Nigarhane Sanat Dergisi Current Issue

Also known as Defterdar Ahmet Pasha Mosque, Komotini New Mosque (Gümülcine Yeni Camii) is an important building that draws attention with its 16th century Ottoman ornamentation. The designs in the woodwork, tiles and stonework of the mosque have survived to the present day without being restored. It is among the most important examples of its period. The ceilings of the three-sectioned mahfil in the harim are decorated with 16th century pencil work on wood, while the decoration of the borders is applied on canvas (cloth) stretched over wood. Embossing and gold leaf add richness to the design in this technique, which is mostly preferred for canvases or wood on canvas. Colors such as gold, coral red, cobalt blue and rosewood are among the preferred colors in the pencil decoration of the period. The hatai, bulut and rûmî motifs in the designs are also among the motifs used extensively in the illumination understanding of the period. It is a historical responsibility to record the original calemes of Komotini New Mosque, which is located about a hundred kilometers away from the Thracian border, with surveys and detailed photographs, and to introduce it to the world of science and art. Colors such as gold, coral red, cobalt blue and rosewood are among the preferred colors in the pencil decoration of the period. The hatai, bulut and rûmî motifs in the designs are also among the motifs used extensively in the illumination understanding of the period. It is a historical responsibility to record the original calemes of Komotini New Mosque, which is located about a hundred kilometers away from the Thracian border, with surveys and detailed photographs, and to introduce it to the world of science and art.

This article focuses on the examination of the Sancak Qur'an (E.H 485) in the collection of the Topkapi Palace Museum. The Ma'kıli script, which holds a significant place in Islamic calligraphy, is analyzed in terms of its aesthetic, religious, and symbolic meanings in this work. This Qur'an, which played a central role in the military and spiritual structure of the Ottoman Empire, was used as a spiritual shield on battlefields, boosting the morale and faith in victory of the Ottoman soldiers. The Sancak Qur'an not only helps us understand the multifaceted functions of calligraphy in Islamic art but also offers new perspectives on Ottoman military strategies and spiritual beliefs. The study examines the historical development, structural characteristics, and position of Ma'kıli script in Islamic art. The geometric design of the script, with its sharp and angular lines, is highlighted as a symbol of power during the Ottoman period. Additionally, the physical features, binding techniques, and cover decorations of the Qur'an are evaluated, and the messages conveyed by the inscriptions are analyzed. In conclusion, this study reveals both the aesthetic and spiritual dimensions of using the Sancak Qur'an as a military banner. The Ma'kıli script aimed to provide spiritual support to soldiers while also exerting psychological influence over enemies. The article presents this work as a rare example representing the religious and military power of the Ottoman Empire and contributes to understanding the multifaceted functions of calligraphy in Islamic art. The findings of this study offer valuable insights for researchers and art historians interested in the symbolic and spiritual meanings of Ma'kıli script in Ottoman banners.

One of the most important poets of Persian literature, Sa'di Shirazi, expressed his emotions and thoughts in a mystical manner. The poetic and prose works he wrote are compiled under the title Kulliyat. With his unique style of narration, Sa'di Shirazi's works have held a distinguished place and have been among the foremost literary manuscripts reproduced in various centers for centuries. Especially during the Safavid period, the city of Shiraz became a center where a large number of copies of this work were produced. The miniatures found in the Kulliyat work have made the text more engaging for the reader by illustrating important stories, thus making it more captivating. In the city of Shiraz, where commercial production was prominent, there was a high demand for miniature copies of the Kulliyat-i Sa'di, especially from the Ottoman region. This situation is supported by the fact that numerous copies of the work can be found in museums and libraries within the country. Today, the Kulliyat-i Sa'di manuscript registered under inventory number 14694 at the Koyunoğlu Library contains twelve pages of miniatures. These miniatures are highly significant due to their depiction of stories and their stylistic features. In the mentioned manuscript, which has not been examined before, in addition to the introduction and ending miniatures, there are 3 miniatures in the work called Gulistan; 3 miniatures in Bustan, 1 miniature in Kasayid-i Farisi, 2 miniatures in Tayyibat and 1 miniature in Muzhikat. As a result of the examination of the miniature style features in the work, which has no copy date, the stylistic influence of the end of the sixteenth century and the beginning of the seventeenth century is felt. The examination of this work aims to determine how the political situation of the period influenced the artistic activities in the Shiraz region.

