Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0013
Özlem Karakul
Bu calismanin amaci, yapi ustalarinin kullandiklari yapim teknikleri, malzeme ve yapma bicimlerini inceleyerek Dogu Karadeniz Bolgesi geleneksel yapi kulturu uzerine butuncul bir degerlendirme yapmaktir. Calisma kapsaminda, bolgesel konut yapim teknikleri, literatur arastirmasi verileri ile yapi ustalarindan edinilen bilgiler dogrultusunda ele alinarak geleneksel mimari hem somut hem de somut olmayan degerleri acisindan incelenmektedir. Calisma yontemi, literatur arastirmasi ve belgesellerde sunulan yapi ustalariyla yapilmis mulakatlarin birlikte degerlendirilmesi ve elde edilen verilerin mimari cizimler uzerine aktarilmasindan olusmaktadir. Yapi ustalarini konu alan belgesel arastirmalari kapsaminda, Suha Arin’in 1986’da hazirladigi Karadeniz Geleneksel konutlari ve ustalarini konu alan Sisler Kovulunca Belgeseli ile TRT tarafindan 2005 yilinda yayinlanan Derin Kokler Belgeseli’nin Dogu Karadeniz Evleri’ni konu alan 81. bolumu incelenmistir. Literatur verileri ve belgesellerden elde edilen bilgiler, yapi ustalarinin kullandiklari yapim teknikleri, malzeme ve araclarin anlasilmasi ve insa sureciyle ilgili uygulamalar ve kurallarin ortaya konulmasi, insa surecinin somut ve somut olmayan degerlerinin birlikte belgelenmesi amaciyla degerlendirilmistir. Literatur verileri ve belgesellerden elde edilen bilgiler dogrultusunda, Dogu Karadeniz geleneksel mimarisinin insa surecine yonelik uc boyutlu cizimler hazirlanarak hem yapi olceginde hem de uygulama detaylari uzerinde ustalarin farkli teknikleri uygulama bicimleri gosterilmistir.
{"title":"Doğu Karadeniz’in Geleneksel Yapı Kültürüne Yapı Ustaları Üzerinden Bütüncül Bir Değerlendirme","authors":"Özlem Karakul","doi":"10.26650/artsanat.2021.16.0013","DOIUrl":"https://doi.org/10.26650/artsanat.2021.16.0013","url":null,"abstract":"Bu calismanin amaci, yapi ustalarinin kullandiklari yapim teknikleri, malzeme ve yapma bicimlerini inceleyerek Dogu Karadeniz Bolgesi geleneksel yapi kulturu uzerine butuncul bir degerlendirme yapmaktir. Calisma kapsaminda, bolgesel konut yapim teknikleri, literatur arastirmasi verileri ile yapi ustalarindan edinilen bilgiler dogrultusunda ele alinarak geleneksel mimari hem somut hem de somut olmayan degerleri acisindan incelenmektedir. Calisma yontemi, literatur arastirmasi ve belgesellerde sunulan yapi ustalariyla yapilmis mulakatlarin birlikte degerlendirilmesi ve elde edilen verilerin mimari cizimler uzerine aktarilmasindan olusmaktadir. Yapi ustalarini konu alan belgesel arastirmalari kapsaminda, Suha Arin’in 1986’da hazirladigi Karadeniz Geleneksel konutlari ve ustalarini konu alan Sisler Kovulunca Belgeseli ile TRT tarafindan 2005 yilinda yayinlanan Derin Kokler Belgeseli’nin Dogu Karadeniz Evleri’ni konu alan 81. bolumu incelenmistir. Literatur verileri ve belgesellerden elde edilen bilgiler, yapi ustalarinin kullandiklari yapim teknikleri, malzeme ve araclarin anlasilmasi ve insa sureciyle ilgili uygulamalar ve kurallarin ortaya konulmasi, insa surecinin somut ve somut olmayan degerlerinin birlikte belgelenmesi amaciyla degerlendirilmistir. Literatur verileri ve belgesellerden elde edilen bilgiler dogrultusunda, Dogu Karadeniz geleneksel mimarisinin insa surecine yonelik uc boyutlu cizimler hazirlanarak hem yapi olceginde hem de uygulama detaylari uzerinde ustalarin farkli teknikleri uygulama bicimleri gosterilmistir.","PeriodicalId":29879,"journal":{"name":"Art-Sanat","volume":"94 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83943303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0009
M. Turan, F. Akpınar, Ö. Toköz
Historical collective shelters, yahuthanes or cortejos, are an alternative form of housing that were developed to provide secure sheltering of the groups who were disadvantaged in terms of economic, social, and cultural aspects in the Ottoman city. They have played a significant role in history as a building type that made possible cohabitation of groups, with moral and material problems, and struggling to maintain their integrity despite hardship. This study deals with a group of historical collective shelters in the traditional commercial center of Izmir dating mainly to the late 19th and early 20th centuries. The objective is to understand the historic evolution of collective shelters (yahuthane, cortejo) in Hursidiye, Kurtulus and Sakarya neighborhoods of Konak district in Izmir, to define their cultural values, to analyze their social and spatial development, to present their physical characteristics and evaluate their preservation problems. Eleven collective shelters were documented in the studied site, which is a portion of the traditional commercial center of Izmir (Kemeralti). The site comprehends the ruins of the Roman Agora and the remains of the public buildings dating to the pre-modernization period of the Ottoman Empire as well as the late Ottoman urban layout. As a method, the preliminary studies were reviewed, the land registers were surveyed, the present base map together with the historical maps were overlapped and the case studies were conducted using conventional techniques of architectural and urban conservation. The study has documented the interaction of Muslim and Jewish communities and how the collective living habits of these ethnic groups living in collective shelters differed from standard residential life at the end of the 19th and beginning of the 20th centuries in the traditional commercial center of Izmir. Though collective shelters in the historic center of Izmir have been studied in the literature, their specific location on the map was not available. This study has provided locations of the shelters and evaluated the architectural characteristics of their remains. The traces and remains of the historic collective shelters should be preserved as elements contributing to the integrity of the multi layered city.
