{"id":3356,"date":"2017-12-29T17:17:28","date_gmt":"2017-12-29T15:17:28","guid":{"rendered":"http:\/\/www.libridergi.org\/2015-en\/trans-2015-en\/lbr-0127"},"modified":"2018-01-17T09:27:00","modified_gmt":"2018-01-17T07:27:00","slug":"lbr-0127","status":"publish","type":"post","link":"http:\/\/www.libridergi.org\/en\/2017-en\/lbr-0127","title":{"rendered":"Sel\u00e7uklu Saraylar\u0131 ve K\u00f6\u015fkleri"},"content":{"rendered":"
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Sel\u00e7uklu Saraylar\u0131 ve K\u00f6\u015fkleri<\/h2>\n

R\u00fc\u00e7han ARIK<\/h3>\n
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ISBN: 9786051363424<\/strong>
\nPage:<\/strong>\u00a0316
\nPublication Date:<\/strong>\u00a02017
\nLocation:<\/strong>\u00a0Ankara
\nPublisher: <\/strong>Ankara \u00dcniversitesi Yay\u0131nevi<\/p><\/div>

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<\/div>\nLIBRI<\/em>\u00a0III (2017) 535-545<\/strong>
\nDOI<\/strong>:\u00a010.20480\/lbr.2017045
\nReceived Date<\/strong>: 08.12.2017 | Acceptance Date<\/strong>: 26.12.2017
\nOnline Publication Date<\/strong>: 29.12.2017
\nCopyright \u00a9 Journal of Book Notices, Reviews and Translations, 2017<\/p>\n
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\"references\"\u00a0<\/strong>\u00a0View PDF<\/strong><\/a><\/p>\n

\"info\"\u00a0\u00a0<\/a>Citation<\/a>
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R.\u00a0ARIK, Sel\u00e7uklu Saraylar\u0131 ve K\u00f6\u015fkleri<\/em>. Ankara 2017. Ankara \u00dcniversitesi Yay\u0131nevi, 316 sayfa (279 resim ve 54 \u00e7izim ile birlikte). ISBN: 9786051363424<\/strong><\/p>\n

\u00ad<\/strong><\/p>\n

T\u00fcrk Sanat\u0131 alan\u0131nda \u00f6nemli \u00e7al\u0131\u015fmalar\u0131 bulunan Prof. Dr. R\u00fc\u00e7han ARIK, uzun y\u0131llar ba\u015fkanl\u0131k yapt\u0131\u011f\u0131 Kubad Abad Saray\u0131 kaz\u0131lar\u0131 ile an\u0131lmaktad\u0131r. Yazar\u0131n Kubad Abad kaz\u0131lar\u0131nda \u00e7\u0131kan zengin \u00e7ini ve seramik eserler hakk\u0131nda detayl\u0131 \u00e7al\u0131\u015fmalar\u0131 bulunmaktad\u0131r. T\u00fcrk Arkeolojisi a\u00e7\u0131s\u0131ndan olduk\u00e7a uzun kabul edilebilecek bir s\u00fcre bu kaz\u0131lar\u0131 y\u00fcr\u00fcten Ar\u0131k, \u00e7al\u0131\u015fmas\u0131nda T\u00fcrk Saraylar\u0131 hakk\u0131nda \u00f6nemli bilgiler sunmaktad\u0131r. Sel\u00e7uklu Saraylar\u0131 ve K\u00f6\u015fkleri <\/em>adl\u0131 bu \u00e7a\u00adl\u0131\u015fma T\u00fcrk Sanat\u0131\u2019nda saray mimarisini ba\u015flang\u0131c\u0131ndan Sel\u00e7uklular\u0131n sonu\u00adna kadar derli toplu \u015fekilde ele al\u0131nmas\u0131 bak\u0131m\u0131ndan olduk\u00e7a \u00f6nemlidir.<\/p>\n

Kitap, Sunu\u015f <\/em>(V-VI), \u00d6ns\u00f6z <\/em>(VII-VIII), \u0130\u00e7indekiler<\/em> (IX-X) ve Bibliyografya <\/em>(301-316) k\u0131s\u0131mlar\u0131 d\u0131\u015f\u0131nda dokuz b\u00f6l\u00fcmden olu\u015fmaktad\u0131r. Ankara \u00dcniversi\u00adtesi rekt\u00f6r\u00fc taraf\u0131ndan yaz\u0131lan Sunu\u015f<\/em> (V-VI) k\u0131sm\u0131ndan ard\u0131ndan yazar\u0131n kaleme ald\u0131\u011f\u0131 \u00d6ns\u00f6z<\/em> (VII-VIII) gelmektedir. Kitab\u0131n b\u00f6l\u00fcmleri s\u0131ras\u0131yla; Giri\u015f<\/em> (XI-XV), T\u00fcrklerde Saray Mimarisinin K\u00f6klerine Genel Bak\u0131\u015f<\/em> (1-12), Karahanl\u0131 Saraylar\u0131<\/em> (13-24), Gazneli Saraylar\u0131<\/em> (25-54), Sel\u00e7uklu Saraylar\u0131 ve K\u00f6\u015fkleri<\/em> (55-107), Anadolu Sel\u00e7uklu Saraylar\u0131 <\/em>(109-265), Anadolu Sel\u00e7uklu K\u00f6\u015fkleri<\/em> (267-280), Taht-\u0131 S\u00fcleyman Saray\u0131<\/em> (281-292) ve Son S\u00f6z<\/em> (293-299) olarak isimlen\u00addirilmi\u015ftir. Her b\u00f6l\u00fcm\u00fcn kendi i\u00e7inde ba\u015fl\u0131klar\u0131 mevcuttur. Kitap 226 renkli, 53 siyah-beyaz olmak \u00fczere 279 resim ve 54 \u00e7izimle birlikte ku\u015fe k\u00e2\u011f\u0131da bas\u0131l\u00adm\u0131\u015ft\u0131r.<\/p>\n

Giri\u015f<\/em> (XI-XV) b\u00f6l\u00fcm\u00fcnde konunun tan\u0131m\u0131, s\u0131n\u0131rlar\u0131, \u00f6nemi, ara\u015ft\u0131rma y\u00f6n\u00adtemi, yaralan\u0131lan kaynaklar ve \u00e7al\u0131\u015fmada kar\u015f\u0131la\u015f\u0131lan zorluklar\u0131 hakk\u0131nda bilgi\u00adler verilmektedir. \u00d6zellikle Sel\u00e7uklular\u0131n tarihi ve k\u00fclt\u00fcr\u00fc ve bu k\u00fclt\u00fcr\u00fc mey\u00addana getiren etkenler \u00fczerinde durulmaktad\u0131r. Sel\u00e7uklu \u00f6ncesi ara\u015ft\u0131rmalar hak\u00adk\u0131nda da bilgi veren yazar, \u00f6zellikle T\u00fcrkistan olarak adland\u0131r\u0131lan co\u011frafya\u00adn\u0131n II. D\u00fcnya Sava\u015f\u0131\u2019ndan sonra Stalin\u2019in bask\u0131s\u0131yla Orta Asya olarak isimlen\u00addirildi\u011fini vurgulamaktad\u0131r. Bu b\u00f6lgedeki \u00e7al\u0131\u015fmalar\u0131 ba\u015fta Rus ara\u015ft\u0131rmac\u0131lar olmak \u00fczere Avrupal\u0131 bilim insanlar\u0131n\u0131n y\u00fcr\u00fctt\u00fc\u011f\u00fc de ifade edilmektedir. Ya\u00adzar, T\u00fcrkistan konusunda ara\u015ft\u0131rma yapan T\u00fcrk bilim insanlar\u0131ndan Dr. Emel Esin ve Prof. Dr. Bahaeddin \u00d6gel\u2019i katk\u0131lar\u0131ndan dolay\u0131 \u015f\u00fckranla anmaktad\u0131r. Ar\u0131k, Sel\u00e7uklu medeniyetini meydana getiren etkenlerin ba\u015f\u0131nda T\u00fcrklerin \u0130slamiyet \u00f6ncesi k\u00fclt\u00fcr ve sanat\u0131n\u0131n etkili oldu\u011funu vurgulamaktad\u0131r (XIII).<\/p>\n

