Publication: Türk sanatında altı köşeli yıldız
Abstract
Bu tezin hazırlama aşamasında birçok kaynak değerlendirilerek altı köşeli yıldız sembolünün dünden bugüne kimliği ve evrimi incelenmiştir. Altı köşeli yıldız ilkçağ öncesi kültürlerde sanatsal değerinden ziyade farklı mistik anlamları içinde barındıran bir sembol olarak göze çarpmaktadır. Sembol üç semavi dinde ve farklı felsefi görüşlerde kullanılıyor olmasına rağmen insanlar tarafından bugün Yahudileri çağıştırmakta olup Yahudilerin ulusal-dini kimliklerinin bir parçası olmuştur. Bezeme sanatlarında ise altı köşeli yıldız düz, kırık ve kapalı şekillerin birbirine geçmesiyle elde edilmiş bunun sonucunda sonsuz kompozisyonlar yaratılmış; bu kompozisyonlar taş, tuğla, çini ağırlıklı olmak üzere hemen hemen her malzemeye uygulanmıştır. Altı köşeli yıldız özellikle İslamiyetten sonra insan ve hayvan figürlerinin yerini alan geometrik kompozisyonların merkezinde bulunmaktadır. Geometrik kompozisyonların belirli, sürekli ve tutarlı bir hale gelmesi Karahanlı ve Büyük Selçuklu dönemlerinde gerçekleşmiştir. Erken devir Anadolu-Türk Mimarisinin tezyinatı sınırlı olmakla birlikte 13. yüzyıl ortalarına kadar çeşitli yöresel farklılıkların etkisi altında kalmış; 11. yüzyıldan sonra geometrik kompozisyonlar belirli formüllere bağlanarak değişik oyma tarzlarıyla üretilmiştir. Anadolu Selçuklu mimari tezyinatı ile Anadolu Beyliklerinin mimari süslemelerini birbirinden kesin çizgilerle ayırmak çok zordur. 14. yüzyıl özellikle mimari eserlerin dış cephe süslemelerinde sadeliğe doğru gidilen bir dönemdir. 13. yüzyılda gelişmiş olan geometrik kompozisyonlarda doğadan alınmış motiflere doğru bir geçiş olmuştur. Türk çini sanatının Uygurlara kadar uzanan çok eski bir geçmişi vardır. Mimariye bağlı olarak gelişen çini sanatı Anadolu’ya Selçuklular’la girmiş farklı teknikler uygulanarak Anadolu-Türk mimarisinde çok zengin örnekler verilmiştir. Osmanlı sanatında altı köşeli yıldız sembolü ağırlıklı olarak taş, çini ve ahşap malzemeye uygulanmış çini sanatında mozaik tekniği yerine tek renkli sır altı tekniğine bırakmış, ahşap malzeme de ise genellikle Selçuklu geleneği devam etmiştir. Altı köşeli yıldız sembolü Osmanlı sanatında camilerin cümle kapılarına, tabhane ve eyvan duvarlarının alt bölümlerine ve minberlerin şebekelerinde yer yer görülmektedir. Özel bir altı köşeli yıldız olan; iki eşkenar üçgenin zıt yönde iç içe geçmesi sonucunda oluşan Mühr-i Süleyman sembolü Anadolu Türk sanatında hemen hemen her malzemeye uygulanan, farklı içsel anlamlar taşıyan bir değerdir. Fakat bu sembol birtakım dar görüşlü ve bilinçsiz insanlar tarafından özgün yerlerinden çıkarılmış veya yok edilmiştir. Altı köşeli yıldız formu farklı tiplerde çeşitli malzemelerle uygulanarak görsel bir çeşitlilik sağlanmıştır.
