Publication: Klasik devir İstanbul hanedan türbelerinde tezyinat
Abstract
Osmanlılar mimarî alanda Selçuklulardan farklı yol izleyerek, serdaplı ve külahlı künbedlerden vazgeçip, kubbeli türbe tipini geliştirmişlerdir. Bu değişiklik, yapının tezyînâtına da aksetmiştir. Klasik Devir İstanbul Hanedan Türbeleri'nin tezyînât esasları, Bursa döneminde belirmeye başlayarak, İstanbul'da gelişmiştir. Plan ve biçim bakımından gelişen mimarî ile tezyînât, Klasik Devir'de estetik zirveye ulaşmıştır . Abidevî görünüm sağlamak için türbenin gövdesi yükseltilip çift cidarlı kubbe sistemine geçilmiştir. Harim çift veya üç sıra pencereyle aydınlatılmıştır. Cepheler, profilli silmelerle şekillenirken, sınırlı ölçüde renklitaş kullanılmıştır. Türbelerde revak vazgeçilmez unsur olmuştur. İlk dönemlerde bursakemerliyle şekillenen taçkapılar daha sonra, sivri kemerli veya mukarnaslı, klasik şeklini almıştır. İstanbul üslûbunun asıl inşa malzemesi taştır. Ancak bazı yapılar mermerle kaplanmıştır. Dış cephelerde çini kullanımına son verilmiştir. Kubbe içlerinde malakârî ve rası'kârî tekniği kullanılmıştır. Türbelerde tezyînât plana göre değişse de, genel hatlarıyla açık ve kapalı türbeler olarak iki grupta değerlendirilebilir. Yapının tezyînâtı cephe, revak, kapı ve pencerelerde veya sanduka ve şâhidelerde belli esasa göre uygulanmıştır. Tezyînâtın bir bölümünü de taşınabilir eşyalar oluşturmaktadır. Klasik Devir Osmanlı tezyînâtı, Acemî ve Rumî üslûpların tesirinden kurtularak; İstanbul üslûbu oluşturulmuştur. Nakışlar, strüktüre uyum sağlayacak şekilde düzenlenmiştir. Bütün malzemelere, aynı esaslara uygun bezemeler uygulanmıştır. Nakışlar konularını daha çok tabiattan almışlardır. Nebatî nakışlar gelişerek süslemede ağırlık kazanmıştır. Rumî ve hatayîler ortak zeminde kullanılmış, bunların arasına bulut, benek ve peleng nakışları da katılmıştır. Canlı tasvirlerden sakınılmıştır. Geometrik tezyînât kendine mahsus yerlerde önemini korumuştur. Bazı âyet, duâ, evrâd ve ölümü hatırlatan öğüt verici ibareler türbede yatan şahısla da irtibatlandırılarak, tezyînâta farklı bir maneviyât kazandırılmıştır. Sonuç olarak Osmanlı türbe mimarisi ve tezyînâtındaki yenilik arayışları Bursa'da başlatılarak İstanbul'da geliştirilmiş, estetik nispetlerine ve klasik çizgisine Sinan Mektebi'yle oturmuştur.
The Ottomans followed a different path from Seljukids giving up the type of crypt and conical hat and developed the type of tomb with dome. This modification has been reflected in the decoration of the construction, too. The principles of the decoration of dynasty tombs of classical age Istanbul has appeared in Bursa and has been further developed in Istanbul. Parallel with the developments in the architecture from the perspectives of plan and form, decoration aesthetically has reached its' zenith in the classical period. In order to maintain a monumental view the main body of the tomb has been lifted up and a system of double wall dome has been applied. The harem has been illuminated via two or three lines of windows. The front part has been shaped via profiled moldings and colorful stones have rarely been used. Colonnade could never be given up. The portal, which had been shaped with basket handled, has taken their classical shape as with mukarnas or pointed arch. The main construction material in the Istanbul style is stone. However, some constructions have been covered by marble. The use of tiles on the exterior parts has ceased. Inside the domes the techniques of malakârî and tarsi has been used. Even though the decoration program changes according to plan in the tombs, in general they can be evaluated in two groups as open and closed. The decoration of the construction has been applied following some principles in the front, colonnade, door and windows or sarcophagus and tombstones. Some of the decoration consists of movables. The classical Ottoman decoration has freed itself from Persian and Rumî influences and developed the Istanbul type. Ornaments have been arranged so that they fit to the structure. To all material similar ornaments has been applied. Ornaments have taken their subjects mainly from the nature. Botanical ornaments have developed and gained importance in decoration. Rumî and Hatayî ornaments have been used in the same surface and between them ornaments of clouds, spots and peleng. Descriptions of living creatures have been avoided. Geometrical decoration was still important at some fields. Some verses of Koran, prayers, rosary, and some advisory statements which remember death has been related to the person in the tomb and with this, the decoration has gained a different meaning. As a result, the Ottoman tomb architecture and search for innovations in its decoration has began in Bursa, developed in Istanbul and reached to its aesthetic ratios and classical type with the school of Sinan.
The Ottomans followed a different path from Seljukids giving up the type of crypt and conical hat and developed the type of tomb with dome. This modification has been reflected in the decoration of the construction, too. The principles of the decoration of dynasty tombs of classical age Istanbul has appeared in Bursa and has been further developed in Istanbul. Parallel with the developments in the architecture from the perspectives of plan and form, decoration aesthetically has reached its' zenith in the classical period. In order to maintain a monumental view the main body of the tomb has been lifted up and a system of double wall dome has been applied. The harem has been illuminated via two or three lines of windows. The front part has been shaped via profiled moldings and colorful stones have rarely been used. Colonnade could never be given up. The portal, which had been shaped with basket handled, has taken their classical shape as with mukarnas or pointed arch. The main construction material in the Istanbul style is stone. However, some constructions have been covered by marble. The use of tiles on the exterior parts has ceased. Inside the domes the techniques of malakârî and tarsi has been used. Even though the decoration program changes according to plan in the tombs, in general they can be evaluated in two groups as open and closed. The decoration of the construction has been applied following some principles in the front, colonnade, door and windows or sarcophagus and tombstones. Some of the decoration consists of movables. The classical Ottoman decoration has freed itself from Persian and Rumî influences and developed the Istanbul type. Ornaments have been arranged so that they fit to the structure. To all material similar ornaments has been applied. Ornaments have taken their subjects mainly from the nature. Botanical ornaments have developed and gained importance in decoration. Rumî and Hatayî ornaments have been used in the same surface and between them ornaments of clouds, spots and peleng. Descriptions of living creatures have been avoided. Geometrical decoration was still important at some fields. Some verses of Koran, prayers, rosary, and some advisory statements which remember death has been related to the person in the tomb and with this, the decoration has gained a different meaning. As a result, the Ottoman tomb architecture and search for innovations in its decoration has began in Bursa, developed in Istanbul and reached to its aesthetic ratios and classical type with the school of Sinan.