{"id":7715,"date":"2019-03-08T18:18:20","date_gmt":"2019-03-08T18:18:20","guid":{"rendered":"http:\/\/circassiancenter.com\/tr\/?p=7715"},"modified":"2019-03-08T18:18:20","modified_gmt":"2019-03-08T18:18:20","slug":"kulturel-etkilesim-uzerine-karamanogullari-memluklu-sanati","status":"publish","type":"post","link":"https:\/\/www.circassiancenter.com\/tr\/kulturel-etkilesim-uzerine-karamanogullari-memluklu-sanati\/","title":{"rendered":"K\u00dcLT\u00dcREL ETK\u0130LE\u015e\u0130M \u00dcZER\u0130NE: KARAMANO\u011eULLARI – MEMLUKLU SANATI"},"content":{"rendered":"

\"\"<\/p>\n

Nermin \u015eaman Do\u011fan
\n<\/b> Yrd. Do\u00e7. Dr., Hacettepe \u00dcniversitesi, Edebiyat Fak\u00fcltesi, Sanat Tarihi B\u00f6l\u00fcm\u00fc
\nHacettepe \u00dcniversitesi Edebiyat Fak\u00fcltesi Dergisi, 2006 \/ Cilt: 23 \/ Say\u0131: 1 \/ ss. 131-149<\/p>\n

\u00d6zet
\n<\/b>
\nAkdeniz \u00e7evresinde konumlanan Anadolu, Suriye ve M\u0131s\u0131r tarih boyunca k\u00fclt\u00fcrel ili\u015fkiler i\u00e7indedir. Bu ili\u015fkiler 13- 15. y\u00fczy\u0131llarda Karamano\u011fullar\u0131 Beyli\u011fi ile Memluklar aras\u0131nda da devam eder. \u0130ki k\u00fclt\u00fcr\u00fcn mimarisi aras\u0131ndaki etkile\u015fimler ta\u00e7kap\u0131, minare, ni\u015f, kemer, kubbe gibi baz\u0131 \u00f6gelerin kurgusu ile malzeme-teknik ve bezemelerde tespit edilir. \u0130kiz kemerli ni\u015f ve kavsara, dilimli kubbe ve kasnak bu benzerliklerden baz\u0131lar\u0131d\u0131r.<\/p>\n

Bu \u00e7al\u0131\u015fmada, Karamano\u011fullar\u0131 Beyli\u011fi ile \u00e7a\u011fda\u015f\u0131 Memluklar\u0131n siyasi, sosyal ve \u00f6zellikle k\u00fclt\u00fcrel ili\u015fkileri ele al\u0131nm\u0131\u015f, konu daha \u00e7ok d\u00f6nemin mimari yap\u0131tlar\u0131ndaki \u00f6\u011feler, malzeme-teknik ve bezeme a\u00e7\u0131s\u0131ndan incelenmi\u015f ve de\u011ferlendirilmi\u015ftir. (1)<\/p>\n

I. Alaeddin Keykubad (1220- 1237) d\u00f6neminde fethedilen (1225) Isauria \/ \u0130\u00e7el b\u00f6lgesindeki Ermenek ve \u00e7evresine yerle\u015ftirilen Karamano\u011fullar\u0131, O\u011fuzlar\u0131n Af\u015far boyuna mensuptur (\u015eikari,1946: 9,14; Mer\u00e7il, 1991: 301; \u0130bn Bibi, 1996: 354; Uzun\u00e7ar\u015f\u0131l\u0131, 1998: 1 ; Koca, 2002: 704). Sel\u00e7uklu devletinin g\u00fc\u00e7l\u00fc oldu\u011fu bu d\u00f6nemde Karaman T\u00fcrkmenleri hen\u00fcz derlenme ve toparlanma s\u00fcrecindedir.<\/p>\n

II. G\u0131yaseddin Keyh\u00fcsrev (1237- 1246) d\u00f6neminde 1243 y\u0131l\u0131nda yap\u0131lan K\u00f6seda\u011f Sava\u015f\u0131 yenilgisiyle Sel\u00e7uklu Devleti\u2019nin \u00e7\u00f6k\u00fc\u015f ve y\u0131k\u0131l\u0131\u015f s\u00fcreci ba\u015flam\u0131\u015f, Anadolu Mo\u011fol\/ \u0130lhanl\u0131 hakimiyetine girmi\u015ftir. Sel\u00e7uklu sultanlar\u0131n\u0131n eski g\u00fcc\u00fcn\u00fc ve \u00f6nemini yitirdi\u011fi bu d\u00f6nemde ya\u015fanan siyasi kar\u0131\u015f\u0131kl\u0131klar ve Mo\u011follarla yap\u0131lan m\u00fccadeleler Karamano\u011fullar\u0131n\u0131n b\u00f6lgede etkin bir unsur olmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r (Cahen, 1979: 296-298).<\/p>\n

Bu d\u00f6nemde M\u0131s\u0131r ve Suriye\u2019de g\u00f6r\u00fclen benzer geli\u015fmelerle g\u00fcc\u00fcn\u00fc kaybeden Eyyubiler, yeni kurulan Memluklu Sultanl\u0131\u011f\u0131na ba\u011flanm\u0131\u015ft\u0131r. 1250 y\u0131l\u0131nda kurulan Memluklu devleti, Yavuz Sultan Selim (1512-1520) taraf\u0131ndan 1517 y\u0131l\u0131nda fethedilene kadar varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr (Sobernheim, 1957: 689; Anonim, 1976: 486-487; G\u00fcr\u00fcn, 1984: 433-435; Holt, 1999: 84;). Do\u011fu Akdeniz\u2019e egemen olan Memluk devletinin s\u0131n\u0131rlar\u0131; bat\u0131da Berka\u2019ya kadar Bingazi \u00c7\u00f6l\u00fc, g\u00fcneyde Musavva\u2019ya kadar Nubi b\u00f6lgesi, do\u011fuda F\u0131rat\u2019a, kuzeyde Toroslar\u2019a, g\u00fcneyde Arabistan \u00e7\u00f6llerine kadar uzan\u0131r. Ayr\u0131ca Mekke, Medine ve Kud\u00fcs gibi yerle\u015fimler de Memluklu Sultanlar\u0131n\u0131n egemenli\u011fi alt\u0131ndad\u0131r (Sobernheim, 1957: 689; Anonim, 1976: 486, 489; Kopraman, 1989: 1- 15; Ko\u00e7ak, 1991: 1101; Holt, 1999: 1-8).<\/p>\n

Kurulu\u015fu izleyen y\u0131llarda Memluk sultan\u0131 Kutuz (1259- 1260) d\u00f6neminde,
\nBaybars\u2019\u0131n komutas\u0131ndaki Memlukler ile Mo\u011follar aras\u0131nda Suriye\u2019de Yizreel Vadisi\u2019ndeki \u201cAyn Calut\u2019ta\u201d 1260 y\u0131l\u0131nda yap\u0131lan sava\u015f\u0131n kazan\u0131lmas\u0131, Suriye\u2019deki Mo\u011fol i\u015fgaline son verirken, Baybars\u2019a Memluk sultan\u0131 olmas\u0131n\u0131n yolunu a\u00e7m\u0131\u015ft\u0131r. (Sobernheim,1957: 689; Anonim, 1976: 487; G\u00fcr\u00fcn, 1984: 435; Ko\u00e7ak, 1991: 1102; Holt, 1999: 91). Memluklerin d\u00f6rd\u00fcnc\u00fc ve en \u00fcnl\u00fc sultan\u0131 olan Ez-Zahir Baybars (1260-1277) d\u00f6neminde Anadolu Sel\u00e7uklular\u0131 ile Karamano\u011fullar\u0131, Mo\u011follara kar\u015f\u0131 koymak
\namac\u0131yla Memluklardan yard\u0131m isteyerek siyasi ili\u015fkileri ba\u015flam\u0131\u015ft\u0131r. (Sobernheim, 1957: 689; Uzun\u00e7ar\u015f\u0131l\u0131, 1988: 6-7; Holt, 1999: 99; Koca, 2002: 704-705).<\/p>\n

