Rumi (tarihi, çeşitleri ve gelişimi)

Abstract

The traditional arts are the god documents reflecting the soci ety's pass- As saying a Greek art has an effect that we recall corinth, ion pillar capital. The same condition is valid for our arts. As saying traditional Turkish Art, it recall us immediately HUsn-U Hat, Tezhip and miniature. But the subject I will give you in this Thesis is Rumi which is a most important motive in the Turkish embellishment art. The conscious Turkish embellishments acepted buy the art historians the ruiru called in europe as Palrnet The first seen places of Rumi is Bezek- 11k and Hoca in Central Asia at 8 th and 9 th century which were under control of Uigur Turks. Seen on a Fresque as a wings of a sea dragon Rumi form is a first Rumi form samples in a classical meaning. As stay ing under the affect of Budha and Manihaism religions of Turks untill accepting the choosing the islam religion, making more human scaled fi gures creating caused rumi to pass a dark period untill Karahans time. The forbidding the human figures after accepting the islam reli gion has pushed the artists to use stylised motives There for, the Rumi being seen as animal wings on the pictures has gained more styled form. Not only the Rumi but the flovers leaves and the clouds being styled and started being used with rumi. The first semi-new styled Rumi motives has been seen at the pe- period of Karahans. It gives us first Rumi Compositions which on a marble plate the rumi making the animal's wings at the time of Karahans In the period of Ghazneli; the rumi has given several specimens which was seen as emellishment. It has been made good ornamentation at ŞTUK which is very difficult to for protection and creating. In the pe riod of Selçuklu, as we term it with boom, the Rumi, has shown very big improvement. There is rumi specimens made in the period of Selçuklu in the mode of ŞTUK. As we come to the period of Anatolian Selçuks, the STUK has left its place to stone. The winged Rumis and plain Rumis has been created in the manner of large in body and engraved. The Ulu Camii of Divrig and the Si`as Gök and Erzurum Çifte Minaret Medresse are the good specimens of that particular time. 12,In the time of Selçuks and Beylics not being able to make boom; as enu >. ging in a new forms and face on 15 th century. Has created new monuments. Especially, on chino, Penwork, and on art of tezhip as being an ecole and being named as Fatih period, has been created the art of 15 th century. As being and getting thinner and becoming a good appear ance to the human eyes, And has been continued its development and has been made a base to the art of 16th century which is the golden age of the Turkish Mode. On the 15 th century, at the first periods of Ottomans, The Rumi China, tezhip, penwork, wood, volume, metals has been used by improying them. On 16 th century, as a form, getting a best shape, Rumi, has become thinner, and the Rumi s has been used in every branches of the Rumi s has been used in every branches of the art with the intricate compositions. In this Golden age of Turkish Arts, the Rumi has reached to its utmost grade. But at the lest portion of 17 th century it began not to be used becouse of relation to other art centres of ottoman emp ire. At Rüstempaşa, Sokollu, Takyeci, Mihrimah, Sultanahmet mosques in any field the Rumi has been used where embellishment necessitates. The Opening to the other Nations of Ottoman Bnpire in 17 th cen tury is a reality. The notes of various travelers, and the effects of the artists who came from abroad and the feeling of longing to Europe and at the result of these effects, Lale Devri (Tulip era) has started. This period was the time of leaving the Turkish arts and accepting the foreign styles. And discomposure on Rumi at the result of applying not very good workmanship has been observed. We can abserve these results on Üsküdür Yeni Valide Masque, Hekimoğlu Ali Paşa Mosque, Nevşehirli Damat İbrahim Paşa complex of buildings. This era is time that all Turkish classical styles started being left gradually. The last era embellishment Baroque, Rococo and empire styles that were not included in Turkish arts by the Art Historians till pre vious twenty years but, these styles are gradually accepted as an art value. 127