{"id":2946,"date":"2017-07-31T17:01:00","date_gmt":"2017-07-31T14:01:00","guid":{"rendered":"http:\/\/www.libridergi.org\/2015-en\/trans-2015-en\/lbr-0104"},"modified":"2017-07-31T17:04:27","modified_gmt":"2017-07-31T14:04:27","slug":"lbr-0104","status":"publish","type":"post","link":"http:\/\/www.libridergi.org\/en\/2017-en\/lbr-0104","title":{"rendered":"Bat\u0131ya G\u00f6\u00e7\u00fcn Sanatsal Evreleri"},"content":{"rendered":"
\n\t\t
\n\t\t\"\"<\/a>\n\t\t<\/div><\/div><\/figure><\/div>\n

Bat\u0131ya G\u00f6\u00e7\u00fcn Sanatsal Evreleri<\/em><\/h2>\n

Do\u011fan KUBAN<\/h3>\n
<\/div>\n

ISBN:\u00a0<\/strong>9789944885614
\nPage:<\/strong>\u00a0382
\nPublication Date:<\/strong>\u00a02014
\nLocation:<\/strong>\u00a0\u0130stanbul
\nPublisher:<\/strong> T\u00fcrkiye \u0130\u015f Bankas\u0131 K\u00fclt\u00fcr Yay\u0131nlar\u0131<\/p><\/div>

<\/div>\n

<\/div>\nLIBRI<\/em>\u00a0III (2017) 201-209<\/strong>
\nDOI<\/strong>:\u00a010.20480\/lbr.2017022
\nReceived Date<\/strong>: 22.05.2017 | Acceptance Date<\/strong>: 02.07.2017
\nOnline Publication Date<\/strong>: 31.07.2017
\nCopyright \u00a9 Journal of Book Notices, Reviews and Translations, 2017<\/p>\n

<\/div><\/div>\n

\n\t
\n\t\t\n

\"pdf\"\u00a0 Get PDF<\/strong><\/a><\/p>\n

\"references\"\u00a0<\/strong>\u00a0View PDF<\/strong><\/a><\/p>\n

\"info\"\u00a0\u00a0<\/a>Citation<\/a>
\n<\/b><\/p>\n

\n\t\t

<\/div>\n\t<\/div>\n<\/div>\n<\/div>
<\/div>\n

D. KUBAN, Bat\u0131ya G\u00f6\u00e7\u00fcn Sanatsal Evreleri. \u0130stanbul 2014.
\nT\u00fcrkiye \u0130\u015f Bankas\u0131 K\u00fclt\u00fcr Yay\u0131nlar\u0131, 382 sayfa.
\nISBN: 9789944885614<\/strong><\/p>\n

Modern mimarl\u0131k tarihini ayr\u0131nt\u0131l\u0131 olarak ele alan, mimaride oldu\u011fu kadar top\u00adlumsal katmanlar i\u00e7erisinde de monogamiye dair farkl\u0131 yakla\u015f\u0131mlar\u0131yla dik\u00adkatleri \u00fczerine \u00e7eken, mimarl\u0131k tarih\u00e7ilerinin \u00f6nemli isimlerinden Do\u011fan Kuban 1926 y\u0131l\u0131nda Paris’te do\u011fmu\u015ftur. \u0130stanbul Teknik \u00dcniversitesi, Mimar\u00adl\u0131k Fak\u00fcltesi e\u011fitimi ard\u0131ndan, T\u00fcrkiye\u02bcde ilk restorasyon dersini veren Paolo Verzone\u02bcnin \u00e7evirmenli\u011fini yapm\u0131\u015f ve daha sonrada bu dersi \u00fcstlenmi\u015ftir. Kendisinin Paola Verzone\u02bcnin asistanl\u0131\u011f\u0131nda ba\u015flayan eski eserler onar\u0131m ve ara\u015ft\u0131rmalar\u0131, T\u00fcrkiye\u2019de bat\u0131l\u0131la\u015fmay\u0131 ilk kez bir mimarl\u0131k ya da sanat tarihi sorunsal\u0131 olarak ele alan \u201cOsmanl\u0131 Barok Mimarisi Hakk\u0131nda Bir Deneme<\/em>\u201dsi ile yeterlilik tezini v\u00fccuda getirmi\u015ftir. R\u00f6nesans mant\u0131\u011f\u0131 ara\u015ft\u0131rmalar\u0131 ile ilgili \u0130talya\u02bcdaki \u00e7al\u0131\u015fmalar\u0131, Osmanl\u0131 dini mimarisinde i\u00e7 mekan te\u015fekk\u00fcl\u00fc-R\u00f6ne\u00adsansla bir m\u00fckayese ad\u0131yla olu\u015fturdu\u011fu Do\u00e7entlik tezi, Bizans Ara\u015ft\u0131rmalar\u0131 Merkezinde, Anadolu\u02bcda H\u0131ristiyan Yap\u0131lar\u0131 Katalo\u011fu<\/em> \u00fczerinde \u00e7al\u0131\u015fmalar\u0131 ve Anadolu T\u00fcrk mimarisinin kaynak sorunlar\u0131 adl\u0131 \u00e7al\u0131\u015fmalar\u0131, mimarl\u0131k sanat\u0131\u00adn\u0131n tarihi g\u00f6vdesinde, bir \u00e7ok farkl\u0131 dallar\u0131nda kapsaml\u0131 ara\u015ft\u0131rmalar\u0131n\u0131 olu\u015f\u00adturur.<\/p>\n

Kuban\u2019\u0131n \u00e7al\u0131\u015fmalar\u0131nda, soy bilimselli\u011fi, kentsel doku, mimarl\u0131k sorunsal\u0131 gibi toplumlar\u0131 ilgilendiren b\u00fct\u00fcn alanlar\u0131 i\u00e7ine alan sanat-mimarl\u0131k tarih\u00e7ili\u011fi, yurt i\u00e7i ve yurt d\u0131\u015f\u0131nda ald\u0131\u011f\u0131 g\u00f6revler, \u00fcstlendi\u011fi bilimsel \u00e7al\u0131\u015fmalarda sa\u011fla\u00add\u0131\u00ad\u011f\u0131 evrensel sanat tarihi birikimi, toplumsal sorunlar\u0131n tart\u0131\u015f\u0131lmas\u0131 ve \u00e7\u00f6z\u00fc\u00adme ula\u015ft\u0131r\u0131lmas\u0131 konusunda da \u00f6nc\u00fcl\u00fck ediyor. Bu \u00e7al\u0131\u015fmalar\u0131n, Bat\u0131\u2019ya G\u00f6\u00ad\u00e7\u00fcn Sanatsal Evreleri, <\/strong>T\u00fcrk ve \u0130slam Sanat\u0131 \u00dczerine Denemeler, <\/strong>Sinan\u2019\u0131n Sanat\u0131 ve Selimiye, Osmanl\u0131 Mimarisi, Sel\u00e7uklu \u00c7a\u011f\u0131\u2019nda Anadolu Sanat\u0131, T\u00fcrk Ha\u00adyat\u2019l\u0131 Evi, Divri\u011fi Ulu Camii<\/em> soy bilimsel incelemeleri, klasikle\u015fen eserleri\u00adnin en ba\u015f\u0131nda gelmektedir.<\/p>\n