1277 y\u0131l\u0131nda Memluk sultan\u0131 Baybars, Sel\u00e7uklulara destek vermek amac\u0131yla Anadolu\u2019ya gelerek Elbistan Ovas\u0131\u2019nda Mo\u011follar\u0131 yenilgiye u\u011frat\u0131r. Kayseri\u2019ye do\u011fru ilerleyen Baybars Sel\u00e7uklu taht\u0131na oturmu\u015f ve ad\u0131na hutbe okutup, sikke kestirmi\u015ftir (Anonim, 1976: 488; Holt, 1999: 99; Koca, 2002: 705).<\/p>\n

Di\u011fer yandan Karamano\u011flu Mehmed Bey de Memluk sultan\u0131 Baybars\u2019tan ald\u0131\u011f\u0131 sancak ve bayraklarla Konya \u00fczerine y\u00fcr\u00fcr. Konya\u2019da bulunan \u201cCimri\u201d lakab\u0131yla an\u0131lan Sel\u00e7uklu \u015fehzadesi Alaeddin\/ G\u0131yaseddin Siyavu\u015f\u2019u tahta \u00e7\u0131kararak (1277), yeni sultan\u0131n veziri olur (Turan, 1984: 562- 563; Uzun\u00e7ar\u015f\u0131l\u0131, 1988: 6; Koca, 2002: 705).<\/p>\n

Karamano\u011flu Mehmet Bey\u2019in en \u00f6nemli ba\u015far\u0131s\u0131 k\u00fclt\u00fcrel alandad\u0131r. 15 May\u0131s 1277\u2019de Konya\u2019da yay\u0131mlad\u0131\u011f\u0131 bir fermanla T\u00fcrk\u00e7e\u2019nin resmi dil oldu\u011funu ilan eder (Turan, 1984: 562; Uzun\u00e7ar\u015f\u0131l\u0131, 1988: 6; Mer\u00e7il, 1991: 302; Koca, 2002: 705;). Ayn\u0131 y\u0131llarda Memluklar\u0131n da T\u00fcrk dilinin kullan\u0131lmas\u0131 ve yay\u0131lmas\u0131na y\u00f6nelik \u00e7al\u0131\u015fmalar yapt\u0131klar\u0131 bilinmektedir (Ko\u00e7ak, 1991: 1115). Anadolu\u2019daki Mo\u011fol hakimiyetini \u00e7\u00f6kme noktas\u0131na getiren bu olaylarla Karamano\u011flu Mehmed Bey, sadece Mo\u011follar\u0131
\nAnadolu\u2019dan atmak de\u011fil, Sel\u00e7uklu iktidar\u0131n\u0131 ele ge\u00e7irmeyi ama\u00e7lar. Bu d\u00f6nemde Sel\u00e7uklu devletinin zay\u0131flamas\u0131 ve \u00e7\u00f6kmesini f\u0131rsat bilen u\u00e7larda bulunan T\u00fcrkmen Beyleri ba\u011f\u0131ms\u0131zl\u0131klar\u0131n\u0131 ilan etmi\u015flerdir. Bu beyliklerden biri olan Karamano\u011fular\u0131\u2019n\u0131n Memluklar\u0131n deste\u011fi ile Ermenek ve \u00e7evresine hakim olduklar\u0131 anla\u015f\u0131lmaktad\u0131r.<\/p>\n

Karamano\u011flu Musa Bey\u2019in Ermenek\u2019e yerle\u015ftikten (1331) sonra durumu bildirmek \u00fczere Kahire\u2019ye gitmesi iki devlet aras\u0131ndaki siyasal ili\u015fkileri g\u00f6stermesi a\u00e7\u0131s\u0131ndan dikkat \u00e7ekicidir (Uzun\u00e7ar\u015f\u0131l\u0131 1988: 9). Karamano\u011flu \u0130brahim Bey de, Kahire\u2019ye el\u00e7i yollam\u0131\u015f (1341) Memluklu sultan\u0131 da kendisine sancak g\u00f6ndermi\u015ftir (Tekinda\u011f, 1955: 321; Uzun\u00e7ar\u015f\u0131l\u0131,1988: 10).<\/p>\n

Anadolu beylikleri i\u00e7inde en uzun h\u00fck\u00fcm s\u00fcren ve ayn\u0131 co\u011frafyada egemen olduklar\u0131 i\u00e7in kendilerini Sel\u00e7uklular\u0131n do\u011fal miras\u00e7\u0131s\u0131 olarak g\u00f6ren Karamano\u011fullar\u0131\u2019n\u0131n Osmanl\u0131lar\u2019la ili\u015fkileri Alaeddin Ali Bey d\u00f6neminde ba\u015flar (Tekinda\u011f, 1955: 323; Akda\u011f, 1979b: 138-139; Uzun\u00e7ar\u015f\u0131l\u0131, 1988: 14- 15). Bu d\u00f6nemden sonra Osmanl\u0131lar\u0131n geni\u015fleme\/b\u00fcy\u00fcme siyasetini kabullenemeyen Karamanl\u0131lar ile Osmanl\u0131lar aras\u0131nda s\u00fcrekli m\u00fccadeleler ya\u015fan\u0131r. Bu arada Memluklar\u0131n elinde bulunan Tarsus, Adana, Ayas (Yumurtal\u0131k), Gorigos\/K\u0131z Kalesi gibi yerle\u015fimlere Karamano\u011flu Alaeddin Ali Bey seferler d\u00fczenlemektedir (Tekinda\u011f, 1955: 323). Y\u0131ld\u0131r\u0131m Bayezit eni\u015ftesi Karamano\u011flu Alaeddin Ali Bey\u2019i \u00f6ld\u00fcrterek Karamano\u011fullar\u0131 Beyli\u011fi\u2019ne son verir (1398) (Uzun\u00e7ar\u015f\u0131l\u0131, 1988: 16; Koca, 2002: 708).<\/p>\n

Ankara Sava\u015f\u0131 (1402) sonras\u0131nda Y\u0131ld\u0131r\u0131m Bayezit taraf\u0131ndan Osmanl\u0131 topraklar\u0131na kat\u0131lan Anadolu beylikleri Timur\u2019a ba\u011fl\u0131 olarak yeniden kurulmu\u015ftur (Uzun\u00e7ar\u015f\u0131l\u0131, 1988: 16-17; Aka 1991: 24,28- 29; Koca, 2002: 709). Karamano\u011fullar\u0131 ile Memlukler aras\u0131ndaki ili\u015fkiler zaman zaman bozulmakla birlikte Karamano\u011flu Ali Bey\u2019in (II. kez tahta \u00e7\u0131kt\u0131\u011f\u0131 y\u0131llarda) Memluk Sultan\u0131 \u015eeyh ad\u0131na Karaman\u2019da g\u00fcm\u00fc\u015f sikke kestirmesi
\n(1424) ili\u015fkilerin s\u00fcrd\u00fcr\u00fcld\u00fc\u011f\u00fcn\u00fc g\u00f6stermektedir.<\/p>\n

