Abstract
Xİİ On architecture we can see the orders' head wears as symbols. They used the form of the head gears as reliefs or as a statues instead of a sign on the top of the building. In The Merdivenköy Tekke and The Galata Mevlevihane we can see such kinds of signs on the top of the buildings. This kind of sign in the shape of a head gear of a dervish began to be seen, frequently in the nineteenth century. The most known and the most important examples of the dervish head gears' copies were the grave stones.AII the grave stones in Ottoman Empire were pointing the social statue of its owner, with the headgear of the dead person. In the time of Sultan Abdülaziz and Sultan Abdulmecit, all the head gears on the grave stones turned to same type of head gears but the dervish stones didn't change. We could see the orijinal order head gears from these grave stones. The grave stones had began to be made with the head gears, in the sixteenth century. All kinds of the grave stones had to be examined together and we didn't add them to our catalogue but we used the grave stones to know how the orijinal shape was. The orders except The Mevlevi and The Bektaşi used the form of their head gears on the grave stones, calligraphy, picture and architecture. They didn't use their head gears' forms on other objects. But The Mevlevis and The Bektaşis gave many diffrent examples which carries their own signs on them. Their philosophy were based on The Melami undestanding. The Melamis were more free than the other orders in their minds. Their roots were coming from central Asia. According to them being a dervish mustn't be so painful. They were turning to the external world and finishing their çile by working in the Lodge. Their main aim was to love God. So to be an artist makes them close to God and cause to have some abilites like creating, that God has. They not only made liturjical objects, but made cups, pots, clocks, calligrapher instruments and anything that we use. We can show the glass objects as very common things that they were were used in every house. The Mevlevis wanted to be remembered everytime and put their signs on their products. They used the head gears as the mark of their order like an industrial firm. In the nineteenth century a kind of freedom was occured for them. They used their signs easily in everywhere. Because of The Ottoman Empire's weakness, the orders became more powerful!.Xİİİ In the early times of The Ottoman Empire there were a strict government contrail. Sultan Mahmut The Second closed The Bektaşi tekkes with The Yeniçeris. After this event, The Mevlevis gained more powerty and protected their own legalty. They also gained more power among the other orders. The Bektaşis came into view again to the end of the nineteenth century. They began to use their symbols numerously on architecture and art. They also gained their old power again. The Sultan was the administrator of The Empire but the sheykh of a tekke was a sultan who administrates the spirits. The crown of the dervish was not jewelled with precious stones but it belongs to the sultan of spirits and includes mystic symbolic meanings. The Bektaşis called their crown as `Fahir`, The Mevlevis called their crown as Sikke.Xİİ On architecture we can see the orders' head wears as symbols. They used the form of the head gears as reliefs or as a statues instead of a sign on the top of the building. In The Merdivenköy Tekke and The Galata Mevlevihane we can see such kinds of signs on the top of the buildings. This kind of sign in the shape of a head gear of a dervish began to be seen, frequently in the nineteenth century. The most known and the most important examples of the dervish head gears' copies were the grave stones.AII the grave stones in Ottoman Empire were pointing the social statue of its owner, with the headgear of the dead person. In the time of Sultan Abdülaziz and Sultan Abdulmecit, all the head gears on the grave stones turned to same type of head gears but the dervish stones didn't change. We could see the orijinal order head gears from these grave stones. The grave stones had began to be made with the head gears, in the sixteenth century. All kinds of the grave stones had to be examined together and we didn't add them to our catalogue but we used the grave stones to know how the orijinal shape was. The orders except The Mevlevi and The Bektaşi used the form of their head gears on the grave stones, calligraphy, picture and architecture. They didn't use their head gears' forms on other objects. But The Mevlevis and The Bektaşis gave many diffrent examples which carries their own signs on them. Their philosophy were based on The Melami undestanding. The Melamis were more free than the other orders in their minds. Their roots were coming from central Asia. According to them being a dervish mustn't