Art has been included customary and possible dimensions to speak by man with holiness, before when was related to the veil of human's egotism. In this age, since the dimension was not sourced from right and truth for man and good names of providence did not come to seek the veil of idolatrous, symbols and motifs appear the occult meanings and themselves are showy of theological facts. The art can appear as religion, because from our sight of principle of knowledgeable, art and religion are intertwined naturally. Every ingenious demonstrate the mysteries that don't appear except with brightness of intellectuality, and it is for having a share of the divine realm, which is the agency cause of manifesting artistic works. The ingenious should attract to the truth to create the making clear beautiful faces by assisting God diffusion. Ingenious lives in the shadow of the verbal knowledge tree. In this sense, if we look closely, we can find very similarities between religious and artistic knowledge: knowledge of art is as immediate and direct as religious knowledge. In the knowledge of art, the reason was not discussed as well acquired knowledge. Therefore, in this study, we investigate the religious influence on architecture, especially on the architecture of religious buildings such as churches and mosques.
İstanbul, tarihi Neolitik Çağ'a kadar uzanan ve kuruluşundan günümüze kadar farklı kültürlerin, dinlerin, yöneticilerin etkisi ile şekillenmiş bir kenttir. İstanbul'un günümüze ulaşan tarihi ana arterleri Bizans İmparatoru I. Constantinus döneminde kurgulanmıştır. Bu arterlerden biri Mese'nin Haliç'e bakan yerleşim alanına bağlantısı olan Fevzipaşa Caddesi'dir. Tarihi süreçte kuzeybatı Mese / Divanyolu'nun Fatih -Edirnekapı aksında bulunan Fatih Fevzipaşa Caddesi, Cumhuriyet döneminde İstanbul'da açılan ilk caddelerden biridir. Cadde, Menderes Dönemi imar hareketleri sırasında genişletilmiş ve diğer caddelerle birlikte önemli arterlerden biri olarak kentteki yerini almıştır.
Constantinople was founded by Great Constantine, over the urban structure of Byzantium city-state, with the name of 'Nea Roma Constantinopolitana' at a time that should be considered as a milestone for the Roman Empire. The founder Constantine, created an almost alternative Rome here, who thinks that the empire should keep up with the changing global conditions and take the side of Christianity which consistently growing, against the Paganism. All the decisions Constantine had made on the empire scale, had manifested itself in entire areas, from the location choice of city to architecture of main buildings of this new capital that he called Nea Rome. Where necessary, he was loyal to the Roman tradition for the acceptance of Constantinople as Nea Roma by Pagan people but all this is done in such a way as not to be deprived of the support of the Christian people. The physical structure of the city was built in such a way that would turn to an entirely Christian capital in the long run. In the 6th century, Constantinople had the appearance of a Christian capital, through the next rulers took new decisions in favor of Christianity throughout the empire and filled the Constantine's city scheme with new monumental buildings. Constantine's settlement scheme continued to be one of the decisive factors of urban texture until the 15th century. This paper aims to figure out the base structure of 15th century Constantinople, by analizing urban development from the foundation of the city to the 6th century AD.
Light and water re key elements and indicators are in human life. Water as a lifeblood is important in views, philosophies and cultures in the world and its role is considered beyond its functional role as a symbol of purity, birth and beauty. In ancient Persia, water was a sign of lighting and purity and was so valuable. Architects have always tried to make the best possible use of the environmental resources and water that was an important element to use all the beauty and perfection of water, so water becomes a factor in order to calmness, cleansing and peace. Light reflects the effects and nature of God whose presence is manifested in architecture. Light has always been a symbol of meaning and the world kingdom. Hence, light, occupies a central place in religious architecture. Light and water were placed in contemporary architecture and philosophy and in terms of beauty, have offered outstanding works in philosophy and architecture. So in this study, we have tried to pay to the importance and application of light and water in architecture and the arts and philosophy. Keywords: Water, Light, Architecture, Philosophy, Art MİMARİDE IŞIK VE SU KONUMU VE SANAT FELSEFESİÖZ temel unsurları ve göstergelerin yeniden ışık ve su insan hayatı vardır. Bir can damarı olarak su dünyada görüşleri, felsefeleri ve kültürlerde önemli olduğunu ve rolünü saflığı, doğum ve güzellik sembolü olarak fonksiyonel rolünün ötesine kabul edilir. Eski İran'da, su aydınlatma ve saflık bir işareti oldu ve çok değerli oldu. Mimarlar her zaman tüm güzelliği ve suyun mükemmellik kullanmak için önemli bir unsur olan çevresel kaynakların ve su en iyi şekilde faydalanmak için çalıştık, bu yüzden su dinginlik, temizlik ve barış için bir faktör haline gelir. Işık varlığı mimarisinde tecelli Tanrı'nın etkilerini ve doğasını yansıtır. Işık her zaman anlam sembolü ve dünya krallığı olmuştur. Bu nedenle, ışık, dini mimari merkezi bir yer işgal eder. Işık ve su felsefe ve mimarlıkta seçkin eserlerini teklif var, çağdaş mimari ve felsefede ve güzellik açısından yerleştirildi. Yani bu çalışmada, önemi ve uygulama ışık ve su mimaride ve sanat ve felsefe ödemek için çalıştık.
