Islamic Arts

Diyarbakir and Mardin entered to different circle with Turkish domination in the 11th centuries, with the light of this effect, a physical environment appeared which is presented various perspective. This environment has important details that will show, cities’ political, economic, religious and social connections. Decoration is one of the most significant one in these details. Decoration of Diyarbakir’s architectural monuments which is represented Turkish-Islamic arts intensify in the period of Aqqoyunlu and Ottoman period and appear on different types of the buildings. Mosques have the most decorational items as being the focus of all architectural monuments. Basalt is the most common material used for traditional buildings of this area. Limestone and marble are also used. Tiles and woods are used rarely compared to stone and these are preferred inside of buildings. Artukids governed East and South East of Turkey during 12th – 15th centuries and they left many monuments especially in Mardin. It is possible to say that madrasahs are the focus of architectural monuments in Mardin. This detail shows that Artukid Monarchs consider religional researchers more important. Limestone (ocre jaune) which is traditional building material in the region is easy to shape and it represents Mardin’s identity during the history of city. Decoration on the both cities' monuments is engraved to the stones in harmony with Islamic Arts’ eternity belief.

Estudio de las cinco llaves islámicas conservadas en el Museo de Segovia, algunas con leyendas en árabe, y de otras varias de la misma tipología y cronología conservadas en otros museos y colecciones. Se aportan nuevas lecturas de sus inscripciones y se realiza una aproximación tipológica, funcional y cronológica de estas piezas de carácter representativo y simbólico, encuadrables en la Plena y Baja Edad Media.

The study of Islamic ceramics is one of the important material evidence in archaeological studies of Islamic applied products, and ceramics is considered one of the most important arts known to Muslims, and although ceramics as an industry and art were known from an early period before the Islamic civilization, Muslims have greatly contributed to its development on Several levels, including industrial techniques, ceramic shapes and styles, decoration and colors, using chemical formulas that were considered during the middle ages among the achievements of Islamic civilization and among the most important discoveries that they were unique to in their era and for other long periods of time. Therefore, the Islamic civilization, along with the Far Eastern civilization, was considered one of the world's most concerned with the art of ceramics.
This research aims to study some ceramic finds that were found during archaeological excavations at Al-Manarah site in Jazan region, Saudi Arabia (fig. 1,2), whether they are locally made or imported. The study is of particular importance because it contributes to showing the technical and artistic characteristics of these ceramic finds depending on their materials, shapes, colors and decorations, and their dating and dating similar ones that will be found in the future. Which is famous for its production of some important industrial centers, and the extent of its spread in the Jazan region, and its technical and artistic impact on its geographical surroundings, whether near or far. This is what will be mentioned during the research.

Résumé : Partant de l’idée que les tissus vernaculaires oasiens sont marqués par une porosité particulière à l’origine de l’ambiance vécue, nous posons l’hypothèse que cette porosité correspond au mode de vie des habitants qui accorde la primauté au partage. Ce mode de vie concorde avec une certaine conception intégrative d’être au monde proposée par la philosophie islamique, en particulier le soufisme bien ancré dans la pensée populaire. Nous nous proposons, dans ce papier, de suivre ce courant de pensée qui depuis Aristote traverse la philosophie occidentale et arabe et va à l’encontre du dualisme prédominant. Il s’agit d’y trouver des pistes de réflexion pour évaluer la portée opératoire de la notion de porosité et sa capacité à renouveler notre compréhension des tissus en question.
Mots clés : Porosité, Ambiances oasiennes, Soufisme, Esthétique du souffle
Summary : Starting from the idea that the vernacular urbanism oasis is marked by a particular porosity at the origin of the lived atmosphere, we hypothesize that this porosity corresponds to the lifestyle of the inhabitants that gives primacy to sharing. This way of life aligns with a certain integrative conception of being in the world proposed by the Islamic philosophy, especially ingrained in popular Sufi thought. In this paper, we propose, to follow this line of thought that Aristotle has been following through Western and Arab philosophy and goes against the predominant dualism. Hence, It is a question of finding some lines of thought to evaluate the operational scope of the concept of porosity and its capacity to renew our understanding of urbanism in question.
Keywords: Porosity, Oasis atmospheres, Sufism, Breath aesthetics

İnsanoğlunun taşla olan ilişkisi milyonlarca yıl öncesine dayanmaktadır. Taştan imal edilmiş işlevsel aletler, insanların temel ihtiyaçlarını karşılarken estetik unsurun da içine girdiği sanatsal objeler ise insan ruhunda yarattıkları hazla etkili olmuştur. Hammadde olarak taşın kullanıldığı eserler; çeşitli takılar, heykeller ve kabartmaların yanında mozaik sanatını da içermektedir.

Color terms and color naming are matters that have frequently drawn the attention of linguists. Human eyes can identify more than seven million colors. Languages in different cultures have tried to represent lexically a range of them. Color terms and their typology is considered one of the pivotal studies in recent decades. While there are Persian words for the colors, each year, due to inaccessibility, several non-Persian color terms enter this language. This article is aimed at representing a list of Persian color terms, studying their morphological structure, their localization and enrichment of the Persian language and culture. More than sixteen hundred color terms have been collected by the writer. These terms can be divided into simple and complex words. Only 2.74% of Persian color terms are simple and 97.26% of them have a complex structure. Persian speakers create color terms through suffixation and syntactic processes. 50.50% of complex color terms have derivational structure and the remaining 46.76% are compound. Derivation and compounding are the most productive and frequent processes in the formation of Persian color terms.

