Arkeoloji, Türk Sanatı

Şubat 18, 2020 TÜRK KÜLTÜR VE SANATINDA: BALIK SEMBOLÜ VE TÜRKLERİN İLK YERLEŞİM ALANLARININ TASVİRİ Altay Yaratılış Destanında Tanrı, arşı su üzerinde yaratmıştır. Evrende canlılığın ve yaşamın varolması suya bağlıdır. (Burada Evrenin yaratılışının temel elementi Hidrojen su olarak tasvir edilmiştir. Zira yaşama kaynaklık eden SU hidrojen bazlı bir maddedir/ H2O. Evrendeki tüm elementler Hidrojenin dönüşümü ile meydana gelmiştir.) [Konu ile ilgili Detaylı bilgi:Gök-tanrı İnancına Sahip Eski Türklerde Oluş/Yaratılış, Evren Kavramı Ve Dokuz Katlı Gök İle Gök-tanrıcı Oluş/Yaratılış İnancının Bilimsel Temelleri isimli makalem, https://turkologfatihmehmetyigit.blogspot.com/2018/03/gok-tanri-inancina-sahip-eski-turklerde.html?m=1] Türk mitolojisine göre yaratılışın sudan başlaması Türklerin, yurt kurdukları ve yaşamlarını sürdürdükleri şehirleri Balık ismi ile anmalarına neden olmuştur. Altay yaratılış destanında balığın dünyanın yaratılışı ile ilgili üstlendiği mitolojik sorumluluk öyküsüyle sona erer: "Tanrı Ülgen durmamış, ayrıca vermiş salık, Bu dünyanın yanına yaratılmış üç balık, Bu büyük balıkların üstüne dünya konmuş, Balıklar çok büyümüş dünyaya destek olmuş. Dünyanın yanlarına da iki tane daha balık konmuş, Dünya gezer olmamış, bir yerde kalıp donmuş." Diyerek Evren sularla kaplı büyük bir havuza İnsanların yaşamlarını sürdürdükleri yurt kurdukları Dünyada bu havuzun içerisindeki bir balığa benzetilerek yaşanılan yurt Balık tasviri ile sembolize edilmiştir. "Balık" Kelimesi Hun Türklerinde ülke yönetim merkezine/şehir devletine verilen addır. Asya Hun Devleti bu merkeze "Beşbalık" şehir devleti demiştir. Uygurlarsa "Hanbalık" Cengizhan tarafından Karakumda kurulan Cengiz Kağanlığının başkenti "Ordu-Balık"tır. Bu nedenle Türkler balık sembolü ve tabiri ile yaşamın var olduğuna inandıkları, yaşadıkları ve yurt kurdukları yerleri sanat eserlerinde ve edebi metinlerinde Balık olarak betimlenmişlerdir. Yine Türkler ebedi Yurt olan Cennet ile ilgili bazı tasvirlerde de balık sembolünü kullanmışlardır. İlginç olan bir husus da semavi dinsel metinlerde de Ebedi yurt Cennet tasvirinde altında ırmaklar akan yurt olarak ifade edilmiştir.

Archaeology is a scientific discipline that emerged in Europe at the dawn of the Age of Enlightenment during the 18 th century, like several other disciplines. Having been conducted in collaboration with various other disciplines since early stages of its emergence, Archaeology fed on history in general and cultural history in particular in Europe, and the infrastructure of thought of anthropology in U.S.A. Various theories have been suggested in different locations of the world for the past two centuries. Besides detection, documentation and analysis of remnants through excavations; archaeology, as a scientific discipline, has engaged in multiple ventures as to comprehending life styles of the ancient people, who left the legacy of those remnants. It is obvious that excavation techniques and documentation methods are followed at global standards in our country and that archaeological work conducted in Turkey has an esteemed place in the world. Notwithstanding, such productivity in terms of generation of theories did not occur in Turkey. Theoretical archaeology endeavors were initiated in the early republican era in Turkey, however such efforts did not perpetuate. This present study aims at acknowledging the theories set forth by the Turkish archaeological circles and the reasons of theoretical infertility within the Turkish archaeological realm in addition to addressing general properties and historic background of globally accepted fundamental archaeology theories.

