Aksaray Pertevniyal Valide Sultan Camisi ve Külliyesi
Aksaray Pertevniyal Valide Sultan Mosque and Complex
Yazar: ORHAN MERİÇ
Danışman: PROF. DR. AFİFE BATUR
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Tarihi Ana Bilim Dalı
Derece: Yüksek Lisans, 1997
Konu: Mimarlık = Architecture
Dizin: Aksaray Pertevniyal Valide Sultan Camisi = Aksaray Pertevniyal Valide Sultan Mosque ; Camiler = Mosques ; Mimarlık tarihi = Architectural history ; Osmanlı mimarisi = Ottoman architecture ; İstanbul-Aksaray = İstanbul-Aksaray

Özet:
Bu araştırmada 19.yüzyıl Osmanlı Mimarisi'nin ilginç; ilginç olmasına rağmen az bilinen örneklerinden biri olan Aksaray-Pertevniyal Valide Sultan Camii incelenmiştir. Yapı, Batı etkili ve Eklektisist karakterli 19.yüzyıl Osmanlı Mimarisi'nin en çarpıcı örneklerinden biridir. Bu yüzyılın Osmanlı Mimarisini daha yakından tanıyabilmek için kanımızca en iyi örneklerden biri, Pertevniyal Valide Sultan Camii'dir. Pek çok değişik mimari üslubu ve süsleme formunu bünyesinde barındıran yapı, adeta 19. yüzyıl mimarisini değerlendirebilmemizi sağlayan bir okul niteliğindedir. Bu nedenlerden ötürü, Pertevniyal Valide Sultan Camii bu çalışmanın konusu olarak belirlenmiştir. Araştırmamız sırasında yöntem olarak öncelikle yapı hakkındaki basılı kaynakların taranması yoluna gidilmiş; daha sonra özel kişi ve kuruluşlara ait arşivlerdeki orjinal belgeler incelenmiş ve son olarak ta yerinde yapılan alan araştırmaları sonucu elde edilen bulgular değerlendirilmiştir. Çalışmamızdan ortaya çıkan sonuçları şöyle özetleyebiliriz: Aksaray - Pertevniyal Valide Sultan Camii, 19.yüzyıl Eklektisist Osmanlı Mimarisinin en karakteristik örneklerinden biri olarak karşımıza çıkmaktadır. Yapının mimarı olarak her ne kadar Sarkis Balyan gösterilmekteyse de, mimar Agop Balyan ve dekoratör Pietro Montani'nin gerek planlamada gerekse süsleme detayları ndaki katkıları gözardı edilemez Camiinin kubbesi ve minareleri çıkarıldığında yapının adeta bir kasır veya saray gibi planlandığı ortaya çıkmaktadır. Benzer bir düzenlemeye yine Balyan Ailesi tarafından inşa edilmiş olan Yıldız - Hamidiye Camii'nde rastlanmaktadır. Bu noktadan yola çıkarak aslen saray ve kasır planları ile tanınan Balyan Ailesi tarafından inşa edilen camilerin de yukarıda bahsettiğimiz planlanlama anlayışı içerisinde yapıldığı düşünülebilir. Kanımızca bu görüş, başlıbaşına yeni bir araştırmanın konusu olmalıdır.

