Özet:

Abstract "Tulip Period" style, which was born into a time of socio-cultural turmoil and changes during the Late Classical period of the Ottoman art, has found its counterpart in architecture as well. On the architecture of the Tulip Period, which is roughly associated with Sultan Ahmed III's (1703-1730) reign, Western influence, especially from France, also begins to be observed. This period defines a process in which the Ottomans' attempt to open to the West became concrete. Among the prominent figures of the period are the executives and artists such as grand vizier Nevşehirli Damat Ibrahim Pasha, Yirmisekiz Mehmed Çelebi, Ibrahim Muteferrika, miniaturist Levni, and poets Seyyid Vehbi and Nedim. In this period, when the fascination with flowers such as rose, hyacinth, narcissus and especially tulip peaked, the gardens of palaces and mansions built in Kağıthane and other places were decorated with various flowers; these flowers have found a place also in architectural decoration. The provincial examples of the architecture of the Tulip Period, which is mostly known for the artifacts in the capital city of Istanbul, did not attract much attention except for the Damat Ibrahim Pasha complex in Nevşehir. Recent research and publications indicate that the fashion of the capital city was traced in the buildings in the provincial area during this period, even though they are not as splendid as the examples of Istanbul. The same trend is also observed in the structures of the Tulip Period in Çanakkale. The buildings constructed in Çanakkale during this period are Hacı Süleyman Fountain (1718-1719) in Lapseki-Umurbey, Gelibolu Telli Fountain (1725-1726), Babakale structures (Hırzü'l-bahr Castle, Ulu Camii, double baths and fountains). The Hançerli Fountain in Gelibolu was repaired during this period. The Dede Fountain (1739) and Çarşı Hamam (Double Bath) (1742) in Bayramiç, may also be seen as a late reflection of the same style. Moreover, the buildings controversial in terms of chronology and style (Bayramiç Çarşı Mosque, Bozcaada Alaybey Mosque, a fountain not inscription in Kilitbahir-Havuzlar, Babakale Hanım Fountain, Babakale Yukarı Fountain, Kadı and Kavga fountains in Umurbey) are not included in the article. These structures have been extensively examined in the surface researches we have been carrying out since 2005. Umurbey Hacı Süleyman Fountain has only an inscription. The fountain was probably destroyed in the early 20th century. Gelibolu Telli Fountain was built by Kaymak Mustafa Pasha, the son-in law of Ibrahim Pasha. Kaymak Mustafa Pasha's main reconstruction activities in this region are Hırzü'l-bahr Castle, which he built on Cape Baba, and the town he established. Mustafa Pasha who built a bath and a mosque within the castle, got fountains built on the coast and in the country beside a grand mosque and a double bath. The fountain on the beach is a modest representative of the square fountains of the period with its elaborate architecture. The fountain in the south of the square is in the same style. However, its two sides were closed by the buildings constructed later. Ulu Cami (Great Mosque), with its architecture containing wooden masts and a ceiling, is an extension of a tradition that goes back to the Seljuk period. But it does not have any painted decoration on its wood. The double bath attracts attention with its tempperiodture pattern without private rooms and graffiti. The fortress reflects an architecture complying with the change in weapons and defense technology of the 18th century. It does not have high walls like medieval castles. It was designed to defend a certain point. The inscriptions of the fortress and the mosque were written by the poet Seyyid Vehbi. The Çarşı Hamam (baths) in Bayramiç is also of the style without a private room. The parts of the structure for undressing and tepidity were destroyed. On the tempperiodture domes, rosettes made with the printing technique on plaster attract the attention. The marble inscription preserved in Hadimoğlu Mansion today must belong to this structure. The relation between bath and aforementioned the inscription has been suggested by us for the first time. It is noteworthy that the artistic style of the period is followed in these buildings, especially in terms of architectural decoration. In particular, the motifs and compositions on marble on the facades of Babakale Yalı Fountain, Gelibolu Telli Fountain, Gelibolu Hançerli Fountain and Bayramiç Dede Fountain reflect the style of the Tulip Period. But, Bayramiç Dede Fountain and Bayramiç Çarşı Hamamı (bath), Babakale Ahmed Ağa Fountain and Biga Mustafa Fountain should be seen as examples of the post-tulip period.

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