Topkapı Sarayı resmi toplantı birimlerinin(divan yapıları ve arz odasının) geçirdikleri değişimin araştırılması
Başlık çevirisi mevcut değil.
- Tez No: 46153
- Danışmanlar: PROF.DR. GÜL ÖZER
- Tez Türü: Doktora
- Konular: Mimarlık, Architecture
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1995
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Fen Bilimleri Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 300
Özet
ÖZET İlk defa Yakın Doğu'da, Mezopotamya'da karşılaşılan zamanla Batıda İspanya'dan doğuda Çin'e, güneyde Hindistan'a kadar uzanan etkileşim ağı içindeki devlete ait işlerin görüşüldüğü, halkın sorunlarının çözüldüğü konut-başkent örneklerinden Topkapı Sarayı'ndaki, resmi toplantı birimlerinin (Divan Yapılarının ve Arz Odalan'nın), belgelere, dönemin ve günümüz kaynaklarına dayanılarak saptanması, mekan, işlev ve genel mimari özelliklerindeki değişimin başlangıçtan terk edildiği döneme kadar, araştırılması amaçlanmıştır. Topkapı Sarayı'nda resmi toplantılar önü direkli açık sofalı dikdörtgen yapıların içindeki kubbbeli kare divanhanelerde veya bir ile dört arasında değişen sayıda eyvanlı ve kubbeli çokgen v.b. merkezi mekanlı divanhaneleri olan bağımsız köşk yapılan yanında farklı düzendeki başka yapılarda gerçekleşiyordu. Bu açık sofalı resmi toplantı birimlerinin en eski örneklerine Akdeniz, İran ve Anodolu'da rastlanırken, merkezi kubbeli üç ya da dört yönde eyvanlı resmi toplantı birimlerinin yaygın olarak İslamiyetten sonra Asya ve Kuzey Afrika'da kullanıldığı görülmektedir. İlk başlangıçta sarayda yalnızca halka açık resmi toplantılar yapılmaktayken sonraları özel (halka kapalı) ikinci bir resmi toplantı daha yapılmaya başlanmıştır. Halka açık olan toplantı Birinci ve İkinci Avlu yapılarında, (Bab-ı hümayun, Eski Divanhane, Bab-üs saade Sayvanı, Kubbealtı) diğeri ise Üçüncü Avlu'da padişahın özel dairesindeki yapılarda (Fatih Köşkü, Has Oda, Arz Odası'nda) gerçekleşiyordu. 16. yüzyıldan sonra, o güne kadar Üçüncü Avlu binalarında yapılmakta olan özel görüşmeler (halka kapalı resmi toplantılar) sarayın daha içteki daha özel bölümlerine (Sünnet Odası, Bağdat Köşkü, Sofa Köşkü, İftariye Köşkü, Has Oda Taşlığı, Sofa-i hümayun Taşlığı'na) ve Dış Bahçelerdeki köşklere (II. Bayezid Köşkü, Mermer Köşk, Yalı Köşkü, Sepetçiler Kasrı İncili Köşk'e) de yayılmıştı. Günümüze ulaşan çoğu resmi toplantı birimlerinin ayrıntıları dışında taş kitlelerinin köklü bir değişime uğramamasına karşılık, işlevlerinde önemli değişimler geçirdikleri anlaşılmaktadır. Kubbealtı'nda yapılmakta olan toplantı sayısı Fatih yönetiminin sonlarına doğru haftada dörde inerken, 17. yüzyılın ortalarında sarayın dışında yapılmaya başlanan toplantılar bu sayının daha da azalmasına yol açmıştır, 16. yüzyılın sonlarından itibaren yapımına başlanan ve sayıları gittikçe artan IV. Bahçe Avlusu'ndaki köşklerle, Dış Bahçeler'deki köşklerde devlet ileri gelenlerinin padişahın başkanlığında özel siyasi görüşmeler yapmaları Arz odası'nın da zamanla daha az kullanılmasına yol açar. Önce Kubbealtı toplantılarının saray dışında, dulu» sonra bu toplantılarla bağlantılı Arz Odası toplantılarının da Bahçe Köşkleri'inle yapılmaya haşlanmanı, Kubbealtı ve Arz Odası'nın asal işlevlerinden uzaklaşarak saltanatı temsil etlen göstermelik tören yapılarına dönüşmelerine yol açmıştır, vı
Özet (Çeviri)
SUMMARY The Public and Private Audience Halls of Topkapi Palace and the Changes That Have Taken Place in Them The aim of this research comprises the following: The study of the audience chambers in Topkapi Palace, where the central government was situated and the problems of the people solved; and modelled after the residence-capital city patterns within the interaction network, which originated primarily in Mezopotamia, in the Middle East and, extended, in the course of time from Spain in the west, to China in the east, and to India in the south. To locate primarily the audience chambers from the begining to the end and try to bring into light the ones unknown, if existed any other. Because a systematic study of these buildings chronologically has not been made to bring into light the original buildings nor the functions, and the change in them if any. Meanwhile to determine the dates when these buildings were constructed, to trace the main architectural and functional changes made in the course of time, from the beginning onward. In the first and second courts open to people from outside and, in the Third Enderun and Founth Courts and the Garden Paviliona closed to people, weree placed the buildings for the royal audience, each separately studied in detail. The audience halls located in the three main courts and gardens of the palace were built so as to serve two different aims. One of them