Tan\u0131t\u0131m\u0131 yap\u0131lacak olan \u00e7al\u0131\u015fma Toplumsalla\u015fm\u0131\u015f Mimarl\u0131k Tarih\u00e7isi Do\u011fan Kuban\u02bc\u0131n ba\u015fyap\u0131tlardan olan Bat\u0131ya G\u00f6\u00e7\u00fcn Sanatsal Evreleri<\/em> adl\u0131 \u00e7al\u0131\u015fmas\u0131\u00add\u0131r. Bu \u00e7al\u0131\u015fmay\u0131 tercih etmemizin nedeni, T\u00fcrk sanat\u0131n\u0131n, zaman\u0131n karanl\u0131k t\u00fcnellerinde, Asya bozk\u0131rlar\u0131ndan al\u0131p, Anadolu\u02bcya, Balkanlara, bat\u0131ya g\u00f6\u00e7le birlikte d\u00f6n\u00fc\u015f\u00fcm\u00fcn tarihi ser\u00fcveni, neden ve s\u00fcre\u00e7lerini anlatan b\u00fct\u00fcn bir \u00e7al\u0131\u015fma olmas\u0131d\u0131r. Geni\u015f bir co\u011frafyay\u0131 ve zaman\u0131 kapsayan bu s\u00fcre\u00e7, co\u011frafi b\u00f6lgeler, k\u00fclt\u00fcrel ve siyasal otoriteler tablosunda de\u011ferlendirilir. Bat\u0131ya G\u00f6\u00ad\u00e7\u00fcn Sanatsal Evreleri<\/em>, tarih \u00f6ncesi bozk\u0131r toplumlar\u0131n\u0131n sanatsal \u00f6rflerinden ta Orta Asya, Timurlu ve Sel\u00e7uklu sanatlar\u0131n\u0131, bat\u0131ya do\u011fru g\u00f6\u00e7\u00fcn devaml\u0131l\u0131\u00ad\u011f\u0131n\u0131 ortaya koyan kademeleri de ele almaktad\u0131r. G\u00f6\u00e7er toplumlar\u0131n, \u00c7in gibi yerle\u015fik toplumlar\u0131n \u00fcr\u00fcnleriyle; Timurlu sanat\u0131n\u0131n Hint ve \u0130ran \u00fcslubuyla; Anadolu-T\u00fcrk sanat\u0131n\u0131n Ortado\u011fu gelenekleriyle olan etkile\u015fiminin bir resmi keyfiyeti niteli\u011findedir. \u00c7al\u0131\u015fma, sanat tarzlar\u0131n\u0131n, farkl\u0131 co\u011frafyalarda, top\u00adlumsal, ekonomik ve dinsel gelenekler i\u00e7erisinde de\u011fi\u015fen bi\u00e7im ve \u00fcsluplar\u0131n adeta bir resmini \u00e7izmektedir.<\/p>\n

Kitap; i\u00e7indekilerin ard\u0131ndan, \u00d6ns\u00f6z ve T\u00fcrk Sanat\u0131 ve \u0130slam Sanat\u0131 Deyimi \u00dczerine adl\u0131 iki k\u0131s\u0131mdan olu\u015fan T\u00fcrk Sanat Tarihi Sorunsal\u0131 ba\u015fl\u0131\u011f\u0131yla Giri\u015f b\u00f6\u00adl\u00fcm\u00fcn\u00fcn hemen ard\u0131ndan, her bir b\u00f6l\u00fcm\u00fc kendi i\u00e7inde ba\u015fl\u0131klara ayr\u0131lm\u0131\u015f yedi b\u00f6l\u00fcmden olu\u015fmaktad\u0131r. Toplam 382 sayfa olan kitapta baz\u0131 \u00e7izim, fo\u00adto\u011fraf ve haritalara da yer verilmektedir.<\/p>\n

\u00d6ns\u00f6z\u2019de, T\u00fcrk g\u00f6\u00e7er tarihinin politik k\u0131sa bir anlat\u0131s\u0131 yap\u0131lm\u0131\u015ft\u0131r. K\u00fclt\u00fcr etkile\u015fimleri ile ilgili simbiyotik a\u015famalara de\u011finilmi\u015f ve kitab\u0131n, 1965\u2019te ya\u00ady\u0131n\u00adlanan, T\u00fcrk K\u00fclt\u00fcr\u00fcn\u00fcn Kaynak ve Sorunlar\u0131 ile 1993\u2019te yay\u0131nlanan Bat\u0131ya G\u00f6\u00e7\u00fcn Sanatsal Evreleri adl\u0131 \u00e7al\u0131\u015fmalar\u0131n birbiriyle \u00f6rt\u00fc\u015fen b\u00f6l\u00fcmleri olarak tan\u0131mlanm\u0131\u015ft\u0131r.<\/p>\n

Bundan sonra, T\u00fcrk Sanat Tarihi Sorunsal\u0131<\/em> ana ba\u015fl\u0131\u011f\u0131 alt\u0131ndaki giri\u015f (3-25) b\u00f6l\u00fcm\u00fcnde evvela, bir\u00e7ok k\u00fclt\u00fcr\u00fcn vatan\u0131 olan Yak\u0131ndo\u011fu\u2019nun k\u00fclt\u00fcrleri etki\u00adleyen fakt\u00f6rleri \u00fczerinde durup, ara\u015ft\u0131rmalarda yap\u0131lan k\u00fclt\u00fcr tan\u0131mlar\u0131n\u0131 ele\u015f\u00adti\u00adrerek b\u00f6lgenin ay\u0131r\u0131c\u0131 \u00f6zelliklerinden s\u00f6z edilir. T\u00fcrk tarihinin, d\u00fcnya ta\u00adrihinde oynad\u0131\u011f\u0131 rol\u00fc merkeze koyarak, \u0130slam \u00f6ncesi ve sonras\u0131 tarih diye iki b\u00f6l\u00fcmde irdelenir. T\u00fcrk g\u00f6\u00e7erlerin ortak ya\u015famlar\u0131n\u0131n politik egemenlik tarihi olarak ele al\u0131n\u0131\u015f\u0131na kar\u015f\u0131l\u0131k, k\u00fclt\u00fcrel ortak ya\u015famlarla da ili\u015fkilendirilir. Orta As\u00adya sanat\u0131n\u0131, etnik olarak g\u00f6rmek yerine, co\u011frafi bir sanat olarak tan\u0131mlaya\u00adrak, T\u00fcrk sanat\u0131 de\u011fil, T\u00fcrklerin de kat\u0131ld\u0131klar\u0131 Orta Asya k\u00fclt\u00fcr ve sanat or\u00adtam\u0131 diye bir niteleme yap\u0131l\u0131r (19).<\/p>\n

