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stanbul niversitesi Trkiyat Aratrmalar Enstits Adna Mdr
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NSZ/INTRODUCTION
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NDEKLER/CONTENTS
ARKEOLOJ/ARCHAEOLOGY
Kazim ABDULLAEV
1-17
19-33
min Alay ve Resimlerde Ele Aln (Amen Parade and Used in Paintings)
Nazl Mira MT
47-72
73-99
RESTORASYON-KONSERVASYON/RESTORATION-CONSERVATION
Hande GNZ
101-153
155-169
171-178
179-189
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ABSTRACT
Article concerns one of the weakly studied topics in Central Asian archaeology
specifically category of the sites with waste free space between the fortification wall
and citadel in the center. Usually on this space there no traces of any permanent
buildings. Author suggests seeing in this type the transitional form from nomadic type
of city with yurts located inside the walls around the central construction (yurt or
palace of the leader) to the sedentary form. In the article there are examples of these
sites in Central Asia of ancient and medieval periods.
Keywords: Central Asia, archaeology, nomad, city walls, settlement, sedentary
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In the history of the ancient world, there are numerous examples of great
empires and kingdoms destroyed by the shattering force of nomad invasions and
then, after a certain period of renewal, the emergence of a new configuration and a
new culture. As written sources and archaeological data testify, in the history of
Central Asia it is possible to follow the very largest movements of nomads from the
written tradition, and these can be more or less correlated with archaeological sites.
In the end, the nomads either merged with the local population, or, while still
attempting to remain ethnically isolated, changed their nomadic way of life by
accepting elements of city or sedentary-agricultural culture.
In Central Asia (Fig. 1) we know of such invasions from written sources: in
Chinese chronicles from second- first centuries BCE we hear of Yueh Chih, creator of
the great Kushan Kingdom in the first centuries CE, and the Parthian empire, initially
created by a nomad tribe under the leadership of the Arsacid Dynasty. In the Middle
Ages, we hear of the mighty Tatar Mongol Horde who destroyed many flourishing
cities, including Samarkand. In the late 14th and early 15th centuries, a revitalized
Samarkand becomes the capital of a great empire led by Timur Lenk (Tamerlaine),
descendant of the nomadic tribe Barlas.
The goal of this investigation is to show how the image of the city walls
symbolizing impregnability wich the nomads try to destroy transforms into
protecting construction after their settlement.
We take these two historical periods of Central Asia disposing archaeological
evidences and giving us clear instances of one aspect of our investigation. However,
it doesnt mean that destruction of a city walls is typical strategy only for nomads, it
is known, for example, that the Greeko-Macedinians under leadership of Alexander
the Great having being urban people destroyed several fortresses and revolting
cities. It could be logic for every conqueror of every period. Specifically for the
nomad the first extraordinary (unusual) step for the settling was to construct the
wall surrounding and protecting from the enemies people (usually from the other
nomadic tribe). The city wall has played a great role in the history of both nomad
and sedentary people, as well as in the cultural interaction between them, as a
symbol that both spiritually and literally divided nomads from townspeople.
Nomads tried to destroy these city walls in order to set up a direct contact between
their tribes and the townspeoplea contact that would help facilitate the governing
of urban populations. So, they established direct power to control over all urban
activities (industry). If the first phase of siege of a city was to penetrate into the city
and afterwards the destiny of the resisting people depended from a concrete
situation. Logically, however, it would have been more advantageous not to ruin the
cities which the nomads themselves considered resources, except in the case of
obstinate resistance and revolt. Why kill the goose that lays the golden eggs. The
conqueror received regularly a contribution including all kind of urban production
(textile, armors, trade: pottery, metal works etc.) and can use human resource in
different aims.
2
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In fact, nomads are often seen as destroyers of sedentary culture and, indeed,
of many of the achievements of human civilization. However after an initial period,
nomads did erect walls to protect themselves from the attacks of other nomadic
tribes, usually related to them, often during internecine wars. It seems likely that
this in fact represents the first step toward the transformation from nomadic to
sedentary life. Lets concern now some peculiarities of archaeological sites that give
us a possibility to trace certain elements of this transformation.
In the description of a plan of archaeological sites, one finds a structure
sometimes called enclosure for cattle. One of the early examples of the application
of this term is the site of Dalverzin in the Fergana valley, belonging to the late
Bronze Age and Iron period.2 This identification of a cattle enclosure wanders from
one publication to another, but only a detailed analysis of the structure and perhaps
a special study of soil under laboratory conditions can show whether it is justified.
Our task here is an attempt to explain some special features of this archaeological
structure. The example which we study in fact elucidate one of the peculiarities of
Central Asian archaeology and in certain measure fortification system. First, let us
note that to construct a wall four-meter-thick as an enclosure for the cattle
appears a little irrational. In reality it could be normal fortification wall which
included certain area for the nomad settlement inside of fortification system and we
should try to expose a sort of this mixed site as Dalverzin in the central Asian
antiquity.
The Dalverzin site is one of the most studied large settlements (Fig. 2). It
occupies the hill in the shape of an oval, whose area reaches 25 hectares, the
greater part of which was empty, and several habitable complexes were located
along the internal wall; residential area (area 18 hectares); the area between them
(area 5 hectares) is not built on and apparently, it served as enclosure for the
cattle.3 The internal space of Dalverzin was divided by two walls into three sections
and all this was included in the ring of the external wall.4 One of the internal walls,
which separate the enclosure from the residential area, has a thickness of 4 m
(preserved height of 1 m); another internal wall, which separates the citadel, was
built of (mud) bricks and has a thickness of 2.5 m (and a height of 2.6 to 3 m).5
Building such massive walls would of course require large labor resources.
Examples from contemporary rural life suggest that these enclosures for domestic
2See
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animals were made of branches or ordinary loess, and constructed for the sole
purpose of keeping the cattle in one with no opportunity to disperse.
When enemy attack or siege threatened, it is more likely that cattle were kept
in the city, where the animals could serve as reserve of provisions for possible long
durations of sieges. There are many examples of domestic cattle kept within the
fortress; one in particular, although dating from a later time, involved the ancient
cities of Fergana and the military expeditions of Han China (103, 101 BCE) to
capture the celestial horses (argamaks) of the reign of Dayuan, sent by emperor UDi (156-87 BCE). During the well-organized expedition of 103 BCE, General Lee
Guan-lees army besieged the city of Ershi. The siege lasted 40 days until the
Chinese broke the external wall and entered the city. Many Dayuan leaders,
including their leader Mugu, fell in battle. The rest of the (military) residents
[residents = Soldiers] were locked in the citadel and entered into negotiations with
the Chinese. Their proposition was that they would agree to give the argamaks as
well as to supply army with provisions; the only proviso was that the Chinese would
leave the country. Otherwise, the dwellers (protectors of the city) would smash the
argamaks and fight to the death, expecting aid from Kanghu.6 What is particularly
interesting and relevant for us in this episode is the fact that the inhabitants of the
besieged city took their horses away and hid them inside the citadel walls.
So what was the meaning of the empty space in the ancient settlement of
Dalverzin, and the reason for keeping 5 hectares (a rather large area compared to
the entire area of settlement), without any traces of buildings? Whatever the
purpose, it has been definitively determined that the space between the walls of
settlement did not bear the traces of any building. It is possible that the area was
occupied with light constructions or by tent dwellings belonging to a semi-nomadic
population. We have another example.
The ancient settlement of Kalai Zakhoki Maron, located in the valley of
Kashkadarya (Uzbekistan), is by far the earliest known example of nomad city sites7
and is even more surprising as an archaeological site, in terms of both its
dimensions of scale and its planning.
It would be logical to look for the existence of a city in transition. The Kalai
Zakhoki Maron site (Fig. 3), discovered in the territory of modern Karshi (the capital
of the Kashkadarya region), is evidently an example of such an archaeological site.
What is immediately striking about this site is its huge dimension. Its first
investigator, S.K. Kabanov, defined it as one of the most considerable sites of the
6 Iakinf (N. Ya. Bichurin), Istoriya Tibeta i Khukhunora, 1, St. Petersburg, 1833, 17; N. Ya. Bichurin,
Sobranie svedeniy o narodah naselyavshih Srednuyuy Aziyu v drevnie vremena,1, Izd-vo Nauka, MoscowLeningrad, 1950,. 214; M. A. Castrn, Ethnologische Vorlesungen ber die Altaischen Vlker, St.
Petersburg: Kaiserlichen Akad. Wissen. ,1857, 35-36; L. Ligeti, Mots de civilisation de Haute Asie en
transcription chinoise, Acta Orientalia, 1950, 141-49; S. V. Kisilev, Drevnyaya istoriya Yzhnoy Sibiri
Izdatelstvo Akademii nauk SSSR, Moskva, 1951, 321.
7 M. Turebekov, Arheologicheskoe izuchenie oboronitelnyh sooruzheniy gorodischa Kalai-ZahokiMaron, Istoriya materialnoy kultury Uzbekistana 15, 1979, 68-75.
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oasis - the ruins of an ancient fortress with castle, located on the southeastern
extremity of Nakhsheb.
According to Kabanov the site consists of three concentric terraces gradually
rising to the centre.8 The width of the outer rampart was 30 m and its height 7 m.
Its exterior side was steep, but sloping toward the interior. Kalai Zakhoki Maron was
shaped into a square with 400 m long sides (Fig. 4). Kabanov assumed the presence
of only two ramparts, while another scholar, M. E. Masson described a third wall on
an even greater scale. This third rampart had the same quadratic plan, but with
sides of a length of 1.5 km9. Subsequent archaeological investigations of this site did
in fact confirm the presence of the third wall (rampart). The archaeological context
suggests that Kalai Zakhoki Maron was built in the 2nd-1st century BCE. Although
dwellings were traced on the parts adjoining the ramparts (walls I and II), they have
been dated to a later period10.
One of the remarkable characteristics of this city site is the absence of any
foundations that would indicate interior constructions in the wide areas between
the citadel and the fortification walls. This peculiarity gains even more weight if we
take into account the huge area surrounded by the third city wall. If we accept its
existence in the structure of the site (and archaeological digs do not contradict our
hypothesis), the enormous dimensions of Kalai Zakhoki Maron (1.5 km by 1.5 km)
make it to the largest site of the region, surpassing even the gigantic site at Afrasiab
(located in the territory of modern Samarkand, Samarkand Reion).11 The similar
elements of Kalai Zakhoki Marons plan we can find in Shakhrivayron site in the
Bukhara region and Janbaskala in Khorezm12. So, Kalai Zakhoki Maron shows us a
enormous vast space that was occupied by the yurts (tents) of nomads and at the
same time it gives us one of the least understood aspects of nomadic migration
period of transition from the nomadism to a sedentary mode of life. The latter
means the development of urban culture, the establishing of the city and the
formation of a state, such as the Kushan state. This process is not reflected in literary
sources and has left only weak traces in archaeological sites. The mobile
construction of their dwellings allowed the nomads to move easily over short or
long distances, while seeking comfortable pasture and a place to stay. This usual
pattern of migration, dictated by their mode of life, is known to some extent from
ethnological data. But what did a nomadic city actually look like? This question has
never been posed in the scholarly literature and archaeological investigations
provide no clues. However, Kalai Zakhoki Maron site as we observed above gives us
certain possibility to restore an evolution from a kind of a nomad city-site into
S. K. Kabanov, Nahsheb na rubezhe drevnosti i srednevekov'ya (III-VII vv.), Izd-vo Fan Uzbekskoi SSR
,Tashkent 1977, 47.
9 M. E. Masson, Stolichnie goroda v oblasti nisov'ev Kashkadar'i s drevneyshih vremen, Iz rabot Keshskoi
arkheol.-topogr. Ekspeditsii TashGU: 1965-1966 gg, Fan, Tashkent 1973, 20-30.
10 M. Turebekov, Oboronitel'nye sooruzhenia drevnikh poselenij i gorodov Sogda (VII-VI vv. do n. e. VII
v. n.e.), (Avtoreferat kandidatskoy dissertatsii), Moscow 1981,. 9-10.
11 Sarianidi, Koshelenko, Fergana, Chustskaya kultura, 278.
12 S. P. Tolstov, Drevnij Khorezm, Moskva 1948, fig. 29, 29 a.; Turebekov, Oborontelnye,. 10.
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normal city. It should be interesting to trace any information about Western Lands
in the Chinese chronicles.
Chinese sources single out the capital of the Heavenly Empire as city [as
what?], calling it Gin Shih, which, according to I. Bichurin, means 'mountain army', or
'people'. This is due to the fact that originally in China there was one military estate,
and they chose the high banks of the Yellow River for the residence of the head of
the Empire. However, for the name Gin Shih only implied their proper capital. They
referred to capitals of other states by the name 'du', which means a residence
(Bichurin, vol. II, p. 149, note 4).
All three Chinese sources (Shih-chi, Ch'ien Han-shu, Hou Han-shu) mention
also a third type of city (capital), with the ending 'ch'eng added: for example, Ch'ienshi ch'eng or Lan-shi ch'eng, meaning 'surrounded by walls'. The first to call
attention to this detail was Professor K. Enoki, whose translation was used by A. K.
Narain13. However, the question about the interior structure of this kind of city was
left unanswered. Nevertheless, such definition of a city, identified by its
surrounding walls, is of foremost importance. The fact that the cities mentioned in
the sources of the Han epoch belonged to nomad states is especially intriguing. As
noted above, the ending 'ch'eng' is applied to Ch'ien-shi and to Lan-shi that mean
that these cities had city walls. Yet in the same source of Ch'ien Han-shu14, when he
enumerates the capitals of the five principalities (Hsi-hou), formed by the
population of numerous tribes on the territory of Central Asia, the term 'ch'eng' is
not used15. It could mean that the capitals (cities) indicated in the source had not
fortification walls.
Although literary sources of antiquity and Chinese chronicles provide some
information about traditional cities in Central Asia, they contain no clues about the
fate of ephemeral migrating cities, appearing and disappearing like a mirage on the
endless steppe expanse, far from the flourishing agricultural oases. We find hints to
migrating cities in other contemporary sources, such as the fragmentary
descriptions by European travelers who undertook the long voyage to the court of a
nomad king--for instance to the Tataro-Mongol Horde. Guillaume de Rubrouck, for
example, gives us certain information in his colorful description of the court of the
Mongol King Batu gives about the organization of that court:16 When I saw the ordu
of Batu, I was astonished, for it seemed like a great city stretched out about his
dwelling, with people scattered all about for three or four leagues. And as among the
people of Israel, where each one knew in which quarter from the tabernacle he had
to pitch his tent, so these know on which side of the ordu they must place
themselves when they set down their dwellings. A court (curia) is orda in their
A. K. Narain, The Indo-Greeks, Clarendon Press, Oxford 1957, 129, note 7.
Narain, The Indo-Greeks, 130.
15 Narain, The Indo-Greeks,130
16 W. van Ruysbroeck, Voyage..., chap. XIX, 213 (p. 117). Puteshestviya v Vostochnye strany/ Plano
Karpini i Gil'oma de Rubruka, (Ed. G. I. Patlina; Trans. A. I. Malein), Gylym, Almaty 1993, 103-104.
13
14
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language, and it means middle, 17 for it is always in the middle of the people, with
the exception, however, that no one places himself right to the south, for in that
direction the doors of the court open. But to the right and left they may spread out
as they wish, according to the lay of the land, so long as they do not bring the line of
tents down right before or behind the court.
Ethnographic and archaeological studies of nomadic cultures in Central Asia
show that for a considerable number of sites we have no signs of permanent
buildings. This could be evidence that part of the terrain of the former city was
occupied by yurts (nomadic tents), which apparently were arranged in quarters as
they continued to be in later (and even modern) cities18. A similar type of city-site
was discovered during the excavation of Novyj Sarai on the Volga19: a rich house
with a paved yard was unearthed, and traces of yurts were found in the area. Even in
the present time, one can find such combination of permanent dwellings, with
nomad tents in rural areas and in towns, most commonly in an urban environment
(for example at Ulan Bator)20. So this ancient tradition that has survived millennia
remains a characteristic feature of the cities and settlements of former nomadic
peoples.
The next site of nomadic type known to me was located in the Volga region
and was connected with nomadic ethnic Volgas Bolgarians. The ruins of the capital
Bolgara are found near the village of Bulgarskoe (Bolgary in Tatarstan), a village
which on the maps of imperial Russia appears as the village Uspenskoe in the
district Spasskoe in the province of Kazan.21
We owe a colorful description of the state of Volgas Bulgaria geographical and
ethnographic character to Ibn-Fadlan, who visited this place in the year 922. He
writes about the local residents:
all of them [live] in tents (yurts), with the only difference that the yurt of the
king is so much bigger that it can contain one thousand souls, and that the greater
part of it is covered by Armenian carpets. In the middle of it stands the throne [of
the Tsar] covered by Byzantine brocade (207b).22
Compare with ancient Turc orta middle, center. See: Dictionary of Ancient Turc, Izd-vo
Sovetskaya Entsiklopediya, Leningrad 1969, 371.
18 L. L.Victorova, Mongoly. Proishozhdenie naroda i istoki kul'tury Nauka, Moskva 1980, 59.
19 G. A. Fyodorov-Davydov, I. S. Vainer, A. G. Muhamadiev, Arheologicheskie issledovania Tsarevskogo
gorodischa (Novyj Saray) v 1959-1966 gg, Povolzh'e v srednie veka, Nauka, Moscow 1970,.71.
20 Victorova, Mongoly,. 59. See also N. M. Schepetil'nikov, Arkhitectura Mongolii Iskusstvo, Moskva
1960; D. Maidar, Arkhitectura i gradostroitel'stvo Mongolii Ocherki po istorii Stroiizdat, Moscow 1971.
It is interesting to note that even today in the mountain villages of the Surkhandarya and Kashkadarya
regions, the stock-breeding population keeps yurts beside its modern houses.
21 The distance between the site of the ancient settlement and the left bank of the Volga is about 6.5
km. Such distance corresponds to the description of Ibn-Fadlan, who wrote that to reach the river it
was only necessary to go less than one farsakh. One can therefore conclude that neither the city nor the
riverbed have changed their original site. V. V. Bartold, Bolgary, Schineniya, 5, Izd-vo vostochnoi litry, Moscow 1968, 514.
22 I. J. Krachkovskiy (Trans.), Puteshestvie Ibn-Fadlana na Volgu, Izd-vo Mifi-Servis, Moscow 1939, 73.
17
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Istakhri also left (225) us an interesting account of two other cities, situated
not far from each other: Bolgar and Suvar.23 He reports that in each of them was a
Friday mosque, and that the male population of both cities totaled about tenthousand. Most interesting for us is his observation that during the winter the
inhabitants lived in wooden houses, and in tents during the summer.
A still later source refers to a fragment quoted by Makdisi (361). According to
this source, Bolgar was situated on both sides of the river, where houses were
constructed of wood and reeds, while the inhabitants of Suvar lived in tents.24
The archaeological researches conducted on these settlements have shown
that
Bolgar in the tenth or early in the eleventh century occupied a comparatively
small area, whereas Bilyar and Suvar (Fig. 5) territorially were large cities.25
All of the examples cited above substantiate the origins of the nomadic city,
and we would argue that an archaeological site such as Kalai Zakhoki Maron can be
considered its prototype. Very likely it is the only archaeological site that, according
to the archaeological context, was built in the 2nd 1st century BCE and thus was
directly contemporary with the migration of nomadic tribes, and which still
preserves the original plan in spite of more recent dwellings built on certain parts of
the city.
So we can presume that Kalai Zakhoki Maron embodies the typical nomadic
city-residence, with a citadel in the center, which in former times would have been
surrounded by streets and quarters of yurts (tents). The construction of fortification
walls on such enormous scale required colossal strength and means, which most
likely meant the local population was recruited for forced labor to erect the city
walls.
An another period which possesses archaeological evidences on the
transformation of nomad city-site into traditional city conduct us in medieval
central Asian region, specifically in Maverranakhr.
If one looks at the political history of Maverranakhr (the territory between
Amudarya and Syrdarya) during its inclusion in the Chagatay state, two tendencies
clearly emerge which teach us more about the nature of the semi-nomadic city.
These tendencies expressed the interests of a ruling clique of nomadic aristocracy:
V. V. Bartold cites Aufi (Jamilal-hikaiyat, book IV, ch.18), according to whom the distance between
Bolgar and Suvar took two days one way; from what source this statement is drawn is not known, See
Bartold, Bolgary, 514.
24 The source specifies that the Friday mosque stood on the market square: see Bartold, Bolgary, 514.
In his Divanu lugat at-turk, Mahmut Kachgary (eleventh century) writes that the language of Bulgars,
Suvars, Pechenegs, located close to the borders of Rum, connects the Turkic with equally truncated ends of
words. (Materialy po istorii Sredney i Tsentralnoy Azii 10-19 vv. Fan, Tashkent 1988, 22.)
25 A. P. Smirnov. Voljskaya Bulgaria, Archaeology of the USSR. Steppes of Eurasia during an Epoch of
the Middle Ages, (Ed.. S. A. Pletneva) Nauka, Moscow 1981, 208-212. For literature on archaeological
excavations, see : Smirnov, Voljskaya, 212.
23
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forces of a nomadic nobility dedicated to the way of life of its ancestors. Their
traditions, which they persistently defended, have been connected with the militarynomadic way of life, mobile character of their settlements and headquarters.
However part of the patrimonial nobility was subject to the influence of city and
sedentary-agricultural culture; the main objective of their politics was the
establishment of a firm authority and a stable government with precise
administrative divisions. These interests were not only supported by the nomadic
aristocracy, but also by the local nobility, rich peasants and merchants. In all
probability, these two opposed political tendencies were expressed at times over the
entire nomadic empire of Chingizid. The history of the actual region of Central Asia
between two rivers shows how complicated the process of adaptating these
nomadic ethnos in fact was.
In the Maverranakhr the process of sedentarization went at a slow rate, given
the large number of factors counteracting the process of the settlement of the
nomads. This was partly due to the historical situation. The disunited state of
Chagatay often lent itself to the scene of internecine wars between strong Turk-like
Mongolian clans headed by individual princes (Ibn Arabshah lists the four most
important clans of Maverranakhr as Orlat, Jalair, Kauchin and Barlas.)26 The process
of the attachment of nomads to the earth was very much non-uniform and
inconsistent, and this fact is borne out by the life and deeds of Khan Kebek, one of
most prominent personalities in the history of Maverranakhr.
Having chosen the Kashkadarya valley as his residence, Khan Kebek (13181326), as the first of the Mongolian khans, built himself a palace, changed the
monetary system, and,minted silver dirhems. The palace, which subsequently gave
its name to the modern city of Karshi, most likely consisted of a monumental
construction surrounded by powerful walls (Fig. 6). Thanks to the archaeological
work of the expedition of Kesh, directed by M. E. Masson, it has been possible to
delineate the plan of the ancient settlement that represented a square of 630 m by
630 m, meaning a total area of 40 hectares. The fortification system of powerful
walls with a thickness of 4.5 m provided reliable protection against the enemy. The
semicircular "towers" located on the perimeter of the walls had no living quarters
and most likely only simulated this fortification element, taking the role of
buttresses. The defense of the headquarters-residence with a palace in the middle
(urda) was reinforced by a moat with a width of 8-10 m and a depth of 3.5-4 m dug
around the walls.27
The Arlats basically borrowed the territory of modern northern Afghanistan; the Jalairs the territory
around Kojent, and the Barlas the valley of Kashkadarya. As V. V. Bartold explains, kauchen, according
to Yazdy, is the name of one thousand khans. See Bartold, Bolgary, 34.
27 M. E. Masson, Stolichnye goroda v oblasti nizovev Kashkadaryi s drevneyshih vremen. Iz rabot keshkoy.
Archeologo-topograficheskoy expeditsii Tashkentskogo Universiteta, (1965-1966), Fan, Tashkent 1973.
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Unfortunately, we have no exact data about the layout of the palace and the
overall shape of the residence of Khan Kebek,28 but we may assume that initially the
city had a plan similar to other early types of nomadic cities. Despite his efforts to
strengthen the princedom and settlement, Khan ebek remained pagan, unlike his
brother Tarmashirin (1326-1334), who became a Muslim. As noted by V. V. Bartold,
the too resolute break with nomadic traditions caused a revolt against Tarmashirin;
the khan was deposed and killed; the residence of the khans for some years again
transferred to the banks of Ili, and Islam, even as religion, lost its dominant
position.29
Under the rule of Sultan Tarmashirin, the internecine wars continued,
although during his reign the political situation remained relatively stable. A bright
description of the court of Tarmashirin is given by the Arabian historian Ibn-Battuta,
who visited Kashkadarya in 1333. The author does not give a description of the
shape of city, observing that the sultan arranged receptions in his tent, sitting on a
throne similar to a minbar, covered with gold embroidered silk. The interior of the
tent was decorated with gilded silk, and above the head of the sultan, at a height of
one elbow, hung a wreath studded with jewels.30
We once again find cities with similar plans during the time of domination by
the Mongolian khans. In the fourteenth century in Maverranakhr on the
Kashkadarya, one of the khans named Kazan (1334-1340) built the palace of Zanjir
Sarai, located two stops from Karshi on the road to Bukhara.31 The structure of a
central palace of nomadic type, around whose extensive area stood powerful walls,
it was in its shape reminiscent of the layout of Kalai Zakhoki Maron.32 The empty
space without traces of any buildings inside the walls indicates, in our view, that it
was a tent city of nomads. Such construction by Khan Kazan could have been, in the
opinion of V. V. Bartold, an attempt to establish firm authority in Maverranakhr.
This attempt, however, was unsuccessful, and ultimately led to the conflict between
the leaders of the clans during which Khan Kazan was defeated and killed.
Recent excavations in the territory of the modern city of Karshi have uncovered the remains of a
powerful fortified construction, which, based on archaeological evidence, dates from the first half of the
fourteenth century. The area trench, obstructed from different directions by modern buildings, (as in
Kalai Zahjpki Maron) represents a typical example of construction of modern buildings on ruins of
ancient settlements and cities that unfortunately limits the opportunities of archaeological research.
29 Bartold, Bolgary, 33.
30 N. Ibragimov, T. Muhtarov, (Trans.), The Travels of Ibn-Battuta (in the Arabian world and Central
Asia), Fan, Tashkent 1996, 270.
31 The distance is the result of data from Sharaf ad-din Yazdi (I, 259); See V. V. Bartold, Mongolian
Empire and the Chagatai State Ulugbek and His time, V. V. Bartold, Sochinenia, II/t 2, Izd-vo vostochnoi
lit-ry, Moscow 1964, 27-36. The monument lies near Kishlak Kukhna in the Mubarek district of the
Kashkadarya region.
32 In the opinion of the director of the excavation, A. Raimkulov (material is not yet published), the
construction could be the ruins of the palace of Khan Kebek, who, as is known, built a palace at a
distance of two farsakh from the city of Nahsheb (Nesef), from which the name of the modern city of
Karshi derives (Sharaf ad-din Yazdi, I, 111; V. V. Bartold, Sochinenia, II/t 2, Izd-vo vostochnoi lit-ry,
Moscow 1964, 33)
28
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It has been established from archaeology research that the monument was
shaped approximately as a square with sides of 400 m each, the total area equal to
16 hectares (Fig. 7). The central edifice the palace was surrounded by a mighty
defensive wall, with a thickness of 6 m at the base. Along the perimeter of the walls
were semicircular towers, which, like the fortress of Karshi, took the role of
buttresses.33 In relief, the central part of the site of the ancient settlement
represents a hill 70 by 70 m in size and 2-2.5 m high. The space between the hill
(palace) and the walls shows no traces of buildings whatsoever, which could speak
to the fact that the area was covered by tents of confidants and relatives of the khan.
The excavations conducted on the central hill have uncovered a row of livingquarters and a small courtyard with an open colonnade (ivan), constructed of burnt
bricks. The palace, as the topography of the hill suggests, was most likely a square
with a central courtyard about 11 by 11 m.34 Most likely, Zanjir Sarai, situated
approximately 2.5 km from the Kashkadarya River, supplied itself with water from
the river by means of a channel. The city headquarters would have presented a
bright spectacle with a multitude of colorful tents, arranged in the appointed order
with regard to the palace, as described at Plano Carpini. If one adds to this the green
plantings that must have existed, the sight would been very picturesque. The place
and its nearby hunting grounds enjoyed great popularity under the Mongolian khans
and Turkic emirs, who often stayed there. Amir Timur inherited Zanjir Sarai in 1370,
and spent a lot of time preparing his military campaigns. During one of these
campaigns Khan Tohtamysh of the Golden Horde seized the opportunity and raided
Maverranakhr, and as a result Zanjir Sarai was destroyed and never restored.
