{"id":3569,"date":"2018-01-27T17:42:10","date_gmt":"2018-01-27T15:42:10","guid":{"rendered":"http:\/\/www.libridergi.org\/2015-en\/trans-2015-en\/lbr-0153"},"modified":"2018-02-09T10:34:44","modified_gmt":"2018-02-09T08:34:44","slug":"lbr-0153","status":"publish","type":"post","link":"http:\/\/www.libridergi.org\/en\/2018-en\/lbr-0153","title":{"rendered":"\u0130slam Mimarisinde Anlam ve Sembol"},"content":{"rendered":"
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\u0130slam Mimarisinde Anlam ve Sembol<\/h2>\n

Ahmet \u00c7AYCI<\/h3>\n
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ISBN:<\/strong> 9786052338094
\nPage:<\/strong> 267
\nPublication Date:<\/strong>\u00a02017
\nLocation:<\/strong> Konya
\nPublisher: <\/strong>Palet Yay\u0131nlar\u0131<\/p><\/div>

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LIBRI<\/em>\u00a0III (2017) 115-120<\/strong>
\nDOI<\/strong>:\u00a010.20480\/lbr.2018023
\nReceived Date<\/strong>: 21.01.2018 | Acceptance Date<\/strong>: 24.01.2018
\nOnline Publication Date<\/strong>: 25.01.2018
\nCopyright \u00a9 Journal of Book Notices, Reviews and Translations,\u00a02018<\/p>\n

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A. \u00c7AYCI, \u0130slam Mimarisinde Anlam ve Sembol<\/em>. Konya 2017. Palet Yay\u0131nlar\u0131, 267 sayfa. ISBN: 9786052338094<\/strong><\/p>\n

Eser, Necmettin Erbakan \u00dcniversitesi Sanat Tarihi B\u00f6l\u00fcm\u00fc \u00f6\u011fretim \u00fcyesi Ah\u00admet \u00c7ayc\u0131 taraf\u0131ndan kaleme al\u0131nm\u0131\u015ft\u0131r. T\u00fcrk \u0130slam sanatlar\u0131ndaki semboller \u00fczerine Anadolu Sel\u00e7uklu Sanat\u0131nda Gezegen ve Bur\u00e7 Tasvirleri, Sel\u00e7uklularda Egemenlik Sembolleri<\/em> gibi birden fazla eser kaleme alan yazar\u0131n \u0130slam Mima\u00adrisinde Anlam ve Sembol<\/em> adl\u0131 eseri; \u0130\u00e7indekiler<\/em> (6), \u00d6ns\u00f6z<\/em> (7-10) ve Giri\u015f <\/em>(11-22) k\u0131s\u0131mlar\u0131yla ba\u015flamaktad\u0131r. Ard\u0131ndan, Mimarinin Bilimsel Payda\u015flar\u0131<\/em> (23-52), Geometriden Mimariye<\/em> (53-74), \u0130slam Mimarisinden \u00d6rnekler<\/em> (75-122), Mi\u00admari ve Plan Elemanlar\u0131<\/em> (123-186), Ta\u015f\u0131y\u0131c\u0131 Elemanlar ile Ge\u00e7i\u015f ve \u00d6rt\u00fc Ele\u00admanlar\u0131<\/em> (187-218) ve S\u00fcsleme Elemanlar\u0131<\/em> (219-242) ad\u0131 alt\u0131ndaki alt\u0131 ana ba\u015f\u00adl\u0131kla devam etmektedir. Sonu\u00e7<\/em> (243-246), Kaynak\u00e7a<\/em> (247-258) ve Dizin<\/em> (259-267) k\u0131s\u0131mlar\u0131yla da sona ermektedir. Yazar, \u00d6ns\u00f6z<\/em>\u2019de (7-10) eserini uzun bir \u00e7a\u00adl\u0131\u015fman\u0131n ard\u0131ndan, Erwin Panofsky\u2019nin ikonolojik ve ikonografik y\u00f6ntemi ile kaleme ald\u0131\u011f\u0131n\u0131 ifade