T\u00fcrkiye\u2019deki Sel\u00e7uklu eserleri hakk\u0131nda yap\u0131lan \u00e7al\u0131\u015fmalarda da baz\u0131 zor\u00adluklar oldu\u011fundan yak\u0131nan yazar, d\u00fczensiz yap\u0131la\u015fma y\u00fcz\u00fcnden \u00f6zellikle son 60-70 y\u0131lda \u00e7ok say\u0131da yap\u0131n\u0131n yok oldu\u011funu vurgulamaktad\u0131r (XIV). \u00d6zellikle Sel\u00e7uklu saray yap\u0131lar\u0131n\u0131n neredeyse tamam\u0131n\u0131n y\u0131k\u0131lm\u0131\u015f olmas\u0131 arkeolojik ve\u00adrilerin \u00f6nemini art\u0131rm\u0131\u015ft\u0131r. Yazar\u0131n bizzat kendisinin 37 y\u0131ld\u0131r kesintisiz y\u00fcr\u00fct\u00adt\u00fc\u011f\u00fc Kubad Abad Saray\u0131 kaz\u0131s\u0131 bu konuda \u00f6nemli bir a\u00e7\u0131\u011f\u0131 kapatm\u0131\u015ft\u0131r (XV). Sel\u00ad\u00e7uklular\u0131n an\u0131tsal saray yap\u0131lar\u0131n\u0131n d\u0131\u015f\u0131nda do\u011fal g\u00fczelliklere sahip co\u011fraf\u00adyalarda \u00e7ok say\u0131da k\u00f6\u015fk yapt\u0131\u011f\u0131 ve bu k\u00f6\u015fklerden baz\u0131lar\u0131n\u0131n da \u00e7al\u0131\u015fmaya d\u00e2\u00adhil edildi\u011fi ifade edilmektedir. Son olarak Sel\u00e7uklu saraylar\u0131n\u0131n k\u00f6keninden ba\u015f\u00adlayarak ard\u0131llar\u0131na kadar bir b\u00fct\u00fcnl\u00fck i\u00e7inde ele al\u0131nd\u0131\u011f\u0131 dile getirilmekte\u00addir (XV).<\/p>\n

T\u00fcrklerde Saray Mimarisinin K\u00f6klerine Genel Bak\u0131\u015f<\/em> (1-12) adl\u0131 ikinci b\u00f6\u00adl\u00fcmde, tarihi kaynaklar ve arkeolojik verilerden hareketle T\u00fcrklerin \u0130slam di\u00adnini kabul etmeden \u00f6nce de saraylar yapt\u0131klar\u0131 belirtilmektedir.\u00a0 Kaynaklarda anlat\u0131lanlar ve arkeolojik veriler K\u00f6k T\u00fcrklerin olduk\u00e7a zengin madeni eserle\u00adre sahip olduklar\u0131n\u0131 g\u00f6steriyor. Ve bu da b\u00f6ylesine zengin sanat eserlerine sa\u00adhip olan bir milletin basit g\u00f6\u00e7ebeler olamayaca\u011f\u0131n\u0131 kan\u0131tl\u0131yor (1-2). \u0130\u00e7 As\u00adya\u2019da bilinen en eski saray yap\u0131lar\u0131n\u0131n T\u00fcrgi\u015fler zaman\u0131nda yap\u0131lmaya ba\u015flan\u00add\u0131\u011f\u0131 bilinmektedir (4). Genellikle d\u00f6rt eyvanl\u0131 merkezi planl\u0131 olan Eski T\u00fcrk saray ve k\u00f6\u015fklerinin konutlar\u0131n b\u00fcy\u00fct\u00fclm\u00fc\u015f hali oldu\u011fu kabul edilmektedir (4). Uy\u00adgurlar\u0131n ya\u015fad\u0131\u011f\u0131 b\u00f6lgelerde \u00e7ok say\u0131da saray, ev ve tap\u0131nak yapt\u0131\u011f\u0131 kay\u00adnaklardan ve kal\u0131nt\u0131lardan bilinmektedir. \u00d6zellikle Karabalgasun ve Ho\u00e7o \u015fehirlerindeki saraylar\u0131n kal\u0131nt\u0131lar\u0131 g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015ft\u0131r. Ho\u00e7o\u2019nun merkezin\u00addeki Khan-Tura diye an\u0131lan saray, etraf\u0131 surlarla \u00e7evrili y\u00fcksek bir set \u00fczerine in\u015fa edilmi\u015ftir (6-7). Uygur d\u00f6nemi duvar resimlerinde g\u00f6r\u00fclen asilzadeler saray ya\u015fant\u0131s\u0131na dair bilgiler sunmaktad\u0131r (8-10).<\/p>\n

\u0130slamiyet\u2019ten \u00f6nceki \u0130ran ve T\u00fcrkistan \u015fehirleri \u201cD\u00eez\u201d denen b\u00fcy\u00fck bir kale ile \u201c\u015eehristan\u201d denen kentten olu\u015fmaktayd\u0131 (10). T\u00fcrk \u0130slam D\u00f6nemi \u015fehirleri ise: kale, \u015fehristan ve rabad olmak \u00fczere \u00fc\u00e7 b\u00f6l\u00fcmden olu\u015fmaktad\u0131r. Kale: H\u00fck\u00fcmdarl\u0131k ve y\u00f6netim i\u00e7in saray, beylere ait binalar, darphane ve hapisha\u00adneyi i\u00e7erir. \u015eehristan\u2019da: Kapal\u0131 \u00e7ar\u015f\u0131, d\u00fckk\u00e2nlar camiler, hamamlar, saray mensuplar\u0131, memurlar ve t\u00fcccarlar\u0131n konutlar\u0131, medrese ve kervansaraylar bu\u00adlunmaktad\u0131r. Rabad: Pazar yeri, zanaatk\u00e2rlar, bah\u00e7\u0131vanlar ve tarla sahip\u00adlerinin oldu\u011fu b\u00f6l\u00fcm (11).<\/p>\n

Karahanl\u0131 Saraylar\u0131<\/em> (13-24) ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcm \u0130slam\u2019\u0131n geli\u015finden Mo\u011fol \u00f6n\u00adcesi d\u00f6nem \u0130\u00e7 Asya ve \u0130ran tarihi hakk\u0131nda bilgi ile ba\u015fl\u0131yor (13). Karahanl\u0131\u00adlar 840 y\u0131l\u0131nda Satuk Bu\u011fra Han taraf\u0131ndan \u0130slamiyet\u2019in resm\u00ee din il\u00e2n edilme\u00adsiyle, ilk M\u00fcsl\u00fcman T\u00fcrk Devleti olmu\u015ftur (13). Kaynaklardan ve arkeolojik verilerden hareketle Karahanl\u0131 D\u00f6nemi\u2019ne tarihlendirilen Samarkand Afras\u00adyab Saray\u0131 ile Tirmiz Saray\u0131 anlat\u0131lmaktad\u0131r. 1989 y\u0131l\u0131nda Frans\u0131z-\u00d6zbek arkeo\u00adloji ekibi Semerkand-Afrasyab\u2019da kalenin do\u011fu y\u00fcz\u00fcndeki terasta yapt\u0131klar\u0131 kaz\u0131da VIII. y\u00fczy\u0131la tarihlendirdikleri Dar-el \u0130mara denen idari yap\u0131y\u0131 bul\u00admu\u015flard\u0131r (15). 2000 y\u0131l\u0131nda da bu yap\u0131n\u0131n yak\u0131n\u0131ndaki VIII. y\u00fczy\u0131la ait saray\u0131n kaz\u0131s\u0131na ba\u015flanm\u0131\u015ft\u0131r. \u00c7ok say\u0131da boyal\u0131 al\u00e7\u0131 par\u00e7an\u0131n bulundu\u011fu bu kaz\u0131da \u00e7\u0131kar\u0131lan saray\u0131n, kare planl\u0131 bir avluya a\u00e7\u0131lan d\u00f6rt eyvanl\u0131 plan \u015femas\u0131na sahip oldu\u011fu anla\u015f\u0131lm\u0131\u015ft\u0131r (15-16). Bu alanda yap\u0131lan kaz\u0131larda alt\u0131 adet de k\u00f6\u015fk tes\u00adpit edilmi\u015ftir.<\/p>\n

Surlarla \u00e7evrili olan Tirmiz Saray\u0131, \u015fehrin d\u0131\u015f\u0131nda konumland\u0131\u011f\u0131 i\u00e7in \u201c\u015eehir D\u0131\u015f\u0131 Saray\u0131\u201d veya \u201cH\u00fck\u00fcmdar Saray\u0131\u201d olarak adland\u0131r\u0131lmaktad\u0131r (19-20). XI-XII. y\u00fczy\u0131llara tarihlendirilen Tirmiz Saray\u0131 da d\u00f6rt eyvanl\u0131 avlulu plan \u015femas\u0131na sahiptir (20). Saray\u0131n duvarlar\u0131 ve ta\u015f\u0131y\u0131c\u0131 ayaklar\u0131 pi\u015fmi\u015f toprak levhalarla kap\u00adlan\u00adm\u0131\u015ft\u0131r. Ancak bu levhalar\u0131n \u00fczeri daha sonra al\u00e7\u0131 s\u00fcslemelerle tekrar kapat\u0131lm\u0131\u015ft\u0131r. Bu al\u00e7\u0131 s\u00fcslemelerdeki hayvan \u00fcslubu dikkat \u00e7ekicidir(21-24).<\/p>\n

