About Use With The Tamgas of “God” and “Paradise” in Turkish Art, 2022
İnanış noktasında, Tanrı ve Cennet gibi kavramlardan her biri genellikle semavi dinlere inanan ki... more İnanış noktasında, Tanrı ve Cennet gibi kavramlardan her biri genellikle semavi dinlere inanan kişilerin karşılaştığı öncelikli kutsal kavramlardandır. Bu iki kavramın sanata yansımaları, soyut birer kavram oldukları için, semboller yoluyla olmak durumundadır. Türk sanatında yer alan sembolik işaretlerin kullanımı, damga vurma geleneği ile doğrudan bağlantılıdır. Damga, Türk devletlerinin ve halklarının kendi benliklerini yansıttığı simgeler olarak, hemen her türlü malzemede kullanılmıştır. Türk sanatında karşılaşmış olduğumuz Tanrı ve Cennet damgalarının beraber kullanımı, Orta Asya'dan ve İran bölgesinden Anadolu'ya kadar, yoğunlukla mimari gelenek yoluyla taşınmıştır. Çalışmamızda örneklerle izlerini takip ettiğimiz bu kutsal geleneğin taş, alçı, tuğla, kerpiç, çini gibi pek çok malzemede, ince bir işçilikle uygulandığını görmekteyiz. Birer sanat eseri olarak üretilmiş bu damgaların beraber kullanımı, Cennet ve Tanrı kavramlarının, insan zihnindeki anlamlarının benzerlik göstermesi ile yakından ilgilidir. Bu çalışmada, Türk damgalarından kutsallık ifade eden Tanrı ve Cennet damgalarının beraber kullanımı, anlam noktasında irdelenmiş ve sorgulanmıştır.
- At the point of belief, each of the concepts such as God and Heaven is generally one of the primary sacred concepts that people who believe in monotheistic religions encounter. The reflections of these two concepts on art since they are abstract concepts have to be through symbols. The use of symbolic signs in Turkish art is directly related to the stamping tradition. The stamp has been used in almost all kinds of materials as symbols reflecting the Turkish states and peoples identities. The joint use of the stamps of God and Heaven which we have encountered in Turkish art has been carried extensively through architectural tradition from Central Asia and Iran to Anatolia. In our work we see that this sacred tradition whose traces we follow with examples is applied with fine craftsmanship on many materials such as stone, plaster, brick, adobe and tile.
The use of these stamps produced as works of art is closely related to the similarity between the concepts of Heaven and God in the human mind. In this study, the use of God and Heaven stamps which express holiness from Turkish stamps was examined and questioned in terms of meaning.
Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi
Türkler tarih sahnesine çıktıkları dönemden itibaren, hayvanlarına, kulanım eşyalarına ve inşa et... more Türkler tarih sahnesine çıktıkları dönemden itibaren, hayvanlarına, kulanım eşyalarına ve inşa ettikleri küçük veya büyük mimari eserlere ait olduklarını düşündükleri boylarının damgalarını vurmayı gelenek haline getirmişlerdir. Anadolu'nun fethinde rol alan Türk boyları, fethettikleri yerlere de çoğunlukla kendi boy adlarını vermişlerdir. Bu boyların en etkili olanlarından biri de Kayı boyudur. Kayı boyu damgasının sadece damga olarak değil damga-motif olarak ta kullanıldığını görmekteyiz. Bu çalışma Selçuklu'dan Osmanlı'ya bu damganın mimaride damga-motif kullanımı üzerinedir.
Mulkiyet, aidiyet ve bagimsizlik unsuru olarak neredeyse insanlik tarihi yasit olan Tamga-Damga, ... more Mulkiyet, aidiyet ve bagimsizlik unsuru olarak neredeyse insanlik tarihi yasit olan Tamga-Damga, hic suphesiz Turk kulturunun de vazgecilmez uygulamalarindandir. Damgalar- Tamgalar; boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi isaretler olarak Turk tarihinin erken devirlerinden itibaren hemen her turlu malzemede karsimiza cikmaktadir. Ancak, zaman icerisinde bazilari harflere donuserek yaziya gecmis, bazilari da geometrik suslemeleri olusturan kompozisyonlar icerisinde esas anlamindan kismen uzaklasarak kompozisyonun bir elemanina donusmustur. Ozellikle 12. yuzyildan sonraki geometrik suslemenin yapicisi muhtemelen ne yaptiginin farkinda olsa da, daha sonraki zamanlarda onu seyredenler ayni anlami okumakta zorlanmakta, hatta okuyamamaktadirlar. Bu bildiri, plastik sanatlarin farkli kollarinda karsimiza cikan geometrik suslemeleri olusturan her unsurun sadece basit tanimlamalar icerisinde motif olarak degil onlarin okunabilir harf veya damga olabileceklerine dikkat cekmey...
Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi, 2021
The cultural and symbolic meanings attributed to numbers are substantially of importance as well ... more The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, hence number symbolism emerges in various religious texts, myths, or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree, or layers of sky in Turkish mythology. Number eight has a rarer usage besides numbers such as "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used in Turkish culture since ancient times. The Paradise depiction primarily comes into prominence among the meanings attributed to number Anahtar Kelimeler Sekiz, Cennet, Damga, Anlam
The Old Cine – Ahmet Gazi Mosque, from Mentese Principality Period well-known for its revolutiona... more The Old Cine – Ahmet Gazi Mosque, from Mentese Principality Period well-known for its revolutionary architectural style among other West Anatolian Principalities, is a supreme example of, so-called, mosques with single dome t aditionin the beginning of the 14 r th Century. Although, the edifice mentioned as Ahmet Gazi Mosque in the literature, having no inscription panel which indicates its construction date or any repair if happened, the date of its waqf found in the archives of the General Directorate of Pious Endowments (V.G.M.) is 1308. However, this date refers that Ahmet Gazi doesn’t seem to be the donor of the mosque. Ahmet Gazi, since he became the ruler of the Mentese Principality just before 1375. Therefore, it could be assumed that he had been involved in the restoration of the mosque as once he had in a restoration work for Mentese Bey Tomb in Fethiye. Thus, in this study, Ahmet Gazi Mosque is reevaluated and suggested that the donor was Mentesoglu Hizir Bey who was in p...
