İkinci Murad çağı Edirne hamamlarında alçı mukarnas bezeme

Abstract

ÖZET İslam sanatında en yaygın olarak kullanılan ve onun en orijinal buluşlarından biri olan mukarnas, bir geometrik biçimden başka bir geometrik biçime geçişi sağlayan; bir düzen içinde, yatayda ve düşeyde birbirleriyle ilişki kurarak, derece derece taşmalar yapacak şekilde yanyana ve üst üste dizilen prizmatik öğelerin oluşturdukları plastik etkisi güçlü, üç boyutlu bir bezemedir. Bu araştırmanın amacı, İkinci Murat çağı Edirne Hamamlarında en görkemli örneklerini veren alçı mukarnas bezemenin geometrik düzenini ve mekan içindeki plastik etkisini saptamaya çalışmak, kendinden önceki Anadolu örneklerinden ve Anadolu-dışı kaynaklardan etkilenme derecesini belirlemektir. Araştırmada, konu ile direkt ilişkisi açısından, hamamlardaki Örtü öğelerinin biçimleniş özelliklerine ve aydınlatma düzenlerine de yer verilmiştir. Mukarnas örneklerinin değerlendirilmesi, yatay izdüşüm planları üzerinde geliştirilen geometrik şemalara ve üçüncü boyut ta biçimleniş özellikleriyle, tuğla alt yapı-alçı mukarnas bezeme arasındaki ilişkilere dayanmaktadır. Konu yedi ana bölüm ile liste, çizim ve resimleri içeren bir ek bölümden oluşmaktadır. Birinci bölüm: konuya giriş niteliğinde olup, amaç, kaynaklar ve araştırma yöntemi hakkındaki bilgileri ; İkinci bölüm: mukarnas terminolojisi, malzeme ve yapım teknikleri ile Anadolu ve Anadolu-dışı örneklerin tarih sel gelişimine yönelik değerlendirmeleri; Üçüncü bölüm: İkinci Murat çağı Edirne Hamamlarının tarihçesi, plan dü zenleri ile örtü öğelerinin özellikleri hakkındaki ana lizleri; Dördüncü bölüm: tezin ana bölümü niteliğinde olup, mukarnas bezeme şemaları üzerinde, mimaride kulla nıldıkları yerlere göre, tipolojik bir çalışmayı; Beşinci bölüm: tipoloji bölümünde elde edilen verilerin değerlen dirilmesini; Altıncı bölüm: araştırma konusu hamamların yerini ve önemini belirleyebilmek için, örtü öğeleri, ay dınlatma ve mukarnas düzenleri açısından, İkinci bölümde sözü edilen yöreler ve örneklerle karşılaştırmalı çalış mayı, Yedinci bölüm: Edirne hamamlarının, mukarnasın Ana- dolulaşma-Türkleşme sürecine ve alçı mukarnas bezeme tek niğinin biçimsel zenginleşmesine katkılarını irdeleyen değerlendirmeleri içermektedir. - xııı

STUCCO MUQARNAS DECORATION OF EDİRNE BATHS DURING THE REIGN OF MURAT II SUMMARY The aim of this work is to study the geometric order, plastic character and other features of the rauqar- nas decoration in the baths of Edirne built in the Reign of Murat II (1421-51) and to bring to light their importance in the history of Ottoman Architecture. The geometric formation of the muqarnas design is analysed on its two and three dimensional configuration. One of the most original inventions of Islamic Architecture is the muqarnas. Whether built in wood, stucco, brick or stone, muqarnas elements were among the most characteristic features of Medieval Islamic Archi tecture from Iran to Spain. This decorative technique mad up of small prismatic units is extensively used on domes, vaults, semidomes, transition zones, mihrabs, portals, lwans, niches, galleries of the minarets, capitals, and in all sort of buildings. One of the most effective and widespread application of muqarnas was on domes and vaults. There are a good number of studies on the muqarnas. But such problems as the origin, chronology, geographical distribution still remain unclear and subject to further studies. However, our study is also limited timewise to the first half of the Fifteenth Century. But, the examin ations of muqarnas design in other regions and times has been found useful in my evaluations. There are four important Turkish studies connected with the subject of this work: Ayşıl T.Yavuz's, Ayla Öde- kan's and Doğan Kuban's. A.T.Yavuz studied about arches and vaults in Anatolian Seljukid Period. A.Odekan's work deals with the muqarnas on Pre-Ottoman and Ottoman Archi tectures. In her studies the geometric formation of the muqarnas decoration of the Portals are analysed. Doğan Kuban's article (Edirne'de bazı İkinci Murat Çağı hamam ları mukarnas bezemeleri üzerine notlar) is directly connected with the subject of this study. It contains most of the examples of the baths in Edirne of Murat the Second Period. The article dwells on general aspects of stucco muqarnas decoration of the baths of this period. In Anatolia muqarnas decoration had been profusely used between the 13th and 16th Centuries. Basic materials - xi vare stone and stucco. Muqarnas decoration made of stucco on a brick structure was especially characteristic in the baths of the first half of the Fifteenth Centur.y. Unfor- tunately, the examples of this important decoration technique are in a very bad state of preservation due to the lack of maintenance of the supporting structures. Almost ali the stucco muqarnas presented in this study are in extremely bad conditions and practically destroyed. The stucco muqarnas decoration in Anatolia developed in highly original ways different from the earlier exaraples outside Anatolia. While it is an addition to the structure in the Pre-Anatolia forms, in Anatolian Turkish Architecture the stucco decoration and the supporting brick structure had an organic and direct relationship. in the Seljuk and Early Ottoraan periods, a cubical space and the dome