Pamfilya bölgesinin en önemli şehirlerinden biri olan Antalya, bulunduğu coğrafikonum itibariyle birçok önemli medeniyete ev sahipliği yapmıştır. Gelişmemiş insanlıkuygarlığından günümüze kadar izleri bulunan ağaç işçiliği bu topraklarda da yerini alaraksanata dönüştürülmüştür.Bu çalışmada, Antalya ve yöresi mimarisinde sivil mimari dışındaki tarihi yapılarıntespiti yapılıp buralar da var olan ahşap işçilik incelenmiş ve değerlendirilmiştir. Konumuzkapsamında Antalya Müzesi Etnografya Bölümü’nde ulaşılan dokuz eser de katalogçalışmasına dâhil edilmiştir. Her bir ahşap eser ait oldukları yapı, konum, süsleme ve tekniközellikleri kapsamında değerlendirilip anlatılmıştır. Ağırlıklı olarak cami ve mescitlerdeorijinalliğini günümüze kadar koruyabilmiş eserler yer aldığı için bu yapılar üzerindeyoğunlaşılmıştır. Ele alınan ahşap eserler teknik, süsleme ve üslup bakımından birbirine enyakın örnekler ile mukayese edilmiştir. Çalışmanın görsel olarak desteklenmesi için fotoğrafIIve çizimlere...

Kaleiçi, which was an important trade centre of the Mediterranean during the
Seljuk period, is the first settlement area that forms the basis of Antalya's historical
and cultural heritage. The building that most clearly reflects the historical texture in
this region is undoubtedly the Fluted Minaret Mosque. Built in the 13th century during
the reign of Alaeddin Keykubat I, the Yivli Minareli Mosque is one of the oldest
Islamic monuments in Anatolia. The aim of this project study is to analyse the Fluted
Minaret Mosque, one of the symbolic structures of Antalya, within the scope of
tourism guidance. In the study, secondary data analysis and field study, which are
qualitative research methods, were used. According to the research findings, Yivli
Minaret Mosque is a wonder of art and architecture with its elegant details, unique
minaret and aesthetic design. Since Yivli Minareli Mosque was built during the reign
of Alaeddin Keykubat I, there are names of religious and cultural importance related
to this mosque. The place and symbolic importance of the Fluted Minaret Mosque in
Islamic architecture is undeniable. By providing information about Islamic culture
through the aesthetic details and decorations of the mosque, visitors are enabled to see
the Fluted Minaret as a symbol associated with Islamic culture rather than a historical
structure. The historical context of the mosque provides visitors with important
religious and cultural information. The Fluted Minaret Mosque, which stands out as a
technical achievement, is especially important in terms of creating the fluted form of
the minaret. The Fluted Minaret Mosque contributes not only as a visual experience,
but also as an effort to understand history and architecture.

Yeni bir yıl yeni umutla gelsin, yeni güzellikler getirsin niyazıyla Dârülmülk Konya'nın dördüncü sayısı elinizde. Takdir tebyin edilene kadar tedbir ile mükellefiz. O tedbir de bize ayrılan alanda gayrete devam etmek. Dârülmük Konya bir şehir ve medeniyet dergisi olarak hazırlanıyor. Ve çok şükür ki makes buldu, arayanı soranı çok oldu. Şehir bir kültürdür. Her şehrin bir kültürü oluşur zamanla ve bunu gölgesine pay eder. Şüphesiz o kültürü oluşturan da orada yaşayan ve yaşamış olanlardır. Onun için "Şerefü'l-mekân bi'l-mekin" denilmiştir. Bu sayıda İstanbul' daki Konyalıların sohbeti öne çıkacak. Şehre değer katanlar, onların hatıraları, tahasürleri, tebessümleri kelimelerde ifadesini bulacak. Geçmişten bu güne Konya kültürü biraz da iki kitapla tebeyyün etmiştir. Kur' an-ı Kerim ve Mesnevî-yi Şerif. Kitabı sanat olarak takdim eden yazımız bu birikimi ele aldı. Bizler yaşadığımız an ve zamanı, ben ve mekânı imar ile mükellefiz. Bunda da düsturumuz "Allah güzeldir, güzeli sever" sertacımızdır. Konya evleri ve mimari müktesabat ile ilgili yazılarımız da Dârülmülk ruhunun şehre dokunuşunu yansıtıyor. Konya irfan geleneğini Buhara' daki kökleri ile irtibatlandıran iç çekiş ise her şeyin kökleri üzerine yükseldiğini gösteren bir hatırlatma tadında. Ve bir eve dönüş hikâyesi: Konya'nın bir kısım mekinlerinin hangi Vatan köşesinden koparak buralara döndüklerini kaydeden muhacerat yazısı. Sonra da kırk anbar. O kadar cevher var ki şehirde mücevher olmayı bekleyen, mahir ustalar elinde.

In a book published in 2008, Arnold Hottinger provocatively asserted that as far as the Western stance toward Islam is concerned, Islam does not exist. 1 He argued correctly that it is pure fiction to speak about Islam using one sole, monolithic and global term. Moreover, he added that the desire to see in the wide-ranging and diverse 'worlds of Islam' a homogenous sphere called Islam is simply an abstract cognitive notion, which, as with any general concept, has its sole origin in the mind of the person who creates this concept or theory. It is quite clear, then, that Hottinger, like many other scholars of Islamic studies, developed his ideas in the critical 'Post-Edwardian Era'; that is, the period following the death of Edward Said in 2003, in which renewed discussion has taken place around his renowned book Orientalism, first published in 1978. 2 The 'imaginary Orient', as termed by Linda Nochlin in 1983, 3 is not restricted to Western literature but impinges on many other fields and is undoubtedly rooted in the history of European thought, especially in the construction of the image of its major 'Other' and the creation of its own historical narrative. And yet, this critical notion can and should also be applied to the field of art history in general, and to the construction of the field of Islamic art history within the larger discipline of Western art history in particular. To be more precise, what this brief analysis intends is to begin a discussion on the history of 'Oriental' art and artistic production within the critical framework of Orientalism, or, more broadly, within the framework of colonial and postcolonial studies; and, at the same time, to