TÜRKLERİN ÖZGÜRLÜK VE BAĞIMSIZLIK SEMBOLÜ: BOZKURT/GÖK-BÖRÜ

Gök-Börü, Gök-yüzünden seslendi:
Tanrı buyruğudur!
Kötülük karşısında iyilikle mücadele etmeli
İyilik kazanmalı daima kötülük kaybetmeli...
(Fatih Mehmet Yiğit)

Bozkurt gerçek adı ile Gök-Börü, tarihte hiçbir zaman bir grubun veya bir kabilenin,veya bir akımın  sembolu olmamıştır. Bozkurt, kendisini bir millet gururuyla Türk sayan insanların, tüm dünyada ve yer yüzünde yaşayan 350 milyona yakın Türk soyluların 10 bin yıldan beri kuşaktan kuşağa aktarılan Türk milletinin bağımsızlığını ve özgürlüğünü ifade eden milli kutsal sembolüdür.

Interior decoration used since the early period of the Turkish art is a decorative art. This art have been applied by various dyes and various techniques to decorate architectural structures such as the mosques, shrines and fountains. Especially, in the 16th century, named as the classical Ottoman period, was the best of this ornaments. Due to the westernization movements in the 18th centruy some changes were observed in Ottoman Art and these changes also have affected interior decorations. Hereafter, interior decoration tradition has continued with the wall paintings. İnitially,
this paintings encountered in walls and ceilings of palaces and mansions in İstanbul, later this tradition has spread to all of Anatolia. Ayan (local notables) and eşraf, having gained power in the Ottoman Empire also played a great role in spreading this tradition in Anatolia. Antep is one of the places where continued this tradition in Anatolia. In that period, Antep was in a position important for the region also it was one of the way to Alepoo. Antep houses which built by rich families are faced with quite spectacular wall and ceiling paintings. The wall and ceiling paintings in Antep houses is familiar with İstanbul and Anatolia. Moreover, these paintings have very rich material subject, composition and technically. In that period, this tradition not only in rich Muslims homes but also in homes of minorities living in Antep have continued. This paintings are remarkable with figural decorations and landscape compositions which made almost like a table. Thus, this wall and ceiling paintings have an important place in late period Ottoman art.

