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Kütahya’nın en önemli mabedi olan Ulu Cami; ilk yapıldığı dönem itibariyle Anadolu’nun ahşap direkli camilerinden biridir. Fakat daha sonradan geçirdiği pek çok onarım sonucunda caminin bu hali değişmiş ve şehirdeki en önemli Osmanlı eseri olan cami, günümüzde iki kubbeli ve boylamasına plana sahip bir yapı haline gelmiştir. Bu cami içerisinde yer alan kitâbeler ile hüsn-i hat yazıları; bu makalenin esas konusudur. Kitâbelerin Arapça harflerle yazılışları ile Türkçe okunuşları, daha evvelki çalışmalarda fark edilen eksik ve yanlışlardan dolayı tekrar ele alınmıştır. Ayrıca cami içindeki yazıların; ne manaya geldiği, caminin neresinde, hangi tarzda, hangi hattat tarafından yazıldığı tek tek belirtilmiştir. Zira kaynakların çoğunda camideki yazılarla alakalı sadece tek bir hattat ismi geçmektedir. Hâlbuki yazılarda ketebesi bulunan dört hattat ismi tespit edilmiştir. Tüm bu bilgiler neticesinde, Kütahya Ulu Cami’ndeki sıva veya ahşap üzerine boya ile kalem işi olarak yapılmış hüsn-i hat yazılarının Osmanlı camilerindeki hat geleneğini ne kadar yansıttığı, yazıların hüsn-i hat sanat tarihindeki yeri ile hattatların yazı ve istif hususundaki başarıları değerlendirilmiştir. Ayrıca cami içindeki bazı yazıların silinip, başka yazılar yazıldığı fark edilmiş ve bu durumun caminin son restorasyon çalışmalarından sonra yapıldığı tahmin edilmektedir.
Ulu Cami, the most important temple of Kütahya, is one of the wood-right mosques of Anadolu since the first time it was built. But as a result of many repairs he went through later, this state of the mosque has changed and the mosque, the most important Ottoman work in the city, has now become a structure with a plan of two cubes and lengths. This is the book, and the book, and the book, and the book, and the book, and the book, and the book. The Arabic letters of the books and the Turkish readings were re-interpreted due to the faults and errors noticed in previous studies. It is also stated that the writings in the mosque; what it means, where the mosque is, in what style, which line is written by. For most of the sources in the mosque relating to only one line of name passes. There are four lists in the book that are listed. As a result of all this information, how much Hüsn-i line writings made as paint and pen work on the cave or wood in Kütahya Ulu Cami reflect the line tradition in the Ottoman mosques, the place of the writings in Hüsn-i line art history and the achievements of the lines in the field of writing and placement have been assessed. It is also noticed that some writings in the mosque were deleted and other writings were written, and this situation is estimated to have been done after the mosque's last restoration work.
The Grand Mosque, the most significant temple of Kütahya, was one of the Anatolian mosques with wooden posts when it was first built. However, due to the repairs it has undergone later, today it became a two-domed and longitudinally organized plan structure. The inscriptions and calligraphy inside the mosque form the topic of this article. The Arabic spellings and Turkish pronunciations of the inscriptions have been reconsidered because of the incomplete and incorrect data in earlier studies. Moreover, the meanings, locations, styles and calligraphers of the writings inside the mosque have been specified. Although most resources include one calligrapher’s name regarding the inscriptions, four calligrapher signatures have been detected in them. Based on all this information, this study has evaluated to what extent the hand-drawn calligraphy inscribed with paint on the plaster or wood in the Grand Mosque of Kütahya reflect the calligraphy tradition in the Ottoman mosques, the place of these inscriptions in the calligraphy art history and the calligraphers’ skills in writing and design. Furthermore, it has been realized that some inscriptions in the mosque were deleted and replaced by others. It is estimated that this situation occured following the last restoration of the mosque.
Field : Ziraat, Orman ve Su Ürünleri; Spor Bilimleri
Journal Type : Uluslararası
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