One of the book miniatures of the 15th century (1486) from the Zafar nama of
Sharaf al Din Ali Yazdi, depicts, in all probability, Zanjir Saraj.35 The miniature
represents a banquet scene outside a structure, with music and dancing before an
enthroned personage (evidently Timur) in the center (Fig. 8). The most interesting
element of the composition is the fortification wall with the tops of yurts located
inside of the wall. It very much resembles the summer residence of a ruler, and it is
tempting to associate this composition with Sanjir Sarai in the Kashkadarya valley.
A similarly planned archaeological site of Kashkadarya is Zanjir Dumolok,
located 1.5 km to the north of Zanjir Sarai. Here a low hill (1-1.5 m high) with a
diameter of 30 m was situated in the center of secluded ramparts in a square. The
traces of the ramparts were only visually determined; however, according to the
local residents, the ramparts had existed until the 1970s, when during the
excavation many archaeological sites were leveled.36 The size of this site is
A. A. Raimkulov, D. N. Sultonova, Cities and Settlements of Mongol and Timurid Time in the
Kashkadarya Valley (Archaeological Studies, Interpretation, Localization), Civilizations of Nomadic and
Sedentary Peoples of Central Asia, UNESCO, Samarkand-Bishkek, 2005, 218.
34 Raimkulov and Sultonova, Cities and Settlements, 218-19.
35D. J. Roxburgh (Ed.) Turks: a journey of a thousand years, 600-1600, Royal Academy of Arts, London,
2005, ill. 172. Trk ve slm Eserleri Mzesi Akbank, stanbul 2002, 220.
36Raimkulov and Sultonova, Cities and Settlements ,220.
33
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considerably smaller than Zanjir Sarai, and, most likely belonged to a less wealthy
owner.
The transitional phase from nomadic life to settling in one place is
archaeologically reflected in the site of Kalai Zakhoki Maron. Today, this site, as
ascertained by archaeologists, represents the earliest type of this intermediate
period. We have every reason to assume that, provided the global climate has not
changed significantly, this space was already built up with structures in mud bricks
instead of nomadic tents. As the archaeological studies of Kalai Zakhoki Maron have
shown, this site remained vacant; the reason of this phenomenon remains so far
unclear.
The first wave of these numerous migrations is connected with the movement
of Yueh Chih of the Chinese sources, and depicts their peoples wanderings. After
they settled in the territory of Central Asia, these nomads formed the core of the
future Kushan Empire.
The archaeological evidence from the walls of Ai Khanum confirms this
supposition (Leriche 1986: pl. 14). Here in the lower city, in trench no. 1, during
excavation of the fortification wall, it was discovered that the wall had been
repaired. It was strengthened with soil that had been taken from the moat which
surrounded the wall. It is interesting to note that there was no connection between
the re-fortified wall and dwelling complex. What is more, within the walls of the
former city, burials of nomad type were discovered. Does this testify to the
preservation and function of a fortification system after the destruction of the city?
In this case, did it protect the nomads and their temporary camp within the
destroyed city? I think, in this case, the answer can be yes.
The second great wave of nomads is connected with the invasion by the TatarMongols of the territory of Central Asia in the thirteenth century. This period is
better known from written sources, and scholars have a greater wealth of
archaeological material. It is noteworthy that the design of the nomadic city
resembles that of a much earlier period. The starting point of the architectural
layout is the palace ("orda"), located in the center. This is enclosed on four sides
with strong defensive walls usually, the sides of the walls form a figure close to a
square. The space between the walls and the palace is usually a level surface,
without any traces of construction. Recall that in the above cited sources, the center
of the city plan is occupied by the imperial tent, which surpasses in size the tents of
the subjects and is more richly furnished.
One can therefore surmise that the first stage of the nomads settling into one
place was expressed in the construction of a palace, already built of the more
durable material of mud bricks characteristic of the early period, and of burnt brick
(terracotta) for the medieval period. The archaeological data allows us also to
assume that the erection of a palace and the fortification of the surrounding area
occurred simultaneously. The decisive moment in the transformation of the
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nomadic headquarters in the form of a tent city was the appearance of a palace and
fortified walls. One of the key characteristics for this period is marked by the
presence of empty space, which the tents of the favorites continue to occupy.37
The building of free space in these cities depended on a specific historical
situation. It is known, for example, that Zanjir Sarai was plundered and destroyed in
1387 by Khan Tohtamysh of the Golden Horde, while Amir Timur was on a
campaign in Iran and Iraq. As the recent archaeological excavations in the modern
city of Karshi have shown, the discovered remnants of a monumental structure,
which chronologically belongs to the time of the rule of Kebek, were hidden under
thick layers of subsequent building periods. This last example illustrates the
hypothesis that the present city gradually expanded on the site of the nomadic city.
As part of a general scheme for the transition period, from nomad style of
living to sedentary culture, one can propose the following stages: First, the
installation of a fortification wall with free space inside for the tents (yurts), with the
principal greater leader usually located in the center (urda). Second, the
transformation of the leaders central yurt of leader into a palace, built from either
mud or burnt brick. And third, the emergence of buildings for a prince or
aristocracy, with main urban elements like irrigation (canals, gardens, etc).
This only includes the early phase of nomad sedentarization, and I am, of
course, aware that this is a preliminary and very general scheme that in historical
reality could have been much more variable and complicated. But by considering
the development of nomadic cultures to semi-nomadic through the appearance of
city walls, one can assess learn etc.
In all probability, the walls of captured cities were not always completely
destroyed, but on the contrary used by the nomads for their own defensive
construction.
Describing the grounds of Karakitai, Plano Karpini remarks that the Tatars built there only one city,
Omyl, during the rule of Ugedey khan. The Karakitai and Naymans, according to Karpini, were not
engaged in agriculture, but like the Tatars, lived in tents. It is interesting in this respect to cite the
statement by Plano Karpini: "In this land, dwells Ordu, whom we say to be one of the more ancient Tartar
dukes. And he lives at the court of his father, and one of his wives rules there. For it is a custom among the
Tartars, that the Courts of Princes or of noble men are not dissolved, but always some women are
appointed to keep and govern them, upon whom certain gifts are bestowed, as they are given to their
Lords. And so, at length we arrived at the first court of the Emperor, where one of his wives dwelt. But
because we had not yet seen the Emperor, they would not invite us nor admit us into his Orda, but caused
good attendance and entertainment, after the Tartar fashion, to be given to us in our own tent, and they
caused us to stay there, and to refresh ourselves with them one day." (John de Plano Carpini, The long and
wonderful voyage of Friar John de Plano Carpini, Chapt. 24, 25, eBooks@Adelaide, 2004. For the
Russian translation see: A. Malenin (Trans.), Istoria mongalov, XVII, Nauka, Moscow 1957, 73-74. Most
likely, in the constructed palace lived the closest relatives and the facilities and management of a court
that was in the hands of one the wives of the khan.
37
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Fig. 2 Plan of the Dalverzin site. Late Bronze Age and Iron Period.
(G. Koshelenko 1985)
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ZET
Hazar Denizinden Issk Gle, Aral Glnden Hindiku Dalarna uzanan Orta Asya,
slamiyet ncesinde farkl inanlarn kesitii kltrel yaps eitlilik gsteren bir
corafyayd. Bata Zerdtlk olmak zere Hellen, Budizm, Hinduizm, Hristiyanlk,
Maniheizm ve amanizm gibi inanlarn grld Orta Asyada farkl inanlara ait
tapnaklar ina edilmitir. Bronz Devrinden Erken Orta aa Orta Asyadaki
tapnaklar farkl ritel gereksinimler, yerel ve yabanc mimari gelenekler sebebiyle
plan asndan deiik tipolojik zellikler gstermilerdir.
Anahtar Kelimeler: Orta Asya, Tapnak, Arkeoloji, Zerdtlk, Budizm.
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olan Car Kutan Tapna (Gney zbekistan) (Fig. 1.4), yerleimin iinde yksek bir
tepeye kurulmutu (Askarov-Shirinov 1994). Kaln duvarlarla evrilmi tapnak
drtgen planlyd ve drt ana yne gre konumlanmt. Girii gney ynndeydi.
Tapnan merkezini, byke dikdrtgen planl bir avlu olutururdu ve eitli
fonksiyona sahip mekanlar bu avlu etrafnda yer alrd. Avlunun ortasna doru yer
alan ana ate altar, drt ayakl ve zeri rtl, drt bir yandan akl olan ar-tak
tipi mekann ortasnda yer alrd. Bu mekann dousunda ve yannda, kutsal kllerin
korunduu eyvanl bir mekan ile bu mekann iki yannda, birer adet ikincil mekan
bulunuyordu. Eyvanl mekannn arkasnda da, yine ate altarlarnn olduu
dikdrtgen planl daha ufak bir avlu ile bu avlunun etrafnda eitli mekanlar
bulunurdu.
Bronz andan sonra M.. 1. binin ilk yarsnda Demir anda da ate
tapnaklarnn inasna devam edilmiti. zbekistann kuzeybatsnda
Karakalpakistanda Harezm blgesinde Ta Kirman Tepe Tapnak Kompleksi,
muhtemelen M.. 7-6. yzylda ina edilmi ve Zerdtlkle balantl ate tapna
fonksiyonu gstermiti (Helms vd. 2001: 134-136, fig. 18) .
M.. 1. binin ortalarna doru, Orta Asya Perslerin satrapl haline gelmi ve
M.. 6-4 yzyllar arasnda Perslerin hakimiyeti altnda kalmtr. Persler arasnda,
muhtemelen M.. 2. binin sonlar, 1. binin balarnda ortaya km olan Zerdtlk
inanc hakimdi. Arkeolojik veriler Persler dneminde, randa olduu gibi Orta
Asyada da ate tapnaklarnn ina edildiini gstermektedir. zbekistann
gneyinde Kakaderya Blgesinden Sangyr Tepe Tapna Persler dneminden
kalmtr (Grenet 2010: 268, fig. 2).
Antik aa geldiimizde, Orta Asyada farkl inanlara ait tapnaklarn ina
edildiini arkeolojik verilerden anlyoruz. Antik a boyunca Orta Asyada
Zerdtln yansra Hellen, Budizm, Hinduizm ve Hristiyanlk gibi inanlar
grld. Bu inanlarn dnda, halk zerinde yerel inanlar da son derece etkindi.
Pers mparatorluunu ykan Makedonyal Byk skenderden sonra M.. 4-3.
yzylda, Orta Asyann hakimiyeti Seleukoslarn eline gemiti. Orta Asyada Byk
skenderle balayan Seleukoslarla gelien Hellenistik kltr, M.. 3-2. yzylda
Baktrianada Baktria (Belh) merkezli Yunan-Baktria Devletiyle devam etmiti.
Blgede Seleukoslarn hakimiyetine son veren ran kkenli Partlar, ranla birlikte
Orta Asyann Partia ve Margiana blgelerinde, M.. 3-M.S. 3. yzyllar arasnda
egemenlik kurdu. Bu dnemde yani Erken Antik ada, Zerdtlk inancyla
balantl ate tapnaklar yannda, Hellen inancyla balantl tapnaklar da ina
edildi.
M.. 2. yzyln ortasnda Orta Asyada, doudan gelen gebe Ye-iler ile
Kang-leri gryoruz. Sonrasnda Yunan-Baktria Devletini ykan Ye-iler, Orta
Asyadan Hindistana uzanan Kuan imparatorluunu kurarak, M.S. 1-3 yzyllar
arasnda Orta Asyada zellikle Baktriana ve Sogdianada hakimiyet kurdular. Bu
arada Sasaniler, Partlar ykarak M.S. 3-7. yzyllarda, bata ran olmak zere Orta
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(muhtemelen yerel bir klt iin) (Fig. 4.17) iki tapnak i dzenlemeleri asndan iki
blml mimari emaya sahipti (Bernard 1971: 414-431; Bernard 1976: 303-307).
Dtan drtgen planl olan yaplara, dikdrtgen planl pronaos ksmndan girilirdi.
Buradan da yanlarnda birer mekan olan ana naos blmne geilirdi. Hellenistik
dnemden kalm bu tapnaklar, zeminden basamaklarla ykseltilmi ve cepheler
nilerle hareketlendirilmitir. Gney Sogdianada Yerkurganda (Gney
zbekistan/Kakaderya) Kuanllardan M.S. 3-4. yzyldan kalm olan ate tapna
da (Suleymanov 2000: 88-112) Ay Hanmdaki tapnaklarn mimari anlayyla
benzerlik gstermekteydi (Fig. 4.19). Tapnak, dikdrtgen planl ok ayakl pronaos
ksmndan sonra gelen, iki ayakl dikdrtgen planl naos blmnden meydana
gelmiti.
Ge Antik ada Kuzey Baktriana blgesinde, koridor eklinde uzunlamasna
tapnaklar da yapld. Budist Kara Tepe C kompleksi iinde yer alan 1 ve 3 nolu
maara tapnaklar (M.S. 2. yzyl /Gney zbekistan) (Staviskiy 1984: 95-135, fig.
2; Staviskiy 1987: 47- 51, fig. 1) (Fig. 3.12) ile Zar Tepe yerleiminde yer alan Budist
tapna (M.S. 3-4. yzyl /Gney zbekistan) (Pilipko 1976: 59-68, fig.1) (Fig.4.19)
koridor eklinde mekanlara sahipti.
Erken Orta aa (5-8.yzyl) geldiimizde ise, Margianada Sasanilerin
hakimiyeti M.S. 7. yzyln ortalarna Araplarn gelmesine kadar devam etti. Gebe
kkenli Kidaritlerin M.S. 4-5. yzyldaki Baktriana ve Sogdianadaki hakimiyetleri
doudan gelen yine gebe Eftalitlerle son bulmu ve bu topluluk M.S. 5-6.
yzyllarda Margianaya kadar olan Orta Asya topraklarnda hakimiyet kurmutur.
M.S. 6. yzylda Gktrklerin gelmesiyle Orta Asyadaki Eftalit egemenlii son
bulmu ve sonrasnda Gktrkler, Orta Asyadaki hakimiyetini 8. yzylda Araplarn
gelmesiyle yitirmitir. Araplarla birlikte slamiyetin gelmesiyle, Orta Asya tarihinde
yeni bir kltrel sayfa almtr.
Erken Orta ada, Orta Asyada tapnaklarn yan sra kiliseler de ina
edilmitir. Bu dnem de Orta Asyada bata Zerdtlk olmak zere Budizm,
Hinduizm ve Hristiyanlk inanlar gelierek yaamaya devam etmitir.
Erken Orta a tapnaklarndaki mimari emalarnda arlkta olarak, Antik
a tapnaklarnda grdmz merkezi planl mimari anlay devam etmitir.
Margianada (Gney Trkmenistan) Gavur Kale Tapna (4-6. Yzyl)
(Pugaenkova-Usmanova 1995: 51-65, fig.4) (Fig.5. 20), Kuzey Baktrianada Kalai
Kafirnigan Tapna (5-8. Yzyllar/Tacikistan) (Litvinskij 1981: 49-55, fig. 15-16)
(Fig. 5.21), Kafir Kale Tapna (6-7.yzyl/Gney Tacikistan) (Litvinskiy-Solovev
1985: 22, 145, fig. 7, 9-10, 24) (Fig. 5.22), Kit Tepe Tapna (6-7. Yzyl/ Gney
Tacikistan), (Mullokandov 1990: 12-20) (Fig.5.23), Ferganada Kuva Tapna (7.
Yzyl/ Dou zbekistan) (Bulatov 1972: 51-59, 2-3, 14-16) (Fig. 5.24), Semireede
Akbeim (Kuzey Krgzistan) birinci (7-8. Yzyl) (Fig. 5.25) ve ikinci (6-7. Yzyl)
(Fig.5.26) tapnaklar, Krasnaya Reka (Kuzey Krgzistan) ehir d tapna (7-8.
Yzyl) (Fig. 5.27) ile ehir ii tapna (8-9. Yzyl) (Fig. 5.28) (Goryaeva-
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Peregudova 1996: 168-170, 172-183, fig. 1-2, 5, 14a) Budizm inanc ile ilgili
tapnaklardr. Sogdianada Pencikend (Kuzey Tacikistan) I. ve II. Tapnaklar (5-6.
Yzyl) (Belenitskiy 1973) ise Zerdt inancyla balantl ate tapnaklardr (Fig. 5.
29).
Erken Orta adan bahsettiimiz bu tapnaklar, genel hatlaryla merkezi
planlyd. Bu dnemde baz tapnaklar temenos duvarlar, dinsel kompleks veya
manastr iinde yer alrd. Dtan drtgen planl olan tapnaklarn nlerinde avlu
bulunurdu. Tapnan merkezinde, kutsal saylan heykelin, stupann veya atein
bulunduu drtgen planl naos mekan yer alrd. Naos mekanlar kimi zaman drt
ayakl olabiliyordu. Naos mekan ritel amal veya drt ynden koridorlar ile
evriliydi. Naos mekan arlkta olarak kare planl olmasna karn bazen de
dikdrtgen planl olabiliyordu. Bu naos mekannn nnde bazen pronaos, vestibl
veya portik ksm yer alrd. Erken Antik adan itibaren Baktriana ve Margianada
izlenen merkezi planl evre koridorlu ate tapna modeli Erken Orta a ate
tapnaklarnda srdrlmtr. Yine Ge Antik ada Baktrianadaki erken Budist
tapnaklarnda grlen merkezi planl evre koridorlu ema, daha sonra Orta ada
Orta Asyann dier blgelerinde ve Sinkiangda (Dou Trkistan/ in) yaplan
Budist tapnaklar (Grnwedel 1912: 218, 220, 224, 322: 483, 489, 494, 642;
Oldenburg 1914: 38, 41-42,45 fig.40-43) zerinde de etkili olmu gzkmektedir.
Hristiyanlk, Orta Asyada 2. yzylda grlmeye balamtr. nceleri
Baktriana ve Margiana blgesinde grlen Hristiyanlk, sonrasnda btn Orta
Asyaya yayld (emeli 2012). slamiyet ncesinde yaplm olan kiliselerden
gnmze fazla rnek kalmamtr. Gnmze temel kalntlar ulam olan
kiliselerin mimari kompozisyonlar, dier slam ncesi inanlarn tapnaklarnn
mimari kompozisyonlarndan farkldr. Bu da muhtemelen Hristiyanlk mimari
geleneinin ve ritellerinin dier inanlara gre daha farkl olmasndan
kaynaklanmaktadr. Kilise kalntlarndan anlald kadaryla Erken Orta ada iki
tip kilise bulunmaktayd. Bunlardan ilki erken Hristiyan mimarisinde yaygn olarak
grlen bazilikal planl tip, ikincisi ise Orta a Hristiyan mimarisinde youn olarak
grdmz kapal ha planl tiptir. Margianada (Gney Trkmenistan) Merv
yaknlarnda bulunan Haroba Kouk kilisesi (5-6. yzyl) (Herrman vd. 2002: 129),
muhtemelen zeri tonozlu tek nefli bazilikal planl bir kiliseydi. Kilisenin apsisi
kuzeydou ynnde olup muhtemelen giriler yan cephelerdeki kemerli
aklklardan salanyordu. Semiree blgesinde Ak Beim ehrinin (Kuzey
Krgzistan) dndaki kilise (8. yzyl) (Goryaeva-Peregudova 1994: 86, fig. 18),
dtan dikdrtgen planl olup dou ynnde kapal ha planl ana kilise yaps yer
alrken, kilisenin bat ynnde avlusu bulunuyordu.
Orta Asyada Bronz andan ilk bilinen ate tapnaklar, dtan kale
grnml olup geni bir alana yaylrd. Tapnaklar gl, yksek duvarlarla ve
kulelerle tahkim edilmilerdi. Tapnaklarn i dzenlemesi simetrik ve aksiyal bir
dzen de olmamasna karn, merkeze doru alnm avlu blm, ate ayinlerinin
yapld tapnan en kutsal alanyd. Bu tapnaklarda en karakteristik zelliklerden
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biri, merkeze ekilmi avlu blmnn drt bir yandan koridorlarla evrilmi
olmasdr. Bu uygulama daha sonra Antik a ve Erken Orta a tapnaklarnda,
merkezi naos mekanlarnn evre dzenlemesinde grlecektir. Bu dnemde avlu
mekannda grlen ve ortasnda ate altarnn bulunduu drt ayakl dzen, sonraki
yzyllarda ortaya kan tapnaklarn merkezi naos mekanlarna uygulanacaktr.
Yine bu dnem de grlen eyvan dzenin daha ge devir tapnaklarnn zellikle
pronaos ve nadiren de olsa naos mekanlarnda karmza kmaktadr.
Antik aa gelindiinde, tapnaklarn daha simetrik ve aksiyal dzende
olduklar anlalmaktadr. Genellikle bir temenos duvar iinde yer alan tapnaklarn
nlerinde avlular bulunurdu. Bu dnemde balca tip tapnak mimarisi ile
karlayoruz. Birinci tip merkezi, ikinci tip iki blml ve nc tip koridorludur.
Birinci tip, Antik a Orta Asya tapnak mimarisi iin en belirgin olandr. Bu
tipte merkezi naos mekan, yada drt ynden koridor ile evriliydi. Bazen bu
mekanlarn iinde drt ayak dzenlemesi oluyordu. Naos mekanlar direk avluya
alabildii gibi bazen de nlerinde vestibl, eyvan biimli pronaos veya portik
bulunuyordu. Antik ada benzeri merkezi planl tapnaklar ran, Afganistan,
Gandara (Kuzey Pakistan), Suriye ve Mezopotamyada (Irak) Persler, Seleukoslar,
Partlar, Nabatiler ve Hint-Yunan dnemlerinde gryoruz (emeli 2007). Bu tip
drt ayakl, merkezi planl ve evre koridorlu tapnaklar, Antik a ncesi 1. binin
ortalarna doru, Persler dnemi ran ate tapnaklarnda (Schippmann 1971: 496497) gryoruz. randaki bu ate tapnaklar, Orta Asyadaki merkezi planl
tapnaklarn ncs gibi durmaktadr. Tapnaklarda grlen naos-pronaos ile portik
ve peristil dzeni bize Yunan mimarisini hatrlatmasna karn tapnaklardaki
merkezi planl ve evre koridorlu mimari anlay Orta Asya ve Orta Dou
zelliindedir. Genel hatlaryla ran ve Orta Dou tapnak mimarisi geleneinde olan
Orta Asya tapnaklarnn ekirdeini oluturan naos-pronaos mekan dzeni, kkeni
megaronlara dayanan Yunan tapnak mimarisi etkisinde yaplm gzkmektedir.
Antik ada Orta Asyadaki tapnaklarn mimari elemanlarnda ve sslemelerinde
Hellenistik, Yunan-Budist ve Hindu etkilerini rahatlkla syleyebiliriz. Her ne kadar
Orta Asyadaki Antik a drt ayakl, merkezi planl ve evre koridorlu tapnak
mimarisi randaki ate tapnaklarnn devamcs gibi dursa da kken olarak Orta
Asyadaki Margiana-Baktriana Bronz a tapnaklarn gsterebiliriz. Merkezi avlu
ve evre koridorlu dzeni Margiana ve Baktrianada gerek dinsel mimari de gerekse
sivil mimari de Bronz devrinden itibaren grlmesine karn merkezi kapal mekan
ve evre koridorlu emay Antik adan itibaren dinsel mimariyle birlikte sivil
mimaride de gryoruz. Aksiyal simetrik dzendeki merkezi planl ve evre
koridorlu tapnak mimarisini Erken Orta ada yaplm Budist ve Zerdt
tapnaklarnda da uygulandn gryoruz. Bu tapnaklar bazen tek bana yer ald
gibi bazen de bir kompleks veya manastr iinde deerlendirilmitir. Bu dnemde
tapnaklarn ii Budizm, Hinduizm ve Zerdtlk konulu heykeller, kabartmalar ve
duvar resimleri ile sslenmitir.
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KAYNAKLAR
ASKAROV, A., SHIRINOV, T, 1994, The Palace, Temple and Necropolis of Jarkutan,
Bulletin of the Asia Institute, 8: 13-26
BELENTSKY, A. M. 1973, Monumentalnoe skusstvo Pendjikenta, Moskova.
BERNARD, P., 1971, La Campagne de Fouilles de 1970 A Khanoum (Afghanistan),
par, Competus Rendus de lAcademie des Inscriptions et Belles-Letters, Paris.
BERNARD, P., 1976, Campagne de Fouilles de 1975 A Khanoum (Afghanistan),
par Competus Rendus de lAcademie des Inscriptions et Belles-Letters, Paris.
BOYCE, M., 1975, A History of Zoroastrianism 1, E.J. Brill, Leiden-Kln.
BULATOV, V. A., 1972, Drevnyaya Kuva, Takent.
COOMARASWAMY, A. K., 1965, History of Indian and Indonesian Art, New York.
EMEL, ., 2007, Antik a Orta Asya Tapnaklarnda Tipoloji, Arkeoloji ve Sanat,
126: 93-98
EMEL, ., 2010,"Budist Mimarisinin Orta Asya'daki Geliimi ", Mimarlk ve
Dekorasyon, 196: 76-84.
EMEL, ., 2012, "Moollar ncesi Orta Asya'da Sryani Hristiyanl", Arkeoloji ve
Sanat, 140: 195-206.
DOWNEY, S. B., 1988, Mesopotamian Religious Architecture: Alexander through the
Partians. Princeton-New Jersey.
FERGUSSON, J., 1910, History of Indian and Eastern Architecture I, London.
FRYE, R. N., 1998, The Heritage of Central Asia, Princeton.
GORYAEVA, V. D., PEREGUDOVA, S. Y., 1994, Pamyatniki Hristianstva na Territorii
Krgzistana, z storii Drevnih Kultov Sredney Azii. Hristianstvo, Glavnaya Redaktsiya
Entsiklodeyia, Takent, 84-95.
GORYAEVA, V. D., PEREGUDOVA, S. Ya., 1996, Buddiyskie Pamyatniki Kirgizii,
Vestnik Drevney storii, 2: 167-189.
GRENET, F., 2010, A View from Samarkand: The Chionite and Kidarite Periods in
the Archaeology of Sogdiana, Coins, Art and Chronology II, (Ed. M. Alram, D.
Klimburg-Salter, M. Inaba, M. Pfisterer), Wien, 267-281
GRNWEDEL, A., 1912, Altbuddhistische Kultsttten in Chinesisch-Turkistan, Berlin.
HELMS, S.W., YAGODIN, V. N., BETTS, A. V. G., KHOZHANIYAZOV, G., KIDD, F., 2001,
Five Seasons of Excavations in the Tash-k'irman Oasis of Ancient Chorasmia, 19962000. An interim report, Iran, 39: 119-144.
HERRMANN, G., COFFEY, H., LAIDLAW, S., KURBANSAKHATOV, K., 2002, The
Monuments of Merv, London.
HMELNTSKY, S., 2000, Mejdu Kuanami Arabami I, Berlin-Riga.
LITVINSKIJ, B. A., 1981, Kalai Kafirnigan. Problems in the Religion and Art of Early
Mediaeval Tokharistan, East and West, 31: 35-66.
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ZET
Sbyan mektepleri, Osmanl eitim sisteminde ncelikle ocuklara Kuran- Kerim
retmek ve din eitimi vermek zere kurulmutur. Bununla birlikte, Kuran
okuyabilmeleri iin elifba renmeleri ncelikli nem tam ve zamanla eitli dersler
eklenerek dzenlemeler yaplm, eitimin ierii eitlendirilmitir. ocuun okula
balamas iin zellikle varlkl aileler tarafndan dzenlenen ve Bed-i Besmele treni
ya da min Alay nemli bir gelenektir. Bu trenin ritelleri, eitim tarihi ve toplumsal
ynleriyle eitli aratrmalarda ele alnmtr. Yazl kaynaklarn yan sra yabanc ve
Trk ressamlar tarafndan retilmi resimler de birer belge nitelii tamakta ve Trk
resminde gnlk yaam konusu dahilinde zel bir alan tekil etmektedirler.
Onsekizinci yzylda Van Mourun bu konuyu ele alan resimleri, baz on dokuzuncu
yzyl gravrleri ve Trk ressamlar Rfat eteci ile Malik Akselin almalar bu
gelenei farkl ynleriyle yanstmaktadr.
Anahtar Kelimeler: Sbyan mektebi, min alay, Van Mour, Rfat eteci, gnlk
yaam resmi.
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Giri
Bu almann amac bir Osmanl gelenei olarak ocuun okula balatlmas
treninin resimlerde ele alnn incelemektir. Bu gelenei yanstan konu,
18.yzyldan itibaren farkl ressamlar tarafndan ele alnmtr. Aratrma konusuyla
ilgili olarak eitim tarihini, min Alay geleneini ve sbyan mekteplerini ieren
aratrmalar, Falaka gibi baz edebi eserler, Jean Baptiste Van Mour zerine
hazrlanan katalog ve kitaplar, stanbul Resim ve Heykel Mzesi koleksiyonu ve
Gravrlerle Trkiye katalogu balca kaynaklar arasnda yer almaktadr.