etmi\u015ftir. Giri\u015f<\/em> (11-22) k\u0131sm\u0131nda, Vitrivius\u2019un mimarl\u0131k e\u011fitimi alan birisinin di\u011fer disiplinlerle irtibat halinde olmas\u0131 gerekti\u011fi yakla\u015f\u0131\u00adm\u0131yla, Felsefe, Sosyoloji, Psikoloji, Tasavvuf, Edebiyat, Co\u011frafya, Tarih, Musiki ve Astronomi gibi bilimlerin mimarideki yans\u0131malar\u0131na de\u011finerek, eseri v\u00fc\u00adcuda getirirken kulland\u0131\u011f\u0131 yard\u0131mc\u0131 bilimleri sunmu\u015ftur.<\/p>\n

\u00c7ayc\u0131, Mimarinin Bilimsel Payda\u015flar\u0131<\/em> (23-52) adl\u0131 birinci b\u00f6l\u00fcmde sanat ve bilim ili\u015fkisini vurgulayarak bu payda\u015flar\u0131 on bir alt ba\u015fl\u0131k halinde a\u00e7\u0131kla\u00adm\u0131\u015ft\u0131r. Felsefe Yolunda<\/em> (23-31) adl\u0131 birinci alt ba\u015fl\u0131kta, mimarinin felsefi boyu\u00adtuna vurgu yap\u0131lmaktad\u0131r. Sosyoloji ve Psikoloji Aras\u0131nda<\/em> (32-33) adl\u0131 ikinci alt ba\u015fl\u0131kta mek\u00e2nlar\u0131n, sosyal tabakaya olan psikolojik etkileri ele al\u0131nm\u0131\u015ft\u0131r. Ta\u00adsav\u00advufun I\u015f\u0131\u011f\u0131nda<\/em> (33-39) adl\u0131 alt ba\u015fl\u0131kta tasavvufun, mutlak varl\u0131\u011fa ula\u015f\u00admada bir arac\u0131 olmas\u0131 ve bunun da mimariye olan yans\u0131malar\u0131 vurgulanm\u0131\u015ft\u0131r. Mitolojik Muhayyile<\/em> (39) ba\u015fl\u0131\u011f\u0131nda, <\/em>mitolojik unsurlar ve s\u00f6zl\u00fc k\u00fclt\u00fcrlerin mek\u00e2na olan yans\u0131malar\u0131na de\u011finilmi\u015ftir. Edebiyat\/\u015eiir D\u00fcnyas\u0131nda <\/em>(39-40) ba\u015fl\u0131\u011f\u0131nda,<\/em> \u015fiirin olu\u015fumu ile tabiattaki d\u00fczen aras\u0131ndaki ili\u015fki ele al\u0131nm\u0131\u015ft\u0131r. Co\u011frafya ve Tarihten Mek\u00e2na<\/em> (40-41) adl\u0131 alt\u0131nc\u0131 alt ba\u015fl\u0131kta, co\u011frafya ve me\u00adk\u00e2n aras\u0131ndaki benzerlikler vurgulanm\u0131\u015ft\u0131r. Bunlar\u0131n yan\u0131 s\u0131ra Astr\u00e2l Olu\u015fum\u00adlar<\/em> (42-43) ba\u015fl\u0131\u011f\u0131nda, <\/em>astronominin mimariyle olan s\u0131k\u0131 ili\u015fkisi anlat\u0131lm\u0131\u015ft\u0131r. Musikinin Ritmi<\/em> (43-45) ba\u015fl\u0131\u011f\u0131nda, <\/em>musikideki notalar\u0131n dizili\u015fi ile mimari ya\u00adp\u0131daki elemanlar\u0131n dizili\u015fi aras\u0131ndaki benzerliklere de\u011finilmi\u015ftir. Gezegenler, Bur\u00e7lar, Y\u0131ld\u0131zlar ve Di\u011fer Olu\u015fumlar<\/em> (45-48) alt ba\u015fl\u0131\u011f\u0131nda,<\/em> g\u00f6ky\u00fcz\u00fcn\u00fcn mer\u00adkez olarak kabul edilmesi ve g\u00f6ky\u00fcz\u00fcndeki unsurlar\u0131n mimariye olan etkisi an\u00adla\u00adt\u0131lmaktad\u0131r. Mek\u00e2n\u0131n Matematik\/Geometri ile \u0130fadesi<\/em> (49-51) alt ba\u015fl\u0131\u00ad\u011f\u0131n\u00adda, mimariye