be so painful. They were turning to the external world and finishing their çile by working in the Lodge. Their main aim was to love God. So to be an artist makes them close to God and cause to have some abilites like creating, that God has. They not only made liturjical objects, but made cups, pots, clocks, calligrapher instruments and anything that we use. We can show the glass objects as very common things that they were were used in every house. The Mevlevis wanted to be remembered everytime and put their signs on their products. They used the head gears as the mark of their order like an industrial firm. In the nineteenth century a kind of freedom was occured for them. They used their signs easily in everywhere. Because of The Ottoman Empire's weakness, the orders became more powerful!.Xİİİ In the early times of The Ottoman Empire there were a strict government contrail. Sultan Mahmut The Second closed The Bektaşi tekkes with The Yeniçeris. After this event, The Mevlevis gained more powerty and protected their own legalty. They also gained more power among the other orders. The Bektaşis came into view again to the end of the nineteenth century. They began to use their symbols numerously on architecture and art. They also gained their old power again. The Sultan was the administrator of The Empire but the sheykh of a tekke was a sultan who administrates the spirits. The crown of the dervish was not jewelled with precious stones but it belongs to the sultan of spirits and includes mystic symbolic meanings. The Bektaşis called their crown as `Fahir`, The Mevlevis called their crown as Sikke.Xİİ On architecture we can see the orders' head wears as symbols. They used the form of the head gears as reliefs or as a statues instead of a sign on the top of the building. In The Merdivenköy Tekke and The Galata Mevlevihane we can see such kinds of signs on the top of the buildings. This kind of sign in the shape of a head gear of a dervish began to be seen, frequently in the nineteenth century. The most known and the most important examples of the dervish head gears' copies were the grave stones.AII the grave stones in Ottoman Empire were pointing the social statue of its owner, with the headgear of the dead person. In the time of Sultan Abdülaziz and Sultan Abdulmecit, all the head gears on the grave stones turned to same type of head gears but the dervish stones didn't change. We could see the orijinal order head gears from these grave stones. The grave stones had began to be made with the head gears, in the sixteenth century. All kinds of the grave stones had to be examined together and we didn't add them to our catalogue but we used the grave stones to know how the orijinal shape was. The orders except The Mevlevi and The Bektaşi used the form of their head gears on the grave stones, calligraphy, picture and architecture. They didn't use their head gears' forms on other objects. But The Mevlevis and The Bektaşis gave many diffrent examples which carries their own signs on them. Their philosophy were based on The Melami undestanding. The Melamis were more free than the other orders in their minds. Their roots were coming from central Asia. According to them being a dervish mustn't be so painful. They were turning to the external world and finishing their çile by working in the Lodge. Their main aim was to love God. So to be an artist makes them close to God and cause to have some abilites like creating, that God has. They not only made liturjical objects, but made cups, pots, clocks, calligrapher instruments and anything that we use. We can show the glass objects as very common things that they were were used in every house. The Mevlevis wanted to be remembered everytime and put their signs on their products. They used the head gears as the mark of their order like an industrial firm. In the nineteenth century a kind of freedom was occured for them. They used their signs easily in everywhere. Because of The Ottoman Empire's weakness, the orders became more powerful!.Xİİİ In the early times of The Ottoman Empire there were a strict government contrail. Sultan Mahmut The Second closed The Bektaşi tekkes with The Yeniçeris. After this event, The Mevlevis gained more powerty and protected their own legalty. They also gained more power among the other orders. The Bektaşis came into view again to the end of the nineteenth century. They began to use their symbols numerously on architecture and art. They also gained their old power again. The Sultan was the administrator of The Empire but the sheykh of a tekke was a sultan who administrates the spirits. The crown of the dervish was not jewelled with precious stones but it belongs to the sultan of spirits and includes mystic symbolic meanings. The Bektaşis called their crown as `Fahir`, The Mevlevis called their crown as Sikke.