Gazneli Devleti\u2019nin kurulu\u015fu hakk\u0131nda k\u0131sa bir bilgi verilerek ba\u015flanan Gaz\u00adneli Saraylar\u0131<\/em> (25-54) b\u00f6l\u00fcm\u00fcnde bu d\u00f6neme tarihlendirilen saraylar incelen\u00admi\u015ftir. Bunlar aras\u0131nda en \u00f6nemli yeri ku\u015fkusuz Hilmend Nehri kenar\u0131na ko\u00adnumland\u0131r\u0131lm\u0131\u015f olan Le\u015fger-i Bazar Saraylar\u0131 olu\u015fturmaktad\u0131r (27). Bug\u00fcn Afga\u00adnistan s\u0131n\u0131rlar\u0131 i\u00e7erisinde bulunan ve 8 km. uzunlu\u011funda 2 km. eninde b\u00fcy\u00fck bir metropol olu\u015fturan Bust harabeleri i\u00e7erisinde \u00e7ok say\u0131da saray ve k\u00f6\u015fk yap\u0131s\u0131 bulunmaktad\u0131r (27). Tamam\u0131 kerpi\u00e7ten yap\u0131lm\u0131\u015f olan Le\u015fger-i Ba\u00adzar, bir \u00e7ekirdek etraf\u0131na \u00e7e\u015fitli yap\u0131 guruplar\u0131 eklenerek olu\u015fturulmu\u015ftur (30-33). Bunlardan en eskisi Merkez Saray olarak adland\u0131r\u0131lan yap\u0131d\u0131r. Nehir teras\u0131na iki katl\u0131 olarak in\u015fa edilen yap\u0131, kuzey-g\u00fcney do\u011frultuda dikd\u00f6rtgen planl\u0131d\u0131r (30). B\u00fcy\u00fck Nehir K\u00f6\u015fk\u00fc olarak adland\u0131r\u0131lan yap\u0131 da iki katl\u0131d\u0131r (32). \u00c7e\u015fitli tarihi kaynaklardan al\u0131nt\u0131lar yap\u0131larak; Merkez Saray ve B\u00fcy\u00fck Nehir K\u00f6\u015fk\u00fc\u2019n\u00fcn Gaznelilere de\u011fil Saman\u00eelere ait olabilece\u011fi ve X. y\u00fczy\u0131la tarihlene\u00adbilece\u011fi ifade edilmektedir (33).<\/p>\n

K\u00fclliyenin en b\u00fcy\u00fck yap\u0131s\u0131n\u0131 Gazneli Mahmud Saray\u0131 olu\u015fturmaktad\u0131r (34). Temeli tu\u011fla, onun \u00fczeri kerpi\u00e7le in\u015fa edilen saray, d\u00f6rt eyvanl\u0131 a\u00e7\u0131k avlulu plan \u015femas\u0131na sahiptir (36). Saray\u0131n g\u00fcney cephesinde k\u0131ble duvar\u0131na paralel iki sah\u0131nl\u0131 Le\u015fger-i Bazar Ulu Camisi yer almaktad\u0131r (36). Le\u015fger-i Bazar Sara\u00ady\u0131\u2019n\u0131n taht salonundaki muhaf\u0131zlar\u0131n tasvir edildi\u011fi freskler olduk\u00e7a \u00f6nemlidir (37-38). Burada yer alan fresklerin Uygur Duvar resimlerinin devam\u0131 oldu\u011fu g\u00f6\u00adr\u00fcl\u00admektedir (40-43). Le\u015fger-i Bazar Saray\u0131 duvar resimlerinde g\u00f6r\u00fclen ko\u00adnu\u00adlar\u0131n Sel\u00e7uklu sultanlar\u0131 taraf\u0131ndan hem \u0130ran\u2019da hem de Anadolu\u2019da devam ettirildi\u011fi belirtilmektedir (46).<\/p>\n

Gazneli Mahmud\u2019un o\u011flu 3. Mes\u2019ud\u2019un yapt\u0131rd\u0131\u011f\u0131 saray kendi ad\u0131yla an\u0131\u00adlan minarenin 300 m. do\u011fusunda bulunmaktad\u0131r (47). \u0130n\u015fas\u0131nda genellikle ker\u00adpi\u00e7 kullan\u0131lm\u0131\u015f olan 3. Mes\u2019ud Saray\u0131 a\u00e7\u0131k avlulu d\u00f6rt eyvanl\u0131 plan \u015fema\u00ads\u0131na sahiptir (47). Avlusu mermer d\u00f6\u015feli olan yap\u0131n\u0131n duvarlar\u0131nda, mermer, pi\u015fmi\u015f toprak ve al\u00e7\u0131 kaplama \u015feklinde zengin s\u00fcslemeler yer almaktad\u0131r. Bu s\u00fcslemeler i\u00e7erisinde hayvan tasvirleri \u00f6nemli bir yeri olu\u015fturmaktad\u0131r (49-50). III. Mes\u2019ud\u2019un \u00f6l\u00fcm\u00fcnden sonra o\u011flu Arslan\u015fah bu saray\u0131 terk etmi\u015f, 1221 y\u0131l\u0131nda ise Cengiz Han b\u00fct\u00fcn Gazne \u00fclkesini y\u0131km\u0131\u015ft\u0131r (54).<\/p>\n

Sel\u00e7uk Bey taraf\u0131ndan kurulan B\u00fcy\u00fck Sel\u00e7uklu \u0130mparatorlu\u011fu, Tu\u011frul Bey\u2019in 1040 y\u0131l\u0131nda Dandanakan Sava\u015f\u0131\u2019nda Gaznelileri yenmesiyle t\u00fcm Hora\u00adsan\u2019a h\u00e2kim olmu\u015flard\u0131r (55). Sel\u00e7uklu Saraylar\u0131 ve K\u00f6\u015fkleri<\/em> (55-107) ba\u015fl\u0131kl\u0131 bu b\u00f6l\u00fcmde Sel\u00e7uklu d\u00f6neminde ve sonras\u0131nda ortaya \u00e7\u0131kan Atabe\u011flikler d\u00f6\u00adneminde in\u015fa edilen saray ve k\u00f6\u015fkler incelenmi\u015ftir. \u00d6ncelikle Merv ve Rey gibi Sel\u00e7uklular\u0131n \u00f6nemli \u015fehirleri hakk\u0131nda bilgi verilmi\u015ftir. Tarihi kaynaklar Merv\u2019in XII. y\u00fczy\u0131lda 200.000 civar\u0131nda bir n\u00fcfusa, 10 k\u00fct\u00fcphaneye ve 12.000 cilt kitaba sahip oldu\u011funu kan\u0131tlamaktad\u0131r (56). B\u00f6ylesine geli\u015fmi\u015f bir \u015fehirde k\u00fct\u00fcphanelerle birlikte muhtemelen \u00e7ok say\u0131da k\u00f6\u015fk ve saray da in\u015fa edilmi\u015f olmal\u0131d\u0131r. Ancak bunlar b\u00fcy\u00fck oranda g\u00fcn\u00fcm\u00fcze ula\u015famam\u0131\u015ft\u0131r. Baz\u0131 ara\u015ft\u0131r\u00admac\u0131lar taraf\u0131ndan k\u00fct\u00fcphane olabilece\u011fi de belirtilen B\u00fcy\u00fck K\u0131z Kalesi<\/em> adl\u0131 k\u00f6\u015fk, iki katl\u0131 dikd\u00f6rtgen planl\u0131 an\u0131tsal bir yap\u0131d\u0131r (57). Kerpi\u00e7 malzemeden in\u015fa edilmi\u015f olan k\u00f6\u015fk\u00fcn d\u0131\u015f cepheleri yar\u0131m silindirik dilimlerle hareketlen\u00addiril\u00admi\u015ftir. Benzer bir kurulu\u015fa sahip olan K\u00fc\u00e7\u00fck K\u0131z Kalesi<\/em> olarak adland\u0131r\u0131lan yap\u0131da dikd\u00f6rtgen planl\u0131 iki katl\u0131 olarak planlanm\u0131\u015ft\u0131r (59). Bu yap\u0131n\u0131n da d\u0131\u015f cepheleri yar\u0131m silindirik dilimlerle hareketlendirilmi\u015ftir. Her iki yap\u0131da i\u00e7 avlu ya da hol niteli\u011finde b\u00fcy\u00fck bir mek\u00e2n etraf\u0131nda d\u00fczenlenmi\u015f merkezi plana sahiptir (59).<\/p>\n

