Klasik Dönem sonrasında İstanbul`da küçük külliyeler

Abstract

XVII. yüzyıl mimarlık ürünleri, Osmanlı Mimarlığında Sinan Cağı olarak bilinen XVI» yüzyıl Klasik Cağının ardından Lale Devrinin başlangıcı edan XVIII. yüzyıl basına kadar sürer. Sinan'ın yetiştirdiği öğrencilerin mimarbaşı olduğu dönem» Sinan Çagı'ndan etkilendiği için II.Klasik Cağ adını almıştır» Tez konusu bu dönemin bir özelliği olarak görülen istanbul'daki küçük külliye uzenlemeleri di r ve bu düzenleme içine katılan, bu dönemde önemi artan külliye öğeleri ayrı ayrı ele alınmıştır. XVII» yüzyılda d içler dönemlerden farklı olarak yapı faaliyeti iki grup halinde düzenlenmiştir. Bunlardan birinci grup, büyük külliye yapıları diğer adıyla 'Sultan Külliyeleri' ve ikine ı grup ta bu devirde ortaya çıkan sadrazam veya devlet büyüklerinin yaptırmış olduğu küçük k ü11 i ye yapılarıdır. î l k t ü r k ü11 i ye yap11a r ı p lah acısından klasik dönem külliye yapıları planlama acısından farklı nitelikler göstermeye başlamışlardır. Bu da onyedinci yüzyıl mimarlığının Osmanlı Mimarlığına getirdiği önemli bir yeniliktir» XVII. yüzyıl küçük külliyelerini tanıtmadan önce, ilk dönem külliyelerini, Sinan Dönemini ve bu dönemlerin XVII. yüzyılla ilişkisini anlatmayı amaçlayan bir giriş yapılmıştır» Diğer bölümlerde ise istanbul'daki küçük külliye yapıları tanıtılmaya çalışılmış ve XVII» yüzyılın Osmanlı Mimarlığına getirdiği yenilikler hakkında! bilgi veriImistir.

