{"title":"WATER CISTERNS OF RURAL SETTLEMENTS IN SOUTHERN ANATOLIA IN LATE ANTIQUITY AND THE BYZANTINE PERIOD","authors":"O. Erdogan","doi":"10.29135/std.913317","DOIUrl":"https://doi.org/10.29135/std.913317","url":null,"abstract":"","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43684464","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}
{"title":"RING POMMELED SWORD FROM AMORIUM","authors":"Errikos Mani̇oti̇s, Z. Gökalp","doi":"10.29135/std.950417","DOIUrl":"https://doi.org/10.29135/std.950417","url":null,"abstract":"","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49196378","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}
{"title":"CEYHAN NAZIMBEY YENİKÖY’DE ÇAVUŞOĞLU KONAĞI","authors":"Halil Sözlü","doi":"10.29135/std.734162","DOIUrl":"https://doi.org/10.29135/std.734162","url":null,"abstract":"","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46245944","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}
{"title":"Kuzeyden İzlenimler: Yeni Bir Yüzyılın Eşiğinde Amsterdam Empresyonistlerinin Gözünden Değişen Kent ve İnsan Manzaraları","authors":"Tülay Kazanci, İlkay Canan Okkali","doi":"10.29135/std.891114","DOIUrl":"https://doi.org/10.29135/std.891114","url":null,"abstract":"","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46984359","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}
{"title":"AN EXAMINATION ON THE HISTORICAL ANKARA HOUSES: AN EXAMPLE OF A TRADITIONAL HOUSE IN ALTINDAĞ, ULUCANLAR, ANKARA","authors":"Filiz Karakuş","doi":"10.29135/std.839302","DOIUrl":"https://doi.org/10.29135/std.839302","url":null,"abstract":"","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44854824","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}
{"title":"TRABZON AYASOFYA KİLİSESİ BAHÇESİ’NDE BULUNAN FİGÜRLÜ BİR MEZAR ANITI","authors":"Selda Alp","doi":"10.29135/std.826590","DOIUrl":"https://doi.org/10.29135/std.826590","url":null,"abstract":"","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47723820","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}
{"title":"KONYA İLÇELERİNDEKİ TARİHİ CAMİLERDE BULUNAN AHŞAP MİHRAPLAR","authors":"Zehra Uslu Bülbül, Nilgün Çevrimli","doi":"10.29135/std.829786","DOIUrl":"https://doi.org/10.29135/std.829786","url":null,"abstract":"","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44765330","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}
Historical data on where the Tomb of Ghazi Mestan is relatively less than the Tomb of Hudavendigar and this knowledge can be obtained from a few publications. Based on the documents from the Ottoman Archive, the fact that the Ghazi Mestan Tomb was rebuilt from the foundation due to its irrecoverable state at the beginning of the 20th century has been disclosed for the first time with the current study. The resources also show that the building date of the tomb was either the 14th or 16th century and that it was constructed as an open tomb in the beginning, and then was turned into a closed one, thereby estranging a lot from its first appearance. Having been used by Serbian and Albanian soldiers as a military shelter during the Kosovo War in 1999; eventually the restoration works carried out by Turkish Cooperation and Coordination Agency (TİKA) were completed and it became accessible for visit in 2012. Based on a few documents related to the Ghazi Mestan Tomb in the Ottoman Archive, it can be concluded that the tomb was in a ruined state at the very beginning of the 20th century. Sheikh Hasan, the tomb keeper of Ghazi Mestan Tomb, attempted for a restoration by reporting the ruined state of the tomb to the Centre and asking for assistance from Sultan Abdulhamit