Süleymaniye Yazma Eser Kütüphanesi Hamidiye Koleksiyonu'nda Bulunan Mülevven Tekniğindeki Ciltler
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Dosyalar
Tarih
2021
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Necmettin Erbakan Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Tezimizin konusu olan “Süleymaniye Yazma Eser Kütüphanesi Hamidiye
Koleksiyonu’nda Bulunan Mülevven Tekniğindeki Ciltler” kapsamında
koleksiyonda bulunan mülevven teknikle yapılmış ciltler cilt sanatının tarihi
sürecinde değerlendirilmiştir.
Çalışmamızda ele aldığımız ciltlerin tamamı Osmanlı dönemine aittir.
Tezimiz kapsamında incelemiş olduğumuz 68 adet cildin tümü gömme tekniğinde
yapılmıştır. Bu ciltlerden 65 adedi mülevven ve alttan ayırma tekniğinde, 3 adedi ise
mülevven ve üstten ayırma tekniğinde süslenmiştir. Buna ilaveten 17. yüzyıl
ciltlerinden 1302 ve 18. yüzyıl ciltlerinden 1063 demirbaş numaralı ciltlerin
salbekleri, 18. yüzyıl ciltlerinden 1060 demirbaş numaralı cildin ise köşebentleri
yazma tekniğiyle yapılmıştır. Çalışmamızda incelemiş olduğumuz eserlerin tümünde
deri malzeme kullanılmıştır. Dış kapaklarda kahverengi, bordo, siyah ve yeşil deri
kullanılmıştır. İç kapaklarda ise bordo, kahverengi ve siyah derinin yanı sıra iç
kapağında ebrulu kâğıtla kaplanan ve yalnızca kâğıt kaplanan örneklerde
mevcuttur. Dış kapaklarda genellikle şemse, salbek, köşebent, cetvel, zencerek ve
bordürler yapılmıştır. Salbek, köşebent, miklep ve bordürün bulunmadığı
örneklerde mevcuttur. Ciltlerin sırt kısımları süslemesizdir. Ciltlerin mıklepleri dış
kapaklarla aynı teknik ve süslemede yapılmışlardır. Çalışmamızda miklep kısmı
bulunmayan örneklerde mevcuttur. Çalışmamızda sertap kısmı genellikle kartuşlara
ayrılmış, kartuşların araları ve içleri noktalarla bezenmiştir. Sertap kısmı tıpkı sırt
kısmı gibi çok fazla tahrip olduğu için tamir gören örnekler bulunmaktadır.
İncelemiş olduğumuz ciltlerin dış kapaklarında genellikle bitkisel süsleme
kompozisyonlar tercih edilmiştir. Burada hatayi, gonca, kıvrım dallar ve saz
yaprakları en çok tercih edilen motiflerdir. Bitkisel süslemenin yanı sıra bulut motifi
de dış kapaklarda düğümlü ve serbest şekilde sıkça karşımıza çıkmaktadır. İç
kapaklarda ise genellikle şemse, salbek ve köşebentlerin içerisi yazma tekniğiyle süslenmiştir. İç kapağı farklı olan tek örnek 16. yüzyıl ciltlerinden 628 demirbaş
numaralı cilttir. Bu cildin iç kapağı tıpkı dış kapağında olduğu gibi mülevven ve
alttan ayırma tekniğindedir.
Tezimiz “Giriş”, “Türk Cilt Sanatı”, “Süleymaniye Yazma Eser Kütüphanesi
Hamidiye Koleksiyonu’nda Bulunan Mülevven Tekniğindeki Ciltler (Katalog)”,
“Değerlendirme” ve “Sonuç” olmak üzere toplam beş ana bölümden oluşmaktadır.