Anadolu\u2019da 13. y\u00fczy\u0131l\u0131n ortalar\u0131nda Sel\u00e7uklu d\u00f6neminde ba\u015flayan Beylikler
\nd\u00f6neminde de devam eden siyasi ili\u015fkilerin yan\u0131 s\u0131ra M\u0131s\u0131r ve Suriye, Orta\u00e7a\u011f Anadoluticaretinde \u00f6nem ta\u015f\u0131maktad\u0131r. Anadolu\u2019nun Akdeniz k\u0131y\u0131s\u0131ndaki limanlar\u0131ndan (Antalya, Alanya, Anamur, Gazipa\u015fa, Ayd\u0131nc\u0131k \/ Gilindire, Silifke) Toroslar\u2019daki ormanlardan elde edilen kerestelerin M\u0131s\u0131r ve Do\u011fu Akdeniz \u00fclkelerine g\u00f6nderildi\u011fi bilinmektedir (Heyd,1975: 456- 478; Akda\u011f, 1979a: 45; Turan, 1990: 99; \u0130bn Bibi, 1996: 316-317). 1332 y\u0131l\u0131 civar\u0131nda Alanya\u2019y\u0131 g\u00f6ren \u0130bni Batuta, \u201cAlanya deniz k\u0131y\u0131s\u0131nda bir \u015fehirdir, ahalisi t\u00fcm\u00fcyle T\u00fcrkmenlerden olu\u015fuyor. Kahire, \u0130skenderiye ve Suriye t\u00fcccarlar\u0131 bu \u015fehre gelip al\u0131\u015fveri\u015f ederler. Kerestesi bol oldu\u011fu i\u00e7in buradan y\u00fcklenen balyalar \u0130skenderiye, Dimyat ve \u00f6teki M\u0131s\u0131r limanlar\u0131na g\u00f6nderilir\u201d ifadesiyle \u015fehrin ticari ya\u015fam\u0131ndan s\u00f6z etmektedir (Eb\u00fb Abdullah Muhammed \u0130bn Batt\u00fbta Tanc\u00ee, 2000: XXVIII,402).<\/p>\n

Yukar\u0131da belirtildi\u011fi gibi Anadolu\u2019da Karamano\u011fullar\u0131 ile Memluklerin yakla\u015f\u0131k iki y\u00fcz y\u0131l s\u00fcren (13. y\u00fczy\u0131l ortalar\u0131- 15. y\u00fczy\u0131l ortalar\u0131) siyasi ve ticari ili\u015fkilerinin yan\u0131 s\u0131ra, Karamano\u011fullar\u0131 Beyli\u011fi\u2019nin ba\u015fkentleri Ermenek, Larende\/ Karaman, Konya ve Ni\u011fde\u2019deki yap\u0131lar\u0131nda Memluklu etkisi g\u00f6r\u00fclmektedir. Karamano\u011fullar\u0131- Memluklu sanat\u0131, \u00f6zellikle mimari \u00f6\u011feleri, malzeme- teknik ve bezeme a\u00e7\u0131s\u0131ndan ortak \u00f6zellikler yans\u0131t\u0131r. \u0130ki k\u00fclt\u00fcr aras\u0131ndaki kesi\u015fim\/ etkile\u015fim ta\u00e7kap\u0131, pencere, minare, mihrap, ni\u015f,
\nkemer, kubbe ve k\u00fclah gibi elemanlar\u0131n kurgusu ile malzeme ve s\u00fcslemesinde okunabilmektedir. Yap\u0131larda \u00e7o\u011funlukla ta\u015f, baz\u0131 mihraplar ile kap\u0131 ve pencere k\u00f6\u015feliklerinde \u00e7ini s\u00fcsleme g\u00f6r\u00fcl\u00fcr.<\/p>\n

Bu \u00f6rneklerden biri olan Ermenek Tol Medrese\u2019nin (1339) do\u011fu cephe ekseninde yer alan yedi s\u0131ra mukarnas kavsaral\u0131 ta\u00e7kap\u0131s\u0131nda, beden duvar\u0131ndan d\u0131\u015fa ta\u015fk\u0131n, dar ve y\u00fcksekli\u011finin fazla olmas\u0131yla sa\u011flanan dikey vurgu\/ y\u00fckseklik etkisi \u00f6nemlidir (Levha.1). \u00d6zellikle ta\u00e7kap\u0131 ni\u015fini s\u0131n\u0131rlayan altta mukarnas ba\u015fl\u0131kl\u0131, \u00fcstte ise g\u00f6vdesi kaval silmelerle bi\u00e7imlenen zencirek motifiyle bezeli \u00e7ift katl\u0131 s\u00fctunceler ile kap\u0131n\u0131n
\n\u00fczerinde bulunan dikd\u00f6rtgen pencerenin varl\u0131\u011f\u0131 y\u00fcksekli\u011fin olu\u015fumunda farkl\u0131 bir \u00e7\u00f6z\u00fcmleme olarak degerlendirilebilir. Bu \u00f6zellik Ni\u011fde Ak Medrese (1409) ta\u00e7kap\u0131s\u0131nda daha vurgulay\u0131c\u0131 olarak g\u00f6r\u00fcl\u00fcr (Levha.2). \u00d6rnekte kavsaran\u0131n dolgusunda yirmi iki s\u0131ra mukarnas\u0131n kullan\u0131m\u0131, mukarnasl\u0131 kaide ve \u00fcst \u00fcste \u00e7ift ba\u015fl\u0131kl\u0131, dilimli g\u00f6vdeli s\u00fctuncelere oturan \u00fcst k\u0131sm\u0131 ters kavisli sivri ku\u015fatma kemerinin (ka\u015f kemerin) tercih edilmesi ile y\u00fckseklik abart\u0131lm\u0131\u015ft\u0131r (Levha.2). Ayr\u0131ca kap\u0131n\u0131n \u00fcst k\u0131sm\u0131n\u0131n d\u00f6rt
\ns\u0131ra mukarnas dizisiyle ta\u00e7land\u0131r\u0131lmas\u0131 dikey vurgu\/ y\u00fckseklik etkisini art\u0131rm\u0131\u015ft\u0131r. Ni\u011fde Ak Medrese\u2019de ta\u00e7kap\u0131n\u0131n mukarnas dizileriyle sonlanmas\u0131 Memluklu yap\u0131lar\u0131n\u0131n cephelerinde bulunan kap\u0131 ve pencerelerin \u00fczerinde de yayg\u0131n olan bir uygulamad\u0131r. \u00d6rneklerde kap\u0131 ve pencerelerde g\u00f6r\u00fclen mukarnas s\u0131ralar\u0131 \u00f6gelerin y\u00fckseklik ve derinlik etkisini art\u0131r\u0131rken, estetik bir g\u00f6r\u00fcn\u00fcm kazanmalar\u0131n\u0131 da sa\u011flar.
\n\u00d6rnek olarak Kahire Amir Be\u015fir el-Gamdar Medresesi (1359), Halep I\u015f\u0131ktemir el-Maridani Medresesi (1371- 1372), Halep el-Utrus Camii (1399- 1400) ve Halep ad-Dara\u011f Camii (1400) kap\u0131 ve pencereleri verilebilir (Meinecke, 1992: Tafel. 83 a-b, 91 b-d, 140 d). Ayr\u0131ca Anadolu\u2019da Suriye k\u00fclt\u00fcr \u00e7evresiyle ili\u015fkili oldu\u011funu bildi\u011fimiz \u015eaml\u0131 mimar \u201c Ali ibn M\u00fc\u015feyme\u015f \u201c taraf\u0131ndan in\u015fa edilen Sel\u00e7uk \u0130sa Bey Camii (1375)
\nile Bursa Y\u0131ld\u0131r\u0131m (1390- 1395), Milas Firuz Bey (1396) ve Balat \u0130lyas Bey (1404) camilerinin cephelerinde bulunan yeni bir anlay\u0131\u015fla d\u00fczenlenmi\u015f (\u00e7ift katl\u0131, simetrik) pencerelerini ku\u015fatan ya da \u00fczerlerini ta\u00e7land\u0131ran mukarnas s\u0131ralar\u0131 yer al\u0131r ( \u00d6zbek, 2001: 397- 434, Resim. 46- 54; \u00d6zbek, 2002: Resim. 150- 153, 195- 197, 560- 564 ).<\/p>\n