II. Thus, in compliance with the decree dated January 1905, they broke grounds of the Ghazi Mestan Baba Tomb accompanied by prayers on July 15, 1905. However, the construction stopped again after breaking grounds for the tomb. Even though when the construction of Ghazi Mestan Tomb completed and became accessible for visitors could not be determined exactly, it is predicted that it was finished before the visit of Sultan Mehmet Reşad’s visit of the tomb on Friday, June 16, 1911, as a part of his Rumelia Tour. Therefore, in the light of the achieve documents, it could be argued that the construction of Ghazi Mestan Tomb started in July 1905 and was completed in 1911 spring. Right after its restoration, the tomb suffered damages during the Balkan War I (1912), Balkan War II (1913) and the First World War started in 1914. Various attempts were made to reorganize the damaged places during the wars and a significant decision was made as a result of the report prepared by Major Hüseyin Hüsnü Bey from Skopje in order to be able to construct the Tomb of Ghazi Mestan independently. The decision was the assignment of Mimar Kemalettin, who was going to be one of the pioneers of National Architecture Movement I during the Republican Era after the collapse of the Ottoman State, as “General Director of Buildings” to Kosovo with the purpose of making necessary explorations for the restorations of Hudavendigar Ghazi martyr’s cemetery and the tomb of Ghazi Mestan. The Directorate of Foundations (Evkâf-ı Hümâyûn Nezâreti) assigned Mimar Kemalettin Bey some other tasks as well during his journey. According to the archive documents, after completing his explorations in Pristina, Mimar Kemalettin Bey was suppose
{"title":"GAZİ MESTAN BABA TÜRBESİ’NDE 1900-1916 YILLARI ARASINDA YAPILAN ONARIM-İNŞA FAALİYETLERİ VE MİMAR KEMALETTİN’İN GÖREVLENDİRİLMESİ","authors":"Hüseyin Bilmiş","doi":"10.29135/STD.707295","DOIUrl":"https://doi.org/10.29135/STD.707295","url":null,"abstract":"Historical data on where the Tomb of Ghazi Mestan is relatively less than the Tomb of Hudavendigar and this knowledge can be obtained from a few publications. Based on the documents from the Ottoman Archive, the fact that the Ghazi Mestan Tomb was rebuilt from the foundation due to its irrecoverable state at the beginning of the 20th century has been disclosed for the first time with the current study. The resources also show that the building date of the tomb was either the 14th or 16th century and that it was constructed as an open tomb in the beginning, and then was turned into a closed one, thereby estranging a lot from its first appearance. Having been used by Serbian and Albanian soldiers as a military shelter during the Kosovo War in 1999; eventually the restoration works carried out by Turkish Cooperation and Coordination Agency (TİKA) were completed and it became accessible for visit in 2012. Based on a few documents related to the Ghazi Mestan Tomb in the Ottoman Archive, it can be concluded that the tomb was in a ruined state at the very beginning of the 20th century. Sheikh Hasan, the tomb keeper of Ghazi Mestan Tomb, attempted for a restoration by reporting the ruined state of the tomb to the Centre and asking for assistance from Sultan Abdulhamit II. Thus, in compliance with the decree dated January 1905, they broke grounds of the Ghazi Mestan Baba Tomb accompanied by prayers on July 15, 1905. However, the construction stopped again after breaking grounds for the tomb. Even though when the construction of Ghazi Mestan Tomb completed and became accessible for visitors could not be determined exactly, it is predicted that it was finished before the