu devletin egemenliği zamanında Anadolu, gerek ekonomik ve gerekse kültürel yönden en rahat dönemlerinden birini yaşamıştır. -
Approaches to Understanding Oriental Carpets Carol Bier, the Textile Museum
Graduate Theological Union From the SelectedWorks of Carol Bier February, 1996 Approaches to Understanding Oriental Carpets Carol Bier, The Textile Museum Available at: https://works.bepress.com/carol_bier/49/ 1 IU1 THE TEXTILE MUSEUM Approaches to Understanding Oriental Carpets CAROL BIER Curator, Eastern Hemisphere Collections The Textile Museum Studio photography by Franko Khoury MAJOR RUG-PRODUCING REGIONS OF THE WORLD Rugs from these regions share stylistic and technical features that enable us to identify major regional groupings as shown. Major Regional Groupings BSpanish (l5th century) ..Egypto-Syrian (l5th century) ItttmTurkish _Indian Persian Central Asian :mumm Chinese ~Caucasian 22 Major rug-producing regions of the world. Map drawn by Ed Zielinski ORIENTAL CARPETS reached a peak in production language, one simply weaves a carpet. in the late nineteenth century, when a boom in market Wool i.s the material of choice for carpets woven demand in Europe and America encouraged increased among pastoral peoples. Deriving from the fleece of a *24 production in Turkey, Iran and the Caucasus.* Areas sheep, it is a readily available and renewable resource. east of the Mediterranean Sea at that time were Besides fleece, sheep are raised and tended in order to referred to as. the Orient (in contrast to the Occident, produce dairy products, meat, lard and hide. The body which referred to Europe). To study the origins of these hair of the sheep yields the fleece. I t is clipped annually carpets and their ancestral heritage is to embark on a or semi-annually; the wool is prepared in several steps journey to Central Asia and the Middle East, to regions that include washing, grading, carding, spinning and of low rainfall and many sheep, to inhospitable lands dyeing. -
Ebook Download Islamic Geometric Patterns Ebook, Epub
ISLAMIC GEOMETRIC PATTERNS PDF, EPUB, EBOOK Eric Broug | 120 pages | 13 May 2011 | Thames & Hudson Ltd | 9780500287217 | English | London, United Kingdom Islamic Geometric Patterns PDF Book You May Also Like. Construction of girih pattern in Darb-e Imam spandrel yellow line. Charbagh Mughal Ottoman Paradise Persian. The circle symbolizes unity and diversity in nature, and many Islamic patterns are drawn starting with a circle. Main article: Shabaka window. Pair of Minbar Doors. MC Escher: the graphic work. But auxetic materials expand at right angles to the pull. The strapwork cuts across the construction tessellation. Scientific American 1 Classification of a pattern involves repeating the unit-design by isometry formulas translation, mirroring, rotation and glide reflections to generate a pattern that can be classified as 7-freize patterns or the wallpaper patterns. Tarquin Publications. Islamic geometric patterns. For IEEE to continue sending you helpful information on our products and services, please consent to our updated Privacy Policy. They form a three-fold hierarchy in which geometry is seen as foundational. The researcher traced the existing systems associated with the classification of Islamic geometric patterns i. The Arts of Ornamental Geometry. Because weaving uses vertical and horizontal threads, curves are difficult to generate, and patterns are accordingly formed mainly with straight edges. Iran Persia , — A. Muqarnas are elaborately carved ceilings to semi-domes , often used in mosques. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. Eva Baer [f] notes that while this design was essentially simple, it was elaborated by metalworkers into intricate patterns interlaced with arabesques, sometimes organised around further basic Islamic patterns, such as the hexagonal pattern of six overlapping circles. -
Introduction to the Ornamental Repertoire