Malaysia is a country with a rich artistic and cultural heritage from diverse backgrounds in a multi-ethnic and multi-religious society. The significant inspiration in creating products such as clothing, art sculptures, weapons, architecture, food, dance, and civilization. This study on the issue of Malaysian art culture inspired for fashion design course was conducted on fashion students, semester 02 until semester 05 in Diploma Fashion Design & Clothing at Politeknik Malaysia, focusing on (DVF 20033) The Fundamentals of Fashion Design course. The objective is to facilitate the student by measuring the tendency during producing and developing the research for fashion design portfolio inspiring from suitable characteristics elements and principles by sustaining the authenticity of Malaysian art culture. This study used a quantitative method with a questionnaire that was descriptively analyzed with up to 92 respondents. Based on the tendency result 96 % showed that it will suit syllabus requirements. The overall result will upgrade the guidelines and improvements in the syllabus apparently with to achieve the conditions of sustainability in Quality Education Practices (SDG4) and Decent Work and Economic Growth (SDG8) as recommended in the SDG17 plan and contribute to ensure that it can have an impact in empowering the knowledge and skill of students suitable with the demands of the local fashion industry in Malaysia.

Gelibolu, fethedildiği 1354 yılından günümüze kadar önemini koruyarak gelebilmiştir. Bu uzun dönem içinde Türk hakimiyetinin simgelerinden biri olan mimari yapılaşma, imparatorluğun diğer kentlerine paralel devam etmiştir. Bu yapılaşma süreci içerisinde türbe ve mezar yapıları da önemli yer tutmuştur. Saruca Paşa gibi ilk Osmanlı kaptan-ı deryalığı ve tersane kuruculuğu yapmış bir vezirin, Gelibolu tarihi içinde de önemli bir konumu vardır. Gelibolu kentini yeniden kuran, yapıları ve vakıflarıyla donatan Saruca Paşa, kendisi için de bir türbe yaptırmıştır. Anadolu Selçuklu türbe geleneğinde ve erken Osmanlı dönemi mimarisi özelliklerine göre yapılan bu türbe Gelibolu ve Türk Mimarisi için değerli bir örnektir .

Recent art historical research has increasingly paid attention to the importance of artists' transcultural itineraries regarding a postcolonial understanding of art history. It has been demonstrated how migration, contact, travel, and displacement have been essential for the emergence of multiple modernisms, composite identities, and hybrid aesthetics. This conference highlights modes of artistic exchange between European and non-European centres of modern art in the twentieth century that have been established against the backdrop of contemporary decolonisation movements. Speakers at the conference reflect on cross-cultural connections of artistic ventures, situating them in both regional and transnational art historical writing.

‘Dealing with ambiguity’ has become a pressing concern in many spheres of contemporary life, often presented as a ‘survival skill’ in an uncertain world. Working with ambiguity also plays a crucial role in the musical pedagogy of the Ottoman‐Turkish ney (Sufi reed flute), the playing of which I discuss in this article. Rather than a constraint or deficiency to be resolved, in the context of ney apprenticeship, ambiguity emerges as a desired pedagogical force not only valued but also deliberately amplified. My aim is to show how ambiguity is embraced here as a productive condition that maximizes possibilities for artistic exploration, freedom of discernment, and aesthetic pleasures.

İnsan ezelden ebede bir ümran yolculuğundadır. Zira hayatını mamur etmekle mükelleftir. Bu sorumluluk ilim, irade ve sanat gerektirir. İlim ve sanatla tesis edilen dünya, insanın iç kişiliğinin dışta yansımasıdır. Her şey; çevre, şehirler ve vatan da bu minvaldedir. Bizler ümran yolculuğumuzda bu keyfiyette nice şehirler kurduğumuz gibi nice kurulmuş şehirleri de yeni bir ruh ve heyecanla tezyin ettik. İşte Konya böyle bir şehir; sadece Selçuklu'nun merkezi değil, ilâhî aşkın terennüm edildiği bir vuslat diyarı olmuştur. Nice yüzyıllar bu ilim, sanat ve aşk dalgaları yeryüzüne yayılmış, nice mustarip kalpler burada dertlerine deva gönüllerine sürur aramışlardır. Ahmet Hamdi Tanpınar, Beş Şehir'de biraz da buna işaret etmez mi? Konya'nın; "Kendini gizleyen, esrarlı bir güzelliği vardır. Bozkır, kendine bir serap çeşnisi vermekten hoşlanır. Konya'ya hangi yoldan girerseniz girin sizi bu serap vehmi karşılar." Bu serap içerisinde bir tarih yolculuğu sunar size Şehir; bütün birikimiyle ve dünden kalan bütün eserlerin şahitlikleriyle. Kolay değildir medeniyet kurucu olmak, gölgenin uzandığı her yerin derdiyle dertlenmek gerektirir. Bu dert kimi zaman dilin ve duyguların sanata dönüştüğü dizelerde, kimi zaman da aşkın Semâ'ya dönüştüğü zikirlerde ifadesini bulur. Velhasıl arayan aradığını bulur Konya'da. Zira Konya ser mayayı korumuş, bu günlere getirmiştir. Şimdi bu mayayı yeniden çalmak üzere bir dergi yayın hayatına başlıyor. Her dergi bir okuldur diye bilinir. Daha doğrusu bir okul iddiasında olmalıdır temennisidir bu ifade. Biz de bu iddianın mütevâzi ümitvarları olarak başlı başına bir hüviyet olan Konya'nın A'dan Z'ye bütün değerlerini hem yaşamak, hem yaşatmak, hem de gelecek nesillere envanter bırakmak adına vira Bismillah dedik. Adına Darülmülk dedik, Konya'nın medeniyet kurucu vasıflarından alamet-i farikası olan. Gönül kapımız söyleyecek sözü, edilecek duası ve bu mayayı çalmak gayretinden usanmayacak olan herkese açık olacaktır. Konya Büyükşehir Belediyemiz ve onun kıymetli başkanı Uğur İbrahim Altay Beyefendi'nin heyecan ve teşvikleri Darülmülk'e layık idi. Biz de bu ülkemizin çok kıymetli ilim, fikir, gönül, sanat ve edebiyat adamlarının katkısıyla bu ümit, heyecan ve teşviğe karşılık vermeye gayret ettik.