Merv \u015fehrindeki XI.-XII. y\u00fczy\u0131llara tarihlendirilen Saray: Sultan K\u00f6\u015fk\u00fc ve Divanhane olmak \u00fczere iki b\u00f6l\u00fcmden olu\u015fmaktad\u0131r (60). Kerpi\u00e7 ve tu\u011fla ile in\u015fa edilmi\u015f olan iki katl\u0131 yap\u0131, d\u00f6rt eyvanl\u0131 a\u00e7\u0131k avlulu plan \u015femas\u0131na sahiptir (61). Tarihi kaynaklar Mo\u011fol istilas\u0131yla y\u0131k\u0131lan Merv\u2019de g\u00fcn\u00fcm\u00fcze ula\u015fama\u00adm\u0131\u015f \u00e7ok say\u0131da saray ve k\u00f6\u015fk\u00fcn oldu\u011funu bildirmektedir (63).<\/p>\n

B\u00fcy\u00fck Sel\u00e7uklu d\u00f6neminin \u0130ran\u2019daki \u00f6nemli \u015fehirlerinden bir di\u011feri Rey\u2019dir (65). Kaynaklar Merv\u2019de oldu\u011fu gibi burada da g\u00fcn\u00fcm\u00fcze ula\u015fama\u00adm\u0131\u015f \u00e7ok say\u0131da saray ve k\u00f6\u015fk\u00fcn bulundu\u011funu yazmaktad\u0131r. Bu yap\u0131lar\u0131n g\u00fcn\u00fc\u00adm\u00fcze ula\u015famamas\u0131ndaki etkenlerin ba\u015f\u0131nda ise 19. y\u00fczy\u0131lda yap\u0131lan kimi res\u00admi ve bilimsel g\u00f6r\u00fcn\u00fc\u015fteki kaz\u0131lar g\u00f6sterilmektedir (65). S\u00f6z konusu kaz\u0131lar\u00addan \u00e7\u0131kan al\u00e7\u0131 par\u00e7alar Rey Saray\u0131\u2019n\u0131n varl\u0131\u011f\u0131n\u0131 kan\u0131tlamaktad\u0131r. Duvar s\u00fcsle\u00adme\u00adsi olarak kullan\u0131lan al\u00e7\u0131 panolardan birinde \u00f6zellikle taht sahnesinin i\u015flen\u00admi\u015f olmas\u0131 bu par\u00e7an\u0131n g\u00fcn\u00fcm\u00fcze ula\u015famam\u0131\u015f olan Rey Saray\u0131\u2019na ait oldu\u00ad\u011funu d\u00fc\u015f\u00fcnd\u00fcrmektedir (74-82). Sel\u00e7uklu d\u00f6nemi kaz\u0131lar\u0131nda Rey ba\u015fta olmak \u00fczere bir\u00e7ok \u015fehirde insan boyutunda boyal\u0131 al\u00e7\u0131 heykeller bulunmu\u015f\u00adtur. Bu durum \u0130slamiyet\u2019in fig\u00fcr tasvirine y\u00f6nelik tavr\u0131 konusunda erken ge\u00adnelleme yapman\u0131n yanl\u0131\u015fl\u0131\u011f\u0131n\u0131 ortaya koymaktad\u0131r (83-96).<\/p>\n

Sel\u00e7uklu d\u00f6nemi saray ve k\u00f6\u015fkleri anlat\u0131ld\u0131ktan sonra Irak ve Suriye\u2019deki Atabe\u011flikler taraf\u0131ndan in\u015fa edilen saraylar incelenmi\u015ftir (96-97). Bunlardan ilki Suriye\u2019nin Rakka \u015fehrinde bulunan Kasr El-Banat\u2019d\u0131r (K\u0131zlar Saray\u0131). \u0130\u00e7 Asya ve \u0130ran gelene\u011fini s\u00fcrd\u00fcren yap\u0131, bir avlu etraf\u0131nda eyvanlar\u0131n oldu\u011fu merke\u00adzi plan \u015femas\u0131na sahiptir (98). Musul\u2019da bulunan Kara Saray\u2019dan g\u00fcn\u00fcm\u00fcze iki eyvan ula\u015fm\u0131\u015ft\u0131r (99). Moloz ve d\u00fczg\u00fcn kesme ta\u015fla in\u015fa edilen yap\u0131n\u0131n duvarlar\u0131nda zengin al\u00e7\u0131 s\u00fcslemelerin oldu\u011fu kalan par\u00e7alardan anla\u015f\u0131lmakta\u00add\u0131r (100-102). Sincar Gu-Kummed Saray\/K\u00f6\u015fk\u00fc\u2019nde yap\u0131lan kaz\u0131larda iki mek\u00e2n tespit edilmi\u015ftir. Bu mek\u00e2nlardan birinde mermer ve \u00e7ini par\u00e7alar bulunmu\u015ftur (103). Yap\u0131n\u0131n ta\u015ftan oyulmu\u015f taht ni\u015fi kal\u0131n bir bord\u00fcrle \u00e7er\u00e7e\u00advelenmi\u015ftir (103-105). B\u00f6l\u00fcm B\u00fcy\u00fck Sel\u00e7uklular\u0131n Anadolu\u2019ya ak\u0131nlar\u0131 ve Anadolu Sel\u00e7uklu tarihi hakk\u0131nda k\u0131sa bir bilgi ile sonlanmaktad\u0131r (106-107).<\/p>\n

\u00c7al\u0131\u015fman\u0131n ana konusunu olu\u015fturan Anadolu Sel\u00e7uklu Saraylar\u0131<\/em> (109-265) ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcmde kaynaklardan ve arkeolojik verilerden hareketle tespit edi\u00adlen saraylar incelenmi\u015ftir. Anadolu Sel\u00e7uklu d\u00f6neminde ba\u015fkent Konya ile taht \u015fehirleri Antalya ve Alanya ba\u015fta olmak \u00fczere bir\u00e7ok kentte saray ve k\u00f6\u015fk\u00adler yapt\u0131r\u0131lm\u0131\u015ft\u0131r (109). Ancak bu yap\u0131lar\u0131n b\u00fcy\u00fck \u00e7o\u011funlu\u011fu tamamen yok olmu\u015ftur. S\u00f6z konusu saraylar\u0131n baz\u0131lar\u0131 arkeolojik \u00e7al\u0131\u015fmalar neticesinde ortaya \u00e7\u0131kar\u0131l\u0131rken; bir k\u0131sm\u0131n\u0131n ise sadece ad\u0131 bilinmektedir (109). Kaynak\u00adlarda ge\u00e7en bilgilerden hareketle isimleri ve yakla\u015f\u0131k olarak yerleri tespit edilen saraylara \u00f6rnek olarak Ak\u015fehir Saray\u0131 (109-110), Kayseri Saray\u0131 (Dev\u00adlethane) (110), Malatya Saray\u0131 (110-111), Ankara Saray\u0131 (112-113) ile Antalya Saray\u0131 ve Aspendos Sel\u00e7uklu K\u00f6\u015fk\u00fc (113-116) say\u0131labilir. Bu yap\u0131lardan baz\u0131\u00adlar\u0131 sadece kaynaklarda ge\u00e7erken, baz\u0131lar\u0131na y\u00f6nelik (Antalya Saray\u0131) bulun\u00adtular mevcuttur.<\/p>\n

