https://hdl.handle.net/20.500.12809/194 Sat, 04 Apr 2026 06:48:01 GMT 2026-04-04T06:48:01Z https://hdl.handle.net/20.500.12809/10298 Late Antique / Byzantine Architectural Sculpture from Mucuk Village, Silifke Aydın, Ayşe During explorations carried out as part of the "Goksu Archaeological Project" in 2006, numerous elements of architectural sculpture were recorded in the vicinity of the houses and mosque of Mucuk village and in the walls of the houses themselves. The sculpture, all of which is limestone, includes five flat pier capitals (one of which was embedded in a wall), three flat pier bases, one column base, one column shaft built into a wall, one column shaft fragment (likely belonging to a ciborium or templon given its size), and one flat pier for a window. Flat pier capitals were used in Constantinople, Anatolia, and other provinces throughout the late antique / Byzantine period, starting in the third or fourth century. Several flat pier capitals, two of Proconnesian marble, two of marble, and the rest of limestone, are on exhibition in museums (in modern Adana, Anamur, Mersin, Silifke, and Tarsus) located, like Mucuk, in the territory of ancient Cilicia and Isauria. The flat pier capitals and limestone bases, which form a group with those from Mucuk, are indicative of local production in regional workshops. The column / pier capitals, which were produced in Constantinople from the first half of the fifth century onwards were exported to various regions within the Eastern Roman Empire. Thus, different capital forms with varying leaf and motif styles began to be produced in regional workshops using local materials in the second half of the fifth century. This pattern is well demonstrated by the Cilician and Isaurian examples. The rendering of acanthus leaves on the flat pier capitals in Mucuk suggests that the style imported from the capital was adapted to reflect local tastes. It may be concluded that the architectural pieces recorded in Mucuk date to the second half of the fifth or sixth century, based on their motifs and style and by taking into account the general history of Cilicia and Isauria. Moreover, the late antique / Byzantine period architectural elements at Mucuk must be remnants of a church once located in or near the village. Sat, 01 Jan 2022 00:00:00 GMT https://hdl.handle.net/20.500.12809/10298 2022-01-01T00:00:00Z https://hdl.handle.net/20.500.12809/10190 GLAZED TOBACCO PIPES Ayhan, Gökben Since the mid-19th century, tobacco pipes have been one of the subjects that attracted the attention of researchers. These studies generally focus on the clay structures, clay and coating colors, types and ornamentations of the pipes, however no studies have been carried out directly on the glazed pipes. Glazed pipes are produced in two styles, Western and Eastern style pipe. It has been applied to the types produced with and without heels of Western style examples. In the Eastern style examples, besides the different types of bowls such as flattened round bowls, cylindrical bowls and tulip bowls, there are also special examples that go beyond the general types, such as in the form of shoes. The use of glaze can be seen both in the two-part mold making pipes and the pipes produced using the potter's wheel. Glazed pipes are made of grey and kaolin clay or red clay. There is diversity in glaze colors. Light or dark green, opaque white, light or dark yellow, black and brown glazed samples of glazed pipes are found. Its visuality sometimes has been increased with herbal, geometric, figured or written ornaments applied to glazed bowls. As a result, while samples of Eastern style glazed pipes can be found especially in Ottoman area; one-piece pipes are mostly encountered in Central Europe. In this context, it is determined that the spreading area of three-part glazed pipes are wider than the one-piece ones. Eastern style glazed pipes may have affected Western style pipe or both types may have been influenced by each other. Sat, 01 Jan 2022 00:00:00 GMT https://hdl.handle.net/20.500.12809/10190 2022-01-01T00:00:00Z https://hdl.handle.net/20.500.12809/9754 Geç Osmanlı Dönemi’nde Venedik Güzel Sanatlar Akademisi’ne Eğitim Almaya Giden