Papers by ABDURRAHMAN DEVECİ
Türk Dil Kurumu
Tarih boyunca musiki ve dil ve edebiyat her zaman omuz omuza yola devam
etmişlerdir. Edebiyat mus... more Tarih boyunca musiki ve dil ve edebiyat her zaman omuz omuza yola devam
etmişlerdir. Edebiyat musiki ile yaşamıştır, musiki de edebiyatla. Sazlara
sinen şiirler ve destanlar hoş avazlarla birlikte daimî bir hayata yol açmışlardır.
Edebiyat ise musikiye anlam kazandırmış, onu daha derinleştirmiştir.
Tarih boyunca birçok masallar ve destanlar yaratılmıştır ancak bir çoğu zaman
boyunca aradan çıkarak kaybolmuştur. Ancak musikiye eşlik eden destanlar
ve masallar hayatlarını devam etmişlerdir. Eğer Dede Korkut ve Köroğlu gibi
destanlar bugün Türk soylu halkların arasında yaşıyorsa onlar, onu Türk ozanlarına
borçludur.
Avrasya Yazarlar Birliği
Rus araştırmacı doğu uzmanı Prof. Y. Bertles, Türkmen klasik şairi Mahtumkulu Ferağı’yı Cemşid ca... more Rus araştırmacı doğu uzmanı Prof. Y. Bertles, Türkmen klasik şairi Mahtumkulu Ferağı’yı Cemşid camına benzetmiştir (Gürgenli, 2011:3). Sebebi Mahtumkulu’nun şiirleri konu açısından çok zengin ve çeşitlidir; öyle ki her kes istediği konuyu orada bulabilir. Bir başka deyişle Mahtumkulu divanı Hayatın bir Hikmet Kitabı gibidir. Ancak bu zenginlik sadece konu çeşitliliğiyle sınırlanmıyor. Bu büyük klasik Türkmen şairi musiki ve ritim açısından da zengin bir beyana sahiptir. Şiirlerinde kendi dönemine kadar bulunan bütün ölçü türlerini sığdırmıştır. Eskiden gelen Türk Hece ölçüsünü, Arap- Fars edebiyatından geçen Arûz ölçüsünü ve hatta serbest ölçüyü bile şiirlerine barındırmıştır. Bu yüzden de ölçüleri üzerinde özel bir inceleme yapmak belki de bir boşluğu doldurabilecektir.
Bu zat ilk defa 1994’te Mahtumkulu’nun seçilmiş şiirlerini Farsçaya tercüme edip, Tahran’da Uluslararası Elhoda yayınevi tarafından Türkmence orijinaliyle beraber iki dilde yayınladığı kitabının giriş kısmında Mahtumkulu’nun şiirlerinin ölçülerini de inceleyip, hece ölçüsünün yanında Arzu ve hatta bir şiirde kullanılan serbest ölçüyü de açıklamıştır. O analiz Türkmensahra-İran’da Mahtumkulu’nun ölçülerini açıklamak ve takti etmek açısından, edebi topluluk gözünden ilk adım sayılmıştı. Sonra 2016 yılında Aşagabatda yapılan Mahtumkulu Ferağı’nın uluslar arası kongresinde bu konuda bir sunum hazırlayıp, özellikle de Mahtumkulu divanında kullanılan serbest ölçüden söz etmiştir. Şimdi Türkiye Türkçesinde hazırlanan bu makale daha önce Türkmen ve Fars dilinde yazılan makalelerin düzetilmiş ve geliştirilmiş halidir. Makalede Mahtumkulu’nun şiirlerinde kullanılan üç tür ölçü: Hece ölçüsü, Arûz ölçüsü ve Serbest ölçüsü incelenip örnekler sunulmaktadır.
JOURNAL OF OGHUZ-TURKMAN RESEARCHES (JOTUR), 2024
In this research, Red and White colors are especially emphasized and explanations are presented b... more In this research, Red and White colors are especially emphasized and explanations are presented based on examples about their place and importance in Turkmen art, culture and folklore. In Turkmen language, dark red color is called “Kırmızı”, and bright red color is called “Kızıl” color.