Kal\u0131nt\u0131lar\u0131 g\u00fcn\u00fcm\u00fcze ula\u015fan saraylardan d\u00fczg\u00fcn kesme ta\u015f malzemeyle in\u015fa edilmi\u015f olan Ani Saray\u0131<\/em> (117-119) bodrumla birlikte \u00fc\u00e7 katl\u0131d\u0131r. A\u00e7\u0131k av\u00adlulu ve tek eyvanl\u0131 plan \u015femas\u0131na sahip olan yap\u0131n\u0131n renkli ta\u015f i\u015f\u00e7ili\u011fi ile hare\u00adketlendirilmi\u015f ta\u00e7 kap\u0131s\u0131 dikkat \u00e7ekicidir. Sarp bir kaya \u00fczerine kurulmu\u015f olan Hasankeyf \u201cB\u00fcy\u00fck Saray\u201d<\/em> (120-122) moloz ve d\u00fczg\u00fcn kesme ta\u015f malzeme ile in\u015fa edilmi\u015ftir.\u00a0 Kaz\u0131larla ortaya \u00e7\u0131kar\u0131lan Diyarbak\u0131r Saray\u0131<\/em> (120-126) d\u00f6rt ey\u00advan\u00adl\u0131 a\u00e7\u0131k avlulu plan \u015femas\u0131na sahiptir. Avlunun ortas\u0131ndaki \u00e7ini ve mozaik kaplamal\u0131 selsebil ve havuz olduk\u00e7a \u00f6nemlidir. Yazar klasik mozaik tekni\u011finin T\u00fcrk Sanat\u0131\u2019nda ilk defa bu yap\u0131da kullan\u0131lm\u0131\u015f olabilece\u011fini ifade eder (125). G\u00fcn\u00fcm\u00fczde Kayseri \u015eeker Fabrikas\u0131\u2019n\u0131n arazisi i\u00e7inde kalan Kayseri Keykuba\u00addiye Saray\u0131<\/em> (126-129) kaz\u0131larla ortaya \u00e7\u0131kar\u0131lmaya \u00e7al\u0131\u015f\u0131lan eserlerdendir. Ya\u00adp\u0131lan kaz\u0131lar sonucu \u00e7\u0131kar\u0131lan buluntulardan Keykubadiye Saray\u0131\u2019n\u0131n geni\u015f bir araziye serpi\u015ftirilen \u00e7e\u015fitli k\u00f6\u015fklerden olu\u015fan bir k\u00fclliye oldu\u011fu anla\u015f\u0131lmakta\u00add\u0131r (129).<\/p>\n

Akdeniz\u2019e uzanan bir yar\u0131m ada \u00fczerine kurulu olan Alanya \u0130\u00e7 Kale Saray\u0131<\/em> (129-142) Sel\u00e7uklu Sultanlar\u0131 i\u00e7in k\u0131\u015fl\u0131k merkez g\u00f6revi g\u00f6rm\u00fc\u015ft\u00fcr. Saray\u0131n taht salonu \u00fc\u00e7 yandan revaklarla \u00e7evrili a\u00e7\u0131k avlulu ve tek eyvanl\u0131 bir planla\u00admaya sahiptir (135). Saray\u0131n kaz\u0131lar\u0131nda \u00e7ok say\u0131da \u00e7ini ve al\u00e7\u0131 ile birlikte duvarlarda zikzaklardan olu\u015fan freskler bulunmu\u015ftur. Al\u00e2eddin Keykubad\u2019\u0131n unvan ve lakaplar\u0131n\u0131n yaz\u0131l\u0131 oldu\u011fu sekiz k\u00f6\u015feli y\u0131ld\u0131z \u00e7ini, bug\u00fcne kadar bulu\u00adnan tek \u00f6rnek olmas\u0131 bak\u0131m\u0131ndan \u00f6nemlidir (140).<\/p>\n

Anadolu Sel\u00e7uklular\u0131n ba\u015fkenti Konya\u2019n\u0131n merkezinde Al\u00e2eddin Tepesi olarak adland\u0131r\u0131lan h\u00f6y\u00fc\u011f\u00fcn kuzey ete\u011findeki yap\u0131 kal\u0131nt\u0131s\u0131 Konya 2. K\u0131l\u0131\u00e7 Ars\u00adlan (Al\u00e2eddin) K\u00f6\u015fk\u00fc<\/em> (143-160)\u2019d\u00fcr. Kitabesinden 2. K\u0131l\u0131\u00e7 Arslan taraf\u0131ndan yapt\u0131r\u0131ld\u0131\u011f\u0131 anla\u015f\u0131lan saraydan g\u00fcn\u00fcm\u00fcze k\u00fc\u00e7\u00fck bir k\u00f6\u015fk kal\u0131nt\u0131s\u0131 ula\u015fm\u0131\u015ft\u0131r. Kalan izlerden yap\u0131n\u0131n d\u00fczg\u00fcn kesme ve moloz ta\u015fla birlikte tu\u011fla ve kerpi\u00e7 malzemeyle in\u015fa edildi\u011fi anla\u015f\u0131lmaktad\u0131r (148-150). G\u00fcn\u00fcm\u00fcze sadece kal\u0131n\u00adt\u0131lar\u0131 ula\u015fan yap\u0131n\u0131n plan\u0131 anla\u015f\u0131lamamaktad\u0131r. Ancak yap\u0131lan kaz\u0131larda son de\u00adrece \u00f6nemli \u00e7ini buluntular elde edilmi\u015ftir. K\u0131l\u0131\u00e7 Arslan K\u00f6\u015fk\u00fc \u00c7inileri<\/em> (152-157) ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcmde bu \u00e7ini buluntular incelenmi\u015ftir. Bunlar aras\u0131nda olduk\u00ad\u00e7a zahmetli ve pahal\u0131 bir teknik olan minai (heft reng-yedi renk) tekni\u011finde yap\u0131lm\u0131\u015f olan \u00f6rnekler kullan\u0131m yeri belli olan \u015fimdilik ilk ve tek saray \u00e7inisi ol\u00admas\u0131 bak\u0131m\u0131nda \u00f6nemlidir (152). K\u0131l\u0131\u00e7 Arslan K\u00f6\u015fk\u00fc Al\u00e7\u0131 Bezemeleri<\/em> (157-160) adl\u0131 b\u00f6l\u00fcmde k\u00f6\u015fk\u00fcn kaz\u0131lar\u0131nda \u00e7\u0131kar\u0131lan zengin al\u00e7\u0131 par\u00e7alar tan\u0131t\u0131lm\u0131\u015f\u00adt\u0131r. G\u00fcn\u00fcm\u00fczde farkl\u0131 m\u00fczelerde sergilenen al\u00e7\u0131 \u00f6rnekleri Sel\u00e7uklular\u0131n \u00e7ini s\u00fcs\u00adleme kadar zengin al\u00e7\u0131 s\u00fcslemelere de sahip oldu\u011funu g\u00f6stermesi bak\u0131\u00adm\u0131ndan \u00f6nemlidir.<\/p>\n

Yazar\u0131n 37 y\u0131l kaz\u0131 ba\u015fkanl\u0131\u011f\u0131n\u0131 y\u00fcr\u00fctt\u00fc\u011f\u00fc Kubad Abad Saray\u0131 <\/em>(160-265) kitab\u0131n en geni\u015f b\u00f6l\u00fcm\u00fcn\u00fc olu\u015fturmaktad\u0131r. Kal\u0131nt\u0131lar\u0131 b\u00fcy\u00fck oranda g\u00fcn\u00fc\u00adm\u00fcze ula\u015fan tek Sel\u00e7uklu Saray\u0131 olmas\u0131 ve hakk\u0131nda \u00e7ok bilgi bulunmas\u0131ndan dolay\u0131 bu b\u00f6l\u00fcm \u00e7ok say\u0131da alt ba\u015fl\u0131\u011fa b\u00f6l\u00fcnm\u00fc\u015ft\u00fcr. Plan\u0131 ve mimarisi anla\u00ad\u015f\u0131labilen g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015f tek Sel\u00e7uklu Saray\u0131 olan Kubad Abad Saray\u0131 Bey\u00ad\u015fehir G\u00f6l\u00fc\u2019n\u00fcn g\u00fcneybat\u0131 k\u0131y\u0131s\u0131nda kayal\u0131k bir yar\u0131m ada \u00fczerine kuruludur (160-161). B\u00f6l\u00fcm\u00fcn giri\u015finde saray\u0131n kurulu\u015fundan g\u00fcn\u00fcm\u00fcze kadar ge\u00e7irdi\u00ad\u011fi d\u00f6nemler ve tarih\u00e7esi hakk\u0131nda bilgi verilmektedir. Sel\u00e7uklu tarih\u00e7isi \u0130bn- Bibi saray\u0131n in\u015fa maceras\u0131n\u0131 eserinde ayr\u0131nt\u0131l\u0131 olarak anlatmaktad\u0131r. \u0130bn-i Bi\u00adbi\u2019nin anlat\u0131mlar\u0131ndan saray\u0131n plan\u0131n\u0131n bizzat Al\u00e2eddin Keykubad taraf\u0131ndan \u00e7izildi\u011fi ve sultan\u0131n av emiri ve mimar\u0131 olan Sadeddin K\u00f6pek taraf\u0131ndan yapt\u0131\u00adr\u0131ld\u0131\u011f\u0131 anla\u015f\u0131lmaktad\u0131r (161-162). Saray bu y\u00f6n\u00fcyle de olduk\u00e7a \u00f6nemlidir.<\/p>\n

