Mimar Sinan Research Papers - Academia.edu (original) (raw)

STRUCTURED ABSTRACT
Although there are numerous studies concerned with the performances of Architect Sinan, the number of studies on the content, technical and aesthetic features of the writings in these structures is rather limited. This study aims to evaluate main features of important samples of inscriptions in Mimar Sinan mosques in terms of calligraphy history.
Architect Sinan supported his mastery in architecture with his ornamental preferences. In his works, both general outlook and interior decoration of the place are integrated. Architectural consciousness in a structure spread to the whole items of that structure and ornamental program. Inscriptions, which are one of the indispensable dynamics of mosques, were applied by harmoniously integrating them with other ornamental items. Many details such as type of writing, pen thickness, text length, size of inscription and color were relatively aligned with the architecture. Inscriptions over entrances, band scripts, inscriptions in mihrab, dome, pillar and gathering places were uniquely designed and applied for each mosque. The architect avoided using stereotypical patterns provisionally on various places regardless of whether it is coherent with the place or not. Hereby, harmony between architecture and interior architecture was ensured. Calligraphy was used properly and in harmony with the architecture. The architect benefitted from the atmosphere calligraphy added to the space in the best manner both in terms of content and visual effect.
Some calligraphy in mosques by Architect Sinan are original while some others have been added afterwards. Original calligraphy is usually seen as epigraphs engraved on stone/marble and inscriptions on tiles. Calligrapher of some scripts are known whereas some others are anonymous. The calligraphy in Architect Sinan’s works mostly belongs to the best-known calligraphers of the era. Since hand-drawn calligraphy on plasters are the most vulnerable one, they were renovated later. Some original calligraphy was damaged and dissipated because of incompetent handling during renovations.
Some of his mosques feature various examples in terms of material and implementation. As in the dome of Suleymaniye Mosque, inscriptions were sometimes written on zinc and mounted. Its laminas were renewed in the subsequent restorations. Inscriptions were conditionally selected and the relationship between place and meaning was achieved, which has continued as a tradition until modern days. In most of Architect Sinan’s works, there are also detached plaques having the signatures of famous calligraphists or certain sultans put up later in time, these plaques are out of the scope of this study. Sinan willingly used inscription in his mosques but he did not exaggerate as it can be seen from his ornament perspective. He knew very well where to stop and only wielded as much inscription and ornament as necessary. In his works, although limited in number, some of his inscriptions are behind his period in terms of inscription aesthetic. These inscriptions must be preserved as they have historical value but amateur inscriptions added to the structures in the next centuries must be renovated nicely.
Incorrect inscriptions in some of Sinan’s mosques are also seen. For instance, although the word at the beginning of the symmetrical writing placed in the triangular area on the tock door of Kılıç Ali Pahsa Mosque in Tophane was not in the verse, it was written by mistake.
There are inscriptions belonging to various periods in some structures of Sinan. For instance, original inscriptions of Kadırga Sokullu Mosque belong to final half of the 16th century and it reflects the features of the era. Halim Effendi’s recent era writings were written in 1938, when Halim Effendi was 40 years old and mastered in his artistry. At the first sight, the similarity between the design on inscription in the middle of the dome of this mosque and the design of the panels on which Surah Al-Ikhlas is inscribed on the mihrab wall attracts attention. Although there are differences between the two inscriptions caused by approximately four hundred years in terms of aesthetic level, Halim Effendi made a nice designing wit, probably to make the original inscriptions of the mosque and his own inscriptions coherent. Although the text is different, he formed a similar geometric ornament in the center with these lines by adjusting the distances among the vertical letters. Halim Effendi replied in kind to a former calligraphy master with his implementation in question. The calligraphist, inscription and piling of the dome inscriptions both in Kadırga Sokullu Mosque and in Azapkapı Sokullu Mosque are the same. Placing his signature exactly at the bottom of the word of Halim at the end of the verse in question is a meaningful kindship.