visit of Sultan Mehmet Reşad’s visit of the tomb on Friday, June 16, 1911, as a part of his Rumelia Tour. Therefore, in the light of the achieve documents, it could be argued that the construction of Ghazi Mestan Tomb started in July 1905 and was completed in 1911 spring. Right after its restoration, the tomb suffered damages during the Balkan War I (1912), Balkan War II (1913) and the First World War started in 1914. Various attempts were made to reorganize the damaged places during the wars and a significant decision was made as a result of the report prepared by Major Hüseyin Hüsnü Bey from Skopje in order to be able to construct the Tomb of Ghazi Mestan independently. The decision was the assignment of Mimar Kemalettin, who was going to be one of the pioneers of National Architecture Movement I during the Republican Era after the collapse of the Ottoman State, as “General Director of Buildings” to Kosovo with the purpose of making necessary explorations for the restorations of Hudavendigar Ghazi martyr’s cemetery and the tomb of Ghazi Mestan. The Directorate of Foundations (Evkâf-ı Hümâyûn Nezâreti) assigned Mimar Kemalettin Bey some other tasks as well during his journey. According to the archive documents, after completing his explorations in Pristina, Mimar Kemalettin Bey was suppose","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43732347","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}
Kayseri’de bulunan Kosk Medrese ve Kumbeti, Turk mimarlik tarihinin onemli eserleri arasinda yer almaktadir. Ozgun bir plana sahip olan Eretna Beyligine ait bu yapi, kapsamli denilebilecek arastirmalarin konusunu da teskil etmistir. Aslinda bu yapinin oncelikle Emir Alaeddin Eretna tarafindan bir hanikâh olarak yaptirildigi, bir ara da medrese islevi gordugu bilinmektedir. Kapali mekânlarinin yani sira bu yapinin avlusunda Emir Eretna’nin esi Suli Pasa icin yaptirdigi kumbet de yer almaktadir. Makalemizin konusunu da bu kumbet’in mazgal pencerelerinin ustunde bulunan kabartmalar olusturmaktadir. Bu makalede, bazi arastirmacilarin tasci ustalarina ait damgalar olarak nitelendirdikleri bu kabartmalarin aslinda uc dilimli taclarla benzerligine dikkat cekilmekte ve ikonografisi uzerinde durulmaktadir. Eski Turk inanclarinda kadinlarin ve cocuklarin koruyucusu Umay Ana ile baslayan, Islam inanci ve tasavvufu ile yogrulan uc dilimli tacin ifade ettigi anlamlar ve bu anlamlari simgeleyen uc dilimli tac seklinin eserlerdeki izleri uzerinde durulmaktadir. Turk sanatinin farkli donemlerinde cesitli malzeme, teknik ve usluplarda karsimiza cikan “uc dilimli tac” Suli Pasa Kumbeti orneginde degerlendirilmektedir. Bu arastirmada camilerde tac kapi, minber ve mihraplardaki suslemelerde de gorulen uc dilimli taclarin Turk Sanatinda agirlikli olarak mezar taslarinda yer aldigi belirtilmektedir. Uc dilimli taca sahip mezar taslarinin cinsiyet ayrimi olmamakla birlikte daha cok kadinlara ait oldugu gorulmektedir. Ve uc dilimli tacla sonlanan mezar taslarinin Allah’a teslimiyetin, inancin oldugu kadar mezar sahibinin hayat yolculugundaki son duraginin da ifadesi olabilecegi uzerinde durulmaktadir. Makalede; Islam tasavvufunda dervis kiyafetlerinin onemli sembol parcalarindan biri olan tacin aslinda, manevi saltanat tacini simgeledigi ve mutlak anlamda Hz. Muhammed’e mahsus oldugu, dervis taclarindan uc dilimli olanlarinin dunya menfaatlerinden uzaklasmayi, Allah rizasi icin gayret gostermeyi, hatta bunun icin yapilan butun fedakârliklari bile unutmayi simgeledigi hatirlatilmaktadir. Kosk Medrese’de Suli Pasa’ya ait olan Kumbetin mazgal pencerelerinin uzerindeki uc dilimli taca benzeyen seklindeki kabartmalarla da Allah ve resulune teslimiyetin yaninda ve bu ozelliginden dolayi uc dilimli tac seklindeki bu kabartmalarin bu kumbette yatan olulerin ahiretteki koruyucusunu simgeleyebilecegi belirtilmektedir.