{"title":"Historic Collective Shelter as Heritage: The Cases in Hurşidiye, Kurtuluş and Sakarya Neighborhoods in Konak, İzmir","authors":"M. Turan, F. Akpınar, Ö. Toköz","doi":"10.26650/artsanat.2021.16.0009","DOIUrl":"https://doi.org/10.26650/artsanat.2021.16.0009","url":null,"abstract":"Historical collective shelters, yahuthanes or cortejos, are an alternative form of housing that were developed to provide secure sheltering of the groups who were disadvantaged in terms of economic, social, and cultural aspects in the Ottoman city. They have played a significant role in history as a building type that made possible cohabitation of groups, with moral and material problems, and struggling to maintain their integrity despite hardship. This study deals with a group of historical collective shelters in the traditional commercial center of Izmir dating mainly to the late 19th and early 20th centuries. The objective is to understand the historic evolution of collective shelters (yahuthane, cortejo) in Hursidiye, Kurtulus and Sakarya neighborhoods of Konak district in Izmir, to define their cultural values, to analyze their social and spatial development, to present their physical characteristics and evaluate their preservation problems. Eleven collective shelters were documented in the studied site, which is a portion of the traditional commercial center of Izmir (Kemeralti). The site comprehends the ruins of the Roman Agora and the remains of the public buildings dating to the pre-modernization period of the Ottoman Empire as well as the late Ottoman urban layout. As a method, the preliminary studies were reviewed, the land registers were surveyed, the present base map together with the historical maps were overlapped and the case studies were conducted using conventional techniques of architectural and urban conservation. The study has documented the interaction of Muslim and Jewish communities and how the collective living habits of these ethnic groups living in collective shelters differed from standard residential life at the end of the 19th and beginning of the 20th centuries in the traditional commercial center of Izmir. Though collective shelters in the historic center of Izmir have been studied in the literature, their specific location on the map was not available. This study has provided locations of the shelters and evaluated the architectural characteristics of their remains. The traces and remains of the historic collective shelters should be preserved as elements contributing to the integrity of the multi layered city.","PeriodicalId":29879,"journal":{"name":"Art-Sanat","volume":"17 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74115568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0014
Metin Kaya
In early Christian society, the continuation of pagan beliefs and apotropaic elements derived from the Roman culture can be observed in the reflections of artistic production. Apotropaic themes bearing the traces of paganism, such as the Medusa head and the mask were used continuously for decorative purposes by Christian artists. These motifs also show apotropaic features aligning with the Christian faith in the decoration of the new Byzantine art. We can see that the majority of artists who drew the wall paintings in the region were local artists socialized within Hellenistic traditions and with Christian knowledge. While painting the motifs with sacred meanings and apotropaic effects in the church, Byzantine artists focused on the harmony of these motifs with the Byzantine aesthetic. In this sense, it should not be forgotten how effective it is from a viewer’s point of view to add a sacred meaning and apotropaic effects to these motifs in the Cappadocian wall paintings in the mid or late Byzantine era. In our study, we will emphasize the motifs we have encountered in the wall paintings of churches, especially in the Cappadocia region, dating back to the middle and late Byzantine periods, such as leaf mask, moon, sun, eight-pointed rosette, rotating disk and medallion, guilloche, interlace, zigzag, three-dimensional folded plate, precious stones and their location within the church, their use of color, and their sacred apotropaic meaning. Moreover, an evaluation of the effects of the doctrines of Cappadocian church fathers on this situation in Byzantine art, especially about the manuscripts and wall paintings of the period, will be conducted by comparing the art within the material historical framework.