Osmanlda Sbyan Mektepleri, min Alay ve Resimlerde Ele Aln
Sbyan Mektepleri
Osmanlda ilk eitim hemen her mahalle bnyesinde bulunan sbyan
mekteplerinde (Mahalle Mektebi) alnmakta, sabi denilen be alt yana gelmi kz
ve erkek ocuklar bu okullara devam etmektedirler. Sbyan mektebi ta
malzemeden ina edildii iin ta mektep olarak da isimlendirilmi ve stanbulda bu
isimli okullar Cumhuriyet dneminde de kullanlmtr (Ergin 1936: 68). Osmanl
dneminde pek ok klliye yapsnn bnyesinde barndrd sbyan mektepleri,
padiahlarn yan sra devletin ileri gelenleri ya da varlkl kimseler tarafndan
bamsz olarak da yaptrlmlardr. Fatih Sultan Mehmet ile birlikte zellikle fakir
ailelerin ocuklar ve yetimlerin bu okullara alnmas art koulmu, ayrca
padiahlar tarafndan yaptrlan mekteplerde rencilerin giysi ihtiyalar ve
aevleri bnyesinde gnlk yeme ime ihtiyalar da karlanmtr (Ergin 1936:
69).
Sbyan mekteplerinde dini eitim verilmektedir. Bu eitimin sreci, Kuran-
Kerim renmek zere alfabe (elifba) retilmesi ile balamakta, daha sonra Kuran
okutulmas ve yazdrlmas eklinde gelimektedir. Balangta Kuran retmenin
hedeflendii bu okullarda zaman zaman eitim yetersiz grlm ve eitli dersler
eklenerek dzenlemeler yaplmtr. 18. yzylda, I.Abdlhamit dneminde
yaptrlan Hamidiye Mektebinin vakfiyesinde, bu okullarda olaslkla Bab- Aliye
memur yetitirmek zere eitim programna Arapa ve Farsann eklenmi olduu
bilgisinin yer almas bu anlamda dikkat ekicidir (Ergin 1936: 73). Ayrca zaman
iinde okullar bnyesinde musiki dersine de yer verilerek eitimin ierii
eitlendirilmitir.
Mimari bnye olarak sbyan mekteplerinin plan emas, rencilerin yer
ald geni bir asl oda ve buna bitiik muallim (retmen) ve kalfa (retmen
yardmcs) odasndan olumaktadr. Yaplar kubbelidir, kimi zaman iki kattan
olumaktadrlar. mekn dzenlemesi incelendiinde yaln bir dekorasyona sahip
olduu grlr. Hocann oturduu mihrap benzeri bir girintiden oluan ksm
bulunmaktadr ve rencilerin oturmas iin minderleri ve nlerinde rahleleri
balca kullanm objelerdir. Okullarda muallim ve kalfann yansra bevvab ad
verilen okulu ap, kapamakla, mahalleden ocuklar toplayp okula getirmekle ve
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ocuklarn temizlik, su, asayi gibi ileriyle ilgilenmekle sorumlu yardmc bir kii
daha bulunmaktadr (Kara-Birinci 2005: 11).
Bed-i Besmele Treni ya da min Alay
Osmanlda ocuun Sbyan mektebine balamas iin ailelerinin isteiyle bir
tren dzenlenmitir. Bu tren daha ok varlkl ailelerin ocuklar iin uygulanan
bir gelenektir ve pek ok aile iin snnet dn kadar nem tamaktadr. te
yandan ocuklarn okula balatlmas ailelerin sosyo-ekonomik dzeylerine gre
farkllklar gstermektedir. Haluk ehsuvarolu, ilkokullar ve okula balama
trenlerini ieren yazsnda bu farkll yle aktarmaktadr:
ocuk fakir bir aileye mensub babas, anas yahud velisi tarafndan civardaki mahalle
mektebine gtrlr, hocann eli ptrlr ve okuyup yazmak retilmesi rica edilirdi.
Orta halli ailelerde ocuk giydirilir, kuatlr erkek ise fesine, kzsa salarna elmas, inci gibi
ssler, boynuna al ve klaptanl bir cz kesesi taklr, akraba ve tandklarla beraber
mektebe gidilir ve ocuk derse balatlrd. Hoca duasn eder, yeni talebenin velisi
mektepteki ocuklara ikier, er kuru, hoca ile mbassra, kalfaya ucuna birka
mecidiye balanm birer mendil verilirdi. Zengin ocuklarn trene balamas ise bir
merasime tabi idi (ehsuvarolu 1979: 91)
Daha ok zengin ailelerin ocuklarna uygulanan ve pek ok edebi eserde de
konu edilen bu tren Bed-i Besmele Cemiyeti ya da halk deyiiyle min Alay olarak
bilinmektedir. Tren srasnda okunan ilhiler ve ocuklarn yksek sesle min
diye barmalarndan dolay halk arasnda min Alay olarak nitelendirilen bu
trenin aamalar olduka ayrntldr. ocuu okula balayacak aile maddi gcne
gre okul rencileri ve alanlarna bir arlama dzenlemektedir. lk olarak aile
tarafndan mektebin hocasna haber iletilmekte ve hoca alay gnn (daha ok
Pazartesi ve Perembe gnleri) rencilere bildirip o gn iin en gzel bayramlk
giysileri ile okula gelmelerini salamaktadr (ehsuvarolu 1979: 91). Bu detin
uygulanndaki birinci aama, okul heyetinin okula balayacak ocuu evinden
alarak mahalle arasnda gezdirmesidir. Okulu temsil eden topluluk, en nde
ilhiciler ve arkada ilhi arasnda min diye baran ikili sra olmu rencilerden ve
okul grevlilerinden olumaktadr. lahiciler o zamann okul arklarn okuyan
kiilerdir (Ergin 1936: 78). te yandan okula balayacak ocua bazen mcevherle
ilenmi yeni elbisesi giydirilmekte, boynuna kymetli bir al ve srmal bir cz
kesesi taklarak evinde alayn gelmesi beklenmektedir. Alay grnnce ocuk ve
yaknlar dar karak kapnn dnda kendisi iin hazrlanm ve sslenmi
faytona ya da midilliye bindirilmekte ve yaknlarndan birka temsilci de ona elik
etmektedir. ocuun okulda zerinde oturaca ilemeli kymetli bir kumatan
yaptrlm minder ile okulun alr kapanr rahlesi, boynuna ask aslm bir adam
tarafndan adamn ba zerinde tanmaktadr (Ergin 1936: 73; ehsuvarolu,
1979: 91). ocuk evinden alndktan sonra ilahicilerin iinde alayn idaresini
salayan ve en ok musiki bilen ilhiciba en baa gemekte ve gr bir sesle ilahiyi
sylerken bazen birinci srann en sanda yer alp bazen de yzn rencilere
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dnerek arka arka yrmektedir. lahinin iki msras okunduktan sonra renciler
durmakta ve min diye barmaktadrlar (Ergin 1936: 78-79). min alay bu ekilde
nceden belirlenmi mahalleleri dolap yeniden ocuun evinin kapsnn nne
geri dnerek ve ilahiler okunup, glbenk denilen dua yaplarak alay sona ermekte ve
alaya katlan btn kiiler ocuun evine girmektedirler (Ergin 1936: 80).
Trenin ikinci blm evde gemektedir. Bu blmde, okulun hocas ocuun
ilk dersini vermektedir. ocuk boynundaki cz kesesinden elifbasn (alfabe)
kararak hoca ile arasndaki rahlenin zerine koyup ilk sayfasn ap beklemekte,
hoca besmele ekip ocua alfabenin ilk harfi olan elifi rettikten sonra ilk ders
tamamlanmaktadr. Ardndan ocuk evdekilerin elini pmekte ve dua okunarak
tren sona ermektedir. ocuun okulda kullanaca elifbas da sslemeli ve baz
zengin ailelerin ocuklarnnki tezhipli olabilmektedir. Yine ocuun kullanaca
harfleri iaret etmeye yarayan hilaller de pirin, gm ya da altn gibi deerli
madenlerden yaplmlardr (Ergin 1936: 81). En son olarak alaya yemek veya
lokma datlp, hediyelerinin verilmesine geilerek konuklarn arlanmas
tamamlanmaktadr. Trene katlan ocuklardan mincilere ve onlardan daha fazla
miktarda ilahicilere para verilmekte, hoca ve kalfaya hem para hem de cbbelik ya
da mintanlk kuma hediye edilmesi bu adetler arasnda yer almaktadr (Ergin 1936:
81-82).
ocuk, evinden alndktan sonra ilk dersinin okulda balamas eklinde bir
baka uygulama daha sz konusudur. min Alay, Osmanlda okul bilincinin
olumasn salayan nemli bir gelenektir. Yine alay srasnda ilhilerin dzgn
okunmas iin okulda musiki dersinin konmasn salanmtr. Bu ilahiler, II.
Abdlhamit devrinde yasaklanm ve bunlarn yerine genellikle Padiahm ok
yaa diye biten baz neideler okunmutur (Ergin 1936: 79). Bu tren ve okulun
eitimi Ahmet Rasimin Falaka adl eserinde bu olaya defalarca tank olmu bir
ocuun hisleri ile ve esprili bir dille detayl olarak aktarlmtr. Sokaklardan,
mahalle aralarndan bararak geen bu topluluk Osmanlda eitim heyecann
uyandrmaktadr ve Ahmet Rasime gre tren ayn zamanda yal, orta yal ve gen
kzlarn sokaa kma nedenlerinden biri olarak grlmektedir (Ahmet Rasim 2007:
41). Trkiyeye geldiklerinde buradaki rf ve adetleri, grg ve yaama biimlerini
gzlemleyen ve yazan Batllarn eserlerinde ise bu gelenee ok yer vermedikleri
grlmektedir.1
Resimlerde min Alay
ocuklarn okula baladklar ilk gne ait bu tren zaman zaman ressamlarn
frasna konu olmutur. Bu resimler ok figrl kalabalk kompozisyonlardr, o
Sadece 18. yzylda Lady Mary Wortley Montagunun Edirneden 17 Mays 1717 tarihli Rahip Contiye
yazlm mektubunun bir ksmnda padiahn da izledii ordunun ve farkl meslek gruplarnn geii ile
ilgili bir treni aktarmtr: Eyer takmlar gayet parlak bir deveye binmi hoca efendi askerin nnde
gidiyordu. Yastk zerine konmu, klf ok kymetli bir Kuran yksek sesle okuyordu. Bir ocuk kmesi
de beyazlar giyinmi, hoca efendinin etrafnda ayetler okuyorlard Bu trende aktarlan olaslkla
meslek olarak hocann ve onun eittii rencilerinin geiidir.
1
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gne has en gzel giysi ve mcevherler iinde ocuk, ailesi ve onun bu gzel gnn
paylaan yaknlar ev halkn oluturan ksmdr. Onu evinden almaya gelen hocas,
ilhiciler, min diyen ve yine zenle giyinmi okulun rencileri ile onlar izleyen
mahalle sakinleri ise kompozisyonu oluturan dier unsurlardr. Resimlerde, bu
gelenein paras olan nemli ayrntlar da vardr; giysiler ve okul ara gereleri
olan rahle, cz kesesi, minder, elifba (Fig. 1) gibi eyalar dnemin zevk ve beenisini
yanstan unsurlar olarak gnmze gelmilerdir.
Konuyla ilgili erken tarihli bir resim 18.yzylda Fransz elisi Marquis de
Ferriol ile birlikte stanbula gelen Jean Baptiste Van Mour (1671-1737)a aittir.
Kaynaklarda Okulun lk Gn (Fig. 2) olarak isimlendirilen eserde2, sebil ya da
eme gibi grnen bir su yapsnn nnde ve resmin sanda youn bir kadn
kalabal konumlanmtr. zerlerindeki sokak kyafetleriyle Mslman olduklar
anlalan kadnlardan bazlar ocuklar ile trene elik etmekte, bir tanesi
kucanda bir erkek ocuu tamakta bir dieri kk kznn elinden tutmu halde
treni izlemektedir. Bu grubun hemen nnde ve resmin merkezinde bir kadn,
yannda kz ocuu ile dierlerine gre daha nde durmaktadr ve olaslkla bir anne
ve kzn betimlemektedir. Bu iki figrn, kalabaln paras olmalar ama ayn
zamanda resmin merkezinde ve her iki kalabaln arasnda bamsz yer almalar ve
kk kzn boynunda ve annesine doru olan ksmda bulunan cz kesesi, okula
kabul treninin kk kz iin yapld dncesini glendirmektedir. Ortada yer
alan figrn okulun grevlilerinden biri ve bevvab denilen kii olmas muhtemeldir.
Bu kii ocuun okul gereleri olan bir rahle ve onun zerine atlm bir ilemeli
kuma tamaktadr. Arkada pencere dizisinin hemen nnde erkek ocuklar yer alr
ve bu topluluk da trenin ilhiciler grubunu betimlemektedir. Bu ocuklardan
giyimiyle dierlerinden farkl olan erkek ocuk elinde bir kitap tamaktadr. Bu
kitap mektepte okutulan elifba kitabn anmsatmaktadr. Kyafeti ve tad nesne
dolaysyla fark hissedilen bu ocuk alay yneten ilahici ba olabilir.
Van Mourun Osmanlda gnlk yaam aktaran resimlerinde kadn ve
ocuklarla ilgili topluluk betimlemelerinin baz kk deiikliklerle tekrar ettii
grlr. Boaziinde Bir Gelin Alay (Fig. 3) adl almasnda da resmin en sanda
youn bir kadn topluluu bu kez tahtrevann iindeki geline elik etmektedirler.
Resmin en solunda nahl tayan adamn hemen nnde bir ocuk kmesi yer
almaktadr. Bu resimde de solda bize bakan ve giyimiyle dierlerinden farkl olan bir
erkek ocuu elinde bir kitap tamaktadr. Buradaki ocuklar da olaslkla ilahicileri
betimlemektedirler. Resmin kadnlar ve ocuklar ksm bir nceki resim ile
benzerlik gstermektedir. Bu, ressamn Osmanlnn gnlk yaamn aktarrken
2 Bu resimle ilgili olarak farkl grler vardr. Auguste Boppe; Bir erkek ocuunun okula balamak
zere Haremden ilk k olarak nitelendirmitir (Boppe 1998: 35). Ayn resimle ilgili olarak Evelin S.
Nicolas, No.XIII (A. 2005) Kat No. 38de belirtilen resimle ilgili olarak bir kadnn kzn ileme
renmesi iin okula gtrd ilk gn olarak nitelendirmitir (Nicolas 2003: 114, 222). Yine Osman
nde ve Erol Makzume, resmi Bir Trk ocuunun Okula Balay olarak tanmlamtr (ndeMakzume 2000: 58)
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KAYNAKLAR
AND, Metin, 1969, XVI. Yzylda Eitim ve retim, Hayat Tarih Mecmuas, 10.
BOPPE, Auguste, 1998, XVIII. Yzyl Boazii Ressamlar, (ev. Nevin Y. Celbi), Pera
Turizm Ticaret A..Yayn, stanbul.
BULL, Duncan, 2003, Ressam ve Sanat, Lale Devrinin Bir Grg Tan Jean
Baptiste Van Mour, (Ed. M. eyhun ve A. Pekin), Kobank Yaynlar, stanbul, 25-39
ERGN, Osman, 1939, Trkiye Maarif Tarihi, Osmanbey Matbaas, stanbul.
ERGN, Osman, 1977, Trk Maarif Tarihi, Eser Kltr Yaynlar, Cilt I-II, stanbul.
KARA, smail, BRNC, Ali, 2005, Bir Eitim Tasavvuru Olarak Mahalle/ Sbyan
Mektepleri, Dergh Yaynlar, stanbul.
KATPOLU, Halenur (Ed.), 1996, Mimar Sinan niversitesi stanbul Resim Heykel
Mzesi Koleksiyonu, Yap Kredi Kltr Sanat Yaynclk, stanbul.
KOU, Reat Ekrem, 1966, Sbyan Mektepleri, Hayat Tarih Mecmuas, stanbul, C.I,
2.
MONTAGU, Lady Mary Wortley, 1977, Trkiye Mektuplar 1717-1718, (ev.Aysel
Kurutluolu), Tercman 1001 Temel Eser 12, Kervan Kitaplk.
NICOLAS, Evelin S., 2003, Lale Devri stanbulunda Bir Bykeli, Lale Devrinin Bir
Grg Tan Jean Baptiste Van Mour, (Ed. M. eyhun, A. Pekin), Kobank Yaynlar,
stanbul, 9-23.
NICOLAS, Evelin S., 2003, Eski Arivler Yeni Grler Lale Devrinin Bir Grg
Tan Jean Baptiste Van Mour, (Ed. M. eyhun, A. Pekin), Kobank Yaynlar,
stanbul, 103-135.
OLGUN, Tahir, Mektebe Balama Merasimi, Mahfel Mecmuas, 42, 113.
NDE, Osman, MAKZUME, Erol, 2000, Lale Devri Ressam Jean Baptiste Van Mour,
Aksoy Yaynclk, stanbul.
RASM, Ahmet, 2007, Falaka, (Ed. Hasan Selim Hacolu), skele Yaynclk, Trk
Klasikleri Dizisi 9, stanbul.
RENDA, Gnsel, 2003, Van Mour ve stanbulda Yaam, Lale Devrinin Bir Grg
Tan Jean Baptiste Van Mour, (Ed. M. eyhun, A. Pekin), Kobank Yaynlar,
stanbul, 41-71
SEVM, Mustafa (Ed.), 2002, Gravrlerle Trkiye Giysiler, Portreler 1, T.C. Kltr
Bakanl Yaynlar/1901, Trk Tarih Kurumu Basmevi, Ankara.
EHSUVAROLU, Haluk Y., 1979, Eski ilk mektepler ve Mektebe balama
Merasimleri, Asrlar Boyunca stanbul (Cumhuriyet Gazetesi eki), Atatrk Kitapl,
91.
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Fig. 1
Fig. 2
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Fig. 3
Fig. 4
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Fig. 5
Fig. 6
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ZET
erik ve biimlerinde barndrdklar szel gelenek unsurlar, ritele bal kkenler,
gldr trleri ve dramatik temsiller ile Trk tiyatrosu tarihinin vazgeilemez
paralarn oluturan Karagz, Meddah ve Ortaoyunu; meydanlar, adrlar, perdeleri
ve tabureleri ile kendi sahne yaplanmalarn gelitirmi gsteri sanatlardr. Bu
alma, on altnc yzyl ile on sekizinci yzyl sonlarna kadar, bu sanatlarla
zdelemi mekanlar, alanlar, sahneleri incelemeyi amalamaktadr. Bu inceleme
kapsamnda her tr iin; Osmanl enlikleri, saraylar ve kahvehaneler ele alnacaktr.
Anahtar Kelimeler: Karagz, meddah, ortaoyunu, Osmanl enlikleri, saray,
kahvehaneler.
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Giri
Tiyatro, resim, heykel, fotoraf, sinema, dans, opera, bale ve mzik gibi sanat
biimleri; gsteri sanatlar, sahne sanatlar, fonetik sanatlar, plastik sanatlar ve
grsel sanatlar gibi farkl balklar altnda toplanp incelenebilir. Bu sanat
dallarndan drama1 unsurlar barndran tiyatro, dans, opera ve bale gibi
uygulamalar da daha ok gsteri ya da sahne sanatlar olarak nitelendirilir. Bu ikisi
arasnda bir fark aranr ise de; bir bina ierisinde, oturma dzenine sahip bir
meknda (creti genellikle nceden tahsil edinen) ve seyircinin ou zaman aktif
rol olmadan gerekleen etkinliklere sahne sanatlar, eer bunlar daha alternatif
meknlarda (sokak, meydan, mze... vb.), daha eitli bir seyirci kitlesine sahip,
deiik amalarla (tantm, aktivist eylemler, elence... vb.) yaplyorlarsa birer
gsteri sanat rn olduklar sylenebilir. Elbette bunlar genel ve tartmaya ak
tanmlardr. Her uygulama ve aratrma ynteminde farkl bir anlam btnl ve
paralar ierebilirler. Bu almann balndaki Trk Tiyatrosu ifadesi kapsamnda,
birer gsteri sanat veya seyirlik oyun olarak tanmlanabilecek ve eski usul gsterim
biimlerinde zel bir sahne trne ou zaman ihtiya duymayan Karagz, Meddah
ve Ortaoyunu trlerinin sahneleri incelenecektir.
Sahne kelimesi dilimize Arapadan gemitir. Anlam ise sahanlk, dzlk,
alandr. Dilimizdeki kullanm, Franszca tiyatro sahnesi anlamndaki scne
kelimesini karlamak iin ilk kez emseddin Sami Bey tarafndan nerilmitir
(Nianyan 2007: 412). Franszcadaki hali scne gibi birok Bat diline de
Yunancadan, skene () kelimesinin karl olarak gemitir ki o da adr,
ardak, glgelik anlamlarna gelir2. Baka bir bak asna gre de Eski Kpakada
oturulacak sedir biiminde ta veya set, toprak stndeki ykseklik (Glensoy 2011:
748) anlamlar olan sek-seki kelimesi ile balantldr. Yine bu almann
balndaki sahne ifadesi, sz geen gsterim biimlerinin gerekletii meknlar
ve bu meknlara bal olarak gerekleme biimlerini kapsar.
Karagz, meddah ve ortaoyunu, Trk tiyatro tarihi ierisinde halk tiyatrosu,
popler tiyatro, geleneksel Trk tiyatrosu, seyirlik sanatlar veya temaa sanatlar gibi
farkl balklar altnda toplanr ve tanmlanr3. Trk kimlii, folkloru, halk edebiyat
Drama: Bir hikyenin fiziki somut halini gerektiren sanat biimi. Gereksinimleri, bir yer ve kendisi yeni
rolnde kabul eden birinin nnde hikyeyi oynayan, kendisinden baka birisini canlandran bir kiidir
[] ok geni bir sanat biimidir ve bale, mzik, resim, mimari, iir, kurgu ve filmle paylat birok
ifadeye sahiptir. Fakat, merkezi temeli, aktrle veya aktrle seyirci arasnda oluan ilikidir (Arkan
2006: 111).
2 lk dnemlerinde bir bez paravana eklinde grev gren, fakat zamanla ykselmi ve arka sahne
yapsn oluturmu olan skene aslnda tam olarak temsilin yer ald yer deil, oyuncularn mask ve
kostm deitirmek amacyla kulland oyun alannn gerisindeki blge idi ya da duvar idi (Szen ve
Tanyeli 1986: 206). Antik Yunan tiyatrosunun en eski blm ve z; raks etmek anlamna gelen, nce
tam sonralar yarm daire eklinde sktrlm toprakl alan orkestrayd (Saltuk 1993: 130).
3 rnein Dilaver Dzgne gre bunlarn bir dier tanm Halk Tiyatrosudur: ehirlerde aydn ve
entelektel kesimin dnda kalan halk tabakasnn gelitirdii ve srdrd bir gelenektir (Dzgn
2000: 63).
1
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Sevengil bunlar eitli beceri sahibi kiilerin, ustalarn bir araya gelen, ocaklar halinde yaayan
lubiyyat yani elence topluluklar olarak tanmlar (Sevengil 1990: 63).
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(1148) ve bunlarn Alexiad bal ile baslm kitabdr. Ana Commena, Alexias
kroniklerinde, ayandaki gut hastal yznden Trklere kar savaa gidemeyen
babasnn durumunun, Seluklu Sultan Kl Arslannn huzurunda oyuncular
tarafndan bir gldr biiminde canlandrldn belirtmitir.
Bu yaplan
gsterinin ortaoyunu ile balantsn Kprl yle ifade etmektedir:
Ouz Trklerinin kurduklar byk kk muhtelif devletlerde, air
slam sanatlarnda olduu gibi, hkmdar elendirmekle vazifeli nedim
ve komiklerin bulunduuna kolaylkla hkmedebiliriz. Nitekim,
Anadoluda Seluklu saraylarnda, Bizans mparatorlarnn taklidlerini
yaparak sultanlar elendirmeye alan birtakm komik ve taklitilerin
bulunduunu Bizans Kaynaklar bize bildiriyor. Seluklu Sultannn
saraynda Bizans mparatoru Alexinin hastalik bahanesiyle korkakln
gsteren sahneler temsil olunduunu yazmaktadr10. Bu izahlar, daha o
zaman, belki de Orta Oyununun bulunduu suretinde de tefsir olunabilir
(Kprl 1966: 375).
Daha sonraki yzyllarda da saraylar mzisyenlerin, danslarn, oyuncu
kollarnn, meddahlarn, karagz ve kukla oynatclarnn hem destekleyicisi hem de
eitildikleri yer konumunu alarak11 on dokuzuncu yzyla kadar Trk halk
gsterimlerinin en iyilerinin sahne almasna imkn vermilerdir (And 1999: 9). Kol
oyunlarnn yani ortaoyunu rneklerinin en revata olduu dnemler II. Mahmut,
Abdlmecit, Abdlaziz ve II. Abdlhamit saraylarnda gemitir. Kprl bunu u
ekilde rnekler:
Selim III. ve bilhassa Mahmud II. Devirlerinde Enderunda birok
mukallidler ve mudhikler yetimiti; bunlar, hkmdarn huzurunda
birbirleriyle latife ederler, hikyeler sylerler, taklitler yaparlar, Karagz
oynatrlar, hatta hep beraber Ortaoyunu dahi tertip ederlerdi. lerinden
bazs daha ziyade hayalcilikle, bazlar da meddahlkla hret almakla
beraber, ayn adamlar birbirlerinden hemen hemen farksz olan bu
muhtelif sanatlar da icra etmekte idiler[] II Mahmud daima nedim ve
mukallitlerle elenir, hayal seyreder, mehur oyun kollarn artr,
Ortaoyunu seyreder hatta saray hret kazanan mukallid ve hayalcileri
Enderuna alrd (Kprl 1966: 401-402)
10 mparator daha nce hi byle ac ekmemiti bu hastalktan. nk nceden uzun aralklarla sancs
tutuyordu ama artk daha sk ve tekrar ederek sonu bitmez bir rahatszla dnmt. Kl Arslann
adamlar bu hastaln bir uydurmaca olduunu, gerek olmadn, tereddt ve tembelliin gut ad
altnda saklandn dndlermparatorun ayandaki acy ahlak konusu yapp hikyelerine kattlar
ve bu ac, komedilerin konusu haline geldi. Doktorlar ve mparator iin alan insanlar mparator
ortada yatm ekilde taklit ediyorlard. (Comnena 2000: 276).
11 Dilaver Dzgnn konuyu yle zetler: Saray ve evresi: Osmanl saraynda grevli nedim ve
musahiplerden baka meddah, hokkabaz ve karagzcler de bulunurdu. Bunlar saray evresinin
ihtiyalar dorultusunda hizmet verirlerdi. XVIII. yzyldan sonra ise bir kurumlamaya gidilerek saray
tiyatrolar kurulmaya baland. Abdlmecit'in Dolmabahe Saray'nda, II. Abdlhamit'in Yldz Saray'nda
tiyatrolar vard (Dzgn 2000: 67).
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12
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kahvehaneye gelen kii says meddahn hretine gre deiirdi. Kapda alnan
cret de buna balyd. Bazen ay ve lokum gibi attrmalklar fiyatn iinde olurdu.
Yani meddah bir meslek icra eden, bundan kazanan ve kazandran, reklam yaplan,
evresi tarafndan sayg ve sevgi gren ve bu yzden iinde dikkatli olmas gereken,
nlenen bir oyuncu gibiydi. Baz kahvehanelerde de zaten teatral bir dzen
olduuna ve amaca hizmet etmek iin tanzim edildiine deinilmiti. Meddahn
buralardaki sahne alan, bir iskemle ya da taburedir ama yaz aylarnda veya kahve
ok dolu olduunda kahve dna sandalye konur ve dardakiler de grebilsin diye
meddah ak bir pencerenin yanndaki bir sedire otururdu (Evren, 1996: 101).
Anlatt hikyenin mizansenine gre gerektiinde ayaa kalkar ufak turlar atar
tekrar otururdu. Salih Birselin, Parmakkapda Yolgeen Han Kahvesinde geen
hak dostum hak balkl ans, klasik usul meddah gsterisinde sahne ve aksesuar
kullanm, meydan unsurlar, seyirci ve meddah ilikisinin zihinlerde canlanmasna
yardmc olur;
Bu kez de Parmakkap'da Yolgeen Han Kahvesi'ne dalalm. Biraz sonra
Meddah kr Efendi menkbesine balayacaktr. te kap ald: kr
Efendi. stnde setre, pantolon. Pskl fesinden iki parmak uzun.
