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    <pre style="white-space:pre-line"><code>OsmanlÄ± Mimarisi

                                                                                                                                                                                   HazÄ±rlayan: B. Serhat Cengiz

                                                                       Erken DÃ¶nem OsmanlÄ± Mimarisi
                                                                                ve TopkapÄ± SarayÄ±

    Boya, YapÄ± KimyasallarÄ±, Ä°zolasyon Dergisi / MayÄ±s - Haziran 2015  Erken DÃ¶nem OsmanlÄ± Mimarisi, Anadolu SelÃ§uklu sanatÄ±            lanan kubbeler, sÃ¼tÃ¼n veya ayaklar Ã¼zerinde oturtulmuÅŸ-
                                                                       ile Klasik OsmanlÄ± sanatÄ± arasÄ±nda bir geÃ§iÅŸ dÃ¶nemini ifa-       tur. Genel olarak ibadet mekanÄ±n Ã¼zeri kubbeyle Ã¶rtÃ¼lÃ¼dÃ¼r
                                                                       de etmektedir. Bu dÃ¶nem, OsmanlÄ± Devletinin kuruluÅŸuyla          ve bÃ¼tÃ¼nsel hacim etkisi yaratmaktadÄ±r.
                                                                       baÅŸlamÄ±ÅŸ, Ä°stanbulâ€™un fethiyle sona ermiÅŸtir.                    Ä°znik YeÅŸil Cami (1378), Ã‡andarlÄ± Halil PaÅŸa tarafÄ±ndan mi-
                                                                       Ä°stanbulâ€™un fethi, sadece OsmanlÄ± Devleti iÃ§in deÄŸil, dÃ¼nya      mar HacÄ± Musaâ€™ya yaptÄ±rÄ±lan bu eser, tek kubbeli Osman-
                                                                       tarihi iÃ§in de bir kÄ±rÄ±lma etkisi yaratacak nitelikte bir olay-  lÄ± camileri arasÄ±nda yer almaktadÄ±r. YapÄ±nÄ±n merkezinde di-
                                                                       dÄ±. DoÄŸal olarak bu kÄ±rÄ±lma etkisinin OsmanlÄ± Devletiâ€™nin        limli kubbe, yanlarda ise aynalÄ± tonoz yer almaktadÄ±r. Se-
                                                                       ekonomik, siyasi ve kÃ¼ltÃ¼rel alanlarÄ±nda olduÄŸu gibi, mi-        kizgen yÃ¼ksek bir kasnaÄŸa oturan bu dilimli kubbe, Ã¼Ã§ bÃ¶-
                                                                       mari alanda da Ã¶nemli bir yansÄ±masÄ± olduÄŸunu sÃ¶yleyebi-          lÃ¼mlÃ¼ son cemaat yerini Ã¶rtmektedir. Bir Ã¼st Ã¶rtÃ¼ sistemi
                                                                       liriz. TopkapÄ± SarayÄ± bu fetihten sonra inÅŸa edilmiÅŸ ve son-     olan tonoz, bir kemer gÃ¶zÃ¼nÃ¼n kesiksiz olarak devam edil-
                                                                       raki dÃ¶rt asÄ±r boyunca imparatorluÄŸun yÃ¶netim ve kÃ¼ltÃ¼rel        mesiyle elde edilir ve yarÄ±m silindir formundadÄ±r. AynalÄ±
                                                                       merkezi olma Ã¶zelliÄŸini sÃ¼rdÃ¼rmÃ¼ÅŸtÃ¼r.                            tonoz ise Ã¼st kÄ±smÄ±ndaki plaka ile diÄŸer tonoz tÃ¼rlerinden
                                                                       Ä°stanbul fethiyle birlikte OsmanlÄ± Mimarisiâ€™nde erken dÃ¶-        ayrÄ±lÄ±r. AynalÄ± tonoz, Erken DÃ¶nem OsmanlÄ± Mimarisiâ€™nde
                                                                       nem sona ermiÅŸ, yerini klasik dÃ¶nem mimari anlayÄ±ÅŸÄ± al-          sÄ±klÄ±kla kullanÄ±lmÄ±ÅŸtÄ±r.
                                                                       mÄ±ÅŸtÄ±r. Ancak klasik dÃ¶nemin etkisinin, Ä°stanbulâ€™un fethin-
                                                                       den Ã¶nce kendisini gÃ¶stermeye baÅŸladÄ±ÄŸÄ±nÄ± sÃ¶ylememiz
                                                                       yanlÄ±ÅŸ olmaz. Edirne ÃœÃ§ Åerefeli Cami ile baÅŸlayan merke-
                                                                       zi kubbe anlayÄ±ÅŸÄ± bundan sonraki dÃ¶nemlerde OsmanlÄ± mi-
                                                                       marisinin ana Ã§izgisini oluÅŸturmuÅŸtur.
                                                                       Erken DÃ¶nem OsmanlÄ± Mimarisi sÃ¼recinde, Ä°znik baÅŸta ol-
                                                                       mak Ã¼zere Bursa ve Edirneâ€™de birÃ§ok mimari eser inÅŸa edil-
                                                                       miÅŸtir. Bu eserler arasÄ±nda aÄŸÄ±rlÄ±kla camiler, yanÄ± sÄ±ra med-
                                                                       rese ve tÃ¼rbeler yer almaktadÄ±r.

                                                                       1. Camiler
                                                                       Erken DÃ¶nem OsmanlÄ± Mimarisi sÃ¼recinde inÅŸa edilen ca-
                                                                       miler dÃ¶rt ana gruba ayrÄ±lmaktadÄ±r. Bu gruplar planlarÄ±na
                                                                       gÃ¶re tek kubbeli camiler, ters T planlÄ± camiler, Ã§ok kubbeli
                                                                       camiler, merkezi kubbeli camiler olarak nitelendirilmekte-
                                                                       dir. OsmanlÄ± mimarisinin asli unsuru olan kubbeler, aslÄ±n-
                                                                       da toplu ve geniÅŸ bir mekan oluÅŸturma mantÄ±ÄŸÄ±na dayan-
32                                                                     maktadÄ±r. Merkezi, yarÄ±m, Ã§eyrek gibi farklÄ± formlarda tasar-    Ä°znik YeÅŸil Cami, FotoÄŸraf: Szoszv</code></pre>
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