Z.Kenan Bilici | Ankara University (original) (raw)

Papers by Z.Kenan Bilici

THE TESTIMONY OF PHOTOGRAPHS: SOME THOUGHTS ON THE GREAT MOSQUE OF BİRECİK Birecik is known to... more THE TESTIMONY OF PHOTOGRAPHS: SOME THOUGHTS ON THE GREAT MOSQUE OF BİRECİK
Birecik is known to have been a medieval city with its castle overlooking the Euphrates River and its outer walls, and its city gates, known locally as “Urfa Gate” (Bâb-ı Ruha) and “Meçan Gate” (Vâdi-i Ceng), which are understood from their inscriptions to have been built by the Mamlūk
Sultan Sayf ad-Din Qa’itbay in the late 15th century. During the Ottoman period in the 16th century, the city, which became a settlement where ship timber, weapons, ammunition, gunpowder and commercial commodities were stored as the port of Aleppo and Baghdad, preserved its feature of
being an important crossroads on the Silk Road, where Far Eastern goods, especially spices and silk from India, were transported by caravans and transported to Mediterranean ports such as Tripoli, Iskenderun and Payas via Haleb and Damascus for centuries.
The Great Mosque of Birecik, which is understood to have once stood on the banks of the Euphrates River and on the southern slopes of the historical castle that crowned the medieval city by rising in the north-western direction of the settlement, is a collection of various buildings that spread over a rectangular residential area extending north-south and which have survived to the present day due to renovations, alterations and extensions carried out at different dates. Currently located in a congested and irregular urban area and surrounded by residential buildings on three sides, the entire western façade of the building, which used to be located on the Euphrates River, was filled in the early 1970s in order to create a wide avenue running along the western shore of the city during this
physical change, the original elements of the aforementioned façade were left below the level of the street’s fill soil.
The building, which was published as the “Great Mosque of Birecik” and was photographed by Max von Oppenheim in 1899 for the book “Inschriften aus Syrien, Mesopotamien und Kleinasien” published in 1909 and recorded as “Moschee ed Tekkije el Bahrije” (Bahriye Tekke Mosque), has lost its original plan and structural features over time due to physical interventions carried out at different dates, and its appearance at the end of the 19th century, when it was documented in photographs, has undergone major changes over time together with the historical urban space in which it is located.
On the other hand, it is still possible to make a restitutive assessment by looking at the current plan elements and some spatial arrangements of the group of buildings that make up the landscape, as well as photographs taken from the late 19th century onwards. These photographs, as well as its structural features, testify to the fact that the “Great Mosque of Birecik” as a whole was the product of late Ottoman construction activities.

Prof. Dr. Bozkurt Ersoy Armağanı, Eds: H.Uçar-.H.Ürer-H. S. Ü.Özdemir-M.Çeken, İzmir, s.155-164., 2023

