Nigarhane Sanat Dergisi Archive

Organized by Necmettin Erbakan University (NEU) Faculty of Fine Arts, Department of Traditional Turkish Arts, the 1st International Symposium on Our Tradition, Our Future and Our Masters started with the Honorary Doctorate Presentation Ceremony on November 02, 2021 and took place in three stages, as Symposium, Workshop and Exhibition, between 03-05 November 2021. was realized, and Konya Karatay Thermal Holiday Village was arranged as a place.

Symposium organizing committee;

•Prof. Dr. Muhiddin OKUMUŞLAR - Necmettin Erbakan University Vice Rector, Traditional Arts Application and Research Center

•Prof. Dr. Dicle AYDIN ​​- Dean of Necmettin Erbakan University, Faculty of Fine Arts and Architecture

•Assoc. Dr. Ali Fuat BAYSAL - President, Director of Necmettin Erbakan University Traditional Arts Application and Research Center

•Osman CIGER - Deputy Mayor of Karatay

•Bekir Şahin - Konya Manuscripts Regional Manager

•Assist. Prof. Çiğdem ÖNKOL ERTUNÇ - Necmettin Erbakan University Faculty of Fine Arts and Architecture

•Assist. Prof. Çetin ÖZTÜRK - Necmettin Erbakan University Faculty of Fine Arts and Architecture

•Lect. See. A. Zehra SAYIN - Necmettin Erbakan University Faculty of Fine Arts and Architecture

•Lect. See. Rıdvan AK - Necmettin Erbakan University Faculty of Fine Arts and Architecture

• Lect. See. Şerife ÇAKIR - Necmettin Erbakan University Faculty of Fine Arts and Architecture

It is known that a special importance is attached to the construction of mausoleums for funerals out of respect in our culture. Monumental tombs of different types and sizes were built in proportion to the sanctity of the deceased person. It is known that for Mevlana Celaleddin Rumi, an important name in the history of Islamic thought, a monumental tomb was built in Konya after his death, containing the architectural and ornamental features of the period. After the death of Mevlana Celaleddin Rumi in 1273, he was buried in the garden where the grave of his father Bahaeddin Veled (d. 1231) is located. Regarding the form and characteristics of this tomb, which was built by the architect Bedreddin in 1273-1274 and completed in ten months; Although there are different rumors that it belongs to the Seljuk or Karamanoğlu Period, we do not have any clear information. Today, it is not possible to see the ornamented wooden pieces in question, since there is a wooden sarcophagus on the marble sarcophagus and it is covered with pushide. However, it is possible to see it by removing the pushida on the sarcophagus. Wooden pieces, which we thought were valuable as an important part of the Lodge, are kept out of sight today.

The writing of Arabic letters in accordance with aesthetic rules and rules is called "Hüsnü Hat" or "Hat Sanatı" in the sense of beautiful writing. Since the birth of arabic calligraphy, many types of writing have emerged. Some of these articles were popular, while others were completely out of use. Although eleven types of writing are used today, the types of writing that constitute the main character of our calligraphy consist of six types of writing called "aklam-ı sitte". After these writings, the most famous one is undoubtedly the talik script with its unique attitude and aesthetic features. Talik script was born and developed in Iran in the second half of the 8th century and came to the Ottomans in the 15th century. From the 18th century onwards, the Ottoman talik script was introduced by the calligrapher Yesari Mehmed Esad Efendi and his son Yesarizade Mustafa İzzet Efendi, adopting a Turkish accent. Calligrapher Sami Efendi, who was the last great representative of the Ottoman talik school, was Ali Haydar Bey. This article has been written in order to introduce this great calligrapher and to examine one of his works in the Konya Region Manuscripts collection and to transfer this cultural heritage to future generations.

An important element of our traditional Turkish Decorative Arts is book arts. The importance given to the book has created the book arts. The center of the book arts is the Qur'an. As a result of the respect shown to the Qur'an in Islamic civilization, the desire and excitement to decorate it in the best way has been instrumental in the development of the art of illumination. For this reason, the art of illumination has great importance in terms of book arts, especially the ornamentation of the Qur'an. Manuscripts are very important and valuable in order to understand the understanding and style of art in the past and to bridge this understanding between past and future generations. Manuscripts, which are a cultural heritage for us, must be preserved well. It is very well preserved by libraries, museums and collectors. Examining the illuminations of the mushaf numbered 7319 in the manuscripts section of the French National Library, explaining the ornamental features, analyzing motifs and patterns have been determined as the subject of the article

The architecture of the 13th century Anatolian Seljuk Period expresses a privileged process witnessing the formation of a new tradition. Crown doors, which have become a characteristic feature of architecture, are an important element of fiction where design power is combined with excellent craftsmanship for each building element. Constructed by the mighty vizier of the period, sahibinden Ata Fahreddin Ali, the portal of Konya Sahip Ata Mosque, which left its mark on the second half of the 13th century, is still today. It is a rare work that draws attention with its fountains that can come in good condition. In our research, which we started with the aim of transferring cultural continuity and this rich heritage to future generations, the decoration of the Sabils of the Mülk Ata Social Complex Mosque was examined in terms of technique, material, motif, composition, style, meaning and symbol. It is aimed to be a resource for today and next generations by documenting with photography, measurement and millimetric drawing. One of the most magnificent structures of the Anatolian Seljuk period with its design, decoration and writing program, the portal of the Sahip Ata Mosque is also the pioneer of the double minaret facade application. The fountains of the Sahip Ata Mosque were planned and decorated symmetrically on the minaret base rising from two sides, almost like a small portal made of monolithic stone. As a result, the decoration of the portal of the Sahip At Mosque, the fountain, consists of writing, geometric and rumi motifs that have the characteristic features of the period. It has been determined that the script and geometric ornaments dominate the rumi motifs and that there are some differences between the two fountains in terms of architectural details and decoration.