| Tez Künye | Durumu | ||
| İslam sanatlarında taht sahneleri, taht sahnelerini oluşturan ögeler üzerine incelemeler (2 cilt) / Yazar:MİNAKO YAMANLAR (MIZUNO) Danışman: PROF.DR. NURHAN ATASOY Yer Bilgisi: İstanbul Üniversitesi / Sosyal Bilimler Enstitüsü Konu:Sanat Tarihi = Art History Dizin:Hükümdar = Kingship ; Taht sahneleri = Throne stages ; İslam sanatı = Islamic art | Onaylandı Doktora Türkçe 1994 93 s. | ||
| 84 ÖZET İslam sanatında Taht sahneleri: İslam taht sahnelerini simgeleri olan elemanlar üzerine bir araştırma. Taht sahneleri bir çok konu yönünden incelenebilir. Taht sahneleri saray hayatını, protokulunu, hükümdarların adetlerini ve hatta onların sanata duydukları ilgilerini ortaya koyan çok önemli ve ilginç bir çok yönünü ortaya koyar. Tezin içindekileri başlıca şu konuları içerir: I. Bölüm: İslamda “Taht”, “Arş”, “Kürsü” ve “Minber” ve “Taht” kavramları. II. Bölüm: 9.-15. yüzyıllardan başlıca taht sahnelerini kronolojik tasviri. III. Bölüm: İslam taht sahnelerinin kompozisyonları ve bunları karakterize eden elemanların ikonografisi. Bu tezde İslam taht sahnelerini karakterize eden elemanlar açıklanmaya çalışılmıştır. Bu elemanlar ki sadece taht sahnelerini karakterize etmekle kalmazlar aynı zamanda gene} olarak İslam dünyasında estetik davranışı da yansıtırlar. İslam taht sahnelerini karakterize eden elemanlar burada dört bölümde çalışılmıştır: Birincisi kompozisyon, ikincisi hükümdarlar, üçüncüsü tahtın kendisi ve sonuncusu da refakatçılar. Taht sahnelerinin kompozisyonları arasında en karakteristik davranışın, tahtların tabiat ile ilişkili olarak yerleştirilmiş tahtlardır denebilir. Hükümdarlar açık hava hayatını severlerdi, bundan dolayı taht genellikle bahçeye yerleştirilmiş olarak tasvir edilmiştir. Tahtın oda içine yerleştirildiği durumlarda ise arkasındaki bir pencereden dışarıdaki manzaranın görülebileceği bir yere yerleştiriliyorlardı. Doğa ile birlikte, bilhassa ağaç ve çiçekli bahçe ile birlikte tasvir edilmiş bu taht sahneleri İslam taht sahnelerinde en yaygın olanıdır. Hükümdarların en belirgin pozlarının bir ellerinde mendil tutarak, diğer ellerinde kadeh olmasıdır denebilir. Bu pozda, hükümdarlar özellikle mendil tuttukları ellerini dizleri üzerine koyarlar ki bu da İslam taht sahnelerinde hükümdarın kudretini sembolize eder.- 87 – The throne scenes which are depicted with nature especially with gardens, trees and flowers are very common in the Islamic throne scenes. About the rulers, we can say that the most outstanding attitude is the poses of the rulers, handling handkerchief and holding cup. Specially in the pose where the rulers hold a handkerchief and put the hand on the knee, characterizes the Islamic throne scene which are symbol of the might of the sovereign. On the developments of the forms of thrones we can trace of the influences from Chinese and Central Asian arts and cultures. The thrones scenes in Islamic world have developed very much in the llhands and Timurids periods under the Mongol cultures. Not only the form of the throne, but the symbolic decorations used in the throne scenes also have been influenced byChinese arts. Dragon, Chintemani and cloud motifs are the typical examples which have been brought from China or Central Asia with thrones and another furnitures or goods. Concerning attendants, it is said that the most characteristic attendant in the throne scenes is the cupbearer. From the earliest times, the cupbearers who offer the drink to the rulers can be found in every field of art. We can understand that the offering drink is one of the most important behaviour among the courtly customs. Iconographical studies of the throne scenes also manifest the Chinese influences which were the important elements for formation of the Islamic arts. It is known that the origins of many motifs came from Chinese art. Through the iconografic studies of the throne scenes we can see how and how much the Chinese arts have been adapted by the Islamic arts. | |||
| 86 THE SUMMARY The throne scenes in the Islamic Art: A study of the elements which characterize the Islamic throne scenes The throne scenes can be studied for many subject. The throne scenes manifest many interesting and important matters to understand the lives in courts, the protocols, the customs of the rulers and even the interest of the rulers in arts. The contents of the thesis are briefly as follows; I. Chapter: the terms of ‘taht’, ‘arş’, ‘kürsü’ and ‘minber’ and the conceptions of throne in Islam. II. Chapter: the chronological descriptions of the throne scenes mainly from 9th until 1 5th centuries. III. Chapter: the compositions of the throne scenes and the iconographies of the elements which characterize the Islamic throne scenes. In this thesis I have tried to explain the elements which characterize the Islamic throne scenes. Those elements are not only typical in the throne scenes but also reflects the aesthetic attitudes of the Islamic world in general. The elements which characterize the Islamic throne scenes are studied here in four chapters; the first is the compositions, the second is the rulers, the third is the throne itself, and the last is the attendants. Among the compositions of the throne scenes the most characteristic attitude could be said that the thrones are settled in the relation with the nature. The rulers liked outside life, thus the throne oftenly settled in the garden. Even in the case of that the thrones are settled in the room, the outside views are shown through the windows.- 87 – The throne scenes which are depicted with nature especially with gardens, trees and flowers are very common in the Islamic throne scenes. About the rulers, we can say that the most outstanding attitude is the poses of the rulers, handling handkerchief and holding cup. Specially in the pose where the rulers hold a handkerchief and put the hand on the knee, characterizes the Islamic throne scene which are symbol of the might of the sovereign. On the developments of the forms of thrones we can trace of the influences from Chinese and Central Asian arts and cultures. The thrones scenes in Islamic world have developed very much in the llhands and Timurids periods under the Mongol cultures. Not only the form of the throne, but the symbolic decorations used in the throne scenes also have been influenced byChinese arts. Dragon, Chintemani and cloud motifs are the typical examples which have been brought from China or Central Asia with thrones and another furnitures or goods. Concerning attendants, it is said that the most characteristic attendant in the throne scenes is the cupbearer. From the earliest times, the cupbearers who offer the drink to the rulers can be found in every field of art. We can understand that the offering drink is one of the most important behaviour among the courtly customs. Iconographical studies of the throne scenes also manifest the Chinese influences which were the important elements for formation of the Islamic arts. It is known that the origins of many motifs came from Chinese art. Through the iconografic studies of the throne scenes we can see how and how much the Chinese arts have been adapted by the Islamic arts. | |||