etki eden en \u00f6nemli pay\u0131n matematik ve geometriye ait ol\u00addu\u011fu vurgulanm\u0131\u015ft\u0131r. On birinci alt ba\u015fl\u0131k olan Di\u011fer Bilimler <\/em>(51-52) \u00f6zelinde ise, ontoloji ve metafizik gibi farkl\u0131 bilimlerin mek\u00e2na olan etkilerine de\u011finile\u00adrek b\u00f6l\u00fcm sonland\u0131r\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Geometriden Mimariye <\/em>(53-74) adl\u0131 ikinci b\u00f6l\u00fcmde, genel olarak geomet\u00adrinin bir t\u00fcr s\u0131n\u0131rlama olay\u0131 olmas\u0131n\u0131n yan\u0131 s\u0131ra tezyinat, anlam ve sembollerle olan yak\u0131n ili\u015fkisi ve Allah\u2019\u0131n m\u00fckemmelli\u011fine ancak geometriyle yakla\u015f\u0131la\u00adbilece\u011fi \u00fczerinde durulmu\u015ftur. Ard\u0131ndan geometrinin b\u00fcnyesinde bar\u0131nd\u0131r\u00add\u0131\u011f\u0131 \u015fekiller dokuz alt ba\u015fl\u0131k halinde a\u00e7\u0131klanm\u0131\u015ft\u0131r. Nokta<\/em> (59-61) adl\u0131 ilk alt ba\u015f\u00adl\u0131kta, her \u015feyin noktayla ba\u015flad\u0131\u011f\u0131na ve bunun tekrar etmesiyle de di\u011fer un\u00adsur\u00adlar\u0131n olu\u015ftu\u011fu ifade edilmektedir. Daire<\/em> (61-65) alt ba\u015fl\u0131\u011f\u0131nda, dairenin di\u011fer b\u00fct\u00fcn \u015fekilleri kaplayan bir motif olmas\u0131n\u0131n yan\u0131 s\u0131ra s\u00fcrekli bir d\u00f6ng\u00fc ve de\u011fi\u015fim sembol\u00fc oldu\u011fu belirtilmi\u015ftir. \u00dc\u00e7gen<\/em> (65-66) adl\u0131 \u00fc\u00e7\u00fcnc\u00fc alt ba\u015f\u00adl\u0131kta, mutlak varl\u0131k ile be\u015fer aras\u0131ndaki ba\u011flant\u0131 unsuru oldu\u011fu vurgulanm\u0131\u015f\u00adt\u0131r. Kare<\/em> (66-69) ba\u015fl\u0131\u011f\u0131nda karenin, yery\u00fcz\u00fc, sakinlik ve mek\u00e2n\u0131n sembol\u00fc oldu\u011fu ifade edilmi\u015ftir. K\u00fcp<\/em> (69-70) adl\u0131 be\u015finci alt ba\u015fl\u0131kta, dini mimarideki bilinen \u00f6rne\u011finin K\u00e2be oldu\u011fu belirtilmi\u015ftir. Dikd\u00f6rtgen<\/em> (70) alt ba\u015fl\u0131\u011f\u0131nda, dikd\u00f6rtgenin \u0130slam mimarisinin en \u00e7ok kullan\u0131lan formlar\u0131ndan biri oldu\u011funa de\u011finilmi\u015ftir. Alt\u0131gen<\/em> (70-71) asl\u0131 yedinci alt ba\u015fl\u0131kta, tabiattaki m\u00fckemmelli\u00ad\u011fin ifadesi oldu\u011fu anlat\u0131lm\u0131\u015ft\u0131r. Sekizgen<\/em> (71-72) alt ba\u015fl\u0131\u011f\u0131nda daireye, tamamlay\u0131c\u0131 bir form olmas\u0131ndan dolay\u0131 g\u00f6ksel bir anlam y\u00fcklenmi\u015ftir. Y\u0131ld\u0131zlar<\/em> (72-73) adl\u0131 dokuzuncu alt ba\u015fl\u0131kta, y\u0131ld\u0131z formunun be\u015f, alt\u0131, sekiz\u00adgen gibi formlar\u0131n birle\u015fmesiyle olu\u015ftu\u011fu belirtilmi\u015ftir.<\/p>\n

