Anadolu'da İlhanlı Dönemi Yapılarında Ön Cephe Düzeni ve Oran İlişkileri (13. yüzyılın 2. yarısı)

Abstract

Throughout the centuries, architects have embraced mathematics as a tool to adorn their structures with aesthetics and visual appeal; they have employed elements such as numerical relationships, proportions, geometric forms, and modulation systems in shaping their designs. Among these methods, the most ancient known ratio in art is the "Golden Ratio," elucidated by the Greek mathematician Euclid (330-275 BC). In the Western world, the notion that beauty and aesthetics are linked to mathematical order inherent in nature has been widely accepted in science and art. Similarly, in Islamic art, numerical relationships and geometric forms have been skillfully utilized not only in the design of works but also in decorative programs. The Anatolian Seljuks, instead of the more prevalent Golden Ratio in Western art, opted for a 2/3 ratio based on their own aesthetic perceptions. The areas where the aesthetic and beauty of buildings are most prominent are their external surfaces, especially their front facades. The front facades of buildings are the surfaces initially perceived and inviting to users. These facades not only reflect the aesthetic understanding of the era in which they were built but also refer to the political, cultural, and social context of the period. Although extensive research has been conducted on the front facades of Anatolian Seljuk period buildings, focusing mainly on detailed analyses of portal gates, a comprehensive perspective on the organization and geometry of the front facades of structures has not been addressed. This research examines the organization of the front facades of four structures built under Ilkhanid rule in Anatolia in the second half of the 13th century; namely, the Sahip Ata Mosque in Konya, the Buruciye Madrasa in Sivas, the Çifte Minareli Madrasa in Erzurum, and the Şifahane in Amasya, using four different methodologies. Within the scope of this study, an investigation was conducted to determine whether there is proportional harmony among the architectural elements that constitute the front facades of the structures, both internally and in relation to the front facade itself, and to explore the presence of a standardized modulation scheme. Based on the findings, attempts were made to identify the likely rules applied in the design of the front facades of the structures.