At the wedding, the bride wears colorful linen with a red background, and the man wears a red-based caftan. We can also see the importance of the color red in Turkmen music and folk songs. In fact, Turkmens especially have a folk song called Kırmızı, which many famous Turkmen artists, especially the Turkmen folk artist Akmırat Çarıyev, have performed it beautifully.
The second color that stands out in Turkmen carpets is white. The white color is seen numerously, especially in the weaving motifs known as Göl. White felt has an important place in the devices of the girls who are going to get married, where it represents good future and luck. The color white has great importance both in ancient Turkmen architecture and in today's architecture.
TRAKYA UNİVERSİTY, 2023
ABSTRACT
Iranian painting is known as a turning point of the Qajar period; This period exhibits t... more ABSTRACT
Iranian painting is known as a turning point of the Qajar period; This period exhibits the Europeanization pizza of the Qajar period Iranian painting. Qajar led to modernization in the art of Iranian art. In addition, various printed works of European painters left various effects on Qajar painters and brought important results as well as misunderstandings. The painting and art life of the Qajar palace is actually the second king of this palace, Fethali Shah. The Qajar period painting, which lasted from the early 19th century to the early 20th century AD, can be divided into two general periods: from the beginning of the reign of Fethali Shah to the end: during this period, painters selected some features of foreign paintings they liked and integrated them into their own traditions; The combination of new and old methods leads to a uniquely Iranian painting style.
The second period, corresponding to the reign of Nasreddin Shah, and beyond: during this period the limitations of courtly art became more pronounced and noticeable, and painting on canvas became popular in Qajar painting during this period, as formal and classical painting could not meet the cultural and artistic needs of the time. The paintings were heavily influenced by western painting. The examination of the Europeanization process in this period constitutes the subject of this article.
Books by ABDURRAHMAN DEVECİ
Trakya Üniversitesi Edebiyat Fakültesi Dergisi- Tuef
Miniature art, like other literary and cultural works, had an important place in the city of Edir... more Miniature art, like other literary and cultural works, had an important place in the city of Edirne, which was the Ottoman capital before Istanbul. The place of Edirne in miniature is important in two respects. Firstly, in terms of paving the way for the making of several important picture books in the early period of the Ottoman empire, secondly, in the position of a historically important city, with the sultans and even with its historical monuments, in terms of giving rise to miniatures.
Edirne is the place where important illustrated literary works such as Dilsȗznâme and Külliyat emerged. It was home to famous painters of the period. It is a city that has left its mark on Ottoman painting art. It has also found its place in the miniature books prepared in different periods with important architectural works such as the Palace and Selimiye Mosque.
Serüven, 2023
Ottoman-Turkish culture attracted the attention of European painters who were pursuing exotic and... more Ottoman-Turkish culture attracted the attention of European painters who were pursuing exotic and new subjects. In particular, the very ornate and abundant motifs of Ottoman women and their lives in the harem were interesting to European painters.
European artists Gentile Bellini (d. 1507), Nicolas de Nicolay (d. 1583) and Melchior Lorck (d. after 1583) and Jean-Baptiste Vanmour (d. 1737) visited Istanbul and drew their lives there. Although many of the painters had never seen the Ottoman homeland, they painted according to what they heard.
The very ornate and abundant motifs of the Ottoman woman, her clear life in the harem, the fact that she looks closed, living and yashmak and burqa, Turkish women's bath, enjoying coffee, etc. It was interesting and attractive to European painters.
In this article, examples of pictures made on these subjects are given and examinations are made.