Abstract:
Pertevniyal Valide Sultan Mosque was built in 19th century in Aksaray by Sultan Abdülaziz's mother Pertevniyal Valide Sultan. This mosque appears to be one of the most successful and interesting religious constructions of last period Ottoman architectural style. The construction can be evaluated as a reflection in Ottoman architectural style, due to rapid changes in Europe after the Industrial Revolution. Rapid changes which was an unavoidable consequence of Industrial Revolution, completely altered their traditions, visions and production styles. But these horrifying speedy changes and automation that carries up with less laboureres but more production volumes brought anxiety in Western Societies: " What will be the place of human beings in this new rapidly developing technology and industry ? ". This worry soon changed into a reaction of " Desire to the past ". Reaction to this revolution expresses itself best in arts, especially in architecture which has monumental aspects. Although developing technologies let architects use new materials (like steel, iron) and new techniques (such as steel construction) they still prefered in the classical way such as Neo-gothic, Neo-classic, Renaissance, Baroque, Empire etc. By the end of the century a new approach was born which was the mixture of all above styles: Eclectisist Architecture. Another important architectural style that should be emphasized in this period is " Orientalism ". In search of an escape from the rapid changes that technology brought, Western societies turned their look to the Eastern civilization and culture which they believe that it did not change for centuries and has a stable structure. This mystic atmosphere of the East and magical atmosphere of 1001 Nights Tales is what the most wanted to have, and to xviiiachive this desire, most constructed buildings like Eastern palaces and mosques and continued their lives with Eastern dresses in these buildings. Of course, the response that is mentioned above is conscious and emerged tied to the conditions that result from the Industrial Revolution. Like the emerging of every new revolution, Industrial Revolution was in action in a very restricted area -Europe- first. But later it expanded through all other countries. One crucial point is that Ottoman Empire was not able to realize the Industrial Revolution completely. Except a few arrangements (opening of some factories from different industries, railways and schools which give education on some branches, such as engineering, military etc.) the other innovations were perceived and used by a few people which forms the elite part of the Ottoman Empire (Palace and peripheries, rich merchants, diplomats etc.) All these innovations were generally imitations of Europe and they were not used by all parts of Ottoman society. The best examples of these innovations which are tried to be brought to Ottoman Empire are seen on arts. In the 19th century, the art in Ottoman society, especially architecture, was on the control of foreign artists and architects. Howewer during this period, the members of Armenian Balian Family, worked as Ottoman Official Palace architects for years and years. So the Ottoman architecture which is highly dependent to Europe and controlled by foreign architects. Naturally Ottoman architecture was affected from some styles of European Art such as Eclectisism, Revialism, and Orientalism. In this way, Pertevniyal Valide Sultan Mosque which was built in 1871 in Aksaray appears to be an important example of last period Ottoman religious architectural style which was a mixture of two different styles, Western Eclectisism and Islamic Orientalism. At this point, we would like to introduce this interesting architectural construction Pertevniyal Valide Sultan Mosque and complex, subject to our research by brief explanations in each part. xixFirst, in introduction chapter, the reasons why we have chosen Aksaray - Pertevniyal Valide Sultan Mosque and complex as our research topic, although there have been many examples of Eclectisist architectural style which affected and was used in Ottoman architecture, will be mentioned. We also would like to emphasize social situation and influences of close Western relations in Ottoman society. Also in this part, limits, objectives and overall intentions of this research will be mentioned. In the second chapter, European socio-cultural situation in 19th century and effects of Industrial Revolution in European countries will be mentioned. Orientalism which have influenced 19th century European architectural style and which have some interesting examples in many of European countries (England, France etc.) will also be mentioned. In the third part, history of the Aksaray district and role of the mosque which has determineted Aksaray's city plan. Also in this part comprehension of the city planning before 1856 and after 1856 Aksaray Fire will be mentioned. Finally in this part, development and construction activities in the district which has determineted today's Aksaray's city plan. In the fourth part, original documents about construction costs of the Pertevniyal Valide Sultan complex and lifestory of the Pertevniyal Valide Sultan will be examined. This part includes two important sub-title about construction costs : Cami-i Şerif icmal Defterleri and Keşf-i Evvel Defterleri In the fifth chapter, architects of the Pertevniyal Valide Sultan Mosque will be mentioned. In the beginning, we have found three architects name about Pertevniyal Valide Sultan Mosque and complex in the written