This research aims to look at the material changes that occur among craft makers in Saribas, Sarawak which focuses on the development of the use of materials to produce handicrafts in the modern era that faces the challenge of deficiency natural resources. Handicraft means the production of useful tools (Utility), or decorative tools using hand skills or the help of simple tools traditionally. In the modern era, handicrafts in Saribas are still traditional products produced individually or in groups for commercial purposes on a small scale. The results of the field study, found that the production and sale of handicrafts is one of the sources of income for a handful of villagers. The production of handicrafts usually uses forest products, but recently craft makers have been found to be more creative in utilizing alternative materials to replace the original one. Based on the qualitative methods that have been carried out, the results of observations clearly there are some significan...

Konya'da Anadolu Selçuklu döneminde yapılmış birçok mimari yapı yer almaktadır. Anadolu Selçuklu dönemi denildiğinde akla dönemin özelliklerini yansıtacak birçok özellik gelmektedir. Mozaik çini tekniğinde yapılmış zengin işçilikleri olan mihraplar bunlardan bir tanesidir. Beyhekim Mescidi ve Türbesi de bu dönemde yapılmış ve mozaik çini mihrabı olan bir yapıdır. Ancak Beyhekim Mescidi ve Türbesinin mihrabı onarım bahanesi ile kaçırılmıştır. Kaçırılan mihrap şuanda Almanya İslami Eserler Müzesinde sergilenmektedir. İslami Eserler Müzesi, Bergama (Pergamon) Müzesinde bulunur ve Berlin Devlet Müzelerinin (Staatliche Museen) bir parçasıdır. Beyhekim mescidinde yer alan mihrabın kaçırılması sonucunda yeni restorasyon çalışmaları yapılmıştır. Yapılan restorasyonlar ile birlikte kaçırılan mihrap yerine ahşap mihrap eklenmiştir. Eklenen mihrap tek parça halindedir. Bergama Müzesinde yer alan mihrap ise mozaik çini tekniğinde yapılmıştır ve tekli karolar halindedir. Ahşap mihrap tasarım açısından kaçırılan mozaik çini mihraba benzemektedir. Ancak teknik açıdan ve işçilik açısından farklılıkları gözle görülür derecede bellidir. Çalışma kapsamında mihrapların tezyini özellikleri, kullanılan malzemeleri, işçilikleri ve tasarım farklılıkları karşılaştırılmıştır. Ayrıca restorasyon ile eklenen ahşap mihrabın neden mozaik çini mihraptan faklı olduğu üzerinde de durulmuştur.

This research aims to look at the material changes that occur among craft makers in Saribas, Sarawak which focuses on the development of the use of materials to produce handicrafts in the modern era that faces the challenge of deficiency natural resources. Handicraft means the production of useful tools (Utility), or decorative tools using hand skills or the help of simple tools traditionally. In the modern era, handicrafts in Saribas are still traditional products produced individually or in groups for commercial purposes on a small scale. The results of the field study, found that the production and sale of handicrafts is one of the sources of income for a handful of villagers. The production of handicrafts usually uses forest products, but recently craft makers have been found to be more creative in utilizing alternative materials to replace the original one. Based on the qualitative methods that have been carried out, the results of observations clearly there are some significan...

This research aims to look at the material changes that occur among craft makers in Saribas, Sarawak which focuses on the development of the use of materials to produce handicrafts in the modern era that faces the challenge of deficiency natural resources. Handicraft means the production of useful tools (Utility), or decorative tools using hand skills or the help of simple tools traditionally. In the modern era, handicrafts in Saribas are still traditional products produced individually or in groups for commercial purposes on a small scale. The results of the field study, found that the production and sale of handicrafts is one of the sources of income for a handful of villagers. The production of handicrafts usually uses forest products, but recently craft makers have been found to be more creative in utilizing alternative materials to replace the original one. Based on the qualitative methods that have been carried out, the results of observations clearly there are some significant changes in craft materials where more use of plastic-based material sources or other alternative materials that are similar in nature to the original material. The study concludes, modern era handicrafts have undergone a process of innovation due to the development of crafts which have marked changes from traditional crafts, especially on artificial materials which have undergone almost 90 percent change, while functions in modern society have also undergone significant changes and need reinterpretation from semiotic point of view. This field of handicraft production is seen to have great potential to be developed more comprehensively in the future. Especially in small districts such as Saribas, which can indirectly open up more job opportunities to locals.

Mawlanâ Jalâl ad-Dîn Mohammed, plus connu en Occident sous le nom de Rûmî, est l’un des plus grands génies de l'histoire humaine et une personnalité hors du commun à la sagesse universelle. Huit siècles plus tard, il continue d'éclairer les chercheurs de sens, en quête d'eux-mêmes ou de la vérité. Rûmî est un guide sans pareil et une source d'inspiration unique, aussi bien dans la recherche d'un mieux-être personnel que dans la quête d'une solution aux nombreux problèmes qui affligent le monde.

