Remzi Duran
Selcuk University (Selçuk Üniversitesi), Sanat Tarihi, Faculty Member
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Research Interests:
Research Interests:
Mulkiyet, aidiyet ve bagimsizlik unsuru olarak neredeyse insanlik tarihi yasit olan Tamga-Damga, hic suphesiz Turk kulturunun de vazgecilmez uygulamalarindandir. Damgalar- Tamgalar; boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi... more
Mulkiyet, aidiyet ve bagimsizlik unsuru olarak neredeyse insanlik tarihi yasit olan Tamga-Damga, hic suphesiz Turk kulturunun de vazgecilmez uygulamalarindandir. Damgalar- Tamgalar; boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi isaretler olarak Turk tarihinin erken devirlerinden itibaren hemen her turlu malzemede karsimiza cikmaktadir. Ancak, zaman icerisinde bazilari harflere donuserek yaziya gecmis, bazilari da geometrik suslemeleri olusturan kompozisyonlar icerisinde esas anlamindan kismen uzaklasarak kompozisyonun bir elemanina donusmustur. Ozellikle 12. yuzyildan sonraki geometrik suslemenin yapicisi muhtemelen ne yaptiginin farkinda olsa da, daha sonraki zamanlarda onu seyredenler ayni anlami okumakta zorlanmakta, hatta okuyamamaktadirlar. Bu bildiri, plastik sanatlarin farkli kollarinda karsimiza cikan geometrik suslemeleri olusturan her unsurun sadece basit tanimlamalar icerisinde motif olarak degil onlarin okunabilir harf veya damga olabileceklerine dikkat cekmey...
Research Interests:
The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, hence number symbolism emerges in various... more
The cultural and symbolic meanings attributed to numbers are substantially of importance as well as mathematical equivalents and uses of numbers. In this context, meanings attributed to numbers, hence number symbolism emerges in various religious texts, myths, or legends. Eight "8" is generally mentioned with edges of the earth, a sacred tree, or layers of sky in Turkish mythology. Number eight has a rarer usage besides numbers such as "one, three, seven, nine, thirty, forty, forty-one, seventy and ninety" which have been used in Turkish culture since ancient times. The Paradise depiction primarily comes into prominence among the meanings attributed to number Anahtar Kelimeler Sekiz, Cennet, Damga, Anlam
The Old Cine – Ahmet Gazi Mosque, from Mentese Principality Period well-known for its revolutionary architectural style among other West Anatolian Principalities, is a supreme example of, so-called, mosques with single dome t aditionin... more
The Old Cine – Ahmet Gazi Mosque, from Mentese Principality Period well-known for its revolutionary architectural style among other West Anatolian Principalities, is a supreme example of, so-called, mosques with single dome t aditionin the beginning of the 14 r th Century. Although, the edifice mentioned as Ahmet Gazi Mosque in the literature, having no inscription panel which indicates its construction date or any repair if happened, the date of its waqf found in the archives of the General Directorate of Pious Endowments (V.G.M.) is 1308. However, this date refers that Ahmet Gazi doesn’t seem to be the donor of the mosque. Ahmet Gazi, since he became the ruler of the Mentese Principality just before 1375. Therefore, it could be assumed that he had been involved in the restoration of the mosque as once he had in a restoration work for Mentese Bey Tomb in Fethiye. Thus, in this study, Ahmet Gazi Mosque is reevaluated and suggested that the donor was Mentesoglu Hizir Bey who was in p...
Research Interests:
One of the elements shaping the work of art has been culture involving beliefs and traditions. Myths and legends are most significant among those elements. Myths and legends are the expression of the adventure of man who has lived... more
One of the elements shaping the work of art has been culture involving beliefs and traditions. Myths and legends are most significant among those elements. Myths and legends are the expression of the adventure of man who has lived throughout his tor}'-. Turkish Nation with its own long past and rich culture has its own legends and mythology. Turkish mythology and Turkish legends are the inspiring sources of the emergence of Turkish art. The Turks after converting to Islam brought the motives of their old beliefs and traditions into their new religion. It is possible to see patterns and motives ranging from architecture to handcrafts in many fields, reflecting the symbols that belong to their former system of belief or to their mythology and legends. The sources of those motives’ iconographic meanings depend on Turkish culture’s long past. This work comprises the study of mythology7 and legends as the main influence on the art of Turkish decoration and ornamentation.