Gzleri
siyah ve minik. Yzne bakmaya kalkmayn, kendinizi tutamaz
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Giri kapsnn tam karsndaki duvarn yannda ahap kafes ile evrilmi
ve bir insan boyundan azck yksek bir alan vardr.14 Bunun nnde
orkestra olur. Gsteriden nce zil ve daire alnr bazen gsteri srasnda
flt de elik eder. Bunu alanlar genelde yardaklardr. Giri kaps ve
orkestra arasnda seyirciler oturur. Ya taburelere ya da divanlara
otururlar. Sz geen kafesli yerde de perde bulunur. Yine ayn kafesin
iinde, perdenin erevesinden alak, masaya benzeyen, perdeyi eit bir
biimde aydnlatan klarn ya da fitillerin konulduu bir ey vardr.15 Bu
fitiller bazen ok kt bir koku yaysalar da oynanan oyun buna deer. Bu
lambalar ve perde arasnda, ereveye monte edilmi dekoratif objeler
vardr.16 (Martinovich 1933: 38).
Yine kahvehanelerde, zellikle Ramazan aylarnda, Ortaoyunun meydanlardan
sahneye kt dnemden bir tank Halit Fahri Ozansoy stanbulun her semtinde,
Karagz oyunlar gibi, herhangi bir kahvehanede oynanabilirdi. Fakat orta
oyuncular, hi phesiz, bir kraathane bulamasalar bile, hi deilse bycek
kahvehaneleri tercih ederlerdi. (Ozansoy, 2006: 215).
Sonu
Mzik, dans, sz ve taklit gibi Trk gldrsnn temel geleri ile
harmanlanm Karagz, Meddah ve Ortaoyunu; ilham kaynaklar ister Orta Asya,
ister Antik Yunan ya da Msr olsun, Anadolu ve stanbulda son alt yz ylda
ekillenen, yazl metin yerine doalamaya dayanan, usta-rak ilikisine olduu
kadar profesyonel uralara da bal kkl seyirliklerdir. Kyl Tiyatrosu
geleneklerinden syrlp kent yaamnda birer Halk Tiyatrosu rnekleri olarak
yeniden doan bu sanatlarn yapld mekanlar ve sahnelere baktmzda,
vazgeilmez bir meydan unsuru olduu grlmektedir. Zaten Karagz ayn
zamanda Kteri Meydan ve Orta Oyununa da Meydan- Shandr. Meddaha gelince
de, kahvehane avlusuna orta meydan da denir (Evren 1996: 46). Yani onlar
seyretmek iin tiyatro binalarna deil, daha ok ak alanda, parklara, meydanlara
gidilir. Onlar saraylar, kkler, yallar, kahvehaneler gibi kapal mekanlarda da
grrz ama yine de kendi sahneleri vardr ve buralarda seyircileri kim olursa olsun
hkmdar, esnaf, ocuk, kadn- onunla iletiim halindedirler nk aralarnda
drdnc bir duvar yoktur. Sahneleri de bu sanatlarn ieriine ve amacna gre
biimlenmitir. rnein, bir hayalnin (Karagz oynatcs) sahnesi perdesidir.
Meddahnki taburesi ya da sediri ve Orta Oyunu oyuncular iin seyirciyi etraflarna
alabilecekleri ak bir alandr.
Eski kahvehanelerin genel olan gz nne alndnda Martinovich byk bir ihtimalle ba sedir den
bahsetmektedir.
15 Bugn kullanlan spot klar yerine, fitilli lambalar ve hatta daha eskiden mealeler kullanlrd.
16 Buradaki dekor amal ssler gstermeliklerdir. Oyundan nce perde de durur ve her zaman
olmasa da oyun konusu hakknda ip ucu verirler. Aa, iek, gemi ve ev tasvirleri olarak yaplm
gstermelikler en ok bilinenleridir.
14
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KAYNAKLAR
AKTA, G. G., 2011, Anadoluda Toplumsal Yaamn Meknsal zleri. GSF Sanat ve
Tasarm Dergisi, 7, s. 55-68.
AND, Metin, 1959, Krk Gn Krk Gece: Eski Donanma Ve enliklerde Seyirlik Oyunlar,
Ta Yaynlar, stanbul.
________, 1964, A History of Theatre and Populer Entertainment in Turkey, Forum,
Ankara.
________, 1977, Dnyada ve Bizde Glge Oyunu, Trkiye Bankas, Ankara.
________, 1982, Osmanl enliklerinde Trk Sanatlar, Kltr ve Turizm Bakanl,
Ankara.
________, 1999, Traditional Performances in Turkey The Traditional Turkish Theater
(Ed. Mevlt zhan). Kltr Bakanl, Ankara.
________, 2003, Oyun ve Bg: Trk Kltrnde Oyun Kavram, YKY, stanbul.
________, 2004, Osmanl Tasvir Sanatlar: 1 Minyatr Trkiye Bankas, stanbul.
ARIKAN, Ylmaz, 2006 Adan Zye Tiyatro Klavuzu, Pozitif, stanbul.
ARSLAN, Mehmet, 2009, Osmanl Saray Dnleri ve enlikleri: ntizami Surnamesi
(Surname- Hmayun) (Topkap Saray ve Sleymaniye Ktphanesi Nshalar),
Sarayburnu Kitapl, stanbul.
BAYARTAN, Mehmet, 2005, Osmanl ehrinde Bir dari Birim: Mahalle, Corafya
Dergisi, 13, s. 93-107.
BRSEL, Salah, 1983, Kahvehaneler Kitab, Bankas, Ankara.
COMNENA, Anna, 2000, The Alexiad, (ev. Elizabeth A. S. Dawes), In parentheses,
Cambridge.
DUVARCI, Aye, 2012, Kltrmzde stanbul Kahvehaneleri ve Halk Edebiyatna
Katklar, Batman niversitesi Yaam Bilimleri Dergisi, 1, s. 75-86.
DZGN, Dilaver, 2000, Osmanl Dneminde Geleneksel Trk Tiyatrosunun Genel
Grnm, A. . Trkiyat Aratrmalar Enstits Dergisi, 13, 63-69.
EMEKSZ, Abdlkadir, 2006, Orta Oyunu Kitab, Kitabevi, stanbul.
EVREN, Burak, 1996, Eski stanbulda Kahvehaneler, Milliyet, stanbul.
FAROQH, Suraiya, 1998, Osmanl Kltr ve Gndelik Yaam: Ortaadan Yirminci
Yzyla, Trkiye Ekonomik ve Toplumsal Tarih Vakf stanbul.
GEREK, Selim Nzhet, 1942, Trk Temaas: Meddah-Karagz-Orta Oyunu, Kanaat,
stanbul.
GLENSOY, Tuncer, 2011, Trkiye Trkesindeki Trke Szcklerin Kken Bilgisi
Szl, Trk Dil Kurumu, Ankara.
KAHRAMAN, Seyit Ali, 2008, 1720 ehzadelerin snnet dn: Sur- hmayun /
Hafz Mehmed Efendi, Kitap Yaynevi, stanbul.
KORKMAZ, Glsm Ezgi, 2004, Srnmelerde 1528 enlii, Bilkent niversitesi Trk
Edebiyat Blm, (Yaymlanmam Yksek Lisans Tezi), Ankara .
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KPRL, Fuad, 1966, Trklerde Halk Hikayeciliine Ait Baz Maddeler, Trk
Tarih Kurumu Edebiyat Aratrmalar, 19, s. 360-412.
KUDRET, Cevdet, 2007, Orta Oyunu, 1. Cilt, YKY, stanbul.
MARTINOVICH, Nicholas, 1933, The Turkish Theatre, J.J. Little and Ives, New York.
NANYAN, Sevan, 2007, ada Trkenin Etimolojik Szl, Adam stanbul.
NUTKU, zdemir, 1987, IV. Mehmet'in Edirne enlii (1675), Trk Tarih Kurumu,
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_____________, 1995, Tarihimizden Kltr Manzaralar, Kabalc, stanbul.
_____________, 1997, Meddahlk ve Meddah Hikyeleri, Atatrk Kltr Merkezi, Ankara.
OZANSOY, Halit Fahri, 2006, Ortaoyunu, Orta Oyunu Kitab, (Ed. Abdlkadir
Emeksiz), Kitabevi, stanbul.
ZDEN, mer, 2006, Trk Ramazan Kltr, A. . Trkiyat Aratrmalar Enstits
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PARDOE, Julia, 2004, ehirlerin Ecesi stanbul: Bir Leydinin Gzyle 19. Yzylda
Osmanl Yaam, (ev. Banu Bykkal), Kitap, stanbul.
POPESCU-JUDET, Eugenia, 1967, Trk Halk Temaalarnn Rumen Memleketlerine
Tesiri, Studia et Acla Orientalia, (ev. Zeynep Kerman), V -VI, s. 337-355.
SALTUK, Secda, 1993, Arkeoloji Szl, nklap, stanbul.
SEVENGL, Refik Ahmet, 1990, stanbul Nasl Eleniyordu: 1453'ten 1927'ye kadar,
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SZEN, Metin-TANYEL, Uur, 1986, Sanat Kavramlar Terimleri Szl, Remzi,
stanbul.
STOUT, Robert Elliot, 1966, The Sur- Hmayun Of Murad III: A Study Of Ottoman
Pageantry And Entertainment, The Ohio State niversitesi Doktora Tezi.
TANSU, Sezer, 1993, enlikname Dzeni, YKY, stanbul.
TERZOLU, Derin, 1995, The Imperial Circumcision festival of 1582: An
Interpretation. Muqarnas 12, s. 84-100.
YAAR, Ahmet, 2009, Osmanl Kahvehaneleri: Mekan, Sosyalleme ve ktidar, Kitap,
stanbul.
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ABSTRACT
This study will search for the dynamics around the selection process of the monument for
the founder of the Turkish Republic, Atatrk in the site of the Grand National Assembly of
Turkey in a time period between 1937 and 1981. Time period of the selection process
starts with the international architectural competition launched for the new Turkish
Parliament House in 1937. There had been a number of proposals of a monument in the
perspective and faade drawings submitted by most of the competitors in the international
competition. In parallel the winner Austrian architect, Clemens Holzmeister envisaged a
monument for Atatrk in a number of situations and positions in his drawings produced
for the competition for the Grand National Assembly. After the realization of the building,
the issue of building a monument for Atatrk in the site of the Assembly started to be
discussed as a part of a search for artworks in the Assembly building and its garden. For
that reason a committee of historians, artists, architects and parliament members
assembled a number of times to discuss the meanings and values to be represented in the
artworks and monuments in the Assembly Site around 1976. As a result of these
discussions, a two stepped competition was opened for the monument of Atatrk in 1979.
In light of the findings, it is believed that the discussions of the committee and the
dynamics of the selection process of the monument will be enlightening on the priorities
and values of bureaucrats, academicians and politicians.
Keywords: representation, Atatrk
Turkish sculpture, competition.
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This study aims to propose a reading of the discussions and ideas on building a
monument for Atatrk in the context and campus of the Grand National Assembly of
Turkey in a period starting in 1937 and reaching to the 1980s political and social
climate of Turkey. The analysis of data used in this research is mostly based on records
of working of some committees of the National Assembly and Republican Senate of the
Grand National Assembly of Turkey between 1976 and 1980.Similar to the domination
of the field of state architecture of the Turkish Republican period mostly by the foreign
architects especially between the foundation dates till the midst of the twentieth
century, it was also very rare to see public sculpture owned by Turkish sculptors as well
as architects and artists. This depended mainly on the fact that the Imperial School of
Fine Arts , Sanayii Nefise Mektebi with a curriculum of the Painting, Sculpture,
Architecture and Calligraphy started to give education no before than 1882 and gave
only four recognized Turkish artists in 40 years (Gezer 1984: 17).1 In the foundation
years of the Republic around 1920s, students were sent to Europe for arts education
but since 1940s this could not be valid for sculpture education for a number of reasons
such as the delays due to Second World War and the arrival of Belling to the academy no
before than 1937 (Gezer 1984: 15).Whereas during 1930s there had been many
monuments by foreign artists built at the city squares with the aim of appropriation of
the new order by the Republican cadres for awakening of national consciousness.
Formal depictions of glorious past were proposed to the public at city squares. The
focus of these glory depictions was the formal representations of the grand savior
Atatrk with most generally military uniform on horseback and rarely with civil clothes
as in stanbul, Tekirda, Mula and Isparta. According to Gezer, the sculpture as a term
was coined with Atatrk sculpture in the urban repertoire of the public those times.
However the issue of foreign sculptors and artists already started to be criticized in the
newspapers and magazines amongst enlightened bourgeoisie.
For example Ahmet Haim suggested that where a big monument or sculpture to
be erected, we shall leave a marble mass or a bronze cast and write under it till the
Turkish artist is raised (Gezer 1984: 20). In response it is said that Kenan Yontun,
who would later be known as the reproducer of his initial Atatrk monument at orum
for two other cities as Elaz and Kayseri, would ask from Mustafa Kemal Atatrk that
public statues shall be assigned to Turkish artists who were new, underdeveloped and
in need of practice. It is believed that after that instance between Yontun and Atatrk,
Turkish artists were incorporated more into the public monuments and sculpture.
However public sculpture was spreading from big cities to small towns and villages.2
According to Gezer these four artists would be hsan zsoy, Behzat, Mahir Tomruk and Nijad Sirel.
Besides foreign artists, a number of Turkish artists produced city monuments after 1930s. Kenan Yontu built
orum ve Edirne Atatrk monuments in 1931, Rahip Air Acudolu built Menemen-Kubilay Monument in
1932, Kenan Yontun built Silifke Atatrk Monument in 1934; Hadi Bara erected stanbul-Harbiye Atatrk
2
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This also meant that the movement developed into erecting public structure for
founders of institutions or people who gave significant public service. It is stated by
many scholars that the patronage of the public statues were mainly municipalities and
city. It is thought that the biggest public sculptural work in terms of its
comprehensiveness was said to be the ornamentation of Ant Kabir during 1952 and
1953 under the direction of Belling with many artists working on the ranges of
sculptural compositions such as two groups with three figures, 24 lions and a number of
reliefs.
Another important event for the Turkish sculpture would be the enterprise of the
Grand National Assembly Presidency Council in building a monument for Atatrk in his
centennial anniversary of birthday in 1981. Though it may seem that it was just a
commemorative event produced for the celebrations of the year, the search for a
monument for Atatrk was again in the agenda of the Turkish parliament 40 years after
the international competition for the Grand National Assembly of Turkey launched in
1937. There had been envisages of a monument in the perspective drawings in the
international and national submissions in 1937. Many of the projects depicted
monuments erected in front of the elevated entrances with high colonnades and
monumental stairs. Austrian architect Holzmeister, the winner of the competition also
envisaged statues or monuments in two different places depicted in his submissions of
1937 and 1938.After the realization of the Grand National Assembly building around
1960s, the issue of building a monument in the site of the Assembly turned into a
search for artworks to be done in the Assembly building and Assembly site. For that
reason a committee of historians, artists, architects, parliament and senate members
assembled a number of times to discuss the character and meaning of the artworks and
a monument for Atatrk to be placed. As a result of these discussions, a two stepped
competition was decided to determine the Atatrk monument which could not be
realized though where the monument should be built was already defined by its
architect, Clemens Holzmeister in his early submissions for the parliament building.
Following the Beaux-Arts neo-classical tradition, Holzmeister developed great
halls on major and minor axes in the Grand National Assembly building. He was already
researching on a parliament house since he was commissioned for the governmental
district in Yeniehir. In his scheme for the group of governmental buildings he planned
the parliament house at the highest point of the site where it can be reached via an
outdoor alley connected with inner squares and gardens. The submitted schemes of the
parliament building involved public sculpture especially placed at the front faade in
1937 and the outer space in the front of the faade in 1938. Actually the international
competition submissions of Clemens Holzmeister, Albert Laprade, Alois Mezara all had
monument in 1937. Also Hadi Bara and Zht Mridolus common work of Barbaros Monument in Beikta ,
stanbul (1936) is a significant work of art.
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monumental, classical facades with tall colonnades, and were made even more
imposing in the perspective renderings with sharp shadows, statues, flags, inscriptions
and wall reliefs (Bozdoan 2001:279.) It was no coincidence that the submissions were
in harmony with the existing representations of state architecture rather military, solid
and permanent. In the first variation of Holzmeister the sculpture was placed at the
front plate of the building enhancing the centrality of the building and the axial
directionality represented in the rest of the governmental district. The second variation
in 1938 exhibited the monument on an obelisk in the middle of the courtyard in front of
the colonnaded hall of honor. These variations in the place of the monument to be
erected were interpreted by Bernd Nicolai to be the opposite of the variations for the
Soviet Palace project of Boris Iofan in 1930s. According to Nicolai, the Lenin Statue was
first depicted on a tower, than on a stepped circular construction and lastly on a 450
meters high skyscraper tower. For Nicolai the disappearance of the monumental
element could be explained with only speculations however he had found an
observation of Sahip ksan Tansuk most significantly enlightening. Nicolai took the
interpretation of Tansuk soothing since he speculated that the new president of the
Republic, smet nn preferred to moderate the culture of Atatrk after his death
(Nicolai 2000: 116-135). After the death of Atatrk, not only the Atatrk monument but
also the building of the new parliament building of the new born nation was cancelled
with economic constraints of the Turkish government till 1960s. From the memoirs of
Ziya Payzn, who was one of the students of Clemens Holzmeister and the commissioned
architect for the detail drawings of the structure and later in 1949 the representative of
Holzmeister as the head of the construction, another story can be formulated. Payzn
moderated the common meetings of Assembly and Senate Presidencies under the title
of Technical Assistant of General Secretary of the Grand National Assembly in 1976.
This means he had quite power and knowledge about the story of the new parliament
house. The start of the common meetings were given by the Senate members Bahriye
ok, Hsamettin elebi, Suphi Grsoytrak and Osman Nuri Canpolat, who proposed a
motion for artworks on Atatrk and his revolutions to be placed in and outside of the
Assembly building.
As a response of the National Assembly to the subject matter, Ziya Payzn was
invited to work with two representatives from the ministry. As a beginning a brochure
on Atatrk monument and a series of monuments on Turkish history was distributed to
all parliament members and to 200-300 recognized specialists such as authors,
scientists, teachers, academicians, architects, sculptors, painters and artists. By this
means the issue of monuments to be erected was opened to public debate. Due to the
lack of interest and approaching election interdictions only two responses could be
achieved. Anyhow the common meetings of the National Assembly and the Republican
Senate resulted with a collection of ideas and a decision of assembling a jury for the
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determination of where to build what. This committee also aimed to open a competition
to achieve monuments in final. The committee determined Tark Remzi Baltan as the
head of the committee. According to the some of the committee members such as the
senate member Hsamettin elebi, instead of a classical Atatrk statue, the quality of
Atatrk as the founder of the Turkish Grand National Assembly should be depicted in a
composition. He also proposed that a chronological representation of Turkish history
could be depicted with a series of monuments. His idea could well be a representation of
the growing criticism on colossal statues of Atatrk spreading in nearly all cities. These
were generally owned by the municipalities, provincial authorities and state institutions
such as schools, hospitals, and state administrative units. It was no coincidence that
already in 1964 Atatrk statue competition was opened for 11 cities that had no Atatrk
statues by then erected. However the committee had hardship in determining the time
span of the Turkish history of the history to be depicted in the Assembly Building. As a
reflection of this hardship, in a second session, three variations of historical narrative
became dominant. According to ok, there were three groups of members supporting
these three variations. The first group determined the point of origin from the first
appearance of Turkish civilizations such as Huns, Gktrks, Kara-Khanid Khanate and
later Anatolian Seljukids. Another group supported that Asian Turks should be out of
context and Anatolian civilization should be taken as the basis. According to this group,
Hittites, Phrygians and Lydians were the beginning of Anatolian culture and civilization.
A third group totally rejected the glorious past to be monumentalized rather than the
memory of Mustafa Kemal Atatrk in his efforts in building the Grand National
Assembly of Turkey. They believed that what to be monumentalized should be the
evolution of the Anatolian Turk via the Republican ideals and cadres, and his struggle,
support and participation in the revolutions in the social, economic and political life.
Bahriye ok was also in this third group of supporters with Enver Ziya Karal,
Hikmet Bayur and okun ok. Afet nan at first acted in the first group but then
changed her mind on the large scope of the representational history of Turkish
civilization and became a supporter of second group, which omitted the history of Asian
Turks in the series of monuments. Bahriye ok declared that the building of Grand
National Assembly was already a living monument for celebrating the architects
recognition and giving respect for centuries. That is why she found it necessary to give
importance to the monument to be erected. Otherwise any eclectic depiction of the past
could have ruined the dignity of the building. Payzn, the technical advisor of the
General Secretary, proposed a sketch of monuments to be placed in the site of the Grand
National Assembly to the committee. He stated that he envisaged the monument, which
Holzmeister proposed on the roof of the parliament, on the level of the stairs this
time.Apart from the place discussion, the committee members were also not sure if
there should be only one monument or monuments to be placed in the site of the
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Assembly. Hsamettin elebi drew attention to the fact that they could not determine
the framework of the artworks. The architect and the representative of Public Works
Ministry, Orhan Akyrek stated that they had to define the functional needs of the
program of the work to be done. The committee members also decided on one common
jury for the senate and the Assembly. At the preliminary ideas workshop some
interesting ideas were pronounced. The president of the Turkish Language Association
proposed there should be three monuments: one for the oldest Turkish state, aman
Gktrks, who left behind a written monument, one for the first Muslim Turkish State,
Kara-Khanid Khanate that known for the written political diary, and one for the founder
of the first Turkish Republic and Atatrks Turkey.
Gnl Tankut suggested that what to be monumentalized urged for a dynamic
process. She asked questions on how the hierarchical punctuation should be, where to
start and what to handle. In order to produce ideas, Tankut proposed that a symposium
should be arranged and a competition should be announced. Another point she wanted
to emphasize was the monumental structure of the building. Its architecture is found
foreign to its people with the neo-classical type. It could have been depicted as a
monumental hill. It is a platform to reflect the sovereignty of the people. In order to
compensate this alienation with the society, the artworks and monuments in the site of
the Assembly could have been an instance of re-unification. Tankut believed that the
discussions went through a path that what is wanted was handled as if to create a
museum instead of a monument.
The head of the Chambers of Architects, Yavuz nen suggested that the ideas
should be discussed via the competitions since a very healthy and objective synthesis is
needed rather than focusing on a dominant culture and its interpretations.After this
preliminary ideas workshop was held, the general council determined a scientific
committee of six specialists. For Turkish Revolution History (Prof. Dr. Afet nan),
Turkish Science History (Prof. Dr.Aydn Sayl), General Turkish History (Prof. Dr.
okun ok), Art History (Prof. Dr. Olu Ark), Ornamentation and Interior
Architecture (Prof. Architect Sadun Ersin), Turkish War History (Sadk Atak). These
specialists proposed monument subjects for the site of the Assembly according to their
fields and ideas that are developed during the preliminary ideas workshop. According
to the report of the committee for the monuments, the artworks and their places are
decided as:
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arts jury was decided by a ministerial decision since the jury was composed of
representatives of ministries of Culture and Development and Housing, four
departments of State Fine Arts Academy, a related University, Faculty of Istanbul
Technical University, a related administrative office, a related outside representative of
administration and Chamber of Architects.3
In January 1977 with a common meeting of Senate and National Assembly
Presidencies Council, it was decided that a single monument for Atatrk in the garden of
the Grand National Assembly should be placed and a piece of verse should be added as
in Taksim monument existed. Finally a national competition was decided to be launched
in May 1978 for the first President of the Grand National Assembly, Statesman and the
founder of the State, for Atatrk at the exact place where the jury announced as in front
of the entrance hall in the courtyard of Hall of Honour. However the Assembly
Foundation, a new agent in the history of the Grand National Assembly founded in
February 1978 during the Assembly Presidency of Cahit Karaka launched a two
stepped competition for the Atatrk Monument in November 1978, while Behruz inici
was the member of the Foundations executive board. The advisory board was
composed of Cahit Karaka (President) and Behruz inici (architect). The jury members
were composed of Zerrin Blkba (sculptor), Vedat Dalokay (Architect, ITU), Turan
Erol (Painter, DGSA), Sadun Ersin (Interior Architect, DGSA), Orhan zgner (Architect,
DGSA) and smail Tunal (Art Critic). Deputy members were announced as Sha zkan
(Architect, METU) and Muzaffer Ertoran (Sculptor, DGSA).
Just a year before the 1980 intervention, there were many conflicts between the
state institutions and civil organizations. Chamber of Architects criticized the method of
jury selection and the handling of the competition so that Cansen Snmez and Vedat
Dalokay resigned from the jury memberships with the call of the Chamber of Architects.
However all criticism was not for the competition, it was also for the attainment of the
projects via invited competitions such as for the Public Relations Building of the Grand
National Assembly. The Senate had already announced a competition for the Senate
Building in 1979. In the stressful atmosphere there was another event approaching, the
intervention of 1980 approaching. The competition for the Atatrk monument was
handled in two stages in 1979 and 1980. Holzmeister was also invited to the jury.
According to Behruz inici, because of his age, Holzmeister could not attend the jury
meetings. However, the photographs of the works submitted were sent to Holzmeister,
residing in Austria at the time. inici explained that Holzmeister determined the place
of the monument, and sent his ideas with some sketches to the jury. In these sketches he
had drawn an amphitheater for 5000 people and a peoples forum of 20 x 20 meters
3
The jury members were determined as Grdal Duyar (Sculpture), Devrim Erbil (Painting), Sadi Diren (Seramik),
Emin Barn (Calligraphy), Ziya Payzn (architect), Doan Kuban (architect and Dean of the Faculty, ITU), Nezih
Eldem (architect and profesr), Sadun Ersin (architect and profesr), Orhan Akyrek (nterior architect)
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facing the protocol entrance of the building. Holzmeister in his letter stated that this
place becomes the symbol of a free nation. I feel that I am fulfilling another
responsibility on behalf of Atatrks memory (inici 1995). He had always a vision of
the free people of a new nation walking to the parliament via open spaces between the
governmental buildings to come together in a peoples forum or a square. Holzmeister
in an interview realized with Nazmi Kal and published by Balamir, states that he sent
the proposals and the site selection to the jury as a jury member. In that interview he
states that some architects were eager to change the architecture and layout of the
parliament though it was already determined where to build the Atatrk monument in
his layouts. According to that people should not stand behind the Atatrk monument.
On the contrary the monument should be surrounded by people (Balamir 2002: 18).
The competition program demanded a monument structure that should be solved with
the physical environment enabling public ceremonies around the monument. According
to Hseyin Gezer, Holzmeister was effective in the placement of the monument not in
the front garden but near the side wall of the Senate Block as he sent in the letter to the
jury. By this maneuver, he aimed at breaking the axiality and taking the monument
aside so that this would enable people stand not at the back of the monument but
always at the front and between people. This actually coincides with his ideal of a civic
forum, people approaching the parliament so that the monument at the side rather than
at the center is not any more an obstacle either visual or physical. Of all the 43
submissions at the first stage, only 10 were selected for the next stage. For the second
stage, they were asked to make changes, extra drawings and different scale models.
Amongst them Hseyin Gezer (sculptor) and mran Gezer (architect) project was
chosen as the winner. The second prize went to Mehmet Aksoy (sculptor) and Canan
Erseluk (architect) and the third went to Sadi alk (sculptor) and Fatih Gorbon
(architect). In an interview with Behruz inici, he states that it could have been better
that Mehmet Aksoy got the first prize.
Gezer defined two criteria that were effective in the physical arrangement of the
monument (Gezer 1979:131). The first one was the building itself. The second one was
the formal ambiance due the place of the monument. The words speaking for the
monument was chosen amongst Atatrks sayings such as Independence and Freedom
is my character. Their composition was defined by three figures: Atatrk figure, Man
figure and Girl Figure. Atatrk figure in the composition has five meters height. Atatrk
is depicted in civil clothes and pictured as walking reflecting his progressive character.
Man figure is facing towards the nn Boulevard, with a flag representing
independence. Girl figure is facing towards the Grand National Assembly building, with
a torch of freedom. The second prize was awarded because of its plastic quality and
sensitive approach for producing semi-open spaces under a thorn-out eave. However it
was criticized because of its indirect relations with the ceremonial spaces. The third
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prize was also applauded for its plastic quality. Again the volumetric composition of the
ring structure dividing the ceremonial court to back and front spaces was not found
good enough. Of all the ten second step submissions general criticism was on the
competition between the monument and the building itself. After the determination of
the project in 1979, the construction process of nearly two years started. The opening of
the monument was hurried to the centennial anniversary of Atatrks birthday. The
bronze model was done in Hungary. Prof. Afet nan, architect Behruz inici and the prof.
Enver Ziya Karal were sent to Budapest to control the 1/1 scale gypsum model in 1980.
Cahit Karaka goes with the intervention of 1980. Finally the Atatrk monument was
opened to public on the 19th of May in 1981 by Kenan Evren. The monument faces the
ceremonial place and is a node for remembrance of the founder of the Grand National
Assembly and the Turkish Republic.It accompanies some formal rituals of the Grand
National Assembly such as state ceremonies in national holidays, welcome ceremonies
for foreign visitors such as ambassadors, speakers of other nations and presidents. By
this way the monument enhances to the civic quality of the space. The placement of the
monument at the side rather than in the center of the ceremonial court exhibits
irregularity enabling urban vistas and provides space for ceremonial gatherings of
crowds.