was the royal public audiences held for the people who brought their complaints, and problems to the court to be solved and judged by the council members of the audience, besides here was discussed the problems of the government. In the second type of rolay audience held in the private inner parts of the palace presided by the sultan, the final political, economic and other administrative desicions were taken. To serve the needs of these two different types of royal audiences, Public and Private Audience Halls were built in the Public and Private Courts and gardens of the palace, as follows: 1. The Public Audience Hall in the First Court 2. The Public Audience Halls in the Second Court 3. The Private Audience Halls in the Third Court (Inner) Court 4. The Private Audience Halls in the Fourth (Garden) Court 5. The Audience Halls in the Outer Garden Pavilions vııThe Public Audience Hall in the First Court: The Kiosk on the Royal Gate (Bab-ı hümayun Köşkü): The main room (Divanhane) of the Kiosk over the royal gate Bab-ı hümayun was used for public audiences. Mehmet the Conqueror had originally got the Kiosk over the Royal Gate (Bab-ı hümayun Köşkü) built, for himself, following the tradition of the Eastern palaces providing convenience for hearing where the complaints of the people were heard and their problems solved; besides he used to watch the Marmara Sea and the southern parts of the city from the Kiosk. The first court getting crowded in the course of time, it seems, ceased to be the Sultans' private residence and a place where they frequented. And, consequently, from the beginning to the end of the 16 th century when the sultan joined campaigns, the Kiosk over the Royal Gate (Bab-i hümayun Köşkü) was used as a place where public audiences were held. It seems that, the building was ordinarily repaired and no important changes were made in the masonry core of the kiosk built during the reign of the Conqueror. The Audience Hall in the kiosk, which was pulled down in the middle of the 19th. century consisted of the smaller side rooms and the domed audience hall between them, with its large Royal Window exposed outward where the Sultan appeared to people. There was an open columned gallery facing the first court, in front of the Audience Hall, like those seen in the other public audience halls of the palace, which was closed in the 18th. century. The Public Audience Halls in the Second Court: The Old Public Audience Hall (Eski Divanhane): It was built in 1460's following the tradition of palaces of the East, where public audiences were held at the gate so the Old Public Audience Hall (Eski Divanhane) was located at the end of the northern colonnade of the Second Court. The Old Public Audience Hall, one of the earliest buildings in the inner palace core, is constructed in the time of the Conqueror. The audience, presided by the Conqueror assembled, in the Old Audience Hall where there was, a throne, for the Sultan to sit on. Later, the Conqueror giving up the presidency of the audience, the Royal Audience Hall was assigned to the use of the grand vizier. At the beginning of the sixteenth century, in the second half of fifteen twenties, the offices were transfered to Kubbealti, which was built as the new royal Audience Complex and, the Old Audience Hall ceased to perform administrative functions. It was arranged as a place where the officials from embassies dined and, for those rewarded with a robe of honour (hilat) before getting in to the presence of the Sultan; and as a place for paying the artisans and craftsmen their wages, or a place functioning as a mosque. Whether the Outer Treasury (Dış Hazine) was built as a new building during the same period as Kubbealti or, it was raised on the place of an already existing old one, is not known. Judging from the foundation walls extending under the Outer Treasury, it is supposed that a part of the Old Audience Complex was demolished during the contruction of the Outer Treasury the early sixteenth century. vmThe conflagration of Harem in 1665 had caused great damage in the Old Audience Hall; though the rectangular wooden block behind the wide eaves of the collonaded portico (dış sofa) and its pyramidal roof were restored without making any significant changes. These architectural characteristics were, obviously, preserved up to the beginning of the twentieth century, when it wass pulled down. The Royal Gallery (Bab-üs saade Sayvanı): The Royal Gallery, the columned open sofa in the palace which is connected to the entrance is another place designed as a gallery for audience. The Royal Gallery (Bab-ys saade Sayvanı) situated where the marble portico (revak) adjacent to the Old Royal Audience Complex extending