Yazar Giri\u015f\u2019in ilk alt b\u00f6l\u00fcm\u00fcn\u00fc olu\u015fturan T\u00fcrk Sanat\u0131 Deyimi \u00dczerine<\/em> (25) b\u00f6l\u00fcm\u00fcnde, T\u00fcrk sanat\u0131n\u0131, T\u00fcrk ve T\u00fcrkiye sanat\u0131 diye ikiye ay\u0131r\u0131r. T\u00fcrklerin T\u00fcrkiye\u2019ye gelmesinden \u00f6nceki ve sonraki sanat\u0131n\u0131n ilgilerini detayl\u0131 bir \u015fe\u00adkilde inceleyerek, T\u00fcrk k\u00fclt\u00fcr sanat\u0131n\u0131n \u0130slam\u2019dan daha eski oldu\u011fu yarg\u0131s\u0131na ula\u015f\u0131r. Yazara g\u00f6re T\u00fcrk sanat\u0131 sadece politik egemenlikten ibaret de\u011fildir.<\/p>\n

\u0130slam Sanat\u0131 Deyimi \u00dczerine<\/em> (33) adl\u0131 giri\u015fin ikinci b\u00f6l\u00fcm\u00fcnde ise, \u0130slam k\u00fclt\u00fcr\u00fcn\u00fc bir b\u00fct\u00fcn olarak g\u00f6ren yazar, zaman zaman izledi\u011fi evrelerin s\u00fc\u00adrek\u00adlili\u011fini iddia edenleri ele\u015ftirir. \u0130slam sanat\u0131n\u0131n uzun s\u00fcre bir bilim olarak kal\u00add\u0131\u011f\u0131n\u0131 ve \u0130slam k\u00fclt\u00fcr\u00fcndeki de\u011ferlendirmelerin, H\u0131ristiyanlar\u0131n g\u00f6z\u00fcyle ol\u00adma\u00ads\u0131ndan kaynaklanan \u00f6nyarg\u0131lar\u0131n mevcudiyetinden de s\u00f6z eder. Dolay\u0131s\u0131y\u00adla \u0130slam k\u00fclt\u00fcr sanat\u0131na olan bu \u00f6nyarg\u0131lar\u0131n sonucu olarak evrensel bir \u0130slam sanat\u0131 fikrinin ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 savunur (35). Yazar burada \u0130slam sanat\u0131n\u0131n her yerde ayn\u0131 \u00f6zellik g\u00f6steren bir yaratma s\u00fcreci de\u011fil, b\u00f6lgesel sentezler i\u00e7inde olu\u015fmu\u015f oldu\u011fu tezini \u00e7e\u015fitli \u00f6rneklerle destekler. Yazar \u0130slam k\u00fclt\u00fcr\u00fcnde sos\u00adyal d\u00fczene ba\u011fl\u0131 en de\u011fi\u015fmeyen ve en evrensel yap\u0131 olarak da camiyi g\u00f6s\u00adtermektedir.<\/p>\n

