Toplumlar yaklaşık üç yüz yıldır bilimsel, sanatsal ve kültürel birikimlerini ansiklopedilerde ge... more Toplumlar yaklaşık üç yüz yıldır bilimsel, sanatsal ve kültürel birikimlerini ansiklopedilerde gelişmişlik göstergesi olarak sergilemektedirler. Bir toplumun kendi entelektüel birikimi ile kendi ansiklopedisini hazırlayabilmesi önemli bir akademik ve kültürel gelişmişlik göstergesidir. Aynı şekilde bir akademik çalışma dalının (disiplin/bilim dalı) kendi ansiklopedisini hazırlayabilme aşamasına ulaşabilmesi de rüştünü kanıtlamasının bir göstergesi olarak kabul edilmelidir. Türkiye Turizm Ansiklopedisi; Türk akademisyen, araştırmacı ve lisansüstü öğrencilerin katkılarıyla hazırlanmış bütünüyle ulusal bir çalışmadır. Beş yıl gibi bir sürede iki koordinatör/editör, 31 araştırmacı tarafından hazırlanan Türkiye Turizm Ansiklopedisi’nde 2240 yazar toplam 8084 ansiklopedi maddesi yazdı. Toplamı 16 ciltten oluşan bu ansiklopedi, içerdiği konular, kapsamı ve getirdiği bazı yeni uygulamaları ile Türkiye’de hazırlanan ve yayımlanan ansiklopediler içinde ayrı bir yere sahiptir. Bu yayın aynı zamanda, içeriği itibariyle turizm alanında dünyadaki en kapsamlı ve benzeri olmayan öncü bir ansiklopedi çalışmasıdır.
Niğde-Bor’da Sivil-Dini Mimarlık Örneği: Ahmet Kuddusi Konutu & Çilehanesi, 2021
Künye : Yıldız Kısacık, S., & Arar, M. B. (2021). Niğde-Bor’da sivil-dini mimarlık örneği: Ahmet ... more Künye : Yıldız Kısacık, S., & Arar, M. B. (2021). Niğde-Bor’da sivil-dini mimarlık örneği: Ahmet Kuddusi Konutu & Çilehanesi. Turkish Studies, 16(1), 427-435.
Ahmet Kuddusi was originally from Marash and was born in Bor district of Niğde province. His father, Seyyid İbrahim Efendi, is a Naqshbandi sheikh who came from Marash to Bor and settled. After the death of his father, Ahmet Kuddusi paid a visit to Tokat Turhal and then to the holy lands such as Mecca and Medina to complete his madrasa education and returned to Anatolia to take part in the Ottoman-Russian war. After the war, he visited Istanbul, which was the capital city, many times, and held face-to-face meetings with the sultans. Ahmet Kuddusi became an important literary figure when he lived, and he signed many works written in Sufism, called vasiyetname (testament) and pendname (a kind of text about advice) and icazetname (a kind of text about permit). In his works, he also wrote a divan (a collection of poems), along with examining sect issues, mystical facts, dervish atmosphere and sociocultural issues. For this reason, in addition to his sufi identity, he was also known as the Divan poet. In addition to his literary identity, he is also politically influential. It is evident with archive documents that he was mentioned as a lofty, virtuous and wise person by the administrators in particular in Niğde, and he received and sent documents from the office of grand vizierate. In his testament, he wanted to be shrouded with fabric woven from Niğde cloth, and asked that his corpse be buried with little participation so that no one would go to trouble. Ahmet Kuddusi, who died in Bor in 1848-1849 AD (Hijri 1265), became a considerable,person by the influential people even after his death, and it was determined by archive documents that his allotment was raised from the Ministry of Finance when his son's financial situation deteriorated. In Sufism, the disciple needs education. This education is given scientifically in dervish lodges and madrasahs. Spaces where spiritual, physical and spiritual human objectivation can be completed is also needed. Suffering houses (çilehane) is at the top of these places. Çile is a word of Persian origin and as a word meaning “suffering place”. Suffering houses (çilehouse) constitute an important building group of the Islamic tradition. The places where sheikhs and dervishes belonging to various sects are closed for a certain period of time in order to be close to Allah, to obtain his consent and to fulfill the requirements of the religion have gained a place in our culture as “çilehane-halvethane”. "Halvet" is a word of Arabic origin and means to desire to be secluded and to be alone. These types of buildings can be grouped as dervish lodges, mosques or rooms in tomb, suffering houses built in natural formations, and self-built suffering houses. Ahmet Kuddusi’s the structure of suffering house (Çilehane), which constitutes the subject of the research, is located in Bor district of Niğde province. Bor is 12 km from Niğde province and is the largest district. This building, which we have determined, extends in a rectangular plan in the north-south direction of Sarı Saltuk Street in three adjacent masses about 20 meters. The building, which has a single-storey establishment, is divided into four sections in total in the interior. These places are arranged as selamlik (a room for men), suffering house (çilehane) unit, bath and water tank. While the bath unit exhibits an approximately square plan in terms of plan, all other units extend in a rectangular direction. All the door and window openings belonging to the building are in the west direction, which is the main facade. There are two door openings and three window openings in total. As the construction material, rough cut and smooth cut stones are used in the body walls, wood