Öğrenciler Üzerine Bir Araştırma Berkant, Cenk Osmanlı Batılılaşmasının başlangıcı klasik Osmanlı sisteminde değişimlerin ilkkez ortaya çıktığı Lale Devri’ne (1718-1730) kadar indirilse de Batılılaşma hareketlerinin kurumsallaşması 19. yüzyılda Tanzimat (1839) ile gerçekleşmiştir. Tanzimat’la ortaya çıkan yeniliklerden biri de Avrupa’ya devlet tarafından öğrenci gönderilmesidir. Düzensiz olarak başlayan bu durum daha sonra bir devlet geleneği halini almıştır. Eğitim, Osmanlı Batılılaşmasında başat bir rol üstlenmiştir. Osmanlı, devlet kurumlarının ıslah edilmesi ve Batı tarzı bir kalkınmayı gerçekleştirebilmek için eğitim yoluyla modern bilgiyle donanmış kadroların yetiştirilmesi yoluna gitmiştir. Bunun yanında, hali vakti yerinde olan Osmanlı gayrimüslim ailelerin çocuklarını 17. yüzyıldan itibaren Avrupa’ya eğitime gönderdikleri bilinmektedir. İtalya, bu ülkeler arasında en başlarda yer almaktadır. Geç Osmanlı Dönemi’nde özellikle İtalya’ya okumaya giden gayrimüslim öğrenci sayısında bir artış gözlenmektedir. Makalemizde, Geç Osmanlı Dönemi’nde İtalya’daki en eski ve köklü Güzel Sanatlar Akademilerinden biri olan Venedik Güzel Sanatlar Akademisi’ne eğitim almaya giden Osmanlı tebaasında öğrenciler hakkında yaptığımız araştırmaların sonuçlarını ortaya koymaktayız. Osmanlı tebaasından Hovsep Eminyan, Hovhannes Çobanyan, İsac Karakaşyan/Karakaş, Andon Makgiut, Pierre Osghian, Yervant Terziyan, Aram Bardizbanyan, Haig Zepçiyan/Zipcy, Andon Parghemtan ve Hagop Bedrosyan gibi Katolik Ermeni öğrencilerin öne çıktığı bu çalışmamızla, gelecekte yapılacak çalışmalara öncü olmayı ummaktayız.; Although the beginning of Ottoman westernization dates back to the Tulip Era (1718-1730) in which the first traces of the changes began to take place in the Ottoman system, the institutionalization of westernization attempts was shaped during the nineteenth century Tanzimat Period (1839-1876). As one of the most important practices of Ottoman westernization, the empire's sending students to western countries occurred during the reign of Mahmud II (1808-1839) in the early 1830s. The first Ottoman students were sent to France for military education. In the beginning, this student mobility program was not regular but in later decades, it turned into an empirical tradition. The first students were sent to France where the Empire's international relations were good and Paris was the intensely chosen city. Apart from Paris, other European towns such as London, Berlin and Vienna were the target places for these students. Starting from the end of the reign of Abdulhamid II (1876-1909) and the Second Constitutional Monarchy (1908), the students were sent to Germany because of the Empire's affirmative relations with this country. Apart from the students sent by the government in the Late Ottoman Period, seventeenth century wealthy non-Muslim families had also sent their children to the cities such as Vienna, Padua, and Venice for educational purposes. With this, a tradition had begun among the Ottoman non-Muslims and even, new schools were established for Greek and Armenian students in Padua and Venice. With the education they received in these European towns, Armenian and Greek students became mediators and dragomans in the diplomatic relations at the return to Ottoman Empire. In addition, some of those students later became teachers in the schools in the Ottoman Empire and managed to transfer the westernized knowledge. The Ottoman-Armenian Manas Family was a good example of this situation. Some members of this family such as Rafael and Zenop studied in Italy and then worked for the Ottoman State from the reign of Mahmud I (1754-1754) to the reign of Mahmud II (1808-1839). Born in Istanbul in 1855, Yervant Osgan was first sent by his wealthy family to Moorat-Raphael Catholic Armenian College in Venice. After the years in Venice, Osgan went to Rome in 1872 and enrolled in the Academy of Royal Fine Arts. There, he took sculpting education and became the student of Enrico Deccetti and Girolamo Masini. After his return to the Ottoman Empire, he serviced as an educator and artist and became the head of the Sculpture Department for Sanayi-i Nefise School, which was