\u0130slam Mimarisinden \u00d6rnekler <\/em>(75-122) isimli \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm ba\u015fl\u0131\u011f\u0131nda mi\u00admarinin, asl\u0131nda insan duygu ve d\u00fc\u015f\u00fcncelerinin somut bir unsura d\u00f6k\u00fclmesi oldu\u011fu s\u00f6ylenmektedir. Daha sonra mimarinin olu\u015fumunda \u0130slam sanat\u00e7\u0131\u00adlar\u0131n\u0131n, \u00e2lemi kendilerine \u00f6rnek alarak mek\u00e2nlar ortaya koyduklar\u0131 ve bu da g\u00f6\u011f\u00fcn kubbeye, g\u00f6kku\u015fa\u011f\u0131n\u0131n da kemere benzetilmesiyle a\u00e7\u0131klam\u0131\u015ft\u0131r. \u0130s\u00adlam\u2019\u0131n kendisini sanatta, geometrik formlar\u0131n objeye yans\u0131mas\u0131yla g\u00f6sterdi\u011fi belirtildikten sonra bu durumu arabesk olarak tan\u0131mlayan oryantalistler de ele\u015ftirilmi\u015ftir. On iki alt ba\u015fl\u0131k halinde s\u0131ras\u0131yla, Musalla\/Namazg\u00e2h <\/em>(81-84) birinci alt ba\u015fl\u0131\u011f\u0131nda,<\/em> \u00f6zellikle g\u00fcne\u015f ve ay tutulmalar\u0131 s\u0131ras\u0131nda namaz\u0131n top\u00adluca k\u0131l\u0131nd\u0131\u011f\u0131, bir mihrap ve minberin bulundu\u011fu basit mek\u00e2nlar oldu\u011funa de\u011finilmi\u015ftir. K\u00fclliye<\/em> (84-86) alt ba\u015fl\u0131\u011f\u0131nda,<\/em> ilk uygulamas\u0131n\u0131n Mescid-i Nebevi olan yap\u0131lar toplulu\u011fu \u015feklinde a\u00e7\u0131klanm\u0131\u015ft\u0131r. Mescid\/Cami<\/em> (86-94) olarak adland\u0131r\u0131lan \u00fc\u00e7\u00fcnc\u00fc alt ba\u015fl\u0131kta, <\/em>bu yap\u0131lar\u0131n \u015fehir merkezi ve mahallelerinin olu\u015fumundaki rol\u00fcne de\u011finilmi\u015ftir. Saray<\/em> (95-97) alt ba\u015fl\u0131\u011f\u0131nda,<\/em> h\u00fck\u00fcmdar\u0131n resmi ve \u00f6zel hayat\u0131n\u0131 \u00e7evreleyen bir yap\u0131 oldu\u011fu ve ta\u015f\u0131nabilir \u00f6rne\u011finin de Ota\u011f-\u0131 h\u00fcmayun oldu\u011fu belirtilmi\u015ftir. Kervansaray<\/em> (98-102) alt ba\u015fl\u0131\u011f\u0131,<\/em> yol g\u00fczerg\u00e2hlar\u0131nda bulunan yeme-i\u00e7me, ibadet, askeri ve ticaret gibi ihtiya\u00e7lar\u0131 kar\u015f\u0131layan kurumlar \u015feklinde ele al\u0131nm\u0131\u015ft\u0131r. T\u00fcrbe<\/em> (103-107) adl\u0131 alt\u0131nc\u0131 alt ba\u015f\u00adl\u0131kta, <\/em>t\u00fcrbelerin \u00f6l\u00fclere sayg\u0131 olarak in\u015fa edilen bir yap\u0131 t\u00fcr\u00fc oldu\u011funa de\u00ad\u011finilmi\u015ftir. Medrese <\/em>(107-109) alt ba\u015fl\u0131\u011f\u0131nda, h\u00fck\u00fcmdar\u0131n prestiji olarak g\u00f6s\u00adterilen yap\u0131lar\u0131n e\u011fitim mek\u00e2n\u0131 oldu\u011fu ve ilk \u00f6rne\u011finin Mescid-i Nebevi b\u00fcn\u00adye\u00adsindeki suffe<\/em> mek\u00e2n\u0131 oldu\u011fundan bahsedilmi\u015ftir. Hamam<\/em> (110-111) ba\u015fl\u0131\u00ad\u011f\u0131n\u00adda, <\/em>genellikle ruhen temizli\u011fi sa\u011flayan ibadet