{"id":2257,"date":"2017-11-11T20:41:22","date_gmt":"2017-11-11T17:41:22","guid":{"rendered":"http:\/\/www.yeryuzundebirkacadim.com\/?p=2257"},"modified":"2024-08-19T13:56:46","modified_gmt":"2024-08-19T10:56:46","slug":"sultanahmet","status":"publish","type":"post","link":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/2017\/11\/11\/sultanahmet\/","title":{"rendered":"Sultanahmet"},"content":{"rendered":"

29 N\u0130SAN-1\u00a0MAYIS 2017 \u0130STANBUL SULTANAHMET GEZ\u0130S\u0130<\/strong><\/p>\n

\u00a0<\/strong>\u0130zmir K\u00fclt\u00fcr ve Sanat Derne\u011fi olarak bir gezide daha birlikteyiz.<\/p>\n

Cuma gecesi \u0130zmir\u2019den hareket eden midib\u00fcs\u00fcm\u00fcz 29 Nisan 2017 sabah\u0131 \u0130stanbul\u2019a var\u0131yor.<\/p>\n

<\/p>\n

29 Nisan 2017 Cumartesi<\/strong><\/p>\n

Ey\u00fcp Sultan Cami ve T\u00fcrbesi<\/strong><\/p>\n

Sabah ilk \u00f6nce Ey\u00fcp Sultan Hazretleri’ni ziyaret i\u00e7in Ey\u00fcp Sultan Camisi\u2019ne gidiyoruz.<\/p>\n

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Ey\u00fcp Sultan Cami, \u0130stanbul\u2019da Ey\u00fcp semtinde Hali\u00e7 k\u0131y\u0131s\u0131nda bulunuyor. Cami olmas\u0131n\u0131n \u00f6tesinde kutsal bir ziyaret yeridir.<\/p>\n

Ey\u00fcp Sultan Hazretleri (Hz. Halid bin Zeyd Ebu Eyyub el-Ensari), hicret s\u0131ras\u0131nda herkesin Hz. Muhammed\u2019i (S.A.S.) evinde a\u011f\u0131rlamak istedi\u011fi zaman, peygamberimizin devesi Kusva\u2019n\u0131n evinin \u00f6n\u00fcnde diz \u00e7\u00f6kmesi ile bu \u015ferefe nail olan sahabedir. Hz. Muhammed\u2019in (S.A.S.) s\u00f6ylemi\u015f oldu\u011fu \u201c\u0130stanbul elbette fetholunacakt\u0131r; onu fetheden kumandan ne g\u00fczel kumandan, onu fetheden asker ne g\u00fczel askerdir\u201d m\u00fcjdesine nail olabilmek i\u00e7in doksanl\u0131 ya\u015flar\u0131nda olmas\u0131na ra\u011fmen at \u00fczerinde \u0130stanbul ku\u015fatmas\u0131na kat\u0131lm\u0131\u015ft\u0131r. \u0130stanbul\u2019da vefat etmi\u015f ve defnedilmi\u015ftir.\u00a0 Ey\u00fcp Sultan Hazretleri\u2019nin kabrinin yerinin tespit edilmesi ise 1453\u2019de \u0130stanbul\u2019un fethi ile m\u00fcmk\u00fcn olabilmi\u015ftir.<\/p>\n

Gezilen tarihi yerler; estetik g\u00fczelliklerinin yan\u0131 s\u0131ra ya\u015fanm\u0131\u015fl\u0131klar\u0131 olan, ruhlar\u0131 olan mekan ve yap\u0131lard\u0131r. Bu nedenle buralar\u0131 gezerken o d\u00f6nemin tarihini ve\/veya menk\u0131be, rivayetlerini bilmek mekanlar\u0131 hissetmemizi, onlara dokunmam\u0131z\u0131 sa\u011flar.<\/p>\n

Rivayet odur ki;<\/p>\n

Fatih, fetihten hemen sonra Ey\u00fcp Sultan’\u0131n kabrinin bulunmas\u0131n\u0131 ister ve bunu hocas\u0131 Ak \u015eemsettin\u2019e s\u00f6yler.\u00a0 Ak\u015femsettin g\u00f6rd\u00fc\u011f\u00fc r\u00fcya \u00fczerine Ey\u00fcp Sultan civar\u0131na geldi\u011finde bir nur g\u00f6r\u00fcr. Orada koyunlar\u0131n\u0131 otlatmakta olan bir \u00e7obana sordu\u011funda, koyunlar\u0131n\u0131n hi\u00e7 orada otlamad\u0131klar\u0131n\u0131 hep etraf\u0131ndan doland\u0131klar\u0131n\u0131 \u00f6\u011frenir ve buran\u0131n kabir yeri oldu\u011funu anlar. Kabrin yerini belirlemek i\u00e7in, ba\u015f ve ayak ucuna iki \u00e7\u0131nar fidan\u0131 dikerek padi\u015faha haber verir. Hocas\u0131n\u0131n sezgilerinden emin olmak isteyen Sultan, Silahtara\u011fa’y\u0131 yan\u0131na \u00e7a\u011f\u0131rarak, dikilen fidanlar\u0131n yerlerinin de\u011fi\u015ftirmesini ve s\u00f6k\u00fclen yere kendi y\u00fcz\u00fc\u011f\u00fcn\u00fcn b\u0131rak\u0131lmas\u0131n\u0131 emreder. Ertesi g\u00fcn, bir k\u0131s\u0131m devlet erkan\u0131 ile olay yerine gelen padi\u015fah, Ak\u015femsettin\u2019den kabir yerini kendisine g\u00f6stermesini ister. Ak\u015femsettin hi\u00e7 teredd\u00fct etmeden ilk buldu\u011fu yere gider ve \u00e7\u0131nar fidanlar\u0131n\u0131n dikili oldu\u011fu yere bakmaks\u0131z\u0131n \u201cKabrin yeri buras\u0131d\u0131r\u201d der. \u0130nanc\u0131n\u0131 peki\u015ftirmek isteyen Padi\u015fah’\u0131n, \u201cEmin misin hocam?\u201d diye \u00fcstelemesi \u00fczerine, Sultan’\u0131n ku\u015fkusunu hisseden Ak\u015femsettin \u201cElbette eminim, toprak i\u00e7inde bir y\u00fcz\u00fck g\u00f6r\u00fcyorum, ama iki kula\u00e7 derinde de mezar ta\u015f\u0131 g\u00f6r\u00fcyorum\u201d der. Ak\u015femsettin\u2019in tarif edildi\u011fi yer kaz\u0131l\u0131nca \u00f6nce y\u00fcz\u00fck \u00e7\u0131kar. Ard\u0131ndan da kabirden \u201cHaza kabri Halit \u0130bn-i Zeyd\u201d yaz\u0131l\u0131 bir mermer \u00e7\u0131kar. Olay kar\u015f\u0131s\u0131nda t\u00fcm \u015f\u00fcphesi yok olan Padi\u015fah, fidanlar\u0131 ger\u00e7ek yerine diktirmek ister. Ancak Ak\u015femsettin, \u201cB\u0131rak\u0131n, yerinde kals\u0131n. Oras\u0131 da kutsal bir mahaldir. Eyy\u00fcp El Ensari orada gasledilmi\u015ftir\u201d der.
\n\u0130\u015fte o \u00e7\u0131narlar, Ey\u00fcp Sultan Cami i\u00e7 avlusunda bulunan, Evliya \u00c7elebi’nin de seyahatnamesinde bahsetti\u011fi \u00e7\u0131narlard\u0131r. \u00c7\u0131narlardan bug\u00fcn sadece bir tanesi ayaktad\u0131r. Di\u011ferinin 1915-1916’da y\u0131k\u0131ld\u0131\u011f\u0131 tahmin edilmektedir. Evliya \u00c7elebi, \u00e7\u0131narlardan \u015f\u00f6yle bahseder: “…\u00a0Avlusunun \u00fc\u00e7 taraf\u0131 odalarla s\u00fcsl\u00fcd\u00fcr. Ortas\u0131nda cemaat maksuresi vard\u0131r. Bu maksure ile Eba Ey\u00fcp mezar\u0131 aras\u0131nda g\u00f6klere ba\u015f uzatm\u0131\u015f iki \u00e7\u0131nar vard\u0131r ki, cemaat g\u00f6lgesinde ibadet eder…”<\/p>\n

Kabrin bulunmas\u0131ndan sonra burada \u0130stanbul\u2019un ilk k\u00fclliyesi yap\u0131l\u0131r (1456) ve kabir i\u00e7in bir de t\u00fcrbe in\u015fa edilir. Daha sonra Ey\u00fcp Sultan Hazretleri\u2019ne duyulan sayg\u0131 nedeniyle t\u00fcm padi\u015fahlar\u0131n k\u0131l\u0131\u00e7 ku\u015fanma t\u00f6renleri Ey\u00fcp Sultan T\u00fcrbesi\u2019nde ger\u00e7ekle\u015ftirilir. Zamanla \u00f6nemli ki\u015filerin de buraya g\u00f6m\u00fclmesi ile (Necip Faz\u0131l, Fevzi \u00c7akmak, Be\u015fir Fuad, Ahmet Ha\u015fim, Ziya Osman Saba, Sokullu Mehmet Pa\u015fa) etraf\u0131 mezarl\u0131klarla dolan k\u00fclliye, \u0130stanbul i\u00e7in \u00f6nemli bir inan\u00e7 merkezi olmu\u015ftur. G\u00fcn\u00fcm\u00fczde s\u00fcnnet olacak \u00e7ocuklar\u0131n buraya getirilmesi de bir gelenek haline getirilmi\u015ftir.<\/p>\n

Zaman i\u00e7erisinde iyice harap olan camiyi III. Selim minareleri ve temelleri hari\u00e7 tamamen y\u0131kt\u0131r\u0131r ve yeniden yapt\u0131r\u0131r. 1798\u2019de ba\u015flay\u0131p iki sene s\u00fcren yap\u0131m \u00e7al\u0131\u015fmalar\u0131 sonunda ise cami g\u00fcn\u00fcm\u00fczdeki halini al\u0131r.<\/p>\n

Ey\u00fcp Sultan Cami, \u015fimdiki haliyle 18. y\u00fczy\u0131lda yap\u0131lmas\u0131na ra\u011fmen d\u00f6nemin camilerinden farkl\u0131d\u0131r. 18 metre \u00e7ap\u0131ndaki merkez kubbe, alt\u0131 s\u00fctun ve iki fil aya\u011f\u0131 \u00fczerinde y\u00fckselir. \u0130\u00e7 s\u00fcslemeleri olduk\u00e7a sadedir.<\/p>\n

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T\u00fcrbe sekiz k\u00f6\u015feli olup tek kubbelidir.<\/p>\n

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\u00d6\u011fle yeme\u011finden sonra Galata Mevlevihanesine gidiyoruz.<\/p>\n

