Publication: HAT SANATININ MİMAR SİNAN ESTETİĞİNE KATKILARI
Abstract
Mimar Sinan, eserlerinde nispet, âhenk ve sadeliğe çok önemvermiş olan büyük bir sanatkârdır. Bani talebinden kaynaklanan bazıistisnalar dışında tezyinatta mübalağadan kaçınmıştır. Eserlerinde,bilhassa camilerde, yazıyı da genellikle dengeli ve yerli yerindekullanmıştır. Hat sanatının hem manevî hem estetik gücünden en iyişekilde yararlanmasını bilmiştir. Böylelikle mimarinin gücüne veazametine yeni boyut daha ilave edilmiştir.Mimar Sinan eseri olan camilerdeki yazıların bir kısmı orijinalolup bazıları ise sonradan eklenmiştir. Orijinal yazılar genellikletaşa/mermere mahkûk kitabelerle çini üzerindeki yazılardır. Bunlardanbazılarının ketebesi mevcut olup hattatı biliniyorken bazılarının hattatıbilinmemektedir. Sinan eserlerindeki yazıların büyük bir kısmı devrinen meşhur, en iyi hattatlarına aittir. Zamana direnci en zayıf yazılarsıva üzerine kalemişi olarak tatbik edilenler olduğu için bunlarsonradan yenilenmiştir. Bu tamirat esnasında bir kısım orijinal yazılarehil olmayan ellerde ziyan olmuştur. İbareler yerine göre seçilmiş olupmekân-anlam ilişkisi gözetilmiştir. Mimar Sinan eserlerinin pekçoğunda, meşhur hattatların veya bazı padişahların imzalarını taşıyanlevhalar da mevcut olmakla birlikte, bunlar ayrı bir araştırma konusuolacak hacimdedir.Bu çalışmada, Mimar Sinan’ın önemli camilerinden hareketleyazıya verdiği ehemmiyet, kitabelerin mimarî ile uyumu, yazıların hatestetiği bakımından değeri ve camilere kazandırdığı manevi atmosfergibi hususlar üzerinde durulacaktır. Ayrıca, farklı yapılarda bunlarlailişki kurulabilecek kitabeler varsa onlara da temas edilecektir. Bazıkitabelerle ilgili ihtilaflı görüşler tartışılacaktır.
Architect Sinan was a great artist, who substantially underscored_x000D_ proportion, harmony and simplicity. Unless requested by the funders,_x000D_ he avoided exaggerated ornaments in his works. He used inscriptions_x000D_ coherently and properly in his works, especially in mosques. He made_x000D_ most out of the spiritual and aesthetic power of calligraphy, thereby_x000D_ adding a new dimension to magnificence and power of architecture._x000D_ Some calligraphy in mosques by Architect Sinan are original while_x000D_ some others have been added afterwards. Original calligraphy is usually_x000D_ seen as epigraphs engraved on stone/marble and inscriptions on tiles._x000D_ Calligrapher of some scripts are known whereas some others are_x000D_ anonymous. The calligraphy in Architect Sinan’s works mostly belongs_x000D_ to the best-known calligraphers of the era. Since hand-drawn_x000D_ calligraphy on plasters are the most vulnerable one, they were_x000D_ renovated later. Some original calligraphy was damaged and dissipated_x000D_ because of incompetent handling during renovations. Inscriptions were_x000D_ selected according to the relation between space and meaning. There_x000D_ are plates bearing signatures of well-known calligraphers and some_x000D_ Ottoman sultans in most works by Architect Sinan, which are out of the_x000D_ scope of this study._x000D_ This study focuses on the importance attached to calligraphy_x000D_ based on some important mosques built by Architect Sinan, the_x000D_ harmony between epigraphs and architecture, the value of inscriptions_x000D_ in terms of calligraphy aesthetics and the spiritual atmosphere they_x000D_ create in mosques. Besides, any other epigraphs on different structures_x000D_ that can be related with these will be also touched upon. Moreover,_x000D_ some controversial arguments about some epigraphs will be discussed._x000D_
Architect Sinan was a great artist, who substantially underscored_x000D_ proportion, harmony and simplicity. Unless requested by the funders,_x000D_ he avoided exaggerated ornaments in his works. He used inscriptions_x000D_ coherently and properly in his works, especially in mosques. He made_x000D_ most out of the spiritual and aesthetic power of calligraphy, thereby_x000D_ adding a new dimension to magnificence and power of architecture._x000D_ Some calligraphy in mosques by Architect Sinan are original while_x000D_ some others have been added afterwards. Original calligraphy is usually_x000D_ seen as epigraphs engraved on stone/marble and inscriptions on tiles._x000D_ Calligrapher of some scripts are known whereas some others are_x000D_ anonymous. The calligraphy in Architect Sinan’s works mostly belongs_x000D_ to the best-known calligraphers of the era. Since hand-drawn_x000D_ calligraphy on plasters are the most vulnerable one, they were_x000D_ renovated later. Some original calligraphy was damaged and dissipated_x000D_ because of incompetent handling during renovations. Inscriptions were_x000D_ selected according to the relation between space and meaning. There_x000D_ are plates bearing signatures of well-known calligraphers and some_x000D_ Ottoman sultans in most works by Architect Sinan, which are out of the_x000D_ scope of this study._x000D_ This study focuses on the importance attached to calligraphy_x000D_ based on some important mosques built by Architect Sinan, the_x000D_ harmony between epigraphs and architecture, the value of inscriptions_x000D_ in terms of calligraphy aesthetics and the spiritual atmosphere they_x000D_ create in mosques. Besides, any other epigraphs on different structures_x000D_ that can be related with these will be also touched upon. Moreover,_x000D_ some controversial arguments about some epigraphs will be discussed._x000D_