La mystique d’amour s’inscrit dans la continuité des nombreuses religions et courants spirituels nés en Iran. Les mystiques d’amour iraniens ont approfondi l’expérience de l’état amoureux pour en utiliser l’énorme charge affective afin de se catapulter vers le Profond.
Au XIe siècle, dans le premier traité sur l’amour écrit en persan, Ahmad Ghazali décrit les différents états intérieurs rencontrés par le disciple sur son chemin d’ascèse. Au-delà des expériences ponctuelles d’entrée dans le Profond, Ahmad Ghazali vise à une ascèse plus mature qui conduise le mystique vers une vie qui gravite autour d’un état permanent de conscience inspirée. La séparation entre monde intérieur et extérieur disparaît alors : « Il y a là un mystère sublime, c’est que l’amour brille de l’intérieur vers le dehors tandis que l’amour des créatures pénètre du dehors vers l’intérieur1 ». L’autre devient objet de contemplation car il est le miroir du divin ; le monde se transforme en source d’inspiration pour l’ascèse.
Au XIIe siècle d’autres mystiques vont traduire cette expérience de l’amour mystique à travers la philosophie orientale, les récits initiatiques ou la formation de confréries soufies. Les poètes, artistes et artisans des différents Métiers vont diffuser le contenu de ces paysages transcendantaux dans le monde à travers leurs productions. Cette nouvelle esthétique aura pour conséquence la transformation du tréfonds psychosocial iranien. L’investigation de terrain a permis de constater que ce tréfonds de conscience inspirée reste encore présent aujourd’hui dans l’âme du peuple iranien.

The phrases of prayer on the Turkish-Islamic bindings of the Principalities period are among the subjects that have been studied at least. The subject of this article is the al-’İzz al-dā’im wa’l-iqbāl phrase written on the doublure cover of the Turkish-Islamic bindings produced in the Principalities period, which has not been the subject of a scientific study until now, and the pattern composition containing this phrase. al-’İzz al-dā’im wa’l-iqbāl translates as everlasting power and prosperity/high position. As a result of the research, this phrase was found on the doublure cover of six manuscripts of the Principalities period (Amasya ML: 217, İnebey ML Hüseyin Çelebi: 481 and Ulu Cami: 318, Kastamonu ML: 2856 and 3435 and Süleymaniye ML Fatih: 5004). The pat-tern of the doublure cover is a full-ground geometric design decorated with floral and rūmī motifs. This prayer phrase is written on the hexagonal sheets inside the geometric pattern. The phrase has been designed and written in two types, a single line and double line reverse symmetrical. The inscription was found on books and various objects (bowl, ewer, cup, etc.) belonging to important people in the Seljuk, Anatolian Principalities, and early Ottoman periods. It is thought that this phrase is a phrase of prayer wishing that power and high position will be permanent, and that the addressee of the prayer is the sultan, a person belonging to the sultanate or a person who took part in important levels of the state. The waqf seals and records of the individuals on the works also support this.

Several studies have been conducted on al-Attas' educational philosophy and other field of knowledge such as traditional Islam, religion and spirituality, but not on his contributions to the Islamic Architecture in Malaysia. This article examines Al-Attas's contributions to the Islamic Architecture. This study involves applied deductive, inductive and comparative analyses for the most apparent architectural elements which comprise of the Malay, Roman, Greek and Moorish design. He was given a task by Ministry of Education, Malaysia to contextualize the Islamic education and implement it at higher educational level, leading towards the concept and design of International Institute of Islamic Thought and Civilization (ISTAC). This study implies that the Islamic architectural concept of the building exhibits his skill and artistic talent with a solid blend of his knowledge and experience. Further studies are required on his contribution to Sufism that influences his architectura...

Tahir and Zühre Masjid, located in Meram district of Konya province, is one of the examples of Anatolian Seljuk architecture that has survived. The work was built by Vizier Sahip Ata Fahreddin Ali in the thirteenth century. Tahir and Zühre Masjid is important as an example of Turkish-Islamic cultural heritage, reflecting the period in which it was produced, with its tiles as well as its architecture. These tiles draw attention with their artistic and documentary features, as well as the many restoration practices they have undergone. It has been determined from the records of Konya Regional Directorate of Foundations and existing publications regarding the building that the building has been restored many times on different dates. Considering the publications, archival documents, the current state of preservation of the building and tiles, it is understood that some applications for tiled building elements can be evaluated as wrong-wrong according to internationally accepted restoration principles. In this study, the history and completed tiles of Tahir and Zühre Masjid, and the restoration of tiles were compiled chronologically and determined in the current situation. It is aimed that the tiles that have been reached and built are educated and their educational practices are evaluated.

Şah Ismail tarafindan 1501 yilinda, bugunku Iran topraklarinda kurulan Safevi Devleti, kendinden onceki Timurlularin ve Turkmenlerin koklu kultur ve sanat birikimi uzerine insa edilmistir. Devletin ilk yillarinda, sozu edilen medeniyetlerin izlerini tasiyan cok sayida tezhipli eserler hazirlanmistir. Kisa zamanda kulturel acidan kendine ozgu bir devlet yapisina sahip olan Safevi yonetiminde, Fars bolgesinin merkezi Şiraz basta olmak uzere Tebriz, Kazvin, Herat, Isfahan ve Horasan bolgesinde onemli yazmalar uretilmistir. Şiraz kenti, XVI. yuzyil boyunca baskent disinda nitelikli yazmalarin fazlaca uretildigi bir tasra merkezi olmustur. Şiraz kitap sanatlarinda zengin malzeme kullanilarak hazirlanmis tezhipli yazmalar en cok edebi ve tarih nushalari ile Kurân-i Kerimlerden olusmaktadir. Bu eserlerden bazilari o donem kosullarinda cesitli sebeplerle Osmanli Devleti’nin baskenti Istanbul basta olmak uzere pek cok kentine de getirilmistir. Ozellikle Istanbul’da Osmanli burokratlari taraf...