and roofing tile in the covering system, wood material in the panels in the doors, windows and niche openings in the interior and exterior spaces. There is a 6 meter deep water well in its courtyard. Wooden panels and screens placed in niches that provide visual and movement in the interior of the building, which was built in a single-storey and masonry order, were recently included in the structure. The building is like a small sized house. Among the suffering houses (çilehane) in Anatolia, such a structure built independently and in individual purposes has not been encountered in the sources and field studies. It is quite different from Somuncu Baba in Çanakkale Gallipoli, Bursa, Aksaray and Darende and the suffering house (çilehane) units established in Konya and Afyon Mevlevihane. Ahmet Kuddusi's features such as sufi, sect and divan poet have brought his religious personality to the forefront. He associated these features with religion around the architecture more, and the living spaces caused the entire residence to be called as suffering house (çilehane). Ahmet Kuddusi followed in the footsteps of his father and joined the Kadiri tariqat in the following years. For this reason, it is accepted as a valid name in both tariqats. Even though he faced various adversities he experienced, he is one of the most important ones that are remembered with goodness after his death. Ahmet Kuddusi's house is a quite different and unique work in terms of architectural and plan features, although it shows the characteristics of the period with the 18th and 19th century works built in the region in terms of material features. In this context, although it is the only building that has been identified so far in the province with its religious characteristics of the suffering house (çilehane), it has been culturally designed independently from the surrounding civil architecture. The structure, whose plan typology is composed of mixed masses, is built in a simple construction, it is different from other examples in Anatolia. The residence, which is evaluated in terms of both religious and civil architecture, contributes to Bor's spiritual life, urban texture, cultural memory, faith tourism and Anatolian Architecture History. The name and personality of Ahmet Kuddusi was mentioned in this residence (Çilehane) and took place in the foundation culture in nearby cities such as Aksaray and Konya. It contributed to the spiritual life, urban memory, religious and civil architecture of Bor district, and gained a unique place in Anatolian Turkish architecture.
Bu çalışma Cumhuriyet Üniversitesi 6. Sanat Tarihçiler Kongresinde bildiri olarak sunulmuştur.
K... more Bu çalışma Cumhuriyet Üniversitesi 6. Sanat Tarihçiler Kongresinde bildiri olarak sunulmuştur. Künye : ARAR, M.B. (2018). “Fransa’da Gotik Sanat ve Kilise Mimarisine Etkisi”, VI. Sanat Tarihi Öğrenci Kongresi Prof.Dr. Örcün Barışta Anısına, 12-13 Nisan 2018 Cumhuriyet Üniversitesi, Sivas. (Bildiri) Fransa'da Gotik Sanat ve Kilise Mimarisine Etkisi adını taşıyan bu çalışma Ortaçağ Fransa'sında gelişen bu akımın temelini ve mimari açıdan incelenmesini içermektedir. Avrupa Sanatı ve Sanat Tarihi açısından Gotik mimarinin doğduğu coğrafya ve çevre ülkelere yayılmasının etkisi olarak felsefi ve mimari özellik, üslup ve süsleme açısından kiliselere olan etki temel alınarak incelenmiştir. Anahtar Kelimeler : Fransa, Gotik Sanat, Kilise, Mimari
Künye: Arar, M.B. (2020). "Niğde Tren Garları" Niğde Valiliği İl Kültür ve Turizm Müdürlüğü Yayın... more Künye: Arar, M.B. (2020). "Niğde Tren Garları" Niğde Valiliği İl Kültür ve Turizm Müdürlüğü Yayınları, Niğde. The railways that emerged in England, showed a rapid development and spread to various parts of the world in the 19th century. Ottoman Empire did not remain indifferent to these developments, thus Railway construction started with Sultan Abdulaziz Khan period. Formingour subject “Niğde Train Stations” construction in two periods. As a result of our work, eight train stations has been determined. Two of this stations builted in Ottoman era six of these builted in Turkish Republic period. The station Ulukışla and Çiftehan, facility that constitutes our subject, part of the Anatolian-Baghdad railway project, one of the most important reconstruction activities of the Sultan II. Abdulhamid Khan period. Other railway construction activities in the Turkish Republic period. Niğde, Hüyük, Bor, Bereket, Karalar and Gümüş stations also belong to this period. In both periods, development activities were carried out by the Germans. Structures at the station German-type projects, and thus are the works that exhibit the German-Turkish eclectic features of its period a draws attention. It also played an important role in the urbanization of the town following the period and also it has been the main factor in the development of the surrounding settlement over time. For this reason, railway structures in Niğde, Railway Heritage and industrial architecture within most important. Although each of them is a work exhibiting the characteristic features of its period in Anatolian Turkish Architecture, at the same time, they are historical, social, technological and scientific witnesses of the industrialization culture in Niğde.