Mulkiyet, aidiyet, bagimsizlik unsuru, boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi isaretler olarak Turk tarihinin erken devirlerinden itibaren hemen her turlu malzemede karsimiza cikan “Damgalar-Tamgalar” hic suphesiz Turk... more
Mulkiyet, aidiyet, bagimsizlik unsuru, boy-soy birligi, millet mensubiyeti ve kutsallik ifadesi isaretler olarak Turk tarihinin erken devirlerinden itibaren hemen her turlu malzemede karsimiza cikan “Damgalar-Tamgalar” hic suphesiz Turk kulturunun vazgecilmez uygulamalarindandir. Gittikleri ve yerlestikleri her cografyaya ebedi vatan olarak bakan atalarimiz hayvanlarina, kulanim esyalarina ve insa ettikleri kucuk veya buyuk mimari eserlere ait olduklarini dusundukleri boylarinin damgalarini vurmayi gelenek haline getirmislerdir. Ancak, zaman icerisinde bazilari harflere donuserek yaziya gecmis, bazilari da geometrik suslemeleri olusturan kompozisyonlar icerisinde esas anlamindan kismen uzaklasarak kompozisyonun bir elemanina donusmustur. Anadolu’nun fethinde de rol alan Turk boylari fethettikleri ve yerlestikleri bu yerlere de cogunlukla kendi boy adlarini vermisler, yaptiklari mimari eserlere ve kullanim esyalarina da damgalarini vurmuslardir. Anadolu Selcuklu Devleti’nin baskenti ...
Ilyas Bey Complex in Balat, the second capital after Pecin, being composed of a mosque, a hamam (bath), and a medrese (theological school) is an important monument of Mentese Principality regained its independence following the Ankara War... more
Ilyas Bey Complex in Balat, the second capital after Pecin, being composed of a mosque, a hamam (bath), and a medrese (theological school) is an important monument of Mentese Principality regained its independence following the Ankara War in 1402. However, the construction program was interrupted due to the influence of the Ottoman authority, which was increasingly felt again in the region. The medrese, only the remains of the walls exist at present, is located to the north of Ilyas Bey Mosque, the inscription panel of which contains a remarkable word, imaret. The medrese is thought to be built by the Ottomans in the first quarter of the 15th Century. It possesses a disordered plan in the shape of deformed “U”. In this plan, the spaces around the open courtyard (with a fountain - sadirvan) shows neither a uniform layout, nor an architectural harmony. The eyvan, surmounted with a dome in the north, and the two larger spaces in the center of the east and west wings exhibit some constr...
Research Interests:
Research Interests:
Research Interests:
Öz Türkler tarih sahnesine çıktıkları dönemden itibaren, hayvanlarına, kulanım eşyalarına ve inşa ettikleri küçük veya büyük mimari eserlere ait olduklarını düşündükleri boylarının damgalarını vurmayı gelenek haline getirmişlerdir.... more
Öz
Türkler tarih sahnesine çıktıkları dönemden itibaren, hayvanlarına, kulanım eşyalarına ve inşa ettikleri küçük veya büyük mimari eserlere ait olduklarını düşündükleri boylarının damgalarını vurmayı gelenek haline getirmişlerdir. Anadolu'nun fethinde rol alan Türk boyları, fethettikleri yerlere de çoğunlukla kendi boy adlarını vermişlerdir. Bu boyların en etkili olanlarından biri de Kayı boyudur. Kayı boyu damgasının sadece damga olarak değil damga-motif olarak ta kullanıldığını görmekteyiz. Bu çalışma Selçuklu'dan Osmanlı'ya bu damganın mimaride damga-motif kullanımı üzerinedir. • Anahtar Kelimeler Kayı boyu, Oğuzlar, damga-tamga. • Abstract
Since the Turks took the stage of history, they have made it a tradition to mark the tamgas of their tribes of which they belonged to on their animals, on the things they used and on the small or big architectural works they built. The Turkic tribes that had a part in the conquest of Anatolia, mostly gave the name of their own tribes to the places they conquered as well. One of the most effective of these tribes was the tribe Kayı. We see that the tamga of the tribe Kayı was used not only as tamga but also as tamga-motif. This study is upon the use of this tamga as tamga-motif in architecture from the Seljuks to the Ottomans. •
Türkler tarih sahnesine çıktıkları dönemden itibaren, hayvanlarına, kulanım eşyalarına ve inşa ettikleri küçük veya büyük mimari eserlere ait olduklarını düşündükleri boylarının damgalarını vurmayı gelenek haline getirmişlerdir. Anadolu'nun fethinde rol alan Türk boyları, fethettikleri yerlere de çoğunlukla kendi boy adlarını vermişlerdir. Bu boyların en etkili olanlarından biri de Kayı boyudur. Kayı boyu damgasının sadece damga olarak değil damga-motif olarak ta kullanıldığını görmekteyiz. Bu çalışma Selçuklu'dan Osmanlı'ya bu damganın mimaride damga-motif kullanımı üzerinedir. • Anahtar Kelimeler Kayı boyu, Oğuzlar, damga-tamga. • Abstract
Since the Turks took the stage of history, they have made it a tradition to mark the tamgas of their tribes of which they belonged to on their animals, on the things they used and on the small or big architectural works they built. The Turkic tribes that had a part in the conquest of Anatolia, mostly gave the name of their own tribes to the places they conquered as well. One of the most effective of these tribes was the tribe Kayı. We see that the tamga of the tribe Kayı was used not only as tamga but also as tamga-motif. This study is upon the use of this tamga as tamga-motif in architecture from the Seljuks to the Ottomans. •