3LWARY Architectural buildings of the 17th century appear after the Classical period in the 16th century which is also known as Sinan' s period. They ars seen until the beginning of the 18th century, also referred to as the Tulip Period. The 17th century when Sinan' s students were chief architects is called the 2nd Classical Period. In this study, the small külliye arrangements characteristic of this period have been dealt with in two separate groups. The construction activities in the 17th century can be grouped into two. The large külliye arrangements, also called Sultan küliiyes, make up the first group. In this second group there are the small küliiyes commissioned by the Grand Viziers and some important statesmen. Although this first group of küliiyes reflects the characteristics of the classical period plan schemes, the plan scheme characteristics of the small küliiyes start to change in this period. This is a novelty brought to Ottoman architecture by the architecture of the 17th century. The courtyard with an arcade and the mosque scheme is still found in the large küliiyes. In this group, the mosque is located in the center and is the most important element of the complex. Despite the fact that the traditions of the classical period complexes are retained, it is observed that the geometric harmony between the buildings has been upset. Sultan Pavillions appear as a novelty. The Sultan Pavillion which becames an integral part of the edifice in the Sultan Ahmet Masque far the first time, is repeated in the Eminönü Yeni Mosque and the Üsküdar Yeni Mosque. The 17th century can be considered a turning point in the design of küliiyes as the importance in the küliiyes of this period shifts from the monumental mosque to the medrese. The most important factor affecting the change in design is the economic situation. The küliiyes which served as a social center and promoted settlement in the vicinity had reached a saturation point in the ar&a within the city walls. However, there was a shortage and an increasing need for medreses which served as schools. The 17th century is a transition period where küliiyes with a central masque and others with a central medrese were built at the same time. Two küliiyes built between 1593-1594 are two very distinct examples of this phenomenon. In the medrese küliiyes called small küliiyes, the mosque has lost its dominant position. The objective of the small küliiyes is education. This type of small külliye architecture which stemmed from the instution needs of the deteriorating central state control of the Ottoman Empire continued to the last days of the Empire. As a result of the persisting pressure of the Moslem theologians on the state and the VIweaking of the state control more and more people were involved in the administration of the state and in turn meant a greater need tor education. The novelty brought about by the 17th century külliye no doubt was the medrese-tiirbe-sebi 1 combination. As a result o-F this coexistance which is not seen in earlier examples the mosque element is completely abandoned and the importance of the türbes increases. Unlike the classical külliye plan scheme, beginning with the second hal-f of the 17th century mosques were built in a group called medrese-külliyes. In this type the mesjid is smaller and is located in one of the corners of the medrese or is detached from the medrese and is built as a separate unit as seen in the examples of the Amcazade Hüseyin Pasa Külliye and the Köprülü Mehmet Pasa Külliye. The medreses becoming the center of the külliye is a perfect re-flection of the socio-economic situation of the Ottoman Empire in the 17th century. A different picture appears towards the end of the 16th century with the construction of central medreses as opposed to the medreses which were designed as an element of a large külliye or around the common courtyard of a monumental mosque in the 16th century. This continued into the 17th century and the relation between the medrese and the other elements gained importance. During the period following the death of Sinan and until the early 18th century the mosque lost its importance as the central element of the külliye and külliyes with medreses as their most important element become more popular. These were mainly commisioned by the Grand Viziers or other important statesmen and were constructed in more or less the same areas because by this time there no longer was enough land and the külliyes had to be built on rather small lots. As a result, the various elements of the külliyes became smaller. The geometric harmony observed during Sinan' s period was lost and the various elements were placed rather randomly. Although one reason for placing all the külliyes in more or less the same area was lack of available land, another reason was the fact that the various statesmen or viziers who came to power for various lengths of of time all wanted to leave behind something that would perpetuate their names and as a result, there were a series of külliyes built next to or across one another. The Sultan Ahmed Mosque, the Yeni Cami Mosque in Eminönü and the Yeni Valide Mosque in Üsküdar all of which are Sultan külliyes built in the first half of the 17th century and are the most important examples of Ottoman architecture. `TCIAs stated earlier, a-Fter the second hal-f of the 17th century the masque element is almost non-existant. There are only three examples of külliyes with mosque in this period. 1. The Cerrahpaşa Mosque: It is located within the Cerrahpaşa Complex. It is the largest of the mosques built in the second hal-F of the 17th century. 2. The Çinili Mosque: It is located in the Çinili Complex. It is the second largest mosque of the period and is famous for its tiles. 3. The Çorlulu Ali Pasa Mosque: It is located in the Çorlulu Ali Pasa Complex. The dimensions of this mosque are like those o-f a mesjid however, from an architectural point of view, it was built as a small size mosque with a minaret. Other külliye designs of this period are : DERSHANE - MESJID These were first used extensively in the kül lives of the 17th century and except for the three külliyes mentioned above the dershane- mesjid is seen in the other eight külliyes built during this period. The derşhane-mesjids of this period can be grouped into two: * In group 1, the mesjid is separated from the medrese. It is an independent unit which is a dershane and a mesjid at the same time. (Amcazade Hüseyin Pasa Külliyesi, Merzifonlu Kara Mustafa Pasa Külliyesi, Ekmekcioglu Külliyesi, Köprülü Külliyesi and Bayrampaşa Külliyesi ) * In group 2, the mesjid is connected to the medrese and it is a dershane of this latter one. (Sinan Pasa Külliyesi, Kuyucu Murat Pasa Külliyesi, Gazanfer Aga Külliyesi ) The dershane-mesjids are usually connected to the medrese and located right or left of the entrance. However, these dershane-mesjids (Köprülü, Merzifonlu, Amcazade and Çorlulu mesjids ) are not like those which are wooden and have a roof but like the octagonal and polygonal türbes. Such examples are first seen in the 17th century. A first example to this type of mesjid is the Köprülü Mesjid. In this mesjid the dome with a tambour rests on the octagonal planned walls. MEBf^SES The medrese is a single story building usually with an inner courtyard surrounded by rewaks. The Dershane (classroom) and student rooms open onto the rewaks. The courtyard is only for the members of VIIIthe medrese and therefore it is an introverted space. Medreses erf this period have oniy one classroom which sometimes serves as a mosque and/or library. The number of the student rooms varies between 12 and 16. In the 17th century medreses were often located in a külliye with the türbe of the -founder, a sebil -Fountain and some shops. Although these buildings do not have direct -Functional relations within themselves, there exists a relation o-F ideas. The medrese/sebi 1 /türbe composition has a symbolic connotation in early Islamic architecture and has also attained a special value and treatment in Ottoman arch i tecture. Medrese centered kiilliyes were built in this period. The medrese is now the important element of the külliye. These medreses can be divided into two groups according to their plan schemes. 1. Medreses in which the rooms are located around three sides of the courtyard in a U shape. (Bayrampaşa Medresesi, Gazanfer Aga Medresesi, Sinan Pasa Medresesi, Ekmekçioglu Medresesi ) 2. Medreses in which the rooms are located around the courtyard in an L shape. ( The Çinili, Cerrahpaşa, Köprülü, Kuyucu, Merzifanlu, Kara Mustafa Paşa Medreses) Tül Türbes are one of the important edifices of the 17th century. They have not brought much novelty to the traditional türbe design. However, they gained volume when the mosque was no longer located in the külliyes. As the türbe has a symbolic meaning, impressive dimensions were applied, ornamental elements such as corner columns and eave Cornishes were exaggerated. During this period, türbes located within the külliyes and those built individually reflect common characteristics (Cerrahpaşa, Koca Sinan, Gazanfer Aga ). The plan scheme of the türbes of this period aire usually octagonal with a few which have 12 sides (Sinan Paşa, Gazanfer Aga). SEBÎLS AND FOUNTAINS Sebils are characteristics of the 17th century. They are important in this period and appear as edifices of their own. Sebils were located on the exterior facade of the külliyes and usually at a corner. People were able to make use of them as they were IXlocated an important squares. Seoils and fountains were seen in almost all the külliyes of the 17th century. The 17th century külliyes were under the influance of the Sinan period külliyes and their plan schemes ars very similar. However, as the size of the külliyes became smaller, some buildings lost their earlier importance which is considered a novelty in Ottoman architecture. ORNAfENTATION In the külliyes of the 17th century a few ornamentations appear except in a couple of complexes. In that century, mosques have some important ornamental characteristics. However, the small külliyes have only tile, pen-work, and stone ornamentations. The tile ornamental characteristics appear in the Çinili Mosque, which is one of the most important tile work of the 17th century. The originality doesn't disappear. Mostly, pen-work ornamentation whose originality disappeared takes part in the other külliyes. This type of ornamentation was done afterwards. The stone and wooden ornamentation were more frequent types of ornamentation in the külliyes of this period. Wooden ornamentation is seen on^ doors and windows while stone ornamentation on the interior and exterior facades of the complexes.