Ermenek Tol ve Ni\u011fde Ak medreselerinin ta\u00e7kap\u0131 kurgusu cepheden d\u0131\u015fa ta\u015fk\u0131n ve y\u00fcksek olmas\u0131 a\u00e7\u0131s\u0131ndan Memluklu \u00f6rneklerinden ayr\u0131l\u0131rken, genellikle asimetrik kurgulanan cephelerde yer alan ta\u00e7kap\u0131lar\u0131n dar ve cephe boyunca y\u00fcksek olu\u015flar\u0131 a\u00e7\u0131s\u0131ndan benzerlik g\u00f6sterirler. Halep\u2019teki Kemaliye Medresesi (1251- 1252), Kahire\u2019deki Baybars Medresesi (1262- 1263), \u015eam\u2019daki Baybars T\u00fcrbesi (1277) ve Kahire Emir Ahmed Mihmandar Camii (1325) ta\u00e7kap\u0131lar\u0131 (Levha.3) bu \u00f6rneklerdendir
\n(Meinecke, 1992: Tafel.2c-d, 12a, 46a).<\/p>\n

Ermenek Tol Medrese, ta\u00e7kap\u0131s\u0131n\u0131n ge\u00e7meli ta\u015flarla \u00f6r\u00fclen bas\u0131k kemeri \u00fczerinde dilimli madalyon bi\u00e7imli yuvalar dikkat \u00e7eker (Levha. 4). Halep\u2019te Bab al-Qimnasr\u0131n (1256) sur kap\u0131s\u0131 kemerinde de madalyon bi\u00e7imli yuvalar yatay olarak bi\u00e7imlenmi\u015ftir (Levha.5), (Meinecke,1992: Tafel 5 c).<\/p>\n

Ermenek Tol Medrese\u2019de ta\u00e7kap\u0131 ni\u015finin kuzeyinde (yan ni\u015fin \u00fczeri \/ mukarnasl\u0131 kavsaran\u0131n alt\u0131nda) asimetrik konumlanan d\u0131\u015ftan kademeli bezemesiz iki bord\u00fcrle ku\u015fat\u0131lan sivri kemerli ikiz ni\u015f yer al\u0131r (Levha.6). Ni\u015fin ikiz kemerlerinin birle\u015fme yerlerinde y\u00fczeyi geometrik motiflerle s\u00fcslenmi\u015f ters d\u00f6nm\u00fc\u015f bir kabara bulunur. Ta\u00e7kap\u0131 ni\u015finde derinlik etkisini art\u0131ran ve Anadolu\u2019da \u00f6rne\u011fi bulunmayan ikiz kemerli bu ni\u015fin benzer uygulamalar\u0131 \u015eam\u2019daki Eyyubi d\u00f6nemi yap\u0131lar\u0131ndan Adiliye Medresesi
\n(1222) ile K\u0131l\u0131ciye Medresesi (1245) ta\u00e7 kap\u0131lar\u0131nda g\u00f6r\u00fcl\u00fcr (Levha.7- 8), (Herzfeld, 1946: Fig\u00fcr: 88, 90- 93; Eser, 2000: Levha.160- 162, 199). Adiliye Medresesi\u2019nde yan yana \u00fc\u00e7 dilimli, K\u0131l\u0131ciye Medresesi\u2019nde ise yan yana sivri kemerli ikiz ni\u015flerin kullan\u0131lmas\u0131yla k\u00fctlesel olan ta\u00e7kap\u0131larda bir hareketlilik yarat\u0131lm\u0131\u015ft\u0131r. Ayr\u0131ca, Kahire Emir Salar Sancar ve al-Gauli T\u00fcrbesi\u2019nin (1303- 1304) \u00f6n cephesindeki pencere \u00fczerinde bulunan ni\u015fler de mukarnas dolgulu ve dilimli ikiz kemerlidir (Meinecke, 1992: Tafel 19b).
\nKaraman\u2019daki Alaeddin Bey T\u00fcrbesi (1398) k\u00fclah\u0131 ile Konya Mevlana T\u00fcrbesi kasnak ve k\u00fclah\u0131 (1396) ile Ak\u015fehir Seyyid Mahmud Hayrani T\u00fcrbesi (Karamano\u011fullar\u0131 onar\u0131m\u0131 1409)\u2019 nin kasna\u011f\u0131 dilimli olarak d\u00fczenlenmi\u015ftir (Levha.9), (Diez- Aslanapa-Koman, 1950: 93- 95, 147- 152; \u00d6z\u00f6nder, 1989: 10; Tuncer, 1992: 103- 107). \u00d6rt\u00fc sisteminde kasnak, kubbe ve k\u00fclahlar\u0131n dilimli \u00f6rnekleri Memluklu yap\u0131lar\u0131nda da g\u00f6r\u00fcl\u00fcr. Kahire\u2019deki Emir Salar ve Sancar al-Gauli T\u00fcrbesi\u2019nin (1347- 1348) ve
\nZeyneddin Yusuf Medresesi\u2019nin (1335- 1336) kubbeleri dilimli \u00f6rnekler aras\u0131ndad\u0131r (Levha.10), (Meinecke 1992: Tafel 18d, 26c).<\/p>\n

Karaman\u2019daki g\u00fcn\u00fcm\u00fcze ula\u015fmayan Emir Musa Medresesi\u2019nin (1340- 1356) minaresi ile Karaman \u0130brahim Bey \u0130mareti\u2019nin (1432- 1433) kuzeybat\u0131 k\u00f6\u015fesinde bulunan kare kaideli, silindirik g\u00f6vdeli, tek \u015ferefeli y\u00fcksek minareleri, \u00e7ift renkli (sar\u0131 ve kahverengi) ta\u015f i\u015f\u00e7ili\u011fi ve g\u00f6vdelerindeki yatay silmelerle b\u00f6l\u00fcmlere ayr\u0131lan\/ku\u015fat\u0131lan s\u00fcsleme \u015feritlerinin varl\u0131\u011f\u0131 a\u00e7\u0131s\u0131ndan Memluk minareleriyle ortak \u00f6zellikler g\u00f6sterir. Bu ba\u011flamda Halep\u2019teki Mankalibuga as-Samsi Camii (1362- 1363) minaresi en yak\u0131n \u00f6rneklerden biridir (Meinecke, 1992: 132, Tafel 90a). Ayr\u0131ca Memluklu yap\u0131s\u0131 olan Hasankeyf Sultan S\u00fcleyman Camii\u2019nin ( 1351-1352) minaresi (1406- 1407) ile Hasankeyf Er-R\u0131zk Camii\u2019nin (1409) minaresi de ayn\u0131 bi\u00e7imsel \u00f6zellikleri yineleyen ve g\u00f6vdeleri silmelerle b\u00f6l\u00fcmlere \/ kemerlemeli y\u00fczeylere ayr\u0131lan daha s\u00fcsl\u00fc \u00f6rneklerdir (Meinecke, 1992: 149- 150, Tafel.90.d-e). (2)<\/p>\n