İngiltere’de ortaya çıkan demiryolları, hızlı bir gelişim göstererek 19. yüzyılda dünyanın çeşitli bölgelerine de yayılmıştır. Osmanlı Devleti bu gelişmelere kayıtsız kalmamış, nitekim Sultan Abdülaziz dönemi ile birlikte demiryolları inşasına başlanmıştır. Konumuzu teşkil eden Niğde Tren Garları, başlıca iki dönemde inşa edilmiş yapılar olarak karşımıza çıkmaktadır. Yaptığımız çalışmalar neticesinde toplam 8 gar tesisi tespit edilmiştir. Bunlardan ikisi Osmanlı, altısı Cumhuriyet dönemine aittir. Osmanlı dönemine ait Ulukışla ve Çiftehan garları Sultan II. Abdülhamid Han dönemi imar faaliyetlerinden Anadolu-Bağdat Demiryolları’nın önemli bir parçasıdır. Diğer demiryolu inşa faaliyetleri ise Cumhuriyet döneminde gerçekleşmiştir. Niğde, Hüyük, Bor, Bereket, Karalar ve Gümüş garları bu döneme ait eserlerdir. Her iki dönemde de imar faaliyetleri Almanlar tarafından yapılmıştır. İstasyon dâhilindeki yapılar özellikleri bakımından Alman tip projelerin belirgin örneklerindendir ve dolayısı ile döneminin Alman-Türk eklektik üsluplarını sergileyen eserler olarak dikkat çekmektedir. Yapılar, inşa edildiği dönemlerde bölgelerin şehirleşmesinde önemli rol üstlenmiş, çevresindeki yerleşim mahallinin zamanla gelişmesinde ana etken olmuştur. Bu sebeple Niğde’de yer alan demiryolu yapıları, demiryolu mirası ve endüstriyel mimari kapsamında oldukça önemlidir. Her biri Anadolu Türk Mimarisi içerisinde döneminin karakteristik özelliklerini sergileyen birer eser olmakla birlikte, aynı zamanda Niğde’deki sanayileşme kültürünün tarihsel, sosyal, teknolojik ve bilimsel tanıkları niteliğindedir.
Toplumlar yaklaşık üç yüz yıldır bilimsel, sanatsal ve kültürel birikimlerini ansiklopedilerde ge... more Toplumlar yaklaşık üç yüz yıldır bilimsel, sanatsal ve kültürel birikimlerini ansiklopedilerde gelişmişlik göstergesi olarak sergilemektedirler. Bir toplumun kendi entelektüel birikimi ile kendi ansiklopedisini hazırlayabilmesi önemli bir akademik ve kültürel gelişmişlik göstergesidir. Aynı şekilde bir akademik çalışma dalının (disiplin/bilim dalı) kendi ansiklopedisini hazırlayabilme aşamasına ulaşabilmesi de rüştünü kanıtlamasının bir göstergesi olarak kabul edilmelidir. Türkiye Turizm Ansiklopedisi; Türk akademisyen, araştırmacı ve lisansüstü öğrencilerin katkılarıyla hazırlanmış bütünüyle ulusal bir çalışmadır. Beş yıl gibi bir sürede iki koordinatör/editör, 31 araştırmacı tarafından hazırlanan Türkiye Turizm Ansiklopedisi’nde 2240 yazar toplam 8084 ansiklopedi maddesi yazdı. Toplamı 16 ciltten oluşan bu ansiklopedi, içerdiği konular, kapsamı ve getirdiği bazı yeni uygulamaları ile Türkiye’de hazırlanan ve yayımlanan ansiklopediler içinde ayrı bir yere sahiptir. Bu yayın aynı zamanda, içeriği itibariyle turizm alanında dünyadaki en kapsamlı ve benzeri olmayan öncü bir ansiklopedi çalışmasıdır.
Niğde-Bor’da Sivil-Dini Mimarlık Örneği: Ahmet Kuddusi Konutu & Çilehanesi, 2021
Künye : Yıldız Kısacık, S., & Arar, M. B. (2021). Niğde-Bor’da sivil-dini mimarlık örneği: Ahmet ... more Künye : Yıldız Kısacık, S., & Arar, M. B. (2021). Niğde-Bor’da sivil-dini mimarlık örneği: Ahmet Kuddusi Konutu & Çilehanesi. Turkish Studies, 16(1), 427-435.
Ahmet Kuddusi was originally from Marash and was born in Bor district of Niğde province. His father, Seyyid İbrahim Efendi, is a Naqshbandi sheikh who came from Marash to Bor and settled. After the death of his father, Ahmet Kuddusi paid a visit to Tokat Turhal and then to the holy lands such as Mecca and Medina to complete his madrasa education and returned to Anatolia to take part in the Ottoman-Russian war. After the war, he visited Istanbul, which was the capital city, many times, and held face-to-face meetings with the sultans. Ahmet Kuddusi became an important literary figure when he lived, and he signed many works written in Sufism, called vasiyetname (testament) and pendname (a kind of text about advice) and icazetname (a kind of text about permit). In his works, he also wrote a divan (a collection of poems), along with examining sect issues, mystical facts, dervish atmosphere and sociocultural issues. For this reason, in addition to his sufi identity, he was also known as the Divan poet. In addition to his literary identity, he is also politically influential. It is evident with archive documents that he was mentioned as a lofty, virtuous and wise person by the administrators in particular in Niğde, and he received and sent documents from the office of grand vizierate. In his testament, he wanted to be shrouded with fabric woven from Niğde cloth, and asked that his corpse be buried with little participation so that no one would go to trouble. Ahmet Kuddusi, who died in Bor in 1848-1849 AD (Hijri 1265), became a considerable,person by the influential people even after his death, and it was determined by archive documents that his allotment was raised from the Ministry of Finance when his son's financial situation deteriorated. In Sufism, the disciple needs education. This education is given scientifically in dervish lodges and madrasahs. Spaces where spiritual, physical and spiritual human objectivation can be completed is also needed. Suffering houses (çilehane) is at the top of these places. Çile is a word of Persian origin and as a word meaning “suffering place”. Suffering houses (çilehouse) constitute an important building group of the Islamic tradition. The places where sheikhs and dervishes belonging to various sects are closed for a certain period of time in order to be close to Allah, to obtain his consent and to fulfill the requirements of the religion have gained a place in our culture as “çilehane-halvethane”. "Halvet" is a word of Arabic origin and means to desire to be secluded and to be alone. These types of buildings can be grouped as dervish lodges, mosques or rooms in tomb, suffering houses built in natural formations, and self-built suffering houses. Ahmet Kuddusi’s the structure of suffering house (Çilehane), which constitutes the subject of the research, is located in Bor district of Niğde province. Bor is 12 km from Niğde province and is