{"title":"Kapadokya Bölgesi Duvar Resimlerinde Kutsal Anlam Taşıyan ve Apotropaik Etkili Motifler","authors":"Metin Kaya","doi":"10.26650/artsanat.2021.16.0014","DOIUrl":"https://doi.org/10.26650/artsanat.2021.16.0014","url":null,"abstract":"In early Christian society, the continuation of pagan beliefs and apotropaic elements derived from the Roman culture can be observed in the reflections of artistic production. Apotropaic themes bearing the traces of paganism, such as the Medusa head and the mask were used continuously for decorative purposes by Christian artists. These motifs also show apotropaic features aligning with the Christian faith in the decoration of the new Byzantine art. We can see that the majority of artists who drew the wall paintings in the region were local artists socialized within Hellenistic traditions and with Christian knowledge. While painting the motifs with sacred meanings and apotropaic effects in the church, Byzantine artists focused on the harmony of these motifs with the Byzantine aesthetic. In this sense, it should not be forgotten how effective it is from a viewer’s point of view to add a sacred meaning and apotropaic effects to these motifs in the Cappadocian wall paintings in the mid or late Byzantine era. In our study, we will emphasize the motifs we have encountered in the wall paintings of churches, especially in the Cappadocia region, dating back to the middle and late Byzantine periods, such as leaf mask, moon, sun, eight-pointed rosette, rotating disk and medallion, guilloche, interlace, zigzag, three-dimensional folded plate, precious stones and their location within the church, their use of color, and their sacred apotropaic meaning. Moreover, an evaluation of the effects of the doctrines of Cappadocian church fathers on this situation in Byzantine art, especially about the manuscripts and wall paintings of the period, will be conducted by comparing the art within the material historical framework.","PeriodicalId":29879,"journal":{"name":"Art-Sanat","volume":"23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78767945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0005
Hatice Demir
This study examines scenes from two important 14th-century tableaus depicting Christ with his disciples: On the Road to Emmaus and the Supper at Emmaus. While such portrayals of the post-Resurrection cycle were rare in Eastern/Byzantine art, they were far more prevalent in Western/Latin art. The earliest example of On the Road to Emmaus in Eastern art is at the Basilica of Ravenna Sant’Apollinare Nuovo, dating to the 6th century. The earliest instance in Western art is a 9th-century depiction on an ivory plaque. Latin samples of the scenes are popular in illustrated manuscripts. The study scope can be divided into two parts. The first part examines Eastern/Byzantine examples and the second part analyzes Western/Latin samples per a hierarchical classification. In the conclusion and evaluation section, the selected examples are compared. Eastern examples of the two scenes are rare and quantitatively outnumbered in Western/Latin art. This study explores the reasons for the rareness of these scenes in Eastern art and their abundance in Western art; different interpretations of the same are presented in the conclusion. Finally, the iconography of the two scenes differs in Eastern and Western examples. Therefore, our evaluation is focused on solving these questions. Our primary aim was to answer these problematic questions on the sources and reasons for the differences in iconography. The selection of the Byzantine and Latin samples was limited to those from the end of the 14th century to evaluate them in their synchronicity.