Ceren Yayınevi, 2023
Türkmen halıları, Türkmen kadınlarının dünyaca ün kazanmış ürünleridir. Türkmen halısının tarihin... more Türkmen halıları, Türkmen kadınlarının dünyaca ün kazanmış ürünleridir. Türkmen halısının tarihini Türk halısının tarihinden ayrı değerlendirmek mümkün değildir. En eski Türk kültür mirasının ögelerinden olan halı, yazılı bir tarih niteliğindedir . Halılarda ise dokumacının düşünce ve dünyaya bakışını kendi içinde saklayan unsur motiftir. Motifler, sadece bir şekilden ibaret olmayıp, kültürümüzün en eski çağlarından başlayarak günümüze kadar yaşatılmış mana yüklü sembolleridir Yüzyıllardan beri devam eden motifler, halkın inancı, dünyaya bakışı, zevk, estetik ve sanat anlayışını nesilden nesle aktarmaktadır.
Conference Presentations by ABDURRAHMAN DEVECİ
2. İnternational Symposıum On War Studies
The war of Iranians and Turks throughout history has been included in many historical-literary
wo... more The war of Iranians and Turks throughout history has been included in many historical-literary
works. Especially in the Shahnama of Ferdowsi, the classical poet of Iran, a great deal of space has
been devoted to this subject.
According to the Firdevsî Shahnameh, Feridun becomes the sultan of the whole world after
killing Dehhak. Three sons are born from Feridun. Their names are Selm, Tur, Irech. He marries his
sons to the daughters of the Yemeni sultan. Then he divides his world domination among his three
sons. It is given to Far East Selm, Turan Tur, Iran Irech. Disturbed by this sharing, the two brothers
want to take Iran out of İreç's hands. They write to the sultan, but the sultan does not accept. In the
end, they decide to kill Irech and kill him in the tent where he is resting.
After this legendary narration, the wars that took place gradually between the Iranians and the
Turanians formed the main subject of the Shahnameh, which is known as Iran's greatest verse classical work.
The Shahnameh, which includes the sagas of the Sassanids and the previous period, is known
as a literary masterpiece of Firdevsî. However, it is noteworthy that Firdevsi, whose Persian
nationalism fluctuated in her works, presented the Shahnameh to a Turanian Turkish sultan, Sultan
Mahmud Ghaznali. In addition, Shahnameh institutions were opened in the Ottoman palace, and
paintings were made according to the Shahnameh. Generally speaking, whether before or after the
Ottoman period, Iran's wars, which were against the Turanians, were reflected in miniatures, which is
proof that Turkish nationalism was absent or weak at that time. However, after the Safavid domination
of Iran and the constant wars between the Ottomans and the Safavids, the Shahinshahname III. In the
illustrated Ottoman works prepared during the Murat period and We see the Ottoman army attacking
the Iranian army in Ottoman paintings such as Selimnâme during the reign of Selim II.
In this study, the wars of the Iranians and Turks will be evaluated in the miniature works
prepared in the Iranian field and the Ottoman homeland.
Thesis Chapters by ABDURRAHMAN DEVECİ
Uploads
Papers by ABDURRAHMAN DEVECİ
etmişlerdir. Edebiyat musiki ile yaşamıştır, musiki de edebiyatla. Sazlara
sinen şiirler ve destanlar hoş avazlarla birlikte daimî bir hayata yol açmışlardır.
Edebiyat ise musikiye anlam kazandırmış, onu daha derinleştirmiştir.
Tarih boyunca birçok masallar ve destanlar yaratılmıştır ancak bir çoğu zaman
boyunca aradan çıkarak kaybolmuştur. Ancak musikiye eşlik eden destanlar
ve masallar hayatlarını devam etmişlerdir. Eğer Dede Korkut ve Köroğlu gibi
destanlar bugün Türk soylu halkların arasında yaşıyorsa onlar, onu Türk ozanlarına
borçludur.