One of the elements shaping the work of art has been culture involving beliefs and traditions. My... more One of the elements shaping the work of art has been culture involving beliefs and traditions. Myths and legends are most significant among those elements. Myths and legends are the expression of the adventure of man who has lived throughout his tor}'-. Turkish Nation with its own long past and rich culture has its own legends and mythology. Turkish mythology and Turkish legends are the inspiring sources of the emergence of Turkish art. The Turks after converting to Islam brought the motives of their old beliefs and traditions into their new religion. It is possible to see patterns and motives ranging from architecture to handcrafts in many fields, reflecting the symbols that belong to their former system of belief or to their mythology and legends. The sources of those motives’ iconographic meanings depend on Turkish culture’s long past. This work comprises the study of mythology7 and legends as the main influence on the art of Turkish decoration and ornamentation.
Mulkiyet, aidiyet, bagimsizlik unsuru, boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi i... more Mulkiyet, aidiyet, bagimsizlik unsuru, boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi isaretler olarak Turk tarihinin erken devirlerinden itibaren hemen her turlu malzemede karsimiza cikan “Damgalar-Tamgalar” hic suphesiz Turk kulturunun vazgecilmez uygulamalarindandir. Gittikleri ve yerlestikleri her cografyaya ebedi vatan olarak bakan atalarimiz hayvanlarina, kulanim esyalarina ve insa ettikleri kucuk veya buyuk mimari eserlere ait olduklarini dusundukleri boylarinin damgalarini vurmayi gelenek haline getirmislerdir. Ancak, zaman icerisinde bazilari harflere donuserek yaziya gecmis, bazilari da geometrik suslemeleri olusturan kompozisyonlar icerisinde esas anlamindan kismen uzaklasarak kompozisyonun bir elemanina donusmustur. Anadolu’nun fethinde de rol alan Turk boylari fethettikleri ve yerlestikleri bu yerlere de cogunlukla kendi boy adlarini vermisler, yaptiklari mimari eserlere ve kullanim esyalarina da damgalarini vurmuslardir. Anadolu Selcuklu Devleti’nin baskenti ...
Ilyas Bey Complex in Balat, the second capital after Pecin, being composed of a mosque, a hamam (... more Ilyas Bey Complex in Balat, the second capital after Pecin, being composed of a mosque, a hamam (bath), and a medrese (theological school) is an important monument of Mentese Principality regained its independence following the Ankara War in 1402. However, the construction program was interrupted due to the influence of the Ottoman authority, which was increasingly felt again in the region. The medrese, only the remains of the walls exist at present, is located to the north of Ilyas Bey Mosque, the inscription panel of which contains a remarkable word, imaret. The medrese is thought to be built by the Ottomans in the first quarter of the 15th Century. It possesses a disordered plan in the shape of deformed “U”. In this plan, the spaces around the open courtyard (with a fountain - sadirvan) shows neither a uniform layout, nor an architectural harmony. The eyvan, surmounted with a dome in the north, and the two larger spaces in the center of the east and west wings exhibit some constr...
ON THE CIRCLE SYMBOL AND THE SACRED CONNECTIONS: A DIVINE PRODUCTION ON A SPIRITUAL BASIS, 2021
Kutsal kavramı dini, sanatsal ve felsefi çerçeve içerisinde, hem doğrudan hem de yorumbilimsel ol... more Kutsal kavramı dini, sanatsal ve felsefi çerçeve içerisinde, hem doğrudan hem de yorumbilimsel olarak, oldukça farklı tanımlamalarla ifade edilmektedir. En genel tanımıyla kutsal; tapınılacak derecede önemsenen, üstüne titrenen, bozulmaması ve dokunulmaması gereken, dini bir saygı uyandıran Tanrısal-İlahi-Aşkın niteliğe denmektedir. Kutsallık veya kutsiyet atfetme genellikle insanı aşan, sonsuz, mutlak, değişmez olana, dolayısıyla aşkın olana (Yaratıcı-Tanrı) kesin bir bağlılıkla karşımıza çıkmaktadır. İnsan nesli, kavramaya çalıştığı aşkın niteliği, kutsalın tezahür araçlarından olan sanat ve semboller yoluyla yeryüzünde yansıtma çabasına girişmiştir. Konumuz çerçevesinde daire ve kutsal bağlantıları; kozmolojik, felsefi, sembolik, sanatsal, mitolojik ve mimari boyutlarıyla ele alınmıştır. Anlam noktasında insan zihninde bu iki unsurun, bağlantılı olarak gelişim gösterdiği, incelenen örnekler ve simgeler aracılığı ile anlaşılmaktadır. Eski çağlardan bu yana sürekli tekrarlanan, en eski işaretlerden birisi olan daire simgesi, kutsalın yeryüzündeki ilk yansıma ve temsillerinden birisidir. Bu çalışmada kutsal kavramı ve daire simgesi, bazı soyut ve somut örneklerle incelenerek, iki kavram arasındaki anlam bağlantısı sorgulanmıştır.