位于凯塞里的Kosk Medrese和Kumbeti是土耳其建筑师史上的十件作品之一。这个结构有一个合理的计划，也证明它可以被称为全面的。事实上，它完全是由埃米尔·阿拉丁·埃雷特纳制作的，同时我们也看到了对文明的渴望。在周边地区，警报器也被埃米尔·埃雷特纳为苏利帕萨建造的棺材包围。这篇文章还包括混淆在小行星的浴室窗户。在这篇文章中，一些研究人员被描述为设计大师的堤坝，因此他们实际上可以小心将这些干扰作为低级语言策略的相似性，也可以在他们的图像中看到。土耳其的财政部长是Umay Ana ile baslayan的财政部长，伊斯兰财政部长是tasavvufu ile yogrulan的财政部长。在土耳其艺术的不同部分，我们在Suli Pasa Kumbeti的致癌“uc dilimli tac”中采用了死材料、技术和风格。与此同时，墙壁表明绿松石被放置在绿松石、橡胶和蘑菇的坟墓上。虽然没有用液体粉末对坟墓进行性别分离，但更多的女性属于坟墓。用小舌头封住的坟墓向真主投降，是坟墓主人生命在信仰之旅上的最后一站。极大；事实上，伊斯兰教是阶级服饰的十大象征之一，这是操纵策略的象征，绝对是赫兹。重要的是要提醒穆罕默德，那些不如世界经验教训的人反对世界的利益，损害真主的风险，甚至反对为世界做出最充分的牺牲。在Kosk Medrese中，有人指出，这些干扰可以被视为这个围栏内未来的保护者，这与属于苏利帕萨的Kumbeti的小语言窗口的干扰类似。
{"title":"Köşk Medrese - Suli Paşa Kümbeti Mazgal Pencerelerinde Yer Alan Kabartmaların İkonografisi Hakkında","authors":"A. Kuru","doi":"10.29135/std.721274","DOIUrl":"https://doi.org/10.29135/std.721274","url":null,"abstract":"Kayseri’de bulunan Kosk Medrese ve Kumbeti, Turk mimarlik tarihinin onemli eserleri arasinda yer almaktadir. Ozgun bir plana sahip olan Eretna Beyligine ait bu yapi, kapsamli denilebilecek arastirmalarin konusunu da teskil etmistir. Aslinda bu yapinin oncelikle Emir Alaeddin Eretna tarafindan bir hanikâh olarak yaptirildigi, bir ara da medrese islevi gordugu bilinmektedir. Kapali mekânlarinin yani sira bu yapinin avlusunda Emir Eretna’nin esi Suli Pasa icin yaptirdigi kumbet de yer almaktadir. Makalemizin konusunu da bu kumbet’in mazgal pencerelerinin ustunde bulunan kabartmalar olusturmaktadir. Bu makalede, bazi arastirmacilarin tasci ustalarina ait damgalar olarak nitelendirdikleri bu kabartmalarin aslinda uc dilimli taclarla benzerligine dikkat cekilmekte ve ikonografisi uzerinde durulmaktadir. Eski Turk inanclarinda kadinlarin ve cocuklarin koruyucusu Umay Ana ile baslayan, Islam inanci ve tasavvufu ile yogrulan uc dilimli tacin ifade ettigi anlamlar ve bu anlamlari simgeleyen uc dilimli tac seklinin eserlerdeki izleri uzerinde durulmaktadir. Turk sanatinin farkli donemlerinde cesitli malzeme, teknik ve usluplarda karsimiza cikan “uc dilimli tac” Suli Pasa Kumbeti orneginde degerlendirilmektedir. Bu arastirmada camilerde tac kapi, minber ve mihraplardaki suslemelerde de gorulen uc dilimli taclarin Turk Sanatinda agirlikli olarak mezar taslarinda yer aldigi belirtilmektedir. Uc dilimli taca sahip mezar taslarinin cinsiyet ayrimi olmamakla birlikte daha cok kadinlara ait oldugu gorulmektedir. Ve uc dilimli tacla sonlanan mezar taslarinin Allah’a teslimiyetin, inancin oldugu kadar mezar sahibinin hayat yolculugundaki son duraginin da ifadesi olabilecegi uzerinde durulmaktadir. Makalede; Islam tasavvufunda dervis kiyafetlerinin onemli sembol parcalarindan biri olan tacin aslinda, manevi saltanat tacini simgeledigi ve mutlak anlamda Hz. Muhammed’e mahsus oldugu, dervis taclarindan uc dilimli olanlarinin dunya menfaatlerinden uzaklasmayi, Allah rizasi icin gayret gostermeyi, hatta bunun icin yapilan butun fedakârliklari bile unutmayi simgeledigi hatirlatilmaktadir. Kosk Medrese’de Suli Pasa’ya ait olan Kumbetin mazgal pencerelerinin uzerindeki uc dilimli taca benzeyen seklindeki kabartmalarla da Allah ve resulune teslimiyetin yaninda ve bu ozelliginden dolayi uc dilimli tac seklindeki bu kabartmalarin bu kumbette yatan olulerin ahiretteki koruyucusunu simgeleyebilecegi belirtilmektedir.","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44447518","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}
