Ottoman Inscriptions

Özet: Bu çalışmada, Doğu Anadolu'nun önemli şehirlerinden biri olan Elazığ'ın Ağın İlçesi'ndeki mimari anıtlar üzerinde yer alan inşa ve onarım kitabeleri ele alınmıştır. Bu kapsamda ilçe merkezi ve merkeze bağlı mahalleler ile köylerinde bulunan on yedi yapı üzerindeki toplam yirmi üç kitabe incelenmiştir. Bu kitabelerden bir kısmının inşa, bir kısmının ise onarıma ait olduğu tespit edilmiştir. İncelenen kitabeler, cami, medrese ve çeşmelere aittir. Yapılardan sadece medrese günümüze ulaşamamış olup, kitabesi belediye binasında muhafaza edilmektedir. Kitabelerin üzerindeki tarih ibarelerinden ilçenin 17. yüzyıl ile 20. yüzyıl arasındaki imar faaliyetleri öğrenilmektedir. Kitabelerin çoğunluğu taşra üslubunu yansıtan sade bir bezemeye sahiptir. Kitabe metinlerindeki ünvan ve lakaplar; banilerin kimliği, mesleği ve sosyal statülerine ilişkin bilgileri ihtiva etmektedir. Abstract: The subject of this study is the construction and restoration inscriptions on architectural m...

Özet: Bu çalışmada, Doğu Anadolu'nun önemli şehirlerinden biri olan Elazığ'ın Ağın İlçesi'ndeki mimari anıtlar üzerinde yer alan inşa ve onarım kitabeleri ele alınmıştır. Bu kapsamda ilçe merkezi ve merkeze bağlı mahalleler ile köylerinde bulunan on yedi yapı üzerindeki toplam yirmi üç kitabe incelenmiştir. Bu kitabelerden bir kısmının inşa, bir kısmının ise onarıma ait olduğu tespit edilmiştir. İncelenen kitabeler, cami, medrese ve çeşmelere aittir. Yapılardan sadece medrese günümüze ulaşamamış olup, kitabesi belediye binasında muhafaza edilmektedir. Kitabelerin üzerindeki tarih ibarelerinden ilçenin 17. yüzyıl ile 20. yüzyıl arasındaki imar faaliyetleri öğrenilmektedir. Kitabelerin çoğunluğu taşra üslubunu yansıtan sade bir bezemeye sahiptir. Kitabe metinlerindeki ünvan ve lakaplar; banilerin kimliği, mesleği ve sosyal statülerine ilişkin bilgileri ihtiva etmektedir. Abstract: The subject of this study is the construction and restoration inscriptions on architectural m...

Bu çalışmamızda Niğde İli, Eskisaray Mahallesi, Hakkı Eroğlu Caddesi, Nusrettin Sokak’ta bulunan ve mahalle insanınca “Nusreddin Baba Yatırı” olarak adlandırılan mezar yapısı mimari ve süslemeleri açısından incelenmiş ve tanıtılmaya çalışılmıştır. Mahalle sakinlerince mezarın Nusreddin Baba’ya ait olduğunu ifade edilmektedirler. Mezar daha öncesinde bulunduğu kâgir taş binanın dışında iken 1980’li yıllarda yapılan üst kata çıkışı sağlayan betonarme merdivenin altına denk gelmesi sonucu mezar yapısı bina içine geçmiştir.

ملخص:
من المعروف أن أقاليم الدولة الإسلامية في العصور الوسطى من الصين شرقاً حتى المغرب والأندلس غرباً، لم تكن بمعزل عن بعضها البعض، إذ لم تكن الحدود السياسية المعروفة الآن موجودة، وكان المسلمون ينتقلون عبر تلك الأقاليم الشاسعة بيسر وسهولة، وهم أينما حلوا فإنما بأرض الإسلام.
كذلك كان الصنّاع ينتقلون بحرية تامة بين الأقاليم الإسلامية المختلفة، وكانت تنقلاتهم بحثاً عن الاستقرار والعيش الآمن وإجزال العطاء من رعاة الفن من الحكام وغيرهم. وفن صناعة وزخرفة الخزف الإسلامي في العصور الوسطى لم يخرج عن هذه القاعدة، إذ لعب الصنّاع والفنانون في مجال صناعة وزخرفة الخزف دوراً رئيساً في نقل الأساليب الفنية والصناعية والزخرفية خلال تنقلاتهم المستمرة من مكان لآخر.
وتعتبر الأمثلة القليلة الباقية من توقيعات الخزافين المسلمين التي سجلوها على بعض منتجاتهم المصدر الرئيسي للتعرف على أسمائهم وموطنهم الأصلي وأساليبهم الفنية وتخصص كلٍ منهم ومكانته بين أقرانه، إذ أن المصادر التاريخية المعاصرة قد أغفلت في معظم الأحيان الحديث عن الُصنّاع والفنانين أو التأريخ لهم إلا نادراً. وقد تميز الخزف المملوكي بتسجيل توقيعات ُصنّاعه، ويهدف هذا البحث إلى إلقاء الضوء على أحد الخزّافين غير المعروفين والمسمى "الصيوان" اعتماداً على توقيعه المسجل على قاع إناء غير منشور من الخزف محفوظ في متحف جاير أندرسون / بيت الكريتلية، بالقاهرة تحت رقم سجل (164).
الكلمات المفتاحية: العصر المملوكي، الخزف، الخزافين، الصيوان، ابن الصيوان الشامي.

