Zbigniew Bialas / Hasan Aslan / Mehmet Ali Icbay / Hasan Arslan
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- 3.4-Istanbul Beylerbeyi Mosque
Timur Bilir 294 In year 1984 when a research is executed by Azade Akar, it was seen that a randomly placed tile behind the corridor door at the yard exit is same with a tile that has been purchased and donated to the British Museum by the English collector Frederick Du Cane Godman in year 1881. This piece with dimensions of 25.5x23.5 cm. was found that it forms a double border when connected with another piece in the tomb and framed a circular form calligraphic tile panel that has two pieces in the tomb (Fig.2-3). Fig.2-3 Original tiles of panel Also a tile with dimensions of 23.5x25.5 cm. that is sold in 1991 at the Sotheby's auction, was found out to be a part that belongs to this calligraphic tile panel. These found pieces have been unified and by the employees of the A. Süheyl Ünver workshop a restitution drawing have prepared (Akar,2014). In the middle section of the panel that is ornamented by under glaze technique, “saadat (…prosperity) - davlat (…state) - abad (…perpetual) – kaim (…to survive in power) ” wording written by jali-thuluth calligraphy is placed as a quartet. Jali (Celi), in art of calligraphy, means that a writing is written by a pen thicker than normal. For example, thuluth writing in normal is written by 2.5 mm pen, when this measurement is exceeded the writing becomes more jali (Berk, 2000). The circular calligraphy placed in a square form was ornamented as white over cobalt blue base and the eyes of the letters were painted red. The tips of the letters are brought together to form a geometrical pattern. The corner areas of the square that are left out of the circle are ornamented by white rumi motives over turquoise base. The bud parts of the rumis are painted by red . The border circling the panel is embroidered with leaf shaped closed rumis and khetai flowers. The rumis and khetais were left white over the cobalt blue surface only in inner details coloring was used. The inner surfaces of the forms established by romis are painted with coralline. Azade Akar suggests that these tiles are of a palace structure as they carry that Persian wording. Hence, in 18 th century, as the Edirne Palace (Saray- Jadid-i Amire) fell from favor, the tiles ornamenting the palace were detached from time to time and brought to Istanbul. A part of the tiles have been carried to the Hagia Sophia Library, the greatest charity of Sultan Mahmud I, another part was placed to Beylerbeyi Mosque and Ayyub Sultan Tomb in mixed form during Abdulhamid II era. 295 A Circular Form Calligraphic Tile Panel 3. Structures with similar samples 3.1-Istanbul Süleymaniye Mosque The constructor of the Süleymaniye Mosque, called as master builder period work by Architect Sinan, was the Magnificent Süleyman. Under the minaret cone, tympanums of narthex, over the windows on the mihrab wall indoors and on two sides and over the mihrab of the mosque that constitutes the center of the social complex built in between 1550-1557, there are tile ornamentations. The tile panels used on both sides and on the mihrab are especially important as they are the first samples where the coralline color was used on polychrome underglaze technique tiles in Ottoman tile art (Altun&Demirsar Arl , 2008). Khetai style stylized flowers embroidered border surrounds the tipped arc window over and rectangular windows on both sides of the mihrab. Again stylized Chinese clouds were used on borders that limit the surfaces on the sides of the mihrab and separates the areas in between these and the windows. There are two big medallions (R:210 cm.) on both sides of mihrab where Surah al Fatiha is written with white colored jali-thuluth calligraphy on cobalt blue base (Fig.4). Fig.4 Tile panel from Süleymaniye Mosque The letter tips of the writings are gathered together to form a geometric pattern in the center. The eyes of the letters are filled with turquoise. The corners of the square panels on which the medallions are placed are embroidered with romi and khetai motives on white base. The tiled corners of the tipped arc stained glass windows over the big calligraphic medallions, are ornamented with spring branches and naturalist flowers over cobalt blue surface. On the rectangular tile boards over the tipped windows at both sides of the trump line of the mihrab, with jali-thuluth calligraphy, "La ilaha illallah" and "Mohammad un Rasulullah" are written on the right and left ones respectively. The calligraphies of the Süleymaniye Mosque are done by the famous calligrapher of the era Ahmed Karahisari and his adopted child and student Hasan Chelebi (Derman,1988). Timur Bilir 296 3.2-Istanbul Kadırga Sokollu Mehmed Pasha Mosque The constructor of the social complex consisting of a mosque, a madrasah and a