<p><strong>Abstract</strong></p><p>In this study, reconstruction activities in Cyprus were investigated according to the information given in the El-Hac Es-Sayyid Mehmet Ağa Foundation (1826). El-Hac Es-Seyyid Mehmet Ağa was a former guardian in Ottoman Palace (İstanbul) who was appointed as a tax officer Cyprus in the early 19th century. Seyyid Mehmet Aga, during his stay in Cyprus constructed Mosque, Tekke, Mescit, and schools and he has foundations related to these structures. These foundations are available in the TRNC Vakıflar Administration, TRNC Girne National Archives and Research Department, Republic of Turkey Directorate General of Foundations Achieves. Most of the Islamic buildings registered in the Seyyid Mehmet Ağa foundation are made up of the pre-existing, inadequate and ruined structures re-constructed and brought to the use of the Muslim Turkish Cypriot people. Nicosia Dükkanlarönü Mosque, Fethiye Mosque, Tahtakale Mosque, Lapta Mosque and Famagusta Kutup Osman Efendi Tomb are the architectural venues where the Turkish Cypriot Islamic culture has been performed and it is understood from archival documents that they are supported by various mites and foundations. Within the scope of the study, prior and restructuring processes of these structures were determined and findings were made about the current situation. These structures are the living documents of the Ottoman Period in Cyprus over 300 years, which describe the structuring of the Islam and Ottoman identity in island. These structures are important documents of the Turkish Cypriot Islamic Heritage. Due to political changing over time they lost their incomes and original shapes.</p><p><strong>Öz</strong></p><p>Bu çalışmada 19, yüzyıl başlarında Kıbrıs’a muhassıl olarak atanan Dergâh-ı Âli Kapıcı başlarından El-Hac Es- Seyyid Mehmet Ağanın 1826 tarihli Vakfiyelerinde geçen bilgilere bağlı olarak Kıbrıs’taki imar faaliyetleri incelenmiştir. Kıbrıs’ta bulunduğu süre zarfında Cami, Tekke, Mescit, Sıbyan Mektebi yaptıran Seyyid Mehmet Ağa’nın bu yapılar ile ilgili vakfiyeleri mevcuttur. Bu vakfiyeler KKTC Vakıflar İdaresinde, KKTC Girne Milli Arşiv ve Araştırma Dairesinde, TC Vakıflar Genel Müdürlüğü ve TC Başbakanlık Osmanlı Arşivlerinde bulunmaktadır. Seyyid Mehmet Ağa vakfiyesinde kayıtlı bulunan İslami eserlerin çoğu önceden var olan, yetersiz ve harap durumda olan yapıların yeniden düzenlemelerle genişletilip Müslüman Türk halkının kullanımına kazandırılmış yapılardır. Seyyid Mehmet Ağa’nın yeniden yaptırmış olduğu Lefkoşa Dükkânlar Önü Camii, Fethiye Camii, Tahtakale Camii, Lapta Camii ve Mağusa Kutup Osman Efendi Türbesi Kıbrıs Türk İslam kültürünün icra edildiği mimari mekânlar olup çeşitli akarlar ve vakıflar ile desteklenmiş oldukları arşiv belgelerinden anlaşılmaktadır.</p><p>Çalışma kapsamında söz konusu yapıların önceden ve yeniden yaptırılma süreçleri belirlenerek günümüzdeki durumları hakkında tespitler yapılmıştır. Osmanlı Hâkimiyetinin adada var olduğu 300 yılı aşkın zaman diliminde, gerek devlet eli gerekse adada görev alan memurlar sayesinde Kıbrıs’ta İslam ve Osmanlı kimliğinin yapılandırılarak etkisinin genişletildiğini anlatan ve Osmanlı Devleti’nin Kıbrıs’ta yaşayan belgeleri niteliğinde olan bu yapılar, Kıbrıs Türk İslam Mirasının vazgeçilmeyen önemli ögeleridir. Zaman içerisinde değişen siyasal yapıya bağlı olarak gelirleri kesilen ve terk edilen bu eserler bakımsızlık nedeni ile orijinal hallerini yitirmişerdir.</p>
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