_jl IL CHAPTER VI INTRODUCTION TO THE ORNAMENTAL REPERTOIRE INTERLACE AND GEOMETRIC ORNAMENT the slab from Holy Tr inity, Bradfurd-on-Avon where it iscombined, not withvine-scrolls asat Britford, but with In the course of his pioneering work on the early interlinked trumpet spirals and key patterns (llis.407-9), Christian monuments of this region,most specific allyof and this could equally have reflected the fashions of Wiltshire (Allen 1894, and see Chapter IV), Romilly Insular manuscripts or metalwork. Allen tried to apply the terminology and types he had From the fragments which remain, the Bath, Bradford t constructed elsewhere in order to analyse the inventive, and Keynsham cross-heads (Ills. 173-4,400, 289), wih playful variations on a theme displayed in the geometric their elegant pattern E terminals,are of comparable type interlace of Northumbria and Picdand. In the event he and date, and at Bradford are combined with animal could only identify a few types of'geometric interlace' headed interlace. Other cross-heads such as Cattistock based on a grid, and the same problem is fo und in or Shaftesbury Holy Trinity (Ills. 46, 101) have too litde applying Gwenda Adcock's classifications as set out in surviving fo r the pattern to be identified. the GeneralIn troductionto the Corpus series (Cramp 1984, A fe w cross-shafts which have plant-scrolls as well as xxviii-xlvi; id. 1991). There is a very limited repertoire interlace, including East Stour and Gillingham, Dorset of geometric types of interlace in the south-west, in (Ills. 57-60, 66-7), and Kelston, Somerset (llis. -
The Seljuk Face of Anatolia: Aspects of the Social and Intellectual History of Seljuk Architecture
The Seljuk Face of Anatolia: Aspects of the Social and Intellectual History of Seljuk Architecture IMPORTANT NOTICE: Author: Emeritus Prof. Semra Ogel Chief Editor: Prof. Mohamed El-Gomati All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Deputy Editor: Prof. Mohammed Abattouy accessing these web pages, you agree that you may only download the content for your own personal non-commercial Associate Editor: Dr. Salim Ayduz use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or Release Date: January, 2008 change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Publication ID: 842 Limited. Material may not be copied, reproduced, republished, Copyright: © FSTC Limited, 2008 downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. -
Anadolu'da Ortaçağ'da Kervan Yollari, Kervansaraylar Ve Köprüler Caravan Routes, Caravansaries and Bridges in Anatolia
ANADOLU’DA ORTAÇAĞ’DA KERVAN YOLLARI, KERVANSARAYLAR VE KÖPRÜLER CARAVAN ROUTES, CARAVANSARIES AND BRIDGES IN ANATOLIA IN THE MIDDLE AGES Anadolu topraklarında yolları kesişen kültürler, yüzyıllar boyunca bu coğ- rafyada kalıcı izler bıraktılar. 11. Yüzyıldan başlayarak Selçuklu,Beylikler ve Osmanlı dönemleri boyunca Anadolu’da İpek Yolu üzerinde birçok anıtsal konaklama yapısı ve köprü inşa edildi. Dünün İpek Yolu üzerin- de oluşan, kültürlerarası etkileşim sonucunda insanlığın ortak mirası olarak günümüze ulaşan tüm bu yapılar ÇEKÜL Vakfı’nın uzun çabalar sonucunda hazırladığı İpek Yolu-Kültür Yolu haritasında bir araya geldi. Trade routes that entwined the Anatolian territory during the Midd- le Ages provided a favorable climate for the encounter of cultures as well. Starting from the 11th century and onwards, during the Seljuk, Beylik and Ottoman rules, a large number of monumental lodging structures and bridges were erected on the Silk Road. Those structu- res that have risen over the Silk Road of yesterday, laid the ground for intensive interactions between cultures and reached our day as unique examples of universal heritage of mankind, are now compiled by the ÇEKÜL Foundation in this “Silk Road-Culture Road Map”. İPEK YOLU - KÜLTÜR YOLU SILK ROAD THE CULTURE ROAD Anadolu, coğrafi ve jeopolitik konumundan dolayı tarihin her döneminde uluslararası ulaşımda önemli bir merkez olmuştur. Asur Ticaret Kolonileri döneminde yapılan, Hititler tarafından kul- lanılan, Lydia döneminde Kral Yolu, Roma Yolu ve Bizans Yol Ağı olarak anılan askeri ve ticari yol, Ortaçağ’da İpek Yolu adını almıştır. 11.-14. yüzyıllar arasında Akdeniz dünyası ve Doğu arasında geçişi sağlayan İpek Yolu’nun Anadolu üzerinden geçiyor olması o dönemde özellikle anıtsal ko- naklama yapıları ve köprülerin yapımını da sağlamıştır.