Galata Mevlevihanesi\u00a0M\u00fczesi<\/strong><\/p>\n

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Beyo\u011flu\u2019nda \u0130stiklal Caddesi\u2019nin bir ucunda, T\u00fcnel Meydan\u0131’nda Galip Dede Caddesi\u2019nden a\u015fa\u011f\u0131ya do\u011fru inmeden hemen Galata Mevlevihanesi M\u00fczesi’nin tarihi c\u00fcmle kap\u0131s\u0131 g\u00f6r\u00fclebilir. Osmanl\u0131 d\u00f6neminde Galata veya Kule Kap\u0131s\u0131 Mevlevihanesi, Galip Dede Tekkesi adlar\u0131yla an\u0131lm\u0131\u015f olan Mevlevihane, 1481 y\u0131l\u0131nda kurulmu\u015f olan \u201cGalata\u00a0 Saray\u0131 Enderun Mektebi\u201d ile birlikte Beyo\u011flu\u2019ndaki en \u00f6nemli Osmanl\u0131 eserlerindendir. Galata Mevlevihanesi, II. Bayezid d\u00f6neminde 1491’de Afyon Mevlevihanesi \u015eeyhi Divane Mehmed Dede taraf\u0131ndan \u0130skender Pa\u015fa\u2019n\u0131n Galata\u2019daki arazisi \u00fczerinde kurulan \u0130stanbul\u2019un ilk Mevlevihanesidir.<\/p>\n

\n
\u201cK\u00fc\u00e7\u00fck K\u0131yamet\u201d ad\u0131 verilen 1509 \u0130stanbul depreminden etkilenen Mevlevihane yap\u0131lar\u0131 17. y\u00fczy\u0131l ba\u015f\u0131ndan itibaren\u00a0bir\u00e7ok onar\u0131m ve yenilemeler ge\u00e7irerek b\u00fcy\u00fck bir k\u00fclliye halini alm\u0131\u015ft\u0131r.<\/div>\n
1925 y\u0131l\u0131nda 677 say\u0131l\u0131 Kanun ile tekkeler kapat\u0131ld\u0131ktan sonra fonksiyonu\u00a0sona eren Mevlevihane\u2019nin Semahane binas\u0131 bir s\u00fcre 35. \u0130lk Mektep olarak kullan\u0131ld\u0131ktan\u00a0sonra, 2 Ekim 1946 tarihli Bakanlar Kurulu Karar\u0131 ile m\u00fcze olmas\u0131 i\u00e7in Maarif Vekaleti \u2019ne\u00a0devredilmi\u015ftir. Bu arada kullan\u0131lmayan Matbah-\u0131 \u015eerif, Harem Dairesi, Semahane\u00a0giri\u015findeki iki t\u00fcrbe ve Dervi\u015f Odalar\u0131n\u0131n bir k\u0131sm\u0131n\u0131n oldu\u011fu ah\u015fap yap\u0131lar\u00a0kullan\u0131lmad\u0131\u011f\u0131ndan y\u0131k\u0131lm\u0131\u015ft\u0131r.<\/div>\n
M\u00fcze olmas\u0131 i\u00e7in Topkap\u0131 Saray\u0131 M\u00fczesi M\u00fcd\u00fcrl\u00fc\u011f\u00fc\u2019ne ba\u011flanmas\u0131na ra\u011fmen Semahane binas\u0131 bir s\u00fcre lojman olarak kullan\u0131lm\u0131\u015f, K\u00fclt\u00fcr M\u00fcste\u015far\u0131 Mehmet \u00d6NDER\u2019in \u00e7abalar\u0131yla 1967\u20131975 y\u0131llar\u0131 d\u00fczenlemelerinden sonra 27\u00a0Aral\u0131k 1975 g\u00fcn\u00fc \u201cDivan Edebiyat\u0131 M\u00fczesi\u201d<\/strong> olarak ziyarete a\u00e7\u0131lm\u0131\u015ft\u0131r.<\/div>\n
2005-2009 y\u0131llar\u0131nda\u00a0Vak\u0131flar Genel M\u00fcd\u00fcrl\u00fc\u011f\u00fc taraf\u0131ndan Semahane binas\u0131n\u0131n restorasyonu\u00a0ger\u00e7ekle\u015ftirilmi\u015ftir. M\u00fcze olarak yeniden fonksiyon kazanmas\u0131 \u0130stanbul 2010 Avrupa\u00a0K\u00fclt\u00fcr Ba\u015fkenti Ajans\u0131 katk\u0131lar\u0131yla olmu\u015ftur. AKBA\u2019n\u0131n katk\u0131lar\u0131yla 2009-2011 y\u0131llar\u0131\u00a0aras\u0131ndaki \u00e7al\u0131\u015fmalarla Said Efendi T\u00fcrbesi, \u015eeyh Galip T\u00fcrbesi, Sebilk\u00fcttab binalar\u0131\u00a0restore edilmi\u015ftir. Semahane binas\u0131nda ger\u00e7ekle\u015fen M\u00fcze Te\u015fhir Tanzim ve \u00c7evre\u00a0D\u00fczenlemesi \u00e7al\u0131\u015fmalar\u0131yla m\u00fcze fonksiyonu kazanm\u0131\u015f olan Galata Mevlevihanesi 21 Kas\u0131m 2011<\/strong> g\u00fcn\u00fc\u00a0 \u00e7a\u011fda\u015f m\u00fczecilik anlay\u0131\u015f\u0131yla yeniden ziyarete a\u00e7\u0131lm\u0131\u015ft\u0131r.<\/div>\n
M\u00fcze kartla girilebilmektedir.<\/div>\n
Bah\u00e7ede \u015eeyh Galip T\u00fcrbesi ve Halet Efendi T\u00fcrbeleri ziyarete a\u00e7\u0131lm\u0131\u015ft\u0131r.<\/div>\n
Semahane<\/strong><\/div>\n
Giri\u015f b\u00f6l\u00fcm\u00fcnde yer al\u0131r.<\/div>\n<\/div>\n
Dervi\u015f Odalar\u0131\u00a0<\/strong><\/div>\n
Giri\u015f kattad\u0131r.\u00a0M\u00fczenin ana konusu Dervi\u015f odalar\u0131nda anlat\u0131lmaktad\u0131r. Sufilik ve tarikatlar ile ba\u015flanan bu b\u00f6l\u00fcm Son Mevleviler konusuyla sona ermektedir.
\nDervi\u015f odalar\u0131n\u0131n orta meydan\u0131nda vitrin i\u00e7inde G\u00fclabdan ve kandil sergilemeleriyle, oturma gruplar\u0131, m\u00fczenin tarihinin anlat\u0131ld\u0131\u011f\u0131 sinevizyon g\u00f6sterisi, mekan\u0131n duvarlar\u0131nda hat levhalar\u0131, Mevlevihane\u2019nin eski foto\u011fraflar\u0131, T\u00fcrkiye ve D\u00fcnya Mevlevihaneleri haritalar\u0131 mevcuttur.<\/div>\n
Mahfiller\u00a0<\/strong><\/div>\n
\u00dcst kattad\u0131r.\u00a0M\u00fcze koleksiyonundaki di\u011fer eserler sergilenmektedir.
\nOsmanl\u0131 d\u00f6neminde yabanc\u0131lar\u0131n Mevlevihane’yi ziyaretlerinde Sema t\u00f6renlerini izledi\u011fi b\u00f6l\u00fcm olan Ecnebiler Mahfili duvarlar\u0131nda Adolphe Jean-Baptiste Bayot ve Emedeo Preziosi\u2019nin Galata Mevlevihanesi\u2019ni resmettikleri grav\u00fcrleri ve Hans Christian Andersen\u2019in Mevlevihane’yi ziyaretinden sonra izlenimleri bulunmaktad\u0131r.<\/div>\n
<\/div>\n
\u00a0Buradan \u00e7\u0131k\u0131\u015fta Galata Kulesi’ne de \u00e7\u0131kal\u0131m dedik amma kuyru\u011fu g\u00f6r\u00fcnce vazge\u00e7tik.<\/div>\n
<\/div>\n
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Ava giden avlan\u0131r:)<\/p>\n

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Buradan Karak\u00f6y’e kadar y\u00fcr\u00fcy\u00fcp bir kafede denizi seyrederken \u00e7ay\u0131m\u0131z\u0131 i\u00e7iyoruz.<\/p>\n

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Ard\u0131ndan otelimizin oldu Sirkeci’ye geliyoruz. Amisos butik otel. Her odas\u0131 farkl\u0131 renkte ve klasik tarzda d\u00f6\u015fenmi\u015f \u015firin bir otel. Konum itibar\u0131 ile de Sultanahmet gezisi i\u00e7in m\u00fckemmel.<\/p>\n

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Odalara yerle\u015ftikten sonra d\u0131\u015far\u0131ya at\u0131yoruz kendimizi. Sultanahmet Meydan\u0131’n\u0131 gece seyredece\u011fiz.<\/p>\n

Alemdar caddesinden yukar\u0131 \u00e7\u0131karken yol \u00fczerinde million ta\u015f\u0131n\u0131 g\u00f6r\u00fcyoruz.<\/p>\n

Million Ta\u015f\u0131<\/strong><\/p>\n

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Do\u011fu Roma \u0130mparatorlu\u011fu’nda Konstantinopolis \u015fehrine ula\u015fan t\u00fcm antik Roma yollar\u0131n\u0131n ba\u015flang\u0131\u00e7 noktas\u0131 ve d\u00fcnya \u00fczerindeki di\u011fer \u015fehirlerin bu \u015fehre uzakl\u0131\u011f\u0131n\u0131n hesaplanmas\u0131nda kullan\u0131lan s\u0131f\u0131r noktas\u0131d\u0131r. \u0130lk yap\u0131ld\u0131\u011f\u0131nda d\u00f6rt y\u00f6ne bakan bir kap\u0131 ve bu noktada kesi\u015fen yollar\u0131n \u00fczerine y\u00fckselen, d\u00f6rt s\u00fctun \u00fczerine oturmu\u015f bir kubbeden olu\u015fuyormu\u015f.<\/p>\n

16. y\u00fczy\u0131lda \u0130stanbul’a su ta\u015f\u0131yan kemerlerin geni\u015fletme\u00a0\u00e7al\u0131\u015fmalar\u0131 esnas\u0131nda y\u0131k\u0131l\u0131p ortadan kaybolmaya ba\u015flad\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcyor.<\/p>\n

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30 Nisan 2017 Pazar<\/strong><\/p>\n

Ayasofya M\u00fczesi<\/strong><\/p>\n

Uluslararas\u0131 K\u00fclt\u00fcr Miras\u0131m\u0131z Ayasofya<\/p>\n

Evvelinde bir Artemis tap\u0131na\u011f\u0131 iken 3 kere Romal\u0131lar taraf\u0131ndan yap\u0131lan, Latin istilas\u0131 g\u00f6ren, Bizansl\u0131lar taraf\u0131ndan restore edilen ve \u0130stanbul fethinden itibaren restore edilip ilaveler yap\u0131larak bug\u00fcnk\u00fc haline getirilen muhte\u015fem mabed. Kilisenin ve caminin \u00f6tesinde bir yap\u0131. \u00dczerindeki her el izinde tarihin okundu\u011fu \u015faheser.<\/p>\n

Ayasofya; Ortodoksluk mezhebinde Tanr\u0131’n\u0131n \u00fc\u00e7 niteli\u011finden biri say\u0131lan kutsal bilgelik demek.<\/p>\n