mek\u00e2nlar\u0131n\u0131n yan\u0131na in\u015fa edi\u00adlen ve bedenen temizli\u011fi sa\u011flayan yap\u0131lar olarak anlat\u0131lm\u0131\u015ft\u0131r. Zaviye\/ Tekke\/Hangah <\/em>(111-112) adl\u0131 dokuzuncu alt ba\u015fl\u0131kta,<\/em> genellikle bir tarikat mek\u00e2n\u0131 olarak farkl\u0131 boyut ve planlarla bu isimleri ald\u0131\u011f\u0131 anlat\u0131lm\u0131\u015ft\u0131r. Bedes\u00adten<\/em> (112-113) alt ba\u015fl\u0131\u011f\u0131nda, <\/em>tek merkezli olup her yap\u0131n\u0131n bir di\u011feriyle kayna\u015ft\u0131\u011f\u0131 bir ticaret mek\u00e2n\u0131 oldu\u011fu belirtilmi\u015ftir. Kale\/\u015eehir Surlar\u0131<\/em> (114-117) alt ba\u015fl\u0131\u011f\u0131nda, kale ve surlar -\u00f6zellikle Orta\u00e7a\u011f\u2019da kullan\u0131lan savunma \u00f6zelli\u011finin yan\u0131 s\u0131ra- insan\u0131n sald\u0131rganl\u0131\u011f\u0131n\u0131n da bir sembol\u00fc olarak anlat\u0131lm\u0131\u015f\u00adt\u0131r. Mesken <\/em>(117-122) adl\u0131 on ikinci ve son alt ba\u015fl\u0131kta ise, insanlar\u0131n bir\u00e7ok ihtiyac\u0131n\u0131 kar\u015f\u0131layan mesken, makro \u00f6l\u00e7ekteki evrenin mikro \u00f6l\u00e7ekteki \u00f6rne\u011fi olarak anlat\u0131lm\u0131\u015f, ayr\u0131ca b\u00fct\u00fcn bu gibi fiziki yap\u0131lar\u0131n kelime anlamlar\u0131, kulla\u00adn\u0131\u015f ama\u00e7lar\u0131, prototipleri, plan \u015femalar\u0131 ve ba\u015fl\u0131ca yap\u0131 \u00f6rnekleri hakk\u0131nda bilgilere de yer verilmi\u015ftir.<\/p>\n

D\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcm olan Mimari ve Plan Elemanlar\u0131 <\/em>(123-186) ba\u015fl\u0131\u011f\u0131nda, yard\u0131mc\u0131 yap\u0131 elemanlar\u0131na on alt\u0131 alt ba\u015fl\u0131k halinde ayr\u0131nt\u0131lar\u0131na de\u011finmi\u015ftir. \u0130lk olarak Ta\u00e7 Kap\u0131\/Portal<\/em> (123-133) adl\u0131 alt ba\u015fl\u0131kta, <\/em>zihinde canland\u0131r\u0131lan cennet bah\u00e7esine giri\u015fi sa\u011flayan bir kap\u0131 olarak sembolle\u015fti\u011fi belirtilmi\u015ftir. Minare<\/em> (133-140) adl\u0131 ikinci alt ba\u015fl\u0131kta minarenin, \u2018elif\u2019 harfi gibi A\u015fk\u0131n \u0130lke\u2019yi temsil etti\u011fi \u00fczerinde durulmu\u015ftur. Pencereler <\/em>(140-144) ba\u015fl\u0131\u011f\u0131nda, d\u0131\u015f d\u00fcn\u00adyayla ba\u011flant\u0131 arac\u0131 ve baz\u0131 t\u00fcrlerinin (\u015fevli pencere) de mistik boyutunun oldu\u011funa de\u011finilmi\u015ftir. Mihrap <\/em>(144-152) ba\u015fl\u0131\u011f\u0131nda, Hz. Muhammed\u2019in me\u00adk\u00e2n\u0131 \u015feklinde sembolle\u015ftirilmi\u015ftir. Mihrabiye\/Ni\u015f<\/em> (152-154) alt ba\u015fl\u0131\u011f\u0131nda, tek\u00adnik boyut ve simetri d\u0131\u015f\u0131nda belki de bir y\u00f6n tayin edici oldu\u011fu anlat\u0131lm\u0131\u015f\u00adt\u0131r. Minber<\/em> (155-160) adl\u0131 