Türkmenistan`daki mimari eserler (2 cilt)

Abstract

In this study, which is centered on the architectural works in Turkmenistan, after giving information about the geographical state, history and the old cities of the country, these works have been analysed in catalogues. The analysis is also based on historical process up till XXth Century, though the main focus of the study constitutes Xl-XVIth century constructions. Pioneering many civilizations since the earliest times, Turkmenistan was situated on a passage through which important commercial roads such as Silk Road extended and then formed a joint, being transposed in many places. Respectively after Ahemenids, Greeks, Parthian Kingdom and Sasanide Kingdom, these domains, which were included into Islamic country in the Vllth century were submitted for a little while to Ghaznavids after the decline of Samanids in 999. With Dandanakan War (1040) which resulted in failure, these domains entered in Seljucs sovereignity. The Xl-XIIIth centuries are considered to be a bright period for Turkmenistan architecture. In this period, the Great Seljucs and then Harzemshahs^ which possesed their inheritence, built constructions of great importance. However, with the Mongol invasions (1220-21) architectural works have nearly been perished and little remains were left from the ruins. After the so-called invasions, together with the revivifications in Horasan and Harezm some important architectural works are built. But from XVTth century on, there has existed a regression in Turkmenistan architecture and in this period with the materials made up of mud-brick, the constructions of no greater renovation were made. There appears to be no trace of monumental complexes, medresses and libraries, of wihch we are informed from historical records. Very few samples of mosques which are analysed in groups such as `namazgah` and `Friday mosques` survived nowadays. Among these, Talhatan Baba Mosque has got an important place in Xlth century Turkish architecture, both in terms of its firmness and its plan. Monuments, in quantitative numbers capture our attention for their maintenance of the tradition of monumental graves compared to the other buildings. These constructions, wihich are usually in square or multipligonal form, are covered with domes, conical spires or pyramidal roofs. In this context, in the middle of XHth century Sultan Sanjar Tomb, wihich was built by Muhammed b. Atsız, who was an architect from Serakhs, is a masterpiece of Turkish - Islamic art in XHth century in terms of its aspects. In desolate desert areas and important trade routes, XI-XHIth caravanserais are important monuments of architecture which are considered to be touched on. Today, these constructions, which are mostly ruined, give us important clues about the origine of Anatolian - Turkish caravanserais. The entrance frontals which reflect a symetric order of architectural constructions are mostly fabulous. In the tombs of the Great Seljucs period, the main fronts that are regarded as a whole, whereas no crown gate types protruded to the upstairs are found,showing that great portals are integral parts of the constructions. The main construction material in Turkmenistan architecture is usually made up of bricks, mud-bricks, mud and wood. Among these, bricks are the primary material for construction and ornamentation in the periods during which architecture was developed (XI-Xmth century). Architectural ornamentation, in Seljuc works, geometric compasitions are based on bricks; however in the stucco and terracotta conversions, vegetative bunches and seriptural samples are made. From the tiles fragments and the available samples obtained in different ways, it is understood that Seljucs and Harzemshahs used this art inarchitecture enjoyably and this art in XlVth century showed a sophisticated development. Mainly the constructions built in Turkmenistan during Xl-XIIIth centuries, the works, which are the subject of our study, are of great value in terms of the development of Turkish architecture. Especially, the similarity of Seljucs and Harzemshahs buildings to the Turkish works in Anadolia in terms of architectural particularities reflect the cultural an artistic style inspired of the same origine as well as throwing light upon the identity and origine of our architectural inheritence.