“Giriş” ana başlığı “Konunun Tanımı, Amacı ve Sınırları”, “Çalışmanın Yöntemi”,
“Yararlanılan Kaynaklar” ve “Süleymaniye Yazma Eser Kütüphanesi” olmak üzere
dört alt başlığa ayrılmıştır. “Türk Cilt Sanatı” ana başlığı “Cilt Sanatı ve Tarihçesi”,
“Cilt Sanatında Kullanılan Teknikler” ve “Mülevven Tekniği” olmak üzere üç alt
başlığa ayrılmıştır. “Süleymaniye Yazma Eser Kütüphanesi Hamidiye
Koleksiyonu’nda Bulunan Mülevven Tekniğindeki Ciltler” ana başlığı katalog
bölümüdür. Bu bölümde 68 adet cilt malzeme, süsleme, teknik ve tasarım açısından
detaylı bir şekilde ele alınmıştır. “Değerlendirme” başlığı “Malzeme ve Renk”,
“Teknik”, “Mülevven Tekniğinin Ciltte Görüldüğü Yerler” ve “Süsleme” olmak
üzere dört alt başlıkta ele alınmıştır. “Sonuç” ana başlığından sonra
“Bibliyografya”, “Fotoğraflar Listesi”, “Fotoğraflar”, “Çizimler Listesi” ve
“Çizimler” yer almaktadır.
The volumes in the collection within the scope of the subject of our thesis “Colorful (Mülevven) Volumes in the Hamidiye Collection in the Suleymaniye Manuscript Library” have been evaluated in the historical process of binding art. All of the volumes in our study are Ottoman period volumes. All of 68 volumes that we examined in our thesis were made in the mounting technique. Of the 68 volumes that we examined, 65 were made according to ornamentation technique in the multiverse and bottom separation technique, and 3 of them were made with the multiverse and top separation technique. Of these volumes, salbeks of volumes with asset no. 1302 from the volumes of 17th century and salbeks of volumes with asset no. 1063 from the volumes of 18th century and gussets of volumes with asset no. 1060 from the volumes of 18th century were made with the technique of writing. Leather material was used in all of the works we examined in our study. Brown, burgundy, black and green leather was used on the outer covers. In addition to burgundy, brown and black leather, it is available in samples covered with marbled paper on the inner cover and only covered with paper. On the outer covers, rosettes (şemse), corners (salbek), gussets (köşebent), rulers (cetvel), zencerek and borders (bordür) were generally made. There are also examples that do not have salbeks, gussets, mikleps and borders. The backs of the volumes were generally made plain. Since the back is the part that is severely damaged, there are examples that have been repaired. Unfortunately, we cannot have information about the decoration of these examples. In the volumes with the miklep part, the mikleps were generally made in the same technique and decoration as the outer covers. In our study, there are some samples that do not have a miklep part. In our study, the sertap part was usually divided into cartridges, and the spaces and inside of the cartridges were decorated with dots. There are examples that are repaired because the sertap part is damaged too much, just like the back part. The motifs generally used in vegetal decoration on the outer covers of the volumes we have examined are the hatayi, bud, folded and reed leaves. In addition to the vegetative decoration, the cloud motif is frequently seen on the outer covers in a knotted and loose manner. There are also naturalistic ornaments on the outer covers. On the inner covers, the rosettes, corners and gussets, which were generally made with writing technique, were painted with painting technique. The only example with a different inner cover is from the volumes of 16th century with the asset no. 628. The inner cover of this volume was just like the outer cover, made with a gentle and bottom separation technique. Our thesis consists of five main sections: “Introduction”, “Turkish Binding Art”, “Colorful Volumes in the Hamidiye Collection in the Suleymaniye Manuscript Library”, “Evaluation” and “Conclusion”. The main title of “Introduction” is divided into four sub-headings: “Definition, Purpose and Boundaries of the Subject”, “Method of Study”, “Utilized Resources” and “About the Suleymaniye Manuscript Library”. The main title of “Turkish Binding Art” is divided into three sub-headings: “Binding Art and History”, “Techniques Used in Binding Art” and “Colorization (Mülevven) Technique”. The main title of “Colorful Volumes in the Suleymaniye Manuscript Library” is the catalog section. In this section, 68 volumes are discussed in detail in terms of material, decoration, technique and design. The title of “Evaluation” is divided into four sub-headings: “Material and Color”, “Technique”, “Where the Colorization Technique is seen on the Volume” and “Decoration”. After the main title of “Conclusion”, there are “Bibliography”, “List of Photographs”, “Photographs”, “List of Drawings” and “Drawings”.
