Yekta Demiralp Anısına Sanat Tarihi Yazıları (Editörler: Şakir Çakmak, Ertan Daş, Bozkurt Ersoy, Sevinç Gök İpekçioğlu, İnci Kuyulu Ersoy, Hasan Uçar), 2020
Hastane Mound which is in the vicinity of the ancient city of Thyateira, is located in the oldest... more Hastane Mound which is in the vicinity of the ancient city of Thyateira, is located in the oldest settlement in the Akhisar district of Manisa. In excavations of Hastane Mound carried out in 2014-2018 fifteen clay figurines were found. One of the figurines is almost in intact condition and the remaining fourteen are in fragmentary pieces. Among the examined samples only species of two almost intact dog figurines with heads present and two horse figurines with parts of the heads preserved were identified. Three of the seven body sections found in the excavation should belong to either to horses, mules or donkeys. Among other samples include part of four bodies and five legs of whose species couldn’t be identified. Among these roughly hand-shaped and easy to carry three-dimensional figurine samples, which were probably functioned as toys for kids to play with, only one of them has the function as a whistle. The majority of the figurines are pasted with red earthenware and are primed yet only one is glazed. It is highly probable that all of the figurines were baked in two ceramic kilns found in the excavation area. Samples from the Hastane Mound Excavation dated to the 14th-16th century introduce new additions to the existing clay
figurines of the Turkish period.
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Papers by Gökben Ayhan
In Turkish culture, especially in line with the family’s understanding of privacy, the canopies used to watch the street have been architectural elements that beautify traditional houses. It was built on the facades of the houses facing the street, bringing harmony to the street silhouette. The outcrops shaped according to climate, nature and traditions played an important role in the formation of the character of the street. The ledges, which form the most popular corner of the house, have been the areas where the tiredness of the day is relieved by resting and chatting on the sofas inside.
In Ula, where there are more than two hundred houses today, a limited number of bow window have been found, including a total of four houses among the buildings in question. In the district, Bekir Ağa (Muammer Ağa), Meşrure Özbay (Suna Hanım), Gökalp Gündüz and Varol Eroğlu (Captains) Houses have ledges but these buildings are impressive with their facades. All the examples in Ula have a common feature in that they are built in rectangular form and the house cover is continued in this part as well. The fact that the houses are located on smooth parcels is reflected in the symmetry of the facades of the buildings. Mostly, the bow windows are positioned in the middle of the street-facing façade of the middle hall on the upper floor of the houses in Ula. In general, in accordance with the characteristics of Ula houses, the bow windows are kept simple. For the first time, in this study, the architectural element in Ula houses was discussed in detail and the place of the examples in themselves and in Turkish art was tried to be revealed.
Glazed pipes are produced in two styles, Western and Eastern style pipe. It has been applied to the types produced with and without heels of Western style examples. In the Eastern style examples, besides the different types of bowls such as flattened round bowls, cylindrical bowls and tulip bowls, there are also special examples that go beyond the general types, such as in the form of shoes. The use of glaze can be seen both in the two-part mold making pipes and the pipes produced using the potter’s wheel. Glazed pipes are made of grey and kaolin clay or red clay. There is diversity in glaze colors. Light or dark green, opaque white, light or dark yellow, black and brown glazed samples of glazed pipes are found. Its visuality sometimes has been increased with herbal, geometric, figured
or written ornaments applied to glazed bowls.
As a result, while samples of Eastern style glazed pipes can be found especially in Ottoman area; one-piece pipes are mostly encountered in Central Europe. In this context, it is determined that the spreading area of three-part glazed pipes are wider than the one-piece ones. Eastern style glazed pipes may have affected Western style pipe or both types may have been influenced by each other
figurines of the Turkish period.