Ayasofya;\u00a0D\u00fcnyan\u0131n en eski katedralidir.<\/p>\n

Yap\u0131ld\u0131\u011f\u0131 d\u00f6nemden itibaren yakla\u015f\u0131k bin y\u0131l boyunca (1520\u2019de \u0130spanya\u2019daki Sevilla Katedrali\u2019nin in\u015faat\u0131 tamamlanana dek) d\u00fcnyan\u0131n en b\u00fcy\u00fck katedrali \u00fcnvan\u0131na sahip olmu\u015f.<\/p>\n

D\u00fcnyan\u0131n en h\u0131zl\u0131 -5 y\u0131lda- in\u015fa edilmi\u015f katedralidir.<\/p>\n

D\u00fcnyan\u0131n en uzun s\u00fcreyle (15 y\u00fczy\u0131l) ibadet yeri olmu\u015f yap\u0131lar\u0131ndan biridir.<\/p>\n

Kubbesi \u201ceski katedral\u201d kubbeleri aras\u0131nda \u00e7ap\u0131 bak\u0131m\u0131ndan d\u00f6rd\u00fcnc\u00fc b\u00fcy\u00fck kubbe say\u0131lmaktad\u0131r.<\/p>\n

\u00c7ok defa yap\u0131l\u0131p y\u0131k\u0131lm\u0131\u015f. Y\u0131k\u0131m\u0131 da hep Hristiyanlar\u0131n elinden olmu\u015f.<\/p>\n

Birinci Ayasofya:\u00a0<\/strong>Eski bir Artemis Tap\u0131na\u011f\u0131 \u00fczerine in\u015fa edilmi\u015f. \u0130n\u015faas\u0131; Hristiyanl\u0131\u011f\u0131 imparatorlu\u011fun resmi dini ilan eden Roma \u0130mparatoru B\u00fcy\u00fck Konstantin taraf\u0131ndan ba\u015flat\u0131lm\u0131\u015f ve 360 y\u0131l\u0131nda<\/strong> o\u011flu II. Konstantin taraf\u0131ndan tamamlanm\u0131\u015ft\u0131r. Buras\u0131 tamamlanana kadar bug\u00fcnk\u00fc m\u00fczenin kuzeyinde bulunun Aya \u0130rini Kilisesi in\u015fa edilmi\u015f ve kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Mimari olarak bazilika (uzun yap\u0131l\u0131) tarz\u0131nda ve ah\u015fap \u00e7at\u0131l\u0131 yap\u0131lm\u0131\u015f.<\/p>\n

404’te \u0130mparatorun e\u015fi y\u00fcz\u00fcnden Patri\u011fin s\u00fcr\u00fclmesinin ard\u0131ndan \u00e7\u0131kan isyanlarda kilise yak\u0131larak b\u00fcy\u00fck \u00f6l\u00e7\u00fcde tahrip edilmi\u015f.<\/p>\n

Bu yap\u0131dan g\u00fcn\u00fcm\u00fcze ula\u015fan bir kal\u0131nt\u0131 bulunmamaktad\u0131r.<\/p>\n

\u0130kinci Ayasofya: 415 y\u0131l\u0131nda<\/strong>\u00a0\u0130mparator Theodosius ilk kilisenin kal\u0131nt\u0131lar\u0131 \u00fczerine benzer mimaride tekrar bir kilise yapt\u0131rm\u0131\u015f.<\/p>\n

Bu yap\u0131 532\u2019de\u00a0“Nika Ayaklanmas\u0131<\/strong>” s\u0131ras\u0131nda yak\u0131l\u0131p y\u0131k\u0131lm\u0131\u015ft\u0131r.\u00a0\u0130stanbul\u2019un en kanl\u0131 isyan\u0131d\u0131r.<\/p>\n

Sultanahmet Meydan\u0131 eski zamanlarda At Meydan\u0131 yani \u201cHipodrom\u201d olarak adland\u0131r\u0131l\u0131rd\u0131. Bu mekan \u00e7ok \u00f6nceleri Bizans\u2019ta at yar\u0131\u015flar\u0131na ev sahipli\u011fi yapar ve yar\u0131\u015f g\u00fcnleri koca bir \u015fehrin kalbi burada atard\u0131. Maviler ve Ye\u015filler olarak iki \u00f6nemli tak\u0131m mevcuttu. Bu iki grubun rekabeti \u00e7o\u011fu zaman kontrolden \u00e7\u0131kar ve \u00e7at\u0131\u015fmalara d\u00f6n\u00fc\u015f\u00fcrd\u00fc. Maviler muhafazakar \u00fcst s\u0131n\u0131f\u0131 , Ye\u015filler ise alt gelirli halk\u0131 temsil ediyordu. Bizans halk\u0131 i\u00e7in bu tak\u0131mlar\u0131n bir par\u00e7as\u0131 olmak o kadar \u00f6nemliydi ki tuttuklar\u0131 tak\u0131m\u0131n renkleri g\u00fcnl\u00fck k\u0131yafet se\u00e7imlerini bile etkilerdi.<\/p>\n

D\u00f6nemin imparatoru J\u00fcstinyen mavi tak\u0131m taraftar\u0131 idi ve bunu her yar\u0131\u015fta belki de bir imparator i\u00e7in a\u015f\u0131r\u0131ya ka\u00e7an heyecan\u0131 ile belli etmekten hi\u00e7 ka\u00e7\u0131nm\u0131yordu..<\/p>\n

Yine b\u00f6yle bir yar\u0131\u015f sonras\u0131 \u201cMavi-Ye\u015fil\u201d sloganlar\u0131 yerini J\u00fcstinyen\u2019e hakaretler ve \u2018zafer\u2019 anlam\u0131na gelen \u201cNika !”ya b\u0131rakm\u0131\u015ft\u0131. S\u00fckunetini korumaya \u00e7al\u0131\u015fan J\u00fcstinyen karga\u015fan\u0131n ciddi ve tehlikeli boyutlara gelmesiyle heyetiyle birlikte Hipodrom’u terketti. \u0130mparatorun Hipodrom’u terketmesiyle Mavi ve Ye\u015fil gruplar g\u00fc\u00e7lerini birle\u015ftirmi\u015f ve zengin muhitlerini, \u00e7ar\u015f\u0131lar\u0131n\u0131, Aya \u0130rini ve Aya Sofya dahil olmak \u00fczere ya\u011fmalam\u0131\u015f, ayaklanmay\u0131 \u00e7ok b\u00fcy\u00fck bir kaos haline getirmi\u015ftir. G\u00f6z\u00fc d\u00f6nen isyanc\u0131lar \u00fcst s\u0131n\u0131f\u0131n sa\u011fl\u0131k merkezi olan Sampson Hastanesi’ni i\u00e7indeki hastalar ile yakm\u0131\u015ft\u0131r. \u015eehirdeki bu b\u00fcy\u00fck kaos Anadolu yakas\u0131na ciddi bir g\u00f6\u00e7e sebep olmu\u015ftur.<\/p>\n

J\u00fcstinyen bu ayaklanman\u0131n bast\u0131r\u0131lamayaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcp ka\u00e7maya kadar verir, hazine toplan\u0131r ve gemiler haz\u0131rlan\u0131r. Bu s\u0131rada ayaklanman\u0131n ba\u015f\u0131ndan beri sessizli\u011fini koruyan Bizans \u0130mparatorlu\u011fu’nun en h\u0131rsl\u0131 \u0130mparatori\u00e7esi olarak bilinen Theodora belki de bu tarihi olay\u0131n bir katliama neden olmas\u0131na sebep olan me\u015fhur konu\u015fmas\u0131n\u0131 yapar. Ve bu konu\u015fma sonras\u0131 \u0130mparator, kalmaya karar verir.<\/p>\n

\u0130syan bast\u0131r\u0131l\u0131r. 30 bin ki\u015fi \u00f6ld\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Ancak ard\u0131nda y\u0131k\u0131k d\u00f6k\u00fcp harap bir \u015fehir b\u0131rakm\u0131\u015ft\u0131r. Bu ayaklanman\u0131n sadece bir yar\u0131\u015f an\u0131nda ate\u015flenmedi\u011fi \u00e7ok a\u00e7\u0131kt\u0131r. J\u00fcstinyen\u2019in otoriter ve adaletsiz y\u00f6netim anlay\u0131\u015f\u0131 bu isyan\u0131n temelini olu\u015fturur. Hatta imparatorluk yanl\u0131s\u0131 Maviler bile bu tutum kar\u015f\u0131s\u0131nda Ye\u015filler ile g\u00fc\u00e7 birli\u011fi yapm\u0131\u015ft\u0131r.<\/p>\n

1935\u2019te binan\u0131n bat\u0131 avlusunda (bug\u00fcnk\u00fc giri\u015f k\u0131sm\u0131nda) Alman Arkeoloji Enstit\u00fcs\u00fc taraf\u0131ndan y\u00fcr\u00fct\u00fclen kaz\u0131larda bu \u0130kinci Ayasofya\u2019ya ait bir\u00e7ok buluntu ele ge\u00e7irilmi\u015ftir. Ayr\u0131ca kaz\u0131lar, \u0130kinci Ayasofya\u2019n\u0131n zemininin \u00dc\u00e7\u00fcnc\u00fc Ayasofya\u2019n\u0131n zemininden iki metre daha a\u015fa\u011f\u0131da oldu\u011funu ortaya koymu\u015ftur. Kaz\u0131lara, \u015fimdiki binada \u00e7\u00f6kmelere neden olabilece\u011fi nedeniyle devam edilmemi\u015ftir.<\/p>\n

Konstantinopolis Patri\u011fi’nin Patrik Kilisesi ve Ortodoks Kilisesi’nin\u00a0bin y\u0131l boyunca merkezi olan Ayasofya, 1054 y\u0131l\u0131nda Patrik I. Mikhail Kiroularios’un\u00a0Papa IX. Leo taraf\u0131ndan afaroz\u00a0edilmesine \u015fahitlik etmi\u015ftir. Bu olay Schisma<\/strong>‘n\u0131n\u00a0yani Do\u011fu ve Bat\u0131 kiliselerinin ayr\u0131lmas\u0131n\u0131n<\/strong> ba\u015flang\u0131c\u0131 say\u0131l\u0131r.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc Ayasofya:\u00a0<\/strong>\u0130kinci Ayasofya\u2019n\u0131n 532\u2019de y\u0131k\u0131m\u0131ndan birka\u00e7 g\u00fcn sonra imparator I. Justinyen\u00a0\u00f6ncekinden t\u00fcm\u00fcyle farkl\u0131, daha b\u00fcy\u00fck ve kendisinden \u00f6nce gelenlerin\u00a0yapt\u0131rd\u0131klar\u0131 kiliselerden \u00e7ok daha g\u00f6rkemli bir kilise in\u015fa ettirmeye karar verdi. J\u00fcstinyen bu i\u015fi yapacak mimarlar\u00a0olarak fizik\u00e7i Miletli \u0130sidoros\u00a0ile matematik\u00e7i Trallesli Anthemius’u\u00a0g\u00f6revlendirdi. Anthemius daha in\u015faat\u0131n ilk y\u0131l\u0131nda \u00f6ld\u00fc\u011f\u00fcnden i\u015fi \u0130sidoros s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr.<\/p>\n

