15. Yüzyıl Osmanlı Kalemişi Tezyinatında Kullanılan Rûmî Motifler Üzerine Bir Değerlendirme
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Tarih
2023
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Istanbul University Research Institute of Turkology
Erişim Hakkı
info:eu-repo/semantics/embargoedAccess
Özet
Osmanlı kalemişi sanatında önceki dönemlere ait süsleme anlayışından farklı olarak 15. yüzyılda yeni bir üslûp ortaya
çıkmıştır. Mirasını devraldıkları Selçuklularda görülmeyen bu farklılığın ortaya çıkmasında Osmanlıların beylikten devlete
geçişinin, Timur’un ve yakın coğrafyalardan sanatkâr değişimlerinin büyük etkisi olmuştur. Osmanlıların başkenti Bursa
ve Edirne’deki yapıların kalemişlerinde bu etkinin uygulamaları görülmektedir. Günümüze ulaşan yapılarda bulunan
kalemişlerinde desen yoğunluğu ve desenleri oluşturan motiflerdeki abartı dikkat çekmektedir. Özellikle Edirne Muradiye
Camii, Bursa Şehzade Mustafa-Cem Sultan Türbelerindeki kalemişleri dönemin anlayışını en güzel şekilde örneklemektedir.
Anlayıştaki bu değişim Türk tezyinatının ana motiflerinden olan rûmî motiflerinde takip edilebilmektedir. Halef-selef
oldukları dönemlerde daha sakin ve sade olarak kullanılan rûmîler, 15. yüzyılda oldukça detaylı çizilmiş ve aynı biçimde
renklendirilmiştir. Tezyinat kitaplarında yer alan klasik rûmî tipolojisinin dışında, fantezi uygulamalar yapılmış ve devrin
heyecanını barındıran yeni örnekler ortaya konmuştur. Bunlar bütünleşik ve yapışık rûmîler olarak adlandırılan, bugüne
değin üzerinde yorum yapılmayan ilginç rûmî tasarımlarıdır.
Bu çalışmada 15. yüzyıl Osmanlı kalemişi tezyinatında görülen rûmî motiflerinin farklı biçimleri incelenmiştir. Sade (yalın),
sencîde, sarılma, hurde, dilimli ve dendanlı rûmî türleri kısaca tanımlanmışken “bütünleşik ve şeritlere yapışık rûmî” türleri
geniş şekilde ele alınmıştır. Ayrıca devrin özgün nakışları olarak karşımıza çıkan bu yenilikçi tasarımlar devrin sufi anlayışının
bir etkisi olarak düşünülmüş ve konu bu açıdan da değerlendirilmiştir.
The Ottoman concept of decoration, unlike the ornament approaches of previous periods in painted decoration art, presented a new style in the 15th century. In the emergence of this difference, which was not seen in the Seljuks, where they inherited their heritage, the change of the Ottomans from the principality to the state, Timur and his transfer of artists from nearby geographies had a great impact. The applications of this effect can be seen in the painted decorations of structures in Bursa and Edirne, the capitals of the Ottomans. In the existing painted decorations found in the structures that have reached today, the pattern density and exaggeration in the motives that make up the patterns are conspicuous. In particular, the exemplifies in Edirne Muradiye Mosque, Bursa Şehzade Mustafa-Cem Sultan Tombs represent the understanding of the period in the most beautiful way. We can be followed this change of understanding best in the Rumi patterns, which are one of the main patterns of Turkish decoration. The Rumi patterns, which were used in calmer and simpler means during the periods when they were successor-predecessors, were drawn in detail and colored similarly in this century. Apart from the classical Rumi typology specified in the decoration books, fancy practices were made and new examples reflecting the excitement of the era were put forward. These are interesting Rumi patterns, which we called unified and conjoined Rumi, which have not been commented on until today. In this study, different forms of motifs seen in 15th-century Ottoman handdrawn ornaments were examined. While plain (simple), sencide, hug, scrap, sliced and dendan types have been briefly defined, “integrated and adhered to strips” types have been extensively discussed. In addition, these innovative designs, which appear as the original embroidery of the period, were considered as an effect of the Sufi understanding of the period and the subject was evaluated from this point of view.
The Ottoman concept of decoration, unlike the ornament approaches of previous periods in painted decoration art, presented a new style in the 15th century. In the emergence of this difference, which was not seen in the Seljuks, where they inherited their heritage, the change of the Ottomans from the principality to the state, Timur and his transfer of artists from nearby geographies had a great impact. The applications of this effect can be seen in the painted decorations of structures in Bursa and Edirne, the capitals of the Ottomans. In the existing painted decorations found in the structures that have reached today, the pattern density and exaggeration in the motives that make up the patterns are conspicuous. In particular, the exemplifies in Edirne Muradiye Mosque, Bursa Şehzade Mustafa-Cem Sultan Tombs represent the understanding of the period in the most beautiful way. We can be followed this change of understanding best in the Rumi patterns, which are one of the main patterns of Turkish decoration. The Rumi patterns, which were used in calmer and simpler means during the periods when they were successor-predecessors, were drawn in detail and colored similarly in this century. Apart from the classical Rumi typology specified in the decoration books, fancy practices were made and new examples reflecting the excitement of the era were put forward. These are interesting Rumi patterns, which we called unified and conjoined Rumi, which have not been commented on until today. In this study, different forms of motifs seen in 15th-century Ottoman handdrawn ornaments were examined. While plain (simple), sencide, hug, scrap, sliced and dendan types have been briefly defined, “integrated and adhered to strips” types have been extensively discussed. In addition, these innovative designs, which appear as the original embroidery of the period, were considered as an effect of the Sufi understanding of the period and the subject was evaluated from this point of view.
Açıklama
Makale
WOS:000933100700004
WOS:000933100700004
Anahtar Kelimeler
15. Yüzyıl Kalemişi, Tezyinat, Vahdet, Tasavvuf, Bütünleşik Rûmî, Şeritli Rûmî, 15th Century Painted Decoration, Bursa School, Mysticism, Unified Rûmî, Striped Rûmî
Kaynak
Art-Sanat
WoS Q Değeri
Scopus Q Değeri
Q3
Cilt
19
Sayı
-
Künye
İrteş, M.S., Baysal, A. F., Sayın, A. Z. 82023). 15. yüzyıl Osmanlı kalemişi tezyinatında kullanılan rûmî motifler üzerine bir değerlendirme. Art-Sanat, 19, 311-336.