Karaman\u2019daki Hac\u0131 Beyler Camii\u2019nin (1356- 1358) \u00f6n cephesindeki ta\u00e7kap\u0131s\u0131nda dilimli kemerli kitabenin k\u00f6\u015feliklerinde simetrik olarak sa\u011fda d\u00f6rt halife, solda Kelimei Tevhid yaz\u0131l\u0131, Hatuniye \/ Melek Hatun Medresesi\u2019nin (1381- 1382) do\u011fu cephesinin orta b\u00f6l\u00fcm\u00fcnde de Hz. Muhammed\u2019in ad\u0131 d\u00f6rt kez yaz\u0131lm\u0131\u015f kufi yaz\u0131l\u0131 kare panolar vard\u0131r (Levha.11- 12). Hatuniye Medresesi\u2019 ndeki uygulamada kufi yaz\u0131l\u0131 kare panoya iki yandan d\u00fc\u011f\u00fcmlenen palmet motifleri yer al\u0131r. Benzer d\u00fczenleme \u015eam\u2019daki Rukniye -Salihiye Medresesi (1224) T\u00fcrbesi\u2019nin kuzeydeki penceresi \u00fczerinde de g\u00f6r\u00fcl\u00fcr (Herzfeld, 1946: 24- 25, Fig\u00fcr: 43- 44). Bu \u00f6rnekte farkl\u0131 olarak kufi yaz\u0131l\u0131 panoya geometrik motifler kayna\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r. Kufi yaz\u0131l\u0131 panolar Zengi, Eyyubi ve Memluklu d\u00f6nemlerinde in\u015fa edilen yap\u0131lar\u0131n bezemelerinde yayg\u0131n olarak kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Tripoli\u2019de \u0130sa b. Umar al-Burtasi Medresesi (1325), Hasankeyf Er-R\u0131zk Camii (1409) minarelerinde de benzer kufi yaz\u0131l\u0131 panolar g\u00f6r\u00fcl\u00fcr (Meinecke, 1992: Tafel 99a). Er-R\u0131zk Camii\u2019nin minare kaidesinde yer alan kufi yaz\u0131l\u0131 kare pano geometrik bezemeli \u015feritlerle ku\u015fat\u0131larak vurgulanm\u0131\u015ft\u0131r (Ar\u0131k, 2003: 61, 66). Ayr\u0131ca Karaman Hatuniye Medresesi\u2019nin dershane odas\u0131n\u0131n kap\u0131s\u0131 \u00fczerindeki y\u00fczeyi bitkisel bezemeli sekiz kollu y\u0131ld\u0131z\u0131n bir benzeri, Kahire\u2019deki Baybars Camii\u2019nin (1266) kuzeydo\u011fu ta\u00e7kap\u0131s\u0131nda
\nbulunur. Bu \u00f6rnekte y\u0131ld\u0131z\u0131n y\u00fczeyi farkl\u0131 olarak yaz\u0131yla s\u00fcslenmi\u015ftir (Meinecke, 1992: 11a).<\/p>\n