Genel bilinen tanımlamayla bir mescide sahip türbe kavramı Orta Asya'da, türbe ve caminin aynı yapı bütünü içinde birlikte tasarlanarak oluşturulduğu "Türbe-Cami" olarak adlandırılan yapı türlerinde karşımıza çıkmaktadır. Bildirimizde, Güney Kazakistan Bölgesi'nde günümüze ulaşmış olan türbe-cami örnekleri, plan ve fotoğraflarıyla tanıtılıp, Orta Asya'daki benzerleriyle karşılaştırılarak değerlendirilecektir.

Ascension of Prophet Muhammad is a concept significantly considered in the Islamic painting art, and painters and supporters of this issue in any period of art have aimed to portray this great event.. In the two Timurid and Safavid periods, numerous paintings have been created on the subject and story of the ascension with the role of angels, which have various visual characteristics. This study aimed to evaluate the image of angels in the two historical Timurid and Safavid periods. In addition, the major concern of the research was recognizing the similarities and differences between the paintings selected from the Timurid and Safavid periods in terms of shape, content, and meaning. After comparing and matching the works in tables based on the similarities and differences of paintings and with regard to the research performed, there were some similarities and differences between the paintings created during Timurid and Safavid periods on the subject of ascension and role of angels. Accordingly, the similarities were the gender of angles, which are mostly male and female, and the size of angles, which is almost the size of a human. On the other hand, significant differences were observed in the creation of angels in two periods, including type and color of clothes of angles, which are simple without volume and shadow in the Timurid period but are colorful, golden, wavy, and shaded with a small amount of volume in the Safavid period. Another difference was the shape of angels’ face, which is Chinese-Mongolian in the Timurid period but has an Iranian identity in the Safavid period. In addition, the angels portrayed in the Safavid era look straight in front of them. It is notable that the current study had a research-comparative approach, and the data were collected through the library method and index coding.

The fatigue strengths in notched specimens of carbon-carbon composites were investigated. Slits of different length were cut on both sides of a test section to investigate the impact of notch sensitivity on fatigue life. Specimens with blunt-notches on the both side of the specimen, and center hole were also used to compare the critical stress, sw. The fatigue limit was measured using S-N curves. From the experimental result, it was found that specimens with blunt-notches have lowest fatigue limit. The relationships between critical stress, sw and specimen geometry were investigated by stress concentration factor, Kt and stress intensity factor, KI which was done two dimensional body forced methods. Consequently, it was discussed that the damage condition in the vicinity of the notch or slit, and the crack initiation behavior affects the fatigue strength. Also, the S-N curve and fatigue limit was related to the crack growth in shear mode.

, klasik cami mimarisinden devraldığı etkiler yönüyle incelenmiştir. Makalenin giriş bölümünde, erken Osmanlı cami mimarisi ve Sinan döneminde zirveye ulaşan merkezî kubbenin gelişimi hakkında bilgi verildikten sonra günümüz cami mimarisi kısaca anlatılmıştır. İlk bölümde Abdülhamid Han Camii'nin mimari özellikleri anlatıldı. İkinci bölümde caminin süsleme özellikleri üzerinde etraflıca duruldu. Değerlendirme ve karşılaştırma bölümünde ise Abdülhamid Han Camii ile Osmanlı dönemi yapıları arasındaki benzerlikler malzeme, teknik, süsleme, plan ve yapı elemanları açısından karşılaştırıldı. Bu bölümde Osmanlı cami mimarisi ile Abdülhamid Han Camii arasındaki benzerlik ve farklılıklar gösterildi. En sonda ise makale çizim ve fotoğraflarla desteklendi.

ÖZ Yayalaştırma, özellikle kent merkezlerinde yaşanabilirliği artıran, yayanın rahat dolaşımı ile güvenliğini sağlayan, uygulandığı sokak ve caddelerin kullanımlarındaki artışa bağlı ola-rak ekonomik canlılık getiren ve kamu yararını gözeten insani bir yaklaşımdır. Özellikle ta-rihi birikime sahip, tarihi eserlerle dolu olan şehirlerde, tarihi kent merkezleri yayalaştırı-larak insanların kullanımına sunulmaktadır. Binlerce yıllık tarihi boyunca Konya şehri de farklı medeniyetlere ev sahipliği yapmıştır. Ancak bu süreç içerisinde en parlak dönemini Türkiye Selçuklu Devleti'ne başkentlik yaptığı dönemde yaşamıştır. Şehir hayırsever Sel-çuklu Sultanları ve devlet adamları ile camiler, mescitler, medreseler, hankahlar, hamam-lar, kervansaraylar ve türbelerle donatılmıştır. Bu eserlerden günümüze ulaşanları Alaed-din Tepesi çevresinde, tarihi kent merkezinde yoğunluk göstermekte ve Konya'nın Sel-çuklu şehri olduğu imajını ortaya koymaktadır. Konya tarihi kent merkezi için uzun yı...