the largest district. This building, which we have determined, extends in a rectangular plan in the north-south direction of Sarı Saltuk Street in three adjacent masses about 20 meters. The building, which has a single-storey establishment, is divided into four sections in total in the interior. These places are arranged as selamlik (a room for men), suffering house (çilehane) unit, bath and water tank. While the bath unit exhibits an approximately square plan in terms of plan, all other units extend in a rectangular direction. All the door and window openings belonging to the building are in the west direction, which is the main facade. There are two door openings and three window openings in total. As the construction material, rough cut and smooth cut stones are used in the body walls, wood and roofing tile in the covering system, wood material in the panels in the doors, windows and niche openings in the interior and exterior spaces. There is a 6 meter deep water well in its courtyard. Wooden panels and screens placed in niches that provide visual and movement in the interior of the building, which was built in a single-storey and masonry order, were recently included in the structure. The building is like a small sized house. Among the suffering houses (çilehane) in Anatolia, such a structure built independently and in individual purposes has not been encountered in the sources and field studies. It is quite different from Somuncu Baba in Çanakkale Gallipoli, Bursa, Aksaray and Darende and the suffering house (çilehane) units established in Konya and Afyon Mevlevihane. Ahmet Kuddusi's features such as sufi, sect and divan poet have brought his religious personality to the forefront. He associated these features with religion around the architecture more, and the living spaces caused the entire residence to be called as suffering house (çilehane). Ahmet Kuddusi followed in the footsteps of his father and joined the Kadiri tariqat in the following years. For this reason, it is accepted as a valid name in both tariqats. Even though he faced various adversities he experienced, he is one of the most important ones that are remembered with goodness after his death. Ahmet Kuddusi's house is a quite different and unique work in terms of architectural and plan features, although it shows the characteristics of the period with the 18th and 19th century works built in the region in terms of material features. In this context, although it is the only building that has been identified so far in the province with its religious characteristics of the suffering house (çilehane), it has been culturally designed independently from the surrounding civil architecture. The structure, whose plan typology is composed of mixed masses, is built in a simple construction, it is different from other examples in Anatolia. The residence, which is evaluated in terms of both religious and civil architecture, contributes to Bor's spiritual life, urban texture, cultural memory, faith tourism and Anatolian Architecture History. The name and personality of Ahmet Kuddusi was mentioned in this residence (Çilehane) and took place in the foundation culture in nearby cities such as Aksaray and Konya. It contributed to the spiritual life, urban memory, religious and civil architecture of Bor district, and gained a unique place in Anatolian Turkish architecture.
Bu çalışma Cumhuriyet Üniversitesi 6. Sanat Tarihçiler Kongresinde bildiri olarak sunulmuştur.
K... more Bu çalışma Cumhuriyet Üniversitesi 6. Sanat Tarihçiler Kongresinde bildiri olarak sunulmuştur. Künye : ARAR, M.B. (2018). “Fransa’da Gotik Sanat ve Kilise Mimarisine Etkisi”, VI. Sanat Tarihi Öğrenci Kongresi Prof.Dr. Örcün Barışta Anısına, 12-13 Nisan 2018 Cumhuriyet Üniversitesi, Sivas. (Bildiri) Fransa'da Gotik Sanat ve Kilise Mimarisine Etkisi adını taşıyan bu çalışma Ortaçağ Fransa'sında gelişen bu akımın temelini ve mimari açıdan incelenmesini içermektedir. Avrupa Sanatı ve Sanat Tarihi açısından Gotik mimarinin doğduğu coğrafya ve çevre ülkelere yayılmasının etkisi olarak felsefi ve mimari özellik, üslup ve süsleme açısından kiliselere olan etki temel alınarak incelenmiştir. Anahtar Kelimeler : Fransa, Gotik Sanat, Kilise, Mimari
Künye: Arar, M.B. (2020). "Niğde Tren Garları" Niğde Valiliği İl Kültür ve Turizm Müdürlüğü Yayın... more Künye: Arar, M.B. (2020). "Niğde Tren Garları" Niğde Valiliği İl Kültür ve Turizm Müdürlüğü Yayınları, Niğde. The railways that emerged in England, showed a rapid development and spread to various parts of the world in the 19th century. Ottoman Empire did not remain indifferent to these developments, thus Railway construction started with Sultan Abdulaziz Khan period. Formingour subject “Niğde Train Stations” construction in two periods. As a result of our work, eight train stations has been determined. Two of this stations builted in Ottoman era six of these builted in Turkish Republic period. The station Ulukışla and Çiftehan, facility that constitutes our subject, part of the Anatolian-Baghdad railway project, one of the most important reconstruction activities of the Sultan II. Abdulhamid Khan period. Other railway construction activities in the Turkish Republic period. Niğde, Hüyük, Bor, Bereket, Karalar and Gümüş stations also belong to this period. In both periods, development activities were carried out by the Germans. Structures at the station German-type projects, and thus are the works that exhibit the German-Turkish eclectic features of its period a draws attention. It also played an important role in the urbanization of the town following the period and also it has been the main factor in the development of the surrounding settlement over time. For this reason, railway structures in Niğde, Railway Heritage and industrial architecture within most important. Although each of them is a work exhibiting the characteristic features of its period in Anatolian Turkish Architecture, at the same time, they are historical, social, technological and scientific witnesses of the industrialization culture in Niğde.