\u0130n\u015faatta kullan\u0131lacak malzemeleri \u00fcretmek yerine, imparatorluk topraklar\u0131nda yer alan yap\u0131 ve tap\u0131naklardaki yontulmu\u015f haz\u0131r malzemelerden yararlanmak yoluna gidilmi\u015ftir.\u00a0Bu y\u00f6ntem, Ayasofya\u2019n\u0131n in\u015fa s\u00fcresinin 5 y\u0131l gibi \u00e7ok k\u0131sa olmas\u0131n\u0131 sa\u011flayan etkenlerdendir. B\u00f6ylece binan\u0131n yap\u0131m\u0131nda Efes’teki Artemis Tap\u0131na\u011f\u0131’ndan,\u00a0M\u0131s\u0131r\u2019daki G\u00fcne\u015f Tap\u0131na\u011f\u0131\u2019ndan, L\u00fcbnan’daki Baalbek Tap\u0131na\u011f\u0131’ndan\u00a0ve daha bir\u00e7ok tap\u0131naktan getirtilen s\u00fctunlar kullan\u0131lm\u0131\u015ft\u0131r. Bu s\u00fctunlar\u0131n alt\u0131nc\u0131 y\u00fczy\u0131l\u00a0olanaklar\u0131yla nas\u0131l ta\u015f\u0131nabildi\u011fi ilgin\u00e7 bir konu olu\u015fturmaktad\u0131r. Kaplama ve s\u00fctunlarda kullan\u0131lan renkli ta\u015flardan k\u0131rm\u0131z\u0131 porfir M\u0131s\u0131r,\u00a0ye\u015fil porfir Yunanistan, beyaz mermer Marmara Adas\u0131, sar\u0131 ta\u015f Suriye\u00a0ve kara ta\u015f \u0130stanbul\u00a0k\u00f6kenlidir.\u00a0Ayr\u0131ca Anadolu\u2019nun \u00e7e\u015fitli y\u00f6relerinden gelen ta\u015flar kullan\u0131lm\u0131\u015ft\u0131r.\u00a0\u0130n\u015faatta on binden fazla ki\u015finin \u00e7al\u0131\u015ft\u0131\u011f\u0131 belirtilir. \u0130n\u015faat sonunda Ayasofya Kilisesi g\u00fcn\u00fcm\u00fczdeki halini alm\u0131\u015ft\u0131r.<\/p>\n

Ayasofya mimari y\u00f6nden incelendi\u011finde orta nef denilen b\u00fcy\u00fck bir orta mekan, kuzey ve g\u00fcneyde yer alan iki yan nef, do\u011fu ucunda yer alan absid ve bat\u0131 k\u0131sm\u0131nda kap\u0131lar\u0131n yer ald\u0131\u011f\u0131 i\u00e7 ve d\u0131\u015f nartekslerden meydana gelmi\u015ftir. B\u00f6ylece\u00a03. y\u00fczy\u0131l\u0131n sonlar\u0131na do\u011fru bazilika ve merkezi plan\u0131 birle\u015ftirerek yeni bir mekan yaratm\u0131\u015flard\u0131r. Bu mimarinin en belirgin \u00f6rne\u011fi de 3. Ayasofya\u2019d\u0131r.<\/p>\n

537<\/strong> y\u0131l\u0131nda kilisenin a\u00e7\u0131l\u0131\u015f\u0131n\u0131 \u0130mparator J\u00fcstinyen ve Patrik\u00a0b\u00fcy\u00fck bir t\u00f6renle birlikte yap\u0131yor. Ayasofya o zamana kadar en b\u00fcy\u00fck yap\u0131 olarak kabul edilen S\u00fcleyman’\u0131n Tap\u0131na\u011f\u0131’ndan\u00a0daha b\u00fcy\u00fck oldu\u011fundan \u0130mparator\u00a0J\u00fcstinyen halka yapt\u0131\u011f\u0131 a\u00e7\u0131l\u0131\u015f konu\u015fmas\u0131nda “Ey S\u00fcleyman! Seni yendim” demi\u015ftir.<\/p>\n

Kilisenin ilk mozaiklerinin\u00a0yap\u0131m\u0131 565-578 y\u0131llar\u0131 aras\u0131nda tahtta olan II. Justin d\u00f6neminde tamamlanabilmi\u015ftir. Kubbe pencerelerinden s\u0131zan \u0131\u015f\u0131klar\u0131n duvarlardaki mozaiklerde olu\u015fturduklar\u0131 \u0131\u015f\u0131k oyunlar\u0131 dahiyane mimariyle birle\u015ferek ziyaret\u00e7ilere b\u00fcy\u00fcleyici bir atmosfer yaratmaktayd\u0131. Ayasofya \u0130stanbul\u2019a gelen yabanc\u0131lar \u00fczerinde \u00f6ylesine b\u00fcy\u00fcleyici, derin bir etki b\u0131rakm\u0131\u015ft\u0131r ki Bizans d\u00f6neminde ya\u015fayanlar Ayasofya\u2019y\u0131 “d\u00fcnyada tek” olarak nitelemi\u015flerdir.<\/p>\n

Hristiyanl\u0131kta \u00f6zellikle 726-787 y\u0131llar\u0131<\/strong> aras\u0131ndaki bir d\u00f6nem Tanr\u0131\u2019ya \u015firk oldu\u011fu d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fc i\u00e7in ikona k\u0131r\u0131c\u0131 d\u00f6nem (ikonaklazma, tasvir k\u0131r\u0131c\u0131l\u0131k<\/strong>) ya\u015fanm\u0131\u015ft\u0131r. O d\u00f6nemlerde Ayasofya\u2019da da mozaik yap\u0131lmam\u0131\u015f, olan ikon ve heykeller de kald\u0131r\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Latin istilas\u0131 d\u00f6nemi (1204-1261)<\/strong><\/p>\n

Ha\u00e7l\u0131lar Kud\u00fcs\u2019e gitmek \u00fczere yola \u00e7\u0131k\u0131yorlar. \u0130stanbul\u2019a geldiklerinde buran\u0131n zenginlik elde etmek i\u00e7in daha uygun oldu\u011funa karar veriyorlar. Zaten di\u011fer bir inan\u0131\u015fa g\u00f6re IV. Ha\u00e7l\u0131 seferinin as\u0131l hedefi ba\u015ftan beri \u0130stanbul\u2019dur. Ordunun ba\u015f\u0131nda Venedik D\u00fck\u00fc Henri Cuse Dandolo\u00a0var. \u0130stanbul\u2019u mahveden adam. \u0130stanbul ya\u011fmalan\u0131yor. Rahibelere bile tecav\u00fcz ediyorlar. At meydan\u0131nda bulunan 4 bronz atl\u0131y\u0131 Venedik\u2019e g\u00f6t\u00fcr\u00fcyorlar. \u015eu anda San Marko Meydan\u0131\u2019nda bulunuyor.\u00a0 <\/sup>Ayasofya\u2019daki kutsal emanetleri \u00e7al\u0131yorlar. Kiliseden; aralar\u0131nda \u0130sa’n\u0131n\u00a0mezar ta\u015f\u0131ndan bir par\u00e7a, \u0130sa’n\u0131n sar\u0131ld\u0131\u011f\u0131 bez olan torino kefeni, Meryem’in s\u00fct\u00fc ve azizlerin\u00a0kemikleri gibi bir\u00e7ok kutsal emanet ile alt\u0131n ve g\u00fcm\u00fc\u015ften yap\u0131lma de\u011ferli e\u015fyalar\u0131 \u00e7al\u0131yorlar. Kap\u0131lardaki alt\u0131nlar bile s\u00f6k\u00fclerek bat\u0131 kiliselerine g\u00f6t\u00fcr\u00fcl\u00fcyor. Ayasofya gibi bir mabedin ya\u011fmalanmas\u0131n\u0131n yine kendi dinlerine ait ki\u015filer taraf\u0131ndan \u00fcstelik Papa’n\u0131n askerleri taraf\u0131ndan yap\u0131lmas\u0131 ilgin\u00e7tir.<\/p>\n

Latin istilas\u0131 olarak an\u0131lan bu d\u00f6nemde Ayasofya Roma Katolik Kilisesi\u2019ne ba\u011fl\u0131 bir katedrale d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr. 16 May\u0131s 1204 tarihinde Latin \u0130mparatoru I. Baodouin\u00a0imparatorluk tac\u0131n\u0131 Ayasofya’da giymi\u015ftir.<\/p>\n

Son Bizans d\u00f6nemi <\/strong><\/p>\n

Ayasofya 1261’de tekrar Bizansl\u0131lar\u2019\u0131n kontrol\u00fcne ge\u00e7ti\u011finde harap, virane ve y\u0131k\u0131lmaya y\u00fcz tutmu\u015f bir durumdayd\u0131. Restore edildi.<\/p>\n

\u0130stanbul\u2019un Fethi<\/strong><\/p>\n

\u0130stanbul’u almak y\u00fczy\u0131llarca bir\u00e7ok devlet adam\u0131n\u0131n hayali ve gayesi olmu\u015ftur. Bu konudaki hadis de bu gayeyi canl\u0131 tutmu\u015ftur. Bu m\u00fcjdeye 1453 y\u0131l\u0131nda eri\u015fen Fatih Sultan Mehmet\u00a0<\/strong>Ayasofya’ya girince \u015f\u00fck\u00fcr secdesine kapanm\u0131\u015f ve ilk ezan\u0131 bu s\u0131rada okutmu\u015ftur. Fethin sembol\u00fc olarak derhal Ayasofya Kilisesi camiye d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015f<\/strong>, Osmanl\u0131 \u0130mparatorlu\u011fu’nun Cami-i Kebiri olmu\u015ftur. O s\u0131ralarda Ayasofya harap bir haldeydi. Ayasofya\u2019ya \u00f6zel bir \u00f6nem veren Fatih Sultan Mehmet kilisenin temizlenip camiye\u00a0\u00e7evrilmesini emrediyor fakat ad\u0131n\u0131 de\u011fi\u015ftirmiyor.\u00a0Fatih Sultan Mehmet\u2019in g\u00f6sterdi\u011fi ho\u015fg\u00f6r\u00fcyle mozaiklerinden insan fig\u00fcrleri i\u00e7ermeyenler oldu\u011fu gibi b\u0131rak\u0131lm\u0131\u015f, i\u00e7erenler ise tahrip edilmemi\u015f, yaln\u0131zca ince bir s\u0131vayla kaplanm\u0131\u015ft\u0131r. Y\u00fczy\u0131llarca s\u0131va alt\u0131nda kalan mozaikler bu sayede do\u011fal ve yapay tahribattan kurtulabilmi\u015ftir.<\/p>\n