{"title":"Diriliş Sonrası Siklusu İçerisinde İki Sahne: Emmaus Yolunda ve Emmaus’da Akşam Yemeği","authors":"Hatice Demir","doi":"10.26650/artsanat.2021.16.0005","DOIUrl":"https://doi.org/10.26650/artsanat.2021.16.0005","url":null,"abstract":"This study examines scenes from two important 14th-century tableaus depicting Christ with his disciples: On the Road to Emmaus and the Supper at Emmaus. While such portrayals of the post-Resurrection cycle were rare in Eastern/Byzantine art, they were far more prevalent in Western/Latin art. The earliest example of On the Road to Emmaus in Eastern art is at the Basilica of Ravenna Sant’Apollinare Nuovo, dating to the 6th century. The earliest instance in Western art is a 9th-century depiction on an ivory plaque. Latin samples of the scenes are popular in illustrated manuscripts. The study scope can be divided into two parts. The first part examines Eastern/Byzantine examples and the second part analyzes Western/Latin samples per a hierarchical classification. In the conclusion and evaluation section, the selected examples are compared. Eastern examples of the two scenes are rare and quantitatively outnumbered in Western/Latin art. This study explores the reasons for the rareness of these scenes in Eastern art and their abundance in Western art; different interpretations of the same are presented in the conclusion. Finally, the iconography of the two scenes differs in Eastern and Western examples. Therefore, our evaluation is focused on solving these questions. Our primary aim was to answer these problematic questions on the sources and reasons for the differences in iconography. The selection of the Byzantine and Latin samples was limited to those from the end of the 14th century to evaluate them in their synchronicity.","PeriodicalId":29879,"journal":{"name":"Art-Sanat","volume":"115 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72909433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0012
Gülçin Kahraman, S. Özgünler
Aizanoi Antik kenti Kutahya ili, Cavdarhisar ilcesinde yer almaktadir. Kentteki ilk yerlesim Hellenistik doneme ait olup kent Bizans doneminde de onemini korumustur. Gunumuzde antik kentin cevresinde yerlesik hayat devam etmektedir. Kentin Odeion yapisi MS 1. yuzyilin sonu ya da 2. yuzyilin baslarinda Zeus tapinaginin guneydogusunda insa edilmistir. Gunumuz yerlesim dokusunun kuzeyinde yer alan yapi ilk olarak “bouleuterion” (meclis binasi) olarak insa edilmistir. MS 4. yuzyilda sahne yapisi da eklenerek “odeiona” (tiyatro ve dinleti yapisi) donusturuldugu dusunulmektedir. Yapi kalintilarinin aciga cikarilmasi amaciyla 1998 yilinda arkeolojik kazi calismalarina baslanilmistir. 2016 yilina kadar devam eden bu calismalarda yapinin Bizans doneminde yapilan birtakim mudahaleler gecirdigi ve gunumuzde yerlesime ulasmak amaciyla duzenlenen yol insa calismalari ile buyuk oranda hasara ugradigi tespit edilmistir. Farkli donemlere ait yapi bolumleri ile onarim mudahaleleri yer alan yapida devsirme yapi malzemeleri kullanilmistir. Bu calisma 2017 ile 2019 yillari arasinda yapilan hasar tespit calismalari ile birlikte yapinin malzeme ozelliklerinin belirlenmesi icin deneysel calismalara gore hazirlanmistir. Arkeolojik kazi calismalarindaki veriler ile malzeme analiz sonuclarinin birlikte degerlendirildigi bu makalede yapinin farkli donemlerine ait malzeme ozellikleri, koruma sorunlari ve yapinin gunumuze ulasabilmesi icin yapilan mudahaleler degerlendirilmistir.