In this article􏰷 the sub􏰸ect of 􏰼ar􏰷 􏰼hich is thought to have taken place bet􏰼een the Amazons and the Hellenes􏰷 the mythological people 􏰼ho first appeared in Homer and believed to be composed of only 􏰼omen and left their born male children to die in nature􏰷 􏰼ill be e􏰯amined. The Amazons􏰷 􏰼ho 􏰼ere first sho􏰼n as the rivals of Heracles and Achilles􏰷 turned into a 􏰼ar in 􏰼hich the regular armies came together in the 5th century BC. 􏰽ar􏰷 􏰼hich is named as Amazonomachy􏰷 becomes one of the most popular scenes of the art of depiction of religious􏰷 civil or dead cult􏰷 becoming one of the most popular scenes of ancient Greek art. 􏰽hy did this 􏰼ar􏰷 􏰼hose 􏰼inner is not kno􏰼n􏰷 emerged suddenly in the 5th century BC and 􏰼as used as an ornamental element in religious or civil monuments continuously until the Roman Imperial Period􏰹 The article seeks an ans􏰼er to this 􏰕uestion.
Amazonomachy􏰷 one of the indispensable decoration sub􏰸ects of religious or public buildings starting from the late 6th century BC􏰷 is the name given to the legendary 􏰼ar believed to have taken place bet􏰼een Hellenes and female soldiers in mythology. 􏰾Amazonomachy􏰾 is included in the art of depiction 􏰼ith the 5th century BC. 􏰽hile the Amazon 􏰕ueens􏰷 􏰼ho encountered Hellenic heroes in the early Amazon struggles􏰷 􏰼ere clearly defeated􏰷 the 􏰼inner or superior side of the 􏰼ar described in the ne􏰼 period is unclear.
􏰽ith the Amazonomachy􏰷 􏰼hich entered the art of description 􏰼ith the ne􏰼 period􏰷 the artists􏰑 Suggestions 􏰼ere made such as trying to sho􏰼 the superiority of Hellenic civilization over barbarians􏰷 symbolizing the story of the transition from barbarism to civilization􏰷 using sub􏰸ects such as the Amazon victory􏰷 􏰼hich has an important place in Athens􏰿 mythological history to a􏰼aken the 􏰼eakening nationalist feelings of the Athenians􏰷 or they tried to portray the Persians allegorically. Frank B. Tarbell stated that this story gained a ne􏰼 importance and meaning after the Persian 􏰼ars􏰑 ho􏰼ever􏰷 he mentions that there is no evidence to accept this proposal. Therefore􏰷 in the second part of the article􏰷 the historical developments of the 6th century BC are once again discussed. Persian King II. Cyrus defeated the Medes in the east􏰷 Lydians in the 􏰼est􏰷 and Babylonians in the south􏰷 and turned the vassal kingdom into an empire in a very short time. The e􏰯tension of the borders of the ne􏰼 state to the Aegean shores brought the Hellenes and the Persians against each other. The pillage of the Acropolis of Athens in 483 BC􏰷 considered the heart of the Hellenes􏰷 is the peak point reached by the Persian invasions that started 􏰼ith Cyrus. Ho􏰼ever􏰷 the great fear of Hellene and the Greek 􏰼orld II. Cyrus􏰎s life 􏰼as disastrously ended 􏰼ith an une􏰯pected 􏰼ay and time􏰷 by a 􏰼oman. This sub􏰸ect is e􏰯plained to the smallest detail by the historian Herodotus. As 􏰼e learned from Herodotus􏰷 Tomris Khan􏰷 􏰕ueen of the Massagets􏰷 both defeated the Persian army and ended the life of II. Cyrus.
The victories of the Hellenes against the Persians􏰷 especially in the 5th century BC􏰷 seem allegorically reflected in the Amazons. Admiration for the Amazons that started 􏰼ith Tomris Khan in the late 6th century BC revealed the composition of Amazonomachy􏰷 and 􏰼ith the victory of Temistocles against Persians in the 5th century BC􏰷 in a sense caused Hellenes started to see themselves to be e􏰕ual 􏰼ith Tomris Khan. This situation must have manifested itself in art in the form of comparing t􏰼o forces􏰷 􏰼hich they consider allegorically e􏰕ual􏰷 in a 􏰼ar 􏰼ith an unkno􏰼n 􏰼inner.
As a result􏰷 many battles and victories 􏰼on 􏰼ere tried to be represented by fictional and legendary battles in ancient times. Undoubtedly􏰷 the most significant and effective of these is the Amazonomachy. The sub􏰸ect􏰷 􏰼hich entered into the repertoire of the artists in the 6th century BC􏰷 has survived by being depicted uninterruptedly in the follo􏰼ing centuries. Neither the superiority of civilization to the barbarians nor the allegorical representation of the Persians in the form of the Amazon is in 􏰕uestion 􏰼ith Amazonomachy􏰷 􏰼here the 􏰼inner is not kno􏰼n􏰑 􏰼hat is meant is the admiration for the female soldiers in particular for Tomris Han􏰷 in other 􏰼ords􏰷 the Amazons allegorically. The Hellenes did not see Tomris Khan as a barbarian and elevated it to a position e􏰕ual to them as the 􏰼inner against Persians. The reason for the interest and sympathy of the Hellenes to􏰼ards the Amazons must be Tomris Han􏰷 a Turkish descendant.