Abstract The concept of sacred corresponds to the words "sacrum-sacer" in Latin, "hagios" in Greek, "kedusah" in Hebrew and "sacred, holy, divine" in English. It is a very difficult concept to describe or explain scientifically because it is included in the subject of sacred belief and emotion. Just as eternity and God himself are not fully explained; sacred also settles at a point that cannot be defined in the category of belief and whose transcendence is believed. In our opinion, sacred is that the believer comes into contact with the divine in an invisible (spiritual) dimension through image or emotion and the transcendent is perceived directly and instinctively. The sacred can be both knowable and unknowable according to one's life and belief experience. The transcendence that man wants to contact can be the sacred itself and the contact made with the transcendent can also be called sacred. While this situation, which happens personally, is called a miracle in some beliefs or religions, in fact, even just praying can be shown as an example of the contact between the sacred and the human. In this context, whatever means, this intuitive contact with the transcendent causes objects, places, symbols and even time to be remembered as sacred. The attribution of sacred or holiness is often confronted with a strict devotion to the transcendent, eternal, absolute, unchangeable and hence the divine (Creator-God). The human race has attempted to reflect the divine quality that it is trying to grasp on the earth through arts and symbols, which are the means of manifestation of the sacred. Circle and sacred connections within the framework of our subject; It has been handled with its cosmological, philosophical, symbolic, artistic, mythological and architectural dimensions. At the point of meaning, it is understood through the analyzed examples and symbols that these two elements develop in connection in the human mind. The circle symbol, which has been repeated since ancient times and is one of the oldest signs, is one of the first reflections and representations of the sacred on earth. The reduction of the abstract divine quality to the concrete through symbolism can be explained as a natural reflex of the human mind for ease of comprehension. The perception of the circle, especially in primitive man, mostly comes across with celestial connections. The circle symbol must have been initially produced from celestial forms such as the Moon and the Sun, which it regarded as sacred in meaning. Considering the sky itself sacred, the person used the circle symbol as a sacred symbol in this context. Man, who can think and dream as much as what he sees and experiences, transforms the sacred image into a circular symbol at this point and reduces it to concrete. The circle symbol, as a divine human production on a spiritual basis, it is the representation of the sacred on earth. In this study, the concept of sacred and circle symbol was examined with some abstract and concrete examples and the meaning connection between the two concepts was questioned.
THE TAMGA OF "PARADISE" IN TURKISH ART AND THE MEANINGS ATTRIBUTED TO NUMBER EIGHT "8" IN TURKISH CULTURE, 2021
Sayıların, matematikteki karşılıklarının ve kullanımının yanı sıra sayılara yüklenen kültürel ve ... more Sayıların, matematikteki karşılıklarının ve kullanımının yanı sıra sayılara yüklenen kültürel ve sembolik anlamlar da oldukça önem arz etmektedir. Bu bağlamda sayılara yüklenen anlamlar, dolayısıyla sayı sembolizmi, çeşitli dini metinlerde, mitlerde ya da destanlarda karşımıza çıkmaktadır. Türk mitolojisinde sekiz "8" genellikle dünyanın köşeleri, kutsal bir ağaç ya da gök katmanlarıyla beraber anılmaktadır. Sekiz sayısı, Türk kültüründe eskiden beri kullanılan "bir, üç, yedi, dokuz, otuz, kırk, kırk bir, yetmiş, doksan" gibi sayıların yanında, daha nadir bir kullanıma sahiptir. Sekiz sayısına yüklenen anlamlar, arasında en çok öne çıkan Cennet temsilidir. Türk mitolojisinde yaratılan ilk ağacın dokuz kollu olduğu, kollardan birinin Tengri'nin kapısının önüne, diğerleri ise sekiz köşeli olduğuna inanılan dünyanın sekiz köşesine uzanmaktadır. İslami bağlamda sekiz Cennet kapısından yola çıkılarak, "sekiz Cennet" ibaresi önem kazanmaktadır. Sekiz sayısının sembolik olarak sanata yansımalarının bizim tanımlama ve isimlendirmemizle "Cennet" damgası özelinde şekillendiği görülmektedir. Cennet damgası, sekiz sayısıyla bağlantılı olarak özellikle Orta Çağ Türk İslam mimarisinde, geometrik süslemelerle birlikte, motifleşmiş biçimde karşımıza çıkmaktadır. Türk kültürünün etkisi ile saygın bir konumda olan damga, İslam sanatında yaygın olarak kullanılmaktadır. Kendi içinde alt tiplere sahip olan bu damga, pek çok yapıda karşımıza çıkmaktadır. Bu çalışma, tarihi süreçte sekiz sayısına yüklenen farklı anlamlar ve Cennet damgasının Türk sanatındaki kullanımı üzerinedir.
Abstract The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, that is, number symbolism emerges in various religious texts, myths or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree or layers of sky in Turkish mythology. Number eight is of a more rare usage besides numbers "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used from of old in Turkish culture. Paradise depiction primarily comes into prominence among the meanings attributed to number eight. In Turkish mythology, the tree which was created at the beginning had nine branches. One of these branches is lying in front of the gate of Tengri and the others are reaching to the eight edges of the earth believed to have so. The phrase of "eight paradises" comes into prominence with regards to the eight gates of the paradise in Islamic context. The symbolical reflections of number eight on art are seen as the tamga of "Paradise". The tamga of paradise emerges with regards to number eight as a form by being turned into a motif with geometrical ornamentations especially in Medieval Turkish Islamic architecture. The tamga which is reputable with the effect of Turkish culture has commonly been used in Islamic art. This tamga which is of subtypes in itself has been emerged on countless structures. This paper is upon the various meanings attributed to number eight in the historical period and the usage of tamga of Paradise in Turkish art.
TENGRI-GOD’S TAMGAS IN TURKISH ART
The beliefs coeval to the history of humanity and the religiou... more TENGRI-GOD’S TAMGAS IN TURKISH ART The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred. Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif. Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly. This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.