The volumes in the collection within the scope of the subject of our thesis “Colorful (Mülevven) Volumes in the Hamidiye Collection in the Suleymaniye Manuscript Library” have been evaluated in the historical process of binding art. All of the volumes in our study are Ottoman period volumes. All of 68 volumes that we examined in our thesis were made in the mounting technique. Of the 68 volumes that we examined, 65 were made according to ornamentation technique in the multiverse and bottom separation technique, and 3 of them were made with the multiverse and top separation technique. Of these volumes, salbeks of volumes with asset no. 1302 from the volumes of 17th century and salbeks of volumes with asset no. 1063 from the volumes of 18th century and gussets of volumes with asset no. 1060 from the volumes of 18th century were made with the technique of writing. Leather material was used in all of the works we examined in our study. Brown, burgundy, black and green leather was used on the outer covers. In addition to burgundy, brown and black leather, it is available in samples covered with marbled paper on the inner cover and only covered with paper. On the outer covers, rosettes (şemse), corners (salbek), gussets (köşebent), rulers (cetvel), zencerek and borders (bordür) were generally made. There are also examples that do not have salbeks, gussets, mikleps and borders. The backs of the volumes were generally made plain. Since the back is the part that is severely damaged, there are examples that have been repaired. Unfortunately, we cannot have information about the decoration of these examples. In the volumes with the miklep part, the mikleps were generally made in the same technique and decoration as the outer covers. In our study, there are some samples that do not have a miklep part. In our study, the sertap part was usually divided into cartridges, and the spaces and inside of the cartridges were decorated with dots. There are examples that are repaired because the sertap part is damaged too much, just like the back part. The motifs generally used in vegetal decoration on the outer covers of the volumes we have examined are the hatayi, bud, folded and reed leaves. In addition to the vegetative decoration, the cloud motif is frequently seen on the outer covers in a knotted and loose manner. There are also naturalistic ornaments on the outer covers. On the inner covers, the rosettes, corners and gussets, which were generally made with writing technique, were painted with painting technique. The only example with a different inner cover is from the volumes of 16th century with the asset no. 628. The inner cover of this volume was just like the outer cover, made with a gentle and bottom separation technique. Our thesis consists of five main sections: “Introduction”, “Turkish Binding Art”, “Colorful Volumes in the Hamidiye Collection in the Suleymaniye Manuscript Library”, “Evaluation” and “Conclusion”. The main title of “Introduction” is divided into four sub-headings: “Definition, Purpose and Boundaries of the Subject”, “Method of Study”, “Utilized Resources” and “About the Suleymaniye Manuscript Library”. The main title of “Turkish Binding Art” is divided into three sub-headings: “Binding Art and History”, “Techniques Used in Binding Art” and “Colorization (Mülevven) Technique”. The main title of “Colorful Volumes in the Suleymaniye Manuscript Library” is the catalog section. In this section, 68 volumes are discussed in detail in terms of material, decoration, technique and design. The title of “Evaluation” is divided into four sub-headings: “Material and Color”, “Technique”, “Where the Colorization Technique is seen on the Volume” and “Decoration”. After the main title of “Conclusion”, there are “Bibliography”, “List of Photographs”, “Photographs”, “List of Drawings” and “Drawings”.
Açıklama
Yüksek Lisans Tezi
Anahtar Kelimeler
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Arslan, A. (2021). Süleymaniye Yazma Eser Kütüphanesi Hamidiye Koleksiyonu'nda bulunan mülevven tekniğindeki ciltler. (Yayınlanmamış Yüksek Lisans Tezi). Necmettin Erbakan Üniversitesi, Sosyal Bilimler Enstitüsü Sanat Tarihi Anabilim Dalı, Konya.
