Erzurum Caferiye Mosque and Its Calligraphies

Betül Akgönül Yıldız; Yunus Berkli

Makale detayları

Erzurum Caferiye Mosque and Its Calligraphies

Yazarlar:

Betül Akgönül Yıldız | Yunus Berkli

Yayıncı:

Ataturk University

Ana Başlıklar:

El Sanatları | Güzel Sanatlar

Dergi:

Art Time Issue 8, pp.1-11

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001343906

pISSN:

2791-9382

Anahtar kelimeler:

Özet:

 Islamic calligraphy, an important part of the rich artistic and cultural heritage of Islamic civilization, has not only conveyed the content of the text but also served to convey messages with deep meaning to its addressee through an aesthetic language. Islamic calligraphy, which is used in a wide range of areas such as Mushafs, plates and architectural works, has also gained a unique place in Turkish-Islamic architecture. More than just being a decorative element, calligraphy has strengthened the spiritual dimension of the architectural structure by giving meaning and identity to the space where it is written. Especially in mosques, calligraphy, which decorates the walls and domes, has created a visual place of worship that invites to worship, as well as contributing to the creation of a peaceful and profound atmosphere that appeals to the inner worlds of the worshippers. This function of calligraphy shows that in Islamic art, writing and architecture are intertwined and complement each other. In this way, religious and cultural values are expressed in an aesthetic way. Erzurum Caferiye Mosque, an Ottoman work dating back to the 17th century, is one of the mosques that houses remarkable examples of calligraphy art. Caferiye Mosque, built by Cafer Efendi in 1648, is a typical example of Ottoman architecture. The main dome of the mosque is supported by four half domes and its minaret has one balcony. Although there are studies on the mosques architecture and restoration, no comprehensive research has been done on the mosques calligraphies. In this study, the construction inscription in the mosque, the minbar-mihrab calligraphies, the calligraphies on the dome and window pediments were examined in detail in terms of Islamic calligraphy art.

 Islamic calligraphy, an important part of the rich artistic and cultural heritage of Islamic civilization, has not only conveyed the content of the text but also served to convey messages with deep meaning to its addressee through an aesthetic language. Islamic calligraphy, which is used in a wide range of areas such as Mushafs, plates and architectural works, has also gained a unique place in Turkish-Islamic architecture. More than just being a decorative element, calligraphy has strengthened the spiritual dimension of the architectural structure by giving meaning and identity to the space where it is written. Especially in mosques, calligraphy, which decorates the walls and domes, has created a visual place of worship that invites to worship, as well as contributing to the creation of a peaceful and profound atmosphere that appeals to the inner worlds of the worshippers. This function of calligraphy shows that in Islamic art, writing and architecture are intertwined and complement each other. In this way, religious and cultural values are expressed in an aesthetic way. Erzurum Caferiye Mosque, an Ottoman work dating back to the 17th century, is one of the mosques that houses remarkable examples of calligraphy art. Caferiye Mosque, built by Cafer Efendi in 1648, is a typical example of Ottoman architecture. The main dome of the mosque is supported by four half domes and its minaret has one balcony. Although there are studies on the mosques architecture and restoration, no comprehensive research has been done on the mosques calligraphies. In this study, the construction inscription in the mosque, the minbar-mihrab calligraphies, the calligraphies on the dome and window pediments were examined in detail in terms of Islamic calligraphy art.