ABSTRACT
The subject of this essay is the marble sermon platform of Karaoğlu Mosque which was built in Birgi Sarı Bey Street by Karaoğlu Mustafa Efendi towards the end of 18th century, planned in rectangular shape braided with rubble stones and brick pieces and covered with dome. Although the sermon platform apart from pulpit which are among the supplementary elements of mosque was built in the same period of building, it reflects the ornamental perception of the period. The sermon platform which is explained in details for the first time in this study is fixed on the wall towards the south edge of east wall of inner space. Westernization period ornamentation elements composed of oyster shell form, fruit plate, curtain motif, cypress tree and S and C curls were embroidered altogether. As a rare sample on which all of these ornaments are seen in the sermon platform, it was determined that this sermon platforms has an exclusive place with its different ornamentation among sermon platforms in Turkish-Islam Art. This sermon platform is accepted as one of the most distinctive samples of ornamentation repertory of Westernization period in Birgi. Westernization period ornamental repertory on sermon platform of Karaoğlu Mosque were embroidered in a similar style both with various works in Istanbul such as fountains, public fountain, gravestones and with the works observed out of Istanbul.
Various numbers of pipes were produced both in Istanbul and in the central Anatolia in the Ottoman Empire. They are usually called in respect to the shape of their bowls. Pipes vary in their figuration, ornamentation and types. Geometric, plantal, written or figurative ornamentations might be seen either all together or each separately on pipes. Lion, mask or bird depictions might be seen among the samples of figurative. In light of the scientific articles in the field, the number of the pipes with bird depictions can be said to be much further than the pipes with lion and mask depictions. On this article, the primary aim of this article is about the pipes with figurative bird ornamentations. On the other hand, it should be underlined that the number of the pipes with bird depictions is not plentiful when the found-examples are taken into consideration. It is noteworthy that this figure has been used in times with pleasure.
This article, therefore, aims at analyzing and clarifying on which pipes bird depictions are represented, on which part of the pipes those depictions are located in and to what extent the bird depictions are represented either separately or with some other figurative decorations. Found in various places, the pipes with bird ornamentations are also going to be considered in comparison to other bird decorations existing in some other branches of arts in the rubric of Islamic Art.
Key Words: pipe, clay, type, ornament, bird figure
Smyrna lüleleri, Agora ve çevresinde yoğun lüle kullanımının olduğunu göstermekle birlikte bu kadar yoğun lüle buluntusu, yakınlarda bir kahvehane veya imalathanenin varlığına işaret etmektedir. Ancak lülelerin büyük çoğunluğunun kullanılmış olması ilk ihtimali kuvvetlendirmektedir.
2007-2008 yıllarına ait tarihi tespit edilebilen Smyna lüleleri, 17.yüzyılın başı ile 20.yüzyılın başı arasına tarihlenmektedir. Örnekler, lüle üretiminin başından sonuna kadarki dönemi kapsamaktadır.
Smyrna örneklerinin bire bir benzerlerine diğer merkezlerde görmek mümkündür. Bu bağlamda Smyrna’da ele geçen lüleler, zengin bir lüle panoraması sunmaktadır.
In Turkish culture, especially in line with the family’s understanding of privacy, the canopies used to watch the street have been architectural elements that beautify traditional houses. It was built on the facades of the houses facing the street, bringing harmony to the street silhouette. The outcrops shaped according to climate, nature and traditions played an important role in the formation of the character of the street. The ledges, which form the most popular corner of the house, have been the areas where the tiredness of the day is relieved by resting and chatting on the sofas inside.
In Ula, where there are more than two hundred houses today, a limited number of bow window have been found, including a total of four houses among the buildings in question. In the district, Bekir Ağa (Muammer Ağa), Meşrure Özbay (Suna Hanım), Gökalp Gündüz and Varol Eroğlu (Captains) Houses have ledges but these buildings are impressive with their facades. All the examples in Ula have a common feature in that they are built in rectangular form and the house cover is continued in this part as well. The fact that the houses are located on smooth parcels is reflected in the symmetry of the facades of the buildings. Mostly, the bow windows are positioned in the middle of the street-facing façade of the middle hall on the upper floor of the houses in Ula. In general, in accordance with the characteristics of Ula houses, the bow windows are kept simple. For the first time, in this study, the architectural element in Ula houses was discussed in detail and the place of the examples in themselves and in Turkish art was tried to be revealed.