In this study it is aimed to depict the story of Atatrk monument in the Grand
National Assembly of Turkey with its diverse actors and conflicts. It is also relevant to
say that when political turmoils are in case where the bounds of the people and the
power structures are damaged, the artworks may be operative in restoration of national
unity and act as forms of public sedative. Though sometimes detailed and hard work of
cadres of power can be criticized and have the risk of becoming a vast because of the
changing actors due to the long time spent for the idealization process of the artwork in
the changing climate of political framework. The Atatrk monument with a nearly 40
years of discussion process is a very significant case for Turkish sculpture, politics, art
and architecture. It was also very interesting that despite the preliminary ideas
workshop and long discussions in the working committees of the National Assembly
and the Senate, the type of the monumental representation was chosen as the colossal
type by the jury. Maybe it was found safe and away from the very productive however
un-resulted discussion produced so far. Vale (1992) discusses the infusion of national
symbolism as a time taking period for emerging states in the physical environment so
that there would be alterations due to city growth and development, and personal or
group reactions against the government sponsored acts. This is valid for the unrealized
and changed parts of the governmental district of Ankara as well. The disappearance of
the civic forum between the ministries and the parliament in years is an outcome of
these reactions appearing as physical alterations in the plan, architecture of the
buildings as well as involvement of the monuments.
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Hseyin Gezere gre bu drt sanat hsan zsoy, Behzat, Mahir Tomruk ve Nijad Sireldir.
Yabanc sanatlar yannda Trk sanatlar da 1930lardan sonra kent ant heykelleri retmilerdir.
Kenan Yontu orum ve Edirne Heykelleri (1931), Rahip Air Acudolu, Menemen-Kubilay Ant
(1932), Kenan Yontun, Silifke Heykeli (1934), Hadi Bara stanbul-Harbiye Atatrk heykeli (1937),
Hadi Bara ve Zht Mridolu, Beikta-Barbaros Ant, stanbul (1936)
5
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hareketin kurumlarn kurucular ve nemli kamu hizmeti vermi kiilerin adna kamu
heykeli dikme ekline dnmesini de vurgulamaktadr. Biroklarna gre kamu
heykelini yaptranlar genellikle belediyeler ve byk kentler iin vilayetlerdir. Yine
biroklarna gre kapsaycl asndan en byk ve nemli kamu heykel almas
1952 ve 1953 yllar arasnda Bellingin ynetiminde birok sanatnn grev ald iki
grup farkl figrden oluan heykel kompozisyonlar ile Ant Kabir iin
gerekletirilmitir.
Trk heykelcilii iin bir baka nemli durum Byk Millet Meclis Bakanl
Konseyinin Atatrkn 100. doumgn etkinlikleri iin balataca Atatrk heykeli
giriimiydi. 100.yl kutlamalar iinde bir anma etkinlii olarak alglansa da, meclis
kamps ierisinde Atatrk iin bir ant eser aray 1937de Trkiye Byk Millet
Meclisi iin alan uluslararas yarmadan beri yaklak 40 yldr Trk
parlamentosunun ajandasnda yer almaktayd. Gelecekte yaplmas hayal edilen bir ant
iin ilk tasvirler 1937 yarma teslimlerindeki perspektif ve cephe izimlerinde
bulunmaktadr. Birok projede yksek kolonatl ve antsal merdivenlerle ykseltilmi
girilerin nnde eitli ant ve heykel tasvirleri yer almaktadr. Yarmann birinci
Avusturyal mimar Clemens Holzmeister de 1937 yarma tesliminde olmak zere
Meclis yapsnn giri kolonatnn stnde ve 1938 calma izimlerinde bu yapnn
nnde bir obeliskin zerinde olmak zere iki farkl yer ve ekilde ant heykeller tasvir
etmitir.
1960larda Byk Millet Meclisi yapsnn ina edilmesinden sonra Meclis
kampsnde ina edilecek olan bir Atatrk ant heykeli konusu Meclis binas iinde ve
arazisinde yaplacak sanat eserleri araynn ierisinde yer almtr. Bu sebeple
tarihiler, sanatlar, mimarlar, meclis ve senato yelerinden oluan bir komisyon
yaplacak sanat eserlerini ve Atatrk iin yaplacak ant heykelin karakter ve
anlamlarn tartmak zere birok kez biraraya gelmitir. Bu tartmalar sonucunda
Clemens Hozlmeister tarafndan yarma ve sonrasnda rettii izimlerde yeri bile
belirtilmesine ramen ina edilmeyen Atatrk heykeli iin iki aamal bir yarma
almasna karar verilmitir.
Beaux-Arts neoklasik geleneini srdren Holzmeister Byk Millet Meclisi
binasnda ana ve ikincil akslarda byk salonlar gelitirmitir. Yeniehirde yapmak iin
grevlendirildii Bakanlklar Kompleksi iin daha ncesinden zaten bir parlamento
binas yapsnn aratrmalarn ve eskizlerini yapmaya balamt. Henz 1934te
Bakanlklar iin rettii binalar grubunda parlamento binasn arazinin en yksek
noktasna yerletirerek i meydanlar ve baheler arasndan geen bir ak hava
koridoru ile ulalmasn nermiti. Meclis binas iin rettii emalarda ise ant heykel
1937de cephede yer alrken, 1938de meclis nndeki trenler iin kullanlacak ak
alanda yer gsterilmitir. Byk Millet Meclisi iin alan yarmada dnemin neo-klasik
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mimari dili etkin olmutur. Clemens Holzmeister, Albert Laprade ve Alois Mezarann
yksek kolonatl antsal, klasik cepheleri perspektif izimlerinde kullanlan keskin
glgeler, heykeller, bayraklar, yaztlar ve duvar rlyefleri ile daha da heybetli
olmulardr (Bozdoan 2001: 279). Bu teslimlerin varolan devlet mimarisi temsillerine
uygun bir ekilde askeri, salam ve kalc tasavvurlardan olumas bir tesadf deildi.
Holzmeisterin ilk varyasyonunda alnln stne yerletirilen heykel yapnn
merkeziliini ve Bakanlklar Kompleksinin geri kalannda da gzlemlenen aksiyel
ynlenmenin etkisini arttrmtr. kinci varyasyonda ant heykel bir obelisk zerinde
kolonatl eref holnn nndeki avlunun ortasnda tasvir edilmitir. Bernd Nicolai
dikilecek antn yer seimindeki bu deiiklikleri Boris Iofann 1931-1933 yllarnda
gerekletirilen Sovyet Saray mimarlk yarmasnda gzlemlenin tam aksi olduu
eklinde yorumlamtr. Buna gre, Iofann neoklasik yapsnda Lenin heykeli ilk once
bir kule zerinde, sonra Iofan, Vladimir Schuko ve Vladimir Gelfreikh tarafndan yaplan
yenilemelerinde srasyla once basamakl dairesel bir yapnn zerinde ve sonra 450
metrelik bir gkdelen kulesi zerinde resmedilmitir. Nicolai meclisin inasnda bu
antsal heykel elemann yok olmasn Sahip ksan Tansukun bir gzlemine dayanarak
ancak speklasyonlarla aklanabileceini savunur. Buna gre Tansuk Atatrkn
lmnden sonra yeni Cumhurbakan smet nnnn Atatrk kltrn zayflatmay
setiini iddia eder (Nicolai 2000: 116-135). Atatrkn lmnden sonra sadece
Atatrk heykeli deil, meclisin inaas da bir duraklama ve erteleme srecine girer.
Clemens Holzmeisterin rencilerinden biri, meclis yapsnn detay izimleri iin
grevlendirilen mimar ve 1949dan sonra Holzmeisterin temsilcisi olan Ziya Payznn
anlattklarndan bir baka hikye daha formle edilebilir. Payzn Meclis ve Senato
Bakanlklarnn ortak toplantlarn 1976 ylnda Byk Millet Meclisi Genel
Sekreterlii Teknik Danman olarak yrtmekle grevlendirilmitir. Buna gre yeni
meclis yapsnn hikyesinde ilgili gce ve bilgiye sahiptir. Ortak toplantlarn
balatlmas Senato yeleri Bahriye ok, Hsamettin elebi, Suphi Grsoytrak ve
Osman Nuri Canpolatn Atatrk ve devrimleri zerine meclis iinde ve dnda
yaplacak sanat eserleri iin bir nerge vermesi ile olmutur.
Millet Meclisi bu nergeye cevaben Ziya Payzn Bakanlktan iki temsilci ile
beraber konu ile ilgili almalar yapmak zere davet etmitir. Bir balang olarak
yaplacak olan bir Atatrk Ant ve Trk tarihi zerine bir antlar dizisi stne bir
tantm bror dzenlenmi ve bu bror tm parlamento yelerine, saylar 200300 bulan konularnda uzman yazar, bilimadam, retmen, akademisyen, mimar,
heykeltra, ressam ve sanatlara datlmtr. Bu arala yaplacak olan antlar konusu
kamuoyuna sunulmutur. Biraz konuya ilginin azl biraz da yaklaan seim
yasaklarndan dolay sadece iki dnt elde edilebilmitir. Bununla beraber Millet Meclisi
ve Cumhuriyet Senatosu ortak toplantlarnda farkl dncelerden oluan bir
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koleksiyon elde edilmi ve nerede ne yaplmasna karar verecek olan bir jri
belirlenmesinde karar klnmtr. Bu komisyon en sonunda antlar iin de bir yarma
almasn amalamaktadr. Komite Tark Remzi Baltan bakan olarak semitir. Senato
yesi Hsamettin elebi gibi baz komite yelerine gre, klasik bir Atatrk heykeli
yerine Trkiye Byk Millet Meclisinin kurucusu Atatrkn kalitesi bir kompozisyon
halinde anlatlmalyd. elebi ayn zamanda Trk tarihinin kronolojik bir temsilinin bir
dizi ant ile anlatlmasn nerdi. Atatrk ant iin nerdii dnceler neredeyse btn
ehirlere yaylm olan dev Atatrk heykelleri iin byyen eletirilerin bir yansmas
gibi kabul edilebilir. Bu heykeller belediyeler, byk vilayetler ve okul, hastane, kamu
idarelerine ait devlet kurumlar tarafndan yaptrlyordu. Sadece 1964te Atatrk
heykeli olmayan 11 kent iin bir heykel yarmas almas tesadf deildi.
Btn bunlarla beraber antlar komitesi Trkiye Byk Millet Meclisinde
anlatlacak olan Trk tarihinin zaman araln belirlemekte zorluk yayordu. Bu
zorluun bir neticesi olarak, ikinci bir toplantda, farkl tarih anlatm ne kyordu.
oka gre, komitede farkl anlatm savunan grup olumutu. Birinci grup
mecliste antlatrlacak olan Trk tarihinin temsili balangcn Hunlar, Gktrkler ve
Karahanllar gibi Trk medeniyetlerine daha sonrasnda Anadolu Seluklularna
dayandryordu. Bir dier grup Asya Trklerini balam d brakyor ve Anadolu
medeniyetlerinin temel alnmas gerektiini savunuyordu. Bu gruba gre Hititler,
Frigler ve Lidyallar Anadolu kltrnn ve medeniyetinin balangc olarak
alnmalyd. Sonuncu grup ise meclis ierisinde erefli Trk tarihinin resmedilmesi
yerine Mustafa Kemal Atatrkn Trkiye Byk Millet Meclisini kurarken ki
abalarnn hatras antlatrlmalyd. Bu gruba gre Anadolu Trknn Cumhuriyet
ideal ve kadrolarnca evrimlemesi, mcadelesi, destei ve sosyal, ekonomik, siyasal
yaam iindeki devrimlere katlm antlatrlmalyd. Bahriye ok da nc grubun
destekileri Enver Ziya Karal, Hikmet Bayur ve okun ok ile ayn gruptayd. Bu grup
parlamentonun nne konulacak bir ant istendiine gre parlamento tarihinin knn
temel alnmas gerektiini savunmaktaydlar. Afet nan ilk bata birinci grup iinde yer
alsa da tartmalarn devamnda Trk medeniyetinin temsili tarihinin ok geni bir
ekilde yer almasna kar olmu ve Asya Trklerinin tarihiyle antlar dizisini ilgili
tutmayan ikinci grupta yer almtr. Bahriye oka gre Byk Millet Meclisi alar
boyu mimarnn ve gelitiricilerinin nn yaatacak ve sayg duyuracak bir yaayan
anttr. nne dikilecek ant da ayn ekilde nemsenmelidir diye belirtmektedir. Btn
tarihi bir arada zetlemeye almann bu eseri bozaca kansndadr. Payzn bu
esnada komiteye Byk Millet Meclisine yerletirilecek antlar ile ilgili bir eskiz
sunmutur. Holzmeisterin atya koyduu ant heykelini kendisinin giriin nndeki
merdivenler zerinde dndn belirtir. Holzmeisterin kolonatn yanlarn motifli
ilediini, bunu yaparken oraya heykel gelecek diye dndn belirtir. Fakat atda
resmedilen heykelin baz sakncalar grldnden bahseder. Aslnda Payzn unu
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nerir. eref holnde Atatrkn bakan olarak ifadesi yer alabilir. Onun arkasnda
tarihin gerisine giden, Cumuriyetten deil daha geriye orta Asyaya giden bir tarih
temas ilenebilir diye ifade etmitir. Bahriye ok ise parlamento ncesine gidilirse
karklk olacandan bahseder. Ona gre Milli mcadelede hizmeti geenlerin burada
yer almas ve ancak amacn parlamento ve devrimlerin istikametinde olmas gerektiini
belirtir.
Meclis yerlekesine yerletirilecek antlarn yerlerinin yannda bir baka tartlan
konu ise konulacak antn teklii ya da bir dizi anttan oluacak olmasdr. Aslnda tam
da bu noktada Hsamettin elebi yaplacak sanat eserlerinin erevesini
belirleyemediklerini ifade eder. Yaplacak ant iin Trkiye Byk Millet Meclisinin
Atatrkn sivil olarak grevini yerine getirdii, meclis ve devlet kurucusu olarak
resmedildii yer olmasnn nemine dikkat eker. Aslnda tek ant iin sivil Atatrk
tasvirinin yerinde olacandan ve eer antlar dizisi olacaksa daha geni bir erevede
baklmasnn sakncas olmayacandan bahseder. Bu ereve iin ngiliz ve Amerikan
parlamentolarnda heykeli ya da bstleri konulan kiilerin eitliliinden ve ayrca ant
ve sanat eserlerinde parlamento ve kanun koyucularn geni tarihsel erevesinin
anlatldndan dem vurur. Bayndrlk Bakanl Yksek Mimar Orhan Akyrek tam bu
noktada bir ihtiya programnn belirlenmesi gerektiine dikkat eker. Yarmann jri
belirleme srecinin nasl olaca tartlr. Buna gre Meclis ve Senato iin tek bir ortak
jri belirlenmesine karar verilir. Aslnda nfikirler tartma toplantsnda ilgin
bildiriler ve fikirler sunulmutur. Trk Dil Kurumu bakan arkasnda yazl bir ant
brakan en eski Trk devleti, aman Gktrkler, yazl politik bir gnlk brakan
Mslman Trk devleti Karahanllar ve Trkiye Cumhuriyetinin kurucusu Atatrk ve
Atatrkn Trkiyesi iin farkl ant tasarlanmasn nerir.
Gnl Tankut neyin antlatrlacann kararlatrmasnn dinamik bir sre ifade
ettiini belirtir. Hiyerarik vurgulamann nasl yaplaca, nerden balanlp neyin ele
alnaca zerine sorular sorar. Bu konuda dncelerin retilmesi iin bir sempozyum
dzenlenmesi ve bir de yarma almas gerekliliini belirtir. Bir baka nemsedii
konu ise binann kendisinin antsal yapsdr. Tankuta gre Byk Millet Meclisi
neoklasik mimarisi ile kendi halk tarafndan yabanclanr. Oysaki halka antsal bir tepe
eklinde anlatlabilir. Meclis halkn egemenliinin yanstld bir platformdur. Toplumla
yabanclamasnn etkilerini yattrmak zere meclis yerlekesindeki sanat yaptlar ve
antlar halkla yapy yeniden biraraya getirecek bir ekile getirilebilir. Tankuta gre
tartmalar bir ant oluturmaktan ziyade bir mze yaratmak zerine younlamaktadr.
Mimarlar Odas bakan Yavuz nenin nerisine gre ise baskn bir kltr ve onun
yorumlarnn tartlmas yerine salkl ve objektif bir senteze ulamak iin
dncelerin yarmalar araclyla tartlmasna ihtiya duyulmaktadr.
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sembolizmin nfuz etmesi zaman alan bir sretir ki kentin bymesine, gelimesine
parallel olarak ve hkmet destekli eylemlerin kiiler ve gruplar tarafndan rededilmesi
ile deiikler yaanabilir. Bu durum Ankaradaki Bakanlklar Kompleksi ya da Ynetim
Mahallesi diye adlandrlan fiziksel evrede gerekletirilmeyen ve deitirilen
ksmlarda gzlenmitir. Bakanlklar ve parlamento binas arasndaki halk forumun
ortadan kalkmas gibi bu reaksiyonlarn bir gstergesi Meclis binalarnn plan ve
mimarilerinde olduu kadar iindeki antlarn kullanmnda da grlmektedir.
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KAYNAKLAR
BALAMR, Aydan, 2002, Prof. Clemens Holzmeisterla Salzburgda yaplan Rportaj,
Mimarlk, No: 303, 16-18.
BOZDOAN, Sibel, 2001, Modernism and Nation Building Process: Turkish architectural
culture in the early Republic, University of Washington Press, Seattle
NC, Behruz, 1995, Clemens Holzmeister: Mimarlk Tarihi Ders Notlar, 1951-1952, T
Yaynlar, stanbul.
DEMRKOL, Hatice, G., 2009, The Turkish Grand National Assembly Complex: an
evaluation of the function and meaning of parliamentary spaces, Deparment of
Architecture, Middle East Technical University, (Unpublished Doctoral Dissertation)
Ankara.
GEZER, Hseyin, 1979, Trkiye Byk Millet Meclisi Atatrk Ant, Arkitekt, No: 376,
stanbul, 130-145.
GEZER, Hseyin, 1984, Cumhuriyet Dnemi Trk Heykeli, Trkiye Bankas Kltr
Yaynlar.
NICOLAI, Bernd, 1998, Moderne und Exile: Deutschschsprachige arkitekten in der Trkei
1925-1955, Verlag fr Bauwesen, Berlin
Nicolai, Bernd, 2000, Zeichen Geordneter Macht -Clemens Holzmeister und die Trkei,
Clemens Holzmeister, ed. Georg Rgele, Georg Loewit, Haymon-Verlag, Innsbruck, 116135.
T.B.M.M. Antlar Dizisi- nfikir Aratrmas I. Toplant Bildiriler ve Tutanaklar, 1976,
T.B.M.M. Matbaas, Ankara
T.B.M.M. Antlar Dizisi- nfikir Aratrmas I. Toplant Program, 1976, T.B.M.M. Matbaas,
Ankara
T.B.M.M. Antlar Dizisi- nfikir Aratrmas II. Toplant Bildiriler ve Tutanaklar, 1976,
T.B.M.M. Matbaas, Ankara.
T.B.M.M. Antlar Komitesi almalar Tutanaklar, 1976, T.B.M.M. Matbaas, Ankara.
Trkiye Byk Millet Meclis Atatrk Ant Yarma artnamesi, T.B.M.M. Matbaas,
Ankara.
Trkiye Byk Millet Meclisi Atatrk Ant Yarmas Jri Raporu ve Kollokyum, T.B.M.M.
Matbaas, Ankara.
Trkiye Byk Millet Meclisi Atatrk Ant Albm.
VALE, Lawrence, J., 1992, Architecture, Power and National Identity, Yale University
Press, New Haven, London.
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Fig 5. Third Prize, Submission by adi alk, Fatih Gorbon, model (nc dl, adi
alk ve Fatih Gorbon, 1979) (Gezer 1979 : 131)
Fig 6. The site model of the third prize depicting the volumetric monument at the center
of the ceremonial court (Hacimsel antn tren avlusunda konumlan, nc dl, 1979)
(Gezer 1979: 131)
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Fig. 7 Atatrk Monument as placed at the side wall of the Presidency Block
at the ceremonial forecourt in the photographic album of the Atatrk
Monument (Atatrk heykeli Senato blounun yanndaki yerinde, Meclis
Atatrk Heykeli Albmnden)
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ZET
Bu almada, Trakyann Edirne iline bal Enez kasabasnda . yzylda ina edildii
ve
ylnda camiye evrildii dnlen, Enez Ayasofya Kilisesi Fatih Cami adl
yapda bulunan Bizans ve Osmanl dnemine ait duvar resmi svalarnn, ierik
analizleri kalsinasyon, asitle muamele, asitle reaksiyona girmeyen agregalarn analizi,
petrografik analiz ve FT-IR ve EDXRF yntemleri kullanlarak aa kartlmaya
allmtr.
Anahtar Kelimeler: Enez, Aya Sofya, Fatih Cami, duvar resmi, sva analizleri.
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Bizans dini yaplar arasnda, nemli bir yeri olan Enez Ayasofya Kilisesi (Fatih
Cami), Enez akropol zerinde bat-dou ekseninde ina edilmitir.
Ainos, Kuzey, dou paralelleri arasnda yer alr. le Trakya da bulunan Edirne ilinin
gneybat kesinde, batsnda Ege denizi, kuzeyinde Yunanistan ve psala ilesi, gneyinde Saroz
Krfezi nin bulunduu Ege denizinin kuzey sahilinde ve Meri (ebros (erodotos: iv,
,
nehrinin denize dkld sahada, denizden - m ykseklikte muhtemelen orta Miosen devrine ait
bir yerleimdir. Ardel 1959: 139140)
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/
yllar arasndaki mimari ve ina faaliyetlerini iermektedir Erdoan,
1953: 10 ,
. Ayrca Evhir-i bn
yl Mart aynn son gnleri
tarihli bir hkm suretinde ise;
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noz kazasnda niber eriat kurallarna gre hkm veren kimse olan
Mevlana Mustafa zyde ilmehuya hkmm udur ki saadet eiimize bizim
tarafmza mektup gnderip noz kasabasnda oturan sakin alimler, salihler, imamlar,
hatipler ve sir kimseler er-i erif meclisine kadlk varp sz konusu kasabada
bulunan merhum ve mafur Eblfeth Sultan Mehmet (an cmi-i erifinin zamann
gemesi ve zelzeleden kubbesi ve baz yerleri harap olmaya balayp yamur
yadnda ou yerleri damlayp namaz klan cemaate sknt vermekte ve hala sz
konusu olan kasabada belirtilen cmi-i eriften baka cami olmayp toplanacak tek bir
cmi-i erife bulunduu ve onunda tamire ve termime muhta olduu iin u anda
harap olmak zere olan yerleri gerei gibi kefedilip yazmak hususunda emir vermemi
rica ve iltimas etmilerdir. Akland zere eriata uygun olarak ie vakf olanlarn
vastasyla keif ve ilan olunmak konusunda an- yksek fermanm km olup
yazlmtr. ibaresi yer almaktadr Erdoan,
1978: 181).
Bu hkm suretinde yapnn zellikle st rtsnn kt bir durumda olduu
anlalmaktadr.
Duvar Resimleri
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Prothesis ten han kuzey koluna gei kapsnn gney ksmnda, kap kemeri
ile dolgu duvar arasnda zeri entiklenmemi duvar resmi alt seviyeden yukarya
doru dikey olarak uzanmaktadr Fig. 21 . Burada yeil krmz ve lacivert
renkler gze arpmaktadr. Bizans dneminden kalan bu svada grlebilen
ksmlarda boyalar iyi durumdadr. Ayrca Prothesis in gney duvar ve bat
duvarnda fragmanlar halinde svalar bulunmakta svalarn zerinde ise lokal olarak
krmz boya gzlemlenmektedir. Zeminin at rtsnn yklmas ve hcrenin
zemininin dolmas sebebiyle alt ksmlarda sva olup olmad grlememekte fakat
gney ksmda bulunan entikli svann aaya doru devam ettii anlalmaktadr
(Fig. 23).
Narthexte Yer Alan Resimler
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ayrca bu iki kapnn orta ve yukarsnda yer alan duvar zerinde, Bizans dnemi
duvar resimleri zerlerindeki svalar kaldrlarak ortaya karlmtr Fig. 24).
narthexten naosa giri kaps zerinde yer alan sahnenin sol ve yukar ksm
bulunmamaktadr. Yuvarlak bir kemer ierisinde krmz ereve ierisine alnm
sahnede; yeil lacivert renkli fon zerinde, ortada ters perspektifli bir seki zerinde
grlen kadn figrnn, ii lacivert renkli zerinde ise mor renkli giysi
bulunmaktadr. Bu resim hakknda alma yapan aratrmaclar bu kadn figrnn
Meryem, sa yannda bulunan figrn ise bir piskopos olduu grnde
hemfikirdir (Tunay 1993: 522523; Ousterhout-Bakirtzis 2007: 30 . Bu figrn
sa yannda yer alan figrn zerinde ise; sade ve lacivert renkli tunik sticharion
zerine yeil ve kahve renkli pelerin pheloninon bulunmaktadr. Gvdesinden
eteklerine kadar, zerinde siyah halar bulunan kaln bir erit halinde bant
inmektedir. Bu piskoposlarn giydii omophorion ad verilen piskopos boyun
atksdr. Sa elinde bir kitap tutan piskopos Meryem e doru sayg ifadesiyle hafife
eilmektedir. Bu figrn simetrisinde yer almas gereken figr ve var olan figrlerin
omuz hizasndan yukars gnmze ulamamtr Fig. 2526).
Sadaki kap zerinde yuvarlak bir kemer ierisinde yer alan dier resimde
ise; Birbirine gemeli dairelerden oluan resim bulunmaktadr. Boyalar bozulmaya
urayan resim hakknda fikir beyan etmek yanltc olabilir Fig. 27).
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S. Bozda n
ylnda Enez in Eski Eserleri balkl yaymlanmam bitirme
tezinde ve S. Eyice nin Trakya da Bizans Devrine ait eserler adl makalesinde
bulunan siyah-beyaz fotoraflar, yapnn gnmze ulaamam duvar resimleri
hakknda bilgi vermektedir Bozda
:
Naos ksmnda yer alan iki kemerde ise boyutlu testere dii motifi yer
almaktadr Fig.
. Bu motifte siyah ve siyahn tonlar ve beyaz renkler
kullanlarak resme boyut kazandrlmtr. Naosta bulunan stn balklarnn
zerinde ise lacivert renkli lale motifleri bulunmaktadr Fig. 39). Pandantiflerde ise
mavi, lacivert ve turuncu renkler kullanlarak oluturulan stilize bitkisel motifler yer
almaktadr Fig.
. Gnmze kadar ulaamayan S. Eyice nin almasna yer alan
pandantif fotorafnda stte bir yaz kua, altta ise madalyon iinde bir isim ve
etrafnda bitkisel motifler grlmektedir Fig.
. Bu yaz kuann bir ksm tahrip
olmutur, bu yaznn okunabilen ksmlar yledir, men-zellez yefe' 'indeh
buda yetel-krs nin bir ksmdr. Madalyon ierisinde grlen isim ise Osman
olarak okunmutur. Yapnn naos ve apsis ksmnda koyu mavi eritler ve yer yer
turuncu renkli stilize dal motifi grlmektedir. Kemerlerin i ksmnda bu
motiflerden baka net olarak grlemeyen lacivert, mavi ve turuncu renklerin
kullanld dilimli kemere benzeyen motifler bulunmaktadr Fig. 42). Bu motiflerin
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Semavi Eyice nin fotoraflarnda apsis zerinde devam ettii ayrca kemerin naos
blmne bakan ksmnda da bulunduu grlmektedir Fig. 43).
Naostan i narthexe geilen orta kapnn zerinde, altta olduka zarar grm
bir yaz kua bu yaz okunamamaktadr , bu yaznn yukarsnda ise nsal motif
grlmektedir Fig.
. Kapnn dier tarafnda ise dierinden farkl bir nsal motif
grlmektedir Fig.
. Gnmze kadar bu motifler ulamamtr. Ana apsis ve ha
planl naosun kuzey koluna bakan prothesisin bat duvarnda kuvvetli bir k
kaynayla bakldnda yaz kuaklarnn izleri grlebilmektedir.
Duvar Resmi Svalarnn Analiz Sonular
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Kzdrma kayb tayini iin, nem tayini yaplm rneklerin bileim suyu ve
organik madde ieriklerinin tayini iin
C lik frnda saat bekletilen rnekler
desikatre alnarak soutulmu ve tartlmtr. % Kzdrma Kayb u aadaki
formlle hesaplanmtr.