About Use With The Tamgas of “God” and “Paradise” in Turkish Art, 2022
İnanış noktasında, Tanrı ve Cennet gibi kavramlardan her biri genellikle semavi dinlere inanan ki... more İnanış noktasında, Tanrı ve Cennet gibi kavramlardan her biri genellikle semavi dinlere inanan kişilerin karşılaştığı öncelikli kutsal kavramlardandır. Bu iki kavramın sanata yansımaları, soyut birer kavram oldukları için, semboller yoluyla olmak durumundadır. Türk sanatında yer alan sembolik işaretlerin kullanımı, damga vurma geleneği ile doğrudan bağlantılıdır. Damga, Türk devletlerinin ve halklarının kendi benliklerini yansıttığı simgeler olarak, hemen her türlü malzemede kullanılmıştır. Türk sanatında karşılaşmış olduğumuz Tanrı ve Cennet damgalarının beraber kullanımı, Orta Asya'dan ve İran bölgesinden Anadolu'ya kadar, yoğunlukla mimari gelenek yoluyla taşınmıştır. Çalışmamızda örneklerle izlerini takip ettiğimiz bu kutsal geleneğin taş, alçı, tuğla, kerpiç, çini gibi pek çok malzemede, ince bir işçilikle uygulandığını görmekteyiz. Birer sanat eseri olarak üretilmiş bu damgaların beraber kullanımı, Cennet ve Tanrı kavramlarının, insan zihnindeki anlamlarının benzerlik göstermesi ile yakından ilgilidir. Bu çalışmada, Türk damgalarından kutsallık ifade eden Tanrı ve Cennet damgalarının beraber kullanımı, anlam noktasında irdelenmiş ve sorgulanmıştır.
- At the point of belief, each of the concepts such as God and Heaven is generally one of the primary sacred concepts that people who believe in monotheistic religions encounter. The reflections of these two concepts on art since they are abstract concepts have to be through symbols. The use of symbolic signs in Turkish art is directly related to the stamping tradition. The stamp has been used in almost all kinds of materials as symbols reflecting the Turkish states and peoples identities. The joint use of the stamps of God and Heaven which we have encountered in Turkish art has been carried extensively through architectural tradition from Central Asia and Iran to Anatolia. In our work we see that this sacred tradition whose traces we follow with examples is applied with fine craftsmanship on many materials such as stone, plaster, brick, adobe and tile.
The use of these stamps produced as works of art is closely related to the similarity between the concepts of Heaven and God in the human mind. In this study, the use of God and Heaven stamps which express holiness from Turkish stamps was examined and questioned in terms of meaning.
Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi
Türkler tarih sahnesine çıktıkları dönemden itibaren, hayvanlarına, kulanım eşyalarına ve inşa et... more Türkler tarih sahnesine çıktıkları dönemden itibaren, hayvanlarına, kulanım eşyalarına ve inşa ettikleri küçük veya büyük mimari eserlere ait olduklarını düşündükleri boylarının damgalarını vurmayı gelenek haline getirmişlerdir. Anadolu'nun fethinde rol alan Türk boyları, fethettikleri yerlere de çoğunlukla kendi boy adlarını vermişlerdir. Bu boyların en etkili olanlarından biri de Kayı boyudur. Kayı boyu damgasının sadece damga olarak değil damga-motif olarak ta kullanıldığını görmekteyiz. Bu çalışma Selçuklu'dan Osmanlı'ya bu damganın mimaride damga-motif kullanımı üzerinedir.
Mulkiyet, aidiyet ve bagimsizlik unsuru olarak neredeyse insanlik tarihi yasit olan Tamga-Damga, ... more Mulkiyet, aidiyet ve bagimsizlik unsuru olarak neredeyse insanlik tarihi yasit olan Tamga-Damga, hic suphesiz Turk kulturunun de vazgecilmez uygulamalarindandir. Damgalar- Tamgalar; boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi isaretler olarak Turk tarihinin erken devirlerinden itibaren hemen her turlu malzemede karsimiza cikmaktadir. Ancak, zaman icerisinde bazilari harflere donuserek yaziya gecmis, bazilari da geometrik suslemeleri olusturan kompozisyonlar icerisinde esas anlamindan kismen uzaklasarak kompozisyonun bir elemanina donusmustur. Ozellikle 12. yuzyildan sonraki geometrik suslemenin yapicisi muhtemelen ne yaptiginin farkinda olsa da, daha sonraki zamanlarda onu seyredenler ayni anlami okumakta zorlanmakta, hatta okuyamamaktadirlar. Bu bildiri, plastik sanatlarin farkli kollarinda karsimiza cikan geometrik suslemeleri olusturan her unsurun sadece basit tanimlamalar icerisinde motif olarak degil onlarin okunabilir harf veya damga olabileceklerine dikkat cekmey...
Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi, 2021
The cultural and symbolic meanings attributed to numbers are substantially of importance as well ... more The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, hence number symbolism emerges in various religious texts, myths, or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree, or layers of sky in Turkish mythology. Number eight has a rarer usage besides numbers such as "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used in Turkish culture since ancient times. The Paradise depiction primarily comes into prominence among the meanings attributed to number Anahtar Kelimeler Sekiz, Cennet, Damga, Anlam
The Old Cine – Ahmet Gazi Mosque, from Mentese Principality Period well-known for its revolutiona... more The Old Cine – Ahmet Gazi Mosque, from Mentese Principality Period well-known for its revolutionary architectural style among other West Anatolian Principalities, is a supreme example of, so-called, mosques with single dome t aditionin the beginning of the 14 r th Century. Although, the edifice mentioned as Ahmet Gazi Mosque in the literature, having no inscription panel which indicates its construction date or any repair if happened, the date of its waqf found in the archives of the General Directorate of Pious Endowments (V.G.M.) is 1308. However, this date refers that Ahmet Gazi doesn’t seem to be the donor of the mosque. Ahmet Gazi, since he became the ruler of the Mentese Principality just before 1375. Therefore, it could be assumed that he had been involved in the restoration of the mosque as once he had in a restoration work for Mentese Bey Tomb in Fethiye. Thus, in this study, Ahmet Gazi Mosque is reevaluated and suggested that the donor was Mentesoglu Hizir Bey who was in p...