Türklerin, kutsal elementi hiç şüphesiz "demir" dir. Demirin kutsiyeti ise; eski Gök-Tanrı inancı ve Şamanizm ile alakadardır. Zira Türkler Demirin Gökyüzünden Tanrı tarafından indirildiğine inanmaktaydılar. Bu yüzden demire Türkler tarafından Gök veya Kök Demir de denilmektedir. Zira Demir elementinin oluşması Dünyamızda meydana gelmiyecek ancak yıldızlardaki nükleer reaktör patlamaları sonucu oluşacak yüksek ısıdaki gücü gerektirmektedir.

Orta Çağ Avrupası’nda Roma İmparatorluğu yıkıldıktan sonra piskopos ve yerel lordların girişimleriyle tarım arazilerini ve köy halkını korumak için kuleli malikaneler inşa edilmiştir. Osmanlı İmparatorluğu’nun kuruluş döneminde Anadolu’ya tecrübe kazanması için gönderilen şehzadelerin Bizans ve Selçuklu Dönemi’nde bilinen Orta Çağ Avrupası’nın anlayışında kule tahkimleri inşa edilmiştir. Yerel yönetici âyân ailelerine Osmanlı şehzadelerinin kuruluş döneminde benimsedikleri kule tahkimleri ve Orta Çağ feodal lordlarının malikaneleri, Osmanlı İmparatorluğu’nun son döneminde bölgelerinde kargaşanın verdiği endişe ve korunma isteği nedeniyle ilham kaynağı olmuştur. Kırsal bölgedeki yerel âyân aileleri kendilerini savunmak, tahıllarını depolamak, halkın üzerinde güç ve saygınlık sembolü olarak kullanmak için konaklarının yanına kule tahkimleri inşa ettirmiştir. Aydın ili, Koçarlı ilçesi merkezinde inşa edilen Cihanzâde İbrahim Ağa Kulesi bu amaçla yapılmış yapılardandır. Çalışmamızda kulenin ‘Geç Osmanlı Dönemi’nde kullanım amacı değerlendirilmiştir.
Anahtar Kelimeler:
Aydın, Koçarlı, Cihanzâde, Âyân, Kule

Göbeklitepe kazılarından, insanların bundan 12 bin yıl önce gök hesapları yaptıklarını ve bunları simgelere indirgeyerek üç boyutlu metinler/mekanlar oluşturduklarını anlıyoruz. Bunları Göbeklitepe insanları mı oluşturdu yoksa daha eski başka insanlardan mı ödünç aldılar? Bu simgeselleştirmenin başlangıcını ne kadar eskiye götürülebiliriz? Bunlar heyecan verici sorular.

Troia is one of the most famous ancient cities in theworld. With the declaration of 2018 as the year of Troia, this important ancient city region came to the agenda again. It has created momentum in the tourism in Canakkale.  Archaeological researches of Troia have been revealed historical importance of it. These archaeological excavations also provide clues about what people eat and drink in ancient times.The importance of local food in terms of gastronomy tourism has been emphasized by many researches. It is thought that gastronomy tourists or culture tourists can also be curious about what people eat in the ancient times. For this reason, it is thought that it can be created a touristic product accordingly. From this point of view, it is aimed to reveal the food culture of Troia by scanning secondary data sources in this study. As a result of the investigations, it can be said that the first one of the basic factors that affect nutrition in Troas region and Troia is the geography, Troy (Troia) National Park was founded in 1996 with the aim to protect the historical and cultural texture of the archaeological site of Troia (Troy) in the Ancient Troas and its surrounding. The prehistorical, proto-historical, Greek, Hellenistic and Roman periods of this region - especially Troia - have been extensively analyzed by scientists since the excavations of Schliemann. On the other hand, it cannot be said that the surroundings of Troy have been adequately analyzed in terms of Ottoman archaeology. Therefore, this article aims to examine the Ottoman settlements and material culture data within the boundaries of the national park. The importance of the Ottoman archaeology beginning to develop as a new sub-discipline in the Islamic Archaeology, which is a field of the historical archaeology, was emphasized by researchers such as Prof. Dr. Abdülcelil Temimî, Uzi Baram and Lynda Carroll. The archaeology of the Ottoman Empire, which spread over three continents, is undoubtedly a multidirectional and multidimensional field of study. Nevertheless, it appears possible to address the Ottoman past of an area bordered with Troy National Park within the scope of an article with its main lines. The Turkish settlement that started in this region in the 14th century developed under the Ottoman rule beginning from the Orhan Gazi period. Ottoman archives from the 16th century reveal that there are three  villages around the ancient ruins of Troia (Hisarlık). These are Halilili (Halileli), Kumköy and Kalafatlu (Kalafatlı) villages. Yenişehir, located near the coast in the northwest of Hisarlık, is a Christian village built next to the ancient Sigeum (Sigeion/Sigée) probably in the 17th century. In the 17th century, Kal’a-i Sultâniye and Seddü’lbahr castles were built by Valide Turhan Sultan, the mother of Mehmed IV, on the entrance of the Dardanelles in the northwest of Eski Hisarlık and on the European coast respectively. On the charter