Yazar Birinci b\u00f6l\u00fcmde Bozk\u0131rlar\u0131n Genel Arkeolojisi<\/em> (43) ba\u015fl\u0131\u011f\u0131yla, \u0130\u00e7 As\u00adya\u2019n\u0131n g\u00f6\u00e7er k\u00fclt\u00fcr\u00fcn\u00fc ve Orta Asya\u2019n\u0131n yerle\u015fik k\u00fclt\u00fcr\u00fcn\u00fc yan yana olu\u015f\u00adlar\u0131ndan dolay\u0131 bir b\u00fct\u00fcnl\u00fck i\u00e7inde g\u00f6rerek, Orta Asya k\u00fclt\u00fcr\u00fcn\u00fcn kimlere ait oldu\u011fu noktas\u0131ndaki tart\u0131\u015fmalara yer verir. Bu k\u0131sa tan\u0131mdan sonra, G\u00f6\u00e7er k\u00fcl\u00adt\u00fcr ve sanat\u0131n\u0131n tarihsel konumunda (48) g\u00f6\u00e7 hareketlerini, izleyerek, Altay b\u00f6lgesi \u00e7oban g\u00f6\u00e7erlerinin maddi k\u00fclt\u00fcrlerinde (51), T\u00fcrklerin yapt\u0131klar\u0131 ve d\u00e2hil olduklar\u0131 maddi k\u00fclt\u00fcrlerin izini s\u00fcrm\u00fc\u015f, devam eden hayvan \u00fcslubu sorununda (63) ise, sanattaki hayvan resim ve s\u00fcslemelerini tahkik etmi\u015f ard\u0131ndan, g\u00f6\u00e7er sanat\u0131nda \u00e7ad\u0131r (70) ba\u015fl\u0131\u011f\u0131yla, \u00e7ad\u0131r\u0131n yap\u0131 ve malzeme t\u00fcr\u00fc \u00fczerinde durmu\u015ftur. Bozk\u0131rda yaz\u0131l\u0131 tarihin ilk T\u00fcrk toplumlar\u0131 (75) ba\u015fl\u0131\u011f\u0131nda Yazar T\u00fcrk ad\u0131n\u0131 aray\u0131p, politik ve co\u011frafi konumlar\u0131n\u0131 belirleyerek, T\u00fcrk g\u00f6\u00ad\u00e7erleri-yerle\u015fik toplum ili\u015fkilerinde (77), ili\u015fkilerin yap\u0131s\u0131 irdelemi\u015ftir. \u00c7in k\u00fclt\u00fcr \u00e7evresinde T\u00fcrkler (78) k\u0131sm\u0131nda, \u00c7in\u02bcin T\u00fcrkiye tarihi a\u00e7\u0131s\u0131ndan \u00f6ne\u00admi\u00adni ortaya koyup, T\u00fcrk tarihinin do\u011fudaki tek kayna\u011f\u0131 oldu\u011fu ifade edil\u00admektedir. Do\u011fu G\u00f6kt\u00fcrklerin maddi k\u00fclt\u00fcr Ortam\u0131n\u0131 (83) ele al\u0131rken, ya\u015fad\u0131k\u00adlar\u0131 k\u00fclt\u00fcr alanlar\u0131 ve b\u0131rakt\u0131klar\u0131 yap\u0131tlar \u00fczerinde durulmu\u015f, \u00f6rnekler veril\u00admi\u015ftir. Uygur k\u00fclt\u00fcr alan\u0131nda (85) yine Hint ve \u00c7in k\u00fclt\u00fcr\u00fc aras\u0131nda kalan \u00e7evre incelenmi\u015ftir. Orta Asya ve T\u00fcrkler sorunsal\u0131 (89) ba\u015fl\u0131\u011f\u0131 ise, Bat\u0131 G\u00f6k\u00adt\u00fcrkler (92) ve T\u00fcrk g\u00f6\u00e7erler s\u0131n\u0131r\u0131nda Orta Asya (96) adl\u0131 iki alt ba\u015fl\u0131kta incelenmi\u015ftir. Birinci alt ba\u015fl\u0131kta Orta Asya\u2019n\u0131n T\u00fcrkle\u015fme s\u00fcreci, G\u00f6kt\u00fcrk \u0130mparatorlu\u011funun kurulmas\u0131ndan ba\u015flayarak yay\u0131ld\u0131\u011f\u0131 alanlar incelenir. \u0130kinci k\u0131s\u0131mda, T\u00fcrk sanat tarihinde birincil yer olan Orta Asya ve \u0130ran\u2019\u0131n niteli\u011finin \u00f6nemi detayland\u0131r\u0131l\u0131r. Bundan sonra \u0130slam\u2019dan \u00f6nce yerle\u015fik Orta Asya\u2019n\u0131n maddi k\u00fclt\u00fcr verileri ve sanat\u0131 (99) b\u00f6l\u00fcm\u00fcnde, Tarihi olgular (99), Kentler ve mimarl\u0131k (104), \u0130slam \u00f6ncesi Orta Asya resmi (109) ve Di\u011fer sanatlar (111) ba\u015fl\u0131klar\u0131 alt\u0131nda, Bozk\u0131r\u0131n tarihinde T\u00fcrklerin an\u0131ld\u0131klar\u0131 isimler, ait olduklar\u0131 tarihsel konum, sahip olduklar\u0131 maddi k\u00fclt\u00fcr, kat\u0131ld\u0131klar\u0131 k\u00fclt\u00fcr ortam\u0131nda resim sanat\u0131n\u0131n teknik ve bi\u00e7imsel \u00f6zellikleri gibi mevzular ele al\u0131nmaktad\u0131r.<\/p>\n

\u0130slam K\u00fclt\u00fcr D\u00fcnyas\u0131na Ge\u00e7i\u015f<\/em> ana ba\u015fl\u0131\u011f\u0131nda ele al\u0131nan ikinci b\u00f6l\u00fcmde (115) Orta Asya S\u0131n\u0131rlar\u0131nda T\u00fcrk g\u00f6\u00e7erleri ve M\u00fcsl\u00fcmanlar (117) alt ba\u015fl\u0131\u00ad\u011f\u0131nda, T\u00fcrklerin yerle\u015fik k\u00fclt\u00fcrlerle etkile\u015fimi ve \u0130slami toplumlar ve onlarla olan ili\u015fkileri irdelenir. Arap kaynaklar\u0131nda T\u00fcrklere dair s\u00f6ylem ve yarg\u0131lara yer verilip, d\u00fcnya tarihi yaz\u0131n\u0131nda yeterli analiz yap\u0131lmad\u0131\u011f\u0131ndan yak\u0131n\u0131l\u0131r.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcmde (127) Orta\u00e7a\u011f \u0130slam-T\u00fcrk K\u00fclt\u00fcr\u00fc Sorunsal\u0131<\/em> ana ba\u015fl\u0131\u011f\u0131 alt\u0131nda, Orta Asya ve \u0130ran-\u0130slam k\u00fclt\u00fcr ortam\u0131nda T\u00fcrkler (129) ve klasik \u0130slam d\u00fcnyas\u0131n\u0131n do\u011fusundaki politik k\u00fclt\u00fcr alanlar\u0131 incelenir.<\/p>\n

D\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcmde Erken T\u00fcrk-\u0130slam \u00c7a\u011f\u0131n\u0131n Sanat \u00fcr\u00fcnleri<\/em> (141), \u0130s\u00adlam\u2019dan sonra Orta Asya mimarl\u0131\u011f\u0131n\u0131n Erken D\u00f6nemlerine (143) ait yap\u0131 tek\u00adni\u011fi incelenir. Anadolu mimarisinin temeli kabul edilen ve T\u00fcrklerin hen\u00fcz be\u00adnimsemedikleri Orta Asya \u00f6\u011feleri \u00f6rnekler \u00fczerinde durularak de\u011ferlen\u00addirilir.<\/p>\n

D\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcm\u00fcn, Erken T\u00fcrk-\u0130slam \u00c7a\u011f\u0131n\u0131n Mimarl\u0131\u011f\u0131<\/em> (151) ba\u015fl\u0131\u011f\u0131 al\u00adt\u0131nda ise mimari (151) yap\u0131n\u0131n politik g\u00fc\u00e7 \u00f6\u011fesi oldu\u011fu vurgulan\u0131r. T\u00fcrk egemen s\u0131n\u0131f\u0131n kulland\u0131\u011f\u0131, yerle\u015fik toplum ve yerel yap\u0131 malzemeleri \u00fczerinde durulur. Burada Ana bi\u00e7imler ve yap\u0131 teknikleri (152) Orta Asya gelenekleri \u00fcze\u00adrine oturtulur. Ba\u015fl\u0131ca yap\u0131 programlar\u0131 olan camilerin (156), sosyal ve k\u00fcl\u00adt\u00fcrel stat\u00fcs\u00fc ve tipolojik \u00f6zellikleri \u00fczerinde durulur. \u0130\u015flevsel geli\u015fmi\u015flik ku\u00adrumlar\u0131 olarak \u0130lk medreseler (163) ise yap\u0131 t\u00fcr\u00fc olarak Sel\u00e7uklu d\u00f6nemi yap\u0131 t\u00fcr\u00fcn\u00fcn yarat\u0131c\u0131s\u0131 olarak de\u011ferlendirilir. Yine burada \u0130lk tarikat yap\u0131lar\u0131 (168) olarak sufili\u011fi tan\u0131mlayan ribat ve zaviyelerin k\u00f6kenleri ve yay\u0131ld\u0131\u011f\u0131 alan\u00adlar incelenmi\u015ftir. Mezar yap\u0131lar\u0131 ise (169) \u0130slam gelene\u011finde olmayan, b\u00fcy\u00fck oranda Budist, \u0130ran, Bozk\u0131r g\u00f6\u00e7er etkisinde geli\u015fen politik egemenli\u011fin yap\u0131\u00adlar\u0131 olarak g\u00f6r\u00fclmektedir. Saraylar (173)\u2019da ise kurgu \u00f6\u011felerinden yola \u00e7\u0131ka\u00adrak, t\u00fcm egemenlik alanlar\u0131n\u0131n simetrik endi\u015feleri vurgusu \u00f6n plana \u00e7\u0131kar\u0131l\u0131r. Buna kar\u015f\u0131l\u0131k, Kervansaraylarla (178), ribatlar\u0131n politik \u00f6\u011feleri ili\u015fkilendirilir. Mimari bezemeler (180), teknik olarak ele al\u0131n\u0131p t\u00fcm co\u011frafyalardaki benzer\u00adlikleri ortaya konulur.<\/p>\n