One of the elements shaping the work of art has been culture involving beliefs and traditions. My... more One of the elements shaping the work of art has been culture involving beliefs and traditions. Myths and legends are most significant among those elements. Myths and legends are the expression of the adventure of man who has lived throughout his tor}'-. Turkish Nation with its own long past and rich culture has its own legends and mythology. Turkish mythology and Turkish legends are the inspiring sources of the emergence of Turkish art. The Turks after converting to Islam brought the motives of their old beliefs and traditions into their new religion. It is possible to see patterns and motives ranging from architecture to handcrafts in many fields, reflecting the symbols that belong to their former system of belief or to their mythology and legends. The sources of those motives’ iconographic meanings depend on Turkish culture’s long past. This work comprises the study of mythology7 and legends as the main influence on the art of Turkish decoration and ornamentation.
Mulkiyet, aidiyet, bagimsizlik unsuru, boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi i... more Mulkiyet, aidiyet, bagimsizlik unsuru, boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi isaretler olarak Turk tarihinin erken devirlerinden itibaren hemen her turlu malzemede karsimiza cikan “Damgalar-Tamgalar” hic suphesiz Turk kulturunun vazgecilmez uygulamalarindandir. Gittikleri ve yerlestikleri her cografyaya ebedi vatan olarak bakan atalarimiz hayvanlarina, kulanim esyalarina ve insa ettikleri kucuk veya buyuk mimari eserlere ait olduklarini dusundukleri boylarinin damgalarini vurmayi gelenek haline getirmislerdir. Ancak, zaman icerisinde bazilari harflere donuserek yaziya gecmis, bazilari da geometrik suslemeleri olusturan kompozisyonlar icerisinde esas anlamindan kismen uzaklasarak kompozisyonun bir elemanina donusmustur. Anadolu’nun fethinde de rol alan Turk boylari fethettikleri ve yerlestikleri bu yerlere de cogunlukla kendi boy adlarini vermisler, yaptiklari mimari eserlere ve kullanim esyalarina da damgalarini vurmuslardir. Anadolu Selcuklu Devleti’nin baskenti ...
Ilyas Bey Complex in Balat, the second capital after Pecin, being composed of a mosque, a hamam (... more Ilyas Bey Complex in Balat, the second capital after Pecin, being composed of a mosque, a hamam (bath), and a medrese (theological school) is an important monument of Mentese Principality regained its independence following the Ankara War in 1402. However, the construction program was interrupted due to the influence of the Ottoman authority, which was increasingly felt again in the region. The medrese, only the remains of the walls exist at present, is located to the north of Ilyas Bey Mosque, the inscription panel of which contains a remarkable word, imaret. The medrese is thought to be built by the Ottomans in the first quarter of the 15th Century. It possesses a disordered plan in the shape of deformed “U”. In this plan, the spaces around the open courtyard (with a fountain - sadirvan) shows neither a uniform layout, nor an architectural harmony. The eyvan, surmounted with a dome in the north, and the two larger spaces in the center of the east and west wings exhibit some constr...
ON THE CIRCLE SYMBOL AND THE SACRED CONNECTIONS: A DIVINE PRODUCTION ON A SPIRITUAL BASIS, 2021
Kutsal kavramı dini, sanatsal ve felsefi çerçeve içerisinde, hem doğrudan hem de yorumbilimsel ol... more Kutsal kavramı dini, sanatsal ve felsefi çerçeve içerisinde, hem doğrudan hem de yorumbilimsel olarak, oldukça farklı tanımlamalarla ifade edilmektedir. En genel tanımıyla kutsal; tapınılacak derecede önemsenen, üstüne titrenen, bozulmaması ve dokunulmaması gereken, dini bir saygı uyandıran Tanrısal-İlahi-Aşkın niteliğe denmektedir. Kutsallık veya kutsiyet atfetme genellikle insanı aşan, sonsuz, mutlak, değişmez olana, dolayısıyla aşkın olana (Yaratıcı-Tanrı) kesin bir bağlılıkla karşımıza çıkmaktadır. İnsan nesli, kavramaya çalıştığı aşkın niteliği, kutsalın tezahür araçlarından olan sanat ve semboller yoluyla yeryüzünde yansıtma çabasına girişmiştir. Konumuz çerçevesinde daire ve kutsal bağlantıları; kozmolojik, felsefi, sembolik, sanatsal, mitolojik ve mimari boyutlarıyla ele alınmıştır. Anlam noktasında insan zihninde bu iki unsurun, bağlantılı olarak gelişim gösterdiği, incelenen örnekler ve simgeler aracılığı ile anlaşılmaktadır. Eski çağlardan bu yana sürekli tekrarlanan, en eski işaretlerden birisi olan daire simgesi, kutsalın yeryüzündeki ilk yansıma ve temsillerinden birisidir. Bu çalışmada kutsal kavramı ve daire simgesi, bazı soyut ve somut örneklerle incelenerek, iki kavram arasındaki anlam bağlantısı sorgulanmıştır.
Abstract The concept of sacred corresponds to the words "sacrum-sacer" in Latin, "hagios" in Greek, "kedusah" in Hebrew and "sacred, holy, divine" in English. It is a very difficult concept to describe or explain scientifically because it is included in the subject of sacred belief and emotion. Just as eternity and God himself are not fully explained; sacred also settles at a point that cannot be defined in the category of belief and whose transcendence is believed. In our opinion, sacred is that the believer comes into contact with the divine in an invisible (spiritual) dimension through image or emotion and the transcendent is perceived directly and instinctively. The sacred can be both knowable and unknowable according to one's life and belief experience. The transcendence that man wants to contact can be the sacred itself and the contact made with the transcendent can also be called sacred. While this situation, which happens personally, is called a miracle in some beliefs or religions, in fact, even just praying can be shown as an example of the contact between the sacred and the human. In this context, whatever means, this intuitive contact with the transcendent causes objects, places, symbols and even time to be remembered as sacred. The attribution of sacred or holiness is often confronted with a strict devotion to the transcendent, eternal, absolute, unchangeable and hence the divine (Creator-God). The human race has attempted to reflect the divine quality that it is trying to grasp on the earth through arts and symbols, which are the means of manifestation of the sacred. Circle and sacred connections within the framework of our subject; It has been handled with its cosmological, philosophical, symbolic, artistic, mythological and architectural dimensions. At the point of meaning, it is understood through the analyzed examples and symbols that these two elements develop in connection in the human mind. The circle symbol, which has been repeated since ancient times and is one of the oldest signs, is one of the first reflections and representations of the sacred on earth. The reduction of the abstract divine quality to the concrete through symbolism can be explained as a natural reflex of the human mind for ease of comprehension. The perception of the circle, especially in primitive man, mostly comes across with celestial connections. The circle symbol must have been initially produced from celestial forms such as the Moon and the Sun, which it regarded as sacred in meaning. Considering the sky itself sacred, the person used the circle symbol as a sacred symbol in this context. Man, who can think and dream as much as what he sees and experiences, transforms the sacred image into a circular symbol at this point and reduces it to concrete. The circle symbol, as a divine human production on a spiritual basis, it is the representation of the sacred on earth. In this study, the concept of sacred and circle symbol was examined with some abstract and concrete examples and the meaning connection between the two concepts was questioned.