İngiltere’de ortaya çıkan demiryolları, hızlı bir gelişim göstererek 19. yüzyılda dünyanın çeşitli bölgelerine de yayılmıştır. Osmanlı Devleti bu gelişmelere kayıtsız kalmamış, nitekim Sultan Abdülaziz dönemi ile birlikte demiryolları inşasına başlanmıştır. Konumuzu teşkil eden Niğde Tren Garları, başlıca iki dönemde inşa edilmiş yapılar olarak karşımıza çıkmaktadır. Yaptığımız çalışmalar neticesinde toplam 8 gar tesisi tespit edilmiştir. Bunlardan ikisi Osmanlı, altısı Cumhuriyet dönemine aittir. Osmanlı dönemine ait Ulukışla ve Çiftehan garları Sultan II. Abdülhamid Han dönemi imar faaliyetlerinden Anadolu-Bağdat Demiryolları’nın önemli bir parçasıdır. Diğer demiryolu inşa faaliyetleri ise Cumhuriyet döneminde gerçekleşmiştir. Niğde, Hüyük, Bor, Bereket, Karalar ve Gümüş garları bu döneme ait eserlerdir. Her iki dönemde de imar faaliyetleri Almanlar tarafından yapılmıştır. İstasyon dâhilindeki yapılar özellikleri bakımından Alman tip projelerin belirgin örneklerindendir ve dolayısı ile döneminin Alman-Türk eklektik üsluplarını sergileyen eserler olarak dikkat çekmektedir. Yapılar, inşa edildiği dönemlerde bölgelerin şehirleşmesinde önemli rol üstlenmiş, çevresindeki yerleşim mahallinin zamanla gelişmesinde ana etken olmuştur. Bu sebeple Niğde’de yer alan demiryolu yapıları, demiryolu mirası ve endüstriyel mimari kapsamında oldukça önemlidir. Her biri Anadolu Türk Mimarisi içerisinde döneminin karakteristik özelliklerini sergileyen birer eser olmakla birlikte, aynı zamanda Niğde’deki sanayileşme kültürünün tarihsel, sosyal, teknolojik ve bilimsel tanıkları niteliğindedir.
Uploads
Ahmet Kuddusi was originally from Marash and was born in Bor district of Niğde province.
His father, Seyyid İbrahim Efendi, is a Naqshbandi sheikh who came from Marash to Bor and settled. After the
death of his father, Ahmet Kuddusi paid a visit to Tokat Turhal and then to the holy lands such as Mecca and
Medina to complete his madrasa education and returned to Anatolia to take part in the Ottoman-Russian war. After
the war, he visited Istanbul, which was the capital city, many times, and held face-to-face meetings with the sultans.
Ahmet Kuddusi became an important literary figure when he lived, and he signed many works written in Sufism,
called vasiyetname (testament) and pendname (a kind of text about advice) and icazetname (a kind of text about
permit). In his works, he also wrote a divan (a collection of poems), along with examining sect issues, mystical
facts, dervish atmosphere and sociocultural issues. For this reason, in addition to his sufi identity, he was also
known as the Divan poet. In addition to his literary identity, he is also politically influential. It is evident with
archive documents that he was mentioned as a lofty, virtuous and wise person by the administrators in particular
in Niğde, and he received and sent documents from the office of grand vizierate. In his testament, he wanted to be
shrouded with fabric woven from Niğde cloth, and asked that his corpse be buried with little participation so that
no one would go to trouble. Ahmet Kuddusi, who died in Bor in 1848-1849 AD (Hijri 1265), became a considerable,person by the influential people even after his death, and it was determined by archive documents that his allotment
was raised from the Ministry of Finance when his son's financial situation deteriorated. In Sufism, the disciple
needs education.
This education is given scientifically in dervish lodges and madrasahs. Spaces where spiritual, physical
and spiritual human objectivation can be completed is also needed. Suffering houses (çilehane) is at the top of
these places. Çile is a word of Persian origin and as a word meaning “suffering place”. Suffering houses (çilehouse)
constitute an important building group of the Islamic tradition. The places where sheikhs and dervishes belonging
to various sects are closed for a certain period of time in order to be close to Allah, to obtain his consent and to
fulfill the requirements of the religion have gained a place in our culture as “çilehane-halvethane”. "Halvet" is a
word of Arabic origin and means to desire to be secluded and to be alone. These types of buildings can be grouped
as dervish lodges, mosques or rooms in tomb, suffering houses built in natural formations, and self-built suffering
houses. Ahmet Kuddusi’s the structure of suffering house (Çilehane), which constitutes the subject of the research,
is located in Bor district of Niğde province. Bor is 12 km from Niğde province and is the largest district. This
building, which we have determined, extends in a rectangular plan in the north-south direction of Sarı Saltuk Street
in three adjacent masses about 20 meters. The building, which has a single-storey establishment, is divided into
four sections in total in the interior. These places are arranged as selamlik (a room for men), suffering house
(çilehane) unit, bath and water tank. While the bath unit exhibits an approximately square plan in terms of plan,
all other units extend in a rectangular direction. All the door and window openings belonging to the building are
in the west direction, which is the main facade. There are two door openings and three window openings in total.