\u0130lk minaresi<\/strong>\u00a0onun d\u00f6neminde in\u015fa edilmi\u015ftir. Osmanl\u0131lar bu t\u00fcr yap\u0131larda ta\u015f kullanmay\u0131 tercih etmekle birlikte minarenin h\u0131zla in\u015fa edilebilmesi amac\u0131yla bu minare tu\u011fladan\u00a0yap\u0131lm\u0131\u015ft\u0131r.\u00a0Yine papaz odalar\u0131n\u0131n bulundu\u011fu yere medrese yap\u0131lm\u0131\u015f. Buras\u0131 Fatih K\u00fclliyesi a\u00e7\u0131lana kadar hayli me\u015fhurmu\u015f. 150 talebesi olan medresenin ilk m\u00fcderrisi ise \u201cZaman\u0131n Ebu Hanife’si\u201d olarak adland\u0131r\u0131lan Molla H\u00fcsrev’di. D\u00f6nemin en b\u00fcy\u00fck alimlerinden d\u00fcnyaca \u00fcnl\u00fc matematik\u00e7i Ali Ku\u015f\u00e7u da Fatih K\u00fclliyesi’ndeki medreseler a\u00e7\u0131lana kadar burada m\u00fcderrislik yapm\u0131\u015ft\u0131.<\/p>\n

Osmanl\u0131 sultanlar\u0131 da Ayasofya’y\u0131 imar edip yeni ilaveler ile bir K\u00fclliye’ye d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015flerdir.<\/p>\n

Minarelerden biri de sultan II. Beyaz\u0131d<\/strong>\u00a0taraf\u0131ndan eklenmi\u015ftir.<\/p>\n

II. Selim<\/strong>\u00a0d\u00f6neminde (1566-1574) dayan\u0131ks\u0131zl\u0131k belirtileri g\u00f6steren bina, d\u00fcnyan\u0131n ilk deprem m\u00fchendislerinden biri say\u0131lan Osmanl\u0131 ba\u015f mimar\u0131 Mimar Sinan<\/strong> taraf\u0131ndan eklenen d\u0131\u015f istinat yap\u0131lar\u0131yla (payanda) takviye edilerek, son derece sa\u011flamla\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r. Binaya iki geni\u015f minare (bat\u0131 k\u0131sm\u0131na), h\u00fcnkar mahfili ve II. Selim\u2019in t\u00fcrbesini\u00a0 eklemi\u015ftir.<\/p>\n

III. Murat<\/strong> zaman\u0131nda minber ve m\u00fcezzin mahfili eklenmi\u015ftir.<\/p>\n

I. Mahmud<\/strong> 1739’daki restorasyonda bir k\u00fct\u00fcphane ile binan\u0131n bah\u00e7esine bir s\u0131byan mektebi, bir imarethane\u00a0ve bir \u015fad\u0131rvan\u00a0ekletti. B\u00f6ylece Ayasofya binas\u0131, civar\u0131ndaki yap\u0131larla birlikte bir k\u00fclliyeye\u00a0d\u00f6n\u00fc\u015ft\u00fc. Bu d\u00f6nemde ayr\u0131ca yeni bir sultan galerisi ve yeni bir mihrap\u00a0yap\u0131ld\u0131.<\/p>\n

Ayasofya\u2019n\u0131n Osmanl\u0131 d\u00f6nemindeki en \u00fcnl\u00fc restorasyonlar\u0131ndan biri; Sultan Abd\u00fclmecit’in <\/strong>emriyle\u00a0\u00a0\u0130svi\u00e7re \u0130talyan\u0131\u00a0<\/strong>olan Fossati<\/strong> karde\u015fler nezaretinde 1847-1849 y\u0131llar\u0131 aras\u0131nda yap\u0131lm\u0131\u015ft\u0131r. Fossati karde\u015fler, kubbe, tonoz ve\u00a0s\u00fctunlar\u0131 sa\u011flamla\u015ft\u0131rd\u0131 ve binan\u0131n i\u00e7 ve d\u0131\u015f dekorasyonunu yeniden elden ge\u00e7irdi.\u00a0 Zaman i\u00e7ine peyderpey \u00f6rt\u00fclm\u00fc\u015f mozaiklerin \u00fcst\u00fc a\u00e7\u0131l\u0131p bir k\u0131sm\u0131 temizlendi, \u00e7ok tahrip olanlar\u0131 ise s\u0131vayla kapland\u0131 ve altta kalan mozaik motifleri bu s\u0131va \u00fczerine resmedildi.<\/p>\n

I\u015f\u0131kland\u0131rma sistemini sa\u011flayan ya\u011f lambas\u0131 avizeleri yenilendi.<\/p>\n

Kazasker\u00a0Mustafa \u0130zzed Efendi’nin (1801\u20131877) eseri olan, \u00f6nemli isimlerin hat sanat\u0131yla\u00a0yaz\u0131l\u0131 oldu\u011fu yuvarlak dev tablolar yenilenip s\u00fctunlara as\u0131ld\u0131.<\/p>\n

Padi\u015fah\u0131n camiye geli\u015finde istirahat etmesi ve baz\u0131 kabulleri yapmas\u0131 i\u00e7in yeni bir Kasr-\u0131 H\u00fcmayun ve Bizans \u00fcslubu H\u00fcnkar Mahfili, Ayasofya\u2019n\u0131n d\u0131\u015f\u0131na yeni bir medrese ve muvakkithane\u00a0in\u015fa edildi.<\/p>\n

Minareler ayn\u0131 boya getirildi.<\/p>\n

Bu restorasyon \u00e7al\u0131\u015fmas\u0131 bitti\u011finde Ayasofya Cami 1849’da ger\u00e7ekle\u015ftirilen bir t\u00f6renle yeniden halka a\u00e7\u0131ld\u0131.<\/p>\n

M\u00fcze d\u00f6nemi<\/strong><\/p>\n

1930 ile 1935 y\u0131llar\u0131 aras\u0131nda restorasyon \u00e7al\u0131\u015fmalar\u0131 nedeniyle halka kapat\u0131lan Ayasofya\u2019da Atat\u00fcrk\u2019\u00fcn emriyle bir dizi \u00e7al\u0131\u015fmalar yap\u0131ld\u0131. Bu \u00e7al\u0131\u015fmalar aras\u0131nda \u00e7e\u015fitli restorasyonlar, kubbenin demir ku\u015fak ile \u00e7evrilmesi ve mozaiklerin ortaya \u00e7\u0131kar\u0131l\u0131p temizlenmesi say\u0131labilir. Cami; Bakanlar Kurulu’nun karar\u0131yla m\u00fczeye\u00a0\u00e7evrilip 1 \u015eubat 1935\u2019te ziyarete a\u00e7\u0131lm\u0131\u015ft\u0131r. Y\u00fczy\u0131llar sonra mermer zemindeki hal\u0131lar\u0131n kald\u0131r\u0131lmas\u0131yla zemin d\u00f6\u015femesi ve insan fig\u00fcrl\u00fc mozaikleri \u00f6rten s\u0131van\u0131n kald\u0131r\u0131lmas\u0131yla da muhte\u015fem mozaikler tekrar g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r.<\/p>\n

1924\u2019den sonra \u00d6ks\u00fczler Yurdu olarak kullan\u0131lan medrese, eski eser \u00f6zelli\u011fi ta\u015f\u0131m\u0131yor denilerek \u0130smet \u0130n\u00f6n\u00fc taraf\u0131ndan y\u0131kt\u0131r\u0131lm\u0131\u015f. 1985\u2019te molozlar\u0131 kald\u0131r\u0131ld\u0131\u011f\u0131nda temellerine ula\u015f\u0131lm\u0131\u015f ve yeniden in\u015fas\u0131 g\u00fcndeme gelmi\u015f. 2012’de Medresenin yeniden in\u015fas\u0131, Ayasofya Bilimsel Kurulu’ndan olur alm\u0131\u015f, \u00c7ED (\u00c7evresel Etki De\u011ferlendirilmesi) raporunun \u00e7\u0131kmas\u0131 beklenmektedir.<\/p>\n

\"\"<\/p>\n

Ayasofya’n\u0131n giri\u015fi.<\/p>\n

 <\/p>\n

\"ayasofya<\/p>\n

Ayasofya’n\u0131n zemin plan\u0131<\/strong>: 1. S\u0131byan mektebi\u00a02. \u015ead\u0131rvan\u00a03. Muvakkithane4. M\u00fctevelliler dairesi (g\u00fcn\u00fcm\u00fczde M\u00fcze M\u00fcd\u00fcrl\u00fc\u011f\u00fc’nce kullan\u0131l\u0131yor) 5. \u015eehzadeler T\u00fcrbesi 6. III. Murad T\u00fcrbesi 7. II. Selim T\u00fcrbesi 8. III. Mehmet T\u00fcrbesi 9. Sebil\u00a010. Mermer sarn\u0131\u00e7 11. T\u00fcrk payanda duvarlar\u0131 12. K\u00fct\u00fcphane\u00a013. Vaftizhane (G\u00fcn\u00fcm\u00fczde Sultan Mustafa ve Sultan \u0130brahim T\u00fcrbesi) 14. Sebil 15. Minareler 16. Omphalion (\u0130mparator ta\u00e7 giyme yeri) 17. \u0130kinci Ayasofya kal\u0131nt\u0131lar\u0131 18. Ayasofya Medresesi (g\u00fcn\u00fcm\u00fczde mevcut de\u011fildir) 19. Ayasofya \u0130mareti (g\u00fcn\u00fcm\u00fczde mevcut de\u011fildir) 20. \u0130maret Kap\u0131s\u0131 21. Mihrap 22. H\u00fcnkar Mahfili\u00a023. Minber\u00a024. M\u00fcezzin mahfili 25. IV. Murat’\u0131n yapt\u0131rd\u0131\u011f\u0131 mermer k\u00fcrs\u00fc 26. Bergama’dan getirilen k\u00fcpler 27. Terleyen s\u00fctun 28. \u00dcst kata \u00e7\u0131k\u0131\u015f rampas\u0131 29. Alt kata ini\u015f rampas\u0131 30. Hazine dairesi (tr.wikipedia.org).<\/p>\n

\"ayasofya<\/p>\n

Pinterest’ten ald\u0131\u011f\u0131m bu krokinin netli\u011fi az ama Osmanl\u0131 d\u00f6neminde yap\u0131lan yap\u0131lar\u0131 g\u00f6stermesi a\u00e7\u0131s\u0131ndan faydal\u0131.<\/p>\n

Art\u0131k Ayasofya’y\u0131 gezmeye ba\u015flayabiliriz. M\u00fcze kart ge\u00e7iyor.<\/p>\n

Alt Kat<\/strong><\/p>\n

Atrium (Avlu)<\/strong><\/p>\n

M\u00fczenin bah\u00e7e giri\u015fi g\u00fcney bat\u0131 taraf\u0131nda.\u00a0Binaya bat\u0131 k\u0131sm\u0131ndaki, Bizans d\u00f6neminde atrium\u00a0denilen avlunun\u00a0bulundu\u011fu kap\u0131lardan girilir. Buradaki, d\u0131\u015f nartekse\u00a0a\u00e7\u0131lan ana kap\u0131dan girmeden \u00f6nce, solda g\u00f6r\u00fclen kal\u0131nt\u0131lar kaz\u0131larda ortaya \u00e7\u0131kar\u0131lm\u0131\u015f \u0130kinci Ayasofya\u2019ya ait kal\u0131nt\u0131lard\u0131r.\u00a0Giri\u015f merdiveni, portik (giri\u015f sundurmas\u0131) kal\u0131nt\u0131lar\u0131 ve vaktiyle cepheyi s\u00fcsleyen iki mermer blok.\u00a0Mermer bloktaki kabartmada 12 havariyi temsilen yap\u0131lm\u0131\u015f 12 kuzu g\u00f6r\u00fcl\u00fcyor.<\/p>\n

