Mimarbaşı sedefkar Mehmet Ağa`nın yaşamı ve Türk Osmanlı mimarisine katkısı

Abstract

- Ill SUMMARY The 'main aim of this work is to consider how Turkish architectural works of the generation term after Sinan and the works made during the training of Mehmet Ağa, became a united whole. First we must know Chief Architect Sedefkâr Mehmet Ağa who is one of the students of Mimar Sinan, the greatest architect of Classic Turkish Architecture. This work consists ofthree main parts: PART I: Depending on the book titled Risaie-i Mima- riyye in 1614 by Cafer Efendi, in which he told about Mehmet Ağa and his works, it is tried to tell about Mehmet Ağa's dealings before he became a chief architect. It ' s as follows : Mehmet Ağa was brought from Rumelia as a Devşirme Ace- 2 mi Oğlan in 1562. After being trained about five years with out getting any salary, he was assigned to be a watchman at Sultan Siileyman's Turbe. At the end of one year he entered Has Bahçe. First he studied music but then because of a bad dream, he finished his music studies. After having a geometry lesson, he had a desire to the art of architecture and sedef- (1) Sedefkâr: person who does inlay work using pearl. (2) Devşirme acemi oğlan: Clever and strong boys, picked from the lands got during the wars, were worked for government duty after becoming Muslim.IV - 3 karlık. So having an exam his architecture and sedef karlık training which would lead 20 years, started. In approximately 20 years he learnt architecture and sedefkârlık by Mimar Sinan and the other architects of the term, meanwhile he made a lot of sedef (pearl) work some of which were sold and some of which were given as presents. In 1589 he was promoted to the Dergah-ı Alî kapıcılığı by giving III. Murat a pearl rahle as a present then he was promoted to the chief muhzır this time giving him a yaylık. For a while he worked as judgeship of Havran district, then he became Istanbul Minister of Water. After working there for 8 years he became a chief architect in 11 October 1606. PART II: The architectural works, Mehmet A?a made in the term 1606-1622 when he was a chief architect, have been considered as the buildings constructions of Istanbul, Edir ne, Anatolia and Rumelia. Considering his architectural term these works were seperately introduced preparing the projects of roleve and restoration. PART III: In this part the buildings which were de tailed in the second part were judged generally and their position in the former and following terms were tried to consider. (3) Sedefkârlık: An art, embellishment of goods made of wood making cabinetry works and using pearl, ivory, tortoise shell, ebony etc. (4) Sedef: (pearl) A hard, round, small silvery-white mass formed inside the shell of shell fish like mussel and especially oyster. (5) Dergah-ı Alî kapıcılığı: The chief door-keeper of the palace. (6) Rahle: A special partable desk used for reading the Quran. (7) Muhzır: The one who brings the relevants to the salon in the court.It's possible to explain the positions of architecture works which were seperated according to their construction style. As it's follows: p Külliyeler The greatest Külliye of 17th century is the Sultanah met Külliye, built by Mehmet Ağa, is opposite the Hagia- Sophia. The Sultanahmet Külliye, which hides remnands of Bizantium Palace, hyppodrome to the Horse Square, is loctaed on a hill un-methodically position. The aim was to build a mosque that could surpass the Hagia Sophia. As a result of this, comparing with the plan dimensions it is smaller than Süleymaniye Mosque built by Sinan, but as a mass effect it was reached the target. Both in appearance of Marmara and Horse Square it is a more successful example than Hagia Sophia. Inside the mosque is attractive with the embellish ment. Sedefkâr Mehmet Ağa had a more different effect in in side decoration, supporting his Sedefli works with pencil works and with encaustic panel, than Sinan's works. This building of which different inside place comprehension gained in strength with lots of heldings of its windows, is the most magnificent mosque of 17th century. When they are considered one by one, the elements of külliye are the same successful examples. In economic, political and financial distress of the term when he was a chief architect, he could not build a large külliye. After the Sultanahmet Külliye the biggest Külliyes of him, are Ekmekçioğlu Ahmet Paşa and Kuyucu Murat 3 Paşa. In these külliyes which were consist of Sebil turbe and medresseh, turbe is the construction which was given the most importance. Sebil was juxta posed to the turbe and by means of this a direct connection was achieved with the turbe, cutting through the wall. In order the prays to be heard in the turbe they cut a common window drawing up the medresseh class to the turbe. Külliyes were built as if they 8 Külliyeler (Plural) : Ottoman building complexes consisting of a mosque, school, tombs, soup kitchen etc...VI were the second world of the ones who ordered the architects to build them. The first examples of this style were seen in previous Anatolia Turks (Karahanlilar ). Although theye were seen after Karahanlilar, Anatolia Seljuk architectural works were the first examples of Ottoman architectur. Turbes In this term the most important turbes were built for Kuyucu Murat Paşa, Ekmekçioğlu Ahmet Paşa, Sultan I. Ahmet Destari Mus'tafa Paşa, Nakkaş Hasan Paşa, Güzelce Ali Paşa, Halil Paşa and most of them were supported by sebil, darul- kurra and fountain buildings. Turbe is not considered alone in this term. With its rectangle plan Destari Mustafa Paşa turbe `is different from the others. Halil Paşa Turbe is attractive with the sebil built under the turbe and which was never applied before. He never used hexagon or octagon plan sketches, he preferred square and rectengle plan sketches. Eyüp Sultan Turbe was exaggerated adding sebil and darul-, 4 kurra. Palaces Although Tersane Kasr, Kalender Kasr, istavroz Palace were built in his term, I.Ahmet Reading Room which was built neighbouring III.Murat's bedroom, could remain. Davut Paşa Kasr is not understood of which part was clearly belonged to Mehmet Ağa. Topkapı Palace is aplace with which Mehmet Ağa proved his art and exhibited his pearl works embellishing the inside of I.Ahmet Reading Room.- vıı - Caravansaries and City Inns The most important Caravansary and City Inns are Edirne Ekmekçioğlu Ahmet Paşa Inn and Caravansary. Althouh this Caravansary, built by Edirneli Dpffprdar Ekmekçioğlu Ahmet, was taken as Büyükçekmece Caravansary by Sinan in detailing outer side it is more successful than Büyük Çekmece Caravan sary. The other examples built in this term are in Anatolia Öküz Ahmet Paşa, Çarmelik, Nallıhan and Uluhan caravansaries. Bridges Although it was indicated that he built a lot of bridges, in the book of Risale-i Mimariyye, written for Mhemet Ağa, the most important bridge of him that could remain till this time is Edirne Ekmekçioğlu Ah met Paşa Bridge and history Kiosk is a developed example of him. Mehmet Ağa was concerned with the restoration of Kabe before 1614 and in his term encaustic and Sedefkarlxk work- ship studios worked as a perfect capacity. Architecture Understanding He paid great attention to the enterance elements, he med one (at the centre) and two small (at the sides) vaulted enterance. He accepted sebil, turbe and medresseh in separ able and thought the turbe buildings as a living buildings. In decorative features he paid attention to the pearl works and in order to make the embellishment elements clear he used a lot of window elements in big dimensions in his buildings.