alt\u0131nc\u0131 ba\u015fl\u0131k, ilahi mesaj\u0131n verildi\u011fi yer olmas\u0131yla kut\u00adsal, siyasi mesaj\u0131n verildi\u011fi yer olmas\u0131yla da d\u00fcnyevi bir mek\u00e2n \u015feklinde ifade edilmi\u015ftir. Vaaz K\u00fcrs\u00fcs\u00fc<\/em> (161) i\u00e7in, camilerdeki \u00f6rg\u00fcn e\u011fitimin icra ma\u00adkam\u0131 oldu\u011funa de\u011finilir. Eyvan<\/em> (161-165) ba\u015fl\u0131\u011f\u0131nda, mimarinin odak noktas\u0131 oldu\u011fu belirtilmi\u015ftir. Revak\/Son Cemaat Mekan\u0131 (<\/em>165-168) ba\u015fl\u0131\u011f\u0131nda, i\u00e7 ve d\u0131\u015f mekan aras\u0131nda ba\u011flant\u0131 sa\u011flayan arac\u0131 eleman oldu\u011fu ifade edilmi\u015ftir. Avlu\/\u0130\u00e7 Avlu <\/em>(168-171) ba\u015fl\u0131\u011f\u0131nda, i\u00e7 avlunun tasavvufi etkilerle geli\u015fti\u011fini, bah\u00e7e olarak kullan\u0131lan d\u0131\u015f avlunun ise cennet bah\u00e7esine benzedi\u011fi a\u00e7\u0131klan\u00adm\u0131\u015ft\u0131r. Havuz\/<\/em>\u015ead\u0131rvan (171-177) alt ba\u015fl\u0131\u011f\u0131nda, varl\u0131\u011f\u0131n\u0131 esas olarak t\u00fcm canl\u0131lar i\u00e7in zaruri olan suyu bar\u0131nd\u0131rd\u0131\u011f\u0131 belirtilmi\u015ftir. Sebil\/<\/em>Selsebil (177-181) ba\u015fl\u0131\u011f\u0131nda, ayette ge\u00e7en \u201c<\/em>(zencefil), orada bir p\u0131nard\u0131r. \u2019Selsebil\u2019 ad\u0131 veri\u00adlir <\/em>(ona)\u201d<\/em> \u015feklindeki ibareyle selsebil ve p\u0131nara duyulan \u00f6zlemin yans\u0131t\u0131ld\u0131\u011f\u0131na de\u011finilmi\u015ftir. Maksure\/Bey Mahfili\/H\u00fcnk\u00e2r Mahfili<\/em> (181-184) ba\u015fl\u0131\u011f\u0131nda, sembolikten \u00e7ok g\u00fcvenlik ama\u00e7l\u0131 oldu\u011funa de\u011finilir. Kad\u0131nlar Mahfili<\/em> (184-185) kad\u0131nlara ayr\u0131lan k\u0131s\u0131mla birlikte onlar\u0131n stat\u00fc bak\u0131m\u0131ndan da y\u00fcceltil\u00admesi vurgulanm\u0131\u015ft\u0131r. M\u00fcezzin Mahfili <\/em>(185-186) adl\u0131 on be\u015finci alt ba\u015fl\u0131kta bu eleman\u0131n, harime h\u00e2kim olma ve imamla koordinasyon halinde olmas\u0131 gerek\u00adti\u011fine de\u011finilmi\u015ftir. M\u00fckebbire\/M\u00fckbire\/<\/em>Mez\u2019ene (186) adl\u0131 son alt ba\u015fl\u0131kta ise, as\u0131l g\u00f6revinin ibadetin ayn\u0131 anda icra edilmesini sa\u011flamak gibi ifadelerle b\u00fct\u00fcn yap\u0131 elemanlar\u0131n\u0131 ayr\u0131nt\u0131 ve \u00f6rnekleriyle anlat\u0131m yoluna gitmi\u015ftir.<\/p>\n