W2: Frndan sonraki rnek gram miktar
Petrografik Analiz
Petrografik analiz iin kohezyon kaybna urayarak dalm ve birbiriyle ayn
olan rnekler zerinde allmamtr.
Sva rnekleri
C etvde
saat kurutulduktan sonra, kalplara
yerletirilmi ve vakumlu desikatrde AY
-(Y
epoksi reinesi emdirilmitir.
Reine polimerizasyonunu tamamladktan sonra rnekler elmas kesme diskiyle
kesilerek ince lam zerine AY
-(Y
epoksi reinesi ile yaptrlm ve ince
kesit aletinde inceltilmitir. nceltilen rnekler stereo mikroskop ve polarizan
mikroskop altnda incelenmitir.
Asitle Reaksiyona Girmeyen Agregalarn Analizi
Bu ilemde yaklak
g rnek etvde
C de
saat kurutulmu ve
ardndan % luk (Cl hidroklorik asit ile muamele edilmitir. Asitli zeltide
reaksiyon tamamlanana dek bekletilen rnekler, keltileri klor-iyon reaksiyonu
vermeyene dek destile edilmi ve ardndan
C etvde
saat kurutulmutur.
Asitle reaksiyona girmeyen agregalar 1000, 500, 250 ve 125 mikronluk eleklerde
elenmitir. (er aamada rnekler tartlmtr. rneklerin ierdii silikatl agregalar,
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narthexte bulunan svalar ince ve kaba svadan oluan iki sva katmanl ve
tek sva katmanl olarak gruplandrlabilir. D narthex d cepheden alnan rnekler
ise tek katmanldr. Kaba svalar renk ve doku olarak birbiriyle ayndr ve %CaCO 3
miktarlar ortalama %81- dr. Kalsiyum karbonat miktarnn bu denli fazla olmas
katk olarak kalsit karbonat kkenli-ierikli agrega kullanldn akla getirmi ve
yaplan petrografik incelemelerde % orannda kalsit paralarna rastlanmtr.
Bu kalsit paralar katk olarak byk ihtimalle kire ta ya da mermer tozu
kullanldn dndrmektedir kire ta dnda kullanlan agregalar ortalama
mm elek alt kara kumu ve az miktarda tfik zellikli volkanik kaya paralardr.
Organik katk olarak kum miktarndan biraz fazla ksa kesilmi keten ktk
kullanlmtr. Ksaca kaba svada kullanlan ortalama % 82 CaCO3 (kalsiyum
karbonat in % - i kalsit geri kalan % - i kiretir. Agrega olarak kullanlan
inorganik katk maddeleri %
orannda mm elek alt kara kumu ve %1
orannda tfik zeklikli volkanik kaya paralardr. Kaba sva kalnl ortalama . cm dir. Organik katk olarak ise %
orannda ksa kesilmi keten ktk
kullanlmtr. nce svalar ise ortalama mm kalnlnda ve kalsiyum karbonat
oran ortalama % - tr, bu orann % - i ok ince tlm kalsit paralar,
geriye kalan %40- i ise kiretir. Agrega olarak kullanlan inorganik katk
maddeleri %5 mm elek alt kara kumu,% , tfik volkanik kaya paralardr.
Organik katk maddesi olarak ksa kesilmi %
ksa kesilmi keten ktk
kullanlmtr. NR-3A,3B ve NR- A, B svalar karlatrlarak varlan bu sonu d
narthex i kuzey duvar ve i narthex kuzey d duvarnda kullanlan svann
birbirine benzer zellikte olduunu ortaya koymutur.
Tek katmandan oluan svalarda ise iki ayr grup grnmektedir. . cm den
3 . cm kalnla kadar deien ve CaCO3 oran ortalamas % 55 olan ve agrega
111
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oran dierine gre daha fazla olan grup. Bu grupta rneklerin alnd yerler d
narthex gney d duvar NR , i narthex gney duvar NR i narthex payanda
(NR5 , narthex kuzey cephesi NR
ve i narthex dou duvarlarndan NR
, , , ,
alnan sva rnekleri olduu grlmektedir. Agregalarnn doku ve
renk, ierik ve miktarlarnn ayn olmas bu duvarlarn tamamnda ayn svann
kullanldn ortaya koymaktadr. Analiz sonularna gre agrega ve CaCO 3
miktarlar u ekildedir. Ortalama % 55 CaCO3 bu miktarn ortalama % 15
kadar kalsit paralardr, geri kalan %40
kadar kiretir. Agrega olarak %
Volkanik kaya paralar, ortalama %
orannda mm elek alt kara kumu
kullanlmtr. Organik katk maddesi olarak ortalama % ksa ve ince keten ktk
kullanlmtr.
Tek katmandan oluan dier drt sva ise birbirine benzer ve farkl zellikler
gstermektedir. NR ,
numaral rnekler i narthex dou duvarnn st
ksmlarndan alnan rneklerdir. Bu iki rnek birbirine benzer zellikler
gstermektedir. Bu rneklerde ortalama CaCO3 miktar % dr. Bu miktarn %
kadar kalsit kalan % - si kiretir. Agrega oran NR- de biraz daha yksek
olmak zere ortalama % - i volkanik kaya paralar, %
mm elek alt kara
kumudur. Organik katk olarak % - kadar ksa kesilmi keten ktk kullanlmtr
narthex ten naosa alan kap zerinde yer alan Meryem ve Psikopos
firnn bulunduu yerden alnan NR nolu . cm kalnlnda olan rnek NR
ve
numaral rnee benzer zelliktedir. % .
CaCO3 miktar bulunan
rnekte bu orann % kadar kalsit geriye kalan kiretir. Agregalar dier iki
rnekten fazladr, % kadar tfik zellikli volkanik kaya paralar, % kadar
mm elek alt kara kumudur. Organik katk olarak % kadar ok ksa kesilmi ve
ince ktk kullanlmtr.
Yapda narthex ksmndan alnan rneklerden NR nolu rnek restorasyon
amacyla kullanlan harlardan kopmu bir para olmaldr bu sva, imento, tula
kr ve mm elek alt kara kumu kullanlarak oluturulmutur.
narthex te yer alan kuzey birimden alnan KB1 ve KB numaral rnek tek
katmandan oluan birinci grup i narthex svalaryla ayn zellikte olduundan sva
analizi yapmaya gerek grlmemitir.
Gney Bat (cre
Gney bat hcreden alnan adet rnein sva kalnl . cm dir. GB(2,3,4
numaral rnekler birbirine yakn zelliktedir. GB(
numaral rnekse
dierlerinden farkl ieriktedir. GB( numaral rnekte CaCO3 oran % . dir. Bu
orann % kadar kalsit geriye kalan % kadar kiretir. Agrega olarak %
volkanik kaya parac ve % 15 kadar 2- mm elek alt kara kumu
kullanlmtr. GB( , , rneklerinde ortalama CaCO3 miktar % civarndadr. Bu
orann % - i kalsit % - i kiretir. Agrega olarak kullanlan ktk, volkanik
kaya paralar ve kum rneklerin tamamnda ayn zelliktedir fakat miktar
deimektedir. GB(- te bulunan tula kr paralar tula arasnda bulunan
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Apsisten alnan
adet sva rneinden AP numaral rnek tamamen
kohezyon kaybna uradndan analizi yaplmamtr. AP , , , , birbirleriyle ok
benzer zelliktedir. Ortalama CaCO3 miktar % civarndadr bu miktarn % 35
kadar kalsit kalan % - i kiretir. Agrega olarak % volkanik kaya parac,
%5
mm elek alt kara kumu kullanlmtr. Organik katk olarak % ince ve ksa
kesilmi keten ktk ihtiva etmektedir.
______________________________________________________ART-SANAT 2014/1________________________________________________________
Prothesiste farkl
noktadan alnan rnek zerinde analizler yaplm ve
rneklerin tamamnn benzer zellikte olduu anlalmtr. ki rnek zerinde kaba
ve ince sva katlar gzlemlenmi ve ayrlarak ince kesit ile petrografik incelemeleri
yaplmtr.
______________________________________________________ART-SANAT 2014/1________________________________________________________
adet boya
NRb7: narthex ten naosa alan kap svesi zerine den krem renkli
ierisinde muhtemelen organik katk boluklar bulunan sva ve zerinde byk
blm tozumu durumda siyah-yeil boya izleri bulunan sva-boya rnei.
NRb9: narthex orta ile sol kap arasnda bulunan byk boyutlu olduu
tahmin edilen plak ayaklarn bulunduu sahnenin, sahne biti izgisinden alnan
krmz boya rneidir.
115
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KAYNAKLAR
AGRAWAL, R.C., v.d.,2003, ,Icomos Principles for Preservation and ConservationRestoration of Wall Paintings
, Icomos 14th General Assembly in Victoria Falls,
Zimbabwe, s. 1-5
ARDEL, A., 1959, Kean Ainos Blgesinde Corafi Mahadeler, . Corafya
Enstits Dergisi, C. 5, No: 10, s. 138-144
AUBRY, de la Motraye, 1727, Voyages in Europe, Asie et Afrique, La Haye.
AKYUZ, S., v.d., FT-IR and EDXRF analysis of Wall paintings of ancient Hagia Sophia
Church , Journal of Molecular Structure, Volume 924, ssue (April 30, 2009), p.
400-403. ISSN: 0022-2860 DOI:10.1016/j.molstruc.2009.01.020 Elsevier Science
BOZDA, Sevgi, 1979, Enezin Eski Eserleri, stanbul niversitesi Edebiyat Fakltesi
Sanat Tarihi Blm Bizans Sanat Krss, (Yaymlanmam Mezuniyet Tezi),
stanbul,
.
CASSON, St., 1926, Macedonia, Thrace and Ilyrica, Oxford.
116
, s.
______________________________________________________ART-SANAT 2014/1________________________________________________________
III.
OUSTERHOUT, Robert, 1985, The Byzantine Church at Enez: Problems in TwelftCentury Architecture , Jahrbuch der sterriechischen Byzantinistik, 35, s. 262280
OUSTER(OUT, R., BAKRTZ, C., 2007, The Byzantine Monuments of the Evros/Meri
River Valley, European Center for Byzantine and Post-Byzantine Monuments,
Thessaloniki..
PR RES,
stanbul.
. Kaz Sonular
VERGILIUS, 1971, Aeneas III, (ev. Oktay Akit), stanbul Edebiyat Fakltesi
Yaynlar, No.
, stanbul.
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120
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121
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124
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125
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Fig. 22 Fig.
kap
in ayrnts
______________________________________________________ART-SANAT 2014/1________________________________________________________
Fig. 24 Kilisede
ylnda yaplan
alma sonunda ortaya kartlan Bizans
dnemi duvar resimleri . Tunay
Fig. 25 narthex orta kap zerinde yer alan Meryem ve Psikopos figrleri
(R. Ousterhout)
128
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Fig. 26 narthex orta kap zerinde yer alan Meryem ve Psikopos figrleri
G. Krolu
129
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Fig. 28 narthex orta kapnn sa st ksmnda yer alan duvar resmi .Tunay
Fig. 29 Minber arkasnda yer alan duvardan kaldrlan duvar resmi . Tunay
130
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131
______________________________________________________ART-SANAT 2014/1________________________________________________________
Fig. 32 Kilisede
______________________________________________________ART-SANAT 2014/1________________________________________________________
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135
______________________________________________________ART-SANAT 2014/1________________________________________________________
______________________________________________________ART-SANAT 2014/1________________________________________________________
137
______________________________________________________ART-SANAT 2014/1________________________________________________________
138
______________________________________________________ART-SANAT 2014/1________________________________________________________
139
/ .
/ .
(M. Keskin)
______________________________________________________ART-SANAT 2014/1________________________________________________________
/ .
140
/ .
(. Gnz
______________________________________________________ART-SANAT 2014/1________________________________________________________
Tablo
I
RNEK
NO
NR1
NR2
(Sva e e i g e a a a)
NARTEX
NR3A
NR-3B
NR4A
NR-4B
NR5
NR6
NR7
TANIMLAMA
Exonarthex gney duvar d cephe zemin seviyesinden alnan yzeyi
erozyona uram krem-gri renkli ierisinde agregalar (akl) grlebilen
en st katman beyaz boyal (muhtemelen badana) iyi durumda sva
rnei.
Exonarthex gney duvar d cephe 1m seviyesinden alnan krem renkli
ierisinde akl talar grlebilen olduka hassas durumda sva rnei.
narthex kuzey i mekn duvar 1.60cm2.20cm seviyesinden alnan
krem renkli ierisinde ktk paralar grlebilen 5mm kalnlnda ince sva
rnei.
NR3A rneinin 1.7cm kalnlnda krem renkli ierisinde ktk akl ve kum
agregalar grlebilen kaba sva rnei.
narthex kuzey duvar d cepheden alnan krem renkli ierisinde ktk ve
kum-akl agregalar grlebilen krem renkli sva rnei.
NR4-A rneinin alt katmannda bulunan bol miktarda ktk ve kum
agregalar grlebilen sva rnei.
narthex bamsz duran ayak kuzey cephesi 1.40cm seviyesinden
alnan krem renkli ierisinde akl talar grlebilen sva rnei.
narthex bamsz duran ayak gney cephesi 1.30cm seviyesinden
alnan krem renkli iersinde ktk ve akl talar bol miktarda grlebilen iyi
durumda sva rnei.
narthex gney duvar dou ke noktas taban seviyesinden alnan
krem renkli ierisinde az miktarda kum ve akl grlebilen iyi durumda
sva rnei.
NR8
NR9
141
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Tablo
II
RNEK
NO
NR10
(Sva e e i g e a a a)
NARTEX
NR11
NR12
NR13
NR14
NR15
NR16
TANIMLAMA
narthex dou duvar 1.64cm seviyesinden alnan krem renkli ierisinde
agregalar (kum-akl) az miktarda grlebilen sva rnei.
narthex dou duvar kapnn sol tarafndaki duvar 2.50cm seviyesinden
alnan ierisinde akl ta ve ktk grlebilen hassas durumda sva
rnei.
narthex dou duvar nnden yerden toplanan d pembe ii gri renkli
ierisinde bol miktarda akl ta az miktarda tula kr grlebilen har
rnei.
narthex dou duvar nnden yerden toplanan krem renkli ierisinde
az miktarda akl grlebilen zeri beyaz badanal hassas durumda sva
rnei.
narthex dou duvar nnden yerden toplanan krem renkli ierisinde
akl ta grlebilen sva rnei.
narthex dou duvar ile bamsz duran ayan ortasndaki noktada
yerden alnan krem renkli ierisinde agregalar grlebilen krem renkli
sva rnei.
narthex noasa alan kap zeri, Meryem ve piskopos figrn olduu
duvar resmi 27cm seviyesinden alnan ierisinde akl talar ve az
miktarda ktk grlebilen hassas sva rnei.
NR17
NR18
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KUZEY BRM
Tablo III
RNEK
NO
KB1
KB2
GNEYBAT) (CRE
GBH1
GBH2
GBH3
GBH4
TANIMLAMA
narthex kuzey birim kuzey bat duvar kesi 2m
seviyesinden alnan krem renkli ierisinde ktk paralar
grlebilen kohezyon kaybna uram sva rnei.
narthex kuzey birim kuzey dou duvar kesi 2m
seviyesinden alnan krem renkli kohezyon kaybna
uram sva rnei.
Gney bat hcre kuzey sol duvar i ke noktas 50cm
seviyesinden alnan krem renkli ierisinde az miktarda
ktk ve akl-kum grlebilen st seviyesi 2mm
kalnlnda kzl-kahve kabukla kapl en st seviyede ise
krem renkli ince bir kabuk bulunan olduka sertlemi
sva rnei.
Gney bat hcre kuzey duvar 70cm seviyesinden
alnan krem renkli ierisinde akl ta-kum grlebilen
zerinde lokal olarak is izleri mevcut iyi durumda sva
rnei.
Gney bat hcre bat duvar 3.50cm seviyesinden
alnan krem renkli ierisinde ktk paralar grlebilen
sva kat ve altta az miktarda gri-krem renkli agregalar
(akl) grlebilen iyi durumda sva rnei.
Gney bat hcre bat duvar (dolgu duvar) 5m
seviyesinden alnan ak krem renkli ierisinde ktk
paralar ve siyah cruf grlebilen hassas sva rnei.
Svann en alt ksmnda pembe renkli ierisinde tula
krklar grlebilen sva paras mevcut. Muhtemelen bu
har duvardaki tula aras horasan harcn dzeltmek
iin kullanlan svadan kalan ksm.
143
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KUZEY BRM
Tablo III
RNEK
NO
KB1
KB2
GBH1
GNEYBAT) (CRE
TANIMLAMA
GBH2
GBH3
GBH4
144
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Tablo IV
RNEK
NO
HKL1
HKL2
HKL3
MH1
MHRAP
MH2
MH3
MH4
MH5
MH6
145
TANIMLAMA
Han kuzey kolu dou duvar (dolgu
duvar) zemin seviyesinden alnan krem
renkli ierisinde bol miktarda agregalar
(akl ta-kum) grlebilen ve az
miktarda ktk grlebilen yzeyinde bir
kat badana mevcut sva rnei.
HKL1 rnei ile ayn noktadan alnan
krem renkli ierisinde bol miktarda
agregalar (akl ta-kum) bulunan. Ktk
paralar grlebilen yzeyinde bulunan
badanas ksmen zarar grm, svas ise
kohezyon kaybna uram sva rnei.
Han kuzey kolu dou duvar 10-11m
seviyesinden alnan koyu-krem renkli
ierisinde bol miktarda agregalar (akl
ta-kum) grlebilen, az miktarda ktk ve
bir adet deniz kabuu grlebilen, st
yzeyi erozyona uram sva rnei.
Mihrabn sol tarafna bulunan pencerenin
sol tarafndaki duvardan alnan pembe
renkli kohezyon kaybna uram, toz
halde 1.katmana ait (en st katman) sva
rnei.
MN-1in altnda yer alan 2. katmandan
alnan kohezyon kaybna uram toz
halde bej renkli sva rnei.
MN1 ile ayn yerden 50cm seviyesinden
alnan ierisinde organik katklar (ketenktk) grlebilen, ksmen kohezyon
kaybna uram sva rnei.
MN-1in aa hizasndan alnan krem
renkli zerinde sar ve lacivert boya izleri
grlebilen hassas durumda sva rnei.
Sol pencerenin sa kanadndan alnan
krem renkli kohezyon kaybna uram
sva rnei.
Sol pencereden alnan bej renkli zerinde
iki kat siyah ve mavi boya grlebilen
hassas sva-boya rnei.
______________________________________________________ART-SANAT 2014/1________________________________________________________
Tablo
V
RNEK
NO
AP1
ANA APSS
AP2
TANIMLAMA
Apsis duvar kuzey blm zemin seviyesinden alnan krem renkli,
ktk grlebilen sva rnei. rnekte iki kat boya grlmekte. 1.kat
(en st) geliigzel fra izlerinin grld beyaz badana, 2. katta
ise koyu mavi boya. Olduka hassas olan sva kohezyon kaybna
urayarak ksmen dalm durumdadr.
Apsis duvar merkezi ile kuzey ksm arasnda zemin seviyesinden
alnan krem renkli, dolgu ve katklar gzle grlemeyen sva rnei.
rnein zerinde iki kat boya mevcut.1.kat badana, 2. kat ise koyu
mavidir. Sva son derece hassas ve dalabilir durumdadr.
AP3
AP4
AP5
AP6
AP7
AP8
146
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Tablo
VI
RNEK
NO
DC1
DC2
DC3
DC4
DC5
DC6
DC7
DC8
DC9
DC10
DC11
DC12
TANIMLAMA
Gney hcre bemaya alan kap dou taraf 3m seviyesinden alnan ak
krem renkli ierisinde ktk paralar grlebilen, olduka hassas sva rnei.
Gney hcre gney duvar 3m seviyesinden alnan ak krem renkli
ierisinde ktk paralar (az miktarda) grlebilen lokal alanlarda sva
zerinde siyah izlere rastlanan, iyi durumda sva rnei.
Gney hcre bemaya alan kap bat taraf 3m seviyesinden alnan ak
krem renkli, ierisinde organik katklar grlebilen, en st seviyesinde ince
bir kat badana grlebilen hassas durumda sva rnei.
Gney hcre kuzey sol duvar 40-50cm seviyesinden alnan 2 katmanl sva
rnei. stte ktk katkl krem rengi sva, altta gri-krem renkli akl ta ve
kum katklar grlebilmektedir. Alttaki katman kohezyon kaybna uramtr.
Gney hcre apsisin sol duvar 1.40cm seviyesinden alnan st yzeyinde
lokal alanlarda siyah kabuk bulunan, krem renkli ierisinde ktk paralar
mevcut, en alt seviyesinde muhtemelen kaba svadan kalma akl talar
grlebilen, ok hassas durumda sva rnei.
Gney hcre han gney koluna alan kapnn kuzey ke duvarndan
alnan 2 katmanl sva rnei. stte krem renkli ktk paralar grlebilen st
yzeyi lokal olarak gri kabukla kapl 1cm kalnlnda hassas sva rnei,
altta krem renkli ierisinde kum-akl agregalar grlebilen 1cm kalnlnda
sva grlmektedir.
Gney hcrenin bemaya alan kapsnda L eklinde payandann kuzey sol
duvarndan 1.78cm seviyesinden alnan stte krem renkli ierisinde ktk
paralar bulunan ince sva, altta lokal alanda gri-krem renkli ierisinde akl
talar bulunan kaba sva grlebilen hassas sva rnei.
Gney hcre han bat koluna alan kapnn kuzey duvar 1.78cm
seviyesinden alnan DC7 ile ayn zellie sahip sva rnei.
Gney hcre apsisinden alnan krem renkli ierisinde ktk paralar
grlebilen olduka hassas durumda sva rnei.
Gney hcre apsisinden 1.5m seviyesinden alnan krem renkli ierisinde az
miktarda ktk paralar grlebilen zeri kahve-siyah bir kabukla kapl sva
rnei. Sva zerine grlen kahve-siyah kabuun apsisin nnde yaklan
ateten kaynaklanan is olmas muhtemeldir.
Gney hcre apsisinden alnan krem renkli ierisinde ktk paralar bol
miktarda grlebilen tozumu durumda sva rnei.
Gney hcrenin bemaya alan kaps etrafndan toplanan krem renkli
ierisinde ktk ve az miktarda akl talar grlebilen sva
rnekleri.(zeminden toplanan sva rnekleri)
147
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Tablo
VII
RNEK
NO
PR1A
PR1B
PR2
PR3A
PR3B
PR4
PR5
PR6
TANIMLAMA
Prothesisin bemaya alan kaps, dou taraf alt hizadan alnan,
beyaz- krem renkli ierisinde bir adet siyah cruf ve agregalar (kum)
grlebilen sva rnei.
PR-1A ile ayn hizadan 1m yukardan alnan, koyu-krem renkli
agregalar (akl ta) bol miktarda grlebilen, kohezyon kaybna
uram sva rnei.
Prothesisin bat duvar sol ksmndan alnan krem renkli ierisinde
byk, yuvarlak tnel eklinde bir boluk ve birok organik katk
boluu bulunan, yzeyinde bir kat krmz boya grlebilen olduka
kirli sva rnei.
Prothesisin gney duvar sol alt hizadan alnan, krem renkli ierisinde
ktk grlebilen 4mm kalnlkta ince sva katman, koyu krem-sar
renkli agregalar (kum) grlebilen zerinde ok az krmz boya izleri
mevcut, yzeyinde entikler bulunan sva rnei.
PR-3A rneinin 1,5 cm kalnlnda ierisinde kum-akl agregalar
grlebilen kaba sva rnei.
Prothesisin bat duvar sol kesinden alnan krem renkli, ierisinde
ktk izleri grlebilen, muhtemelen kum katkl, yzeyinde lokal
alanlarda siyah lekeler grlen iyi durumda sva rnei.
Prothesisin bat duvarndan alnan krem-beyaz renkli ierisinde ktk
izleri grlebilen, yzeyinde sarmtrak-krmz renkli boya izleri
grlebilen sva rnei.
PR-1A ve PR1B ile ayn noktadan alnan krem renkli ierisinde ktk
izleri grlebilen, agregalar (akl ta-kum) grlebilen zerinde bir
kat bordo boya bulunan sva rnei.
