Scopus İndeksli Yayınlar Koleksiyonu

Permanent URI for this collectionhttps://hdl.handle.net/20.500.12514/3596

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Citation - WoS: 9
Citation - Scopus: 17
The cathedral complex at Nisibis
(CAMBRIDGE UNIV PRESS, 2013) Keser Kayaalp, Elif; Erdoğan, Nihat; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
The cathedral complex at Nisibis sits within what is currently a large excavation site. The excavations, continuing on and off over the last 12 years, have yielded exciting discoveries. This article is not a report of the excavations as such, but, in the light of them, it revisits the cathedral complex in an attempt to reconstruct the possible cathedral on the site and to establish the building phases of the only standing structure on the site, known as the 'Church of Mor Yaqub', which was the baptistery of the cathedral.
Citation - WoS: 2
Citation - Scopus: 2
The Church of Virgin at Amida and the Martyrium at Constantia: Two Monumental Centralised Churches in Late Antique Northern Mesopotamia
(Mersin University, 2013) Keser-Kayaalp, E.; Keser Kayaalp, Elif; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
Late Antique Northern Mesopotamia, which was situated at the eastern edge of the Byzantine Empire, was dotted with important cities such as Edessa (Urfa), Anastasiopolis (Dara), Amida (Diyarbakir), Martryropolis (Silvan), Constantia (Viranşehir) and Nisibis (Nusaybin). These cities were wealthy and highly cosmopolitan. As a result, the region had a sophisticated architecture which was by no means inferior to that found in other parts of the Byzantine Empire. This article deals with two monumental centralised churches in Northern Mesopotamia, namely the Church of the Virgin at Amida and the Octagon at Constantia. It concentrates firstly on the Church of the Virgin, which is an aisled-tetraconch church, a familiar plan type repeated in different parts of the Empire, and secondly on the Octagon at Constantia which has some unique features but shares the ambulatory design, long eastern chamber, use of materials and the monumentality with the aisled-tetraconch at Amida. By contextualising these two churches together, which has not been done in the past, this paper sheds further light on these neglected structures and reconsiders their reconstructions, dating, dedications and possible prototypes.
Diyarbakır’da Osmanlı Dönemi Şehir-İçi Hanları Üzerine Değerlendirme
(2015) Yeşilbaş, Evindar; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
Our research is about Diyarbakir's architectural features and the city's busy trade potential between the period of the Ottoman rule of Diyarbakir and the Republican term. It was found that there were 25 caravansaries that were known their name in Diyarbakir until the period of Ottoman. Only four of these caravansaries reached completely or partially up to now; when it comes to the location, only nine of them could be identified by archival documents; there was no information about the other structures except their names. The planning, the external mass, the internal appearance and the material used in these architectures remain connected with the Ottoman tradition, but they mainly exhibit regional characteristics. According to our data, all the inns which we identified their planning styles, were built by doing some user spaces around a courtyard. The flat roofs with wooden girder, the crib with a dome, mirrored and cross vaults were applied variations. The dome transitions were provided by squinches. Diyarbakir trade buildings were mostly made of dark basalt stone in cutting method as well as white or yellowish lime that were ordered alternatively. It was concluded that the structures had decoration styles exhibiting characteristics of their period to a certain extent. The simple decoration style away from exaggeration was in floral, geometric, and partly written arrangements. It was found that in Diyarbakir which has a rich architecture with numerous and different types of structures, several buildings were built by state for the progress of trade in both regional and international trade network in reliable ways and stable conditions; however, some of these structures lost their essential features because of several damages, unconscious interventions and some additions while some others were neglected.
Diyarbakır'da su mimarisi üzerine bir değerlendirme
(2012) Yeşilbaş, Evindar; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
Anadolu’nun uygarlaşması diyebileceğimiz dönem içinde, çeşitli yerleşim alanlarında ve güzergâhlar üzerinde çok sayıda su yapısı inşa edilmiştir. Söz konusu eserlerin bir bölümü bazı nedenlerden dolayı günümüze kadar ulaşamamıştır. Günümüze ulaşan eserlerin tümünün değerlendirilmediğini de söylemek gerekir. Diyarbakır il merkezinde yer alan su yapılarının mimari özelliklerini genel hatları ile değerlendirmeyi kapsayan çalışmada tarihi taş köprü, hamam ve çeşme yapıları incelenmiştir. Yapılan incelemelerde toplam 42 adet su yapısı (Köprü, Hamam, Çeşme) tespit edilmiştir. Bu yapı ların mimari özellikleri tanıtılmaya çalışılırken fotoğraf ve çizimlerden yararlanılmıştır.
An Evaluation of Water Architecture in Diyarbakir
(Turkish Historical Society, 2012) Yeşilbaş, Evindar; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
During the period of the civilisation of Anatolia, many water constructions were built on some settlements and routes. For various reasons, some of those constructions haven't survived up to today. Also, some that survive haven't been evaluated and treated well. In the attempt of introducing the architectural features of these constructions were constructed at the centrum of the city includes rock bridges, hammams (Turkish bath) and fountains, As a result of investigations, 42 water constructions (rock bridges, hammams, fountains) in sum were detected. In the attempt of introducing the architectural features of these constructions, photos and drawings were benefited.
