Abstract:

The castles and scenes, along with the extraordinary stories they contain, provide important clues about the history, religion, daily life, the world of mind, and the social expectations of the time they are painted. In this sense, the Salmon also has such a magnitude. He is the son of Fatih Sultan Mehmet, the son of Cem Sultan, and he is the son of Fatih Sultan, the son of Fatih Sultan. In the center of Saltuk-Nâme, which is the product of a seven-year field work between 1473 and 1480, is located the Yellow Saltık/Saltuk, who lived in the 13th century Anadolu and the Balkans. The Sultan of the Anadolu Selçuklu State II. From Giyaseddin Keyhüsrev (1237-1246), the work that extends to the period of Ottoman's bishop, is the subject of the gaza and jihad ideology through the Yellow Saltyk. On the other hand, as the hero of the work, Yellow Salty’s activities around the world are also included in the name of Islamic faith and society. Saltuk-Nâme also, along with the 13th century, contains important aspects of the Ottoman official ideology, religious understanding and social expectations of the Fatih Sultan Mehmet period. Therefore – rather than alone in the 13th century – it also reflected the change and transformation that occurred in the perception of the state and society in the period of time extending to the Fatih period. In addition, the Yellow Saltyk prototype, parallel to the land expansion seen during the Fatih Sultan Mehmet period, reflects the expectations and desires of the Ottoman state and society structure. In this article (a) the presentation of the Yellow Saltık in Saltuk-Nâme, leading an important cult in the Belarusian and the Belarusian beliefs, and (b) in connection with this, the role of the stories acquired in Saltuk-Nâme as a distant-menkbe type in the judgment of this perception will be reflected together with the perception of the religion of the Fatih period.

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