D\u0131\u015f Narteks<\/strong><\/p>\n

\"\"<\/p>\n

Kilisenin duvar yap\u0131m\u0131nda kum ve tu\u011fla kullan\u0131lm\u0131\u015f. Kubbe a\u011f\u0131rl\u0131\u011f\u0131n\u0131 almak i\u00e7in en hafif kum olan Rodos kumu tercih edilmi\u015f.<\/p>\n

D\u0131\u015f nartekste bir lahit var. Zeyrek\u2019te bulunmu\u015f. \u0130mparatori\u00e7e \u0130rini\u2019nin oldu\u011fu d\u00fc\u015f\u00fcn\u00fclmekte. Ayasofya ile ilgisi olmayan lahit korunmas\u0131 amac\u0131 ile buraya konulmu\u015f.<\/p>\n

Sultan Abd\u00fclmecid’in Mozaik Tu\u011fras\u0131<\/strong><\/p>\n

\u00a0<\/strong>D\u0131\u015f narteks ana giri\u015f kap\u0131s\u0131n\u0131n sa\u011f\u0131ndaki duvarda Sultan Abd\u00fclmecid’in Tu\u011fras\u0131 sergilenmektedir. Tu\u011fra, 1847-1849 y\u0131llar\u0131nda Fossati Karde\u015flerin Ayasofya’da yapt\u0131\u011f\u0131 onar\u0131mlar s\u0131ras\u0131nda, Ayasofya’n\u0131n d\u00f6k\u00fclm\u00fc\u015f olan alt\u0131n yald\u0131zl\u0131 orijinal mozaik tanelerinden, \u0130talyan Usta N. Lanzoni’ye yapt\u0131r\u0131lm\u0131\u015ft\u0131r. Fossati taraf\u0131ndan Sultan Abd\u00fclmecid’e hediye edilen tu\u011fra; yuvarlak formlu, alt\u0131n yald\u0131zl\u0131 mozaik tanelerinden (tessera) meydana gelen zemin \u00fczerine, ye\u015fil renkli mozaiklerle i\u015flenmi\u015ftir. Mozaik tu\u011fra, tasar\u0131m a\u00e7\u0131s\u0131ndan Osmanl\u0131 D\u00f6nemini, kullan\u0131lan malzeme a\u00e7\u0131s\u0131ndan ise Do\u011fu Roma D\u00f6nemini yans\u0131tmas\u0131 bak\u0131m\u0131ndan olduk\u00e7a enteresand\u0131r.<\/p>\n

\"\"<\/p>\n

\u0130\u00e7 Narteks<\/strong><\/p>\n

\u0130\u00e7 narteks tavan\u0131\u00a0mozaiklerle kapl\u0131. Mozaiklerden sar\u0131 renkte parlayanlar\u0131n yap\u0131m\u0131nda alt\u0131n kullan\u0131lm\u0131\u015ft\u0131r. Duvarlar \u00e7e\u015fitli \u00fclkelerden ve Anadolu’nun \u00e7e\u015fitli kentlerinden getirilme dalgal\u0131 mermer levhalarla kapl\u0131d\u0131r.\u00a0Bu dalgal\u0131 mermer levhalar duvarlara sabitlenmeden \u00f6nce ikiye kesilmi\u015f ve duvarlara yan yan \u00f6yle sabitlenmi\u015ftir ki, katlan\u0131p m\u00fcrekkeplenen bir ka\u011f\u0131d\u0131n a\u00e7\u0131ld\u0131\u011f\u0131nda g\u00f6sterdi\u011fi gibi, ilgin\u00e7 bir simetri\u00a0g\u00f6sterirler.<\/p>\n

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G\u00fcn\u00fcm\u00fczde i\u00e7inde elektrik ampullar\u0131 olan ya\u011f lambas\u0131 avizeleri cami d\u00f6nemine aittir.<\/p>\n

\u0130mparator Kap\u0131s\u0131 Mozai\u011fi<\/strong><\/p>\n

\u0130\u00e7 narteksten ana nefe (ana salona) 9 kap\u0131 a\u00e7\u0131l\u0131r. Ana salona a\u00e7\u0131lan ortadaki ana kap\u0131ya, yaln\u0131zca imparatora ve mahiyetine\u00a0mahsus oldu\u011fundan “\u0130mparator kap\u0131s\u0131<\/strong>” ad\u0131 verilir. \u00a0Ayasofya’n\u0131n en b\u00fcy\u00fck kap\u0131s\u0131d\u0131r. 7 m. boyundaki \u0130mparator kap\u0131s\u0131, bronz \u00e7er\u00e7eveli olup, me\u015fe a\u011fac\u0131ndan yap\u0131lm\u0131\u015ft\u0131r. Kanatlar\u0131n\u0131n \u00fczeri tun\u00e7 levhalarla kapl\u0131d\u0131r. Do\u011fu Roma kaynaklar\u0131nda kap\u0131n\u0131n Nuh’un Gemisi’nin tahtalar\u0131ndan yap\u0131lm\u0131\u015f olabilece\u011finin yan\u0131 s\u0131ra, Yahudiler’in kutsal levhalar\u0131n\u0131n sakland\u0131\u011f\u0131 sand\u0131\u011f\u0131n tahtas\u0131 da olabilece\u011fi bilgisi ge\u00e7mektedir.<\/p>\n

\"\"<\/p>\n

Bu kap\u0131n\u0131n \u00fcst k\u0131sm\u0131ndaki duvarda (tympanum) 9. y\u00fczy\u0131ldan kalma bir mozaik bulunur. Bu mozaikte ortada \u0130sa sa\u011f eli ile takdis i\u015fareti yapar. Ba\u015f parma\u011f\u0131n ucu \u201ckalbe giden yol\u201dla ili\u015fkilendirilen y\u00fcz\u00fck parma\u011f\u0131na temas eder haldedir. Sa\u011f madalyonda Cebrail, sol madalyonda Meryem g\u00f6r\u00fcl\u00fcr. Sol alt k\u0131s\u0131mda g\u00f6r\u00fclen sakall\u0131 ki\u015fi Bizans imparatorlar\u0131ndan VI. Leon\u2019dur. Ortodoksluk\u00a0gelene\u011finde en fazla \u00fc\u00e7 kez evlenilebilmesine kar\u015f\u0131n erkek \u00e7ocu\u011funun olabilmesi i\u00e7in d\u00f6rt kez evlenmi\u015ftir. Bu y\u00fczden \u0130sa\u2019dan \u00f6z\u00fcr diler vaziyette, secde eder \u015fekilde tasvir edilmi\u015ftir. \u0130sa\u2019n\u0131n elindeki Kitab-\u0131 Mukaddes\u2019te \u0130sa\u2019n\u0131n Yuhanna \u0130ncili\u2019ndeki bir s\u00f6z\u00fc yaz\u0131l\u0131d\u0131r: \u201cSize selamet olsun! Ben evrenin nuruyum.<\/em>\u201d<\/p>\n

\"\"<\/p>\n

Kap\u0131dan girdikten sonra sa\u011fda ve solda III. Murat\u2019\u0131n Bergama\u2019dan getirdi\u011fi Helenistik d\u00f6nemden kalma (M.\u00d6. 4. yy) Bekta\u015fi ta\u015f\u0131ndan yap\u0131lma iki k\u00fcp var.\u00a01250 litre s\u0131v\u0131 alabilen bu k\u00fcplerden, cami d\u00f6neminde, kandillerde ve bayram namazlar\u0131nda \u015ferbet da\u011f\u0131t\u0131lmaktayd\u0131. Di\u011fer g\u00fcnlerde i\u00e7erisinde su bulunan k\u00fcplerin alt k\u0131s\u0131mlar\u0131nda musluklar yer almaktad\u0131r.<\/p>\n

\"\"<\/p>\n

Orta mekan kar\u015f\u0131m\u0131zda. Paye ve s\u00fctunlarla ayr\u0131lm\u0131\u015f sa\u011fda g\u00fcney, solda kuzey nefi bulunuyor.<\/p>\n

\"\"<\/p>\n

G\u00fcney Nef<\/strong><\/p>\n

Bu g\u00fcney nefinde\u00a0iki payanda aras\u0131nda I. Mahmut\u00a0K\u00fct\u00fcphanesi <\/strong>bulunur. T\u00fcrk yap\u0131 ve s\u00fcsleme sanat\u0131n\u0131n ilgi \u00e7ekici bir eseridir. 1739 y\u0131l\u0131nda I. Sultan Mahmud taraf\u0131ndan yapt\u0131r\u0131lm\u0131\u015ft\u0131r. K\u00fct\u00fcphane, okuma salonu, hazine-i k\u00fct\u00fcb (kitaplar\u0131n korundu\u011fu oda) ve bu iki b\u00f6l\u00fcm\u00fcn aras\u0131ndaki koridordan olu\u015fur.<\/p>\n

\"\"<\/p>\n

Duvarlar \u0130znik \u00e7inileriyle\u00a0kapl\u0131d\u0131r. K\u00fct\u00fcphaneye giri\u015fi sa\u011flayan iki kanatl\u0131 kap\u0131 \u00e7i\u00e7ek ve k\u0131vr\u0131k dallarla s\u00fcsl\u00fc tun\u00e7 \u015febeke ile kapl\u0131d\u0131r ve “Ya Fettah” oymal\u0131 iki kulpu vard\u0131r. Kap\u0131n\u0131n kar\u015f\u0131s\u0131ndaki duvarda Sultan I. Mahmud`un ye\u015fil \u00e7inilerle bord\u00fcrlenmi\u015f somakiden tu\u011fras\u0131 yer almaktad\u0131r.<\/p>\n

Ayasofya; Ortodoks-Katolik-M\u00fcsl\u00fcmanlara kucak a\u00e7m\u0131\u015f bir mabet. Ayn\u0131 zamanda i\u015flemelerinde pagan sembolleri de i\u00e7ermekte. Bu sembollerin nas\u0131l i\u015flendi\u011fi bilinmiyor.\u00a0Nefin do\u011fu ucuna do\u011fru soldaki duvarda \u00fczerinde iki yunus ve Poseidon\u2019un trident olarak bilinen yabas\u0131n\u0131 i\u00e7eren bir ta\u015f i\u015flemesi g\u00f6r\u00fcl\u00fcr. Bu, Bizans rahiplerinin, Hristiyan olmalar\u0131na ra\u011fmen, bir pagan ilaha\u00a0ait unsuru kiliseye sokabilecek derecede eski Yunan\u00a0k\u00fclt\u00fcr\u00fc etkisi alt\u0131nda kalm\u0131\u015f olmalar\u0131n\u0131 g\u00f6steren bir \u00f6rnek olarak de\u011ferlendirilebilir.<\/p>\n

Tavanda bal\u0131k fig\u00fcrleri.<\/p>\n

\"\"<\/p>\n

Nefin do\u011fu ucunda \u00fc\u00e7 \u00e7e\u015fit s\u00fctun g\u00f6r\u00fcl\u00fcr. Bunlardan k\u0131rm\u0131z\u0131 porfir ta\u015f\u0131ndan yap\u0131lma olanlar\u0131 M\u0131s\u0131r\u2019dan getirilmi\u015ftir. Ye\u015fil olanlar\u0131 ise Yunanistan\u2019dan getirilmi\u015ftir. Binada kullan\u0131lan beyaz mermerlerin\u00a0k\u00f6keni genellikle Marmara Adas\u0131\u2019ndaki mermer ocaklar\u0131d\u0131r. Bat\u0131 dillerindeki mermer s\u00f6zc\u00fc\u011f\u00fcn\u00fcn k\u00f6keni “Marmara”d\u0131r.<\/p>\n