dervish lodge residing in Istanbul Kad rga district was Sokollu Mehmed Pasha. On the rectangular tympanums of the windows in narthex, on mihrab walls, first and second floor windows rectangular tympanums, on four columns two on south and two on north, dome transition elements, pulpit cone of the mosque which is built by Architect Sinan in 1571 tile ornamentations are used. The most densely the tile ornamentation is seen indoors is the arc surface containing the mihrab. On both sides of mihrab the two tipped arc boards on the lower part are embroidered with khetai style flowers. On corner ornamentations of the panels same style flowers are used. On the upper part of these tipped arc panels there are verse boxes written with white jali-thuluth calligraphy over cobalt blue base. On the square boards over verse boxes, there are medallions in both which the Surah al Ikhlas is written over cobalt blue surface with white jali-thuluth calligraphy (Fig.5). Fig.5 Tile panel from Kad rga Sokullu Mehmet Pasha Mosque The letter tips of the writings are gathered together to form a geometric pattern in the center. The letters fillings are turquoise and the center of the red writing is indicated with a turquoise and cobalt blue star. Around the rumi filled tops at the corner areas of the medallions are ornamented with khetai flowers. The triangular spaces created by the tipped arc trump line of the marble mihrab also carry khetai ornamentation. In the rectangular space over this section, within two box plates connected via medalions with rumi, there are jali-thuluth calligraphies written in white over cobalt blue. 297 A Circular Form Calligraphic Tile Panel 3.3-Istanbul Kılıc Ali Pasha Mosque The mosque residing in İstanbul Tophane district is built by Admiral in Chief K l c Ali Pasha (1580). Within the scope of the social complex that is the work of Sinan, besides the mosque, a madrasah, tomb and bath units are present. In the narthex of the structure and indoors Iznik tiles dated to second half of the 16 th century, with underglaze technique were used. In sanctuary, the section with mihrab is covered with tiles up to the bottom of the stained glass windows at third floor. On the border surrounding the mihrab, the panel over mihrab and the windows at the sides of the mihrab there are medallions with red base and embroidered with naturalist style flowers and on the areas outside these khetai flowers. The connected tiles around the windows are also embroidered with khetais. Over the rectangular windows on the side walls of mihrab bulge on both sides of mihrab, there are verse tiles with cobalt blue surface and white writing . On the middeler of the tile panel with rectangular form over the mihrab, in circular form, gathered in white letters over cobalt base, from Asma’ul Husna (beautiful names of Allah) “Ya Hannan-Ya Mennan” wording is written in quadruple repetition (Fig.6). Fig.6 Tile panel from K l c Ali Pasha Mosque The letter tips of the writing in jali-thuluth calligraphy are gathered as to form a geometric pattern. The places without the writing of the rectangular panel are ornamented by white romi motives over turquoise base. Calligraphies of the K l c Ali Pasha Mosque are performed by Damircikulu Yusuf Afandy. (Derman,2008). 3.4-Istanbul Beylerbeyi Mosque The structure that is considered one of the most beautiful mansion mosques in Istanbul is built on the location of room of Holy Cardigan of the old Beylerbeyi (Istavroz) Palace by Sultan Abdulhamid I. The architect of the mosque which was open to prayer in 1778 is Mehmed Tahir Agha, the head architect of the era, according to some resources, according to others the architect is unknown. The mosque is in baroque style and the carrier walls are built of cut stone. It is an octagonal structure with one central dome and a half dome emphasizing Timur Bilir 298 the top of the mihrab. The main entrance is at the sea side. On the walls with fifty five windows and embroidered with wall stencils indoors, both the Ottoman tiles detached from the palace once was there and European tiles draws attention. In the sanctuary, the walls of the mihrab budge are covered with tiles up to lower border of the top windows. Also tiles were used on east, west and north walls baseboard parts. These belong to various centers that performed production in between 16 th and 18 th century. Over the marble mihrab, there is square panel where 16 th century tiles are used. In the center of the panel, there is the Surah al Ikhlas written over cobalt blue base with white jali-thuluth calligraphy (Fig.7). Fig.7 Tile panel from Beylerbeyi Mosque The letter tips of the writing gathered as to form a geometric pattern at the center. On the corner areas of the board there are ornamentations in khetai flowers surrounding the tops filled with rumis. 