Sanat Tarihi Bölümühttps://hdl.handle.net/11655/462024-03-28T16:06:40Z2024-03-28T16:06:40ZKaraman Hatuniye/Melek Hatun MedresesiTansel, İçtenhttps://hdl.handle.net/11655/346082024-02-27T07:04:36Z2024-02-07T00:00:00ZKaraman Hatuniye/Melek Hatun Medresesi
Tansel, İçten
Karaman Hatuniye Madrasah is a building which was constructed in Karamanid principality period. This building was constructed in the center of Karaman. The madrasah is located in Imaret Street. In sources, the name of this building is referred to as Hatuniye Madrasah in referrence to its constructor. The madrasah has its construction, artist inscriptions and deed. The constructor of this building is specified on the inscriptions and deed. The constructor of the building is Melek Khatun, the daughter of Ottoman Sultan Murad Hüdavendigar. Melek Khatun is also the wife of Alaaddin Bey, the Karamanid ruler. The Madrasah was built in 1381-1382.
Karaman Hatuniye Madrasah is a one-storey building with a rectangle shape, an open courtyard which is in two ways and two iwans. The entrance is emphasized by keeping the crown gate protruded and higher than the main walls. The main iwan of the building is constructed in the opposite of the entrance and as the biggest iwan. Covering units with dome is an innovative perception at the time.
In Karamanids period, decoration is gathered in some points. In this building, crown gate, iwans and entrance gates of the domed rooms which are located in the both sides are decorated well. As the continuity of Seljuks, motives which were used in early period buildings are based on herbal patterns.
2024-02-07T00:00:00ZMardin Zairi (Şeyh Muhammed Zarrar) CamiAlan, Mehtaphttps://hdl.handle.net/11655/345872024-02-09T07:44:45Z2024-02-05T00:00:00ZMardin Zairi (Şeyh Muhammed Zarrar) Cami
Alan, Mehtap
Sheigh Muhammed Zarrar Mosque is located on the hill where Sheigh Muhammed Zırrar
cemetery is located, south of Necmeddin District in the Artuklu District of Mardin. It is
registered to the Secaattin and Mehmet Zerran Foundation. The building is referred to as
"Muhammed ed-Dırâr Masjid-i Şerîfi", "Sheikh Mehmed Oki Masjid" in Ottoman Archive
documents. The Zairi Mosque was built by Emir Şüca'ed-din Raşid in the Artuqid Period in
the 14th century and was repaired by Ali el-Ensari in the Ottoman Period in H.1326-
M.1908. We learn about the history of the building, its period and its founder from the
stone foundation found in the mosque.
Mardin, located in the Southeastern Anatolia Region of Turkey, gained importance over
time as it was located at the crossroads of trade routes. For this reason, the city has become
a frequent destination for many travelers, geographers, and scientists since the Islamic
period. Especially 11-13. between the centuries, Artuqids chose Mardin as its capital, and
with the reconstruction activities carried out, the city gained its physical and architectural
texture. In the architectural activities carried out by the Ottomans in Mardin, Ottoman
Architecture could not fully show its own character. The architectural tradition of the
Artuqids continued in the religious and social buildings built in this period.
In our thesis, Sheigh Muhammed Zarrar Mosque, has been examined in terms of its plan,
architectural and ornamental features. Historical and physical data related to the building
were conveyed in detail; The features seen in the work were tried to be evaluated by
comparing them with the Artuqid and Ottoman Period buildings in Mardin.
2024-02-05T00:00:00ZCharles Pertusıer ve Mıchel- Françoıs Préaulx Ortaklığında Atlas: İstanbul GünleriÇörekci, MelikeÇörekci, Melikehttps://hdl.handle.net/11655/341372023-12-08T12:41:49Z2023-10-16T00:00:00ZCharles Pertusıer ve Mıchel- Françoıs Préaulx Ortaklığında Atlas: İstanbul Günleri
Çörekci, Melike; Çörekci, Melike
ÇÖREKCİ, Melike, An Atlas with the Co-Work of Pertusier and Préaulx: Days of Istanbul, Master’s Thesis, Ankara, 2023.
In the 19th century, with the changing politics, travellers' presence in Istanbul for travelling or other reasons, reflecting the moments they witnessed by including the Ottoman State in their diaries, have formed important historical documents of today. At the same time, before the invention of photography, engravings are another important element that helps us to examine the urban and sociological structure of the period. Charles Pertusier, who was in Istanbul as a military attaché, conveys the Istanbul of Mahmud II's period in his travelogue and constitutes the main point of study of this study. Michel François Préaulx, accompanying him with his engravings, constitutes another step of this study. The aim of this study is to bring a travelogue that sheds light on the period of Mahmud II to the world of academic science and to create a guide for future studies. It is aimed to create an important background together with the historical process in order to touch upon the important points of the period and to evaluate the city and the way of life in this period with the narratives of Pertusier- Préaulx.
2023-10-16T00:00:00ZYıldız Porselen Fabrikası Ressamlarının Dönemin Sanat Ortamındaki Yerleriİnce Koç, Mirayhttps://hdl.handle.net/11655/336222023-09-07T11:30:49Z2023-01-01T00:00:00ZYıldız Porselen Fabrikası Ressamlarının Dönemin Sanat Ortamındaki Yerleri
İnce Koç, Miray
KOÇ İNCE, Miray.’’Places of Yıldız Porcelain Factory Painters in the Art Environment of the Period’’ Master's Thesis, Ankara, 2023.
The 19th century was a century in which the Ottoman Empire began to take steps towards "modernisation" and many new institutions were opened in this direction. The steps of modernisation, which gained momentum with the reign of Abdülhamid II, also found their reflection in the fields of culture and art. In this period, when the School of Sanayii Nefise was opened, archaeological studies and participation in international exhibitions increased, there was also a great increase in the state's factory activities. One of these factories where modernising industrial technologies were tried to be applied was the "Yıldız Porcelain Factory / Çini-i Fabrika-i Humayunu".
This atelier, where many artists have worked since its inception, has gained importance in terms of reflecting the prestige of the palace. However, until now, no connection has been established between the painters working in the painting studio of the Yıldız Porcelain Factory and their place in the art scene of the period, and the factory painting studio and the artists have been evaluated separately.
’’Places of Yıldız Porcelain Factory Painters in the Art Environment of the Period’’ in this master's thesis, it is aimed to examine the connection between the painters working in the painting studio and the period in which they produced art. In the aforementioned examination, archival document records and memoirs about the painting studio were taken as the focal point of the research in terms of shedding light on the place of the painters in their periods.
In this direction, the duties of the painters in the factory painting studio were analysed, and with the help of archival documents, research was conducted on whether the painting studio played a determining role in the art environment of the period. The positions of the painters who were found to have worked in the painting studio in the art environment in the same period are discussed.
Keywords: Ottoman Empire, Ottoman Industrialisation Activities, Abdülhamid II Period, Ottoman Painters, Military Painters, 19th Century Art Environment.
2023-01-01T00:00:00Z