{"title":"Aizanoi Antik Kentinde Bulunan Odeion Yapısının Malzeme Özellikleri ve Hasar Durumunun İncelenmesi","authors":"Gülçin Kahraman, S. Özgünler","doi":"10.26650/artsanat.2021.16.0012","DOIUrl":"https://doi.org/10.26650/artsanat.2021.16.0012","url":null,"abstract":"Aizanoi Antik kenti Kutahya ili, Cavdarhisar ilcesinde yer almaktadir. Kentteki ilk yerlesim Hellenistik doneme ait olup kent Bizans doneminde de onemini korumustur. Gunumuzde antik kentin cevresinde yerlesik hayat devam etmektedir. Kentin Odeion yapisi MS 1. yuzyilin sonu ya da 2. yuzyilin baslarinda Zeus tapinaginin guneydogusunda insa edilmistir. Gunumuz yerlesim dokusunun kuzeyinde yer alan yapi ilk olarak “bouleuterion” (meclis binasi) olarak insa edilmistir. MS 4. yuzyilda sahne yapisi da eklenerek “odeiona” (tiyatro ve dinleti yapisi) donusturuldugu dusunulmektedir. Yapi kalintilarinin aciga cikarilmasi amaciyla 1998 yilinda arkeolojik kazi calismalarina baslanilmistir. 2016 yilina kadar devam eden bu calismalarda yapinin Bizans doneminde yapilan birtakim mudahaleler gecirdigi ve gunumuzde yerlesime ulasmak amaciyla duzenlenen yol insa calismalari ile buyuk oranda hasara ugradigi tespit edilmistir. Farkli donemlere ait yapi bolumleri ile onarim mudahaleleri yer alan yapida devsirme yapi malzemeleri kullanilmistir. Bu calisma 2017 ile 2019 yillari arasinda yapilan hasar tespit calismalari ile birlikte yapinin malzeme ozelliklerinin belirlenmesi icin deneysel calismalara gore hazirlanmistir. Arkeolojik kazi calismalarindaki veriler ile malzeme analiz sonuclarinin birlikte degerlendirildigi bu makalede yapinin farkli donemlerine ait malzeme ozellikleri, koruma sorunlari ve yapinin gunumuze ulasabilmesi icin yapilan mudahaleler degerlendirilmistir.","PeriodicalId":29879,"journal":{"name":"Art-Sanat","volume":"6 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87675354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0017
Oktay Özgül, Burak Bi̇ngöl
The Eastern Anatolia region, a high plateau, is exceptionally rich in paintings on rocks. Rock paintings in Ardahan, Kars, Erzurum, Erzincan, and Van-Hakkari mountainous region constitute a large part of this wealth. The technique of line, engraving, carving, and pecking was generally used in rock paintings drawn on andesitic and basalt stones in the region. The motifs encountered in rock painting areas are human (shaman), horse, bull - ox - cow, deer, wolf, dog, and sheep - ram - mountain goat. Furthermore, scenes of hunting and war, ceremonial and geometric scenes, and celestial shapes are among the covered themes. Sixteen rock painting areas were identified in the Northeast Anatolian region. Nine centers were examined in the study; Cildir Baskoy, Borluk Valley/Azat village, Camuslu, Digor/Dolayli, Geyiklitepe, Kurbanaga, Dilli Valley, Cunni Cave, and Şenkaya Kaynak village are rock paintings. There are more than 368 figures in these paintings, of which 119 are mountain goat figures. In the study, the morphology of the mountain goat motif in the related rock painting areas was examined, and its symbolic meaning and place in the hunting ritual and the possible cosmic world were analyzed.