Bu zat ilk defa 1994’te Mahtumkulu’nun seçilmiş şiirlerini Farsçaya tercüme edip, Tahran’da Uluslararası Elhoda yayınevi tarafından Türkmence orijinaliyle beraber iki dilde yayınladığı kitabının giriş kısmında Mahtumkulu’nun şiirlerinin ölçülerini de inceleyip, hece ölçüsünün yanında Arzu ve hatta bir şiirde kullanılan serbest ölçüyü de açıklamıştır. O analiz Türkmensahra-İran’da Mahtumkulu’nun ölçülerini açıklamak ve takti etmek açısından, edebi topluluk gözünden ilk adım sayılmıştı. Sonra 2016 yılında Aşagabatda yapılan Mahtumkulu Ferağı’nın uluslar arası kongresinde bu konuda bir sunum hazırlayıp, özellikle de Mahtumkulu divanında kullanılan serbest ölçüden söz etmiştir. Şimdi Türkiye Türkçesinde hazırlanan bu makale daha önce Türkmen ve Fars dilinde yazılan makalelerin düzetilmiş ve geliştirilmiş halidir. Makalede Mahtumkulu’nun şiirlerinde kullanılan üç tür ölçü: Hece ölçüsü, Arûz ölçüsü ve Serbest ölçüsü incelenip örnekler sunulmaktadır.
At the wedding, the bride wears colorful linen with a red background, and the man wears a red-based caftan. We can also see the importance of the color red in Turkmen music and folk songs. In fact, Turkmens especially have a folk song called Kırmızı, which many famous Turkmen artists, especially the Turkmen folk artist Akmırat Çarıyev, have performed it beautifully.
The second color that stands out in Turkmen carpets is white. The white color is seen numerously, especially in the weaving motifs known as Göl. White felt has an important place in the devices of the girls who are going to get married, where it represents good future and luck. The color white has great importance both in ancient Turkmen architecture and in today's architecture.
Iranian painting is known as a turning point of the Qajar period; This period exhibits the Europeanization pizza of the Qajar period Iranian painting. Qajar led to modernization in the art of Iranian art. In addition, various printed works of European painters left various effects on Qajar painters and brought important results as well as misunderstandings. The painting and art life of the Qajar palace is actually the second king of this palace, Fethali Shah. The Qajar period painting, which lasted from the early 19th century to the early 20th century AD, can be divided into two general periods: from the beginning of the reign of Fethali Shah to the end: during this period, painters selected some features of foreign paintings they liked and integrated them into their own traditions; The combination of new and old methods leads to a uniquely Iranian painting style.
The second period, corresponding to the reign of Nasreddin Shah, and beyond: during this period the limitations of courtly art became more pronounced and noticeable, and painting on canvas became popular in Qajar painting during this period, as formal and classical painting could not meet the cultural and artistic needs of the time. The paintings were heavily influenced by western painting. The examination of the Europeanization process in this period constitutes the subject of this article.
Books by ABDURRAHMAN DEVECİ
Edirne is the place where important illustrated literary works such as Dilsȗznâme and Külliyat emerged. It was home to famous painters of the period. It is a city that has left its mark on Ottoman painting art. It has also found its place in the miniature books prepared in different periods with important architectural works such as the Palace and Selimiye Mosque.
European artists Gentile Bellini (d. 1507), Nicolas de Nicolay (d. 1583) and Melchior Lorck (d. after 1583) and Jean-Baptiste Vanmour (d. 1737) visited Istanbul and drew their lives there. Although many of the painters had never seen the Ottoman homeland, they painted according to what they heard.
The very ornate and abundant motifs of the Ottoman woman, her clear life in the harem, the fact that she looks closed, living and yashmak and burqa, Turkish women's bath, enjoying coffee, etc. It was interesting and attractive to European painters.
In this article, examples of pictures made on these subjects are given and examinations are made.
Conference Presentations by ABDURRAHMAN DEVECİ
works. Especially in the Shahnama of Ferdowsi, the classical poet of Iran, a great deal of space has
been devoted to this subject.