along the northern wing of the Third Court formed a protrusion with a domed roof, was the place where the Sultan appeared to people. The throne was set up between the first two marble columns on the left of the gate at the entrance of Enderun, for nearly four hundred years. This gallery was used for the urgent audiences held standing up before the sultan during extraordinary occasions. The Royal Gate, the private entrance for the Sultan, was also used as a place where Sultans were throned and, where they were seated on the throne during bairam ceremonies up to the middle of the nineteenth century and even after that, during the second half of it, when the place had been deserted. The New Public Audience Complex (Kubbealti): The New Public Audience Complex (Kubbealti) was the last building constructed as a complex specially designed for public audiences. The grand vizier Ibrahim Paşa, son in law of Sultan Süleyman the Lawgiver, had got it built. It was mainly designed in accordance with the Law of Fatih the Conqueror; consequently, the arrangement and the functions of the rooms were not mainly different from those of the Old Audience Complex. Although mentioned as the Royal Audience in the Ottoman literature and archieves, it was, in fact the Grand Vezier's Audience that assembled in the name of the Sultan there. Kubbealti, the Public Audience Complex, placed at a distance from the royal gate axes gains the meaning that this council building was no longer directly related to the sultan it was the grand viziers office placed away from the royal gates at one side of the royal court, where it stands today. Kubbealti was repaired extensively after the fire of Harem in 1665. It gained the appearance seen today after the 1942 restoration, when the carved wooden partition, the lattice and ornamental panels were removed. Obviously, it preserved the masonry core of the original building, its domed roof, the marble colonnade in front of it up to our day without undergoing any radical changes. Kubbealti, which was not expanded enough to carry on the administrative transactions of the divan, increasing in density and variety along with the expansion of the Ottoman territory, comprised almost the same main divisions, namely, the audience hall (divanhane), the secrateriats rooms (katiplerin odaları) and the chancellery (defterhane), as the Old Building (Eski Divanhane) for royal audiences. IXIn spite of the steady increase in the services to be carried out during the councils the decrease in the number of weekly meetings was to continue speeding up from the middle of the 17th. century on, following the official establishment of the mansion for tha grand vizier (Paşa Kapısı). The councils (divan toplantıları) held in the 18th. century failed to function properly and, during the second half of the century, faltering remarkably began to take place only once in three months. So, the proceedings within the scope of the Audience Building were assigned to the council (divan) that assembled in various places. The Private Audience Halls in the Third Court: The Conguerer's Kiosk (Fatih Köşkü): Fatih's (the Conquerer's) kiosk (1462( was planned as a Turkish House with extraordinary dimentions and an open columned portico in front. Built with a mixed style in the northeastern corner of the Inner Court (Enderun Avlusu) as a private residence it had a throne room, opening both to an isolated private loggia with a fountain and a protruding balcony, where official receptions were made. The Privy Chamber (Has Oda): Later towards the end of Fatih's reign (1477 - 1481) a new mansion having four domed square chambers with extending arms on two sides and porticos facing the Third and Fourth Courts was built in the nortwestern corner of the Third Court just opposite the former Kiosk of Fatih. İn the room at the corner of the complex facing the Golden Horn was the seat of the sultan until, Yavuz Sultan Selim I., in 1517 brought from Egypt the Holy Relics to Istanbul and decided to keep them there in the throne room. Another domed sguare chamber used for petitions (Arzhane) was annexed to this throne room that was also used as a place where the sultans were throned. Meanwhile in the adjacent domed square room at the front of which was another domed sguare chamber with a fountain, the sultan assemled from time to time the council members and made official receptions. The Chamber of Petitions (Arz Odası): The Chamber of Petitions, also, is connected to a royal gate, the Gate of Felicity (Bab üs saade) like the other audience complexes. First the Kiosk of Fatih, (Fatih Köşkü), soon after The Privy Chamber (Has Oda) was build as the privy chambers of Fatih for residential use, occasionally