Publication: Memlûkler devri cam sanatı
Abstract
İslam sanatı İslam dininin ortaya çıkışı ve Müslüman devletlerin kuruluşuyla paralel bir gelişme göstermiştir. Fethedilen bölgelerin üretim ve sanat faaliyetleri Müslüman sanatkârları etkilemekle beraber Müslümanlarca desteklenerek geliştirilmiştir. İslam’ın yayılma gösterdiği ana bölge olan Doğu Akdeniz ve Mezopotamya, aynı zamanda üretim faaliyetlerinin pek çok türüne ev sahipliği yapan bölgedir. Cam sanatı bakımından da bölge, camın bulunuşundan en göz alıcı türlerinin üretimine kadar cam sanatının pek çok tekniğine ev sahipliği yapmıştır. Saltanat sistemine tabi olmayan ve başa geçen sultanların çocukluklarından itibaren özel bir eğitime tabi tutulduğu Memlûk Türk Devleti de bu bereketli topraklar üzerinde kurulmuştur. Devraldıkları kültür mirasını güzel şekilde taşıyıp kendi kültürleriyle de harmanlayan Memlûkler eliyle İslam sanatı, döneminin göz alıcı eserlerini ortaya çıkarmıştır. Bu çalışmada dünyanın farklı bölgelerine dağılmış Memlûklere nispet edilen eserler üzerinden bir inceleme yapılmıştır. İnceleme için ele alınan cam eserler fiziki durumları ve süslemeleri göz önüne alınarak seçilmiştir. Farklı form ve süslemelere sahip eserler incelendiğinde, Memlûklerin bölge itibariyle seleflerinden devraldıkları ve Orta Asya’dan getirmiş oldukları kültürel kodların birleşimiyle sanat ve üretim alanına yaptıkları katkı görülmektedir. Bu bileşimden neşet eden ve çalışmamızın odak noktasını oluşturan süslemelerin çeşitliliği ve gelişmiş formları dönemin sanat anlayışının zenginliğini gözler önüne sermektedir. Bilhassa, Doğu Roma ve Eyyûbîler tarafından da kullanılan mine ve altınla süsleme tekniği Memlûk Türk Devleti elinde en parlak dönemini yaşamıştır. Memlûklerde farklı tekniklerle uygulanan mineli süsleme, çeşitli tezyinî formların kullanılabilmesine imkân sağlamıştır. Bu çeşitlilik, adı halen Memlûklerle anılan mineli ve altınlı camların şöhretini arttırmıştır. Yapılan çalışmada mineli ve altınlı camların form ve süslemeleri incelenerek Memlûk dönemi cam eserlerinin tasnif ve değerlendirmesi sunulmuştur.
Islamic art has shown a parallel development with the emergence of the Islamic religion and the establishment of Muslim states. Although the production and art activities of the conquered regions influenced Muslim artisans, they were developed with the support of Muslims. The Eastern Mediterranean and Mesopotamia, the main region where Islam has spread, are also the region that hosts many types of production activities. In terms of glass art, the region has also been home to many techniques of glass art, from the discovery of glass to the production of the most eye-catching types. The Mamluk Turkish State, which was not subject to the sultanate system and where the sultans who took over were subjected to a special education from childhood, was also established on these fertile lands. Islamic art by the Mamluks, who carried the cultural heritage they inherited in a beautiful way and blended it with their own cultures, revealed the eye-catching works of its period. In this study, an examination has been made on the works related to the Mamluks scattered in different parts of the world. The glasswares considered for examination were selected taking into account their physical condition and decorations. When the works with different forms and ornaments are examined, it is seen that the Mamluks contributed to the field of art and production with the combination of the cultural codes they took over from their predecessors and brought from Central Asia. The diversity and advanced forms of the ornaments that originate from this combination and form the focal point of our work reveal the richness of the artistic understanding of the period. In particular, the enamel and gold decoration technique used by the Eastern Romans and Ayyubids had its heyday in the hands of the Mamluk Turkish State. Enamel decoration applied with different techniques in the Mamluks, made it possible to use various decorative forms. This variety has increased the reputation of enameled and gold glass, which is still known to the Mamluks. In the study, the forms and ornaments of enameled and gold glass were examined and the classification and evaluation of the glass works of the Mamluk period were presented.
Islamic art has shown a parallel development with the emergence of the Islamic religion and the establishment of Muslim states. Although the production and art activities of the conquered regions influenced Muslim artisans, they were developed with the support of Muslims. The Eastern Mediterranean and Mesopotamia, the main region where Islam has spread, are also the region that hosts many types of production activities. In terms of glass art, the region has also been home to many techniques of glass art, from the discovery of glass to the production of the most eye-catching types. The Mamluk Turkish State, which was not subject to the sultanate system and where the sultans who took over were subjected to a special education from childhood, was also established on these fertile lands. Islamic art by the Mamluks, who carried the cultural heritage they inherited in a beautiful way and blended it with their own cultures, revealed the eye-catching works of its period. In this study, an examination has been made on the works related to the Mamluks scattered in different parts of the world. The glasswares considered for examination were selected taking into account their physical condition and decorations. When the works with different forms and ornaments are examined, it is seen that the Mamluks contributed to the field of art and production with the combination of the cultural codes they took over from their predecessors and brought from Central Asia. The diversity and advanced forms of the ornaments that originate from this combination and form the focal point of our work reveal the richness of the artistic understanding of the period. In particular, the enamel and gold decoration technique used by the Eastern Romans and Ayyubids had its heyday in the hands of the Mamluk Turkish State. Enamel decoration applied with different techniques in the Mamluks, made it possible to use various decorative forms. This variety has increased the reputation of enameled and gold glass, which is still known to the Mamluks. In the study, the forms and ornaments of enameled and gold glass were examined and the classification and evaluation of the glass works of the Mamluk period were presented.