Summary:
It is known that the regions of the Islamic state in the Middle Ages from China in the east to Morocco and Andalusia in the west were not isolated from each other, as the political borders that are now known did not exist, and the Muslims moved through these vast regions easily, and wherever they settled, they are in the land of Islam.
In addition, craftsmen moved completely freely between the various Islamic regions, and their movements were in search of stability, safe living and the abolition of giving from art sponsors from the rulers and others. The art of making and decorating Islamic ceramics in the Middle Ages did not depart from this rule, as makers and artists of ceramics industry and decoration played a major role in transferring artistic, industrial and decorative styles during their continuous movement from one place to another.
The few remaining examples of the Muslim potters signatures, that they recorded on some of their products is consider the main source for identifying them, their proper names, their original homeland, their artistic styles, specializations, and status among the other craftsmen. As the contemporary historical literature rarely mentioned the definition of the artisans and artists, or their history. Mamluk ceramics characterized by recording the signatures of their manufacturers. This paper aims to shed lights on an unknown potter called "Al-Siwan" depending on his signature, which found on an unpublished fragment of pottery, now stored at the Gayer Anderson/Bait al-Kiritliyya Museum in Cairo (No. 164).

Bu çalışmamızda Niğde İli, Sırali Mahallesi, Elhacı Mahmud Caddesi üzerinde bulunan ve yöre insanınca “Yeşil Mezar” ve “Elhacı Mahmut Yatırı” olarak adlandırılan mezar yapısı mimari ve süslemeleri açısından incelenerek, bilim dünyasına tanıtılacaktır. Mahalle sakinlerince mezarın El-Hacı Mahmud’a ait olduğunu ifade etmektedirler. El-Hacı Mahmud Efendi Hazretleri'nin kabri 1950’li yıllarda şehir içi yolları genişletilirken kaldırılmak istenmiş, fakat bu işi edepsizce yapmak isteyenlerin başlarına çeşitli kötü olaylar gelmiştir. Yerinden kaldırdıkları takdirde büyük felaketlerden korkan ilgililer, El-Hacı Mahmud Efendi Hazretleri'nin kabrine bir daha dokunamamışlardır.

قضايا المرأة في الفن التشكيلي أثناء فترة الحجر الصحي
شهدت فترة الحجر الصحي طفرة نوعية في اللوحات التي أنجزت من قبل الفنانين الذين عالجوا عدة قضايا خاصة بالمجتمع عموما، فكان للمرأة حضور في هذه القضايا؛ حيث واجهت خلال هذه الفترة الكثير من  العنف الأسري، كما حاولت أن تكون أقوى من ظروفها وتصنع مستقبلا مشرقا لها..

Abstract
Shortly after its arrival in the province of Barqa, the Senussi movement established many Zwaya and Kataatiib that helped in dominating the region. Appointing Al Jaghbub Oasis as an official headquarters for the movement at the beginning of 1271 AH helped a lot in shaping their scientific ideas, so they established their scientific complex there, for teaching different types of sciences. The importance of the study lies in dealing with the architecture of the religious complex in Jaghbub, and to show its architectural characteristics.
The study aims to highlight the architectural characteristics of the religious institute in Jaghbub. What gives this study its original character is its attempt to establish an architectural background for some of the buildings of the Zawiya.
The limits of the study: The spatial limit: the Jagbub oasis, and the temporal limit: from the beginning of the foundation of Jaghbub in 1271 AH and the settlement of Imam Sanusi in it, until the nomination of his son, Mr. al-Mahdi (1859 AD / 1901 AD), who moved the headquarters from the oasis of Jaghbub to the “Al-Jawf” in Al-Kufra Oasis.