Pecenek, mevcut idari bolunmeye gore Ankara Ili Camlidere Ilcesi’ne bagli bir mahalle konumundadir. Ankara sehir merkezinin yaklasik 72 km kuzeybatisinda yer alir. Kuzeyinde Yoncatepe, Guneyinde Gumele, Dogusunda Inceoz, Batisinda Yilanli Mahalleleri bulunmaktadir. Oguz Turkmen boylarinin Ankara ve cevresine yerlestirilmesi ile gelismeye baslayan bolgede cok sayida ve farkli turde mimari eserin mevcudiyeti belirlenebilmekle birlikte, yeteri kadar incelenip degerlendirilmedikleri de anlasilmaktadir. Bunlardan birisi de Pecenek Camii’dir. Eser, aslinda kare planli kubbe ortulu bir ana mekân ile bunun kuzeyinde sivri kemer acikligi ile birbirine irtibatlanan aynali tonoz ortulu ikinci bir unite ve es buyuklukte uc kubbeli revaktan mutesekkil bir son cemaat yerine sahiptir. Minaresi de bati cephede harim kutlesi ile son cemaat yerini birbirinden ayirir nitelikte yerlestirilmis silindirik govdeli bir unsurdur. Cepheler ve kasnaklar muntazam olmasa da tas ve tuglanin alternatif siralar halinde yerlestirilmesi ile elde edilmis almasik duvar orgusunu sergiler. Susleme bakimindan zengin sayilmasa da cephelerde gorulen kucuk kus evleri ve minare kapisi kemerindeki ibrik tasvirleri yapiya onem katan unsurlardir. Insasina ait kitabesi bulunmamakla birlikte plan, malzeme, duvar orgusu ve diger mimari ozelliklerinden hareketle 15. yuzyil baslarina tarihlendirebilecegimiz yapi, ozellikle kubbe ortulu harim mekânini kuzeye dogru genisletme cabalarinin bir urunu olarak dikkat cekmektedir. Eser, calismamizda butun yonleri bakimindan ayrintili bir sekilde tanitilacak ve benzer yapilarla mukayese edilerek Anadolu Turk mimarisi icerisindeki yeri ve onemi belirlenecektir.
{"title":"Ankara-Çamlıdere Peçenek Camisi","authors":"Murat Çerkez","doi":"10.29135/std.583619","DOIUrl":"https://doi.org/10.29135/std.583619","url":null,"abstract":"Pecenek, mevcut idari bolunmeye gore Ankara Ili Camlidere Ilcesi’ne bagli bir mahalle konumundadir. Ankara sehir merkezinin yaklasik 72 km kuzeybatisinda yer alir. Kuzeyinde Yoncatepe, Guneyinde Gumele, Dogusunda Inceoz, Batisinda Yilanli Mahalleleri bulunmaktadir. Oguz Turkmen boylarinin Ankara ve cevresine yerlestirilmesi ile gelismeye baslayan bolgede cok sayida ve farkli turde mimari eserin mevcudiyeti belirlenebilmekle birlikte, yeteri kadar incelenip degerlendirilmedikleri de anlasilmaktadir. Bunlardan birisi de Pecenek Camii’dir. Eser, aslinda kare planli kubbe ortulu bir ana mekân ile bunun kuzeyinde sivri kemer acikligi ile birbirine irtibatlanan aynali tonoz ortulu ikinci bir unite ve es buyuklukte uc kubbeli revaktan mutesekkil bir son cemaat yerine sahiptir. Minaresi de bati cephede harim kutlesi ile son cemaat yerini birbirinden ayirir nitelikte yerlestirilmis silindirik govdeli bir unsurdur. Cepheler ve kasnaklar muntazam olmasa da tas ve tuglanin alternatif siralar halinde yerlestirilmesi ile elde edilmis almasik duvar orgusunu sergiler. Susleme bakimindan zengin sayilmasa da cephelerde gorulen kucuk kus evleri ve minare kapisi kemerindeki ibrik tasvirleri yapiya onem katan unsurlardir. Insasina ait kitabesi bulunmamakla birlikte plan, malzeme, duvar orgusu ve diger mimari ozelliklerinden hareketle 15. yuzyil baslarina tarihlendirebilecegimiz yapi, ozellikle kubbe ortulu harim mekânini kuzeye dogru genisletme cabalarinin bir urunu olarak dikkat cekmektedir. Eser, calismamizda butun yonleri bakimindan ayrintili bir sekilde tanitilacak ve benzer yapilarla mukayese edilerek Anadolu Turk mimarisi icerisindeki yeri ve onemi belirlenecektir.","PeriodicalId":40192,"journal":{"name":"Sanat Tarihi Dergisi-Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49416856","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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