 Islamic calligraphy, an important part of the rich artistic and cultural heritage of Islamic civilization, has not only conveyed the content of the text but also served to convey messages with deep meaning to its addressee through an aesthetic language. Islamic calligraphy, which is used in a wide range of areas such as Mushafs, plates and architectural works, has also gained a unique place in Turkish-Islamic architecture. More than just being a decorative element, calligraphy has strengthened the spiritual dimension of the architectural structure by giving meaning and identity to the space where it is written. Especially in mosques, calligraphy, which decorates the walls and domes, has created a visual place of worship that invites to worship, as well as contributing to the creation of a peaceful and profound atmosphere that appeals to the inner worlds of the worshippers. This function of calligraphy shows that in Islamic art, writing and architecture are intertwined and complement each other. In this way, religious and cultural values are expressed in an aesthetic way. Erzurum Caferiye Mosque, an Ottoman work dating back to the 17th century, is one of the mosques that houses remarkable examples of calligraphy art. Caferiye Mosque, built by Cafer Efendi in 1648, is a typical example of Ottoman architecture. The main dome of the mosque is supported by four half domes and its minaret has one balcony. Although there are studies on the mosques architecture and restoration, no comprehensive research has been done on the mosques calligraphies. In this study, the construction inscription in the mosque, the minbar-mihrab calligraphies, the calligraphies on the dome and window pediments were examined in detail in terms of Islamic calligraphy art.

 İslâm medeniyetinin zengin sanatsal ve kültürel mirasının önemli bir parçası olan hat sanatı, yalnızca metnin içeriğini aktarmakla kalmayıp, estetik bir dil ile muhatabına derin anlamlar taşıyan mesajlar iletme işlevi görmüştür. Mushaflar, levhalar ve mimari eserler gibi geniş bir alanda kullanılan hat sanatı, Türk-İslam mimarisinde de kendine özgü bir yer edinmiştir. Sadece dekoratif bir unsur olmaktan öte hat sanatı, yazıldığı mekâna anlam ve kimlik kazandırarak, mimari yapının manevi boyutunu güçlendirmiştir. Özellikle camilerde, duvar ve kubbeleri süsleyen hat sanatı, ibadete davet eden görsel bir ibadethane oluşturmanın yanı sıra, ibadet edenlerin iç dünyalarına hitap eden, huzurlu ve derinlikli bir atmosfer oluşturulmasına katkı sağlamıştır. Hat sanatının bu işlevi, İslam sanatında yazı ile mimarinin iç içe geçerek birbirini tamamladığını göstermektedir. Böylece dinî ve kültürel değerler estetik bir şekilde ifade edilmektedir. XVII. yüzyıl Osmanlı dönemi eseri olan Erzurum Caferiye Camii, hüsn-i hat sanatının kayda değer örneklerini barındıran camilerden biridir. Cafer Efendi tarafından 1648 yılında yaptırılan Caferiye Camii, Osmanlı mimarisinin tipik bir örneğidir. Caminin ana kubbesi, dört yarım kubbe ile desteklenmekte olup minaresi tek şerefelidir. Camii mimarisi ve restorasyonu hakkında çalışmalar mevcut olsa da caminin yazıları hakkında kapsamlı bir araştırma yapılmamıştır. Bu çalışmada, camide yer alan inşa kitabesi, minber-mihrap yazıları, kubbe ve pencere alınlıklarında yer alan yazılar hat sanatı bakımından detaylı olarak incelenmiştir.

Makale detayları

Erzurum Caferiye Mosque and Its Calligraphies

Yazarlar:

Betül Akgönül Yıldız | Yunus Berkli

Yayıncı:

Ataturk University

Ana Başlıklar:

El Sanatları | Güzel Sanatlar

Dergi:

Art Time Issue 8, pp.1-11

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001343906

pISSN:

2791-9382

Erzurum

Caferiye Mosque

Islamic calligraphy.

inscription

endowment: Erzurum

Caferiye Camii

hat sanatı

kitabe

vakfiye

Sayı

Makale detayları

Yazarlar: Betül Akgönül Yıldız | Yunus Berkli

Yayıncı: Ataturk University

Ana Başlıklar: El Sanatları | Güzel Sanatlar

Dergi: Art Time Issue 8, pp.1-11

Belge Tipi: Makale

Yayın Tarihi: 3/2025

Belge Dili: İngilizce

Document ID (Org No.): 2001343906

pISSN: 2791-9382

Sayı

Yazarlar:

Betül Akgönül Yıldız | Yunus Berkli

Yayıncı:

Ataturk University

Ana Başlıklar:

El Sanatları | Güzel Sanatlar

Dergi:

Art Time Issue 8, pp.1-11

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001343906

pISSN:

2791-9382