Citation - WoS: 1
Evaluation on Khans of the Ottoman Period in Diyarbakir
(Turkish Historical Society, 2015) Yeşilbaş, Evindar; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
Our research is about Diyarbakir's architectural features and the city's busy trade potential between the period of the Ottoman rule of Diyarbakir and the Republican term. It was found that there were 25 caravansaries that were known their name in Diyarbakir until the period of Ottoman. Only four of these caravansaries reached completely or partially up to now; when it comes to the location, only nine of them could be identified by archival documents; there was no information about the other structures except their names. The planning, the external mass, the internal appearance and the material used in these architectures remain connected with the Ottoman tradition, but they mainly exhibit regional characteristics. According to our data, all the inns which we identified their planning styles, were built by doing some user spaces around a courtyard. The flat roofs with wooden girder, the crib with a dome, mirrored and cross vaults were applied variations. The dome transitions were provided by squinches. Diyarbakir trade buildings were mostly made of dark basalt stone in cutting method as well as white or yellowish lime that were ordered alternatively. It was concluded that the structures had decoration styles exhibiting characteristics of their period to a certain extent. The simple decoration style away from exaggeration was in floral, geometric, and partly written arrangements. It was found that in Diyarbakir which has a rich architecture with numerous and different types of structures, several buildings were built by state for the progress of trade in both regional and international trade network in reliable ways and stable conditions; however, some of these structures lost their essential features because of several damages, unconscious interventions and some additions while some others were neglected.
Identity and style: Armenian-ottoman churches in the nineteenth century
(Brill, 2014) Wharton, Alyson; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
[No abstract available]
Materiality of Mehmet II Smelling A Rose Based on Gentile Bellini’s Painting with Cultural Perspective
(Art-Sanat Dergisi, 2020) Batuhan Tekin, Tuğba; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
Bu makale, Sinan Bey veya Şiblizade Ahmed tarafından Gentile Bellini’nin resmine dayanarak yapılan Fatih Sultan Mehmet’in tablosunu ele almaktadır. Bu sanat eserleri Fatih Sultan Mehmet’i, farklı malzeme ve stiller kullanmalarına rağmen aynı açıdan göstermektedir. Fatih Sultan Mehmet Konstantinopolis’in Fatihi olarak resmedilmekle birlikte, bu resimler Osmanlı kültürel kavramlarını da içermektedir. Makalede, belirli Batı sanatı öğelerinin, Sultan’ın Konstantinopolis üzerindeki gücünü tasvir etmek için geleneksel Türk sanat imgeleriyle nasıl bir araya getirildiğini de göstermeye çalışmaktadır. Fatih Sultan Mehmet’in yer aldığı bu iki tabloda, Sultan’ın bir saray ressamı ve bir yabancı ressam tarafından farklı yönleri tasvir edilmektedir. Burada, her iki ressamın da sahip oldukları kültürel bilinci ve izlenimi resimlerine aktardıkları görülmektedir. Gentile Bellini ve Şiblizade Ahmed, benzer sanatsal eserler ortaya çıkarmış olsalar da Fatih Sultan Mehmet’i kendi kültürel çerçeveleri içinde farklı bakış açısıyla sunmaktadırlar. Ek olarak, bu makale yabancı bir sanatçının yerel bir ressama nasıl ilham kaynağı olduğunu da göstermektedir. Ayrıca, iki resim sanatçıların kullanıldıkları nesnelere ve özelliklere dayanarak açıklanmıştır. Sonuç olarak, bu çalışma her iki resmin kendi sahip olduğu uzun süreli bellek ve farklı sosyal, kültürel ve tarihsel bakış açıları içinde düzenlendiğine işaret etmektedir.
Two Squares Examples In The Light Of Gnosticism, Rose-Cross And Theosophy: "Dark Darkness" (Robert Fludd) And "Black Square" (Kazimir Malevich);
(Istanbul Universitesi, 2019) Şahin, Okan; 02.11. Department of History of Art / Sanat Tarihi Bölümü; 02. Faculty of Letters / Edebiyat Fakültesi; 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
The picture without the subject in Art History defined as Kazimir Malevich's "Black Square" is the discipline of work reveals a different dimension of Modernism. Non-figurative paintings understanding with the termination Naturalism also has the world's transition to the real world has been well supersense tool. This trend indicators on abstract or geometric form as the picture has changed as the transmission of new reality. As a result of this, Malevich's 'Black Square' is the work of artist's known, as the presentation of the opinion that the transfer of metaphysics with his own artistic language. And when viewed from the angle of historical continuity world's supersense geometric form as 'square' transmission through the shape of the fact that much before the 20thCentury is discussed on another continent, but rather with a similar worldview. British occultist, mystic, alchemist, science and art dealing at the same time hermetic established in the understanding of light who grew up with the teachings depends on the Rose-Cross school, Robert Fludd, which performs as an illustration in 1617 "Dark Darkness" is a black square sample in the study was transferring his vision of the occult World. In this study those two names who lived different centuries also different geography but the same geometrical form and the same color preference transmits the view of supersense, because of that transfer offers through frames on Gnosticism, Rose-Cross School and Theosophy terms also art history discipline in the light will be described in the context Pre-Modernism and Modernism. © 2019 Celestinesca. All rights reserved.

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