Anadolu’yu Etkileyen Do\u011fulu Mimari Prototipler<\/em> (182) b\u00f6l\u00fcm\u00fcnde, s\u00fcrekli yer ve s\u0131n\u0131r de\u011fi\u015ftiren T\u00fcrk politik egemenli\u011finin s\u0131n\u0131r tan\u0131mayan bir sanat al\u0131\u015f veri\u015f ortam\u0131 oldu\u011fu vurgulan\u0131r. Yazar burada prototipini se\u00e7ti\u011fi b\u00f6lge ve k\u00fcl\u00adt\u00fcrleri inceleyip, bi\u00e7im ve i\u015flev olarak Anadolu\u2019ya kadar uzanan s\u00fcre\u00e7te \u0130s\u00adlam\u2019da olmayan bir T\u00fcrk d\u00f6nemi yarat\u0131ld\u0131\u011f\u0131 tezini ortaya koyar. Yazar taraf\u0131n\u00addan s\u0131ras\u0131yla El Sanatlar\u0131 ve Bezeme Sanatlar\u0131 Dokuma (185), Pi\u015fmi\u015f toprak (187), Maden sanat\u0131 (193), A\u011fa\u00e7 oyma (198), Bezeme konular\u0131 (198), Resim sanat\u0131 (199) s\u0131ras\u0131yla i\u015f\u00e7ilik, teknik ve malzemeler gibi konular da \u00e7e\u015fitli y\u00f6n\u00adlerden incelenir.<\/p>\n

Anadolu \u00d6ncesi \u0130slam-\u0130ran-T\u00fcrk Sanat\u0131 \u00dczerine Genel Yarg\u0131<\/em> (200) isimli ba\u015fl\u0131kta ise Arap, \u0130ran-\u0130slam sentezinde T\u00fcrk \u00f6\u011fesinin \u0130slam evrenselli\u011finde sanat sentezi niteli\u011finin yeniden de\u011ferlendirmesi gereklili\u011fi savunulur. Cami, medrese, zaviye, kervansaray, saray, mezar, t\u00fcrbe gibi yap\u0131lar bi\u00e7imsel olarak ele al\u0131n\u0131p i\u015flevsellik simgesi i\u00e7erisinde irdelenir. Bu yap\u0131lar\u0131n \u0130slam gelene\u00ad\u011finde olup olmad\u0131\u011f\u0131 ve nereden geldi\u011fi tart\u0131\u015f\u0131l\u0131r.<\/p>\n

Be\u015finci b\u00f6l\u00fcm 12. ve 13. Y\u00fczy\u0131llarda Anadolu Kenti<\/em> (205) ana ba\u015fl\u0131\u011f\u0131nda genel bilgiler verilerek ve konu alt\u0131 alt ba\u015fl\u0131kta s\u0131n\u0131fland\u0131r\u0131larak, Anadolu\u2019da top\u00adlumsal yap\u0131lar\u0131n izd\u00fc\u015f\u00fcm\u00fc verilmi\u015ftir. Anadolu\u2019daki yerle\u015fim nitelikleri hakk\u0131nda bilgi yetersizli\u011fiyle birlikte D ve T\u00fcrk kent yap\u0131lar\u0131n\u0131n mimari \u00f6zel\u00adliklerine ili\u015fkin bilgiler de sunulmu\u015ftur. Politik egemenli\u011fin \u015fekillendirdi\u011fi mi\u00admari ve konut mimarisini etkileyen kent yap\u0131s\u0131 da ayr\u0131ca tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r.<\/p>\n

\u0130ran\u2019dan Anadolu’ya Mimari Bilgi \u0130letisi Bezeme<\/em> (211) ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131yan bu b\u00f6l\u00fcmde yazar \u00e7e\u015fitli \u00f6rneklerle \u0130slam \u00f6ncesi ve sonras\u0131 sanat\u0131n kar\u015f\u0131la\u015f\u00adt\u0131rmas\u0131n\u0131 yapar. Ve yine yap\u0131lar \u00fczerinden Orta Asya g\u00f6\u00e7er sanat\u0131 ile ba\u011f kurar. Siyasi g\u00fc\u00e7lerin ve y\u00f6netimsel s\u00fcre\u00e7lerin, d\u00f6nemsel analizleri yap\u0131larak sanat\u0131n ait oldu\u011fu k\u00fclt\u00fcre tazyiki de nazara verilmektedir. Anadolu-T\u00fcrk mi\u00admar\u00adl\u0131\u011f\u0131n\u0131n zamanlar\u0131n\u0131 izah eden \u00f6\u011feler \u00fczerinde yap\u0131 ve bi\u00e7imsel kar\u015f\u0131la\u015f\u00adt\u0131rmalar yap\u0131larak, eserler \u00fczerindeki k\u00fclt\u00fcr egemenlikleri ve sentezleri de ayr\u0131ca ortaya konulur.<\/p>\n

Bezeme (219) ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcmde ise \u0130ran\u2019da yap\u0131 geli\u015fiminde g\u00f6r\u00fclen tu\u011fla bezemenin Anadolu T\u00fcrk mimarisindeki ta\u015f bezeme ve \u00e7ini ile bir mukayesesi yap\u0131l\u0131r. \u0130ran ve Anadolu aras\u0131ndaki ilgi ve \u015fema de\u011ferlendirilerek \u0130ran beze\u00admesinin Anadolu sanat\u0131na etki dereceleri tart\u0131\u015f\u0131l\u0131r.<\/p>\n