however they were used for official receptions before The Chamber of Petitions, which was build solely for official purposes. The Chamber of Petitions (Arz Odası), was completed during the second half o the fourteen seventies, a short time before the death of the Conqueror. It was a single, independent pavillion in the Ottoman style. It was extensively restored twice, the first during the reign of Sultan Süleyman, the Lawgiver, and the second, following the 1856 fire. And, obviously, the masonry core of the building and the broad porticosurrounding it on four sides preserved the original layout without undergoing any radical change. Besides the changes in the architectural details, the domed roof was converted to a flat one, and the slope of the roof was reduced, after 1856 fire. It seems that no major deviation from the basic function of the Chamber of Petitions occured in the course of time. After the end of the sixteenth century, however, weekly private audiences in the Chamber of Petitions began to take place less frequently. The decrease in the frequency of the private counsils may be due to the building of new kiosks in the outer gardens of the Palace such as, the İncili Kiosk and the Yalı Kiosk, at the end of the sixteenth century, during the reign of Sultan Murad HI., and the use of these pavilions for the private audiences from time to time. Pavillions and the Imperial Terraces in the Fouth Court: Contrary to the point of wiew that the Fourth Court is a private residental court it seems that most of the pavillions in the Fourth Court and different parts of the terrace are used for official meetings and receptions. Sünnet Odası (Circumcision Room), Bağdat and Sofa Kiosks, the Terrace of the Privy Chamber and, the Imperial Terrace (Sofa-i hümayun Taşlığı) the bronz baldachin throne (İftariyye Köşkü) according to historical referances were used as the meeting places of the council members and prominent officials. Outer Garden Pavilions (Has Bahçe Köşkleri): Allmost all of them ruined today the Garden Pavillions mainly traised from the historical texts, embassies reports, and travelers notes etc, prove that many of the garden pavillions were used for private and sometimes for public audiences. One of the earliest known kiosks (1472) in the private royal garden (Has Bahçe) of the sultan was the Tiled Pavillion (Çinili Köşk) with four aiwans forming a cruciform plan and four corner rooms, where private audiences are thought to be held in the half octagonal projiction at the end of the northwestern aiwan. The Kiosk of Sultan Bayezid II. (1481 - 1512) sorrounded by a wooden portico situated on the plot where Yah Kiosk was going to be built later, is known to be used for private audiences. Built in 1590's the Shore Kiosk (Yah Köşkü) with a cruciform plan, in the center of which was a domed sofa where the sultans throne was seated and private audiences held. The Pearled Kiosk (İncili Kiosk) was another mansion of the sultan built in 1590's, on the Marmara Sea Walls where official meetings were held in the Divanhane consisting of a main central hall (sofa) and a half sofa on the sea faca de extending towards the sea. And also the Kiosk of the Basket Makers (Sepetçiler Kasrı) was also used for such audiences. Being dependent on the royal audiences assembling in Kubbealti, the need for the Chamber of Petitions decreased corresponding with the regressing frequency of xithe kubbealtı audiences. In the middle of the 17th. century, after the mansion of the grand visier (Sadrazam Konağı) was officially established, the audiences in Kubbealtı were begun to be held noticibly less frequently, beginning with two cessions a week, and, finally, coming down to once in a quarter. This process, in its turn, influenced the audiences in the Chamber of Petitions, which began to take place less frequently, too. The construction of the latest kiosks in the Fourth (Garden) Court of the palace, (Bağdat and Sofa Pavilions) and the kiosks on the shore of the Golden Horn (Yah Köşkü) and the sea of Marmara (İncili Köşk) during the first half of the 17th. century and the use of them, like the pavilions formerly built, for private audiences whenever wished, resulted in the loss of importance of the Chamber of Petitions as a private audience complex. In the mid eighteenth century, the Chamber of Petitions, as well as Kubbealtı, came to function as buildings for the quarterly payments of soldiers and accepting the presents brought by the ambassadorial officials. The Chamber of Petitions had ceased to be a building where important decisions to rule the state were taken and was converted to be merely a place for pomp and circumstance. xu
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