THE TAMGA OF "PARADISE" IN TURKISH ART AND THE MEANINGS ATTRIBUTED TO NUMBER EIGHT "8" IN TURKISH CULTURE, 2021
Sayıların, matematikteki karşılıklarının ve kullanımının yanı sıra sayılara yüklenen kültürel ve ... more Sayıların, matematikteki karşılıklarının ve kullanımının yanı sıra sayılara yüklenen kültürel ve sembolik anlamlar da oldukça önem arz etmektedir. Bu bağlamda sayılara yüklenen anlamlar, dolayısıyla sayı sembolizmi, çeşitli dini metinlerde, mitlerde ya da destanlarda karşımıza çıkmaktadır. Türk mitolojisinde sekiz "8" genellikle dünyanın köşeleri, kutsal bir ağaç ya da gök katmanlarıyla beraber anılmaktadır. Sekiz sayısı, Türk kültüründe eskiden beri kullanılan "bir, üç, yedi, dokuz, otuz, kırk, kırk bir, yetmiş, doksan" gibi sayıların yanında, daha nadir bir kullanıma sahiptir. Sekiz sayısına yüklenen anlamlar, arasında en çok öne çıkan Cennet temsilidir. Türk mitolojisinde yaratılan ilk ağacın dokuz kollu olduğu, kollardan birinin Tengri'nin kapısının önüne, diğerleri ise sekiz köşeli olduğuna inanılan dünyanın sekiz köşesine uzanmaktadır. İslami bağlamda sekiz Cennet kapısından yola çıkılarak, "sekiz Cennet" ibaresi önem kazanmaktadır. Sekiz sayısının sembolik olarak sanata yansımalarının bizim tanımlama ve isimlendirmemizle "Cennet" damgası özelinde şekillendiği görülmektedir. Cennet damgası, sekiz sayısıyla bağlantılı olarak özellikle Orta Çağ Türk İslam mimarisinde, geometrik süslemelerle birlikte, motifleşmiş biçimde karşımıza çıkmaktadır. Türk kültürünün etkisi ile saygın bir konumda olan damga, İslam sanatında yaygın olarak kullanılmaktadır. Kendi içinde alt tiplere sahip olan bu damga, pek çok yapıda karşımıza çıkmaktadır. Bu çalışma, tarihi süreçte sekiz sayısına yüklenen farklı anlamlar ve Cennet damgasının Türk sanatındaki kullanımı üzerinedir.
Abstract The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, that is, number symbolism emerges in various religious texts, myths or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree or layers of sky in Turkish mythology. Number eight is of a more rare usage besides numbers "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used from of old in Turkish culture. Paradise depiction primarily comes into prominence among the meanings attributed to number eight. In Turkish mythology, the tree which was created at the beginning had nine branches. One of these branches is lying in front of the gate of Tengri and the others are reaching to the eight edges of the earth believed to have so. The phrase of "eight paradises" comes into prominence with regards to the eight gates of the paradise in Islamic context. The symbolical reflections of number eight on art are seen as the tamga of "Paradise". The tamga of paradise emerges with regards to number eight as a form by being turned into a motif with geometrical ornamentations especially in Medieval Turkish Islamic architecture. The tamga which is reputable with the effect of Turkish culture has commonly been used in Islamic art. This tamga which is of subtypes in itself has been emerged on countless structures. This paper is upon the various meanings attributed to number eight in the historical period and the usage of tamga of Paradise in Turkish art.
TENGRI-GOD’S TAMGAS IN TURKISH ART
The beliefs coeval to the history of humanity and the religiou... more TENGRI-GOD’S TAMGAS IN TURKISH ART The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred. Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif. Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly. This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.
Dört Kemerli Yapı'nın (Küçük Köşk) kuzey ve doğu yönlerinde gerçekleştirilmiştir. Keykubadiye Sar... more Dört Kemerli Yapı'nın (Küçük Köşk) kuzey ve doğu yönlerinde gerçekleştirilmiştir. Keykubadiye Sarayı 2017 yılı çalışması, Dört Kemerli Yapı çevresindeki yerleşim dokusuna ait kalıntılar açısından önemli veriler ortaya koymuştur. Özellikle açığa çıkarılan çeşitli türlerdeki taşınır kültür varlıkları da dönemin sanat anlayışı hakkında eşsiz bilgiler sunmaktadır. 2017 yılı çalışmalarında ele geçen buluntular arasında çini önemli yer tutmaktadır ve bu yıl, dört sezondur yürütülen çalışmalar içerisinde de en önemli buluntuların görüldüğü yıl olmuştur. Çiniler arasında tek renk sırlı olanlar çoğunluğu teşkil etmekle birlikte, sır altı tekniğinde yapılmış olan yıldız çiniler, özellikle de büyük ölçüde sağlam ele geçen figürlü örnekler buluntular içerisinde özel bir yere sahiptir. Bunun yanı sıra lüster tekniğinde yapılmış birkaç örnek de buluntular arasında yer almıştır. Buluntular içerisinde farklı teknikte yapılmış olan sırlı ve sırsız seramikler de önemli bir yer tutmaktadır. Seramikler genellikle sırsız olup, bütüncül örneğe rastlanmamıştır. Çoğunluğu tek renk sırlı olan seramiklerin bazılarında kazıma ve slip tekniklerle yapılmış uygulamalar görülmektedir. Sırlı seramikler arasında önemli bir örnek olan kuş figürlü kâse sağlama yakı n olarak ele geçmiştir. Kazı sonuçları toplantısında 2017 yılı Keykubadiye Sarayı kazı çalışmaları genel anlamda değerlendirildiği için, bu bildiride kazı çalışmalarına kısaca değinilecek ve daha çok çini ve seramik buluntular üzerinde durulacaktır.