Yazar, Ta\u015f\u0131y\u0131c\u0131 Elemanlar ile Ge\u00e7i\u015f ve \u00d6rt\u00fc Elemanlar\u0131 <\/em>(187-218) adl\u0131 be\u015fin\u00adci b\u00f6l\u00fcmde, mimarinin s\u0131n\u0131rlaman\u0131n yan\u0131 s\u0131ra \u00fcst \u00f6rt\u00fc olu\u015fturma i\u015fi oldu\u011funu da belirterek \u00fcst \u00f6rt\u00fcy\u00fc ta\u015f\u0131yan, elemanlar\u0131 dokuz alt ba\u015fl\u0131k halinde a\u00e7\u0131kla\u00adm\u0131\u015ft\u0131r. Ayak ve S\u00fctunlar <\/em>(187-191) adl\u0131 birinci alt ba\u015fl\u0131kta, \u00fcst \u00f6rt\u00fcy\u00fc ta\u015f\u0131mak\u00adtaki as\u0131l g\u00f6revi \u00fcstlendi\u011fine ve bu s\u00fctunlar\u0131n ba\u015fl\u0131k k\u0131sm\u0131ndaki s\u00fcslemelerin g\u00f6ksel bir anlam i\u00e7erdi\u011fini belirtmi\u015ftir. Payanda<\/em> (192-193) ba\u015fl\u0131\u011f\u0131nda, bunun bir denge unsuru oldu\u011fu a\u00e7\u0131klanm\u0131\u015ft\u0131r. Baldaken<\/em> (193-195) adl\u0131 \u00fc\u00e7\u00fcnc\u00fc alt ba\u015f\u00adl\u0131kta, bunun \u00e2lem \u00e7ad\u0131r\u0131 olarak yorumlanm\u0131\u015f fonksiyonel bir eleman oldu\u011fu ifade edilmi\u015ftir. Kemer\/K\u00f6pr\u00fc <\/em>(195-198) alt ba\u015fl\u0131\u011f\u0131nda, bu elemanla\u00adr\u0131n g\u00f6rev bak\u0131m\u0131ndan k\u0131smen ayn\u0131 oldu\u011fu belirtilmi\u015f ve tasavvufi boyutu ele al\u0131nm\u0131\u015ft\u0131r. Kubbe<\/em> (198-209) adl\u0131 ba\u015fl\u0131kta, merkez olgusuna sahip oldu\u011fu ve \u00f6zellikle T\u00fcrklerdeki g\u00f6k inanc\u0131n\u0131n, yani evrendeki g\u00f6k alg\u0131s\u0131n\u0131n mek\u00e2na indirgenmesi \u015feklinde yorumlam\u0131\u015ft\u0131r. Mihrap \u00d6n\u00fc\/Maksure Kubbesi <\/em>(209-211) ba\u015fl\u0131\u011f\u0131nda, \u00e7ad\u0131r ve h\u00fck\u00fcmdar yeri olarak temsil edildi\u011fi belirtilmi\u015ftir. To\u00adnoz <\/em>(211-213) alt ba\u015fl\u0131\u011f\u0131nda, \u00f6nc\u00fcllerini olarak Hitit d\u00f6nemindeki potern<\/em> (gizli ge\u00e7it olarak kullan\u0131lan yeralt\u0131 t\u00fcneli) uygulamalar\u0131na kadar gitti\u011fi belirtil\u00admi\u015f ayr\u0131ca tasavvufi boyutu ele al\u0131nm\u0131\u015ft\u0131r. Tromp\/Pandantif\/T\u00fcrk \u00dc\u00e7geni<\/em> (213-215) alt ba\u015fl\u0131\u011f\u0131nda, bunlar\u0131n mimaride kubbeye ge\u00e7i\u015fi sa\u011flayan unsurlar oldu\u011fu belirtilmi\u015ftir. Ayd\u0131nl\u0131k Feneri<\/em> (215-218) adl\u0131 dokuzuncu son alt ba\u015fl\u0131k\u00adta, i\u015flevselli\u011fi ve fonksiyonelli\u011finin yan\u0131 s\u0131ra bir\u00e7ok sembolik anlam\u0131n\u0131n oldu\u00ad\u011fu\u00adnu ve bunlardan birinin de, genellikle yap\u0131n\u0131n merkezinde bulunan bu un\u00adsurun g\u00f6ksel d\u00fcnyaya a\u00e7\u0131lan dikey yap\u0131lanmay\u0131 temsil etti\u011fini belirterek b\u00f6\u00adl\u00fcm\u00fc sonland\u0131rm\u0131\u015ft\u0131r.<\/p>\n

