Muhafazakâr Tutumun Estetik Sorunsalı Bağlamında Çağdaş Cami Mimarisi | Modern Mosque Architecture in Relation to Conservative Attitude’s Aesthetic Problematic
| Autor: | Bülent ORAL |
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| Jazyk: | angličtina |
| Rok vydání: | 2020 |
| Předmět: | |
| Zdroj: | Sanat Tarihi Dergisi, Vol 29, Iss 2, Pp 489-519 (2020) |
| ISSN: | 2636-8064 1300-5707 |
| Popis: | In this article, recent developments and factors that influenced this about religional approaches and rituels to mosque architecture are mentioned whislt analysing these structures. Factors affecting the structures are concentrated in three concepts. Factors affecting the structures are Modernism, Eclecticism and Mimesis. After structures are classified, the creation process and factors that influenced their architectural development are analysed altogether. These factors are formed according to economical, psychological, socio-political factors. Structures in this study are classified through a specific perspective. Their concurrent and dessociated characteristics are also analysed. Assesments in this article show that almost all of the structures are influenced by a common sentimental base. This thought aims to create neccessary base to make religional rituals happen. However, the religional structures in this era seem as expressions of views beyond basic concerns or symbols that look for their answers within. In modern architecture based structures, artist-architect identity come to forefront. In modern and classical architecture based (eclectic) structures, modern conservative crisis come to forefront. In Classical architecture based structures, traditional architectural practices are determinant that almost ignore a specific era’s history (1700-2000) and political power is determinant. Modern architecture based structures are seen, mostly, in semiautonomous or autonomous institutions’ mosque constructions. In these constructions, it is often seen that the architect’s artistic identity is determinant. Yeşil Vadi and Sancaklar Mosques are examples to this. Effects of the Directorate of Religious Affairs, Municipalities, Universities and etc. are great on intersection and disintegration points of the constructions that modern and classical architecture are used altogether. Directorate of Religious Affairs steps forth among these institutions. It does not rules out modernism completely even though it stands off the modern architectural lines during mosque planning and its implementation stages. Along with the notion of not denying modernism, commitment to Classical Period Ottoman Architecture is very much strong. However, in structures, reflection of modern and classical architecture aggregation on structure lines is pretty dramatic. This situation presents especially the trapped position of the societies with high religious sensitivity or of religious institutions between Modernism and Classicism as well. It is possible to express this with concept of modern conservative crisis and Ankara Ahmet Hamdi Akseki Mosque and Kulliyah/Complex (2008-2013) are good examples to this. Structures based on Classical Ottoman Period usually have approach nourishing by a conservative perception and they have Classical Period architectural lines including mosque and other structures built with mosque generally in kulliyah/complex institution. In all of the structures and in their all details, classical period architectural understanding is applied as copied completely. This kind of structures based on Classical Ottoman Period Architectural understanding are order-like religious architectural structures that political power directly involved in both planing and application. The most attractive example of this understanding is based on only Classical Ottoman Period (1500-1700) and reflects the architectural lines that has the notion of fitting the society between given dates is Üsküdar Çamlıca Kulliyah/Complex (2013-2019). This understanding also somehow ignores the following periods. Along with this, Islam thinkers known with their conservative art perspective writings have significant differences such as Seyyid Hüseyin Nasr’s radical traditionalism and Turgut Cansever’s conservative perspective. Even though both thinkers have Islam based perspectives, their different interpretation regarding art is because Nasr was raised in a sheria governed state whilst Cansever was raised in a secular one. That has become the main reason of their distinction. This situation appears clearly in all of his writings. Today, the understanding that affects religious structures based on Classical Ottoman Period seem closer to Nasr’s perspective. In conclusion, even though the structures based on modern architecture especially after 2000s in our religious architecture are parallel to developments in architectural history; structures applied both modern and classical architecture were mostly built by articulation of styles in architectural history without synthesizing. In this situation, both in structures based on modern and classical architecture together and in structured only based on classical architecture, specific problematics stand out. However, in mosques based on classical period, eclectic style that aims to point out religious tone or to elevate it, is especially chosen predicating specific date range on. ||| TR: Bu makalede dini yaşamın merkezinde yer alan, ritüellerin gerçekleştirildiği ve güçlü bir temsile sahip cami mimarisinde yakın dönemde ortaya çıkan gelişmeler ve bunları etkileyen faktörler, incelenen yapılar üzerinden irdelenmiştir. Yapılara etki eden faktörler Modernizm, Eklektizm ve Mimesis’tir. Bu üç etkenden sonra yapıların gerçekleştirilmesi sürecine ve mimari gelişimine etki eden sosyo-siyasal, ekonomik ve psikolojik unsurlar birlikte irdelenmiştir. Bu çalışmada ele alınan yapılar belirli bir perspektifle gruplandırılmış, yapıların birbiri ile kesişen ve ayrışan özellikleri ele alınmıştır. Yapıların gerçekleştirilmesi sürecinde hemen hepsinin ortak bir düşünce zemininden etkilendiği anlaşılmaktadır. Bu, dini ritüellerin gerçekleştirilmesi için gerekli zemini yaratmayı amaçlayan düşüncedir. Ancak bu dönemde gerçekleştirilen yapılar işlevselliğinin ötesinde düşünsel olarak belirli bir amaca yönelen, böylece belirli bir perspektifte ele alınan simgeler olarak karşımıza çıkmaktadır. Modern mimarinin baz alındığı yapılarda sanatçı mimar kimliğin öne çıktığı, modern ve klasik mimarinin birlikte baz alındığı (eklektik) yapılarda çağdaş muhafazakâr bunalım olarak tabir ettiğimiz sorunsalların öne çıktığı, klasik mimarinin baz alındığı yapılarda ise siyasal tarihimizin belirli bir dönemine ait (1700-2000) siyasal ve mimari dönüşümlerin adeta görmezden gelinmesinin belirleyici olduğu geleneksel mimari uygulamaların öne çıktığı görülmektedir. |
| Databáze: | OpenAIRE |
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