Dergiler / Milli Saraylar Sanat Tarih Mimarlık Dergisi / 2021 / Sayı: 21
TOPKAPI SARAYI MÜZESİ DEPOLARINDAKİ GEÇME-ÖRGÜ TEZYİNATLI CİLT GRUBU VE BİR MÜCELLİT İMZASI
- Sayı
- 2021 · Sayı: 21
- Sayfa
- 60–89
- DOI
- —
Özet
ÖzIX. yüzyılda İslâm dünyasında başlayan bilimsel faaliyetler, pozitif bilimlerin her alanında önemli gelişmelere sahneolmuştur. XI. ve XIII. yüzyıllar arasındaki İslâm sanatının tezyinatına geometrik desenler kılavuzluk etmiş ve mimaridenkitap sanatlarına kadar her alanda sanat değeri yüksek eserler vücuda getirilmiştir. Selçuklu mücellitleri de hendesî bezemedenazami derecede istifade ederek bu desenleri ciltlerde uygulamış ve kap içlerini de rûmî, rûmî-geometrik veyabitkisel kompozisyonlarla destekleyerek kendine has bir üslûp oluşturmuşlardır. Selçuklu cilt üslûbu, XIII. yüzyılın üçüncüçeyreğinden sonra Karamanoğulları Beyliği ve Memlük Devleti’nin çatısı altında ilerlemiş ve aynı tarzda eserler üretilerekİslâm coğrafyasındaki ciltlere nazaran seçkin örneklerini sunmuştur. Topkapı Sarayı Müzesi Kütüphanesi’nde çeşitlisebeplerle ait oldukları kitaplardan sökülerek bir depoya ayrılan cilt ve mahfaza gruplarıyla ilgili titiz bir çalışma yürütülmüştür.Toplamda 8.143 adet muhtelif cilt ve mahfaza parçaları incelenmiş; bunlardan on dört tanesinin geometrik geçmeve örgülerle bezendikleri, bir adedinin de mücellit imzalı olduğu tespit edilmiştir. Ciltler desen, teknik ve kompozisyonaçısından değerlendirilerek künye tanımlamaları yapılmış; ayrıca diğer müze ve kütüphanelerdeki benzer tezyinata sahipörneklerle de karşılaştırılmıştır.AbstractScientific activities that started in the 9th century in the Islamic world witnessed important developments in all fieldsof positive sciences. Geometric patterns guided the decoration of Islamic art between the 11th and 13th centuries andworks of high artistic value were produced in every field from architecture to book arts. Seljuk bookbinders also mademaximum use of the geometric decoration and applied these patterns on the bindings and created a unique style by supportingthe insides of the covers with rumi, rumi-geometric or floral compositions. After the third quarter of the 13thcentury, the Seljuk bookbinding style progressed under the roof of the Karamanid Principality and the Mamluk State andproduced works in the same style and presented outstanding examples compared to the bindings in the Islamic geography.In the Topkapı Palace Museum Library, a meticulous study was carried out on the bookbinding and case groups that wereremoved from the books they belonged to and put into a warehouse for various reasons. In total, 8.143 pieces of variousbindings and cases were examined and it was determined that fourteen of them were decorated with geometric interlacedand knitted, also one of them was sealed by a bookbinder. Imprint definitions of bookbindings were made by evaluatingthem in terms of pattern, technique and composition, after that they were also compared with examples with similar ornamentsin the other museums and libraries.
Abstract
Scientific activities that started in the 9th century in the Islamic world witnessed important developments in all fields of positive sciences. Geometric patterns guided the decoration of Islamic art between the 11th and 13th centuries and works of high artistic value were produced in every field from architecture to book arts. Seljuk bookbinders also made maximum use of the geometric decoration and applied these patterns on the bindings and created a unique style by supporting the insides of the covers with rumi, rumi-geometric or floral compositions. After the third quarter of the 13th century, the Seljuk bookbinding style progressed under the roof of the Karamanid Principality and the Mamluk State and produced works in the same style and presented outstanding examples compared to the bindings in the Islamic geography. In the Topkapı Palace Museum Library, a meticulous study was carried out on the bookbinding and case groups that were removed from the books they belonged to and put into a warehouse for various reasons. In total, 6773 pieces of various bindings and cases were examined and it was determined that fourteen of them were decorated with geometric interlaced and knitted, also one of them was sealed by a bookbinder. Bookbindings; imprint definitions were made by evaluating them in terms of pattern, technique and composition, after that they were also compared with examples with similar ornaments in other museums and libraries.