At the preparation phase of this thesis, many sources have been evaluated, the identity and the evolution of the six pointed star symbol from yesterday until today examined. The six pointed star appears in the pre-historic cultures as a symbol, which contains different mystical meanings rather than having an artistic value. Although it is being used at the three monotheistic religions and at the various philosophical viewpoints, the symbol reminds of the Jews and has become a part of the religious-national identity of the Jews. In the adornment arts, the six pointed star was created through weaving of the straight, broken and closed fıgures, as a result of this, endless compositions were created; those compositions were applied upon almost every material, with stone, brick, tiles, being the principle ones. The six pointed star is at the center of the geometrical compositions, which have taken the place of the human and animal fıgures, especially after the emerging of Islam. The becoming of the geometrical compositions clear, continuous, and consistent has occured during the Karahanid and Great Seldjuk periods. Although the decoration of the early-period Anatolian-Turkish architecture being limited, it was influenced by various local differences until the mid-13th century; after the 11th century, the geometrical compositions were subjected to certain formulas and produced with different carving styles. It is very diffıcult to distinguish with bold lines the decoration of the Anatolian Seldjukian architecture from the architectoral decoration of the Anatolian principalities. The 14th century is especially a period, in which the decorations of the outer facades of the architectural works the tendency to more simplicity prevailed. In the geometric compositions which were developed in the 13th century, a passage to motives had occured, which were taken from the nature. The Turkish tile art has a very old past, which stretches back until the Uigurs. The tile art, which developed dependent to the architecture, has entered Anatolia with the Seldjuks, by applying various techniques, very rich examples were created in the Anatolian-Turkish architecture. In the Otoman art, the symbol of the six pointed sta was applied mainly on stones, tiles and wooden materials; in the art of tiles, the technique of mosaics gave way to one-colored under-silvering technique, but in the wooden materials, the Seljdukian tradition generally continued. The symbol of the six pointed star is seen partly in the Otoman art, at also the entry gates of the mosques, at the lower parts of the walls of the artillery houses, the tabhane’s, the big halls and at the networks of the altars. The symbol of the seal of Salomon, which was formed through he crossing of two equilateral triangles, and constitutes a special six pointed star, is in the Anatolian Turkish art a value, which is applied to almost every material and bears different iner meanings. But this symbol was removed by some narrow minded and unconscious peaple from its original locations or destroyed. By applying the six pointed star form in various types and materials, a visual diversity has been created.
At the preparation phase of this thesis, many sources have been evaluated, the identity and the evolution of the six pointed star symbol from yesterday until today examined. The six pointed star appears in the pre-historic cultures as a symbol, which contains different mystical meanings rather than having an artistic value. Although it is being used at the three monotheistic religions and at the various philosophical viewpoints, the symbol reminds of the Jews and has become a part of the religious-national identity of the Jews. In the adornment arts, the six pointed star was created through weaving of the straight, broken and closed fıgures, as a result of this, endless compositions were created; those compositions were applied upon almost every material, with stone, brick, tiles, being the principle ones. The six pointed star is at the center of the geometrical compositions, which have taken the place of the human and animal fıgures, especially after the emerging of Islam. The becoming of the geometrical compositions clear, continuous, and consistent has occured during the Karahanid and Great Seldjuk periods. Although the decoration of the early-period Anatolian-Turkish architecture being limited, it was influenced by various local differences until the mid-13th century; after the 11th century, the geometrical compositions were subjected to certain formulas and produced with different carving styles. It is very diffıcult to distinguish with bold lines the decoration of the Anatolian Seldjukian architecture from the architectoral decoration of the Anatolian principalities. The 14th century is especially a period, in which the decorations of the outer facades of the architectural works the tendency to more simplicity prevailed. In the geometric compositions which were developed in the 13th century, a passage to motives had occured, which were taken from the nature. The Turkish tile art has a very old past, which stretches back until the Uigurs. The tile art, which developed dependent to the architecture, has entered Anatolia with the Seldjuks, by applying various techniques, very rich examples were created in the Anatolian-Turkish architecture. In the Otoman art, the symbol of the six pointed sta was applied mainly on stones, tiles and wooden materials; in the art of tiles, the technique of mosaics gave way to one-colored under-silvering technique, but in the wooden materials, the Seljdukian tradition generally continued. The symbol of the six pointed star is seen partly in the Otoman art, at also the entry gates of the mosques, at the lower parts of the walls of the artillery houses, the tabhane’s, the big halls and at the networks of the altars. The symbol of the seal of Salomon, which was formed through he crossing of two equilateral triangles, and constitutes a special six pointed star, is in the Anatolian Turkish art a value, which is applied to almost every material and bears different iner meanings. But this symbol was removed by some narrow minded and unconscious peaple from its original locations or destroyed. By applying the six pointed star form in various types and materials, a visual diversity has been created.