للطأس فِي العصرِ الإسلاميّ استخداماتٍ عِدة فهُناک ما يُعرَف بطأس الشراب وهناک ما کان يُسْتَخْدَم فِي الطعام کما أن هناک ما يُطلَق عليهِ طأس الخضة والذي کان يُستَخدَم للعلاج والحِفظ وطرد الشرور سواء عن طريق شُرب الماء الموجود بداخلهِ أو استخدامه فِي الاستحَمَّام.
وتتناول هذه الورقة البحثية إحدى الوظائف التي أداها الطأس وهي استخدامه فِي غرض صب الماء أثناء الإستحَمَّام. ولقد ورد إلينا العديد مِن النماذج لهذا النوع مِن الطاسات التي أمکن نسبتها إلى تُرکيا العُثمانيّة فِي الفترة من القَرْن (12هـ/18م) حتى أوائل القرن (14هـ/20م) والمحفوظة في المتاحف والمجموعات الخاصة على مستوى العالم.
وعلى جانبٍ آخر ثمة لوحاتٍ عِدة للمستشرقين تُصوِّر الحَمَّامات العامة فِي الفترة قيد البحث، يتبين فِيها استخدام الطاسات فِي هذا الغرض والتي ظهرت فِيها بنفس الشکل کدليلًا ماديًّا على هذه الوظيفة.
وفي هذا الصدد جديرٌ بالذِکرِ أنه کان للحَمَّاماتِ العامة دور هام فِي حياةِ النساء اليومية ومناسبتهن الاجتماعيَّة فِي العصر العُثمانيّ وما قبله مِن عصور. هذا وقد وَرَدَت إشارات أنه کان مِن المُعتاد أن يشتَمِل شوار العروس فِي تُرکيا فِي العصر العُثمانيّ على طأس حَمَّام.
Bowls in Islamic period were used in different purposes, as there were bowls used for eating, and others used for drinking, in addition to what is called magic bowls which were used for treatment and expulsion of evils either by drinking water inside them or use this water in bathing.
In this regard, this paper deals with one of the purposes of using bowls in Ottoman Turkey in the period from (12th AH/18th AD) century till the beginning of the (14th AH/ 20th AD) century, which is pouring water during bathing. And there are several remaining examples of this kind of bowls. On the other hand, it is noteworthy that many orientalists’ paintings depicting the public baths in that period show the use of bowls in that purpose.
Some of these bowls are decorated with human and animal figures and different scenes; some of them representing women in baths, while other bowls include floral and geometric decorations.
It should be noted that public baths played an important role in the lives of women in the Ottoman period, and that was in their daily lives and their social events such as preparing for weddings. It was usually known that the majority of women in Ottoman Turkey go to the public baths once a week, and there were many cosmetic operations done for them like braiding hair and beautifying face. The day of going to a public bath was a day to meet and socialize, some of the women took their children accompanied by their maids, who carried all the necessary belongings for bathing, including bowls, soap, combs and towels.
In addition, there were indications that it was customary to include a bath bowl in the bride’s stuff in Turkey in the Ottoman period.