{"title":"Kuzeydoğu Anadolu Petrogliflerindeki Bir Grup Dağ Keçisi Motifi","authors":"Oktay Özgül, Burak Bi̇ngöl","doi":"10.26650/artsanat.2021.16.0017","DOIUrl":"https://doi.org/10.26650/artsanat.2021.16.0017","url":null,"abstract":"The Eastern Anatolia region, a high plateau, is exceptionally rich in paintings on rocks. Rock paintings in Ardahan, Kars, Erzurum, Erzincan, and Van-Hakkari mountainous region constitute a large part of this wealth. The technique of line, engraving, carving, and pecking was generally used in rock paintings drawn on andesitic and basalt stones in the region. The motifs encountered in rock painting areas are human (shaman), horse, bull - ox - cow, deer, wolf, dog, and sheep - ram - mountain goat. Furthermore, scenes of hunting and war, ceremonial and geometric scenes, and celestial shapes are among the covered themes. Sixteen rock painting areas were identified in the Northeast Anatolian region. Nine centers were examined in the study; Cildir Baskoy, Borluk Valley/Azat village, Camuslu, Digor/Dolayli, Geyiklitepe, Kurbanaga, Dilli Valley, Cunni Cave, and Şenkaya Kaynak village are rock paintings. There are more than 368 figures in these paintings, of which 119 are mountain goat figures. In the study, the morphology of the mountain goat motif in the related rock painting areas was examined, and its symbolic meaning and place in the hunting ritual and the possible cosmic world were analyzed.","PeriodicalId":29879,"journal":{"name":"Art-Sanat","volume":"19 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79842497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0019
Evren Türkmenoğlu
Yenikapi (YK) 27 Batigi, 2004-2013 yillari arasinda Istanbul Arkeoloji Muzeleri tarafindan Istanbul/Yenikapi’da yurutulen kurtarma kazilarinda aciga cikarilmistir. Bizans Doneminde Theodosius Limani oldugu belirlenen kazi alaninda bulunan 37 gemi kalintisindan biri olan YK27, buyuk olasilikla ticaret amaciyla kullanilan, MS 8-9. yuzyillara tarihlenen bir yuk gemisidir. Geminin ana yapi elemanlarindan olan omurgasi, karina kaplamalari ve doseklerinin buyuk bir kismi saglam vaziyette bulunmus, su kesimi hatti uzerindeki kismi ve diger donanimlari ise gunumuze ulasmamistir. Bu calisma kapsaminda batigin mevcut ahsap yapi elemanlari detayli olarak incelenerek geminin yapim teknigi ve yapisal ozellikleri aktarilmistir. Bu ozellikler, batigin cagdasi olan diger orneklerle karsilastirmali olarak ele alinarak Akdeniz gemi yapim geleneklerinin gelisim sureci baglaminda degerlendirilmistir. Yenikapi 27 Batiginin ahsap elemanlarinin benzerlerine gore daha iyi korunmus durumda olmasi, orta cagin erken donemlerinde Akdeniz’de gemi geleneklerinde yasanan onemli degisimlerin detaylarinin daha iyi anlasilmasina olanak saglamaktadir. Geminin iskelet sistemini olusturan postalarin farkli dizilimi ve kaplamalarinda kenar baglantilarinin bulunmamasi, YK 27’nin antik gemi yapim geleneklerinden farklilastigini gosteren baslica ozelliklerdir. Genel yapim ozellikleri goz onune alinarak geminin hem antik gelenekler hem de orta cagin erken donemlerinde gelismeye baslayan iskelet-ilk tekniginin bir arada kullanildigi ozgun bir anlayisla insa edildigi tespit edilmistir.
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Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0008
B. Karaöz
The Arabian Gulf has gained international attention in museum studies due to the number of new museums with cultural policies that have opened within the last decade. In particular, there have been developments in the Gulf countries such as Bahrain, the United Arab Emirates, Kuwait, and Qatar, and in the center of the Middle East such as Jordan. This study highlights Jordanian museums that seek to show a unity of national culture with contents similar to Western museums and examines cultural heritage studies in Jordan in terms of both historical and contemporary museum approaches. In Jordan, cultural heritage studies evolved within a system of historical development and practices. This research compares traditional and contemporary Jordanian museums in line with their histories, mission, vision, and approaches to museology. Archeology museums, university museums, a children’s museum, and the Jordan National Museum are evaluated, and a general framework is created for museology in the Middle East. It is pointed out that the increase in the number and variety of museums since the 1990s is a positive development, but at the same time, museums are struggling with financial difficulties and a lack of qualified staff. Moreover, common problems affecting museology in Jordan include a lack of educational units in museums other than a few major museums in the country, need for the use of modern technology, lack of cooperative studies, lack of complementary activities such as conferences and seminars, difficulty of competition with other organizations in the entertainment industry, lack of promotional materials, and insufficient public opinion in the fields of archeology and cultural heritage.
