Publication: Geleneksel Mimarinin Yeniden Üretilmesi Bağlamında Giresun'da Üç Cami: Sarayburnu, Eynesil Yeşil, Ören Camileri
Abstract
Geleneksel sanatların sürdürülmesi veya yeniden üretilmesi söz konusu olduğunda dört farklı tavırdan söz edilebilir. Bunlardan ilki geleneği aynen taklit, ikincisi gelenekten esinlenerek yeni bir eser ortaya koyma, üçüncüsü eklektik tavır ve son olarak da geleneği bütünüyle terk edip yeni bir anlayış ortaya koymaktır. Bu tez çalışmasında, Cumhuriyet tarihi boyunca dini mimarinin en önemli yapıları olan camilerin inşasında, yöntemlerden biri olarak geleneğin yeniden üretilmesi konusu ele alınmıştır. Cumhuriyet döneminde Türkiye'de inşa edilen camilerin büyük çoğunluğunda geleneğin doğrudan taklit edildiği görülmektedir. Ancak burada ciddi manada bir mimari kalite ve estetik sorunu karşımıza çıkmaktadır. Cumhuriyetin ikinci yarısında ilk defa olarak taş malzemeyle geleneği büyük ölçüde tekrarlayan ancak yer yer eklektik davranan ve nihayetinde bazı modern çizgileri de süreci dahil eden bir yaklaşımla Giresun'da üç cami inşa edilmiştir. Bunlar: Bulancak Sarayburnu, Eynesil Yeşil ve Ören Merkez camileridir. Her üç yapıda da taş malzemenin kullanıldığı ve büyük ölçüde geleneksel tekniklerle ele alındığı dikkat çekmektedir. Bu tez kapsamında ele alınan üç caminin inşasında plan şeması olarak büyük ölçüde Osmanlı klasik döneminden İstanbul Şehzade, Kayseri Kurşunlu ve Erzurum Lala Paşa camilerinin örnek alındığı; taç kapılarında ise Anadolu Selçuklu çağından Divriği Ulu Camii'nin kuzey taç kapısından esinlenildiği görülmektedir. Cumhuriyet döneminde, geleneğe öykünmenin başarısız beton örneklerine karşın Giresun'daki kesme taş kaplamalı betonarme karkas örnekleri büyük ölçüde başarıyı yakalamış görünmektedir. Klasik Osmanlı Dönemi yapılarına Selçuklu döneminden bir taçkapının eklenmesi şeklindeki mimari cesaret de büyük ölçüde amacına ulaşmıştır. İç mekân süslemelerinde sanatkârların özgün katkıları da yapı bütününe ciddi bir katkı sunmuş görünmektedir. Son olarak her üç yapıda da 1980'lerde başlayan inşaat çevre düzenleme ve tezyinat çalışmalarının yapılara göre değişmekle birlikte hâlâ devam ediyor olması, estetik ve fonksiyon bağlamında çok uzun ömürlü bir yapı meydana getirmek için hiçbir masraftan kaçınmayacağınıın ifadesi olarak görülmektedir. Anahtar Sözcükler: Cami mimarisi, Gelenek, Mimari Sinan, Giresun, Osmanlı, Cumhuriyet
When it comes to the continuation or reproduction of traditional arts, four different approaches can be mentioned. The first of these is to imitate tradition exactly, the second is to create a new work inspired by tradition, the third is the eclectic approach, and finally, to abandon tradition altogether and present a new understanding. In this thesis, the subject of reproducing tradition as one of the methods in the construction of mosques, which are the most important structures of religious architecture throughout the history of the Republic, has been discussed. In the majority of mosques built in Turkey during the Republican period, it is seen that tradition was directly imitated. However, here we encounter a serious architectural quality and aesthetic problem. In the second half of the Republic, for the first time, 3 mosques were built in Giresun with an approach that largely repeated tradition with stone materials but acted eclectic in places and eventually included some modern lines in the process. These are: Bulancak Sarayburnu, Eynesil Yeşil and Ören Merkez mosques. It is noteworthy that stone material was used in all three structures and that they were largely handled with traditional techniques. It is seen that the three mosques examined within the scope of this thesis take as an example the Istanbul Şehzade, Kayseri Kurşunlu and Erzurum Lala Pasha mosques from the Ottoman classical period and the northern portal of Divriği Great Mosque from the Anatolian Seljuk period. In the Republican period, despite the unsuccessful concrete examples of emulating tradition, the stone material examples in Giresun seem to have achieved great success. The architectural courage of adding a Seljuk-era portal to the classical Ottoman period structures has also largely achieved its purpose. The original contributions of the artists in the interior decoration also seem to have made a serious contribution to the whole structure. Finally, the fact that the construction, landscaping and ornamentation works that started in the 1980s in all three structures, although varying according to the structures, are still ongoing, is seen as an expression of the fact that no expense will be spared in order to create a very long- lasting structure in terms of aesthetics and function. Keywords: Mosque architecture, Tradition, Architecture, Sinan, Giresun, Ottoman, Republican Period
When it comes to the continuation or reproduction of traditional arts, four different approaches can be mentioned. The first of these is to imitate tradition exactly, the second is to create a new work inspired by tradition, the third is the eclectic approach, and finally, to abandon tradition altogether and present a new understanding. In this thesis, the subject of reproducing tradition as one of the methods in the construction of mosques, which are the most important structures of religious architecture throughout the history of the Republic, has been discussed. In the majority of mosques built in Turkey during the Republican period, it is seen that tradition was directly imitated. However, here we encounter a serious architectural quality and aesthetic problem. In the second half of the Republic, for the first time, 3 mosques were built in Giresun with an approach that largely repeated tradition with stone materials but acted eclectic in places and eventually included some modern lines in the process. These are: Bulancak Sarayburnu, Eynesil Yeşil and Ören Merkez mosques. It is noteworthy that stone material was used in all three structures and that they were largely handled with traditional techniques. It is seen that the three mosques examined within the scope of this thesis take as an example the Istanbul Şehzade, Kayseri Kurşunlu and Erzurum Lala Pasha mosques from the Ottoman classical period and the northern portal of Divriği Great Mosque from the Anatolian Seljuk period. In the Republican period, despite the unsuccessful concrete examples of emulating tradition, the stone material examples in Giresun seem to have achieved great success. The architectural courage of adding a Seljuk-era portal to the classical Ottoman period structures has also largely achieved its purpose. The original contributions of the artists in the interior decoration also seem to have made a serious contribution to the whole structure. Finally, the fact that the construction, landscaping and ornamentation works that started in the 1980s in all three structures, although varying according to the structures, are still ongoing, is seen as an expression of the fact that no expense will be spared in order to create a very long- lasting structure in terms of aesthetics and function. Keywords: Mosque architecture, Tradition, Architecture, Sinan, Giresun, Ottoman, Republican Period
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