According to the Firdevsî Shahnameh, Feridun becomes the sultan of the whole world after
killing Dehhak. Three sons are born from Feridun. Their names are Selm, Tur, Irech. He marries his
sons to the daughters of the Yemeni sultan. Then he divides his world domination among his three
sons. It is given to Far East Selm, Turan Tur, Iran Irech. Disturbed by this sharing, the two brothers
want to take Iran out of İreç's hands. They write to the sultan, but the sultan does not accept. In the
end, they decide to kill Irech and kill him in the tent where he is resting.
After this legendary narration, the wars that took place gradually between the Iranians and the
Turanians formed the main subject of the Shahnameh, which is known as Iran's greatest verse classical work.
The Shahnameh, which includes the sagas of the Sassanids and the previous period, is known
as a literary masterpiece of Firdevsî. However, it is noteworthy that Firdevsi, whose Persian
nationalism fluctuated in her works, presented the Shahnameh to a Turanian Turkish sultan, Sultan
Mahmud Ghaznali. In addition, Shahnameh institutions were opened in the Ottoman palace, and
paintings were made according to the Shahnameh. Generally speaking, whether before or after the
Ottoman period, Iran's wars, which were against the Turanians, were reflected in miniatures, which is
proof that Turkish nationalism was absent or weak at that time. However, after the Safavid domination
of Iran and the constant wars between the Ottomans and the Safavids, the Shahinshahname III. In the
illustrated Ottoman works prepared during the Murat period and We see the Ottoman army attacking
the Iranian army in Ottoman paintings such as Selimnâme during the reign of Selim II.
In this study, the wars of the Iranians and Turks will be evaluated in the miniature works
prepared in the Iranian field and the Ottoman homeland.
Thesis Chapters by ABDURRAHMAN DEVECİ
etmişlerdir. Edebiyat musiki ile yaşamıştır, musiki de edebiyatla. Sazlara
sinen şiirler ve destanlar hoş avazlarla birlikte daimî bir hayata yol açmışlardır.
Edebiyat ise musikiye anlam kazandırmış, onu daha derinleştirmiştir.
Tarih boyunca birçok masallar ve destanlar yaratılmıştır ancak bir çoğu zaman
boyunca aradan çıkarak kaybolmuştur. Ancak musikiye eşlik eden destanlar
ve masallar hayatlarını devam etmişlerdir. Eğer Dede Korkut ve Köroğlu gibi
destanlar bugün Türk soylu halkların arasında yaşıyorsa onlar, onu Türk ozanlarına
borçludur.
Bu zat ilk defa 1994’te Mahtumkulu’nun seçilmiş şiirlerini Farsçaya tercüme edip, Tahran’da Uluslararası Elhoda yayınevi tarafından Türkmence orijinaliyle beraber iki dilde yayınladığı kitabının giriş kısmında Mahtumkulu’nun şiirlerinin ölçülerini de inceleyip, hece ölçüsünün yanında Arzu ve hatta bir şiirde kullanılan serbest ölçüyü de açıklamıştır. O analiz Türkmensahra-İran’da Mahtumkulu’nun ölçülerini açıklamak ve takti etmek açısından, edebi topluluk gözünden ilk adım sayılmıştı. Sonra 2016 yılında Aşagabatda yapılan Mahtumkulu Ferağı’nın uluslar arası kongresinde bu konuda bir sunum hazırlayıp, özellikle de Mahtumkulu divanında kullanılan serbest ölçüden söz etmiştir. Şimdi Türkiye Türkçesinde hazırlanan bu makale daha önce Türkmen ve Fars dilinde yazılan makalelerin düzetilmiş ve geliştirilmiş halidir. Makalede Mahtumkulu’nun şiirlerinde kullanılan üç tür ölçü: Hece ölçüsü, Arûz ölçüsü ve Serbest ölçüsü incelenip örnekler sunulmaktadır.
At the wedding, the bride wears colorful linen with a red background, and the man wears a red-based caftan. We can also see the importance of the color red in Turkmen music and folk songs. In fact, Turkmens especially have a folk song called Kırmızı, which many famous Turkmen artists, especially the Turkmen folk artist Akmırat Çarıyev, have performed it beautifully.