founded by Osman Hamdi Bey. In this article, we will study especially the Catholic Armenian students (Hovsep Eminyan, Hovhannes cobanyan, Isac Karakasyan/Karakas Andon Makgiut, Pierre Osghian, Yervant Terziyan, Aram Bardizbanyan, Haig Zepciyan/Zipcy, Andon Parghemtan and Hagop Bedrosyan) who enrolled in the Academy of Fine Arts in Venice to study architecture. This article aims to be a pioneer in the field by the documents gathered from the archives of the Academy of Fine Arts in Venice, about the Ottoman students in Italy. Fri, 01 Jan 2021 00:00:00 GMT https://hdl.handle.net/20.500.12809/9754 2021-01-01T00:00:00Z https://hdl.handle.net/20.500.12809/9364 Batılılaşma Dönemi Tasvir Sanatına Yeni Bir Örnek: Muğla Keyfoturağı Camisi Aydın, Ayşe Muğla Karabağlar Mahallesi Yurtlar Mevkii’ndeki Keyfoturağı Camisi kare planlıdır. Caminin harim duvarlarındaki Ashâb-ı Kehf isimlerinden alınan Kehfoturağı adı zamanla Keyfoturağı’na dönüşmüştür. Kitabesine göre 1870 yılında inşa edilen cami 2005 yılında onarılmıştır. Harim üst pencere aralarında yer alan duvar resimleri kare, enine dörtgen ve dikdörtgen panolar şeklinde düzenlenmiştir. Bu panoların içinde Hz. Muhammed, torunları, dört halife ile Ashâb-ı Kehf isimlerinin yazılı olduğu madalyonlar vardır. Bu madalyonlar Barok-Rokoko üslubunda perde motifi, volüt, C ve S kıvrımlarıyla ve akant yapraklarıyla süslenmiştir. Dikdörtgen formlu panolardan ikisinin içinde hurma ağaçları, kare formlu iki panoda birer yelkenli gemi, bir panoda ise hurma ve selvi ağaçlarıyla birlikte cami tasviri yer alır. Yazılı madalyonların yanı sıra panolardan birinde yazılar kartuşlar içine yerleştirilmiştir. Zamanla bazı panoların yok olduğu, yapılan onarımlarda bazı motiflerin badana altında kaldığı, bazı motiflerin de üzerinden tekrar geçildiği ve ekler yapıldığı görülmektedir. Süsleme programındaki motiflere renkler kullanılarak ışık-gölge ile hacim verilmiş, Batı etkili resim kurallarına göre perspektif denemelerinde bulunulmuştur. Keyfoturağı Camisi’nin duvar resimleri hem seçilen konuları ve motifleriyle hem de bunların teknik ve üslup özellikleriyle Batılılaşma döneminin genel özelliklerini yansıtmaktadır. Muğla’daki sayılı duvar resimlerine sahip camilerden biri olan Keyfoturağı Camisi’nde yanlış onarımların izlerini ortadan kaldırmak amacıyla bilinçli bir çalışma yapılmalıdır.; Keyfoturagi Mosque is located in the Mugla Karabaglar Quarter, Yurtlar, and has a square plan. The name Kehfoturagi which comes from the names of the companions of the cave (Ashab al-Kahf) was written on the sanctuary wall of the mosque and has been transformed into Keyfoturagi in the course of time. The mosque was built in 1870 according to the inscription and was restored in 2005. The mural paintings located between the upper sanctuary windows are designed as square, transverse tetragon and rectangle panels. Inside these panels there are medallions inscribed with the names of the Prophet Muhammad, his grandsons, four caliphs and Ashab al-Kahf. These medallions are decorated with Baroque-Rococo style drapery, volute, acanthus, and C and S curved leaves. Two rectangular formed panels have date palms, two square formed panels have a sailboat on each, and one panelhas the depiction of the mosque surrounded by date palms and cypress trees. Besides the inscribed medallions, the inscriptions are placed within cartouches on one of the panels. It is apparent that some of the panels have vanished in the course of time, some motifs have been covered by whitewash during restorations, and some motifs have been retraced and appended. By using colour and chiaroscuro, volume is enhanced on the motifs of the decoration program and perspective trials have been made due to the western influenced drawing orders. The mural paintings of Keyfoturag.i Mosque reflect the general characteristics of the Westernization era both by their themes and motifs, and by their technical and characteristic features. A deliberate study should be carried out in order to remove the traces of misguided restoration in Keyfoturagi Mosque which is a rare mosque having mural paintings in Mugla. Fri, 01 Jan 2021 00:00:00 GMT https://hdl.handle.net/20.500.12809/9364 2021-01-01T00:00:00Z