As the construction material, rough cut and smooth cut stones are used in the body walls, wood and roofing tile in
the covering system, wood material in the panels in the doors, windows and niche openings in the interior and
exterior spaces. There is a 6 meter deep water well in its courtyard. Wooden panels and screens placed in niches
that provide visual and movement in the interior of the building, which was built in a single-storey and masonry
order, were recently included in the structure. The building is like a small sized house. Among the suffering houses
(çilehane) in Anatolia, such a structure built independently and in individual purposes has not been encountered
in the sources and field studies. It is quite different from Somuncu Baba in Çanakkale Gallipoli, Bursa, Aksaray
and Darende and the suffering house (çilehane) units established in Konya and Afyon Mevlevihane. Ahmet
Kuddusi's features such as sufi, sect and divan poet have brought his religious personality to the forefront. He
associated these features with religion around the architecture more, and the living spaces caused the entire
residence to be called as suffering house (çilehane). Ahmet Kuddusi followed in the footsteps of his father and
joined the Kadiri tariqat in the following years. For this reason, it is accepted as a valid name in both tariqats. Even
though he faced various adversities he experienced, he is one of the most important ones that are remembered with
goodness after his death. Ahmet Kuddusi's house is a quite different and unique work in terms of architectural and
plan features, although it shows the characteristics of the period with the 18th and 19th century works built in the
region in terms of material features. In this context, although it is the only building that has been identified so far
in the province with its religious characteristics of the suffering house (çilehane), it has been culturally designed
independently from the surrounding civil architecture. The structure, whose plan typology is composed of mixed
masses, is built in a simple construction, it is different from other examples in Anatolia. The residence, which is
evaluated in terms of both religious and civil architecture, contributes to Bor's spiritual life, urban texture, cultural
memory, faith tourism and Anatolian Architecture History. The name and personality of Ahmet Kuddusi was
mentioned in this residence (Çilehane) and took place in the foundation culture in nearby cities such as Aksaray
and Konya. It contributed to the spiritual life, urban memory, religious and civil architecture of Bor district, and
gained a unique place in Anatolian Turkish architecture.
Künye : ARAR, M.B. (2018). “Fransa’da Gotik Sanat ve Kilise Mimarisine Etkisi”, VI. Sanat Tarihi Öğrenci Kongresi Prof.Dr. Örcün Barışta Anısına, 12-13 Nisan 2018 Cumhuriyet Üniversitesi, Sivas. (Bildiri)
Fransa'da Gotik Sanat ve Kilise Mimarisine Etkisi adını taşıyan bu çalışma Ortaçağ Fransa'sında gelişen bu akımın temelini ve mimari açıdan incelenmesini içermektedir. Avrupa Sanatı ve Sanat Tarihi açısından Gotik mimarinin doğduğu coğrafya ve çevre ülkelere yayılmasının etkisi olarak felsefi ve mimari özellik, üslup ve süsleme açısından kiliselere olan etki temel alınarak incelenmiştir. Anahtar Kelimeler : Fransa, Gotik Sanat, Kilise, Mimari
The railways that emerged in England, showed a rapid development and spread to various parts of the world in the 19th century. Ottoman Empire did not remain indifferent to these developments, thus Railway construction started with Sultan Abdulaziz Khan period. Formingour subject “Niğde Train Stations” construction in two periods. As a result of our work, eight train stations has been determined. Two of this stations builted in Ottoman era six of these builted in Turkish Republic period. The station Ulukışla and Çiftehan, facility that constitutes our subject, part of the Anatolian-Baghdad railway project, one of the most important reconstruction activities of the Sultan II. Abdulhamid Khan period. Other railway construction activities in the Turkish Republic period. Niğde, Hüyük, Bor, Bereket, Karalar and Gümüş stations also belong to this period. In both periods, development activities were carried out by the Germans. Structures at the station German-type projects, and thus are the works that exhibit
the German-Turkish eclectic features of its period a draws attention. It also played an important role in the urbanization of the town following the period and also it has been the main factor in the development of the surrounding settlement over time. For this reason, railway structures in Niğde, Railway Heritage and industrial architecture within most important. Although each of them is a work exhibiting the characteristic features of its period in Anatolian Turkish Architecture, at the same time, they are historical, social, technological and scientific witnesses of the industrialization culture in Niğde.
