Anadolu Selçuklu Döneminde dikine planlı camiler(Anadolu Selçuklu Devleti`nin yıkılışına kadar) 2 cilt
Perpendicular planned mosques during the Seljuk Period in Anatolia(Until the ruining of Anatolia Seljukian state)
- Tez No: 146449
- Danışmanlar: PROF. DR. İNCİ KUYULU ERSOY
- Tez Türü: Doktora
- Konular: Sanat Tarihi, Art History
- Anahtar Kelimeler: Anadolu Selçukluları, Camiler, Dini yapılar, Mekan planlaması, Mimari özellikler, Selçuklular Dönemi, Anatolian Seljuks, Mosques, Religious buildings, Space planning, Architectural characteristics, Seljuks Period
- Yıl: 2004
- Dil: Türkçe
- Üniversite: Ege Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Sanat Tarihi Ana Bilim Dalı
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: Belirtilmemiş.
Özet
Özet yok.
Özet (Çeviri)
Buildings we study in the group of“Perpendicular- Planned Mosques”during the Seljuk in Anatalia show differences and developments from the points of plan, architecture and mentation. They were constructed as three, five, seven, nine and eleven- aisles with respect tor plan features. The aisles are perpendicular to the qible wall We can define them as follows:Three- aisles mosques; the Ani Menuçehr, Kale in Divriği, Battal in Kayseri, Alacalı input, Kölûk in Kayseri, Great in Bayburt, Alaeddin in Niğde, Burmalı Minare (spiral minaret) inasya, Lala (Lale) in Kırşehir, Elti Hatun in Mazgirt, Great in Bünyan, Gökmedrese in Amasya, at in Ayaş, Kızılkaya Köyü in Gülşehir. Five- aisles mosques; the Great in Niksar, Great inseri, Hacı Kılıç in Kayseri, Great in Divriği, Great in E. Develi, Arslanhane in Ankara. Seven-es mosques; the Great in Erzurum, Great in Akşehir, Hunad (Mahperi) Hatun in Kayseri, ip Ata in Konya, Eşrefoğlu in Beyşehir. Nine- aisles mosques; the Great Mosque in Afyon.?en- aisles mosques; the Great Mosque in Sivas.Props and pillars were used as supports. Square, rectangular, L and T- shaped and cross-sed props are seen. Square- shaped ones were more preferred and most of them were structed with stone. Cylindrical and polygonal types in pillars were used, cylindrical andjden ones had a high proportion in them. Increase in this proportion can be seen in the ques especially having wooden supports.Collected pillars and caps in the Great Mosque in Kayseri, rhe Great Mosque in Akşehir the Arslanhane Mosque in Ankara reflect the local characteristics, too.Pointed arches are seen intensively. Seeing a round arch in the Ani Menuçehr Mosque is in a local characteristic. Stone was much used as material. Dome in front of mihrab was ecially emphasized in the mosques we studied. A significant characteristic expect dome in front¦nihrab is the application of central open space. Diffrent types of the vault mostly we saw in>er roof structure were used. Althought cradle vaults are used much, we also see diagonal,ieled- diagonal, half- hull, star and starred-cross vaults, Muqarnas- crested- roof reflects thects of local and Christian architectures. The Great Mosques of Sivas, Kayseri, Bayburt,;ehir, Bünyan, Afyon, Ayaş and the Alacalı Mosque of Harput, the Sahip Ata Mosque ofıya, the Arslanhane Mosque of Ankara, the Eşrefoğlu Mosque of Beyşehir have plain woodengs. Hie Mosques such as Sahip Ata of Konya, Great of Afyon, Arslanhane of Ankara,oğlu of Beyşehir and Great of Ayaş constitute a separate group of wooden supported andIn front structures, hewn- stones was used as material mostly in the main front; in otherts rough stone or rough dressed- stone were preferred. Portals were the main elementsling the compositions of the main front and foreparts. We can classify them in the types ofa, muqarnas- framed and exceptionalMinarets have an important place in front structures. They were placed mostly to cornersthe western front. Windows are also important in front architecture.Mahfils (private pew or gallery in a mosque) have also an extra significance in a mosque,ortunally, there are few samples surviving today firmly in the mosques we studied.Mihrabs can be grouped according to their situation of projecting or not projecting fromrnihrab wall. Generally, mihrabs were made of stone but there were also ones made of tile andter. In the mosques in the period we studied, materials like stone, brick, wood, collectederials, plaster, tile, glazed- brick used for construction, show the richness of materials. Otherning points of the art of the period are the ornamentations made of stone, brick, tile, plaster,3d and pen- engraving.Inscriptions, accepted as documents, apart from their peculiarity of being ornamentationsjuildings, also inform us about the constructors and artistic men of the buildings.Impacts of several artistic environments except Anatolia are seen in the formation of Seljukin Anatolia. The case of effect and effecting are inevible; but, as it can be understood from ourdy, Anatolian- Seljuks sought different things in every field of art.They interpreted their works and available works with a new comprehension and put themh with their own artistic way of thinking. Namely, in a sense, they formed an art that we canas“The Art of Seljukian Period in Anatolia”.
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