4. Results and Comparison The circular form panels original section dimensions are 24.5x24.5 cm in Ayyub Sultan Tomb. The total size of the panel written in jali-thuluth calligraphy is 68x68 cm. The panel was among the tiles that are transferred from Edirne Palace during the era of Abdulhamid II. The good will of the state and the prosperity to be standing forever, over it proves that these tiles belong to a palace. Azade Akar, in her work named "Decorative Examples from the Ottoman Culture in Edirne and the Edirne Palace Tiles", gives detailed information about this panel and published a restitution drawing. During the restoration of the tomb finished in 2015, utilizing this information, a drawing that will provide a visual completeness of the original of the sections was made and via production of missing parts the panel is reconstructed (Fig.8). 299 A Circular Form Calligraphic Tile Panel Fig.8 Completion drawings and measuraments for the restoration As the signature of the calligrapher is not present on the calligraphic panel, who has written it is not known. However a writing with this quality, gathered as a geometric pattern to be formed in the center should be of a famous calligrapher of its time. The panel in underglaze technique is dated back to second half of the16 th century in which the Iznik tiles lived their most glorious time. The calligraphies in this type of circular form are seen most generally in mosques and tombs in dome centers as wall stencils. Architect Sinan had used such kind of compositions in his mihrab tile ornamentations in his works. In this paper, similar compositions in works three of which are works of the great architect and the collected board in tile ornamentations of Beylerbeyi Mosque are presented as similar samples. The panel in Beylerbeyi Mosque is also one and same with the similar panels in Kad rga Sokolllu Mehmed Pasha Mosque mihrab except the coloring. The common property of all the examples is that the tips of the letters form a geometric net at the center. The Ayyub Sultan example is smaller than half compared to others in regard to size. Whereas it’s most important property is that, while in all other examples suras from Kor’an- Karim or Asma-ul Husna like subjects are used, in this there is a Persian wording. Despite Persian wordings are seen in epitaphs as marble reliefs, the examples known on tiles are limited. Another example is the "Khamamiye" poem written with ta'lik calligraphy at the Istanbul Zeyrek Bath (1540-1546) which is commissioned by Barbaros Hayraddin Pasha to Architect Sinan. 5. References Akar, A. (2014), Edirne’de smanlı Kültüründe Dekoratif Örnekler ve Edirne Sarayı İznik Çinileri (Decorative examples from the Ottoman Culture in Edirne and the Edirne Palace Tiles) , İstanbul: Edirne Valiliği Kültür Yay nlar Arl , B.D.,Altun, A. (2008), Anadolu Toprağının Hazinesi Çini- smanlı Dönemi (Treasury of The Anatolian Soil/ Tile-Ottoman Period), İstanbul: Kale Grubu Yay nlar Bak r,S. (1999), Iznik Çinileri ve Gülbenkyan Koleksiyonu (Iznik Tiles and Gulbenkian Collection), Ankara: Kültür Bakanl ğ Yay nlar Timur Bilir 300 Berk, S. (2000), Hattat Mustafa Rak m’ n Celi Sülüs Estetiğinde Ortaya Koyduğu Yenilikler (Innovations on the jali-thuluth style calligraphy by Mustafa Rak m), M. Uğur Derman 65.yaş armağanı, 125-154, İstanbul: Sabanc Üniversitesi Yay nlar Çantay, G. (2000), Eyüp Sultan Külliyesi (Ayyub Sultan building complex), IV. Eyüp Sultan Sempozyumu-Tebliğler, 156-164, İstanbul: Eyüp Belediyesi Yay n Derman, U. (1988), Mimar Sinan’ n Eserlerinde Hat San’at (Calligraphy art in the works of Architect Sinan), VI. Vakıf Haftası Türk Vakıf Medeniyeti Çerçevesinde Mimar Sinan ve Dönemi Sempozyumu, 287-292, İstanbul: Vak flar Genel Müdürlüğü Yay n Efendioğlu, M. (2005), Eyüp’te Bulunan Sahabe Kabirleri Üzerine Bir Değerlendirme (An assesment on Sahabe Tombs in Ayyub), IX. Eyüp Sultan Sempozyumu-Tebliğler, 23-24, İstanbul: Eyüp Belediyesi Yay n Orman, İ. (2002), Eyüp Sultan Türbelerindeki Çini Envanteri Çal şmalar (Inventory works on the tiles of Ayyub Sultan Tomb), V.Eyüp Sultan Sempozyumu-Tebliğler, 224-233, İstanbul: Eyüp Belediyesi Yay n Özkafa, F. (2009), Türk Hat Estetiğindeki Farkl laşmalar Bak m ndan Kad rga Sokullu Camii (In terms of aesthetic variations of Turkish calligraphy , Kad rga Sokullu Mosque), VII. Uluslararası Türk Kültürü Kongresi-Bildiriler, Konya: Atatürk Kültür Merkezi Yay nlar Subaş , H. (2011), Süleymaniye Camii Hatlar 2010 Restorasyonu (Restoration of Suleymaniye Mosque’s Calligraphys -2010), Vakıf Restorasyon Yıllığı-Sayı 3,İstanbul: Vak flar Genel Müdürlüğü Yay n Yetkin, Ş. (1988), Mimar Sinan’ n Eserlerinde Çini Süsleme Düzeni (Tile decoration arrangements in the works of Architect Sinan), Mimar Başı Koca Sinan’ın Yaşadığı Çağ ve Eserleri-I, İstanbul: Vak flar Genel Müdürlüğü Yay n Yüklə 12,15 Mb. Dostları ilə paylaş:
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