Abstract:

The wall paintings that began to be seen in the Ottoman society from the 15th century, began to be used in civil architecture in Istanbul from the second half of the 18th century. In short, they are spread throughout the Anadolu and the Balkans, even observed in the village mosques. In this study, the architecture of Recep Mr. Camii, located in the center of the Principal District in the southeastern part of Afyonkarahisar, has been drawn up from the point of view of the tasavvuf culture, taking into account the possibly iconographic meanings that the paintings may have, the paintings of the texts in the structure. In the walls of the work, two and four minarel mosques, on which is a belt and a curtain, the swimming pool, the curtain and candlestick, ibrik, clock, terrace, square, eight doors, five-storey and a reverse tube tree, in addition to the heavenly motif, the paintings of the teck objects were used. The work of the pen was done by a master named "Hussein Arif" in the "5 Muharrem 1310" (M. 30 July 1892) according to the master book found on the western wall. The portraits of a large number of tick objects on the same wall suggest that "Hussein Arif" works depending on a tick. In the study, the texts in the structure were studied with the descriptions and the writing program details and the conclusion was that the master could be the Bektaşi or Rifâi, the relationships of these taricates with each other, along with the relationships with the fituvvet organization and the association. The work is an original example of small-scale village mosques, which are widely met in the area with the paintings it possesses, and an important representative of the art of the texture with the paintings of the texture it possesses. Keywords: Turkish Art, Afyonkarahisar, Recep Bey Camii, Wall Picture, Pencil Work Bezeme, Bektaşilik, Rifâilik, Ahilik and Fütüvvet Organization.