Suriye\u2019de \u0130slam mimarl\u0131\u011f\u0131 ve Erken Anadolu-T\u00fcrk mimarl\u0131\u011f\u0131 ile ilgisi (221) adl\u0131 ba\u015fl\u0131k alt\u0131nda 12. ve 13. y\u00fczy\u0131llar aras\u0131nda Anadolu-T\u00fcrk mimarl\u0131\u011f\u0131n\u0131 etki\u00adleyen g\u00fcney b\u00f6lgelerin politik k\u00fclt\u00fcr\u00fcn\u00fcn sanata etkisi \u00fczerinde durulmu\u015f ve yap\u0131 karakterleri incelenmi\u015ftir. \u00d6te yandan Suriye\u2019deki \u0130slam mimarl\u0131\u011f\u0131n\u0131 tan\u0131man\u0131n, Anadolu-T\u00fcrk mimarl\u0131\u011f\u0131n\u0131n anla\u015f\u0131labilmesi i\u00e7in bir kaynak oldu\u011fu vurgulanm\u0131\u015ft\u0131r.<\/p>\n

Anadolu’da ve \u00c7evresinde H\u0131ristiyan Mimarl\u0131k Gelenekleri<\/em> (226) ba\u015fl\u0131kl\u0131 bu b\u00f6l\u00fcmde Yak\u0131ndo\u011fu k\u00fclt\u00fcr\u00fcn\u00fc Roma ve Hellenistik d\u00f6nemlerden alarak k\u0131sa bir k\u00fclt\u00fcr ser\u00fcveni kaydetmek suretiyle, mimari yap\u0131lar \u00fczerindeki etkinlikleri incelenmi\u015ftir. An\u0131tsal yap\u0131lar\u0131n bi\u00e7im, \u00fcslup ve planlar\u0131 ilham kaynaklar\u0131 ile birlikte \u00f6rneklerle tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r.<\/p>\n

G\u00fcney Kafkasya\u2019da Ermeni ve G\u00fcrc\u00fc Mimari Gelenekleri<\/em> (229) isimli bu b\u00f6l\u00fcmde ise politik varl\u0131\u011fa sahip k\u00fclt\u00fcrler \u00fczerinden T\u00fcrkiye\u2019ye etkileri irde\u00adlen\u00admi\u015ftir. Ayr\u0131ca mimari \u00fcsluplar ve bi\u00e7imlerde dinsel varl\u0131\u011f\u0131n etkisi g\u00f6zlem\u00adlenmektedir. Orta Anadolu\u2019da Bizans d\u00f6nemi mimarl\u0131\u011f\u0131n\u0131n genel \u00f6zellikleri \u00fczerine (237) isimli ba\u015fl\u0131kta da mimari tasavvurun devaml\u0131l\u0131\u011f\u0131 ve sentezi bi\u00e7im ve planlar\u0131 yap\u0131lar \u00fczerinde kar\u015f\u0131la\u015ft\u0131rmal\u0131 bir \u015fekilde \u00f6rneklerle a\u00e7\u0131kla\u00adn\u0131r. Sonunda T\u00fcrk mimarisi ile bir k\u0131yaslama yap\u0131l\u0131r.<\/p>\n

Alt\u0131nc\u0131 b\u00f6l\u00fcm olan Toplum<\/em> (245)\u2019un ilk alt ba\u015fl\u0131\u011f\u0131 olan 11-13. y\u00fczy\u0131llarda Anadolu T\u00fcrk Tarihi\u02bcnde (247) T\u00fcrklerin siyasal tarihi genel hatlar\u0131yla tahlil edilerek \u0130slam dininin \u201cb\u00fct\u00fcnleyici k\u00fclt\u00fcr\u00fc<\/em>\u201dn\u00fcn etkileri ve sonu\u00e7lar\u0131 incelen\u00admi\u015ftir. Anadolu T\u00fcrk sanat\u0131n\u0131n d\u00f6nemlerinin k\u00fclt\u00fcrel a\u015famalar\u0131 ve birbirin\u00adden farkl\u0131 k\u00fclt\u00fcrlerin birle\u015fmesinin do\u011furdu\u011fu b\u00fcy\u00fck k\u00fclt\u00fcr ve sanat hareket\u00adleri ve sosyo-ekonomik yap\u0131n\u0131n k\u0131sa bir analizi yap\u0131lm\u0131\u015ft\u0131r. Sinkretizmin do\u011fas\u0131 (256) alt ba\u015fl\u0131\u011f\u0131n\u0131n i\u00e7eri\u011finde ise, Anadolu\u2019da mimarl\u0131k tarihinin k\u0131sa bir \u00e7\u00f6\u00adz\u00fcm\u00adlemesiyle, H\u0131ristiyanl\u0131k ve \u0130slam\u2019\u0131n sentezi \u00e7er\u00e7evesinde geli\u015fimi ince\u00adlenmi\u015ftir. Mimari ba\u011flamda Sel\u00e7uklu Sanat\u0131 deyimi \u00fczerine (260) alt ba\u015fl\u0131\u00ad\u011f\u0131nda ise, Sel\u00e7uklu sanat\u0131n\u0131n mimar\u0131 yap\u0131lar\u0131 12. ve 13. y\u00fczy\u0131llar \u00f6zelinde ele al\u0131n\u0131p politik egemenli\u011fin mimari tan\u0131m\u0131 yap\u0131lmaktad\u0131r. Konunun devam\u0131nda da Anadolu T\u00fcrk sanat\u0131n\u0131n \u00fcsl\u00fc s\u00fcre\u00e7leri, politik, etnik ve mistik t\u00fcm bile\u015fen\u00adleri tahlil edilmi\u015ftir. Sanat\u00e7\u0131lar (264) alt ba\u015fl\u0131\u011f\u0131nda 12. ve 13. y\u00fczy\u0131l\u0131n Anado\u00adlu\u2019sunda sanat\u00e7\u0131 hareketleri irdelenip, sanat\u00e7\u0131lar\u0131n ait olduklar\u0131 gruplar, k\u00fcl\u00adt\u00fcrel kimlikleri ve yap\u0131lar\u0131 irdelenmi\u015ftir.<\/p>\n