The Mevlana Dervish Lodge, located in the center of Konya, has undergone several expansions during different periods to reach its present form. The site where the lodge is situated was allocated to Bahāʾ al-Dīn Walad by Seljuk Sultan Alaeddin Keykubad. Initially a rose garden, this area was transformed into the burial site of Bahāʾ al-Dīn Walad and Rumi after their passing. During the Karamanid era, tombs were constructed over their graves, which were later expanded with additional sections during the Ottoman period. The tomb complex, having undergone numerous restorations, saw its most significant alterations during the reign of Ottoman Sultan Bayezid II. During this restoration, the interior decorations of the structure were renovated. The wall frescoes of the Qibab al-Aqtab (Domes of the Poles) section, which date back to this period, have survived to the present day. The entire structure underwent further repairs and modifications in subsequent periods, with its final restorations taking place during the Republican era, giving it its current form. This section serves as the burial site of Rumi’s family members and prominent figures of the Mevlevi order. The wall decorations, frescoes, and calligraphic inscriptions in the Qibab al-Aqtab section captivate viewers with their splendor. Particularly notable are the large jali thuluth inscriptions on the walls and the ornate decorations on the floors. Our research has revealed that no prior studies have been conducted specifically on this section. The absence of previous scholarly work on the inscriptions and decorative elements in this area highlights the importance of our study. The main focus of our article is to examine these decorations and inscriptions in detail, analyze them comprehensively, and interpret them by comparing them with similar works. These analyses form the core subject of our study.

The vast majority of libraries in today's world, which are the legacy of an ancient civilization and contain works reflecting the science, wisdom and culture of the geography in which they are located, have come into being through foundations. The foundation culture also made itself felt in librarianship activities and as a result, libraries began to be established through foundations. Foundation seals prepared to be printed on works donated to foundation libraries are generally seen on page 1a or zahriye of manuscripts. The foundation records, which were prepared to protect the books, draw attention to the fact that they are a foundation and make that work available to everyone, are on the same page as the foundation seal. In our study, which was produced from the thesis titled “Foundation Seals and Their Analyses in Konya Regional Manuscripts Library”, which consists of the evaluation of 55 foundation seals detected in 12 thousand manuscripts in Konya Regional Directorate of Manuscripts Library, the biographical value of foundation records and seals was emphasized. The names, nicknames, imprints, places or occupational information contained in the seals and records are historical documents that will facilitate researchers. Foundation records provide information about the artistic and cultural situation of the period. The fact that seals express affiliation with a person and are used as signatures contains many descriptive expressions that can be examined under different categories. It is of great importance, especially in terms of providing introductory information about the seal owner, based on the foundation and appropriation records that are included on the same page with the foundation seals.

Tradition is not just a legacy of the past or a memory preserved on history’s shelves; it is a dynamic force that gives meaning to the present and shapes the future. It represents humanity’s effort to understand its relationship with existence, forming a continuity that connects the past, the present, and the future. Far from being static, tradition undergoes constant transformation and renewal. At its core lies the preservation of moral values, identity, and spiritual roots. It acts as both a bridge from the past to the present and a beacon for the future. Many of today’s challenges stem from a modernity detached from its roots, but tradition serves as a guide, reconnecting societies to their origins and providing purpose. In Islamic thought, tradition forms the cornerstone of intellectual and cultural heritage. However, this heritage does not belong solely to the past; it exists to shape the future. Understanding and adapting tradition for contemporary needs, while passing it to future generations, is a key responsibility. Tradition should be seen not as a nostalgic relic but as a resource for building a meaningful and sustainable future. The future gains significance when guided by tradition. Carrying the wisdom of the past into the present and using it to build the future is both a privilege and a duty. Tradition provides balance against the materialistic outlook of modernity, offering depth and wisdom to individuals and societies. Ultimately, tradition is not a preserved relic but a living phenomenon that evolves while maintaining its essence. Properly understanding and conveying it is essential for shaping individual and collective identities in a way that is both meaningful and enduring.