ملخص:
من المعروف أن أقاليم الدولة الإسلامية في العصور الوسطى من الصين شرقاً حتى المغرب والأندلس غرباً، لم تكن بمعزل عن بعضها البعض، إذ لم تكن الحدود السياسية المعروفة الآن موجودة، وكان المسلمون ينتقلون عبر تلك الأقاليم الشاسعة بيسر وسهولة، وهم أينما حلوا فإنما بأرض الإسلام.
كذلك كان الصنّاع ينتقلون بحرية تامة بين الأقاليم الإسلامية المختلفة، وكانت تنقلاتهم بحثاً عن الاستقرار والعيش الآمن وإجزال العطاء من رعاة الفن من الحكام وغيرهم. وفن صناعة وزخرفة الخزف الإسلامي في العصور الوسطى لم يخرج عن هذه القاعدة، إذ لعب الصنّاع والفنانون في مجال صناعة وزخرفة الخزف دوراً رئيساً في نقل الأساليب الفنية والصناعية والزخرفية خلال تنقلاتهم المستمرة من مكان لآخر.
وتعتبر الأمثلة القليلة الباقية من توقيعات الخزافين المسلمين التي سجلوها على بعض منتجاتهم المصدر الرئيسي للتعرف على أسمائهم وموطنهم الأصلي وأساليبهم الفنية وتخصص كلٍ منهم ومكانته بين أقرانه، إذ أن المصادر التاريخية المعاصرة قد أغفلت في معظم الأحيان الحديث عن الُصنّاع والفنانين أو التأريخ لهم إلا نادراً. وقد تميز الخزف المملوكي بتسجيل توقيعات ُصنّاعه، ويهدف هذا البحث إلى إلقاء الضوء على أحد الخزّافين غير المعروفين والمسمى "الصيوان" اعتماداً على توقيعه المسجل على قاع إناء غير منشور من الخزف محفوظ في متحف جاير أندرسون / بيت الكريتلية، بالقاهرة تحت رقم سجل (164).
الكلمات المفتاحية: العصر المملوكي، الخزف، الخزافين، الصيوان، ابن الصيوان الشامي.

Summary:
It is known that the regions of the Islamic state in the Middle Ages from China in the east to Morocco and Andalusia in the west were not isolated from each other, as the political borders that are now known did not exist, and the Muslims moved through these vast regions easily, and wherever they settled, they are in the land of Islam.
In addition, craftsmen moved completely freely between the various Islamic regions, and their movements were in search of stability, safe living and the abolition of giving from art sponsors from the rulers and others. The art of making and decorating Islamic ceramics in the Middle Ages did not depart from this rule, as makers and artists of ceramics industry and decoration played a major role in transferring artistic, industrial and decorative styles during their continuous movement from one place to another.
The few remaining examples of the Muslim potters signatures, that they recorded on some of their products is consider the main source for identifying them, their proper names, their original homeland, their artistic styles, specializations, and status among the other craftsmen. As the contemporary historical literature rarely mentioned the definition of the artisans and artists, or their history. Mamluk ceramics characterized by recording the signatures of their manufacturers. This paper aims to shed lights on an unknown potter called "Al-Siwan" depending on his signature, which found on an unpublished fragment of pottery, now stored at the Gayer Anderson/Bait al-Kiritliyya Museum in Cairo (No. 164).

The above stated facts reveal the rich representation of Artsakh rug weaving culture and multiform manifestations of its influence on other rug weaving centres. Actually, Artsakh an exceptional area presenting the gorgeous and unique rug weaving culture of Armenia. It comprises all aspects which completely capture this sphere of Armenian historico-cultural heritage. Still, the types of rugs presented in this study do not provide the comprehensive picture of rugs typical of Artsakh rug weaving centres. To avoid uncertainties we have not included tenths of types for the lack of distinct historico-ethnographic data. Several types studied by us before, are not included due to deficiency of required photographs. The portrayal is not all-inclusive also because all types have a great number of varieties, characterized by key features. These testify to the infinite wealth of Armenian as well as Artsakh rugs. We hope very much that in due course, further thorough research will provide possib...

ضم البحث الحالي الموسوم (المرجعية الدينية للأشكال المنفذة على الخزف المملوكي, دراسة في الدلالات الرمزية) أربعة فصول، خصص الفصل الأول منها لبيان مشكلة البحث والتي تم عرضها وتلخيصها في إمكانية الإجابة على السؤال الاتي: هل هنالك دلالات رمزية في الاشكال المنفذة على الخزف المملوكي؟ كما تضمن الفصل الأول الإشارة إلى أهمية البحث والحاجه إليه وكما يلي: تكوين قاعدة معرفية عن الدلالات الرمزية المنفذة على الخزف المملوكي. تفيد هذه الدراسة طلبة الفنون والباحثين والمتذوقين للفن والنقاد. وتضمن هذا الفصل أيضاً أهداف البحث بتعرف: مرجعيات الاشكال الرمزية المنفذة على الخزف المملوكي. الدلالات الرمزية للأعمال المنفذة على الخزف المملوكي. كما تضمن على حدود البحث بدراسة الاعمال الخزفية الاسلامية المملوكية (صحون ومزهريات وبلاطات) والتي ظهرت في مصر وسوريا في ذلك العصر ضمن الفترة الزمنية (13 - 14 ق.م).     أما الفصل الثاني فقد خصص للإطار النظري والدراسات السابقة ، حيث تضمن الإطار النظري مبحثين، عني أولها بتقصي مفهوم الرمز من الناحية التاريخية ، في حين اختص المبحث الثاني بالدلالة والرمز للاشكال المنفذة على التص...