Konya Hasbey Dar\u00fclh\u00fcffaz\u0131\u2019n\u0131n (1421) bat\u0131\/ \u00f6n cephesinde ta\u00e7kap\u0131 d\u0131\u015f\u0131nda t\u00fcm y\u00fczeyin s\u00fcsleme alan\u0131 olarak de\u011ferlendirilmesi yeni bir uygulamad\u0131r. Cephedeki bord\u00fcrleri bezeyen yatay ve dikey \u015feritlerin kesi\u015fmesiyle olu\u015fan y\u0131ld\u0131z kompozisyonlar\u0131n\u0131n ortas\u0131ndaki \u00e7ok yaprakl\u0131 \u00e7i\u00e7ek motiflerinin benzeri Halep\u2019teki Emir Ahmed bin Sahib Medresesi cephesinde de g\u00f6r\u00fcl\u00fcr (Diez- Aslanapa- Koman, 1950:125; Meinecke, 1992: Tafel 64 c-d).
\nKaraman\u2019daki \u0130brahim Bey \u0130mareti\u2019nin (1432- 1433) yukar\u0131da belirtti\u011fimiz minaresi d\u0131\u015f\u0131nda, kuzey cephe eksenindeki dikd\u00f6rtgen \u00e7er\u00e7eveli ve kademeli sivri kemerli ta\u00e7kap\u0131s\u0131 ile mihrab\u0131 da olduk\u00e7a s\u00fcsl\u00fcd\u00fcr. Ta\u00e7kap\u0131 s\u00fcslemelerinin yo\u011funlu\u011funa kar\u015f\u0131n, \u00f6n\u00fcnde bulunan son cemaat yerinden dolay\u0131 beden duvar\u0131ndan ta\u015fk\u0131nl\u0131\u011f\u0131n\u0131n az, y\u00fcksekli\u011finin olmamas\u0131 \u00f6zellikleriyle sade bir g\u00f6r\u00fcn\u00fcm sergiler. \u00d6rnekte \u00e7ift renkli ge\u00e7meli ta\u015flarla bi\u00e7imlenen bas\u0131k kemerli kap\u0131da, kemer al\u0131nl\u0131\u011f\u0131nda kitabenin alt b\u00f6l\u00fcm\u00fc ile kemer k\u00f6\u015feli\u011finde yo\u011fun olarak bitkisel s\u00fcsleme g\u00f6r\u00fcl\u00fcr (Levha.13).
\n\u00d6zellikle kemer al\u0131nl\u0131\u011f\u0131nda k\u0131vr\u0131k dal, \u00e7ok yaprakl\u0131 \u00e7i\u00e7ekler ve \u015fakay\u0131k motifinin farkl\u0131 g\u00f6r\u00fcn\u00fcmlerini yans\u0131tan hatayi \u00fcslubundaki bezemeler Memluklu mimari ve el sanatlar\u0131 \u00fcr\u00fcnlerinin s\u00fcslemelerinde de yayg\u0131nd\u0131r. Kahire\u2019deki Nas\u0131r Hasan Medresesi\u2019nin (1356-1360) ta\u00e7kap\u0131 bord\u00fcr\u00fcndeki \u00e7ok yaprakl\u0131 \u00e7i\u00e7ek ve \u015fakay\u0131k betimlemeleri benzer s\u00fcslemelerdir (Levha.15), (Meinecke 1992: Tafel 82b, 84d). Ayn\u0131 t\u00fcrde \u00e7ok yaprakl\u0131
\n\u00e7i\u00e7ekler ve hatayi \u00fcslubundaki bezemeler Karamano\u011fullar\u0131 yap\u0131lar\u0131ndan Konya\u2019daki Ahmed Fakih T\u00fcrbesi\u2019nin (1455) ta\u00e7kap\u0131s\u0131 ile pencere kemer k\u00f6\u015feliklerinde firuze ve mor \u00e7inilerle uygulanm\u0131\u015ft\u0131r (Levha.14), (Tuncer, 1992: 109- 112). Ayr\u0131ca Karaman \u0130brahim Bey \u0130mareti\u2019nin bug\u00fcn \u0130stanbul Arkeoloji M\u00fczeleri, \u00c7inili K\u00f6\u015fk\u2019te bulunan \u00e7ok renkli s\u0131r tekni\u011finde yap\u0131lm\u0131\u015f dikd\u00f6rtgen levhalarla bi\u00e7imlendirilmi\u015f dikd\u00f6rtgen ni\u015fli, sekiz s\u0131ra mukarnas kavsaral\u0131 \u00e7inili mihrab\u0131n\u0131n bord\u00fcrleri ve kavsara k\u00f6\u015feli\u011fi ile Konya Mevlana M\u00fczesi\u2019nde bulunan 451- 453 envanter nolu Memluklu d\u00f6nemi cam
\nkandillerinin g\u00f6vdeleri hatayi \u00fcslubunda \u00e7i\u00e7eklerle bezenmi\u015ftir (Levha.16- 19). Her iki \u00f6rnekte de \u00f6zellikle mavi, ye\u015fil, k\u0131rm\u0131z\u0131, beyaz, sar\u0131 gibi \u00e7ok rengin kullan\u0131m\u0131 ile \u015fakay\u0131k motifinin de\u011fi\u015fen farkl\u0131 g\u00f6r\u00fcn\u00fcmleri sunulmu\u015ftur. Mihrab\u0131n kavsara k\u00f6\u015felikleri hatayi \u00fcslubunda \u00e7i\u00e7eklerin yan\u0131 s\u0131ra, k\u00f6\u015feleri vurgulayan rumilerin \u00e7er\u00e7eveledi\u011fi palmet kompozisyonuna eklemlenen ters ve d\u00fcz palmetler ile a\u015fa\u011f\u0131ya do\u011fru sal\u0131n\u0131ml\u0131 uzayan ve spiraller olu\u015fturan k\u0131vr\u0131m dallar ve rumi motifleriyle s\u00fcslenmi\u015ftir. \u0130brahim
\nBey \u0130mareti\u2019nin \u00e7ini mihrab\u0131n\u0131n kurgusu, tekni\u011fi, bezemeleri ve \u00fcslup \u00f6zellikleri Osmanl\u0131 Beyli\u011fi yap\u0131lar\u0131ndan Bursa Ye\u015fil Camii (1419- 1424) mihrab\u0131, Bursa Muradiye Camii (1425-1426) pencere al\u0131nl\u0131klar\u0131 ve Edirne Muradiye Camii (1436) mihrap bezemeleriyle \u00f6rt\u00fc\u015fmektedir (Demiriz, 1979: 275, 352, 500, Resim.159, 161, 273-278, 500- 505; \u00d6zbek, 2002: Resim.390-393). Bursa Ye\u015fil Camii\u2019nde nakka\u015f \u201c Ali bin \u0130lyas Ali \u201d, \u00e7ini ustas\u0131 \u201c Muhammed Mecnun \u201d ve Tebrizli sanat\u00e7\u0131lar\u0131n kitabelerde ad\u0131n\u0131n
\nge\u00e7mesi \u00f6zellikle Tebriz\u2019den gelen ve Anadolu\u2019da \u00e7al\u0131\u015fan sanat\u00e7\u0131lar\u0131n varl\u0131\u011f\u0131n\u0131 g\u00f6stermektedir (Demiriz,1979: 331; S\u00f6nmez,1989: 423- 424). Nakka\u015f Ali\u2019nin Timur taraf\u0131ndan Mavera\u00fcnnehir\u2019e g\u00f6t\u00fcr\u00fclerek orada nakka\u015fl\u0131\u011f\u0131 \u00f6\u011frenip sanat\u0131nda ileri dereceye ula\u015ft\u0131\u011f\u0131 ve Bursa\u2019ya\/ memleketine d\u00f6nerek baz\u0131 nak\u0131\u015fl\u0131 \u00f6rnekleri yapt\u0131\u011f\u0131 belirtilmektedir ( Ta\u015fk\u00f6pr\u00fcl\u00fczade, 1985: 437- 438).<\/p>\n

Anadolu Beylikleri\u2019nin giderek yok oldu\u011fu, Osmanl\u0131 Devleti\u2019nin b\u00fcy\u00fcd\u00fc\u011f\u00fc bu ortamda Karamano\u011fullar\u0131, Memluklu, Akkoyunlu ve Timurlularla ya\u015fanan siyasal karma\u015fa ve gerginli\u011fe ra\u011fmen, k\u00fclt\u00fcrel alanda en \u00e7ok al\u0131\u015fveri\u015fin \/ de\u011fi\u015fmenin ya\u015fand\u0131\u011f\u0131 ve \u00f6zellikle bezemede yeni bir dilin, yeni bir aray\u0131\u015f\u0131n ba\u015flad\u0131\u011f\u0131 izlenir. Bu ba\u011flamda Karaman \u0130brahim Bey \u0130mareti\u2019nin gerek ta\u00e7kap\u0131s\u0131 al\u0131nl\u0131\u011f\u0131ndaki ta\u015f s\u00fcslemeler, gerekse \u00e7inili mihrab\u0131ndaki hatayi \u00fcslubunda yap\u0131lm\u0131\u015f bitkisel bezemeleri s\u00f6z\u00fc edilen devingen ortam\u0131n \u00fcr\u00fcnleridir. K\u00fclt\u00fcrel al\u0131\u015fveri\u015fler sonucu Karamano\u011fullar\u0131 d\u00f6nemi yap\u0131lar\u0131nda Memluklu ta\u015f i\u015f\u00e7ili\u011finin yan\u0131 s\u0131ra \u00f6zellikle Tebrizli sanat\u00e7\u0131lar\u0131n arac\u0131l\u0131\u011f\u0131yla Timurlu etkileri de girmi\u015ftir.<\/p>\n

Karaman\u2019daki \u0130brahim Bey \u0130mareti ile Konya Hasbey Dar\u00fclh\u00fcffaz\u0131\u2019n\u0131n kademeli sivri kemerlerle ku\u015fat\u0131lan ta\u00e7kap\u0131lar\u0131nda d\u0131\u015ftaki kemerin y\u00fczeyi d\u0131\u015f b\u00fckey silmelerle profillendirilmi\u015ftir. Kemerleri s\u00fcsleyen ve vurgulayan benzer profil d\u00fczenlemeleri Anadolu\u2019da \u015eaml\u0131 usta Havlano\u011flu Muhammed taraf\u0131ndan yap\u0131lan Konya Alaeddin Camii\u2019nin (1221) avlusundaki Anonim T\u00fcrbe\u2019nin (1220- 1237) ta\u00e7kap\u0131s\u0131 ku\u015fatma kemerinin y\u00fczeyi ile Ermenek Tol Medrese\u2019nin bas\u0131k kemerli kap\u0131s\u0131n\u0131n kemer i\u00e7 y\u00fczeyinde de bulunur (Levha 20- 21), (S\u00f6nmez, 1989: Resim. 108- 109). Silmelerle
\nbi\u00e7imlendirilen ve adeta dilim izlenimi yaratan bu profiller Kahire\u2019deki Baybars Camii (1266)\u2019nin kuzeybat\u0131 ta\u00e7kap\u0131s\u0131nda, Yubna Me\u015fhed Abu Huraira (1274) cephesindeki kemerlerin y\u00fczeyinde de uygulanm\u0131\u015ft\u0131r (Levha.22), (Meinecke, 1992: Tafel 8b,d).<\/p>\n