It is known that the Geçit Bridge, located on the Bursa-Mudanya road and on the Nilüfer stream, w... more It is known that the Geçit Bridge, located on the Bursa-Mudanya road and on the Nilüfer stream, was built in
1885/86 by Mehmed Nazif Pasha, who served as the Governor of Bursa between 1881/82- 1885/86. Documents in the
Ottoman Archives relating to the construction of the bridge during the reign of Sultan Abdulhamid reveal that the old wooden
bridge no longer met the needs of the passengers, cars and animals travelling from Istanbul to the Anatolian interior via
Bursa, and that a new one-eyed bridge with a span of twenty-four metres and a masonry of cut stones was built in its place.
Built in the late Ottoman period on the main road that connects Bursa to Mudanya on the Marmara Sea coast and over the
Nilüfer Stream in a south-east north-west direction, the bridge is a single-span water structure made entirely of cut stone. The
structure, which serves a very busy traffic today, has undergone many physical interventions over time and its original
pavement was completely covered due to the reinforced concrete deck that was later laid on it, as well as the stone railings
and elegant lighting elements at the bridge entrances, which are understood to be present in old photographs, were removed.
In this process, the construction inscriptions, which were understood to have been placed opposite each other in the central
part of the bridge in the past, were removed from their places and moved to the Bursa Museum. On the other hand, a total of
three stone railing elements, one on each wing of the south-eastern entrance of the bridge in the Bursa direction and one on
the northern corner of the remaining entrance in the Mudanya direction, which are understood to belong to the parapets of the
old bridge, have survived to the present day as a great chance.
For the construction of the arch piers of the bridge, the rocks on both sides of the water were used as base, and in
addition, a staggered buttress wall was added to the tempan walls along the arch piers as prismatic masses of cut stone
masonry at heights exceeding 5.00 m. from the ground level by chamfering the outer corners.
It is clear that the structure, which has been known as Geçid or Geçit Bridge since the late 19th century, has been subjected to
various physical interventions during the modern road construction works carried out on the Bursa-Mudanya road route and
in the 20th century, and that the original structural elements have been lost over time. Based on the limited number of visual
documents and some elements still standing around the bridge, it is still possible to make some approaches to the original
state of the bridge.
The current 10.53 m. wide concrete deck, which is understood to have been created as a result of physical
interventions carried out in the 20th century, has certainly eliminated the road width dating back to the first construction
phase of the bridge. As a matter of fact, this can be easily recognised by the condition of the stone row on the upper level of
the bridge’s tempan walls; obviously, based on the tempan walls, the road width was increased due to vehicular traffic and
the original railings of the bridge were also removed during this intervention. Currently, three stone elements found at the
entrances of the bridge in the Bursa and Mudanya directions are understood to belong to the railings that were once used on
the bridge, and it is possible to confirm this determination with a drawing depicting the appearance of the bridge when it was
first built. Accordingly, the parapet stones, consisting of vertical rectangular prismatic masses with ellipsoid openings in the
centre, were certainly symmetrical along the span of the bridge arch with an arrangement of prismatic stone bollards with
spherical capitals between them, and terminated at the entrances of the structure with perpendicular breaks following the
breach walls articulated externally to the tempan walls on the Bursa and Mudanya sides of the bridge. At the corners of the
opposite piers of the bridge arch and at the corners where the arch piers meet the tempan wall, there were decorative lighting
elements on the same vertical axis, apparently intended to illuminate the bridge entrances, resting on elegant iron L-profile
brackets, but they have disappeared over time.

Cumhuriyetin 100. Yılına Armağan, Kuruluşundan Günümüze Ata Yadigârı Dil ve Tarih-Coğrafya Fakültesi, II.Cilt, Ankara. , 2023

Ankara Üniversitesi sosyal bilimler dergisi, 2018

Uluslararası Sanat Tarihi Sempozyumu (Prof.Dr.Gönül Öney'e Armağan, 10-13 Ekim 2001), İzmir.2002, s., 131-137.

ULUSLARARASI KATILIMLI XVI. ORTAÇAĞ-TÜRK DÖNEMİ KAZILARI VE SANAT TARiHi ARAŞTIRMALARI SEMPOZYUMU, CUMHURiYET ÜNiVERSiTESi - SİVAS 18-20 EKiM 2012), CiLT 1, Sivas, s.125-140., 2014

Sultan II. Abdülhamid ve Osmanlı Modernleşmesi, Cilt II, İstanbul. , 2022

Ankara Üniversitesi Bülten, 2015

Prof. Dr. Bozkurt Ersoy Armağanı, Eds: H.Uçar-.H.Ürer-H. S. Ü.Özdemir-M.Çeken, İzmir, s.155-164., 2023

Cumhuriyetin 100. Yılına Armağan, Kuruluşundan Günümüze Ata Yadigârı Dil ve Tarih-Coğrafya Fakültesi, II.Cilt, Ankara. , 2023

Ankara Üniversitesi sosyal bilimler dergisi, 2018

Uluslararası Sanat Tarihi Sempozyumu (Prof.Dr.Gönül Öney'e Armağan, 10-13 Ekim 2001), İzmir.2002, s., 131-137.