Η πρωταρχική αντίληψη επάνω στην οποία δομείται και θωρακίζεται τα τελευταία χρόνια η χάραξη της πολιτιστικής πολιτικής του Δήμου Φαρσάλων είναι ότι ο πολιτισμός μπορεί και πρέπει να παράγει πλούτο, συμβολικό και υλικό. Σε μια εποχή όπου αναδιαρθρώνεται το πολιτιστικό τοπίο, ακυρώνεται το κοινωνικό κράτος, οι ελίτ αναδιατάσσονται, οι πολιτισμικές ιεραρχίες γεννούν κοινωνικές ιεραρχίες και πλέον απειλείται η πολιτισμική βιοποικιλότητα, χρειαζόμαστε επειγόντως ένα άλλο παράδειγμα δημόσιας πολιτισμικής πολιτικής, σε σχέση με αυτό που έως τώρα υπηρετούσε η κεντρική πολιτική σκηνή και το οποίο, έτσι κι αλλιώς, είχε αγνοήσει τον τόπο μας. Δίχως καμία προγενέστερη πολιτική πολιτιστική κουλτούρα αναζητούμε τις θεμελιώδεις μεταρρυθμίσεις που οδηγούν στην πολιτιστική διάκριση του τόπου. Ως κομβικές προτεραιότητες έχουν τεθεί η καταγραφή, διάσωση και ανάδειξη της πολιτιστικής κληρονομιάς, η ένταξή του τόπου σε πολιτιστικές διαδρομές, η παραγωγή νέου τοπικού πολιτιστικού προϊόντος και η δημιουργία αναγνωρίσιμων τοπόσημων. Τα αποτελέσματα της εφαρμογής των πολιτικών αυτών επιλογών είναι ήδη ευδιάκριτα και έως ένα βαθμό μετρήσιμα και αφορούν τόσο στην αντίληψη των κατοίκων του τόπου για τον τόπο, όσο και στην εικόνα των «άλλων» για αυτόν. Με την πεποίθηση ότι ο πολιτισμός έχει την ικανότητα να επηρεάσει και να υποστηρίξει όλες τις συνιστώσες της επωνυμίας μιας πόλης, από τις φυσικές και οικονομικές πτυχές της έως την παρουσία της στις διεθνείς αγορές, είναι στρατηγική και επιχειρησιακή μας πολιτική η επένδυση στην αναζήτηση, διαμόρφωση και ενδυνάμωση μιας σαφούς, συμπαγούς πολιτιστικής ταυτότητας με διαβατήριο την οποία τα Φάρσαλα θα ανοιχθούν στον κόσμο.

Due to importance of its geographical features such as abundance of water reservoirs, strong castle, fertile land, rich harbor with multinational business center and climate, Antalya had been the most strategic land to seize throughout history for every power seeking state. Antalya was conquered by Muslims during the reigns of Caliph Mütevekkil’s naval commander Fazl b. Karin who is originally Turkish and the city came under the rule of Abbasids for a short period of time until Great Seljuk Sultan Süleyman Shah conquered it in 1085. However, a little later Antalya fell into the hands of Byzantines in 1103 and remained under the rule of empire until the conquests of Seljuk Sultans in 1207, I. Gıyaseddin Keyhüsrev and in 1216, İzzeddin Keykavus. Although Ottomans recaptured the city from Seljuks in 1392, Antalya has been known as the land of Turks since 1216. Despite the conquests of Ottomans the city remained under the rule of Seljuks for almost 200 years and during this period Seljuks created a modern city in Antalya by building many historical artifacts such as mosques, madrasahs, dervish lodges, zawiyahs, Turkish hamams as well as a dockyard and a strong navy. Moreover, Seljuks also inserted stone or marble inscriptions to these buildings. This paper will be predominantly focusing on the original inscriptions of city wall, bastions and artifacts as a primary source built during the reign of Seljuk Sultans. This research will be based on critical analysis of the eight lost inscriptions; two epitaph and sarcophagus belong to the era of Anatolian Seljuk. Additionally, this research will compare the existing literature on the basis of reading and translating differences.

This paper addresses a few of the numerous issues concerning the activities of European antiquarians and the ancient Greek and Roman inscriptions of Asia Minor over the course of four hundred years from 1400 to 1800, touching upon five matters. Firstly, the collection and removal of antiquities including inscriptions by Europeans. Secondly, the varied functions of the visible ancient inscriptions for the Ottoman state and its inhabitants, both talismanic and therapeutic, and of the “non-literal reading” of an ancient inscription, distinct from the European antiquarian interest in the literal text of inscriptions, in establishing record of, and collections of the inscribed historical texts surviving from antiquity. Thirdly, the question of how safe a home was Europe for antiquities, including inscriptions and manuscripts that were brought from Asia Minor, and how much of scholarly importance that had survived was then lost in transit at sea and in Europe in wars and disasters? Fourthly, the problems with the transcriptions made by hand, the content of the record made and its accuracy. Was the inscription regarded simply as a text, prioritised as a text, or, was the text transcribed in its context including the epigraphic surface, its shape and relief carving, if any, its physical location if in situ, was it understood as forming a whole, and was it recorded as such? Were the letter forms, the number of lines, the different size of letters and words in an inscription, misspellings, etc., accurately noted or not? And, finally, the problems generated through the printed publication from the 16th c. onwards of the transcriptions that had been made of inscriptions, in particular, those employing a standard font in publication for the study of inscriptions, not least impacting the understanding of orthography. Again, was it a matter of the antiquarian publishing just the text of an inscription, or the text within its context, to scale, including the number of lines, the size of letters, the particular letter forms, the presence of guidelines, any remains of applied colour and its support, etc.