İngiltere’de ortaya çıkan demiryolları, hızlı bir gelişim göstererek 19. yüzyılda dünyanın çeşitli bölgelerine de yayılmıştır. Osmanlı Devleti bu gelişmelere kayıtsız kalmamış, nitekim Sultan Abdülaziz dönemi ile birlikte demiryolları inşasına başlanmıştır. Konumuzu teşkil eden Niğde Tren Garları, başlıca iki dönemde inşa edilmiş yapılar olarak karşımıza çıkmaktadır. Yaptığımız çalışmalar neticesinde toplam 8 gar tesisi tespit edilmiştir. Bunlardan ikisi Osmanlı, altısı Cumhuriyet dönemine aittir. Osmanlı dönemine ait Ulukışla ve Çiftehan garları Sultan II. Abdülhamid Han dönemi imar faaliyetlerinden Anadolu-Bağdat Demiryolları’nın önemli bir parçasıdır. Diğer demiryolu inşa faaliyetleri ise Cumhuriyet döneminde gerçekleşmiştir. Niğde, Hüyük, Bor, Bereket, Karalar ve Gümüş garları bu döneme ait eserlerdir. Her iki dönemde de imar faaliyetleri Almanlar tarafından yapılmıştır. İstasyon dâhilindeki yapılar özellikleri bakımından Alman tip projelerin belirgin örneklerindendir ve dolayısı ile döneminin Alman-Türk eklektik üsluplarını sergileyen eserler olarak dikkat çekmektedir. Yapılar, inşa edildiği dönemlerde bölgelerin şehirleşmesinde önemli rol üstlenmiş, çevresindeki yerleşim mahallinin zamanla gelişmesinde ana etken olmuştur. Bu sebeple Niğde’de yer alan demiryolu yapıları, demiryolu mirası ve endüstriyel mimari kapsamında oldukça önemlidir. Her biri Anadolu Türk Mimarisi içerisinde döneminin karakteristik özelliklerini sergileyen birer eser olmakla birlikte, aynı zamanda Niğde’deki sanayileşme kültürünün tarihsel, sosyal, teknolojik ve bilimsel tanıkları niteliğindedir.
Ahmet Kuddusi was originally from Marash and was born in Bor district of Niğde province.
His father, Seyyid İbrahim Efendi, is a Naqshbandi sheikh who came from Marash to Bor and settled. After the
death of his father, Ahmet Kuddusi paid a visit to Tokat Turhal and then to the holy lands such as Mecca and
Medina to complete his madrasa education and returned to Anatolia to take part in the Ottoman-Russian war. After
the war, he visited Istanbul, which was the capital city, many times, and held face-to-face meetings with the sultans.
Ahmet Kuddusi became an important literary figure when he lived, and he signed many works written in Sufism,
called vasiyetname (testament) and pendname (a kind of text about advice) and icazetname (a kind of text about
permit). In his works, he also wrote a divan (a collection of poems), along with examining sect issues, mystical
facts, dervish atmosphere and sociocultural issues. For this reason, in addition to his sufi identity, he was also
known as the Divan poet. In addition to his literary identity, he is also politically influential. It is evident with
archive documents that he was mentioned as a lofty, virtuous and wise person by the administrators in particular
in Niğde, and he received and sent documents from the office of grand vizierate. In his testament, he wanted to be
shrouded with fabric woven from Niğde cloth, and asked that his corpse be buried with little participation so that
no one would go to trouble. Ahmet Kuddusi, who died in Bor in 1848-1849 AD (Hijri 1265), became a considerable,person by the influential people even after his death, and it was determined by archive documents that his allotment
was raised from the Ministry of Finance when his son's financial situation deteriorated. In Sufism, the disciple
needs education.
This education is given scientifically in dervish lodges and madrasahs. Spaces where spiritual, physical
and spiritual human objectivation can be completed is also needed. Suffering houses (çilehane) is at the top of
these places. Çile is a word of Persian origin and as a word meaning “suffering place”. Suffering houses (çilehouse)
constitute an important building group of the Islamic tradition. The places where sheikhs and dervishes belonging
to various sects are closed for a certain period of time in order to be close to Allah, to obtain his consent and to
fulfill the requirements of the religion have gained a place in our culture as “çilehane-halvethane”. "Halvet" is a
word of Arabic origin and means to desire to be secluded and to be alone. These types of buildings can be grouped
as dervish lodges, mosques or rooms in tomb, suffering houses built in natural formations, and self-built suffering
houses. Ahmet Kuddusi’s the structure of suffering house (Çilehane), which constitutes the subject of the research,
is located in Bor district of Niğde province. Bor is 12 km from Niğde province and is the largest district. This
building, which we have determined, extends in a rectangular plan in the north-south direction of Sarı Saltuk Street
in three adjacent masses about 20 meters. The building, which has a single-storey establishment, is divided into
four sections in total in the interior. These places are arranged as selamlik (a room for men), suffering house
(çilehane) unit, bath and water tank. While the bath unit exhibits an approximately square plan in terms of plan,
all other units extend in a rectangular direction. All the door and window openings belonging to the building are
in the west direction, which is the main facade. There are two door openings and three window openings in total.