ULUSLARARASI KATILIMLI XVI. ORTAÇAĞ-TÜRK DÖNEMİ KAZILARI VE SANAT TARiHi ARAŞTIRMALARI SEMPOZYUMU, CUMHURiYET ÜNiVERSiTESi - SİVAS 18-20 EKiM 2012), CiLT 1, Sivas, s.125-140., 2014

Sultan II. Abdülhamid ve Osmanlı Modernleşmesi, Cilt II, İstanbul. , 2022

Ankara Üniversitesi Bülten, 2015

In Catalca, there are some old fortification walls and building remains that surrounded from the... more In Catalca, there are some old fortification walls and building remains that surrounded from the northern and eastern wing of the castle dates back to the early Byzantine times and have been fortified during the medieval and late Middle Ages. Although it can be determined that the part of the wall line, which can be seen as a remnant today, extends parallel to the Black Sea street and into the corner where the wall is intersected by the Kale Arkası street, it is understood that the next continuation of the wall has been left over from time to time due to housing constructions. A similar observation can be made for the eastern wing, which runs parallel to the Black Sea street, here too, the continuation of the southward direction of the fortress has been completely removed due to the housing constructions at this point. At the present situation, it is probable that the fortification line goes eastward along the Black Sea street to the south and the city is broken at the junction with the present Cevdet Baran street and turns westward and is felling along the southern wing of the old city reaching Ferhat Pasha street. It can be said that the wall line is then merged along the western edge of the city and along the slopes of the topography, along the Ferhat Pasha street, turning north-east on the corner of the street with the back of the castle and joining it with the present wall on the Black Sea street from the Topuklu fountain.
Despite all the uncertainty in Antique ages, it is understood that the Çatalca, once known as Metrai, was settled in the early Byzantine era. Situated on the road known as Strata Vetus in the Roman period, there is no doubt that the city has been a Castron in the past as one of the forerunners of the road, forming an important fortress holding the main route through the city from Schiza to Constantinople.
However, systematic excavations are needed for uncover to the Byzantine fortification and the main gates between the intensive residential space forming the present settlement area.
This unpretentious work aims to determine the fortification line that surrounded the Byzantine city in the north and east direction and the constructions of Ottoman era on this wall line.

İ Ç İ N D E K İ L E R SAYFA A-KENTİN TARİHSEL GEÇM... more İ Ç İ N D E K İ L E R

SAYFA

A-KENTİN TARİHSEL GEÇMİŞİ HAKKINDA BİLİNENLER 1 - 4
B- BİNALARA İLİŞKİN MİMARİ DEĞERLENDİRME
VE RESTİTÜSYON RAPORU 5-34

I- D1 NO.LU KENT KAPISI 5 - 8
II- D2 NO.LU YAPI 9-12
III- B1 NO.LU GEÇİT 12-14
IV- B2 NO.LU KENT KAPISI 14-21
V- B3 NO.LU YAPI KALINTISI 21-24
VI- B4 NO.LU YAPI KALINTISI 24-26
VII- B5 NO.LU KAYA OYMA YAPI KALINTISI 26-27
VIII- B6 NO.LU KENT KAPISI 27-29
IX- B7 NO.LU YAPI KALINTISI 30-34