The calligraphy signature and date of Halim Effendi are in the inscription in the middle of the main dome of the Kadırga Sokullu Mosque and in one of the inscriptions on the half-domes. While the calligraphy signature is less common in architectural inscriptions before and during the classical period, in the late Ottoman architecture and after, generally all calligraphers signed their inscriptions. Kadırga Sokullu Mosque does not contain calligraphy signature of the original writings, but the inscriptions in the 20th century include the calligrapher’s signature. Among all of the structures of Sinan, Kadırga Sokullu Mosque is an important example in terms of exposing improvement in the art of calligraphy in mosques in almost the four centuries.
The absence of calligraphist’s signature in all of the inscriptions in the mosques has led to some controversy in detection of calligraphist. The inscription in the dome of Suleymaniye Mosque is an example of this. Some researchers believe that this inscription belongs to Ahmed Karahisari, while others believe that it belongs to his apprentice, Hasan Çelebi. However, the predominant opinion is that these inscriptions belong to Hasan Çelebi.
A masterpiece such as Edirne Selimiye Mosque, which is considered as one of the most important monuments in terms of both Turkish-Islamic architecture and world architecture, is expected to be perfect in terms of inscription and content program. Although there are original inscriptions reflecting the calligraphy level of the era in which this large mosque was built, the writings renovated in the restorations made about 40 years ago unfortunately do not match the architectural beauty of the mosque and these inscriptions and hand-drawings should be urgently renewed.
In conclusion, jelly inscriptions certainly have a strong imagery power as they underscores the spiritual atmosphere of the space and Sinan knew how to use this advantage in a reasonable level. The accurate positioning of inscriptions or panel writings in mosques gives the impression that their places were reserved while the mosques were planned. Therefore, none of the inscription is an eyesore in size or seems to be excessive.
Keywords: Architect Sinan, calligraphy art, aesthetic, architecture, mosque.

ÖZ
Mimar Sinan, eserlerinde nispet, âhenk ve sadeliğe çok önem vermiş olan büyük bir sanatkârdır. Bani talebinden kaynaklanan bazı istisnalar dışında tezyinatta mübalağadan kaçınmıştır. Eserlerinde, bilhassa camilerde, yazıyı da genellikle dengeli ve yerli yerinde kullanmıştır. Hat sanatının hem manevî hem estetik gücünden en iyi şekilde yararlanmasını bilmiştir. Böylelikle mimarinin gücüne ve azametine yeni boyut daha ilave edilmiştir.
Mimar Sinan eseri olan camilerdeki yazıların bir kısmı orijinal olup bazıları ise sonradan eklenmiştir. Orijinal yazılar genellikle taşa/mermere mahkûk kitabelerle çini üzerindeki yazılardır. Bunlardan bazılarının ketebesi mevcut olup hattatı biliniyorken bazılarının hattatı bilinmemektedir. Sinan eserlerindeki yazıların büyük bir kısmı devrin en meşhur, en iyi hattatlarına aittir. Zamana direnci en zayıf yazılar sıva üzerine kalemişi olarak tatbik edilenler olduğu için bunlar sonradan yenilenmiştir. Bu tamirat esnasında bir kısım orijinal yazılar ehil olmayan ellerde ziyan olmuştur. İbareler yerine göre seçilmiş olup mekân-anlam ilişkisi gözetilmiştir. Mimar Sinan eserlerinin pek çoğunda, meşhur hattatların veya bazı padişahların imzalarını taşıyan levhalar da mevcut olmakla birlikte, bunlar ayrı bir araştırma konusu olacak hacimdedir.
Bu çalışmada, Mimar Sinan’ın önemli camilerinden hareketle yazıya verdiği ehemmiyet, kitabelerin mimarî ile uyumu, yazıların hat estetiği bakımından değeri ve camilere kazandırdığı manevi atmosfer gibi hususlar üzerinde durulacaktır. Ayrıca, farklı yapılarda bunlarla ilişki kurulabilecek kitabeler varsa onlara da temas edilecektir. Bazı kitabelerle ilgili ihtilaflı görüşler tartışılacaktır.
Anahtar Kelimeler: Mimar Sinan, hat sanatı, estetik, mimari, cami.