\"\"<\/p>\n

Ayasofya\u2019da toplam 107 s\u00fctun bulunmaktad\u0131r, bunlardan 40\u2019\u0131 alt katta, 67\u2019si \u00fcst kattad\u0131r. Bu s\u00fctunlar\u0131n hemen hemen hepsi yekpare (monolit) olup, Ayasofya\u2019dan da eskidirler. \u00c7\u00fcnk\u00fc imparatorluk topraklar\u0131ndaki eski tap\u0131naklardan getirilmi\u015flerdir. S\u00fctun ba\u015fl\u0131klar\u0131 Bizans stilindedir. S\u00fctun ba\u015fl\u0131klar\u0131ndan baz\u0131lar\u0131nda k\u00fc\u00e7\u00fck bir daire ve harflerden olu\u015fan J\u00fcstinyen armas\u0131\u00a0g\u00f6r\u00fcl\u00fcr. Bu nefin do\u011fu ucundaki ye\u015fil s\u00fctunun yan\u0131ndaki duvarda bir el izi bulunur, kime ait oldu\u011fu bilinmeyen bu el izi hakk\u0131nda \u00e7e\u015fitli rivayetler bulunmaktad\u0131r.<\/p>\n

S\u00fctun ba\u015fl\u0131klar\u0131 \u00fczerindeki zarif s\u00fcslemeler.<\/p>\n

\"\"<\/p>\n

Omphalion<\/strong><\/p>\n

\"\"<\/p>\n

Mahfilin hemen yan\u0131nda zeminde, girilmemesi i\u00e7in kenarlar\u0131 zincirle \u00e7evrilmi\u015f kare bi\u00e7imli bir alan vard\u0131r. Buras\u0131 bilinmeyen bir nedenle Bizansl\u0131lar’ca d\u00fcnyan\u0131n merkezi olarak kabul edilirdi. Yunanca\u2019da “Yerin g\u00f6be\u011fi” anlam\u0131nda, omphalion olarak adland\u0131r\u0131lan ve Bizansl\u0131lar’ca kutsal say\u0131lan bu yerde kimilerine g\u00f6re Ayasofya\u2019n\u0131n in\u015fa edilmesinden \u00f6nce bir tap\u0131nak bulunmaktayd\u0131. Kimilerine g\u00f6re bu yer “ley hatlar\u0131”n\u0131n\u00a0\u00a0bir kav\u015fak noktas\u0131yd\u0131. (D\u00fcnyay\u0131 \u00e7epe\u00e7evre saran manyetik alan \u00e7izgileridir. Manyetik alan noktalar\u0131n\u0131 birbirine ba\u011flayan hatlard\u0131r). \u0130nsanlar sanki t\u00fcmden s\u00f6zle\u015fmi\u015f gibi b\u00fct\u00fcn eski kutsal yap\u0131lar\u0131, mabedleri, tap\u0131naklar\u0131 hep bu hatlar \u00fczerine in\u015fa etmi\u015flerdir.<\/p>\n

Kutsall\u0131\u011f\u0131 nedeniyle Do\u011fu Roma D\u00f6nemi’nde, \u0130mparatorlar\u0131n t\u00f6renle ta\u00e7 giydikleri yer olan Omphalion, b\u00fcy\u00fck mermer dairenin etraf\u0131nda de\u011fi\u015fik renk ve boyutlardaki dairelerin bulundu\u011fu \u00f6zel bir b\u00f6l\u00fcmd\u00fcr. T\u00f6ren s\u0131ras\u0131nda siyasi ve dini otoriteleri temsil eden ki\u015filerin her birinin durmas\u0131 gereken konumlar bu kare bi\u00e7imli alan i\u00e7ine daireler olu\u015fturacak bi\u00e7imde d\u00f6\u015fenmi\u015f renkli ta\u015flarla belirlenmi\u015ftir. Toplam say\u0131lar\u0131 16 olan bu dairelerden en b\u00fcy\u00fc\u011f\u00fc ortadaki olup, muhtemelen imparatorun duraca\u011f\u0131 yeri g\u00f6steren dairedir.<\/p>\n

M\u00fcezzin Mahfili<\/strong><\/p>\n

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G\u00fcney neften mihraba ge\u00e7ilirken, zeminden yakla\u015f\u0131k 3 metre kadar y\u00fckselen, balkonu and\u0131ran mermerden yap\u0131lma bir yap\u0131 g\u00f6ze \u00e7arpar. III. Murad D\u00f6nemi’nde ana mekan\u0131n do\u011fusuna b\u00fcy\u00fck m\u00fcezzin mahfili yap\u0131lm\u0131\u015f, mekan\u0131n \u00e7ok b\u00fcy\u00fck ve cemaatin kalabal\u0131k olmas\u0131 nedeniyle, yap\u0131 i\u00e7erisine 4 m\u00fcezzin mahfili daha eklenmi\u015ftir. Ayasofya cami iken her y\u0131l Hz. Muhammed’in do\u011fum g\u00fcn\u00fcnde (mevlit kandili) mevlit okunan yer m\u00fcezzin mahfilidir. Ana yap\u0131 ile uyum i\u00e7inde olan m\u00fcezzin mahfili, 16. y\u00fczy\u0131l Osmanl\u0131 mermer sanat i\u015f\u00e7ili\u011finin en g\u00fczel \u00f6rneklerini yans\u0131tmaktad\u0131r.<\/p>\n

Minber<\/strong><\/p>\n

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\u00a0<\/strong>Minber, camilerde cuma g\u00fcnleri, hatiplerin \u00fczerine \u00e7\u0131karak hutbe okudu\u011fu merdivenli y\u00fcksek k\u00fcrs\u00fcd\u00fcr. Ayasofya’da mihrab\u0131n sa\u011f\u0131nda yer alan minber, Sultan III. Murad D\u00f6nemi’nde yap\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Apsit ve Mihrap<\/strong><\/p>\n

Binan\u0131n do\u011fu k\u0131sm\u0131n\u0131n ucu d\u0131\u015far\u0131 ta\u015fk\u0131n durumda olup, \u00fcst\u00fc yar\u0131m kubbeyle \u00f6rt\u00fcl\u00fc pencerelerin bulundu\u011fu bir apsitle\u00a0\u00a0son bulur.\u00a0Apsit \u00e7evresinde Osmanl\u0131 d\u00f6neminde eklenen yap\u0131lar yo\u011funluk kazanmaktad\u0131r. \u00d6rne\u011fin apsitin sa\u011f\u0131nda minber,\u00a0solunda h\u00fcnkar mahfili yer al\u0131r.<\/p>\n

Apsitte Bizans d\u00f6neminde y\u0131k\u0131lan pencerelerin yerini Osmanl\u0131 d\u00f6neminde vitray ve ayetlerle s\u00fcsl\u00fc pencereler alm\u0131\u015ft\u0131r.<\/p>\n

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\u00dc\u00e7\u00fcnc\u00fc Ayasofya, di\u011fer eski Ortodoks\u00a0kiliseleri gibi, geleneksel olarak Kud\u00fcs\u2019e y\u00f6nelik olarak in\u015fa edilmi\u015ftir ve di\u011fer eski Ortodoks kiliselerinde oldu\u011fu gibi absitinin ekseni in\u015fa edildi\u011finde tam olarak Kud\u00fcs y\u00f6n\u00fcn\u00fc g\u00f6stermekteydi.<\/p>\n

Bu alanda Kud\u00fcs\u00a0y\u00f6n\u00fc ile Mekke\u00a0y\u00f6n\u00fc aras\u0131nda pek b\u00fcy\u00fck olmayan (birka\u00e7 derecelik) bir fark bulunmaktad\u0131r. Bu y\u00fczden \u0130stanbul\u2019da camiye \u00e7evrilen kiliselerde k\u0131ble\u00a0y\u00f6n\u00fcn\u00fc g\u00f6stermek \u00fczere kilisenin absiti i\u00e7ine yap\u0131lan mihrap absitin iyice sa\u011f\u0131na in\u015fa edilirdi. Fakat Ayasofya\u2019da mihrap\u00a0apsitin \u00e7ok sa\u011f\u0131na de\u011fil, hafif\u00e7e sa\u011f\u0131na in\u015fa edilmi\u015ftir. \u00c7\u00fcnk\u00fc Ayasofya binas\u0131 tam olarak olmas\u0131 gereken y\u00f6nde de\u011fildir. Yani hafif\u00e7e Mekke y\u00f6n\u00fcne do\u011fru bir kayma g\u00f6stermektedir. Bu bir yap\u0131m hatas\u0131 olamayaca\u011f\u0131na g\u00f6re, binan\u0131n zaman i\u00e7erisinde hafif\u00e7e bir kayma ge\u00e7irmi\u015f olmas\u0131 d\u00fc\u015f\u00fcn\u00fclebilir. Cebrail’in parma\u011f\u0131yla Ayasofya\u2019y\u0131 \u00e7evirdi\u011fine ili\u015fkin olarak \u00e7\u0131kar\u0131lm\u0131\u015f s\u00f6ylentiler bu husustan kaynaklanm\u0131\u015ft\u0131r.<\/p>\n

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Ayasofya’n\u0131n 19. y\u00fczy\u0131lda yenilenen mihrab\u0131; mermerden yap\u0131lm\u0131\u015ft\u0131r. \u0130\u00e7inde bir \u015femse ile y\u0131ld\u0131z motiflerinin yer ald\u0131\u011f\u0131 \u00e7okgen planl\u0131 ni\u015finin \u00fczerini yar\u0131m kubbeli kavsaran \u00f6rter. K\u0131vr\u0131k dall\u0131 akantus yaprakl\u0131 geni\u015f bord\u00fcrle s\u0131n\u0131rlanan mihrapta bolca alt\u0131n y\u0131ld\u0131z kullan\u0131lm\u0131\u015f olup \u00fcstte g\u00f6steri\u015fli bir tepeli\u011fi bulunmaktad\u0131r.<\/p>\n

Mihrab\u0131n her iki yan\u0131nda 16. y\u00fczy\u0131lda Kanuni Sultan S\u00fcleyman’\u0131n fethetti\u011fi Macaristan\u2019daki bir kiliseden getirtti\u011fi iki dev kandil<\/strong> bulunmaktad\u0131r.<\/p>\n

