Nigarhane Sanat Dergisi Current Issue

Mimar Sinan’ın ustalık eseri olarak tanımlanan Edirne Selimiye Camii XVI. yüzyılın ikinci yarısında 1568-1574 yılları arasında Sultan II. Selim tarafından yaptırılmıştır. Cami, medrese, arasta ve sıbyan mektebinden meydana gelen külliyenin cami bölümü 130 × 190 m. ölçüsündedir ve Osmanlı mimarisinin ulaştığı en yüksek düzeyi temsil etmektedir. Cami mimari yapısının yanında kalemişi tezyinatı da dikkat çeken özelliğe sahiptir. Caminin müezzin mahfelinde yer alan ahşapüstü kalemişleri devrinin özgün tasarımları olarak günümüze ulaşan en güzel örnekler olmakla birlikte, tezyinat bağlamında değerlendirdiğimizde, sıva üstü kalem işlerinin pek çok yerinde yanlış uygulamaların olduğu görülmektedir. Caminin geçmiş dönemlerde birtakım restorasyonlara tabi olması ve bu süreçlerde kalemişi nakışlara da bazı müdahalelerin olduğu görülmektedir. Osmanlının batı etkisinde kaldığı dönemde yapılan onarımlarda yapının özgün nakışlarına önem verilmemiş ve onarımın gerçekleştiği devrin tezyinatına uygun tasarımlarla restorasyonlar tamamlanmıştır. Maalesef akımdan Mimar Sinan’ın bu en önemli eseri de etkilenmiştir. Günümüzde yeniden onarımı gerçekleştirilen caminin asli yapısına uygun ve devrinin özgün nakışları ile yeniden buluşması arzu edilmektedir. Bu itibarla makalemizin içeriğinde caminin kalemişi tezyinatının geçmişte geçirmiş olduğu doğrular ve yanlışlar ele alınacaktır.

The International Our Tradition, Our Future and Our Masters Symposium, which was previously held for the first time by Necmettin Erbakan University (NEU) Faculty of Fine Arts and architecture, Department of Traditional Turkish Arts, was held again on 20-22 October 2023. The 2nd International Our Tradition, Our Future and Our Masters Symposium was held in three stages: Workshop and Exhibition. Konya Karatay Thermal Holiday Village was chosen as the place where the symposium will be held. Symposium organizing committee; •Prof. Dr. Mehmet BİREKUL - Necmettin Erbakan University Vice Rector, Traditional Arts Application and Research Center •Prof. Dr. Muhiddin OKUMUŞLAR - Necmettin Erbakan University Traditional Arts Application and Research Center •Assoc. Prof. Ali Fuat BAYSAL - President, Director of Necmettin Erbakan University Traditional Arts Application and Research Center •Assoc. Prof. Çiğdem ÖNKOL ERTUNÇ - Necmettin Erbakan University Faculty of Fine Arts and Architecture •Ass. Prof. A. Zehra SAYIN - Necmettin Erbakan University Faculty of Fine Arts and Architecture •Osman CİĞER - Deputy Mayor of Karatay •Bekir ŞAHİN - Konya Manuscripts Regional Manager •Nuri KELEŞ – Karatay Municipality Cultural Affairs Director •Ahmet AKCAN - Traditional Arts Association

Muhtarü'l-Hikem and Mehasini'l-Kelim manuscripts, which were very popular in their period; It was written by Ibn Fatik in the 11th century. In the work, the wise words of twenty philosophy scholars and the physical characteristics of eight philosophical knowledge are explained. Despite the intervening hundred years, it has been copied to European countries and translated into western languages. It is estimated that the miniatures of the work were made in Mesopotamia in the middle of the 13th century. The only miniature copy of the studied work that has survived to the present day is in the Library of the Topkapı Palace Museum. Ahmet is registered to the inventory number 3206. It is not known who made this work, which is undated. There are 15 leaf miniatures in the book. The miniatures show Arab-Byzantine influences together, but they also contain Uighur miniature features. It is aimed to reveal the miniature differences and record them by examining the miniatures of the Muhtarü'l-Hikem and Mehasini'l-Kelim manuscripts in detail and comparing them with the miniature manuscripts made in the Seljuk period. In the work, there are miniatures placed between the lines, facing each other in the introduction and the last leaves. Composition, pattern and color elements of miniatures were examined. Muhtarü'l-Hikem and Mehasini'l-Kelim manuscripts were compared with other miniature manuscripts belonging to the 13th century. Before the Seljuk Period, many states and civilizations lived in Mesopotamia. These states and civilizations have been under the influence of each other's cultural heritage. Miniature art presents the most obvious examples of this effect. The Seljuk miniature, which was formed by the mixture of Hellenistic, Mongolian and Arab cultures, revealed their innovative style.

When the concept of tradition is evaluated from our point of view, it comprehends all the cultural arts and works that have reached the present from the past. Innovation, on the other hand, can be evaluated as all the changes, cultural effects and events that will happen from now on. The modern concept, on the other hand, is a term used for works that have not turned their back on tradition and are produced today. When we evaluate it in this context, what is modern and contemporary must be concepts, systems and styles from the past. New styles in all the arts that are formed around the world are born in the lap of previous styles, but from the moment they are born, they start to fight it and follow a method of discrediting it and taking its place. For this reason, the modernization marches structured under the name of innovation begin to replace the original styles. Times allow their styles to blend together and it becomes a classic. To the extent that the roots of our culture and art break their ties with the past in the time period we live in, we face the risk of not losing our long existence. In such a situation, the power of our art to survive and produce new values continues. This is a sign of decay, regression and extinction. In our article, we have our opinions and criticisms on this point.

The concepts of tradition and future in traditional Turkish arts are discussed in meetings, symposiums and meetings. Some people deny the future without sacrificing tradition. Those who advocate for the future, on the other hand, argue that tradition is a phenomenon from the past and that the classic should be abandoned. Although tradition and the future seem to be opposite concepts, in fact, they can basically go together. Every branch of art has a tradition, but there is no modern, there is only the development and progress of art. For this reason, it would be a more correct approach to use the term innovation instead of modernization. One of the cornerstones of these ancient arts, which we call "Traditional arts, Traditional arts" and similar terms, dating back centuries, is undoubtedly our art of illumination, which is one of the most important branches of our culture that has been brought to the present day without interruption. In our article, considerations are presented on how the innovation movements, defined by the classical illumination understanding and the modern name, can exist together without dominating each other. In particular, it has been tried to define how innovation movements and classical traditional understanding can go together.