BİBLİYOGRAFYA 35

Geçmişin maddi kültür tarihini yazmanın pek çok yolundan biri olarak, arkeoloji, bir yönüyle, top... more Geçmişin maddi kültür tarihini yazmanın pek çok yolundan biri olarak, arkeoloji, bir yönüyle, toplumların günlük hayatta kullandıkları eşya türlerinin ayrıntılarındaki boşlukları doldurarak, sadece tarihî evrim süreçlerinin değil, fakat aynı zamanda, toplum ve insandaki değişim ve dönüşüm mekanizmalarının incelenmesi için de bir yöntem sağlar. Böylelikle, çeşitli eşyaların olduğu kadar, binalar gibi, insanın fizikî çevresini oluşturan maddi görüntülerin de, geçmişteki toplumsal rolleri ile bunların insan ya da toplumların hayatlarına ne ölçüde karıştıklarının anlaşılabilmesi ve günümüze ulaşan üretim/tüketim süreçlerinin yeniden değerlendirilmesi mümkün hale gelebilmektedir.
Buna karşılık, 16.yüzyıldan itibaren giderek genişleyen ve deyim yerindeyse küreselleşen bir dünya sistemi ve pazar ekonomisiyle ilişkilendirilebilecek nitelikteki pek çok kullanma eşyasının, çeşitli kültürel merkezlerde ve o merkezleri ne ölçüde takip ettikleri pek de anlaşılamayan taşra yerleşmelerinde hangi sosyo-kültürel gelişmelere yol açtıklarını, hangi ölçüde tercih edilip kullanıldıklarını ve toplumun gündelik hayatının ne dereceye kadar birer parçası olduklarını belirlemek hâlâ kolay değildir. Esasen tarihe bu yönüyle yaklaşmak, maddi kültür ögelerinin, modernite sürecinde ve giderek daha da karmaşık bir hale geldiği çağlar için daha da çetin sorunlar içermektedir. Denebilir ki, çoğunlukla apolitik olunamayacak kadar karmaşık veriler içeren yakın çağların arkeolojik çalışmalarında, toplumun günlük hayatında ticaret, trampa, değiş-tokuş ya da takas yoluyla sürekli el ve mekân değiştiren kullanma eşyalarının ve bu yolla yayılıp yaygınlaşan çeşitli kültürel attitude’lerin derinliğine anlaşılabilmesi için, eşya türleri ve bunların isimlerini belirlemek, kimi tipolojik tasnifler ve stilistik mukayeseler yapmak ya da arkeometrik analiz sonuçlarını yayınlamak, şüphesiz önemli bir çaba olmakla birlikte, tek başına yeterli değildir.
Bu bağlamda, Osmanlı coğrafyasına yayılmış pek çok küçük eşyanın tarihi henüz bütün yönleriyle araştırılıp yazılmadığı gibi, bu tür objeler, ne yazık ki ülkemizde, Osmanlı Çağı Arkeolojisi olarak tanımlanabilecek bir yöneliş ve özel bir ilgi alanının konusu haline de gelememişlerdir.
Son yıllarda, tütün, çay ya da kahve gibi mükeyyifât türünden maddelerde kullanılan ve Tüketim Arkeolojisi (consumption archaeology) adı altında incelenen kimi objelere yönelik bilimsel çalışmalardaki sayısal artışın, ülkemizde, arkeoloji disiplininin henüz ilgi alanına girmeyen ve geç dönemlere ait bu türden kullanma eşyasının dolaşımına ilişkin karanlıkta kalmış pek çok ayrıntıyı ileride bütün yönleriyle aydınlatacağı umut edilebilir.
Bu bildiride, Osmanlı imparatorluk coğrafyasında seramik eşyanın dolaşımıyla ilgili olarak, Alanya Kalesi’ndeki arkeolojik kazı çalışmaları sırasında ele geçirilen maddi kültür eşyaları ile bu tür objeler hakkında bilgi veren tereke ve kassam defterleri gibi yazılı arşiv belgelerinden elde edilen veriler doğrultusunda Akdeniz bağlamında bazı değerlendirmelerde bulunulacaktır.

Anadolu Selçuklu Çağı Taçkapıları, The Portals of the Anatolian Seljuk Era, Cilt/Volume 3, 2022

Anadolu Selçuklu Çağı Taçkapıları, The Portals of the Anatolian Seljuk Era, Cilt/Volume 2, 2022

Anadolu Selçuklu Çağı Taçkapıları-The Portals of the Anatolian Seljuk Era, Cilt/Volume 1 , 2022

Anadolu Selçuklu Çağı Mirası-Mimari, Cilt 1, The Heritage of Anatolian Seljuk Era, Architecture, Vol. 1,, 2016

Anadolu Selçuklu Çağı Mirası Mimari-Cilt 3, The Heritage of Anatolian Seljuk Era, Architecture, Vol.3,, 2016

Anadolu Selçuklu Çağı Mirası Mimari-Cilt 2, The Heritage of Anatolian Seljuk Era, Architecture, Vol.2., 2016