Kubad Abad K\u00fclliyesi<\/em> (167-182) alt ba\u015fl\u0131\u011f\u0131nda saray\u0131 meydana getiren birimler ve bunlar\u0131n birbiriyle olan ili\u015fkileri hakk\u0131nda bilgi verilmektedir. K\u00fcl\u00adliye, sur ile ku\u015fat\u0131lan birbiriyle ba\u011flant\u0131l\u0131 avlular i\u00e7ine serbest d\u00fczende yerle\u015f\u00adti\u00adrilmi\u015f k\u00f6\u015fk ve hizmet binalar\u0131ndan olu\u015fmaktad\u0131r. Kubad Abad bu y\u00f6n\u00fcyle Edirne ve Topkap\u0131 saraylar\u0131na \u00f6nc\u00fcl\u00fck etmi\u015ftir (168). K\u00fclliyeyi olu\u015fturan bu k\u00f6\u015fk ve hizmet birimleri ayr\u0131nt\u0131l\u0131 olarak tan\u0131t\u0131lm\u0131\u015ft\u0131r.<\/p>\n

K\u00fclliyenin 2. avlusunda bulunan K\u00fc\u00e7\u00fck Saray<\/em> (182-187) iki katl\u0131d\u0131r. \u00dcst kat\u0131 insan eliyle y\u0131k\u0131lm\u0131\u015f olan yap\u0131n\u0131n zemin kat\u0131, plan\u0131 anla\u015f\u0131lacak kadar sa\u011flamd\u0131r. D\u00fczg\u00fcn kesme ta\u015fla kapl\u0131 oldu\u011fu anla\u015f\u0131lan yap\u0131n\u0131n plan\u0131; ta\u00e7 kap\u0131dan sonra bir vestib\u00fcl, salon (hol) ve taht eyvan\u0131 ile bunlar\u0131n iki yan\u0131na dizilen odalardan olu\u015fmaktad\u0131r (184). K\u00fc\u00e7\u00fck Saray\u2019\u0131n g\u00fcneyinde g\u00f6l k\u0131y\u0131s\u0131nda kurulmu\u015f olan iki b\u00f6l\u00fcml\u00fc Tersane (Kay\u0131khane)<\/em> (187-189), bug\u00fcn i\u00e7in Anadolu Sel\u00e7uklu D\u00f6ne\u00adminden g\u00fcn\u00fcm\u00fcze ula\u015ft\u0131\u011f\u0131 bilinen tek g\u00f6l tersanesidir.<\/p>\n

K\u00fclliyenin en b\u00fcy\u00fck yap\u0131s\u0131 3. avlu i\u00e7erisinde bulunan B\u00fcy\u00fck Saray<\/em>\u2019d\u0131r (190-197). Yap\u0131, \u00f6n avlu, kabul salonu ve harem denilen \u00fc\u00e7 ana b\u00f6l\u00fcmden olu\u015f\u00admak\u00adtad\u0131r. Plan olarak K\u00fc\u00e7\u00fck Saray\u2019\u0131n plan\u0131n\u0131 tekrar etmektedir. Kaba yontu ve moloz ta\u015fla in\u015fa edilen yap\u0131n\u0131n duvarlar\u0131 ah\u015fap hat\u0131llarla desteklenmi\u015ftir (193). B\u00fcy\u00fck Saray\u2019\u0131n kaz\u0131s\u0131nda \u00e7ok say\u0131da \u00e7ini bulunmu\u015ftur. Ancak bunlar ayr\u0131 bir ba\u015fl\u0131k alt\u0131nda incelenece\u011fi i\u00e7in burada de\u011finilmemi\u015ftir. B\u00fcy\u00fck Sa\u00adray\u2019\u0131n duvar\u0131na biti\u015fik olarak in\u015fa edilmi\u015f olan B\u00fcy\u00fck Saray Hamam\u0131, soyun\u00admal\u0131k, \u0131l\u0131kl\u0131k ve s\u0131cakl\u0131k b\u00f6l\u00fcmlerinden olu\u015fmaktad\u0131r (195-197).<\/p>\n

Kubad Abad Saray\u0131 K\u00fclliyesi\u2019nde sultan\u0131n av partileri d\u00fczenledi\u011fi d\u00fc\u015f\u00fcn\u00fc\u00adlen ve Avlak (Paradayson)<\/em> olarak adland\u0131r\u0131lan bir alan da mevcuttur (198-199). Bey\u015fehir G\u00f6l\u00fc\u2019nde Kubad Abad Saray\u0131 k\u0131y\u0131s\u0131ndan yakla\u015f\u0131k 3,5 km kadar kuzeydo\u011fuda kayal\u0131klardan olu\u015fan bir ada \u00fczerindeki yap\u0131 K\u0131z Kalesi<\/em> (199-210) olarak adland\u0131r\u0131lmaktad\u0131r. Bizans d\u00f6nemine ait bir ge\u00e7mi\u015fe sahip olan K\u0131z Kalesi Sel\u00e7uklu sultanlar\u0131 taraf\u0131ndan yeniden d\u00fczenlemi\u015f ve dinlenmek, e\u011flenmek ve korunmak \u00fczere kullan\u0131lm\u0131\u015ft\u0131r (199-200).<\/p>\n

Kubad Abad Saray\u0131 mimari buluntular\u0131 bu \u015fekilde sonland\u0131r\u0131l\u0131rken k\u0131sa bir de\u011ferlendirme yap\u0131lm\u0131\u015ft\u0131r. Bu b\u00f6l\u00fcmde tespit edilen yar\u0131m daire planl\u0131 b\u00fcy\u00fck \u00e7ini f\u0131r\u0131n\u0131 da anlat\u0131lmaktad\u0131r. Bunun d\u0131\u015f\u0131nda k\u00fclliyenin in\u015fas\u0131 s\u0131ras\u0131nda \u00e7ini usta\u00adlar\u0131n\u0131n saray\u0131n \u00e7e\u015fitli yerlerine ge\u00e7ici f\u0131r\u0131nlar yaparak \u00e7al\u0131\u015ft\u0131klar\u0131n\u0131, daha sonra da bunlar\u0131 bozarak kapatt\u0131klar\u0131 ifade edilmektedir (210).<\/p>\n

Mimari ve \u00e7ini f\u0131r\u0131nlar\u0131yla ilgili gerekli bilgiler verildikten sonra saray\u0131n mimari dekorasyonunda en \u00f6nemli yeri tutan \u00e7inilerin anlat\u0131ld\u0131\u011f\u0131, Kubad Abad \u00c7inileri<\/em> (211-240) ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcm gelmektedir. S\u0131r alt\u0131 ve l\u00fcster teknikle\u00adriyle i\u015flenen Kubad Abad \u00e7inilerinde, insan, hayvan ve bitkisel tasvirlerin ya\u00adn\u0131nda; \u00e7ift ba\u015fl\u0131 kartal, tavu\u015f ku\u015fu, hayat a\u011fac\u0131, sfeks, ejder, siren ve grifon gibi fantastik yarat\u0131klar da i\u015flenmi\u015ftir (211). \u0130\u00e7erisinde mavi rengin kullan\u0131ld\u0131\u011f\u0131 ve \u2018s\u0131r i\u00e7i boyama\u2019 olarak adland\u0131r\u0131lan bir gurup l\u00fcster \u00e7ini olduk\u00e7a ilgin\u00e7 \u00f6r\u00adnek\u00adlerdir (222). \u0130nsan tasvirleri i\u00e7erisinde elinde kadeh ya da \u00e7i\u00e7ek tutan, ba\u011fda\u015f kurarak oturmu\u015f insan fig\u00fcrleri \u0130slamiyet \u00f6ncesi T\u00fcrk resim ve heykel sanat\u0131n\u0131n devam\u0131 niteli\u011findedir (218). \u00c7inilerin saray duvarlar\u0131na yerle\u015ftiril\u00admesinde sekiz kollu y\u0131ld\u0131z ve ha\u00e7 kompozisyonu uygulanm\u0131\u015ft\u0131r (222).<\/p>\n