Karamano\u011fullar\u0131 d\u00f6nemine ait Aksaray\u2019daki Zinciriye Medresesi\u2019nin (1336- 1337) giri\u015f ve ana eyvan\u0131n\u0131n kemer k\u00f6\u015felikleri birbirlerine d\u00fc\u011f\u00fcmlenen ge\u00e7me motifleriyle bezenmi\u015ftir. \u00d6zellikle ana eyvan\u0131n kemer k\u00f6\u015feli\u011fini s\u0131n\u0131rlayan silmeler kemerin kilit ta\u015f\u0131 \u00fczerinde d\u00fc\u011f\u00fcmlenir. Kemer k\u00f6\u015feli\u011findeki kabaran\u0131n \u00e7evresinde alt\u0131gene d\u00f6n\u00fc\u015ferek devam eden bu silmeler yatay ve dikey olarak eklemlenen b\u00fcy\u00fck ve k\u00fc\u00e7\u00fck daireler ile
\ndamla bi\u00e7imli madalyonu ku\u015fatarak ge\u00e7me motifleri olu\u015fturur (Levha.23- 24), (Kuran, 1969: 219- 220, Resim.34; S\u00f6zen, 1970: 34- 39). Daha \u00e7ok birbirlerine d\u00fc\u011f\u00fcmlenen daire ve yar\u0131m dairelerle bi\u00e7imlenen bu ge\u00e7meler Suriye ve M\u0131s\u0131r\u2019da \u00f6zellikle Zengi-Eyyubi ve Memluklu d\u00f6nemlerinde yayg\u0131n olan ve en \u00e7ok tercih edilen bezemelerdir.<\/p>\n

Kahire\u2019deki Nas\u0131r Hasan Medresesi (1357- 1350) ve Halep Mankalibuga As-Samsi Camii (1362- 1363) mihraplar\u0131 d\u00fc\u011f\u00fcm ve ge\u00e7me motifli bezemeleri bu \u00f6rnekler aras\u0131ndad\u0131r (Meinecke, 1992: Tafel 66d, 77b; Eser 2000: 279- 280, Levha.128, 131). Ara\u015ft\u0131rmac\u0131lardan E. Herzfeld (1943: 57) Zengi d\u00f6neminde \u00f6zellikle Halep\u2019te bulunan neccarlar\u0131n ve abanoz ustalar\u0131n\u0131n varl\u0131\u011f\u0131na i\u015faret ederek karbasiye \/ k\u0131rlang\u0131\u00e7 ge\u00e7me olarak adland\u0131r\u0131lan i\u015fleri yapan ustalar\u0131n \u00e7ok \u00fcnl\u00fc olduklar\u0131n\u0131 belirtmektedir. Ayr\u0131ca
\n13.y\u00fczy\u0131lda Anadolu\u2019da \u00e7al\u0131\u015fan ve ad\u0131 bilinen bu sanat\u00e7\u0131lar\u0131n \u00e7o\u011funun Halepli oldu\u011funa da ayr\u0131ca dikkat \u00e7ekilmektedir (Eser, 2000: 146- 158).
\nKaramano\u011fullar\u0131 Beyli\u011fi eserlerinde Suriyeli sanat\u00e7\u0131lar\u0131n ad\u0131na rastlanmamakla birlikte e\u015f zamanl\u0131 di\u011fer beyliklerin yap\u0131lar\u0131 incelendi\u011finde, \u015eaml\u0131 sanat\u00e7\u0131lar\u0131n ad\u0131 ge\u00e7mektedir. Ayd\u0131no\u011fullar\u0131 d\u00f6neminde in\u015fa edilen Sel\u00e7uk \u0130sa Bey Camii\u2019nin (1374-1375) bat\u0131 cephesindeki ta\u00e7kap\u0131n\u0131n \u00fczerinde \u201cmimar Ali ibn M\u00fc\u015feyme\u015f el-D\u0131m\u0131\u015fk\u00ee\u201d ad\u0131 ge\u00e7mektedir ( \u0130nal, 1982: 85- 86; S\u00f6nmez, 1989: 347- 348). Kitabedeki \u201cM\u00fc\u015feyme\u015f\u201d ad\u0131 bu \u00f6rnek d\u0131\u015f\u0131nda 15. y\u00fczy\u0131lda in\u015fa edilen Amasya Beyaz\u0131t Pa\u015fa Camii (1414- 1419), Merzifon I. \u00c7elebi Mehmet Medresesi (1414- 1417) ve Ankara Karacabey \u0130mareti (1427- 1428) kitabelerinde de okunmaktad\u0131r (\u0130nal, 1982: 85- 86; S\u00f6nmez, 1989: 403-419). \u00d6rneklerden \u201cM\u00fc\u015feyme\u015f\u201d adl\u0131 \u015eaml\u0131 mimar\u0131n ailesinden ki\u015filerin yakla\u015f\u0131k 40 y\u0131l sonra Anadolu\u2019daki di\u011fer yap\u0131larda \u00f6zellikle Amasya \u00e7evresinde \u00e7al\u0131\u015fm\u0131\u015f olduklar\u0131 anla\u015f\u0131lmaktad\u0131r.3 Memluklu kaynaklar\u0131nda 14. y\u00fczy\u0131la ili\u015fkin yaln\u0131zca baz\u0131 meslek
\ngruplar\u0131na ait birliklerden s\u0131n\u0131rl\u0131 s\u00f6z edilirken, 16. y\u00fczy\u0131lda Kahire\u2019de yap\u0131 eyleminin devlet- sanat\u00e7\u0131- i\u015f\u00e7i birlikteli\u011fi ile merkezi olarak y\u00fcr\u00fct\u00fcld\u00fc\u011f\u00fc vurgulanmaktad\u0131r (Hanna, 1984: 7; Eser, 2000: 149).<\/p>\n

