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Antik dönemlerden ortaçağ tarihine kadar Emperyal imgelerin en önemlilerinden biri de, muhtemelen “atlı asker-kahraman” tasvirlerinin, görsel malzeme olarak kullanımıdır. Sergilenen güç olarak kabul edebileceğimiz atlı asker ya da kahraman imgesi, karşısındakine hükmetmek kaygısından doğmuş olmalı ki; bunun gerçekte karşılığını, “Ortaçağda çok sayıda ata sahip olmanın siyasi-askeri ve ticari güç göstergesi olarak kabul edilmesinden” anlamaktayız. Erken Türk eserlerinde karşımıza çıkan alp tasvirlerinin, Batı’ya göç evresinde, Anadolu’ya taşındığı bilinmektedir. İslamiyet’ten önceki kahramanlık vasfı ön planda olan, Türk alp geleneği İslamiyet’in cihad ve gaza anlayışı doğrultusunda alp-gazi yani Müslüman-Türk kahramanına dönüşmüş ve çeşitli tasavvuf tarikatlarının halk arasına yerleşmesiyle de alp-erenler yani savaşçı dervişler şekline girmişlerdir. Bu çalışma, Türk alp geleneğinin İslamiyet’ten sonraki dönemde Ortaçağ Anadolu’sundaki yansımalarını göstermesini amaçlamaktadır. Ortaçağ Anadolu’sunun “atlı asker ikonografisi”, Türklerin İslamiyet’ten önceki kültür çevresinde şekillenmiş ve İslamiyet’le beraber devam etmiş köklü bir geçmişin ürünüdür. Dini olsun ya da olmasın bu atlı tasvirler, Türklerin Anadolu’ya gelmeye başlamasından sonraki dönemlerde, fiziksel üstünlük kurma mücadelesi dışında kullanılan ve izleyiciler üzerinde psikolojik baskı kuracakları bir silaha da dönüşmüştür. Elbette bu silahın etkili olması için ortaçağ halkının iyi bildiği ve tanıdığı bir imge seçilmiş ve atlı asker (kahraman) tasvirleri Anadolu’da farklı malzemeler içeren eserler üzerinde Ortaçağ Anadolu halkının imajlar dünyasına hitap eden görsel bir şölene dönüşmüştür.
One of the most important images of the Empire from ancient times to the medieval history is the use of the images of probably the "hero-soldat" as visual material. The imagination of the horse soldier or hero that we can consider as the exhibited power must be born of the fear of ruling against it; in fact, we understand the reward of it, “the fact that we have a lot of horses in the Middle Ages is considered a political-military and commercial power indicator.” It is known that the alpine paintings that appear to us in early Turkish works, in the stage of migration to the West, moved to Anadolu. The Turkish alph tradition, which was in the forefront of the heroism before Islamism, has become the alph-gazi, i.e. the Muslim-Turkish hero in accordance with the Islamic jihad and Gaza understanding, and with the settlement of various tasavvuf traditions among the people, the alph-erenes, i.e. the warrior dervises, have also entered the form. This study aims to show the reflections of the Turkish alpine tradition in the Middle Ages Anadolu in the post-Islamic period. The "Iconography of the Horse Soldier" of the Middle Ages of Anatolia is a product of a rooted history that has been formed around the culture of the Turks before Islamism and continued with Islamism. Whether religious or not, these horse images have become a weapon in the period after the Turks began to come to Anatolia, used outside the struggle to establish physical superiority, and they will put a psychological pressure on the audience. Of course, to be effective this weapon, a image that the medieval people know and know well has been chosen and horse soldiers (heroes) portraits have become a visual celebration that addresses the world of images of the medieval Anadolu people on works containing different materials in Anadolu.
One of the important emperial images from antic ages till to the middle ages is probably the virtual usage of the “Mounted Troops”. The image of “Mounted Troops” or the hero as a representation of power has probably emerged from the idea of ruling which is realized with having war horses and in turn having military, commercial and political power. It is known that the Alp image in early Turkish Art has also been carried out in Anatolia after the migration to the West. This Turkish Alp taradition, which has been symbolized with heroic characteristics before the acceptance of Islam, has been transformed into Muslim-Turk and Alp-Gazi in accordance with the Islamic understandings of Cihad and Gaza. This image have also taken the form of Warrior-Derviş with the acceptance various Sufi Sects by the society. This study aims to show the reflections of Turkish Alp Tradition to the Anatolia of Middle Ages after the acceptance of Islam. The “Mounted Troops” of Middle Ages in Anatolia is the product of deep-rooted past which emerges from Turkish Culture before Islam and also continues with Islam. These images, either religious or not, has also been used as tools for sustaining psychological pressure on viewers in the chaotic time periods after Turks come to Anatolia. Of course, since the Middle Age Anatolia people are familiar with the image of “Mounted Troops”, this image has been chosen for sustaining the psychological pressure. So, “Mounted Troops (heroic)” images have been transformed to a virtual richness in various Art products with various materials which appeal to the image world of Anatolian people in middle Age.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Dergi Türü : Uluslararası
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