Kubad Abad \u00e7inileri aras\u0131nda Depo \u00c7inileri olarak adland\u0131r\u0131lan \u00f6rnekler de ilgin\u00e7 bir gurubu olu\u015fturmaktad\u0131r. Zeminden 140 cm derinde ve 16 kat halin\u00adde istiflenmi\u015f olarak bulunan y\u0131ld\u0131z ve ha\u00e7 bi\u00e7imli \u00e7iniler saray\u0131n di\u011fer b\u00f6l\u00fcm\u00adlerinde bulunan \u00e7inilerden farkl\u0131d\u0131r (225). Depo \u00e7inileri aras\u0131nda okunun yay\u0131n\u0131 \u00e7eken avc\u0131 fig\u00fcr\u00fc ile yorgan alt\u0131nda yatan erkek ve kad\u0131n fig\u00fcr\u00fc ilk kez burada kar\u015f\u0131m\u0131za \u00e7\u0131kan \u00f6rneklerdir (227).<\/p>\n

Kubad Abad Saray\u0131 bezemeleri aras\u0131nda bir di\u011fer gurubu Al\u00e7\u0131lar<\/em> (240-245) olu\u015fturmaktad\u0131r. Anadolu Sel\u00e7uklu Sanat\u0131nda \u00e7ok fazla tercih edilmeyen ve \u00e7i\u00adniye oranla daha dayan\u0131ks\u0131z bir malzeme olan al\u00e7\u0131lar maalesef b\u00fcy\u00fck oran\u00adda yok olmu\u015ftur. Yap\u0131lan kaz\u0131lardan dolap ni\u015fi \u015feklinde k\u00fc\u00e7\u00fck par\u00e7alar tespit edilebilmi\u015ftir.<\/p>\n

Saray\u0131n g\u00fcnl\u00fck kullan\u0131m e\u015fyalar\u0131 aras\u0131nda en \u00f6nemli yeri alan seramikler yap\u0131m tekniklerine g\u00f6re: L\u00fcster Seramikler<\/em> (249), Seladon<\/em> (250), Sgraffitto Seramikler<\/em> (250-251), Slip Teknikli Seramikler<\/em> (252), Tek Renk S\u0131rl\u0131 Seramikler<\/em> (252-253) ve S\u0131rs\u0131z Seramikler<\/em> (254) olmak \u00fczere alt ba\u015fl\u0131klar halinde tan\u0131t\u0131l\u00adm\u0131\u015ft\u0131r. Anadolu Sel\u00e7uklu sultanlar\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 sarayda kullan\u0131lan bu eserler muhtemelen d\u00f6nemin en iyi i\u015f\u00e7ili\u011fine sahip seramikleriydi. Ancak di\u011fer eser\u00adlere oranla tahrip olmas\u0131 daha kolay olan seramikler b\u00fcy\u00fck oranda k\u0131r\u0131k ola\u00adrak bulunmu\u015ftur.<\/p>\n

Kaz\u0131lar s\u0131ras\u0131nda \u00e7\u0131kar\u0131lan k\u00fc\u00e7\u00fck buluntular aras\u0131nda di\u011fer bir gurubu Cam\u00adlar<\/em> (255-258) olu\u015fturmaktad\u0131r. \u00d6zellikle Suriyeli ustalar taraf\u0131ndan yap\u0131l\u00add\u0131\u00ad\u011f\u0131 kabul edilen 30,5 cm. \u00e7ap\u0131ndaki tabak dikkat \u00e7ekicidir. Kaz\u0131larda \u00e7\u0131kar\u0131lan Metaller<\/em> (258-262): temrenler, \u00e7akmak, kilit, k\u00e2se, kap\u0131 aksam\u0131na ve s\u00fcsle\u00admesine ait par\u00e7alar, binicilikle ilgili buluntular ve gemi yelken makaras\u0131 \u015fek\u00adlin\u00adde s\u0131ralanabilir. Bunlar aras\u0131nda kedi \u015feklindeki bronz kilit ilgin\u00e7 bir \u00f6rnektir.<\/p>\n

Tarih \u00f6ncesi bir yerle\u015fim yeri \u00fczerine kurulmu\u015f olan Kubad Abad kaz\u0131lar\u0131n\u00adda \u00e7\u0131kar\u0131lan buluntular Tarih \u00d6ncesi Kubad Abad<\/em> (262-263) ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcmde incelenmi\u015ftir. Bu b\u00f6l\u00fcmde K\u00fc\u00e7\u00fck Saray\u2019\u0131n avlusunda bulunan Erken Tun\u00e7 \u00c7a\u011f\u0131\u2019na ait mezardan \u00e7\u0131kan zengin buluntular dikkat \u00e7ekicidir. Son olarak; Hel\u00adlenistik ve Roma D\u00f6nemlerinde Kubad Abad ve \u00c7evresi<\/em> (264-265) ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcmde K\u00fc\u00e7\u00fck Saray\u2019\u0131n duvarlar\u0131nda tespit edilen dev\u015firme malzemeler ta\u00adn\u0131\u00adt\u0131larak b\u00f6l\u00fcm sonland\u0131r\u0131lm\u0131\u015ft\u0131r. Bu \u015fekilde Anadolu Sel\u00e7uklu Saraylar\u0131 ve Ku\u00adbad Abad Saray\u0131 ile ilgili b\u00f6l\u00fcm tamamlanm\u0131\u015ft\u0131r.<\/p>\n

Anadolu Sel\u00e7uklu sultanlar\u0131 \u00f6nemli \u015fehirlerde in\u015fa ettirdikleri saraylar\u0131n d\u0131\u015f\u0131nda, ormanlar, ba\u011flar, bah\u00e7eler i\u00e7inde; akarsu, deniz ve g\u00f6l kenarlar\u0131nda \u00e7ok say\u0131da k\u00f6\u015fk yap\u0131s\u0131 in\u015fa ettirmi\u015flerdir. Anadolu Sel\u00e7uklu K\u00f6\u015fkleri<\/em> (267-280) ba\u015fl\u0131kl\u0131 bu b\u00f6l\u00fcmde kaynaklardan ve arkeolojik verilerden hareketle tespit edilen bu k\u00f6\u015fkler incelenmi\u015ftir. Alanya \u015eik\u00e2rhane K\u00f6\u015fk\u00fc<\/em> (268), Alanya Buza\u011f\u0131 Avlusu K\u00f6\u015fk\u00fc<\/em> (268-271), Kayseri Arg\u0131nc\u0131k (C\u0131rgalan) Haydar Bey K\u00f6\u015fk\u00fc<\/em> (271-273), Kayseri H\u0131z\u0131r \u0130lyas K\u00f6\u015fk\u00fc<\/em> (273-276), Malanda K\u00f6\u015fk\u00fc<\/em> (276-279) ve Alara Kalesindeki K\u00f6\u015fk<\/em> (279-280) olmak \u00fczere bu b\u00f6l\u00fcmde alt\u0131 adet k\u00f6\u015fk tan\u0131t\u0131lm\u0131\u015f\u00adt\u0131r. Kal\u0131nt\u0131lar\u0131 g\u00fcn\u00fcm\u00fcze ula\u015fan bu k\u00f6\u015fklerin \u00e7o\u011funlu\u011fu iki katl\u0131 baz\u0131lar\u0131 ise tek katl\u0131d\u0131r. Hem e\u011flence ve av k\u00f6\u015fk\u00fc hem sultanlar\u0131n yolculuklarda konaklama ve dinlenme yeri hem de haberle\u015fme ve denetleme yeri olarak kullan\u0131lan bu yap\u0131larda: hamam, \u00e7e\u015fme, sarn\u0131\u00e7 ve kuyulara su getiren k\u00fcnkler bulunmakta\u00add\u0131r (267).<\/p>\n

Taht-\u0131 S\u00fcleyman Saray\u0131<\/em> (281-292) adl\u0131 b\u00f6l\u00fcmde \u0130ran\u2019da kurulmu\u015f olan \u0130lhanl\u0131 D\u00f6nemine tarihlendirilen bir k\u00fclliye incelenmi\u015ftir. Akameni\u015f, Sasani ve Mo\u011fol d\u00f6neminden yap\u0131lar\u0131n bulundu\u011fu k\u00fclliye G\u00fcney Azerbaycan\u2019da bir krater g\u00f6l\u00fcn k\u0131y\u0131s\u0131na yazl\u0131k saray olarak in\u015fa edilmi\u015ftir (281-283). Farkl\u0131 d\u00f6\u00adnemlere ait \u00e7ok say\u0131da yap\u0131dan meydana gelen k\u00fclliyenin sekizgen planl\u0131 k\u00f6\u015fk\u00adleri dikkat \u00e7ekicidir (285-286). Yap\u0131lan kaz\u0131larda saray\u0131n i\u00e7ten ve d\u0131\u015ftan zen\u00adgin \u00e7inilerle bezendi\u011fi tespit edilmi\u015ftir. S\u00f6z konusu \u00e7inilerin hamur ve i\u015f\u00e7i\u00adlik kalitesi ile motif ve kompozisyon bak\u0131m\u0131ndan Sel\u00e7uklu saraylar\u0131ndaki \u00f6r\u00adneklerle olan benzerli\u011fi Taht-\u0131 S\u00fcleyman Saray\u0131<\/em>\u2019n\u0131n \u2018Post-Sel\u00e7uklu\u2019 olarak ad\u00adlan\u00add\u0131r\u0131lmas\u0131na olanak sa\u011flam\u0131\u015ft\u0131r (287). Bu gerek\u00e7eyle de yap\u0131n\u0131n \u00e7al\u0131\u015fmaya d\u00e2hil edildi\u011fi ifade edilmi\u015ftir.<\/p>\n