Dört Kemerli Yapı'nın (Küçük Köşk) kuzey ve doğu yönlerinde gerçekleştirilmiştir. Keykubadiye Sar... more Dört Kemerli Yapı'nın (Küçük Köşk) kuzey ve doğu yönlerinde gerçekleştirilmiştir. Keykubadiye Sarayı 2017 yılı çalışması, Dört Kemerli Yapı çevresindeki yerleşim dokusuna ait kalıntılar açısından önemli veriler ortaya koymuştur. Özellikle açığa çıkarılan çeşitli türlerdeki taşınır kültür varlıkları da dönemin sanat anlayışı hakkında eşsiz bilgiler sunmaktadır. 2017 yılı çalışmalarında ele geçen buluntular arasında çini önemli yer tutmaktadır ve bu yıl, dört sezondur yürütülen çalışmalar içerisinde de en önemli buluntuların görüldüğü yıl olmuştur. Çiniler arasında tek renk sırlı olanlar çoğunluğu teşkil etmekle birlikte, sır altı tekniğinde yapılmış olan yıldız çiniler, özellikle de büyük ölçüde sağlam ele geçen figürlü örnekler buluntular içerisinde özel bir yere sahiptir. Bunun yanı sıra lüster tekniğinde yapılmış birkaç örnek de buluntular arasında yer almıştır. Buluntular içerisinde farklı teknikte yapılmış olan sırlı ve sırsız seramikler de önemli bir yer tutmaktadır. Seramikler genellikle sırsız olup, bütüncül örneğe rastlanmamıştır. Çoğunluğu tek renk sırlı olan seramiklerin bazılarında kazıma ve slip tekniklerle yapılmış uygulamalar görülmektedir. Sırlı seramikler arasında önemli bir örnek olan kuş figürlü kâse sağlama yakı n olarak ele geçmiştir. Kazı sonuçları toplantısında 2017 yılı Keykubadiye Sarayı kazı çalışmaları genel anlamda değerlendirildiği için, bu bildiride kazı çalışmalarına kısaca değinilecek ve daha çok çini ve seramik buluntular üzerinde durulacaktır.
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Papers by Remzi Duran
- At the point of belief, each of the concepts such as God and Heaven is generally one of the primary sacred concepts that people who believe in monotheistic religions encounter. The reflections of these two concepts on art since they are abstract concepts have to be through symbols. The use of symbolic signs in Turkish art is directly related to the stamping tradition. The stamp has been used in almost all kinds of materials as symbols reflecting the Turkish states and peoples identities. The joint use of the stamps of God and Heaven which we have encountered in Turkish art has been carried extensively through architectural tradition from Central Asia and Iran to Anatolia. In our work we see that this sacred tradition whose traces we follow with examples is applied with fine craftsmanship on many materials such as stone, plaster, brick, adobe and tile.
The use of these stamps produced as works of art is closely related to the similarity between the concepts of Heaven and God in the human mind. In this study, the use of God and Heaven stamps which express holiness from Turkish stamps was examined and questioned in terms of meaning.
Bu çalışmada kutsal kavramı ve daire simgesi, bazı soyut ve somut örneklerle incelenerek, iki kavram arasındaki anlam bağlantısı sorgulanmıştır.
Abstract
The concept of sacred corresponds to the words "sacrum-sacer" in Latin, "hagios" in Greek, "kedusah" in Hebrew and "sacred, holy, divine" in English. It is a very difficult concept to describe or explain scientifically because it is included in the subject of sacred belief and emotion. Just as eternity and God himself are not fully explained; sacred also settles at a point that cannot be defined in the category of belief and whose transcendence is believed. In our opinion, sacred is that the believer comes into contact with the divine in an invisible (spiritual) dimension through image or emotion and the transcendent is perceived directly and instinctively. The sacred can be both knowable and unknowable according to one's life and belief experience. The transcendence that man wants to contact can be the sacred itself and the contact made with the transcendent can also be called sacred. While this situation, which happens personally, is called a miracle in some beliefs or religions, in fact, even just praying can be shown as an example of the contact between the sacred and the human. In this context, whatever means, this intuitive contact with the transcendent causes objects, places, symbols and even time to be remembered as sacred.
The attribution of sacred or holiness is often confronted with a strict devotion to the transcendent, eternal, absolute, unchangeable and hence the divine (Creator-God). The human race has attempted to reflect the divine quality that it is trying to grasp on the earth through arts and symbols, which are the means of manifestation of the sacred. Circle and sacred connections within the framework of our subject; It has been handled with its cosmological, philosophical, symbolic, artistic, mythological and architectural dimensions. At the point of meaning, it is understood through the analyzed examples and symbols that these two elements develop in connection in the human mind. The circle symbol, which has been repeated since ancient times and is one of the oldest signs, is one of the first reflections and representations of the sacred on earth. The reduction of the abstract divine quality to the concrete through symbolism can be explained as a natural reflex of the human mind for ease of comprehension. The perception of the circle, especially in primitive man, mostly comes across with celestial connections. The circle symbol must have been initially produced from celestial forms such as the Moon and the Sun, which it regarded as sacred in meaning. Considering the sky itself sacred, the person used the circle symbol as a sacred symbol in this context. Man, who can think and dream as much as what he sees and experiences, transforms the sacred image into a circular symbol at this point and reduces it to concrete. The circle symbol, as a divine human production on a spiritual basis, it is the representation of the sacred on earth.