covering it were connected through a frieze of triangular prisras. in the first half of the Fifteenth Century the use of muqarnas changed the visual autonomy of the different levels of the enclosure. Structural elements became more continuous and decorative. The larger transition zone and the voluraetric character of muqarnas brought in an almost baroque impression, especially in the baths the lighting features in the domical shell increased this quality. The most effective use of muqarnas was on the domes and domical vaults. The transition zone became an integral part of the dome and this created a harmonious unity with the use of a multitude of holes on the intri- cate surfaces of the muqarnas. The effect was often pleasurable and playful. Semidome decorated by muqarnas, except öne example were not used in the baths of Edirne. Instead rectangular ıwans and niches were covered by fluted seraidomes which have transition zones formed by rauqarnas. Muqarnas system is formed essentially by the projecting rows of niches gradually. becoming narrover in upper levels. Each row depending on the row before it, has a definite form. Structural system is simple. Its static order is based on projecting polygonal supports. Niches together toith these supports constitute the units of the system. Niches vhich are the elements in between the supports provide the transition from öne support to another. Prismatic double faced unit was the character¬ istic element of this period. in order to establish the muqarnas system, the need of a two-dimensional design at the base of the dome was necessary. The horizontal projection of muqarnas decoration shows the precision of the geometric design. The existence of standard units also confirm this.Geometric order of the rauqarnas system is formed on the horizontal. The division of the square ör rectan- gular base and the formation of the two-dimensional projection of prismatic units is easily observed on the plan. The geometric projection on the horizontal are polygons and stars. in the Fifteenth Century the octagon and eight-pointed star were the raost used. in the basic distributive scherae the equivalent of the geometric figures, i.e. polygons and stars are concentric circles. The groups of these concentric circles might be called basic units of the scherae. Accor- ding to the composition, the number of circles in a geometric unit may be 2, 3, 4 ör 5 circles. The unit with 3 circles is the most used. The relationships between the circles in a unit, is constituted by plane figures such as rhombus, square and triangle. These figures are easily observed on the horizontal projection of the muqarnas decoration. The centers of the geometric units are placed on several axis determined according to the compositions. in the muqarnas domes, these axes are generally placed according to an orthogonal coordinate system and/or on the diagonal axes at the base of the dome. it differen- tiates according to the place of the decoration in the other examples. The geometric units on these axes form the desired composition. Characteristic muqarnas forms originate from various forms of the intersections of the concentric circles and axes. Every point and everyrelation to circles and/or straight lines. in most of the examples, the plan of the surface on which muqarnas is applied is a square (dome), a rectangle (vault) and a triangle (squinch ör pendentive). These bases are- divided by a grid system into smaller units of squares ör rhombus. This system is also related to the ceııters of the geometric units composed of circles. The Thesis is divided intoseven parts and addenda. Part l contains the introductory chapters to the thesis and general descriptions; the aim of the study, information about the sources, the method of the survey. The latter includes documentation on two different scales: The first is a general survey in 1/50 scale, the o.thers. are in 1/20, 1/10 scales survey for detailed geometrical construction. Part 2 contains terminology and historical devel- opment of the muqarnas in general.The Chapter I deals with the terrainology of the word muqarnas, muqarnas elements and the description of the architectural elements decorated by raaqarnas observed in the b'aths of Edirne. in the Chapter II information about the materials forming stucco muqarnas and its applications are presented. The main materials are brick and stucco. Stucco, inherited from the Sassanids, and the Buddhists of Central Asia, has played a most important role in the development of the Islamic Art. Because of its resistance to humidity, it was preferred especially in the baths. There are various application techniques of stucco muqarnas in Islamic countries. Öne of them is the application through a timber mould. A second system is the application of fresh stucco on to the surfaces of the supporting brick and its carving in situ. This application by layers would continue until the height and the shape desired was obtained. This technique seems more suitable for our examples. it was developed in Iran after the Twelfth Century. Since the muqarnas, as an architectural aad deçor- ative element, evolved and was used for centuries prior to its first appearance in Anatolian Turkish Architecture a brief survey of muqarnas in Islamic Architecture is