148
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%55 C
%CaCO3
Asitte
%Kalan
Asitte
%Kayp
2.75
3.07
52.89
38,21
61,79
44,83
7,62
36,56
6,85
4,13
4.94
6.72
81.93
2,42
97,58
3,23
3,23
51,61
16,13
25,81
7.44
7.78
81.83
4,88
95,12
14,81
5,56
55,56
11,11
12,96
12.07
9.25
84.44
2,83
97,17
64,29
3,57
17,86
3,57
10,71
10.70
9.06
82.14
3,41
96,59
8,93
1,79
53,57
7,14
28,57
0.41
2.31
64.09
39,49
60,51
46,17
7,82
39,42
2,61
3,99
0.31
2.37
52.92
39,86
60,14
42,52
7,15
44,21
1,82
4,29
1.55
4.38
51.07
34,29
65,71
29,31
7,89
51,86
4,62
6,31
1.96
4.84
43.33
47,43
52,57
34,85
7,74
49,66
2,96
4,78
3.31
6.80
79.18
5,43
94,57
16,18
1,47
44,12
7,35
30,88
2.35
5.98
73.78
11,46
88,54
55,49
0,61
35,37
7,93
0,61
11.44
7.06
14.26
43,37
56,63
18,56
6,93
29,64
2,49
42,38
2.19
4.47
44.88
51,55
48,45
42,17
7,83
40,99
4,70
4,31
3.38
6.73
65.97
16,58
83,42
24,80
0,54
27,49
10,78
36,39
%55 C
%CaCO3
Asitte
%Kalan
Asitte
%Kayp
4.22
6.96
76.58
9,50
90,50
20,27
5,41
37,84
6,76
2.79
6.11
51.75
39,24
60,76
18,94
7,58
48,48
15,91
9,09
6.36
8.58
57.42
17,65
82,35
1,62
0,74
36,43
12,39
48,82
9.20
6.94
86.47
4,00
96,00
27,78
3,33
43,33
7,78
17,78
3.31
5.45
72.19
17,22
82,78
48,51
5,60
27,99
6,34
11,57
0.93
5.55
86.21
4,79
95,21
22,97
9,46
45,95
4,05
17,57
6.39
6.12
68.21
30,65
69,35
51,56
0,08
39,51
2,95
5,90
0.47
2.57
41.30
56,54
43,46
51,85
0,05
42,02
2,94
3,14
2.01
3.20
39.99
52,83
47,17
49,61
0,06
43,60
2,46
4,27
7.78
11.31
48.44
22,22
77,78
24,14
3,45
37,93
3,45
31,03
6.67
9.70
69.19
5,93
94,07
20,00
10,00
50,00
10,00
10,00
7.43
11.76
53.50
15,28
84,72
19,30
8,77
59,65
1,75
10,53
8.61
9.37
79.64
7,86
92,14
20,29
4,35
52,17
7,25
15,94
149
29,73
______________________________________________________ART-SANAT 2014/1________________________________________________________
RNEK
%Kayp
%Kalan
AP2
AP3
AP4
AP5
AP7
AP8
DC1
DC2
DC3
DC4
DC5
DC6
DC7
DC8
8.49
6.40
88.26
5,81
94,19
41,98
1,23
37,04
3,70
16,05
11.76
8.80
81.16
6,37
93,63
32,20
5,08
38,98
8,47
15,25
10.70
8.59
76.40
7,62
92,38
32,92
10,56
42,24
3,73
10,56
11.61
7.70
81.07
4,59
95,41
30,00
5,38
39,23
6,15
19,23
8.61
7.82
75.18
13,63
86,37
7,05
0,34
44,63
22,48
25,50
2.81
4.39
26.49
63,58
36,42
86,54
0,08
8,38
2,62
2,37
5.22
5.99
87.31
2,78
97,22
3,33
3,33
70,00
3,33
20,00
6.16
5.51
60.06
11,89
88,11
44,84
6,77
34,52
3,55
10,32
4.89
6.55
85.22
5,45
94,55
10,48
3,81
45,71
6,67
33,33
6.72
5.83
78.11
8,16
91,84
31,18
3,23
41,40
5,91
18,28
6.99
5.71
87.61
9,47
90,53
31,08
5,41
42,57
5,41
15,54
5.96
7.25
85.43
13,81
86,19
34,50
8,19
39,18
4,68
13,45
6.69
5.75
87.09
4,57
95,43
23,76
22,77
35,64
0,99
16,83
5.83
5.70
87.00
3,97
96,03
26,87
5,97
34,33
5,97
26,87
%55 C
%CaCO3
Asitte
Asitte
%Kalan
%Kayp
15.09
10.70
83.29
2,71
97,29
42,42
12,12
24,24
3,03
18,18
5.85
6.06
82.76
7,38
92,62
28,36
4,48
45,52
5,22
16,42
12.90
10.43
82.75
6.20
93.80
15,38
9,62
36,54
5,77
32,69
3.49
4.49
78.15
5,32
94,68
7,78
8,89
47,78
7,78
27,78
11.48
9.73
83.96
5,81
94,19
20,00
20,00
20,00
20,00
20,00
2.06
3.17
40.94
52,88
47,12
51,83
8,72
30,73
2,75
5,96
10.58
8.98
70.29
11,49
88,51
0,49
0,49
26,96
9,80
62,25
9.63
8.67
65.73
16,30
83,70
2,24
0,45
35,43
11,66
50,22
9.67
7.86
72.26
12,08
87,92
0,46
0,46
29,03
9,68
60,37
1.82
3.96
78.70
12,43
87,57
0,93
0,47
27,57
10,28
60,75
0.74
3.07
79.70
12,19
87,81
0,83
0,83
28,33
10,00
60,00
5.75
6.98
74.65
12,69
87,31
1,85
0,46
36,11
12,50
49,07
150
______________________________________________________ART-SANAT 2014/1________________________________________________________
Tablo: X)) ENEZ AYASOFYA KLSES FAT( CAM DUVAR RESM S)VALAR)N)N ERNDE
BULUNAN AGREGALAR)N)N STEREO MKROSKOP LE GRSEL ANALZ SONULAR)
RNEK
NO
ERKTE
GRLEN
AGREGALAR
NR1
VK-Q-F-SC-M-B
NR3A
VK-Q-F-SC
NR3B
VK-Q-F-SC
NR4A
VK-Q-F-SC
NR4B
VK-Q-F-SC-M
NR5
VK-Q-F-SC-M
NR6
VK-Q-F-SC-M
NR7
VK-Q-F-SC-M
NR8
VK-Q-F-SC-M
NR10
VK-Q-F-SC-M-B
NR11
NR12
VK-Q-F-SC
TK-Q-F-SC-M-B
TK-VK-Q-F-SC-M-B*
AGREGA
TP
KATKI
SONU
Keli
Keli
Ktk
VK, %
ktk, %
% ,
VK, %
ktk, %
% ,
TK, %
ktk, %
Protein
(%2
Keli
Ktk
Keli
Ktk
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Ktk
% ,
Ktk/Protein
(%2
Ktk
(%1
Ktk/Protein
(%2
Ktk
(%2
Ktk
Ktk
% ,
VK, % ,
ktk, % ,
VK, %
ktk, %
VK, % ,
ktk, %
VK, % ,
ktk, %
VK, %
VK, %
ktk, %
ktk, %
ktk, %
Tablo: XIII ENEZ AYASOFYA KLSES FAT( CAM DUVAR RESM S)VALAR)N)N ERNDE
BULUNAN AGREGALAR)N)N STEREO MKROSKOP LE GRSEL ANALZ SONULAR)
RNEK
NO
ERKTE
GRLEN
AGREGALAR
NR13
VK-Q-F-SC
NR14
VK-Q-F-SC
NR15
TK-VK-Q-F
NR16
VK-Q-F
NR17
VK-Q-F-SC
NR18
VK-Q-F-SC
KB1
VK-Q-F-
KB2
VK-Q-F-
GBH1
VK-F-Q-K-.B
GBH2
GBH3
GBH4
VK-Q-F-SC-M-B
VK-Q-F-M-B
TK-Q-F-M-B
TK-VK-Q-F-SC-M-B*
AGREGA
TP
KATKI
SONU
Keli
Ktk/Protein
(%5)VK, % ,
Keli
Ktk
(%2
Ktk
Ktk/(ububat
Kabuu
Ktk
(%1
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Ktk
Ktk
Ktk
Ktk
Ktk
Ktk/Protein
(%2
VK, %
ktk, %
VK, % ,
ktk, %
(%3
VK, %
VK, % ,
(%0, VK, %
(%0, VK, % ,
ktk, %
ktk, %
ktk, %
ktk, %
* TK: Tula kr, tula tozu. VK: Volkanik kaya paras. Q: Kuvartz. F: Feldspat. SC: Siyah crf. M:
Muskovit. B: Biyotit
* TK: Tula kr, tula tozu. VK: Volkanik kaya paras. Q: Kuvartz. F: Feldspat. SC: Siyah crf. M:
Muskovit. B: Biyotit
151
______________________________________________________ART-SANAT 2014/1________________________________________________________
Tablo: XIV ENEZ AYASOFYA KLSES FAT( CAM DUVAR RESM S)VALAR)N)N ERNDE
BULUNAN AGREGALAR)N)N STEREO MKROSKOP LE GRSEL ANALZ SONULAR)
TK-VK-Q-F-SC-M-B*
RNEK
NO
ERKTE GRLEN
AGREGALAR
AGREGA
TP
KATKI
HKL1
VK-Q-F-SC-M
Keli
Ktk
Keli
Ktk
HKL2
VK-Q-F-SC
HKL3
VK-Q-F-SC
MH1
TK-VK-Q-F-SC
MH2
VK-Q-F-M-B
MH3
TK-VK-Q-F--M-B
MH4
VK-Q-F-SC-M-B
MH5
VK-Q-F-SC-M-B
MH6
VK-Q-F-SC-M-B
AP1
VK-Q-F-SC-M-B
AP2
VK-Q-F-SC-M-B
Keli
Keli
Keli
Az Keli
Keli
SONU
Ktk/Protein
Keli
Keli
VK, % ,
ktk, %
Ktk
(%0,
(%2
kumu
Ktk
TK, % ,
yl restorasyon almalarnda
VK, %
Keli
Keli
(%5
VK, % , ktk, %
agregalar yangn geirmi olabilir
Ktk
Ktk
VK, %
ktk, %
Tablo: XV ENEZ AYASOFYA KLSES FAT( CAM DUVAR RESM S)VALAR)N)N ERNDE BULUNAN
AGREGALAR)N)N STEREO MKROSKOP LE GRSEL ANALZ SONULAR)
TK-VK-Q-F-SC-M-B*
RNEK
NO
ERKTE GRLEN
AGREGALAR
AGREGA
TP
KATKI
SONU
AP3
VK-Q-F-B
VK-Q-F-SC-M-B
Ktk
AP4
Keli
AP5
VK-Q-F-SC-M-B
AP7
TK-VK-Q-F-SC
Keli
Ktk
AP8
Q-F
DC1
VK-Q-F- SC
DC2
VK-Q-F- SC
DC3
VK-Q-F- SC
DC4
VK-Q-F-SC-B
DC5
DC6
DC7
VK-Q F- SC
VK-Q-F-SC
VK-Q-F-SC
Keli
Keli
Keli
Ktk
Keli
Keli
Keli
Keli
Ktk
Ktk
Ktk
Keli
ktk, %
ktk, %
Ktk
Ktk/(ububat
kabuu
Ktk
Keli
ktk, % ,
Ktk
(%2
VK, % ,
% ,
VK, %
(%1
VK, %
VK, % ,
ktk, %
* TK: Tula kr, tula tozu. VK: Volkanik kaya paras. Q: Kuvartz. F: Feldspat. SC: Siyah crf. M:
Muskovit. B: Biyotit
* TK: Tula kr, tula tozu. VK: Volkanik kaya paras. Q: Kuvartz. F: Feldspat. SC: Siyah crf. M:
Muskovit. B: Biyotit
152
______________________________________________________ART-SANAT 2014/1________________________________________________________
Tablo: XVI ENEZ AYASOFYA KLSES FAT( CAM DUVAR RESM S)VALAR)N)N ERNDE
BULUNAN AGREGALAR)N)N STEREO MKROSKOP LE GRSEL ANALZ SONULAR)
RNEK
NO
ERKTE
GRLEN
AGREGALAR
DC8
DC9
DC10
DC11
DC12
PR1A
VK-Q-F-SC
VK-QF-SC
VK-Q-F-SC
VK-Q-F-SC
VK-Q-F-SC
Q-F-SC
PR1B
VK-Q-F-SC
PR2
VK-Q-F-SC
PR3A
VK-Q-F- SC
PR3B
VK-Q-F- SC
PR4
VK-Q-F-SC
TK-VK-Q-F-SC-M-B*
AGREGA
TP
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Keli
Keli
KATKI
SONU
Ktk
Ktk
Ktk
Ktk
Ktk
Ktk
nce
ktk
nce
ktk
nce
Ktk
nce
Ktk
nce
Ktk
VK, %
VK, %
VK, %
ktk, %
ktk, %
ktk, %
ktk, %
Tablo: XVII ENEZ AYASOFYA KLSES FAT( CAM DUVAR RESM S)VALAR)N)N ERNDE
BULUNAN AGREGALAR)N)N STEREO MKROSKOP LE GRSEL ANALZ SONULAR)
TK-VK-Q-F-SC-M-B*
RNEK NO
ERKTE GRLEN
AGREGALAR
AGREGA
TP
PR5
VK-Q-F-SC
PR6
VK-Q-F-SC
Keli
Keli
KATKI
SONU
nce
Ktk/Protein
nce Ktk
* TK: Tula kr, tula tozu. VK: Volkanik kaya paras. Q: Kuvartz. F: Feldspat. SC: Siyah crf. M:
Muskovit. B: Biyotit
* TK: Tula kr, tula tozu. VK: Volkanik kaya paras. Q: Kuvartz. F: Feldspat. SC: Siyah crf. M:
Muskovit. B: Biyotit
153
______________________________________________________ART-SANAT 2014/1________________________________________________________
ZET
Bu makalede, duvar resmi ve mozaikler gibi yapya ait tanmaz unsurlarn,
tanmasnn ortaya koyduu sorunlar, baz ilke kararlar erevesinde yenide gzden
geirilmektedir. Bu kapsamda, tanmaz kltr varlklarnn tanabilir kltr varl
olarak ele alnmas sorunu, zm olarak grlen bu uygulamaya ait rnekler ve
ortaya koyduu sorunlar, korumann bileenleri, yerinde koruma sorunlar ve nemi,
zgnln korunmas ve tanabilirlik kavramnn yeniden deerlendirilmesinin
gereklilii konular ele alnmtr.
Anahtar Kelimeler: mozaik, duvar resmi, tanabilir, tanmaz, tanabilirlik, yerinde
koruma.
______________________________________________________ART-SANAT 2014/1________________________________________________________
Tanmazlarn Tanabilirlii
Kltr ve Tabiat Varlklarn Koruma Kanununda tanmaz kltr varlklar
iinde yer alan ve ait olduklar meknn ayrlmaz unsurlar olan duvar resimleri ve
mozaikler, eitli nedenlerle tanabilir kltr varlklar gibi deerlendirilmektedir.
Uluslararas tzkler ve ilke kararlarnda da tanmaz kltr varlklarnn zgn
konumunda korunmasnn kesinlikle mmkn olmad durumlarda tama ilemine
bavurulabilecei belirtilmektedir. Yasaya ve ilke kararlarna ramen tanabilir
kltr varlklar gibi deerlendirilmelerine yol aan etkenlerin banda, arkeolojik
alanlarda gvenliin salanamamas, zeminden ve ortamdan kaynaklanan
sorunlarn zlememesi gibi tanmazn yararna ya da baraj yapm, alann
imara almas ve ulam gibi kamu yararna olduu ileri srlen nedenler
gelmektedir.
Korunmalar iin dzenlenen tzklerdeki baz maddelerin tam olarak
uygulanmamas ve tama kararn kolaylatrc ifadelerin dikkate alnmas da1 bu
kararlar kolaylatrmaktadr.
Arazide korumaya gre mzelere tayarak koruma altna almann daha kolay
olacana inanlmas, ziyaretiler iin eriim kolayl ve aka ifade edilmese de
mzelerin grsel zenginlik ieren malzemelere sahip olma istei de tama
kararnda etkili olan dier nedenlerdendir.
Bu etkenlerden bazlar tama karar alnmasnda geerli sebep oluturmakla
birlikte, buradaki temel sorun yerinde koruma konusunda yeterli aratrma ve
alma yaplmadan, tamann zm olarak kabul edilmesidir.
zmle Gelen Sorunlar
lkemizde Trkiye Milli Komitesi bulunan ve amac, kltr varlklarnn
korunmasna ynelik ilkeler, teknikler, siyasetler gelitirmek ve aratrmalar
desteklemek ve ynlendirmek olan ICOMOS2, arkeolojik alanlarda koruma ile ilgili
olarak, olduka net ilke kararlar oluturmutur. Bu kararlar, yaanan
olumlu/olumsuz deneyimlerden edinilen sonularn, koruma konusunda alan
kurumlar ve uzmanlarca paylalmas ve tartlmasyla alnmaktadr. lke olarak
1ICOMOS,
______________________________________________________ART-SANAT 2014/1________________________________________________________
Conservation and Management of Archaeological Sites, Special Issue on Site Reburial, Vol.6,
2004, UK.
157
______________________________________________________ART-SANAT 2014/1________________________________________________________
artistik ve tarihi tankl yanl bir ekilde yanstmamas iin, orijinalden ayrt
edilebilecek bir ekilde yaplmas gereklidir.
Alandan tanmalarnn ardndan geride kalan yap kalntlar kaderlerine
terk edildiinden bu arkeolojik unsurlar kaybedilmektedir.
Ait olduklar alan ve meknlardan koparlan bu eserlerin ve alann grsel
btnl zarar grmekte, zgnlkleri kaybedilmektedir.
Mzelere getirilen ve mze meknlarna gre olduka byk boyutlu olan
bu eserler iin genellikle yer bulunamamakta ya da onarmlar ve sergilenmeleri iin
gereken para ve teknik yardm bulunamay gibi sorunlar nedeniyle gerektii gibi
korunamayp, uygun koullarda sergilenip, depolanamamaktadrlar. Bu durumda da
daha iyi koruma amacyla getirilmi olduklar mzelerde zarar grmeye devam
etmektedirler.
Taban mozaiklerinin zeminde sergilenmeleri geni meknlar
gerektirdiinden, ortaya kan yer sorunu nedeniyle duvar panolar haline
dntrlmekte dolaysyla kendilerine ilikin anlam ve bilgi aktarm yitirilmekte
ya da deitirilmektedir.
Maddi kaynak yetersizlii ya da dier nedenlerle pek ok eser mzelerde
yeniden ele alnmay beklemekte, bir ksm ise bu bekleyie yenik derek tahrip
olmaktadr.
nceki dnem uygulamalarnda imento ve demir gibi orijinal malzemeyle
uyumlu olmayan malzemelerin kullanlm olmas zellikle iklim koullarnn
denetim altna alnmad ortamlarda tahrip edici olmaktadr.
zgn malzemeye zarar veren nceki restorasyon malzemelerinin
uzaklatrlmas ya da baka deyile yeniden restorasyonu esere yeni mdahaleler
demek olup, yeni maddi kaynaklar gerektirmektedir.
Uluslararas Mozaik Konservasyonu Komitesinin4 (ICCM VII.) sadece 1999
yl konferans zetlerinden aldm baz rnekler, yerinden kaldrlm olan
mozaiklerle ilgili, karlalmakta olan sorunlar ortaya koymas bakmndan
arpcdr:
rnein; Almanya, Trierde, yerinden kaldrlarak mzeye getirilen mozaik
panolarn giderek artan saysnn sergileme ve depolama sorunu yaratt ve eski
restorasyonlarn yeniden ele alnmas gerektii, bu durumun mzeler iin devam
eden bir maddi klfet yaratmakta olduu ifade edilmektedir. Geen yzyln ilk
yarsndan beri yaklak 200 para mozaik deme bulunmu olduu ve bunlarn
100 tane kadarnn ksmen ya da tamamen koruma altna alnm olduu
belirtilirken byk koleksiyonlar sz konusu olduunda, eserlerin zarar grmeden,
The International Committee for the Conservation of Mosaics (ICCM) 1977de Romada,
ICCROM tarafndan organize edilen, mozaik konservasyonu ile ilgili toplantda kurulmutur.
158
______________________________________________________ART-SANAT 2014/1________________________________________________________
159
______________________________________________________ART-SANAT 2014/1________________________________________________________
tehlikesi ile kar karya bulunmaktadr (Fig. 7-8). Yeterli gvenliin salanamad
alanlarda ise insan ve dier etkenler nedeniyle tahrip edilmektedir.
Eserlerin korunabilmesi iin, Venedik Tz, Madde 4de ifade edildii gibi,
antlarn korunmasndaki temel tutum korumann kalc olmas, devamllnn
salanmas olmaldr.
Arkeolojik miras ve antlarn korunabilmeleri iin devlet yetkilileri, akademik
aratrmaclar, zel veya kamu giriimcileri, sivil toplum rgtleri ile halk arasnda
ibirlii ve katlm salanmal, bu konuda yaplan almalar etkinletirilmeli ve
desteklenmelidir.
Arkeolojik Mirasn Korunmas ve Ynetimi Tznde arkeolojik mirasn
korunmasyla ilgili politikalarn arazi kullanm, gelime ve planlama kadar kltrel,
evresel ve eitim politikalarnn nemli bir bileeni olmas gerektii, bu
politikalarn srekli olarak gzden geirilmesi ve gncel tutulmasnn gereklilii
ifade edilmektedir. Arkeolojik mirasn korunmasnn uluslararas, ulusal, blgesel ve
yerel dzeydeki planlama politikalaryla btnletirilmesinin, halkn etkin
katlmnn ve halkn bilgilendirilmesinin btnleik koruma politikasnn bir
paras olmasnn gerei ve karar alnmasnda bunun nemi zerinde
durulmaktadr. Yine ayn tzkte arkeolojik mirasn btn insanln mal olduu,
dolaysyla korunmas iin gereken kaynaklarn salanmasnn her lkenin grevi
olduu vurgulanmaktadr.5 Bu konuda halkn etkin katlmnn saland kurslar ve
seminerler dzenlenmeli, alan ziyaretleri dzenlenmeli, bilgilendirici yaynlar
yaplmaldr.
Bilimsel davran disiplinler aras ortak alma gerektirmektedir. Bu konu
Venedik Tznde antlarn korunmas ve onarm iin, mimari mirasn
incelenmesine ve korunmasna yardmc olabilecek btn bilim ve tekniklerden
yararlanlmas gerektii ifadesiyle vurgulanmtr.6 Arkeolojik mirasn korunmas ve
doru ynetilebilmesi iin farkl disiplinlerden gelen uzmanlarn birlikte almas
salanmaldr. Bu uzmanlar, koruma yasalar dorultusunda, etik bir koruma
yaklam ile bilimsel koruma teknikleri aratracak ve gelitirebilecek bilgi,
deneyime sahip olmaldr.
svire, Vallon, Fribourg rneinde olduu gibi; taban suyunun ykselmesiyle
su basknna urayan mozaikler byklkleri ve dekoratif karmaklklar nedeniyle
tanmaynca, taban suyunun kontrol iin zm aranmtr.7 Buradan
anlalaca gibi, byk boyutlu bu mozaiklerin tanmalar srasnda ve sonrasnda
karlalabilecek durumlar deerlendirilmi ve tama karar yerine bilimsel bir
yaklamla taban suyunun kontrol iin zm bulunmaya allmtr.
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zgnln Korunmas
ada koruma-onarm anlay kltr varlklarnn sahip olduklar tm zgn
unsurlar deitirilmeden, evresi ile birlikte bir btn olarak korunmalarn
hedeflemektedir. Kltr varlnn sahip olduu doku btnlnn korunmasnn
yan sra, bu dokuya malzeme ve biim veren srecin btnlnn korunmas da
hedeflenmelidir.
zgnlk (ya da otantiklik) kltr varlklarnn sahip olduu ve korunmas
gereken en dokunulmaz niteliklerindendir. Bu nedenle 1994 ylnda Japonyann
Nara kentinde kaleme alnan zgnlk Belgesinde8 zgnln tanm yaplarak,
kltr mirasna ait nesnel ya da nesnel olmayan zgnln nemi vurgulanmtr:
Bir antn ya da sitin doasna ve kltrel balamna bal olarak; zgnlk yargs
ok eitli bilgi kaynaklarna baldr. Bu kaynaklar; tasarm ve biimi, malzeme ve
nesneyi, kullanm ve ilevi, gelenek ve teknikleri, konum ve yerleimi, ruh ve anlatm,
ilk tasarm ve tarihsel evrimi ierir. Bilgi kaynaklar yaptn bnyesinde olabilecei
gibi, dnda da olabilir. Bu kaynaklarn kullanm, kltr mirasnn, sanatsal, teknik,
tarihsel ve toplumsal boyutlaryla tanmlanmasna olanak verir. 9
Venedik Tznde de yer verilen zgnln nemi; Her trl bilimsel
almada, koruma ve restorasyon mdahalelerinde, Dnya Miras Listesine kabul
edilme srecinde, ya da kltr mirasyla ilgili her trl envanterde zgnlk ok
nemli bir ilev yklenir. aklamasyla vurgulanmtr.
Tanabilirlik Kavramnn Yeniden Deerlendirilmesi
Kaz sonras yeterli koruma salanmadnda ve periyodik kontrol / bakm
yaplmadnda, eserler ortam koullarna bal olarak, hzl ya da yava bir yok
olma sreci iene girmektedir (Fig. 9-11). Benzer sebeplerle, mzelere tanmalar
halinde uygun ortam koullar oluturulmadnda da eserler zarar grmekte, ar
mdahalelere maruz kaldklarnda ise zgnlkleri giderek kaybedilmektedir. Bu
nedenle, arkeolojik alanlardan tanmalar durumunda, mozaik ve duvar
resimlerinin kendilerinin ve sz konusu alanlarn kayplar ve kazanlar etik ve
teknik olarak yeniden deerlendirilmelidir.
Tama geri dnmsz ve ar bir mdahaledir. Bu nedenle, ilke olarak,
tanabilirlik korumann baka hibir biimde mmkn olmad durumlarda
dnlmesi gereken en son olaslk olmaldr. Gnmzde antsal yaplarn bile
tanmasnn teknik olarak mmkn olduu gz nne alndnda, tanabilirlik
kavram artk teknik deil, etik bir konu olarak deerlendirilmelidir.
Nara zgnlk Belgesi, 10. madde. (1-6 Kasm 1994 gnlerinde Japonyann Nara kentinde
dzenlenen Nara zgnlk Konferansnn 45 katlmcs tarafndan kaleme alnmtr. Dnya
Miras Szlemesi erevesindeki bu konferans, Japon hkmeti D leri Dairesi ve Nara
Valiliinin daveti zerine gerekletirilmitir. Bu konferans UNESCO, ICCROM ve ICOMOSun
ibirliiyle dzenlemitir.)
9Nara zgnlk Belgesi, 13. madde.
8
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Eserlerin yerinden kaldrlmas ya da nasl korunmas gerektii konusu oldubittiye getirilmeden, bu konuda alan konservatrler ve dier uzmanlarn (mimar,
mhendis, jeolog, subilimci, arkeolog vd.) inceleme,
aratrma, gr ve
nerilerinden oluan teknik raporlar alnarak, deerlendirilmelidir. Bu kadar nemli
kararlar, tm taraflarn katlmnn saland, geni kapsaml bir aratrma ve
tartma ortam yaratlmadan alnmamaldr. Kltr varlklar, insanlar ve dier
canllar feda edilerek, ait olduklar topraklardan tanmaya zorlanmadan nce
cevaplanmas gereken sorular olmaldr.
rnein, ortaadan beri deniz suyu ykselmesine kar mcadele edildii
bilinen Hollandada modern teknoloji ile byk lekli alanlarn sular altnda
kalmas engellenebilmektedir. Bu durumda, Zeugma gibi nispeten kk lekli ama
nik zenginlikte mozaie ve duvar resmine sahip bir arkeolojik alann baraj
suyundan uzak tutulmas salanabilir miydi? Arkeolojik alanlarn su ile ilikide
olaca snr boyunca bir duvar oluturularak ya da alan kazlp, belgelenerek, baraj
mrn tamamladktan sonra yeniden alncaya kadar, bu suya dayankl bir
sistemle st rtlerek (kapatllarak) ya da baka bir biimde yerinde koruma
salanamaz myd? Bu kadar nemli bir karar hangi teknolojik olaslklar
deerlendirildikten sonra alnd? Barajlarn yerleri, sosyal, arkeolojik, jeolojik,
ekolojik zellikler yeterince aratrlarak m seilmektedir?
Bu konuda devletlere den grev aratrmaya dayal, sistemli bir koruma
politikas oluturmak ve kltr varlklarnn binlerce yldr var olduklar
ortamlardan tanmasn gerektirecek projeler ve durumlar oluturulmamasna
zen gstermek olmaldr.
Tamann yerinden kaldrlan mozaikler ve duvar resimleri iin olduu kadar,
alan iin de zgnln kaybedilmesi anlamna geldii unutulmamal, yap ve yap
kalntlarna ait tm katmanlar bir btn olarak deerlendirilmelidir.
Tadklar anlam ve bilgiyle, gemi zamanlara yolculuk yapabilmemizi
mmkn klan kltr varlklarnn gelecee yolculuklarn korunmalar konusunda
ki yaklammz belirlemektedir. Koruma politikamz onlarn yaamalarn mmkn
klacak ya da sonsuza dek yok olmalarna neden olacaktr.
162
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KAYNAKLAR
BURCH, Rachel, AGNEW, Neville , 2004, Reburial Research: A Conceptual Design for
Field Testing for the Reburial of Wall Plasters and Mosaic Pavements, Conservation
and Management of Archaeological Sites, Vol. 6, Issue 3-4, pp. 347 361.
BEN ABED, Acha, DEMAS, Martha, ROBY, Thomas (Ed.), 2008, Lessons Learned:
Reflecting on the Theory and Practice of Mosaic Conservation, Proceedings of the
9th Conference of the International Committee for the Conservation of Mosaics, 2005.
DKLTA, Glseren, Arkeolojik Alanlarda Koruma, Restorasyon ve Konservasyon
Dergisi, S. 6, KUDEP, stanbul.
ICOMOS Trkiye, Tzkler, www.icomos.org.tr
KKTEN, Hande, 2012, In Situ Preservation of Ancient Floor Mosaics in Turkey,
Conservation and Management of Archaeological Sites, Vol. 14 Issue: 1/4, pp. 303
309.
ROBY, Thomas , ALBERTI, Livia , BEN ABED, Acha, 2010, A Preliminary Assessment
of Mosaic Reburials in Tunsia, Studies in Conservation, Vol. 55, Issue: Supplement-2,
pp. 207 213.
ROBY, Thomas, DEMAS, Martha, (Ed.), 2012, Mosaics in Situ: An Overview of
Literature on Conservation of Mosaics in Situ, GCI.
SEVERSON, Kent, KOOB, Stephen, WOLFE, Julie, CHOE, Perry, HORNBECK, Stephanie,
MCGREGOR, Howarth, SARAH, SIEGEL, Anthony, 2000, Recovery of Unbacked
Mosaics From a Storage Depot Fire at the Sardis Excavations, Turkey, JAIC (Journal
of the American Institute for Conservation), Vol. 39, Issue 1, pp. 3-13,
http://www.maneyonline.com
STANLEY-PRICE, Nicholas, others, (Ed.), 2004, Conservation and Management of
Archaeological Sites, Special Issue on Site Reburial, Vol. 6, UK.
STANLEY-PRICE, Nicholas, KING, Joseph (Ed.), 2009, Conserving the Authentic:
Esssays in Honour of Jukka Jokilehto, ICCROM.
STEWART, John, 2004, Conservation of archaeological mosaic pavements by means
of reburial, Conservation and Management of Archaeological Sites, Vol. 6, Issue: 3-4,
pp. 237 246
STOVEL, Herb, 1998, Risk Preparedness: A Management Manual for World Cultural
Heritage, ICCROM.
The International Committee for the Conservation of Mosaics, ICCM VII., 1999.
VAROLI-PIAZZA, Rozalia, (Ed.), 2007, Sharing Conservation Desicions, Lectures,
ICCROM.
VERITA, Marco , 2000, Technology and Deterioration of Vitreous Filosaic Tesserae,
Studies in Conservation, Vol. 45 Issue: 1, pp. 65 76, http://www.maneyonline.com/
WATSON, Peter, 1998, Cyprus Mosaics, Culture Without Context: The Newsletter of
the Near Eastern Project of the Illicit Antiquities Research Centree, Issue 3, pp. 17.
http://traffickingculture.org/wp-content/uploads/2012/07/CWC-8.pdf
163
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165
______________________________________________________ART-SANAT 2014/1________________________________________________________
166
______________________________________________________ART-SANAT 2014/1________________________________________________________
Fig. 8 Kaz sonras akta braklan mozaikli alandaki youn bitki oluumu
167
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Fig. 9 zeri geotekstil ve ince bir kum tabakas rtlerek, dnemsel olarak koruma
altna alnm, periyodik kontrol ve bakm gerektiren, taban mozaii
______________________________________________________ART-SANAT 2014/1________________________________________________________
Fig. 11 rtme ilemi iin uygun olmayan bir malzeme olan naylon rt altnda
youn bitki oluumu ve yatak harcndan ayrlm durumdaki tesseralar
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ZET
Kat restorasyonu ve konservasyonunda uzun yllardr kullanlan farkl yaptrclar
bulunmaktadr. Buday niastas, pirin niastas ve metil selloz sklkla kullanlan
malzemelerdir. Bu almada en ok tercih edilen dier yaptrclar ile metil
sellozun avantajlar ve dezavantajlar ortaya konmutur.