Ayr\u0131 bir De\u011ferlendirme<\/em> ba\u015fl\u0131\u011f\u0131 olmayan kitapta, her b\u00f6l\u00fcm\u00fcn sonunda ya\u00adp\u0131lan k\u0131sa de\u011ferlendirmelerle birlikte Son S\u00f6z<\/em> (293-299) b\u00f6l\u00fcm\u00fc biraz da bu eksikli\u011fi kapatacak nitelikte haz\u0131rlanm\u0131\u015ft\u0131r. Bu b\u00f6l\u00fcmde \u00e7al\u0131\u015fmadan elde edi\u00adlen bilgilerin genel bir yorumlamas\u0131 yap\u0131lm\u0131\u015ft\u0131r. Bu ba\u011flamda kitab\u0131n esas ko\u00adnusunu olu\u015fturan Sel\u00e7uklu saray ve k\u00f6\u015fklerinin, \u00f6nc\u00fclleri ve ard\u0131llar\u0131 ile s\u0131k\u0131 bir ili\u015fki i\u00e7erisinde oldu\u011fu vurgulanm\u0131\u015ft\u0131r. Bununla birlikte T\u00fcrklerin \u0130slamiyet \u00f6ncesindeki geleneklerini devam ettirmelerinin yan\u0131nda kar\u015f\u0131la\u015ft\u0131klar\u0131 yeni k\u00fclt\u00fcrlerden de etkilendikleri ifade edilmektedir (293-296). A.U. Pope tara\u00adf\u0131ndan \u0130ran tarihi ve sanatlar\u0131 \u00fczerine haz\u0131rlanan 14 ciltlik eserde B\u00fcy\u00fck Sel\u00ad\u00e7uklu \u0130mparatorlu\u011fu d\u00f6neminde olu\u015fan stil i\u00e7in kullan\u0131lan \u2018Sel\u00e7uklu R\u00f6nesan\u00ads\u0131\u2019 deyimi olduk\u00e7a \u00f6nemlidir (294). T\u00fcrk \u0130slam d\u00f6nemi saraylar\u0131n\u0131n genellikle k\u00fclliye \u015feklinde \u00e7ok say\u0131da yap\u0131dan meydana geldi\u011fi ve bu da \u0130slam \u00f6ncesin\u00addeki \u201c\u00c7ad\u0131rl\u0131 ordug\u00e2hlar\u0131n ta\u015fa terc\u00fcmesi<\/em>\u201d olarak yorumlanmaktad\u0131r (295). Mimari a\u00e7\u0131dan genellikle d\u00f6rt eyvanl\u0131 a\u00e7\u0131k avlulu plan \u015femas\u0131n\u0131n g\u00f6r\u00fcld\u00fc\u011f\u00fc saraylar\u0131n b\u00fcy\u00fck oranda tahrip olmas\u0131 kaz\u0131 buluntular\u0131n\u0131n \u00f6nemini art\u0131rm\u0131\u015ft\u0131r (296). \u00d6zellikle saray s\u00fcslemelerinde kullan\u0131lan \u00e7iniler bu a\u00e7\u0131dan son derece \u00f6nemlidir. Sel\u00e7uklu saray \u00e7inileri aras\u0131nda Kubad Abad \u00e7inileri ayr\u0131 bir yere sahiptir. Ancak Konya II. K\u0131l\u0131\u00e7aslan K\u00f6\u015fk\u00fc\u2019nde bulunan minai \u00e7ini, \u015fimdilik kullan\u0131m yeri bilinen tek minai \u00f6rnek olarak belirmektedir (296).<\/p>\n

Son olarak yazar, gerek \u0130ran\u2019daki gerekse Anadolu\u2019daki Sel\u00e7uklu saray ve k\u00f6\u015fklerinin yo\u011fun tahribata u\u011frad\u0131\u011f\u0131n\u0131 belirterek; mevcut verilerle bir genel\u00adleme yapman\u0131n yanl\u0131\u015f olaca\u011f\u0131n\u0131 vurgulamaktad\u0131r. Ayr\u0131ca arkeolojik \u00e7al\u0131\u015fma\u00adlarda somut verilere ve bilgilere ula\u015fman\u0131n \u00f6n\u00fcndeki en b\u00fcy\u00fck engelin do\u011fal afetler kadar uzman ve ayd\u0131n say\u0131lacak insanlar\u0131n oldu\u011fu ifade edilerek \u00e7al\u0131\u015f\u00adma noktalanm\u0131\u015ft\u0131r (299).\u00a0 Bibliyografya<\/em> (301-316) b\u00f6l\u00fcm\u00fcnde \u00e7al\u0131\u015fmada ya\u00adra\u00adrlan\u0131lan kaynaklar\u0131n tamam\u0131 yazar soyadlar\u0131na g\u00f6re alfabetik olarak s\u0131ralan\u00adm\u0131\u015ft\u0131r. En sonda ise elektronik kaynaklara yer verilmi\u015ftir (316).<\/p>\n

Kitap, \u0130slamiyet \u00d6ncesi T\u00fcrk d\u00f6neminden ba\u015flayarak; Anadolu Sel\u00e7uklula\u00adr\u0131n sonuna kadar T\u00fcrklerde saray mimarisini derli toplu konu edinmesi bak\u0131\u00adm\u0131ndan olduk\u00e7a \u00f6nemlidir. Kaynaklardan tespit edilen ve \u00e7o\u011funlu\u011fu g\u00fcn\u00fc\u00adm\u00fcze ula\u015famayan Anadolu Sel\u00e7uklu ve \u00f6ncesine ait saray ve k\u00f6\u015fklerin bir b\u00fc\u00adt\u00fcn olarak bilim d\u00fcnyas\u0131na sunulmu\u015f olmas\u0131 kitab\u0131n \u00f6nemini art\u0131rmaktad\u0131r. Anadolu Sel\u00e7uklu Devleti y\u0131k\u0131ld\u0131ktan sonra, Sel\u00e7uklu sultanlar\u0131n\u0131n kulland\u0131\u011f\u0131 saraylar\u0131n b\u00fcy\u00fck \u00e7o\u011funlu\u011fu \u00f6nemini yitirmi\u015f ve zaman\u0131n y\u0131prat\u0131c\u0131 etkisine ma\u00adruz kalm\u0131\u015ft\u0131r. Buna insan eliyle yap\u0131lan m\u00fcdahaleler de eklenince s\u00f6z ko\u00adnusu yap\u0131lar i\u00e7in ka\u00e7\u0131n\u0131lmaz son h\u0131zlanm\u0131\u015ft\u0131r. Bu \u00e7al\u0131\u015fmayla en az\u0131ndan kal\u0131nt\u0131\u00adlar\u0131 bulunan yap\u0131lar\u0131n belgelenmesi sa\u011flanm\u0131\u015ft\u0131r. Ayr\u0131ca g\u00fcn\u00fcm\u00fcze ula\u015fan \u00f6rne\u011fi bulunmad\u0131\u011f\u0131 i\u00e7in bilinmeyen Sel\u00e7uklu konut mimarisi hakk\u0131nda da bilgi edinmemizi sa\u011flayan k\u00f6\u015fkler kitab\u0131n \u00f6nemini art\u0131rmaktad\u0131r. Sonu\u00e7 olarak kitap; Anadolu Sel\u00e7uklu ve \u00f6ncesi, saray mimarisi hakk\u0131nda \u00f6nemli bir eksik\u00adli\u011fi kapatacak nitelikte bir eser olarak de\u011ferlendirilebilir.<\/p>\n

Akdeniz \u00dcniversitesi
\nSanat Tarihi B\u00f6l\u00fcm\u00fc<\/strong><\/p><\/div>\n

Lokman TAY (Yrd. Do\u00e7. Dr.)\u00a0<\/strong>
\nlokmantay@gmail.com.tr<\/strong><\/p>\n

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