Abandoned windmills were characteristic sight of Çanakkale's architectural landscape during the Ottoman period (Figs. 1‐2). Many of these windmills were functioning until the 1970s, when farmers started to sell their grain to large electric‐powered factories and obtained their ready‐made bread from commercial bakeries following the modernization of agriculture. These abandoned windmills scattered across the landscape of Çanakkale are gradually disappearing from the ethnographic record of the region and becoming archaeological sites represented by a heap of stone rubbles. An examination of the activities took place around these structures may contribute to the reconstruction of region's picture, since they were once an integral part of the Ottoman rural economy at Çanakkale. Despite their important role within the local rural economy, there has been considerable lack of archaeological and ethnographic interest in windmills. This is in part due to the fact that material remains from the recent Ottoman past have often been viewed as irrelevant for archaeological research. Scholars recently started to place special attention upon the historical archaeology of Ottoman Greece. They started to provide us with new ways of looking in reconstructing the regional histories in rural areas that were once part of the Ottoman imperial system (e.g., Davis 1991; Brumfiel 2000). In this manner, this essay aims to underline the economic significance of windmills in reconstructing regional patterns of agricultural exploitation. It must also be taken into the consideration that the use of windmills was rather a recent historical development originating in the medieval period. The data obtained from the surface examinations could be combined with related historical accounts in the Ottoman archives, European travelers' notes, and oral history. It is hoped that this brief study concentrated on windmills could be of great importance to those archaeologists involved in rural site surveys carried out for the purpose of reconstructing the Çanakkale's past rural economy.

Bu yayın, Halil Edhem’in başında bulunduğu Âsâr-ı Atîka Müzesi’nin kataloğuna ve Türkiye’de resmin gelişimini anlatan Elvâh-ı Nakşiye Koleksiyonu adlı kitabın, tıpkıbasım ve çeviriyazı ile günümüz Türkçesine aktarılmasına dayalıdır. Kitabın birinci bölümü Osmanlı’da resmin genel gelişimi üzerine özet bilgilerden sonra ilk resim sergileri hakkında tanıtıcı bilgilerden oluşmaktadır. İkinci bölüm ise müzede bulunan resimlerin kataloğudur. Kitabın Takdim’i ise konuyla ilgili, Başbakanlık Arşivi’ndeki belgelere dayalı olarak doktora tezi hazırlamış olan Fatma Ürekli’ye aittir.
Kitap, daha önce yeni harflere sadeleştirilerek aktarılmıştır, fakat o yayında, yayınlayanın da önsözde açıkladığı üzere, pek çok hata bulunmaktadır. Bu yayında ise hem eski yazı metni okuma hem de günümüz Türkçesinde uygun karşılıkları bulma açısından daha sağlıklı bir metin ortaya koyma amaçlanmıştır.