Anahtar Kelimeler: kat restorasyonu, konservasyon, yaptrclar, buday niastas,
pirin niastas, metil selloz.
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gerekletirilen bu uygulama, kadn arka yzne veya uygunsa her iki yze de
yaplabilir.
Kat yzeyindeki ya ve kirin uzaklatrlmasnda MC ve SCMC deterjan gibi
de kullanlabilir. Solsyona batrlan bir tamponla yzeye uygulanr. Ancak
uygulama sonra fazlas yzeyden alnmaldr, yzeyde grimsi bir film tabakas
meydana getirebilir.
Lapa biiminde koyu kvaml hazrlandklarnda yzeydeki lekeyi emmek iin,
kat zerindeki eski yaptrcy yumuatmada (aherli katlar hari)
kullanlabilirler. Ayrca enzimler, aartclar ve solventler iin viskoz bir tayc gibi
hareket edebilirler.
Klucel G ve Klucel E
Klucel G ve Klucel E, hidroksipropil non-iyonik selloz eterleridir. Klucel
40Cnin altndaki suda ve etil alkol, metil alkol, aseton, izopropil alkol bata olmak
zere birok polar organik zcler ierisinde znr. 40Cnin zerindeki suda,
toluen, ksilen ve trikloretilende ise znmez. Klucel G orta, Klucel E dk
viskoziteye sahiptir (Anderson-Puglia-Reidell 2009).
Kitap konservasyonunda salamlatrc olarak kullanlmaktadrlar. Kullanm
alanlar daha ok deri kitap ciltleridir. Klucel G tozlamaya balam deriye
uygulandnda tozumay durdurur ve derinin mrn uzatr. Esneklii, uyumu, hem
su hem de etanol, aseton gibi zcler ierisinde znmesi sebebiyle aydnger
kad zerine yaplm harita vb. izimlerin konservasyonunda da tercih
edilmektedir. Aydnger kadnn bnyesindeki reine ve yalar bozmadan ve
kadn tansparan grnmn opaa evirmeden yaptrr ve salamlatrr (Page
1997).
Selloz Tozu
Kattaki kk delikleri hzl bir biimde doldurmak iin kullanlan bir
yntem ise selloz tozu CF11i, MC veya CMC ile kartrarak uygulanmaktr. Selloz
tozu beyaz renktedir, ama scak bir plaka zerinde rnein bir teflon tavada kuru
toz piirilerek rengi kahverengiye doru deitirilebilir. Solunduu takdirde toz
rahatsz edici olabileceinden bir toz maskesi taklmaldr. Ayrca tozun kavrulmas
srasnda dikkatli olunmaldr. Selloz tozuna gerektiinde nceden kavrularak
renklendirilmi tozun daha ak veya daha koyu tonlarn ekleyerek orijinal katla
uyumluluk salanabilir. %3 MC ya da %2.5 CMC ile selloz tozu kartrlr. Daha
sonra spatula veya bir neter ucu ile delik veya bolua uygulanr ve kurumaya
braklr. Rtu nadiren gereklidir. Przsz bir yzey gerekli ise kk miktarda
kalsiyum karbonat toz, yaptrcdan nce ilave edilebilir. alma sonras arta kalan
selloz tozu birka damla su ekleyerek tekrar bir hamur haline getirilebilir.
Vakumlu masada alrken uygulama yaplan alanlarda parlaklk meydana
gelebilir. Bu sebeple Hollytex, Reemay veya Pellon gibi gzenekli ve kaygan bir
malzeme zerinde uygulama yaplmal ve kurumaya braklmaldr.
174
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175
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KAYNAKLAR
BROMMELLE, N. S., PYE , Elizabeth M., SMITH, Perry, THOMPSON, Garry, (Ed.), 1984,
Adhesives and Consolidants, International Institute for Conservation. Preprints of the
Contributions to the Paris Congress, 2-8 September 1984, London: IIC.
ANDERSON, P., PUGLIA, A., REIDELL, S., 2009, Book Conservation Catalog, Book and
Paper Group.
BAKER, C., 1982, Methylcellulose and Sodium Carboxy Methylcellulose: Uses in Paper
Conservation, AIC, The Book and Paper Group Annual,Volume 1.
BAKER, C,. 2007, Sodium Carboxymethylcellulose (SCMC) Re-evaluated for Paper,
Book, Papyrus and Parchment Conservation, AIC, The Book and Paper Group Annual,
Volume 26.
BALLOFFET, N., HILLE, J., 2005, Preservation and Conservation for Libraries and
Archives, American Library Association.
BATDORF, J.B., ROSSMAN, J.M., 1973, Sodium Carboxymethylcellulose, (Ed. by. Roy L.
Whistler), Industrial Gums, Academic Press, NY.
HORIE, V., 2010, Materials for Conservation - Organic Consalidants, Adhesives and
Coatings, Elsevier Ltd.
KONUKLAR, M., 2011, Kat Eserlerin Korunmasnda Yeni Yntem Aratrlmas,
Ankara niversitesi, Fen Bilimleri Enstits, (Yaynlanmam Doktora Tezi), Ankara.
PAGE, S., 1997, Conservation of Nineteenth-Century Tracing Paper: A Quick Practical
Approach, , The Book and Paper Group Annual, Volume 16.
176
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Grnm
Avantajlar
Dezavantajlar
Saklama
Koullar
Bu day
Niastas
Mat
(Fig.2)
Gl bir
yaptrcdr.
Ucuzdur.
Mali gc olmayan
ariv projeleri iin en
iyi seimdir.
Piirme sresi pirin
niastasna gre biraz
daha ksadr.
Piirme gerektirir.
Szme gerektirir.
yi hazrlanmad nda
przl olabilir.
Kullanm mr ksadr.
Bcekler iin ekicidir.
Uygulama sonras
kurudu unda sertleebilir
(zellikle geni alanlarda ve
kaln srld nde).
Serin ve karanlk
bir yerde, kapal
kapta 2-3 gn
saklanabilir.
Pirin
Niastas
Yar mat
(Fig.3)
Gl bir
yaptrcdr.
Ucuzdur.
Bu day
niastasndan daha
przsz bir
yapdadr.
Piirme gerektirir.
Szme gerektirir.
Bu day niastasndan biraz
daha pahaldr.
Kullanm mr ksadr.
Bcekler iin ekicidir.
Serin ve karanlk
bir yerde, kapal
kapta 2-3 gn
saklanabilir.
Metil
Selloz
Parlak,
effaf
(Fig.4)
Hazrlanmas ve
kullanm kolaydr.
Piirme
gerektirmez.
Raf mr uzundur.
Przszdr.
Gerekti inde su
katlarak inceltilebilir.
Geni alanlarda ve
yo un kullanlm
olsa bile kuruma
sonras sertlemez.
Kapal kapta
birka hafta
boyunca
saklanabilir.
177
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Bina inasn bilen bir mimar, talar acemice birbiri stne yarak ev
yapmak isteyen birisinin sarf ettii emeklere nasl acr ve merhamet duyarsa
Avrupal bir tiyatrocu da bizim yirmi seneden beri bu sahada yaptmz gayretler ve
bu hususta sarf ettiimiz emeklere acmaktan kendini alamaz.
Zavall bizler! Orta Oyunu ve Karagzde ne kadar mahirdik. Tiyatroya geince
neden byle aciz kaldk?
Bunun sebebi pek basit: Evvelinde sanatn tezahr iin ferdin deha ve gayreti
kfi idi. Tiyatroda ise itimai tezahrne lzum vard.
Koltuunda tad perdeyi rast gelen bir keye kurarak emasn yakp tefi
eline alnca btn sanatn izhara imkn bulan ve hatta refahyla yaayan eski
sanatkr ile binaya, mellife, dekora, rejisre ve tiyatrodan zevk alacak temaaclara
bal olan imdiki sanatkrn tesadf ettii mklat arasnda byk fark vardr.
Temaa sanat btn bir cemiyetin seviye-i irfanyla alakaldr. En yksek bir
istidat ile domu olan bir sanatkr, inkiaf edip kendini gsterebilmek iin bir
sahne, bir eser ve ona iltifat edecek bir halk ister. Onun iindir ki bizde temaa
sanatn inkiaf ettirebilmek evvel halkn temaa zevkini ve ihtiyacn yapmakla
mmkn olur. Bu da tavuk ve yumurta hikyesine benzer. Hangisi evveldir?
Aikr olan bir ey varsa o da evvel halk yetitirecek ilk sanatkrlar, her ne
pahasna olursa olsun, vcuda getirecek bir temaa nvesi yaratmak lazmdr. Bu
nveyi de yine halkn yani halk temsil ve idare eden mnevver zmrenin yapmas
lzmdr.
Yirmi sene evvel Darlbedayi bu mantkla tesis edildi. Fakat az gitti uz gitti,
dere tepe dz gitti tabiriyle yirmi sene sonra grld ki Darlbedayi bir arpa boyu
yol gitmi. Buna sebep? Hi phesiz meselenin iktisad cehttir.
Darlbedayi tesis edildii vakit imdiki gibi varidatyla baz sanatkrlar
geindirecek bir messese-i hayriye eklinde deildi. Mntesiplerinin hayatn ve
hatta istikbllerini temin edecek bir bteye malik bir sanat oca olarak vcuda
getirilmi, halka temaa zevkini vermek ve ona irfan sahasnda yol gstermek iin
yani bilet parasndan almayan bir era olmak vazifesi verilmiti.
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Arlar da nasl birka bin doarsa her milletin her neslinde de sanat hissi
yksek yle birka insan doar.
Trklerde de bu insanlar domutur ve yayor. Fakat bunlar acaba bugn
sahnede grdmz sanatkrlarmzdan m ibarettir?
Mesele neslin sanatkr olarak doan tekmil fertlerini meydana karmak ve
onlardan azami istifade etmektir. Halkn temaa terbiyesini artk onlar yapacak.
Ve sonra sanat zevkinde ykselen neslin douraca sanatkrlarn adedi de
oalacak, derecesi ykselecek ve nihyet sanatkr halk ve halk sanatkr vcuda
getirerek bugnk akim daire-i fsideden klacakt.
nsanlar intisap ettikleri mesleklerin ya eref ya refah ve yahut hem eref hem
refah temin etmesine bakarlar.
imdi bizde temaa meslei ise artk mntesiplerine u iki faydadan hibirini
temin edemiyor. lk zamanlarda byk bir amd ile atlan birka sanatkr hayatn
bin trl skntlar iinde imdi kendilerini bile tanmayacak hale gelmilerdir.
Onlarla beraber halkn temaa zevki de azalmtr.
O halde her iki taraf da u sukuttan kurtarmak iin ilk yaplacak ey halkn
yani onlar temsil eden ehirlerin sanatkrlara bir refah ve eref kazandracak mevki
ihdas etmeleridir.
Eer sanat seviyor ve ona hrmet ediyorsak evvel onun kadryla mtenasip
bir oca bir binas olmak lazm gelmez mi?
na olunacak bir binadan hi bir istifade-i maddiye beklememek icap eder.
Kiradan kurtulan ve kendilerine verilecek mukannen maalarla hayatlarn
dnmeyen sanatkrlarn artk eref ve sanattan baka bir kayglar kalma.
Mesleinde eskiyen veya alamayacak hale gelenlerin atisi de mevzubahis
olmaldr.
Darlbedayi yeni tesis istedii vakit iktidarlar grlen baz sanatkrlara
tiyatro haslatndan kayd- hayat artyla bir hisse verilmesi tekerrr etmiti. Her
gen tiyatroya kotu. Fakat o nizam-nmeler, o hisseler, o vaatler ne oldu? Ortada
metin esaslara ibtina eden bir messese, temelleri topraa girmi bir bina ve onun
ehir btesine talik etmeyen bir varidat olmaynca bittabi bunlarn hepsi kum
stne yazlm yaz gibi bir rzgrla bir hava olur gider. Bugnk sahne
kurbanlarnn hli gz nnde iken artk sahne hayatna kim atlr?
Bu bir nevi intihar demektir. Bugn en kk memuriyet en byk sanatkrn
kazandndan fazla temin ettii halde bir gen ona niin intisap etsin, sanat iin mi?
Bari o olsa. O da yok. Abdesthane kokan ve her taraftan rzgr esen sahnelerde
uyuklamak ve fena baslm hurufatl ilanlar zerinde kendi ismini grmek iin mi?
Anlalyor ki ie binadan ve sanatkrlarn refahndan balamak lazm. Fakat
ondan sonra da mklat bitmeyecektir. Refah ve eref olan yere herkes hcum
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edecektir. Memleketin sanat hissiyle doan evldn toplamak iin yaplan bu yere
kimler girebilecektir?
O da bir meseledir.
Messesin gayeye gidebilmesi onu mmkn mertebe komisyonlar ve
heyetlerin tesirinden azade ve mstakil bir vaziyette brakmakla mmkn
olabilecektir. Eserleri okuyup kabul edecek fakat gerek program ve gerek idare
ilerine katiyen mdahale etmeyecek bir okuma heyeti heyet-i edebiye kfidir.
Tiyatro lemi dedikodunun en ok olduu bir yerdir. Sanatkrlar arasndaki
kskanmalar, hasetler, melliflerin eserlerini oynatmak iin gsterdikleri
hrnlklar, gazetecilerin tenkitleri, himyeler, sevdalar, tezvirler velhsl her trl
entrikalara kar hedefe doru gidebilmek iin geittir.
Avrupada dahi mevcut olan bu mklat memleketimizde tiyatro mmtaz bir
mevki alnca daha ok olacaktr.
Bundan sonra tiyatronun sahne ve dekora ait husustaki tek emelini dnmek
lazm gelir. Yirmi seneden beri tiyatro sanatnn geirdii inklaptan bihaberiz. Baka
memleketlerde tiyatroya dair yzlerce gazete, yzlerce risle kyor; dekora dair
yazlm eserlerin haddi hesab yok.
Muhtelef nazariyeler birbirleriyle arpyor, tecrihler yaplyor. Hatta srf bu
sanat tecrihlerini yapabilmek iin milyonlar serefiyle yeni binalar, yeni sahneler
vcuda getiriliyor. Sahnelerin tarzlar ayrlyor, eserle muhiti, muhitle aktrlerin
kostm arasndaki mnasebetler tahlil ediliyor, sahneden resim kaldrlyor.
Artistlere resmeden elbise getiriliyor. Msikye gre dekor, piyese gre ziya,
tiyatronun kkl, bykl binlerce meseleler mnakaa ediliyor ve sanat
tayyare sratliyle ilerliyor da biz hala Sir Antoine den kalma realist dekorlar bile
yapamadmza teessf ediyoruz.
Celal Esad
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Osmanlca Metin
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zamanlar geiren5 Arsevenin yazya dkt hatrlarnda, tiyatro veya dier seyirlik
sanatlara kar buna benzer bir tutku ile balayan bir ba olmadn grrz.6
Ancak hem plastik hem de sahne sanatlarnda da, yurt iinde ve yurt dnda, ilk
denebilecek eserlere ve projelere imza atmtr.7
Darlbedayi Dnemi
Darlbedayi-i Osmaninideki idari grevinden nce 1914 ylnda Fransadan
stanbula bu ilk konservatuar ve denekli tiyatronun umum mdr olmak zere
davet edilen Andre Antoinenin bir dnem yardmcln yapmtr. Antoinenin ayn
yl ierisinde sava sebebi ile geri dnmek zorunda kal ve yaanan dier skntlar
sebebiyle kapanma noktasna gelen Darlbedayinin, alnan nlemler ve kararlar ile
ikinci kurulu yl saylan 1915te greve balamtr.
Ayn dnemde Kadky Belediye mdr olan Arseven, grevlerini fahri
olarak yerine getirecek yedi kiilik bir ynetim kurulunun yesi olmutur. 7 Mays
1915te ilk kez yaplan ynetim kurulu toplantsnda da sekreter olarak atanmtr
(Sevengil 1934: 99). 1926 ve sonrasna denk gelen bir sonraki yeniden yaplanma
dneminde de Darlbedayinin idare meclisi kaldrlm, belediyeye bal ilk dzen
kurulmu ve Arseven hem mdrle hem de edebi heyet yeliine tayin edilmitir.
1927 baharnda Arsevenin yerine Suphi sadk Bey getirilmi ve ayn dnem
Rusyadan dnen Muhsin Erturul artk Darlbedayinin sanat ilerinin bana
gelmitir (Sevengil 1934: 99).
dari grevlerinin yansra Arseven, Darlbedayi sahnelenen oyunlarn kostm,
sahne, dekor dzenleri ile de ilgilenmitir. rnein, Halide Edipin yazd bir opera
librettosunun sahnelenmesi iin seilen kurulda yer alm ve dekorlar Viyanada
yaptrma grevini stlenmitir (Nutku 1969: 43).
5 Arseven bir ansn yle anlatr: Bir daha duvarlara resim yaparsan ellerini balayp seni yke
kapatacaz, diyorlard. Pulat tepsi zerindeki resimleri grdke yine hevesim uyanyor, fakat artk
korkudan duvarlara resim yapamyor, katlar zerine kk resimler yapmakla iktifa ediyordum.
Btn emelim bunlar gibi boyal resim yapmakt (Arseven 1993: 29).
6 Diyarbekirli, Celal Esadn tiyatroya olan ilgisini ise yle ifade eder: Tiyatroya merak, kkken
Ramazan aylarnda devam ettii Karagz gsterilerinden sonra balamt. Ayrca meddahlarn
gsterilerini ve Galatada o devrin naml pandomim artistlerinin temsillerini izlemiti. Yine ramazan
aylarnda ehzadebanda gsteriler yapan Abdrrezzak ve Mnakyann temsillerine bykleriyle sk sk
giderlerdi [] Nitekim ksa zamanda, tiyatro merak gnlnde kvlcmlar yaratm, Beiktataki
konaklarnda bir sahne kurarak mahalle arkadalaryla bir hayli tiyatroculuk oynamlard (Diyarbekirli
1972: 307).
7 Birinci Dnya sava yllarnda mttefik devletlere Trkleri iyi tantmak amacyla yaplan giriimlerde
Celal Esadn hazrlad rapor uygulamaya geirilmi ve Avrupada sergiler ama ve konserler verme
karar alnmtr. Bu sayede Avrupada ilk Trk resim sergisi gerekletirilmitir (Arseven 1993: 20).
Sergide, Namk smail, Feymahan, all brahim, Hikmet Onat, Sami Yetikin eserleri yer almtr. Bu
sergi iin Arseven: Bunda esas itibariyle nazar- dikkate aldm mesele Avrupada yalnz muhaberedeki
cesaret ve kuvvetiyle tannan ve fakat medeniyette ve sanatta geri kalm bir millet gibi telkki edilen
Trklerin kltr ve sanat sahasndaki kabiliyetlerini gstererek mttefik milletlerde bir sempati
uyandrmakt. Bunun iin de Viyana ve Berlinde Trk ressamlarnn eserlerinden bir sergi yapmak faideli
olaca kanaatinde olduumu yazmtm der (Arseven 1993, 62). Arseven ayrca 1918de Almanyada
kurduu Trans Orient Film irketi ve gsterime giremesede senaryo yazarln ve ynetmenliini
stlendii Die Tote Wacht adl filmi ile ilk sinemaclarmzdan saylr (Arseven 1993: 164).
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Eserleri
Selim-i Salis (nc Selim)8
1909da Salah Cimcoz ile birlikte yazd, perdelik tarihi bir oyundur. Eser,
ilk defa 6 Eyll 1910da Beyolunda, eski Halep ars iindeki9 tiyatroda
Mnakyan Efendinin Osmanl Dram Kumpanyas tarafndan oynanm ve yaklak
drt yz seksen alt defa sahnelenmitir (alntlayan Sevengil 1934: 39-40).10
Dekorlar kendisi tasarlayp Paris te yaptran Celal Esad, bu oyunda modernleme
sorununu ilerken Napoleon ile III. Selim arasnda balar kurar(Arseven, Sanat ve
Siyaset 164). 1958 ylnda da ehir Tiyatrolarnda Behzat Butak tarafndan nc
Selim adyla tekrar sahnelenmitir (Diyarbekirli 1972: 307).
Bay Turgan (Byk Yarn)
Arsevenin 1913 ylnda yazd perdelik tarihi dram 1914de ilk kez
Tepeba tiyatrosunda sahnelenmitir. Daha sonra 1936da mzikli olarak tekrar
sahnelenen oyunun dekor ve kostm tasarm Arsevene aittir.11 Oyunun 1937
baskl nshasnda Arsevenin sahne tasarm izimlerine yer verilmitir Oyun ile
ilgili Tercman Hakikat gazetesi 31 Aralk 1914 saysnda Bay Aa Olu Ahmed ve
kdam gazetesi 29 Aralk 1914 saysnda Ahmet Cevdetin yazlar vardr (Arseven
1939: 160-169, 171-173).
Oyun, Alemdar Vakas yahut Sultan Selimi Salis adyla Sedat Semavi tarafndan beyaz perdeye
aktarlmak
istenmitir.
Bu
ilk
tarihi
film
denemesi
yarm
kalmtr.
(http://www.kameraarkasi.org/sinema/makaleler/yarimkalanfilmler.html)
9 Varyete Tiyatrosu (Thatre des Varits). Eser Yeni Tiyatro oyuncular tarafndan sahnelenmitir
10 Salah Cimcoz ile Abdlhamit dneminde Parise kaan Arseven eserin yazl aamas ile ilgili yle
der: Parise varnca Trkiyedeki garpllama temayllerini gsteren ve mevzuu itibariyle Franszlar
da ilgilendiren bir piyes yazp oynatmak ilk iimiz olacakt. te nc Selimi bu maksatla evvel
Trke olarak kaleme aldk, Franszcasn da zzet Melih Beye hazrlattk [] stanbul Hareket
Ordusunun gelmesi ve ortaln yatmasndan sonra memlekete dndk. Abdlhamit tahttan
indirilmiti. Hrriyetin artk kuvvetle yerletiine kanaat getirdiimiz iin Pariste oynatmak frsatn
bulamadmz nc Selimi stanbulda Trke olarak oynatmay kararlatrdk. Piyesimizi
Mnakyan Efendinin Osmanl Dram Kumpanyasna verdik. (Arseven 1993: 39)
11 Diyabekirli oyundan yle sz eder: Konu Orta an Asyasnda, Trk topluluklar arasnda getii
iin, Trk Kyafetleri zerine aratrmalar yapm, gerekli olanlar tespit etmi ve temsillerde bu
kostmler giyilmitir. Ayrca suluboya ile yapm olduu modellerini ve Asya ile ilgili sahne dekorlarn
sergilemitir. Bugn bile Devlet Gzel Sanatlar Akademisinde 20 yldr okutulan slp ve Kostm Tarihi
derslerinde Tarih boyunca Trk kyafetleri gsterilmezken ve Yunan Roma kyafetleri retilirken,
daha I. Dnya harbinden nce Celal Esadn Milli Kltrmz zerine yapt bu aratrmalar takdirle
karlamamak ona hayranlk duymamak elde deildir[..]piyesin btn ruhunu temsil iin, dekorlar
tanzim hususunda ihtiyar ettii fedakarlk ve Trk ruhunu tecelli ettirmek suretile gsterdii yenilik
sahnelerimize imdiye kadar ilk defa olarak kaydedilecek en byk bir muvaffakiyettir (Diyarbekirli
1972: 307).
8
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aban
Arsevenin Franszca yazd ancak sonra Almancaya evrilen ve Viyanada
sergilenen ilk Trk operetidir.12 lk gsterimi 20 ubat 1918de Volksoperde
olmutur (Fremden-Blatt 7). Dekor ve kostm tasarm Arsevene aittir.13 Bestesini
Victor Radeglia yapmtr. Eser ile ilgili kdam Gazetesi 10 Mart ve 13 Mart 1918
tarihli saylarndaki yazlarn yan sra Viyana basnnda da gsteriminden sonra
yazlar yer almtr (Nutku 1969: 41).
Saati
Darlbedayi 1931-32 oyun sezonunda dokuz kez sahnelenmi bir operettir
(Sevengil 1934: 60). Sevengil yazar ve bestekr Celal Esad olarak belirtmi (1934:
51) ancak Nutku (1969: 119) Yaar Nabinin bir yazsna14 dayanarak bestekr
Hasan Ferit Alnar olarak belirtmitir. Oyunun Darlbedayi dergisi ilannda ise Celal
Esad ad gemektedir
Byk kramiye
Arsevenin Yusuf Sururi ile yazd ve 1933 ylnda sahnelenen bir operettir.
BB ehir Tiyatrolar ktphanesindeki nshasnda 3 perdelik komedi olarak
kaydedilmitir.
Bir ki Drt
Arsevennin yine Yusuf Sururi ile birlikte yazd bir eserdir.(zn ve Drder
43) Bestesi ise Arsevene ait 3 perdelik musikili komedidir.
Yaman Don Kiot
Yusuf Sururi ile yazd bu dier eser 1937-39 oyun sezonunda sahnelenmesi
kabul edilmeyen on yedi oyun arasndadr (Nutku 1969: 242).
Gkte Ararken
Nejat Diyarbekirli Bay Turgandan sonra Arsevennin Gkte Ararken isimli bir
oyunu tercme ettii bilgisini verir (Diyarbekirli 1972: 309).
10 Mart 1918 tarihli kdam says yazsnda eserin nce Trke yazld sonradan Almancaya
evrildii yazmaktadr.
13 Bu eseri iin yazar yle der: Btn emelim Trk musikisini, Ruslar, Macarlar, Polonyallar gibi
polifonik yani ok sesli bir musiki haline getirerek garp lemine tantmakt. Bu haye ile stanbulda
bulunan ve musiki eserleri nairi Ricordinin musiki efi olan Radegliay bularak, yazdm bir operann
armoni ve orkestrasyonlarn yapmasn teklif ettim. e baladk ve birka ayda operay bitirdik. aban
ismini verdiim bu operam, para kazanmak iin Anadoludan gelen aban isminde bir kylnn
stanbulda geen maceras idi. Mzik motifleri de Dede ve Itr gibi eski Trk musiki stadlarnn
eserlerinden alnmt. Henz bir opera heyetine malik olmadmz iin bunu, o zaman stanbulda temsil
etmek mmkn deildi[] Hibir opera arkas arkasna bir iki defadan fazla oynanmad halde aban
yedi defa temsil edilmiti (Arseven 1993: 132-133).
14 (Yeni Mecmua Darlbedayi Aralk 1932).
12
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KAYNAKLAR
AHMET, Aaolu, 14 Aralk 1914, Byk Yarn, Tercman Hakikat Gazetesi,
stanbul.
ARSEVEN, Celal Esad, 24 Mart 1927, Bizde Temaa Sanat, Hayat Mecmuas,
stanbul.
ARSEVEN, Celal Esad, 1937, Bay Turgan, stanbul.
ARSEVEN, Celal Esad, 1939, Byk Yarn, kdam Matbaas, stanbul.
ARSEVEN, Celal Esad, 1984, Trk Sanat, Cem Yaynevi, stanbul.
ARSEVEN, Celal Esad, 1993, Sanat ve Siyaset Hatrlarm, (Haz., Ekrem In), letiim
Yaynlar, stanbul.
CEVDET, Ahmet, 14 Aralk 1914, Byk Yarn, kdam Gazetesi, stanbul.
DYARBEKRL, Nejat, 1972, Trk Sanatnn Byk Kayb Celal Esad Arseven, Trk
Kltr, 113, s. 303-314.
EYCE, Semavi. 1942, Celal Esad Arseven, Belleten, 142, s. 173-202.
KUBAN, Doan. 1962, Celal Esad Arseven ve Trk Sanat Kavram, Mimarlk, 72,
s.18-20.
NUTKU, zdemir. 1969, Darlbedayinin Elli Yl: Darlbedayiden ehir Tiyatrosuna,
Ankara niversitesi Dil ve Tarih Corafya Fakltesi, Ankara.
ZN, M. Nihat ve DRDER, Baha. 1967, Trk Tiyatrosu Ansiklopedisi, Remzi
Kitabevi, Ankara.
SEVENGL, Refik Ahmet. 1934, Yakn alarda Trk Tiyatrosu, 1. Cilt, Kanaat
Ktphanesi, stanbul.
SEVENGL, Refik Ahmet. 1968, Trk Tiyatrosu Tarihi: Merutiyet Tiyatrosu, Devlet
Konservatuar, stanbul.
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