As the construction material, rough cut and smooth cut stones are used in the body walls, wood and roofing tile in
the covering system, wood material in the panels in the doors, windows and niche openings in the interior and
exterior spaces. There is a 6 meter deep water well in its courtyard. Wooden panels and screens placed in niches
that provide visual and movement in the interior of the building, which was built in a single-storey and masonry
order, were recently included in the structure. The building is like a small sized house. Among the suffering houses
(çilehane) in Anatolia, such a structure built independently and in individual purposes has not been encountered
in the sources and field studies. It is quite different from Somuncu Baba in Çanakkale Gallipoli, Bursa, Aksaray
and Darende and the suffering house (çilehane) units established in Konya and Afyon Mevlevihane. Ahmet
Kuddusi's features such as sufi, sect and divan poet have brought his religious personality to the forefront. He
associated these features with religion around the architecture more, and the living spaces caused the entire
residence to be called as suffering house (çilehane). Ahmet Kuddusi followed in the footsteps of his father and
joined the Kadiri tariqat in the following years. For this reason, it is accepted as a valid name in both tariqats. Even
though he faced various adversities he experienced, he is one of the most important ones that are remembered with
goodness after his death. Ahmet Kuddusi's house is a quite different and unique work in terms of architectural and
plan features, although it shows the characteristics of the period with the 18th and 19th century works built in the
region in terms of material features. In this context, although it is the only building that has been identified so far
in the province with its religious characteristics of the suffering house (çilehane), it has been culturally designed
independently from the surrounding civil architecture. The structure, whose plan typology is composed of mixed
masses, is built in a simple construction, it is different from other examples in Anatolia. The residence, which is
evaluated in terms of both religious and civil architecture, contributes to Bor's spiritual life, urban texture, cultural
memory, faith tourism and Anatolian Architecture History. The name and personality of Ahmet Kuddusi was
mentioned in this residence (Çilehane) and took place in the foundation culture in nearby cities such as Aksaray
and Konya. It contributed to the spiritual life, urban memory, religious and civil architecture of Bor district, and
gained a unique place in Anatolian Turkish architecture.
Künye : ARAR, M.B. (2018). “Fransa’da Gotik Sanat ve Kilise Mimarisine Etkisi”, VI. Sanat Tarihi Öğrenci Kongresi Prof.Dr. Örcün Barışta Anısına, 12-13 Nisan 2018 Cumhuriyet Üniversitesi, Sivas. (Bildiri)
Fransa'da Gotik Sanat ve Kilise Mimarisine Etkisi adını taşıyan bu çalışma Ortaçağ Fransa'sında gelişen bu akımın temelini ve mimari açıdan incelenmesini içermektedir. Avrupa Sanatı ve Sanat Tarihi açısından Gotik mimarinin doğduğu coğrafya ve çevre ülkelere yayılmasının etkisi olarak felsefi ve mimari özellik, üslup ve süsleme açısından kiliselere olan etki temel alınarak incelenmiştir. Anahtar Kelimeler : Fransa, Gotik Sanat, Kilise, Mimari
The railways that emerged in England, showed a rapid development and spread to various parts of the world in the 19th century. Ottoman Empire did not remain indifferent to these developments, thus Railway construction started with Sultan Abdulaziz Khan period. Formingour subject “Niğde Train Stations” construction in two periods. As a result of our work, eight train stations has been determined. Two of this stations builted in Ottoman era six of these builted in Turkish Republic period. The station Ulukışla and Çiftehan, facility that constitutes our subject, part of the Anatolian-Baghdad railway project, one of the most important reconstruction activities of the Sultan II. Abdulhamid Khan period. Other railway construction activities in the Turkish Republic period. Niğde, Hüyük, Bor, Bereket, Karalar and Gümüş stations also belong to this period. In both periods, development activities were carried out by the Germans. Structures at the station German-type projects, and thus are the works that exhibit
the German-Turkish eclectic features of its period a draws attention. It also played an important role in the urbanization of the town following the period and also it has been the main factor in the development of the surrounding settlement over time. For this reason, railway structures in Niğde, Railway Heritage and industrial architecture within most important. Although each of them is a work exhibiting the characteristic features of its period in Anatolian Turkish Architecture, at the same time, they are historical, social, technological and scientific witnesses of the industrialization culture in Niğde.
İngiltere’de ortaya çıkan demiryolları, hızlı bir gelişim göstererek 19. yüzyılda dünyanın çeşitli bölgelerine de yayılmıştır. Osmanlı Devleti bu gelişmelere kayıtsız kalmamış, nitekim Sultan Abdülaziz dönemi ile birlikte demiryolları inşasına başlanmıştır. Konumuzu teşkil eden Niğde Tren Garları, başlıca iki dönemde inşa edilmiş yapılar olarak karşımıza çıkmaktadır. Yaptığımız çalışmalar neticesinde toplam 8 gar tesisi tespit edilmiştir. Bunlardan ikisi Osmanlı, altısı Cumhuriyet dönemine aittir. Osmanlı dönemine ait Ulukışla ve Çiftehan garları Sultan II. Abdülhamid Han dönemi imar faaliyetlerinden Anadolu-Bağdat Demiryolları’nın önemli bir parçasıdır. Diğer demiryolu inşa faaliyetleri ise Cumhuriyet döneminde gerçekleşmiştir. Niğde, Hüyük, Bor, Bereket, Karalar ve Gümüş garları bu döneme ait eserlerdir. Her iki dönemde de imar faaliyetleri Almanlar tarafından yapılmıştır. İstasyon dâhilindeki yapılar özellikleri bakımından Alman tip projelerin belirgin örneklerindendir ve dolayısı ile döneminin Alman-Türk eklektik üsluplarını sergileyen eserler olarak dikkat çekmektedir. Yapılar, inşa edildiği dönemlerde bölgelerin şehirleşmesinde önemli rol üstlenmiş, çevresindeki yerleşim mahallinin zamanla gelişmesinde ana etken olmuştur. Bu sebeple Niğde’de yer alan demiryolu yapıları, demiryolu mirası ve endüstriyel mimari kapsamında oldukça önemlidir. Her biri Anadolu Türk Mimarisi içerisinde döneminin karakteristik özelliklerini sergileyen birer eser olmakla birlikte, aynı zamanda Niğde’deki sanayileşme kültürünün tarihsel, sosyal, teknolojik ve bilimsel tanıkları niteliğindedir.