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XVIII. yüzyıldan itibaren Osmanlı İmparatorluğu’nun Batı ile artan ilişkileri sonucu yeni bir sanat ortamı doğmuş ve süsleme sanatında duvar resmi olarak anılan yeni bir tür ortaya çıkmıştır. Öncelikle İstanbul’da saray ve çevresinde karşımıza çıkan bu süsleme anlayışı, zamanla tüm Anadolu’ya yayılmıştır. İstanbul’un aksine Anadolu’da özellikle camilerin yoğun biçimde alçı ve kalemişi süslemelerle bezendiği gözlenmektedir. Kalemişi ustaları ya da usta grupları tarafından yapılan bu süslemelerde, batı etkili motiflerin yanı sıra çeşitli dinsel ve sembolik tasvirlere de yer verilmiştir. Köy köy gezerek sanatlarını icra eden bu gezici ustaların pek çoğu icra ettikleri sanat eserlerine imza atmaktan imtina ettiklerinden genellikle isimleri bilinmemektedir. Ancak az da olsa bazı usta isimlerine rastlamak mümkündür. İncelemiş olduğumuz Demirci Küpeler Köyü Camii’nde ise hem yapı ustasının hem kalemişi süslemeleri yapan müzehhibin hem de hattatın isimlerinin verilmiş olması bu açıdan dikkat çekicidir. Cami, dıştan basit bir görünüşe sahip olmasına rağmen iç mekânı zengin kalemişleri ile süslenmiştir. Süslemelerle birlikte dini içerikli hat yazılar da kullanılmıştır. Çalışmamızda yapı plan ve süsleme özellikleri bakımından ayrıntılı biçimde ele alınmaktadır.
The XVIII. As a result of the growing relations of the Ottoman Empire with the West since the century, a new art environment has been born and a new species has emerged, officially referred to as the wall in the decoration art. First of all, this conception of decoration that we encounter in the palace and surroundings in Istanbul has spread throughout the Anadolu over time. Unlike Istanbul, it is observed that in Anadolu, especially the mosques are intensely wrapped with cotton and pencil decorations. In these decorations made by the artists or the artists’ groups, western influential motives, as well as various religious and symbolic portraits, are included. The names are often unknown because many of these travelling masters who perform their art by traveling to the village have refused to sign their artworks they perform. However, it is possible to find a few master names. In the Demirci Kubeler Village Camii we have reviewed, it is remarkable that the names of the museum and the line that decorate both the building master and the pencil are given in this regard. Cami, though it has a simple appearance from the outside, is decorated with its wealthy remains. It is also used with religious texts. Our work is detailed in terms of construction planning and decoration characteristics.
As a result of the increasing relations of the Ottoman Empire with the West as of the 18th century, a new art environment was born, and a new type, called mural, emerged in the decoration art. This decoration approach, which primarily became popular in the palace and its environment in Istanbul, spread all over Anatolia in the course of time. Contrary to Istanbul, it is observed that, especially mosques were adorned with plaster and engravings in Anatolia. In these decorations, made by painted decoration masters or master groups, western influenced motifs as well as various religious and symbolic depictions were also included. Since many of these masters performing their art by traveling from village to village refrained from putting their signatures on their works of art, their names are generally unknown. However, it is possible to come across some masters’ names, though not many. In the Demirci Küpeler Village Mosque, which we studied, it is noteworthy that the names of the master builder, as well as the illuminator and calligrapher who performed the engravings, were given. Although the mosque has a plain exterior appearance, its interior is adorned with a rich painted decoration. Religious calligraphy scripts were also used along with decorations. In our study, the building is discussed in detail, with respect to its plan and characteristics.
Field : Güzel Sanatlar; Mimarlık, Planlama ve Tasarım
Journal Type : Ulusal
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