NİĞDE’DE BAZI MESCİT KİTABELERİ
Bu makalede, Niğde Merkez İlçesinde bulunan, ağırlığı Kayaardı ve Tepebağları Mahallelerindeki mescitlerin kitabeleri konu edilmiştir. Bağ mescidi kitabeleri olarak adlandırdığımız bu kitabeler ilk olarak: Savaş Maraşlı- Mustafa Eryaman tarafından yazılan; “Kaybolmuş Bir Geleneğin Tanıkları Niğde Bağ Mescitleri” adlı kitapta yayınlanmıştır. Konu edilen Mescit kitabelerinden bir tanesi de Sır Ali Mescidi( M. 1544-45)nin (önceki yayınlarda kitabesi olmadığı belirtilmiş) kitabesidir. Makale de Sır Ali Mescidi inşa kitabesi ilk kez yayınlanmaktadır. Sır Ali Mescidi inşa kitabesinde mescidin anisi "Hace Ahmed" olarak görülmektedir. Dolayısıyla Sır Ali Mescidi ismi "Hace Ahmed Mescidi" olarak değişmektedir. Ayrıca bu makale de Niğde merkez ilçesinde tespiti yapılan iki kaya oyma Mescit/mezar yapısı da konu edilmiştir.

This article deals with a group of 142 gravestones kept at the ‘Villa Ariadne’ in Knossos, Heraklion (Ott. Kandiye), Crete, Greece. The first part of the article provides information about Islam’s perception of death and the afterlife, burial customs, cemeteries, graves, and gravestones, with an emphasis on the Ottoman period, as well as about the Ottoman cemeteries of Heraklion. The second part of the article contains an analysis of the 142 gravestones, which cover the period from the eighteenth to the early twentieth century, and their epitaphs. As the gravestones in Knossos have been re-used as building material, none has survived in full. Even though this prevents a comprehensive study of the gravestones, it is clear that, in terms of their shapes, decoration, and epitaphs, they belong to the wider Ottoman burial culture, which is thought to have crystallised in the sixteenth century. The Appendix of the article contains transcriptions of the best-preserved epitaphs in the Latin script and translations into Greek, as well as tables with the dimensions of the gravestones and personal information about the dead, where this is available. A selection of the most representative gravestones is presented in photos.

The epigraphic material published in the present paper derives from towns of the Regional Unit of Messenia, namely Kalamata, Methoni, Kyparissia, Pylos, Asini, Petalidi, Vasilada, and it currently belongs to the 26th Ephorate of Byzantine Antiquities. The corpus comprises eight inscriptions in total, six funerary, one monumental and one on a cannon. The collection covers mainly the eighteenth century, whereas the inscription no. 1 is dated in the early seventeenth century. The material on which they are inscribed is white and greyish fine- and coarse-grained marble of high quality, and bronze, meticulously sculpted. In most cases, the decorative patterns of the main side consist of the equitant shallow cartouches, which accommodate embossed inscriptions usually in a relief technique. The type of script most frequently used is the basīṭ celī s̱ülüs̱, (nos 2, 3, 4, 6, 7, 8) and its simplest form (ḳırma) (no. 5); inscription no. 1 is incised in the basīṭ celī taʿlīḳ script

Epigrafik kaynaklar, tarih araştırmalarında son derece önemli kaynak türlerindendir. Ait olduğu eserin bânîsi ve yapım tarihinin yanında, hükümdarların saltanat süreleri, unvanları, önemli ıstılahların okunuşları ve kültür tarihi için vazgeçilmez kaynaklardır. Anadolu coğrafyası epigrafik kaynaklar bakımından son derece zengindir. Selçuklu, Beylikler ve Osmanlı dönemlerine ait pek çok kitabe günümüze ulaşmıştır. Bu dönemlerle ilgili kitabeler kullanılmadan yapılan araştırmaların eksik kalacağı şüphesizdir. Zira kitabeler tarihî olayların aydınlatılmasında da son derece önemlidir. Türkiye’de henüz XI.-XIV. yüzyıllara ait kitabeleri toplayan bir korpus bulunmamaktadır. Bu eksikliği gören yazar, tam bir korpus hazırlanıncaya kadar, alandaki boşluğu kapatabilmek adına bu sistematik bibliyografyayı Selçuklu ve erken Beylikler tarihi çalışan araştırmacıların istifadesine sunmuştur.