Yedinci b\u00f6l\u00fcm ise kitab\u0131n son b\u00f6l\u00fcm\u00fcd\u00fcr ve \u0130lk Sel\u00e7uklu \u00c7a\u011f\u0131 Anadolu Mimarisi \u00fczerine Notlar<\/em> (12. Y\u00fczy\u0131l Sonuna Kadar) (271) ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131makta\u00add\u0131r. B\u00f6l\u00fcm\u00fcn ilk alt ba\u015fl\u0131\u011f\u0131 olan Camiler (275)\u2019de T\u00fcrk k\u00fclt\u00fcr-sanat\u0131ndaki k\u00fcl\u00adt\u00fcrler aras\u0131 etkenlerin ve b\u00f6lgenin tarihi \u00f6devinin \u00f6zellikleri \u00fczerinde duru\u00adlup, genel de\u011ferlendirmeler yap\u0131lmaktad\u0131r. Ayr\u0131ca T\u00fcrklerin in\u015fa etti\u011fi ca\u00admilerin tipolojik farkl\u0131l\u0131klar\u0131n\u0131n siyasi ve belki k\u00fclt\u00fcrel bir b\u00fct\u00fcn \u015feklini almas\u0131\u00adn\u0131n nedenleri ve b\u00f6lgesel \u00f6zellikler \u00fczerinde durulmu\u015ftur. Diyarbak\u0131r Ulu Camisi ve mimari tarihimizdeki yeri (278) isimli alt ba\u015fl\u0131kta ise \u0130slam d\u00f6nem yap\u0131lar\u0131ndan biri olan Diyarbak\u0131r Ulu Camisi yap\u0131 \u00f6zellikleri a\u00e7\u0131s\u0131ndan incelen\u00admi\u015ftir. \u00d6te yandan ta\u015f\u0131d\u0131\u011f\u0131 farkl\u0131 d\u00f6nem \u00f6zelliklerinden dolay\u0131 de\u011fi\u015fik yap\u0131 kal\u0131nt\u0131lar\u0131 olarak betimlenmi\u015ftir. \u00dczerinde yap\u0131lan birbirinden ba\u011f\u0131ms\u0131z \u00e7al\u0131\u015f\u00admalar da irdelenmi\u015f ve tipolojik plan de\u011fi\u015fikliklerinin vurgusu \u00e7izimlerle de desteklenmi\u015ftir. Bu alt ba\u015fl\u0131\u011f\u0131n hemen akabinde 12. y\u00fczy\u0131lda camiler (282) alt ba\u015fl\u0131\u011f\u0131 yer al\u0131r. Burada Anadolu\u2019nun T\u00fcrklere vatan olmaya ba\u015flamas\u0131yla bir\u00adlikte ibadet gereksinimleri i\u00e7in kullan\u0131lan yap\u0131lar\u0131n in\u015fa tarihleri ve yap\u0131sal \u00f6zellikleri g\u00f6zden ge\u00e7irilmi\u015ftir. Sivas Ulu Camisi (283) alt ba\u015fl\u0131\u011f\u0131nda da Dani\u015f\u00admentliler taraf\u0131ndan 11. y\u00fczy\u0131l sonlar\u0131nda in\u015fa edildi\u011fi kabul edilen Sivas Ulu Camisi\u2019nin, yap\u0131sal ve sosyolojik \u00f6zellikleri incelenmi\u015f ve sonunda da g\u00fcn\u00fc\u00adm\u00fczdeki plan \u00e7izimi yap\u0131lm\u0131\u015ft\u0131r. Niksar Ulu Camisi (28) ba\u015fl\u0131\u011f\u0131n\u0131n alt\u0131nda ise Anadolu\u2019ya has yorumu i\u00e7erisinde, caminin i\u00e7inde bar\u0131nd\u0131rd\u0131\u011f\u0131 Arap camii \u00f6zel\u00adli\u011fi bi\u00e7im ve plan boyutunda ele al\u0131nm\u0131\u015f yine bir \u00e7izim \u00f6rne\u011fi ile destek\u00adlen\u00admi\u015ftir.<\/p>\n

Konya Alaeddin Camisi ve Kayseri Ulu Camisi (286) alt ba\u015fl\u0131\u011f\u0131nda de erken d\u00f6nem cami tipolojisinin bar\u0131nd\u0131rd\u0131\u011f\u0131 \u00f6\u011felerin etkin karakterlerindeki s\u00fcre\u00e7\u00adle\u00adrinden k\u0131saca s\u00f6z edilmi\u015ftir. Kayseri Ulu Camisi (292) alt ba\u015fl\u0131\u011f\u0131nda 12. y\u00fcz\u00ady\u0131l\u0131n birinci yar\u0131s\u0131nda in\u015fa edildi\u011fi d\u00fc\u015f\u00fcn\u00fclen caminin kitabesi \u00fczerindeki siya\u00adsal tarihin bi\u00e7im \u00fczerindeki etkileri tahlil edilmi\u015ftir. Silvan Ulu Camisi (295) ba\u015fl\u0131\u011f\u0131nda ise 12. y\u00fczy\u0131l ortalar\u0131nda yap\u0131lan caminin, farkl\u0131 yap\u0131 geleneklerinin a\u00e7\u0131k bir sentezi oldu\u011fu vurgulanmaktad\u0131r. Bundan sonra s\u0131ras\u0131yla, Harput Ulu Camisi (299), Konya \u0130plik\u00e7i Camisi’nin tarihi hakk\u0131nda (300), Erzurum Ulu Ca\u00admisi (301), Divri\u011fi Kale Camisi (302), 12. y\u00fczy\u0131la ba\u011flanabilecek di\u011fer Anadolu camileri (304), Van Ulu Camisi (304) ve Kayseri K\u00fcl\u00fck Camisi (308) gibi an\u0131tsal eserler ayr\u0131 ayr\u0131 ele al\u0131narak, kimler taraf\u0131ndan yapt\u0131r\u0131ld\u0131klar\u0131, ta\u015f\u0131d\u0131klar\u0131 tarih\u00adsel \u00f6nem ve kapsad\u0131klar\u0131 karakteristik \u00f6\u011feler ve planlar\u0131 tetkik edilmektedir.<\/p>\n