Yazar, alt\u0131nc\u0131 ve son b\u00f6l\u00fcm olan S\u00fcsleme Elemanlar\u0131<\/em> (219-242) ba\u015fl\u0131\u011f\u0131 al\u00adt\u0131nda, mimari yap\u0131larda kullan\u0131lan s\u00fcsleme unsurlar\u0131na de\u011finmi\u015ftir. Fakat ele alm\u0131\u015f oldu\u011fu s\u00fcslemeler genel anlamdaki s\u00fcslemeler de\u011fildir. Den-dan <\/em>(219-221) adl\u0131 birinci alt ba\u015fl\u0131kta, Fars\u00e7a kar\u015f\u0131l\u0131\u011f\u0131 \u2018di\u015f\u2019 veya \u2018\u00e7ark di\u015fi\u2019 olan den-dan, fonksiyonellik ve s\u00fcsleme boyutunun yan\u0131 s\u0131ra sanattaki bo\u015fluk ve doluluk ilkesinin mimariye bir yans\u0131mas\u0131 oldu\u011fu belirtilmi\u015ftir. Mukarnas <\/em>(Stalaktit) (221-227) alt ba\u015fl\u0131\u011f\u0131nda, d\u00f6rtgeni daireye d\u00f6n\u00fc\u015ft\u00fcrmesi nedeniyle sonsuzluk ta\u015f\u0131yan bir unsur oldu\u011fu dile getirilmi\u015ftir. \u00c7ark-\u0131 Felek <\/em>(228-235) adl\u0131 alt ba\u015f\u00adl\u0131k\u00adta, bu gibi diyagramlar\u0131n, zaman ve mek\u00e2n alg\u0131s\u0131n\u0131n \u015fekil boyutuyla ifadesi oldu\u011funa de\u011finilmi\u015ftir. Kabara\/G\u00fclbezek\/Levhalar <\/em>(235-239) isimli alt ba\u015fl\u0131k\u00adta, genellikle kemer ba\u015flang\u0131\u00e7 noktalar\u0131ndan ba\u015flay\u0131p kilit ta\u015f\u0131ndan son bulan kabaralar\u0131 kozmik hiyerar\u015fiye ait anlamlar ta\u015f\u0131d\u0131\u011f\u0131n\u0131 ifade etmi\u015ftir. Son olarak Hilal ve \u00c2lem<\/em> (239-242) adl\u0131 d\u00f6rd\u00fcnc\u00fc alt ba\u015fl\u0131kta, bir\u00e7ok formunun olmas\u0131yla birlikte en \u00e7ok kullan\u0131lan formun hilal formu oldu\u011funu ifade eder. Ayr\u0131ca hilali \u0131\u015f\u0131k boyutuyla ele alan yazar, karanl\u0131klar i\u00e7inde \u00e7\u0131k\u0131\u015f veya kurtulu\u015f ile insa\u00adno\u011flunun s\u0131k\u0131\u015ft\u0131\u011f\u0131nda \u00e7\u0131k\u0131\u015f yolu olarak g\u00f6rd\u00fc\u011f\u00fc \u0130slam dini aras\u0131nda bir mecazi ba\u011flant\u0131 kurarak b\u00f6l\u00fcm\u00fc sonland\u0131rm\u0131\u015ft\u0131r.<\/p>\n

Sonu\u00e7<\/em> (243-246), Kaynak\u00e7a<\/em> (247-258) ve Dizin<\/em> (259-267) k\u0131sm\u0131yla birlikte son bulan eser genel itibariyle, \u0130slam mimarisinde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz yap\u0131lara farkl\u0131 bir g\u00f6zle bakarak bunlar\u0131n di\u011fer t\u00fcm bilimlerle olan etkile\u015fimine ve ortak nok\u00adtalar\u0131na de\u011finmi\u015ftir. B\u00fct\u00fcn bu anlamlar\u0131n do\u011frulu\u011fu hakk\u0131nda \u0131srarc\u0131 ol\u00admak m\u00fcmk\u00fcn olmasa da herhangi bir yap\u0131ya salt mimari olarak bakman\u0131n d\u0131\u00ad\u015f\u0131nda bu yap\u0131lar\u0131n arka plan\u0131ndaki g\u00f6r\u00fcnmeyen kavramlar\u0131 g\u00f6r\u00fcnen ile bir\u00adle\u015ftirerek bir anlam da\u011farc\u0131\u011f\u0131 olu\u015fturulmu\u015ftur.<\/p>\n

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

\u00d6mer S\u00d6YLEMEZ (MA)<\/strong>
\nsylmz.omer@hotmail.com<\/strong><\/p>\n

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