In this study, the concept of sacred and circle symbol was examined with some abstract and concrete examples and the meaning connection between the two concepts was questioned.
Abstract
The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, that is, number symbolism emerges in various religious texts, myths or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree or layers of sky in Turkish mythology. Number eight is of a more rare usage besides numbers "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used from of old in Turkish culture. Paradise depiction primarily comes into prominence among the meanings attributed to number eight. In Turkish mythology, the tree which was created at the beginning had nine branches. One of these branches is lying in front of the gate of Tengri and the others are reaching to the eight edges of the earth believed to have so. The phrase of "eight paradises" comes into prominence with regards to the eight gates of the paradise in Islamic context. The symbolical reflections of number eight on art are seen as the tamga of "Paradise". The tamga of paradise emerges with regards to number eight as a form by being turned into a motif with geometrical ornamentations especially in Medieval Turkish Islamic architecture. The tamga which is reputable with the effect of Turkish culture has commonly been used in Islamic art. This tamga which is of subtypes in itself has been emerged on countless structures.
This paper is upon the various meanings attributed to number eight in the historical period and the usage of tamga of Paradise in Turkish art.
Keywords: Eight, Paradise, Tamga(Stamp), Mean.
The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred. Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif. Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly. This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.
- At the point of belief, each of the concepts such as God and Heaven is generally one of the primary sacred concepts that people who believe in monotheistic religions encounter. The reflections of these two concepts on art since they are abstract concepts have to be through symbols. The use of symbolic signs in Turkish art is directly related to the stamping tradition. The stamp has been used in almost all kinds of materials as symbols reflecting the Turkish states and peoples identities. The joint use of the stamps of God and Heaven which we have encountered in Turkish art has been carried extensively through architectural tradition from Central Asia and Iran to Anatolia. In our work we see that this sacred tradition whose traces we follow with examples is applied with fine craftsmanship on many materials such as stone, plaster, brick, adobe and tile.
The use of these stamps produced as works of art is closely related to the similarity between the concepts of Heaven and God in the human mind. In this study, the use of God and Heaven stamps which express holiness from Turkish stamps was examined and questioned in terms of meaning.
Bu çalışmada kutsal kavramı ve daire simgesi, bazı soyut ve somut örneklerle incelenerek, iki kavram arasındaki anlam bağlantısı sorgulanmıştır.
Abstract
The concept of sacred corresponds to the words "sacrum-sacer" in Latin, "hagios" in Greek, "kedusah" in Hebrew and "sacred, holy, divine" in English. It is a very difficult concept to describe or explain scientifically because it is included in the subject of sacred belief and emotion. Just as eternity and God himself are not fully explained; sacred also settles at a point that cannot be defined in the category of belief and whose transcendence is believed. In our opinion, sacred is that the believer comes into contact with the divine in an invisible (spiritual) dimension through image or emotion and the transcendent is perceived directly and instinctively. The sacred can be both knowable and unknowable according to one's life and belief experience. The transcendence that man wants to contact can be the sacred itself and the contact made with the transcendent can also be called sacred. While this situation, which happens personally, is called a miracle in some beliefs or religions, in fact, even just praying can be shown as an example of the contact between the sacred and the human. In this context, whatever means, this intuitive contact with the transcendent causes objects, places, symbols and even time to be remembered as sacred.
The attribution of sacred or holiness is often confronted with a strict devotion to the transcendent, eternal, absolute, unchangeable and hence the divine (Creator-God). The human race has attempted to reflect the divine quality that it is trying to grasp on the earth through arts and symbols, which are the means of manifestation of the sacred. Circle and sacred connections within the framework of our subject; It has been handled with its cosmological, philosophical, symbolic, artistic, mythological and architectural dimensions. At the point of meaning, it is understood through the analyzed examples and symbols that these two elements develop in connection in the human mind. The circle symbol, which has been repeated since ancient times and is one of the oldest signs, is one of the first reflections and representations of the sacred on earth. The reduction of the abstract divine quality to the concrete through symbolism can be explained as a natural reflex of the human mind for ease of comprehension. The perception of the circle, especially in primitive man, mostly comes across with celestial connections. The circle symbol must have been initially produced from celestial forms such as the Moon and the Sun, which it regarded as sacred in meaning. Considering the sky itself sacred, the person used the circle symbol as a sacred symbol in this context. Man, who can think and dream as much as what he sees and experiences, transforms the sacred image into a circular symbol at this point and reduces it to concrete. The circle symbol, as a divine human production on a spiritual basis, it is the representation of the sacred on earth.
In this study, the concept of sacred and circle symbol was examined with some abstract and concrete examples and the meaning connection between the two concepts was questioned.
Abstract
The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, that is, number symbolism emerges in various religious texts, myths or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree or layers of sky in Turkish mythology. Number eight is of a more rare usage besides numbers "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used from of old in Turkish culture. Paradise depiction primarily comes into prominence among the meanings attributed to number eight. In Turkish mythology, the tree which was created at the beginning had nine branches. One of these branches is lying in front of the gate of Tengri and the others are reaching to the eight edges of the earth believed to have so. The phrase of "eight paradises" comes into prominence with regards to the eight gates of the paradise in Islamic context. The symbolical reflections of number eight on art are seen as the tamga of "Paradise". The tamga of paradise emerges with regards to number eight as a form by being turned into a motif with geometrical ornamentations especially in Medieval Turkish Islamic architecture. The tamga which is reputable with the effect of Turkish culture has commonly been used in Islamic art. This tamga which is of subtypes in itself has been emerged on countless structures.
This paper is upon the various meanings attributed to number eight in the historical period and the usage of tamga of Paradise in Turkish art.
Keywords: Eight, Paradise, Tamga(Stamp), Mean.
The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred. Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif. Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly. This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.