Medreseler<\/em> (311) b\u00f6l\u00fcm\u00fcnde Melik \u015eah d\u00f6neminden ba\u015flayarak 11. y\u00fczy\u0131l\u0131n son \u00fc\u00e7te birinden sonra T\u00fcrklerin egemenlik alanlar\u0131nda yap\u0131lan med\u00adreseler incelenirken yazar taraf\u0131ndan medreselerin, d\u00f6nemin siyasal g\u00fcc\u00fc ve sanat alan\u0131ndaki yarat\u0131c\u0131l\u0131\u011f\u0131n\u0131n \u00f6nemli bir g\u00f6stergesi olduklar\u0131 vur\u00adgulan\u0131r. 12. y\u00fczy\u0131l medreseleri (313) alt ba\u015fl\u0131\u011f\u0131nda, 12. y\u00fczy\u0131ldaki medresele\u00adrin ak\u0131beti hakk\u0131nda k\u0131sa bir bilgi verilmi\u015ftir. Bundan sonra, Diyarbak\u0131r Mesu\u00addiye Medresesi (314), Diyarbak\u0131r-Zinciriye Medresesi (315), Tokat ve Nik\u00adsar’da Ya\u011f\u0131basan medreseleri (316) teker teker incelenir plan \u00f6zellikleri ve ta\u015f\u0131d\u0131\u011f\u0131 \u00f6\u011feler hakk\u0131nda k\u0131sa birer tarih\u00e7e sunulur.<\/p>\n

T\u00fcrbeler (319) alt ba\u015fl\u0131\u011f\u0131nda ise, 12. y\u00fczy\u0131l Anadolu-T\u00fcrk t\u00fcrbeleri (321), Amasya\u2019da Halifet Gazi T\u00fcrbesi (321), Niksar\u2019da d\u00f6rt t\u00fcrbe (322), Divri\u011fi\u2019de Sitte Melik T\u00fcrbesi (323), Erzurum Saltuko\u011flu T\u00fcrbesi (325), Tercan\u2019da Mama Hatun T\u00fcrbesi (326) ve Konya\u2019da II. K\u0131l\u0131\u00e7 Arslan T\u00fcrbesi (327), teker teker bi\u00e7im, gelenek ve ait oldu\u011fu tarihler hakk\u0131nda k\u0131sa bilgiler verilerek de\u011ferlendirilmi\u015ftir.<\/p>\n

Sivil yap\u0131lar<\/em> (331) ba\u015fl\u0131\u011f\u0131yla, kervan saray, saray ve \u00f6zel mek\u00e2nlar\u0131n varl\u0131\u011f\u0131 ve tarihsel de\u011feri ve geli\u015fme s\u00fcre\u00e7leri hakk\u0131nda bilgiler verilmi\u015f, hemen arka\u00ads\u0131nda, Kervansaraylar \u00fczerine (332) adl\u0131 b\u00f6l\u00fcmde, Anadolu Orta\u00e7a\u011f kervan\u00adsa\u00adraylar\u0131n\u0131n 12. y\u00fczy\u0131ldan ba\u015flayarak varl\u0131klar\u0131 hakk\u0131nda plan \u00f6rnekleri verile\u00adrek k\u0131saca sahip olduklar\u0131 gelenekler ortaya konulmu\u015ftur. En sona ise incele\u00adnen mimari eserlerin co\u011frafi da\u011f\u0131l\u0131m\u0131n\u0131 g\u00f6steren bir harita eklenmi\u015ftir. Notlar (337) k\u0131sm\u0131nda kitab\u0131n dipnot bilgileri yer almaktad\u0131r. \u00c7al\u0131\u015fma, Kaynak\u00e7a (357) ve Dizin (369) k\u0131s\u0131mlar\u0131yla son bulmaktad\u0131r.<\/p>\n

Geni\u015f bir bilgi birikimi \u00fcr\u00fcn\u00fc olarak ortaya konulan bu \u00e7al\u0131\u015fma b\u00fcy\u00fck bir co\u011frafyay\u0131 i\u00e7ine alan \u00e7ok zengin bir \u00e7al\u0131\u015fmad\u0131r. \u00c7al\u0131\u015fmada bozk\u0131rlardan ba\u015fla\u00adyarak Anadolu\u2019ya kadar izi s\u00fcr\u00fclen, g\u00f6\u00e7er T\u00fcrk toplumunun sanat\u0131, d\u00e2hil ol\u00addu\u011fu t\u00fcm \u00fclkelerde politik, sosyolojik, ekonomik ve k\u00fclt\u00fcrel alanlar b\u00fcy\u00fck bir ti\u00adtizlikle incelenmi\u015ftir. K\u00fclt\u00fcr ta\u015f\u0131y\u0131c\u0131l\u0131\u011f\u0131n\u0131 g\u00f6\u00e7er grubunun tarihi bir i\u015flevi olarak de\u011ferlendiren yazar, etkile\u015fim i\u00e7inde bulundu\u011fu k\u00fclt\u00fcrleri, arkeolojik bulgular\u0131 ve mimari yap\u0131lar\u0131 okuyarak T\u00fcrk Sanat\u0131 sorunsal\u0131 tezini ortaya ko\u00adyar. Yazar bu \u00e7al\u0131\u015fmas\u0131nda Sanat tarih\u00e7ili\u011finin geleneksel bak\u0131\u015f a\u00e7\u0131s\u0131na yer yer kar\u015f\u0131 g\u00f6r\u00fc\u015fler ortaya koyarak farkl\u0131 bir bak\u0131\u015f a\u00e7\u0131s\u0131 olu\u015fturmu\u015f, kararla\u015ft\u0131rma\u00adlar\u0131 belli bir k\u00fclt\u00fcr\u00fcn s\u0131n\u0131rlar\u0131yla de\u011fil tarafs\u0131z bir yakla\u015f\u0131mla ara\u015ft\u0131rmaya \u00f6zen g\u00f6stermi\u015ftir. Yazar\u0131n bilgi birikim yo\u011funlu\u011fundan olsa gerek dili olduk\u00e7a kar\u00adma\u015f\u0131kt\u0131r. Ancak bu kaynak niteli\u011findeki eseri de\u011ferlendirildi\u011finde bu alanda detayl\u0131 bir bilgiye de sahip olunaca\u011f\u0131 ku\u015fkusuzdur. Geni\u015f bir kaynak \u00e7al\u0131\u015fmas\u0131 olan \u00e7al\u0131\u015fma, sadece sanat tarih\u00e7ili\u011fi alan\u0131na ilgi duyanlar i\u00e7in de\u011fil, Orta\u00e7a\u011f ta\u00adrih\u00e7ilerinin de istifade edece\u011fi bir ba\u015fucu eseri muhteviyat\u0131na sahip inter-disipliner \u00f6nemli bir kaynak eserdir.<\/p>\n

Akdeniz \u00dcniversitesi
\nAkdeniz Uygarl\u0131klar\u0131 Ara\u015ft\u0131rma Enstit\u00fcs\u00fc
\n<\/strong><\/p>\n

<\/div>\n

Meryem BEYAZAL (MA)\u00a0<\/strong>
\nmeryembeyazal@yahoo.com<\/strong><\/p>\n

<\/div>

<\/div>\n

<\/div>\n

<\/a>