Özet:

The wall paintings, which extended from Hun to Islam in the 8th century and then in the 11th century reached Anadolu by the hands of the Selchucks, are among the important elements of Turkish-Islamic art. These pictures, which appear to us as more interior decorations, reached their most vibrant days with the Westernization movement in the Ottoman era in the capital Istanbul, and in the 19th century, the Ayans moved to Anadolu with their hands. At the end of the century, it was able to go to the village mosques in the Taurad. It is here that the arms are also in operation. Thus, the decoration concept in which Tasavvufi symbols are included, along with the nature and landscape contents of the paintings processed in the religious and civil architecture of Istanbul and other important Ottoman cities, has become diverse and enriched. Now, the walls of the mosque begin to be painted with accessories such as the tarikat dervises and the items of the dervises such as zülfikar, teber, nefir and discovery. In addition to these are also painted other symbolic concepts that are considered to be tasavvufi, such as Mizan terazisi, livâu'l-hamd (Prophet's sanctuary), sancak, tespih, Ashâb-i Kehf ship. Thus the wall paintings have become an artistic instrument that reflects the tasavvufi views of the triangle of the bâni-usta-community, and transmits the messages of the taricates to which they belong. In this article, the paintings of objects that have taken an important place in the tasavvufi worlds of the taricates in the walls of the mosques built in the villages in the Eastern Black Sea Region have been described and an evaluation has been made with similar examples in other Islamic geographics, mainly in Anadolu.   Keywords: Tassavuf, Bektaşi, Zülfikar, Teber, Nefir.