Asya Rönesansı: Timurlu Çağı'nın mimarlık mirasını anlamak (original) (raw)
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Mimaride Bir Timurlu Nostaljisi: St Petersburg Camisi
Prof. Dr. Bozkurt Ersoy Armağanı, 2023
At the beginning of the 20th century, a remarkable and monumental mosque was built in St. Petersburg for the Muslim population there. After the architectural competition and long discussions, architect Nikolai Vasilyev's (1875-1958) project titled "Timur" was approved and realized with some changes. The mosque, which started to be built in 1910 and continued until 1920 after its official opening in 1913, clearly resembles Gur-i Amir, the tomb of Timur in Samarkand. Especially in terms of decoration and its remarkable ribbed dome, it seems to repeat the Timurid model exactly. However, while reinterpreting Timurid architecture with a revivalist attitude, it essentially takes an eclectic appearance with arrangements that make the building suitable for the 20th century architecture. In this sense, such a building with strong Central Asian connotations was located in the center of the capital, possibly representing the lands ruled by the Russian Empire at that time.
Timur Rönesans'ı Timur (Temür) 1 ile başlayan ve devletin diğer hükümdarları tarafından devam ettirilerek geliştirilen sanatta, imarda ve ilimde önemli ilerlemelerin meydana geldiği bir dönemdir. Avrupalı tarihçilerde başta olmak üzere kültürel, sanatsal ve bilimsel olarak zirveye ulaşılan bu döneme Timur Rönesans'ı denmesinin haklı bir sebebi vardır. 2 Dönemin tarihlerine baktığımızda Orta Asya bu dönemde doğudan yükselen bir güneş ile aydınlanıyordu. Şaşırtıcı olan ise güneşin doğu coğrafyasında Timur Devleti'nde doğması idi. Şaşırtıcı olmasının aslında iki sebebi vardır. Bunlardan ilki Timur'un karakterine duyulan önyargıdan ileri gelir. Çünkü kendisi tarihte altına imzasını attığı kanlı savaşları ile bilinir ve böyle bir Rönesans'ın en azından bir ilerlemenin öncüsü olabileceğine pek imkân verilmez. Diğeri ise gerçekleşen ilerlemenin ve gelişmenin nasıl "Rönesans" olabileceği sorusudur. Çünkü yine bir önyargı olarak "Rönesans" ya da "Rönesanslar" 3 Avrupa'ya atfedilmiş, Avrupalılaştırılmıştır. Bu dönemi anlayabilmek ve neden Rönesans olduğunu kavrayabilmek için öncelikle Rönesans'ı ve Timur'un dönemini anlamak gerekir.
Yüzlerce Yıllık Anadolu-İran Kültürel Rotası: Mimari Tasarım Etkileşimi Bakımından “Kral Yolu”
ARKEOLOJİ VE SANAT, 2022
In this study, the knowledge and culture transfers created by the famous 'Royal Road', which was an Anatolian-Iran route connecting Susa and Persepolis, the capitals of the Persian Empire-Achaemenid Period in the 6th century BC, to Sardis, the capital of Lydia, were examined. The main objective of the study is to emphasize the importance of historical routes in terms of cultural sustainability and to evaluate them with a holistic approach, taking the "Royal Road" as an example of an Anatolian cultural heritage. Although the evidence and evaluations of historical routes often focus on wars and diplomatic encounters, studies examining the cultural exchanges created by the routes are gaining importance again. For this reason, examining the articles and publications on the subject, is aimed to reveal the meaning and importance of roads as a knowledge transfer model and that they are part of a design system throughout history as well as their physical heritage. In the research, architectural examples, one of the most important issues of cultural interaction, were used. The samples were selected from the 'Royal Road' route, which served the Achaemenid Period and established the first great empire of the Anatolian-Iranian geography. Throughout history, this path is not just a physical path, but a very complex political, financial, design, management, organization, technology, production, and millennium-year-old business model. Architectural design culture is the most concrete indicator of the cultural interaction that took place on ancient cultural routes. At the same time, we see that historical roads are a versatile and continuous communication tool as well as a source of architectural design and cultural sustainability. This is also true today.
Orta Asya Türk Sanatı île Anadolu'da Selçuklu ve Beylikler Mimârisi
ısır'da ilk Müslüman Türk Devleti'ni kurarak, kısa süre için bu bölgede parlak bir gelişme yaratan Tolunoğulları, yerini Ku zey Afrikalı sülalelere bırakırken, Asya içlerinde, Karluk Türk leri İslâmiyeti kabul ederek X. yy. içinde parlak bir gelişmenin yolunu açıyordu.
Despite its unsuccessful counter-strike against Italy's unexpected invasion of Tripoli, the Ottoman government did not impose martial law on Italian nationals living in its territories. The Ottoman state lacked the necessary military and economical power to defend Tripoli, and tried to receive support from Great Britain, France and Germany, unaware of the clandestine negotiations between these countries. Believing that protracted political discussions would result in a treaty with favorable conditions, the Ottoman government stayed away from serious interventions that could lead to adverse outcomes. However, Ottoman citizens reacted to the timid policy of the Ottoman government and applied their own sanctions against Italian nationals. Popular rage at the lack of retaliation against Italy gradually focused on Italian nationals. Under the pressure of internal turmoil and in the hope of calming troubled social and political conditions, the Ottoman government initially dismissed the Italian nationals working in goverment offices and, after giving up hope of settling a peace agreement, later decided, with few exceptions, to expel all Italian nationals.