Karamano\u011fullar\u0131 d\u00f6nemi eserleri plan \u015femas\u0131 a\u00e7\u0131s\u0131ndan Sel\u00e7uklu d\u00f6nemi
\n\u00f6zelliklerini b\u00fcy\u00fck \u00f6l\u00e7\u00fcde yinelerken, \u00f6rneklerde minare, ta\u00e7kap\u0131, kemer, ni\u015f, kubbe, k\u00fclah gibi mimari \u00f6\u011felerin kurgu ve s\u00fcslemelerinde bir de\u011fi\u015fim g\u00f6r\u00fcl\u00fcr. Karaman Hatuniye\/ Melek Hatun Medresesi\u2019nin ta\u00e7kap\u0131 kurgusu b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Sel\u00e7uklu d\u00f6nemi \u00f6zelli\u011fi ta\u015f\u0131rken, bezeme dilinde bitkisel s\u00fcslemenin yo\u011funluk kazand\u0131\u011f\u0131 y\u00fczeyden olduk\u00e7a ta\u015fk\u0131n farkl\u0131 bir \u00fcslubun hakim olmas\u0131 bu de\u011fi\u015fimin \u00f6rnekleridir. Ermenek Tol ve Ni\u011fde Ak medreseleri gibi baz\u0131 \u00f6rneklerde ise ta\u00e7kap\u0131n\u0131n d\u0131\u015fa ta\u015fk\u0131n ve y\u00fcksek
\ntutularak cepheyle olan oran ili\u015fkisi de de\u011fi\u015fmi\u015ftir. Bu t\u00fcr ta\u00e7kap\u0131 d\u00fczenlemeleri dar ve y\u00fcksek olu\u015flar\u0131 a\u00e7\u0131s\u0131ndan Memluklu etkileri ta\u015f\u0131r.
\nKaramano\u011fullar\u0131 ile Memluklar\u0131n yakla\u015f\u0131k 200 y\u0131ll\u0131k (13. y\u00fczy\u0131l ortalar\u0131- 15.y\u00fczy\u0131l ortalar\u0131) s\u00fcre\u00e7 i\u00e7indeki siyasi ili\u015fkilerinin varl\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde; Karamanl\u0131 h\u00fck\u00fcmdarlar\u0131n\u0131n Memluklu sultanlar\u0131na tabi olmas\u0131, ad\u0131na hutbe okutup, sikke bast\u0131rmalar\u0131, Karaman Bey\u2019i Musa Bey\u2019in Kahire\u2019ye gitmesi, kar\u015f\u0131l\u0131kl\u0131 el\u00e7i g\u00f6nderilmesi ile siyasi ve sosyal ili\u015fkiler kurulmu\u015ftur. Bu ili\u015fkiler neticesinde Ermenek, Karaman, Konya, Ni\u011fde, Aksaray gibi yerle\u015fimlerde Memluklu sanat\u0131n\u0131 tan\u0131yan ve \u00f6yk\u00fcnen Karamanl\u0131 banilerin in\u015fa ettirdikleri yap\u0131larda Memluk etkisinin varl\u0131\u011f\u0131 do\u011fal bir sonu\u00e7tur. Anadolu, Suriye ve M\u0131s\u0131r aras\u0131ndaki siyasi, ekonomik ve k\u00fclt\u00fcrel ili\u015fkiler
\ntarihin her d\u00f6neminde oldu\u011fu gibi Beylikler d\u00f6neminde de mevcuttur. Bu ba\u011flamda, Karamano\u011fullar\u0131 ile \u00e7a\u011fda\u015flar\u0131 Memluklar aras\u0131nda siyasi, ekonomik ve k\u00fclt\u00fcrel ili\u015fkilerin devaml\u0131l\u0131\u011f\u0131 izlenmektedir.<\/span><\/p>\n


\nLevha 1- Ermenek Tol Medrese, ta\u00e7kap\u0131.<\/p>\n


\nLevha 2- Ni\u011fde Ak Medrese, ta\u00e7kap\u0131.<\/p>\n


\nLevha 3- Kahire Emir Ahmed el-Mihmandar Camii, ta\u00e7kap\u0131 (Meinecke 1992).<\/p>\n


\nLevha 4- Ermenek Tol Medrese, ta\u00e7kap\u0131, kemer ayr\u0131nt\u0131.<\/p>\n


\nLevha 5- Halep Bab-el Qinnasr\u0131n kap\u0131s\u0131, kemer ayr\u0131nt\u0131
\n(Meinecke 1992).<\/p>\n


\nLevha 6- Ermenek Tol Medrese, ta\u00e7kap\u0131, ikiz kemerli ni\u015f.<\/p>\n


\nLevha 7- \u015eam Adiliye Medresesi, ta\u00e7kap\u0131, ikiz kemerli ni\u015f (Herzfeld 1946).<\/p>\n


\nLevha 8- \u015eam K\u0131l\u0131ciye Medresesi ta\u00e7kap\u0131, ikiz kemerli ni\u015f
\n(Herzfeld 1946).<\/p>\n


\nLevha 9- Karaman Alaeddin Bey T\u00fcrbesi, dilimli k\u00fclah.<\/p>\n


\nLevha 10- Kahire Emir Salar ve Sancar al-Gauli T\u00fcrbesi,
\ndilimli kubbe (Meinecke 1992).<\/p>\n


\nLevha 11- Karaman Hac\u0131 Beyler Camii, Ta\u00e7kap\u0131, Kitabe.<\/p>\n


\nLevha 12- \u015eam Rukniye Medresesi, t\u00fcrbe penceresi ile Karaman Hatuniye Medresesi, do\u011fu cephe, kufi yaz\u0131lar\u0131 (Herzfeld 1946).<\/p>\n


\nLevha 13- Karaman \u0130brahim Bey \u0130mareti, ta\u00e7kap\u0131, ayr\u0131nt\u0131.<\/p>\n


\nLevha 14- Konya Ahmed Fakih T\u00fcrbesi, pencere, ayr\u0131nt\u0131.<\/p>\n


\nLevha 15- Kahire Nas\u0131r Hasan Medresesi, ta\u00e7kap\u0131, ayr\u0131nt\u0131. (Meinecke 1992)<\/p>\n


\nLevha 16- Karaman \u0130brahim Bey \u0130mareti, mihrap.
\n(\u0130stanbul Arkeoloji M\u00fczeleri, \u00c7inili K\u00f6\u015fk)<\/p>\n


\nLevha 17- Karaman \u0130brahim Bey \u0130mareti, mihrap ayr\u0131nt\u0131.<\/p>\n


\nLevha 18- Memluklu D\u00f6nemi, cam kandil
\n(Konya Mevlana M\u00fczesi, envanter no: 451).<\/p>\n


\nLevha 19- Memluklu D\u00f6nemi, cam kandil, ayr\u0131nt\u0131.<\/p>\n


\nLevha 20- Konya Alaeddin Camii, avlu, bitmemi\u015f t\u00fcrbe.<\/p>\n


\nLevha 21- Ermenek Tol Medrese, ta\u00e7kap\u0131, kemer, ayr\u0131nt\u0131.<\/p>\n


\nLevha 22- Kahire Baybars Camii, ta\u00e7kap\u0131 (Meinecke 1992).<\/p>\n


\nLevha 23- Aksaray Zinciriye Medresesi, ana eyvan.<\/p>\n


\nLevha 24- Aksaray Zinciriye Medresesi, ana eyvan, ayr\u0131nt\u0131.<\/p>\n

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1) <\/b>Bu makale \u00dcrd\u00fcn \/ Amman\u2019da 5-9 Ekim 2003 tarihinde yap\u0131lan XII. Uluslararas\u0131 T\u00fcrk Sanatlar\u0131
\nKongresi\u2019ne sunulan bildirinin geni\u015fletilmi\u015f \u015feklidir.
\n2)<\/b> Hasenkeyf\u2019deki bu yap\u0131lar baz\u0131 yay\u0131nlarda Eyyubi eserleri olarak tan\u0131t\u0131lm\u0131\u015ft\u0131r. Bkz. Ar\u0131k, 2003: 60-80 (Er-R\u0131zk
\nCamii), 170-180 (S\u00fcleyman Camii).<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Nermin Şaman Doğan Yrd. Doç. Dr., Hacettepe Üniversitesi, Edebiyat Fakültesi, Sanat Tarihi Bölümü Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 2006 \/ Cilt: 23 \/ Sayı: 1 \/ ss. 131-149 Özet Akdeniz çevresinde konumlanan Anadolu, Suriye ve Mısır tarih boyunca kültürel ilişkiler içindedir. Bu ilişkiler 13- 15. yüzyıllarda Karamanoğulları Beyliği ile Memluklar arasında da devam eder. 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