Glazed pipes are produced in two styles, Western and Eastern style pipe. It has been applied to the types produced with and without heels of Western style examples. In the Eastern style examples, besides the different types of bowls such as flattened round bowls, cylindrical bowls and tulip bowls, there are also special examples that go beyond the general types, such as in the form of shoes. The use of glaze can be seen both in the two-part mold making pipes and the pipes produced using the potter’s wheel. Glazed pipes are made of grey and kaolin clay or red clay. There is diversity in glaze colors. Light or dark green, opaque white, light or dark yellow, black and brown glazed samples of glazed pipes are found. Its visuality sometimes has been increased with herbal, geometric, figured
or written ornaments applied to glazed bowls.
As a result, while samples of Eastern style glazed pipes can be found especially in Ottoman area; one-piece pipes are mostly encountered in Central Europe. In this context, it is determined that the spreading area of three-part glazed pipes are wider than the one-piece ones. Eastern style glazed pipes may have affected Western style pipe or both types may have been influenced by each other
figurines of the Turkish period.
ABSTRACT
The subject of this essay is the marble sermon platform of Karaoğlu Mosque which was built in Birgi Sarı Bey Street by Karaoğlu Mustafa Efendi towards the end of 18th century, planned in rectangular shape braided with rubble stones and brick pieces and covered with dome. Although the sermon platform apart from pulpit which are among the supplementary elements of mosque was built in the same period of building, it reflects the ornamental perception of the period. The sermon platform which is explained in details for the first time in this study is fixed on the wall towards the south edge of east wall of inner space. Westernization period ornamentation elements composed of oyster shell form, fruit plate, curtain motif, cypress tree and S and C curls were embroidered altogether. As a rare sample on which all of these ornaments are seen in the sermon platform, it was determined that this sermon platforms has an exclusive place with its different ornamentation among sermon platforms in Turkish-Islam Art. This sermon platform is accepted as one of the most distinctive samples of ornamentation repertory of Westernization period in Birgi. Westernization period ornamental repertory on sermon platform of Karaoğlu Mosque were embroidered in a similar style both with various works in Istanbul such as fountains, public fountain, gravestones and with the works observed out of Istanbul.
Various numbers of pipes were produced both in Istanbul and in the central Anatolia in the Ottoman Empire. They are usually called in respect to the shape of their bowls. Pipes vary in their figuration, ornamentation and types. Geometric, plantal, written or figurative ornamentations might be seen either all together or each separately on pipes. Lion, mask or bird depictions might be seen among the samples of figurative. In light of the scientific articles in the field, the number of the pipes with bird depictions can be said to be much further than the pipes with lion and mask depictions. On this article, the primary aim of this article is about the pipes with figurative bird ornamentations. On the other hand, it should be underlined that the number of the pipes with bird depictions is not plentiful when the found-examples are taken into consideration. It is noteworthy that this figure has been used in times with pleasure.
This article, therefore, aims at analyzing and clarifying on which pipes bird depictions are represented, on which part of the pipes those depictions are located in and to what extent the bird depictions are represented either separately or with some other figurative decorations. Found in various places, the pipes with bird ornamentations are also going to be considered in comparison to other bird decorations existing in some other branches of arts in the rubric of Islamic Art.
Key Words: pipe, clay, type, ornament, bird figure
Smyrna lüleleri, Agora ve çevresinde yoğun lüle kullanımının olduğunu göstermekle birlikte bu kadar yoğun lüle buluntusu, yakınlarda bir kahvehane veya imalathanenin varlığına işaret etmektedir. Ancak lülelerin büyük çoğunluğunun kullanılmış olması ilk ihtimali kuvvetlendirmektedir.
2007-2008 yıllarına ait tarihi tespit edilebilen Smyna lüleleri, 17.yüzyılın başı ile 20.yüzyılın başı arasına tarihlenmektedir. Örnekler, lüle üretiminin başından sonuna kadarki dönemi kapsamaktadır.
Smyrna örneklerinin bire bir benzerlerine diğer merkezlerde görmek mümkündür. Bu bağlamda Smyrna’da ele geçen lüleler, zengin bir lüle panoraması sunmaktadır.