تحولات تاریخی خوشنویسی اسلامی را می‌توان با شناخت گفتمان‌های مختلف حاکم بر آن در ادوار مختلف بازخوانی کرد. هدف این پژوهش نیز بازشناخت یکی از گفتمان‌های تاریخ خوشنویسی، یعنی گفتمان صوفیانه و تحلیل ساز و کارهای زمینه‌ای و رویه‌های تحمیل انگاره‌های عرفانی توسط این گفتمان بر رساله‌های خوشنویسی است. گفتمانی که به مرور بر اثر قدرت یافتن و دامنه نفوذ تصوف، در حدود سده‌های هشتم تا یازدهم هجری غالب گشت و آثار انگاره‌های عرفانی تحمیلی آن را در اقسام جریانات فکری و مشاغل و هنرهای این دوره می‌توان مشاهده کرد. این گفتمان همچنین سبب به وجود آمدن ویژگی‌های مشترک در متون و رساله‌های مربوط به هنر خوشنویسی گشت. بنابراین در این پژوهش با اتخاذ رویکرد تاریخی- تفسیری و بهره‌گیری از روش تحلیل گفتمان، به تعیین مفصل‌بندی‌ها و بازشناخت ویژگی‌های صوفیانه در رساله‌های خوشنویسی سده‌های هشتم تا یازدهم هجری پرداخته شده است. نتایج این پژوهش نشان ‌می‌دهد که تلقی عرفانی از هنر خوشنویسی، در مقام ویژگی‌ گفتمانی و تاریخمند خاص این دوره بوده و نه تنها خصیصه ذاتی و همیشگی خوشنویسی اسلامی نبوده، بلکه در کشمکش و تقابل آشکار با سایر گفتمان‌های تاریخ‌ساز هنر اسلامی همچون گفتمان علمی- هندسی در سده‌های پیشین قرار می‌گیرد.

La iglesia de Santa Lucía, más conocida como la iglesia municipal de Chía, contiene dentro de sí una serie de legados históricos provenientes de la España musulmana y cuyo significado simbólico está at portas de perderse en la compleja maraña de la historia El presente trabajo de investigación pretende rescatar el origen, la historia y el actual significado simbólico de las baldosas del piso de la iglesia  y
presentarlo de forma clara y sencilla para todo tipo de público, tanto externo como interno La investigación, desarrollo y producción del proyecto ha sido financiado gracias a un estímulo del Instituto Departamental de Cultura y Turismo de Cundinamarca (Idecut).

Mughals reigned in Indian subcontinent that is many areas including today's India, Pakistan and Bangladesh for nearly two centuries, and they built important monumental buildings in these large areas. In their period, unique examples were produced especially in tomb architecture. The Tomb of Taj Mahal in the city of Agra, which Shah Jahan had built for his wife Mumtaz Mahal (1631-48), perhaps made the tomb architecture unattainable, and carried it to its last stage not only in Mughal period but also in the framework of Turkish-Islamic period. Taj Mahal can be an example for many tombs built after it, and it left behind many monumental tombs built before and after it. Taj Mahal Tomb was also almost a prototype for Bibi Ka Maqbara, which is the subject of the research. Bibi Ka Maqbara had been built (1651-1661) in Aurangabad city of India by Muhammad Azam Shah, the son of Aurangzeb, for his mother Dilras Banu Begum. The tomb is usually compared with Taj Mahal, the tomb of Aurangzeb's mother, Mumtaz Mahal, and therefore is called as "The Taj of Deccan or Mini Taj Mahal." Both tombs had been built for the favorite wives of the rulers of the related periods. On the inscription located over the main entrance gate of the construction, it is stated that the architect of the building was Ataullah, the son of Master Ahmad Lahauri, one of the architects of Taj Mahal, and it was designed by Hanspat Rai, one of the engineers of the period. The construction also draws attention with its Charbagh-styled garden. The tomb is located on a square platform, and there is a minaret with two balconies on each corner of the platform. The inside plan of the tomb is square and the outside is octagon, and it is covered with dome. The tomb was built with a material, a mixture of limestone and gypsum, and its platform and dome is white marble. The ornamental design of the tomb is also at great importance as well as its architecture and material. It is seen that the intense botanical ornaments of Taj Mahal, which was created by a high level of relief and carving techniques, were employed here with the same intensity but by using a different material, on the limestone and gypsum instead of white marble. While the first monumental tomb of Mughal period is Humayun's Tomb in Delhi, the last one is Bibi Ka Maqbara. In this research, the similarities and differences between the Tomb and Islamic and Turkish tomb architecture and its place among Mughal tomb examples will be evaluated, and also both architectural features and ornamental design of the tomb will be handled.

En unos conocidos epigramas del autor mozárabe Cipriano de Córdoba se mencionan dos abanicos dedicados a unos condes Guifredo y Guisindis, para los cuales la historiografía ha propuesto su identificación con los condes barceloneses Guifredo el Velloso y Guinedilda. El objetivo del artículo es dar contexto a esta identificación y sostenerla con la única mención documental segura de la presencia de abanicos islámicos en los condados catalanes altomedievales. Esta se halla en una donación de bienes de comienzos de siglo X, firmada por el obispo Riculfo de Elna, hermano menor de Guifredo. Se añade una breve reflexión sobre la idiosincrasia formal y material de los abanicos andalusíes a partir de su representación en los discursos iconográficos de los marfiles califales.

As an indicator of our civilization, manuscripts have been given great value for generations. For this reason,
there are many manuscripts in our country that have continued to both production and collections. Some of these works
are archived in manuscript libraries and some of them are in various collections. Many manuscripts are still waiting to
be revealed. As unique treasures, our manuscripts are the most beautiful indicators of our culture that has evolved over
the ages as documents that illuminate history. The Sultan Ahmet I collection is one of these unique collections. This
collection is located in the Süleymaniye Manuscript Library and consists of manuscripts that feature the Safavid period.
This collection is located in the Süleymaniye Manuscript Library and consists of manuscripts that feature the Safavid
period.Considering the quality of the manuscripts used in the collection and the style of decoration, it is understood that
they have similar characteristics with the large size Shiraz manuscripts prepared using valuable materials between
1580-1590. In these years, when the production of flamboyant and large-sized manuscripts reached its peak,
bookbinding decorations were made with paints obtained from precious metals such as gold, silver and lapis lazuli.