given in the Chapter III. its historical development is discussed through Anatolian examples. The forms, materials and decorative features of these early examples are compared with Anatolian practice in order to point out what was directly taken from the prototypes and what additions and variations vere made in Anatolia. The regions examined outside Anatolia are Iran, Turkestan, Azerbaijan, Iraq, Syria, Egypt, North Africa and Spain. The most important group formed by suqarnas elements is muqarnas domes and vaults. There are many techniques of applications; stucco applied on a wooden framework; stucco applied on brick structure. This second type is made of brick and consists of a single shell: it is the only type in which the interior articulation of the muqarnas is reflected on the exterior. The other type consists of a single shell cover constructed by stone ör brick. Muqarnas elements are formed during the construction of dome, vault, ete. Uhen the brick is used as the construction material, the surface is then covered by stucco muqarnas, and there is an organic relationship between stucco muqarnas decoration and brick structure supporting it. This is the type seen mostly in Anatolian Turkish, especially Ottoman Archi¬ tecture. The use of muqarnas on pendentives^ squinches, semidomes on the mihrabs, portals, ıwans and niches have also been discussed in this chapter.Part 3 includes the studies of the baths in Edir¬ ne, in the Chapter I a short history of the baths in Edirne is given. Üur most important source is Enis-ül Müsamirin written by Abdurrahman Hibri Efendi in the first half of the Seventeenth Century. According to him, the baths belonging to Murat II's Reign are those of Gazi Mihal, Yeniçeri, Beylerbeyi, Tahtakale, Topkapı and Mezit Bey. Saray Hamam which is also included in this survey dates £rom the second half of the Fourteenth Century. Ali of them are outstanding but neglected monuments. The Chapter II contains the plan types and sections of the baths. in the Chaper III roofing eletnents such as dome, vault and semidome, transition zone and relations between them are discussed. The illumination of the baths especially the small holes of the vaulting are discussed in the Chapter IV. Part 4 contains the classification of muqarnas types. The evaluations are based on examples that stili carry their original forms. They are measured and described in the catalogue. The examples are classified according to their places:. in. muqarnasdomes. muqarnasvaults. muqarnassquinch cover. on the transition zone. pendentives, as Elat, composit and spherical pendentives. on squinches. on horizontal bands Another group is the muqarnas door niches. Lastly the use of muqarnas in arches, vashbasins ete. are discussed. While muqarnas domes are widespread throughout our period, muqarnas vaults are more ch'aracteristic for the late phase. The flat pendentives decorated by mukarnas have been used more than the others. Muqarnas squinches are rare. With little variations, the basic geometry of the muqarnas elements remain the same. Their use on different elements do bring certain schemes which differentiate among them. in the analysis of muqarnas design, first, the georaetric method is described. Then, their geometric design are given. Third, the single figures forming the horizontal line of the projecting rows are described in relation to the overall design. Fourth, muqarnas elementsand their configurations in the third dimension are explained. Finally, the process of application, especially on brick structure is described. Part 5 deals with the evaluation of data collected in Part 4. The data is classified under several headings; chronological development, formal, geometrical and decor- ative characteristics, proportions, geometric figures, relationship between muqarnas element and horizontal line and finally application techniques. in Part 6, first, the method of comparison is described. Then, according to the classification and features in Part 4 and 5, the design of the Edirne rauqarnas is compared with the examples from Anatolian Turkish Architecture and from other Islamic domains. The muqarnas entered Anatolia via Seljukids and was used continuously from Twelfth Century onvards and reached its apogee in the Fourteenth and Fifteenth Centuries in Western Anatolia. The important centers were Selçuk (Ayasuluk), Balat (Milet), Bergama, Bursa, Edirne and istanbul. The examples from different building types in Edirne and the other centers are also given in the comparative study. Ottoman muqarnas design had a different development. in Edirne Baths direct relationships can be established with the Bursa examples and with the Fatih Period; however variety in geometric formation is richer. in Edirne, muqarnas domes and vaults are used more often than Bursa. The fluted semidome becomes the predominant element in the baths of Edirne in the first half of the Fifteenth Century, while it never occurs in Bursa, it spreads from Edirne to istanbul and the Balkans during the Fatih Period. Part 7 is the conclusion. The contribution of Edirne work to the development of stucco muqarnas decora- tion is discussed in this part. The characteristic forms, constructive and decorative features are explained and the continuity from the prototypes onwards is shown.