The second color that stands out in Turkmen carpets is white. The white color is seen numerously, especially in the weaving motifs known as Göl. White felt has an important place in the devices of the girls who are going to get married, where it represents good future and luck. The color white has great importance both in ancient Turkmen architecture and in today's architecture.
Iranian painting is known as a turning point of the Qajar period; This period exhibits the Europeanization pizza of the Qajar period Iranian painting. Qajar led to modernization in the art of Iranian art. In addition, various printed works of European painters left various effects on Qajar painters and brought important results as well as misunderstandings. The painting and art life of the Qajar palace is actually the second king of this palace, Fethali Shah. The Qajar period painting, which lasted from the early 19th century to the early 20th century AD, can be divided into two general periods: from the beginning of the reign of Fethali Shah to the end: during this period, painters selected some features of foreign paintings they liked and integrated them into their own traditions; The combination of new and old methods leads to a uniquely Iranian painting style.
The second period, corresponding to the reign of Nasreddin Shah, and beyond: during this period the limitations of courtly art became more pronounced and noticeable, and painting on canvas became popular in Qajar painting during this period, as formal and classical painting could not meet the cultural and artistic needs of the time. The paintings were heavily influenced by western painting. The examination of the Europeanization process in this period constitutes the subject of this article.
Edirne is the place where important illustrated literary works such as Dilsȗznâme and Külliyat emerged. It was home to famous painters of the period. It is a city that has left its mark on Ottoman painting art. It has also found its place in the miniature books prepared in different periods with important architectural works such as the Palace and Selimiye Mosque.
European artists Gentile Bellini (d. 1507), Nicolas de Nicolay (d. 1583) and Melchior Lorck (d. after 1583) and Jean-Baptiste Vanmour (d. 1737) visited Istanbul and drew their lives there. Although many of the painters had never seen the Ottoman homeland, they painted according to what they heard.
The very ornate and abundant motifs of the Ottoman woman, her clear life in the harem, the fact that she looks closed, living and yashmak and burqa, Turkish women's bath, enjoying coffee, etc. It was interesting and attractive to European painters.
In this article, examples of pictures made on these subjects are given and examinations are made.
works. Especially in the Shahnama of Ferdowsi, the classical poet of Iran, a great deal of space has
been devoted to this subject.
According to the Firdevsî Shahnameh, Feridun becomes the sultan of the whole world after
killing Dehhak. Three sons are born from Feridun. Their names are Selm, Tur, Irech. He marries his
sons to the daughters of the Yemeni sultan. Then he divides his world domination among his three
sons. It is given to Far East Selm, Turan Tur, Iran Irech. Disturbed by this sharing, the two brothers
want to take Iran out of İreç's hands. They write to the sultan, but the sultan does not accept. In the
end, they decide to kill Irech and kill him in the tent where he is resting.
After this legendary narration, the wars that took place gradually between the Iranians and the
Turanians formed the main subject of the Shahnameh, which is known as Iran's greatest verse classical work.
The Shahnameh, which includes the sagas of the Sassanids and the previous period, is known
as a literary masterpiece of Firdevsî. However, it is noteworthy that Firdevsi, whose Persian
nationalism fluctuated in her works, presented the Shahnameh to a Turanian Turkish sultan, Sultan
Mahmud Ghaznali. In addition, Shahnameh institutions were opened in the Ottoman palace, and
paintings were made according to the Shahnameh. Generally speaking, whether before or after the
Ottoman period, Iran's wars, which were against the Turanians, were reflected in miniatures, which is
proof that Turkish nationalism was absent or weak at that time. However, after the Safavid domination
of Iran and the constant wars between the Ottomans and the Safavids, the Shahinshahname III. In the
illustrated Ottoman works prepared during the Murat period and We see the Ottoman army attacking
the Iranian army in Ottoman paintings such as Selimnâme during the reign of Selim II.
In this study, the wars of the Iranians and Turks will be evaluated in the miniature works
prepared in the Iranian field and the Ottoman homeland.