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Pub Date : 2021-07-31DOI: 10.26650/artsanat.2021.16.0018
Ela Taş, Aslı Erdoğan
Osmanli’nin sinir beyliginden dunya imparatorluguna donusmesinin temelinde, izledigi siyasi anlayisin yani sira askeri alanda atmis oldugu adimlarin da onemli bir payi vardir. Kurulus asamasinda, atli birliklerle gerceklestirilen akinlar seklinde kendini gosteren savaslarin devletin buyumesine paralel olarak duzenli ordularla gerceklestirildigi bilinmektedir. Yayilimci siyaset anlayisi sebebi ile cok sayida sefer duzenleyen Osmanli Devleti’nin seferler sonucunda arzu ettigi zafere ulasmasinin sartlarindan biri de ordu icin gerekli olan yanici ve patlayici maddeler, mutfak malzemeleri, erzak, cesitli arac gerecler gibi kaynaklarda zikredilen techizatin teminive bunlarin savasin gerceklestirilecegi bolgeye basarili bir sekilde sevk edilmesidir. Ikmal ve iase kavramlari ile karsilik bulan unsurlarin naklinde, kara ve deniz yolunda kullanilan sefer vasitalarindan istifade edildigi Osmanli tarihini konu alan calismalardan ve padisahlarin hayatlarini iceren yazma eserlerin minyaturlerinden izlenebilmektedir. Bu calismanin amaci, Osmanli’nin gerceklestirmis oldugu seferlerde kullandigi vasitalari, tarih konulu yazma eser minyaturleri uzerinden aciklamak ve gercekci yaklasimla ortaya konan tasvirlerin belgelemedeki onemlerinin anlasilmasini saglamaktir. Calismada, tarihi kaynaklarda zikredilen at, katir, deve, fil, top arabasi gibi kara; kadirga, bastarda, kalyon, mavna, barca gibi deniz yolunda kullanilan vasitalar, tarihi olaylar ve minyaturler cercevesinde ifade edilmistir. Calisma kapsaminda, Osmanli seferlerini iceren ve 16.-18. yuzyillar arasina tarihlendirilen yazma eserlerdeki vasita tasvirleri uzerinden degerlendirme yapilmistir.
{"title":"Osmanlı Minyatürlerinde Sefer Vasıtaları (16.-18. Yüzyıllar)","authors":"Ela Taş, Aslı Erdoğan","doi":"10.26650/artsanat.2021.16.0018","DOIUrl":"https://doi.org/10.26650/artsanat.2021.16.0018","url":null,"abstract":"Osmanli’nin sinir beyliginden dunya imparatorluguna donusmesinin temelinde, izledigi siyasi anlayisin yani sira askeri alanda atmis oldugu adimlarin da onemli bir payi vardir. Kurulus asamasinda, atli birliklerle gerceklestirilen akinlar seklinde kendini gosteren savaslarin devletin buyumesine paralel olarak duzenli ordularla gerceklestirildigi bilinmektedir. Yayilimci siyaset anlayisi sebebi ile cok sayida sefer duzenleyen Osmanli Devleti’nin seferler sonucunda arzu ettigi zafere ulasmasinin sartlarindan biri de ordu icin gerekli olan yanici ve patlayici maddeler, mutfak malzemeleri, erzak, cesitli arac gerecler gibi kaynaklarda zikredilen techizatin teminive bunlarin savasin gerceklestirilecegi bolgeye basarili bir sekilde sevk edilmesidir. Ikmal ve iase kavramlari ile karsilik bulan unsurlarin naklinde, kara ve deniz yolunda kullanilan sefer vasitalarindan istifade edildigi Osmanli tarihini konu alan calismalardan ve padisahlarin hayatlarini iceren yazma eserlerin minyaturlerinden izlenebilmektedir. Bu calismanin amaci, Osmanli’nin gerceklestirmis oldugu seferlerde kullandigi vasitalari, tarih konulu yazma eser minyaturleri uzerinden aciklamak ve gercekci yaklasimla ortaya konan tasvirlerin belgelemedeki onemlerinin anlasilmasini saglamaktir. Calismada, tarihi kaynaklarda zikredilen at, katir, deve, fil, top arabasi gibi kara; kadirga, bastarda, kalyon, mavna, barca gibi deniz yolunda kullanilan vasitalar, tarihi olaylar ve minyaturler cercevesinde ifade edilmistir. Calisma kapsaminda, Osmanli seferlerini iceren ve 16.-18. yuzyillar arasina tarihlendirilen yazma eserlerdeki vasita tasvirleri uzerinden degerlendirme yapilmistir.","PeriodicalId":29879,"journal":{"name":"Art-Sanat","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86553032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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