sources: Agop Balian, Sarkis Balian and Pietro Montani. In addition to these three names we can add an architect name according the some sources: Italian architect Cocifi. As this written sources brillant marble public fountain (sebil) which has located at the nortwest entrance of the mosque's courtyard built by Cocifi. Also in this part lifestories of the architects and their other buildings will be examined by using original documents. xxIn the sixth chapter, Valide Sultan Mosque will be examined under the following titles: Plan Characteristics, Outer Facades, Inner Facades, Other Units Of The Mosque, Mass Characteristics Of The Mosque and Other Buildings Of The Valide Sultan Complex. The general principles of the 19th century Ottoman mosque schemes will be examined in the Plan Characterestics section. In addition to, Main Residence and Sultan's pleasure house titles, whole plan characteristics of the mosque will be explained with separate detailed titles. Outer and Inner Facades chapters includes monumental facades of the mosques which has symmetric construction characteristics. In the Other Units Of The Mosque chapter, three entrance (Nortwest Entrance, Northeast Entrance and North Entrance) which has opened Valide Sultan Complex and other units ( public fountain -sebil- and fountain) will be examined according to structural and decorative characteristics. The most important architectural construction of this chapter is Nortwest Entrance of the complex and public fountain which were built as Islamic Orientalist style. The entrance and public fountain has a different architectural style from Pertevniyal Valide Sultan Mosque. The mosque has a Eclectisist style which has consists of Gothic, Byzantion and Eastern architectural islamic styles (like Ottoman Morocco, Maghrib, Tunis etc.) On the other hand, the entrance and public fountain consists of only Eastern islamic styles and classic Ottoman decoration elements. In Mass Characteristics chapter, minarets of the mosque will be examined according to construction and decoration specifications. In this part, construction materials and technics of the Valide Sultan Complex will be mentioned. In the Ornaments and Form Characteristics chapter, marble decoration elements (like mihrab, minbar and marble brace -mukamas-) of the mosque xxiand other buildings of the complex wiil be mentioned. Also in this part exaggerated drawing ornaments which has exist in the mosque's interior will be examined. In the Other Buildings Of The Valide Complex chapter, Pertevniyal Valide Sultan Tomb, fountain which has located in the mosque courtyard, Valide School and time - measurment house (muvakkithane) of the complex will be examined. In the seventh part, Valide Mosque and other Eclectisist buildings of the 19th centuries Ottoman architecture. In this part, Valide Mosque will be compared with these buildings: Laleli Mosque, Üsküdar-Selimiye Mosque, Nusretiye Mosque, Mecidiye Mosque, Dolmabahçe Mosque, Ortaköy Mosque, Yildiz-Hamidiye Mosque, Cihangir Mosque, Bab-Seraskeri Gate and Çırağan Palace. The conclusion part includes some important results and suggestions about Aksaray-Valide Sultan Mosque and 19th century Ottomane Architecture. First of the conclusion is that Aksaray Pertevniyal Valide Sultan Mosque is a building like an ecole that both requeries Western and Eastern Eclectisist architectural characterestics. The building reflects Western Eclectisism with it is Gothic tendency to rise the windows, the Byzantion dome and the Baroque ornament elements; at the same time reflects Eastern Eclectisism (Eastern Orientalism) with it is Indian corner tower and North Africa, Morocco, Tunisia etc. decoration elements. The second conclusion is, although Pertevniyal Valide Sultan Mosque is a religious building the usage of the separate pozitioning of the dome and the architecturals elements like broken framework gives us the hints that the building was planned very similar to profan architecture, it is quiter bizarre to see that the building turns into a kind of palace when you remove the dome. We can observe the same characteristics with the contemporary Eclectisist XXIIbuilding Yıldız-Hamidiye Mosque. When we examine these examples we discover a new religious architecture derived in the late 19th century which was much more flexible compare the classical Ottomane architecture. Of course the major causes of this new architecture is was Ottomane architecture including the courtartchitecture had been in the hands of Western architects for a while. The third and last conclusion; we come accross for different names who are Agop Balian, Sarkis Balian, Pietro Montani and Cocifi as the architects of the building. Howewer the real architects should be considered Agop and Sarkis Balian (from the famous Balian Family) even though Italian art-theorist and decorator Pietro's name is mentioned in most of the written sources it could only be stated that he was active in a little percentange of ornament details and decoration. There is even not a definite clue is a statement but in the book L 'Architecture Ottomane by Pietro Montani and Boghos Efendi for the 1873 Vienna Exhibition Montani's ornament details show great similarities to Valide Mosque ornaments. Another reason for us to think this is the close friendship between the Montani and the Balian Family members. It is known that Montani attended to the meetings at Agop Balian's house where different ideas all arts was discussed. For this reason it can be sad that Montani participated to the architect of the Valide Mosque.