B\u00fcy\u00fck Hat Levhalar\u0131<\/strong><\/p>\n

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Apsit duvarlar\u0131nda\u00a0Kur’an ayetlerini\u00a0i\u00e7eren \u00e7er\u00e7eveler ve i\u00e7ine Allah, Muhammed, d\u00f6rt halife, Hz. Ali’nin o\u011fullar\u0131 Hasan ve H\u00fcseyin\u2019in isimleri yaz\u0131l\u0131 olan sekiz ye\u015fil daire bulunur. Bu dairelerin tahtadan yap\u0131lm\u0131\u015f olan b\u00fcy\u00fckleri de ana nefin (ana salonun) i\u00e7 mekan\u0131n\u0131 ku\u015fatacak \u015fekilde as\u0131lm\u0131\u015flard\u0131r. \u0130simler her biri 7,5 m. yar\u0131\u00e7ap\u0131nda olan bu 8 dev panoya hat sanat\u0131\u00a0tarz\u0131nda yaz\u0131lm\u0131\u015ft\u0131r. Bunlar Kazasker Mustafa \u0130zzet Efendi\u2019nin (1801\u20131877) eserleridir.<\/p>\n

1930’lu y\u0131llarda restorasyon \u00e7al\u0131\u015fmalar\u0131 s\u0131ras\u0131nda yerlerinden indirilen bu panolar 1951\u2019de Adnan Menderes taraf\u0131ndan yeniden yerlerine koydurulmu\u015ftur. Levhalar\u0131n ah\u015fap ask\u0131lar\u0131 hafif ve dayan\u0131kl\u0131 olmas\u0131 nedeniyle \u0131hlamur a\u011fac\u0131ndan yap\u0131lm\u0131\u015ft\u0131r. Bu hat levhalar\u0131n\u0131n \u0130slam D\u00fcnyas\u0131’n\u0131n en b\u00fcy\u00fck hat levhalar\u0131ndan oldu\u011fu bilinmektedir.<\/p>\n

Apsitin en \u00fcst k\u0131sm\u0131nda, kuca\u011f\u0131nda \u00e7ocu\u011fu \u0130sa’y\u0131 ta\u015f\u0131yan, taht \u00fczerinde tasvir edilmi\u015f bir Meryem mozai\u011fi yer al\u0131r. Bu mozaik Ayasofya’da ikonaklazma d\u00f6neminden sonra yap\u0131lm\u0131\u015f ilk fig\u00fcratif tasvir \u00f6rne\u011fi te\u015fkil etmesi a\u00e7\u0131s\u0131ndan \u00f6nemlidir.<\/p>\n

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H\u00fcnkar Mahfili<\/strong><\/p>\n

H\u00fcnkar Mahfili, padi\u015fahlar\u0131n Cuma ve Bayram namazlar\u0131n\u0131, ayr\u0131ca Kandil gecelerinde yats\u0131 namazlar\u0131n\u0131 bulunduklar\u0131 \u015fehrin Selatin Camilerinde k\u0131lmalar\u0131 nedeniyle, Osmanl\u0131 mimarisinde “H\u00fcnkar Mahfili” ya da “Mahfil-i H\u00fcmayun” olarak adland\u0131r\u0131lan, Padi\u015fahlar\u0131n ibadeti i\u00e7in olu\u015fturulmu\u015f \u00f6zel mekanlard\u0131r.<\/p>\n

Ayasofya’da yap\u0131lm\u0131\u015f olan ilk H\u00fcnkar Mahfili’nin nerede oldu\u011fu ve kim taraf\u0131ndan yap\u0131ld\u0131\u011f\u0131na dair kaynaklarda bir bilgiye rastlanmamaktad\u0131r. G\u00fcn\u00fcm\u00fczde mihrab\u0131n solunda yer alan H\u00fcnkar Mahfili, yap\u0131ya Sultan Abd\u00fclmecid D\u00f6neminde 1847-1849 y\u0131llar\u0131 aras\u0131nda yap\u0131lan restorasyonlar s\u0131ras\u0131nda, Fossati Karde\u015fler taraf\u0131ndan eklenmi\u015ftir.<\/p>\n

H\u00fcnkar mahfili be\u015f s\u00fctun \u00fczerine, alt\u0131gen planl\u0131 bir k\u0131s\u0131m ve yine s\u00fctunlar \u00fczerine oturan koridordan olu\u015fmaktad\u0131r Alt k\u0131sm\u0131 mermer ajurlu korkuluk levhal\u0131, \u00fcst\u00fc ise alt\u0131n yald\u0131zl\u0131 ah\u015fap kafeslidir. Mahfilin tavan k\u0131sm\u0131 bitkisel motifli kalem i\u015fi bezeme ile s\u00fcslenmi\u015ftir.<\/p>\n

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Gitti\u011fimizde H\u00fcnkar mahfili b\u00f6l\u00fcm\u00fcnde restorasyon \u00e7al\u0131\u015fmas\u0131 vard\u0131. \u0130ki levhan\u0131n ortas\u0131nda ve a\u015fa\u011f\u0131da iskele ile \u00e7evrelenmi\u015f alanda bulunmaktad\u0131r.<\/p>\n

Osmanl\u0131 sultan\u0131 mahfile\u00a0\u00f6zel olarak yap\u0131lm\u0131\u015f bir galeriden ula\u015fmaktayd\u0131.<\/p>\n

Orta Nef <\/strong><\/p>\n

Orta nefin (ana salonun) ortas\u0131nda, a\u011f\u0131rl\u0131\u011f\u0131 d\u00f6rt paye (ayak) \u00fczerine oturtulmu\u015f, payelere ge\u00e7i\u015fin pandantiflerle sa\u011fland\u0131\u011f\u0131 bir ana kubbe yer al\u0131r. Ayasofya\u2019n\u0131n devrim niteli\u011fi ta\u015f\u0131yan kubbesi bir\u00e7ok sanat tarih\u00e7isinin, mimar\u0131n m\u00fchendisin \u00f6zel ilgisini \u00e7ekmi\u015ftir.<\/p>\n

55,6 metre y\u00fcksekli\u011finde ve 31 m \u00e7aplar\u0131ndaki ana kubbenin a\u011f\u0131rl\u0131\u011f\u0131 do\u011fu ve bat\u0131s\u0131ndaki iki yar\u0131m kubbeyle hafifletilmi\u015ftir. Ana kubbenin g\u00fcney ve kuzeyde yaratt\u0131\u011f\u0131 bask\u0131 ise payandalarla kar\u015f\u0131lanm\u0131\u015ft\u0131r. Bir \u015femsiyenin telleri gibi, kubbenin tepesinden ba\u015flay\u0131p kubbe pencereleri aras\u0131ndan ge\u00e7erek pandantiflere inen 40 kaburga, kubbenin a\u011f\u0131rl\u0131\u011f\u0131n\u0131n payelere aktar\u0131lmas\u0131nda \u00f6nemli bir rol oynar. Orta nefin kuzey kenar\u0131n\u0131 olu\u015fturan \u00e7ift katl\u0131 s\u00fctun dizisinin \u00fczerindeki duvarda Ortodoks Kilisesi patriklerinin mozaikleri bulunur. Bunlar \u00e7ok y\u00fcksekte olduklar\u0131ndan d\u00fcrb\u00fcns\u00fcz pek iyi g\u00f6r\u00fclemezler. Ana mekan, duvarlardaki ve kubbedeki pencerelerden \u0131\u015f\u0131k al\u0131r. Ayr\u0131ca kubbedeki pencereler kubbe a\u011f\u0131rl\u0131\u011f\u0131n\u0131 azaltmakta i\u015fe yar\u0131yor.<\/p>\n

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Mozaiklerle kapl\u0131 ana kubbenin ortas\u0131nda Bizans d\u00f6neminde \u0130sa\u2019y\u0131 tasvir eden bir mozai\u011fin\u00a0\u00a0yer ald\u0131\u011f\u0131 bilinmektedir. Kilise camiye \u00e7evrildi\u011finde di\u011fer insan fig\u00fcrl\u00fc mozaiklerin s\u0131vayla kaplanmas\u0131na kar\u015f\u0131n bu mozaik 17. y\u00fczy\u0131l ortalar\u0131na kadar a\u00e7\u0131k b\u0131rak\u0131lm\u0131\u015f, 17. y\u00fczy\u0131l ortalar\u0131nda Kazasker Mustafa \u0130zzet Efendi\u00a0taraf\u0131ndan \u00fczerine \u201cAllah\u00fc Nur\u00fcssemavat…\u201d diye ba\u015flayan ayetin i\u015flendi\u011fi bir s\u0131vayla kapat\u0131lm\u0131\u015ft\u0131r. Bununla birlikte mozai\u011fin 1894 depreminde d\u00fc\u015fm\u00fc\u015f oldu\u011fu da iddia edilmektedir.<\/p>\n

Kubbe Melek Tasvirleri<\/strong><\/p>\n

Pandantifler \u00fczerinde birbirilerine tam e\u015f olmayan d\u00f6rt melek fig\u00fcr\u00fc i\u015flenmi\u015ftir. Bu melekler cennette Tanr\u0131’n\u0131n taht\u0131n\u0131 korudu\u011funa inan\u0131lan, bir ba\u015f ve alt\u0131 kanattan olu\u015fan Seraphim melekleridir. Do\u011fuda yer alan melekler mozaikten yap\u0131lm\u0131\u015f, bat\u0131daki iki melek ise Do\u011fu Roma D\u00f6neminde bozulmu\u015f ve fresko olarak yenilenmi\u015ftir. Abd\u00fclmecid zaman\u0131ndaki onar\u0131mda bak\u0131m\u0131 yap\u0131ld\u0131ktan sonra 6 kat s\u0131va ile kapat\u0131lan melekler 2009 y\u0131l\u0131nda restorasyon s\u0131ras\u0131nda a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131lm\u0131\u015f ve heyecan yaratm\u0131\u015ft\u0131r.<\/p>\n

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Kuzey Nef<\/strong><\/p>\n

Restorasyonda olan b\u00f6l\u00fcmler vard\u0131.<\/p>\n

Terleyen S\u00fctundaki Dilek Ta\u015f\u0131<\/strong><\/p>\n

Kuzey nefinde ziyaret\u00e7ilerin ilgisini \u00e7eken tek \u015fey nefin bat\u0131 ucunda bulunan beyaz mermerden yap\u0131lma kare bi\u00e7imli s\u00fctundur. \u201cTerleyen s\u00fctun\u201d olarak adlad\u0131r\u0131lan ve hakk\u0131nda say\u0131s\u0131z rivayet bulunan bu s\u00fctun, g\u00fcn\u00fcm\u00fczde dilek dileme yeri durumuna gelmi\u015ftir. Dilek dilemek isteyenler elinin ba\u015f parma\u011f\u0131n\u0131 s\u00fctundaki deli\u011fe sokup elleriyle bir daire \u00e7izerler. Delik g\u00fcn\u00fcm\u00fczde s\u00fctuna ge\u00e7irilmi\u015f bronz bir plakan\u0131n ortas\u0131nda yer almaktad\u0131r.<\/p>\n

Rivayete g\u00f6re Ayasofya\u2019n\u0131n yap\u0131m\u0131 s\u0131ras\u0131nda \u0130mparator Justinyen in\u015faat\u0131 kontrol etmek i\u00e7in s\u0131k s\u0131k buraya gelirmi\u015f. Kontrol i\u00e7in yine bir g\u00fcn Ayasofya\u2019da dola\u015f\u0131rken \u00e7ok \u015fiddetli bir ba\u015f a\u011fr\u0131s\u0131na tutulmu\u015f. Bu s\u0131rada bir dire\u011fe ba\u015f\u0131n\u0131 dayam\u0131\u015f ve ba\u015f a\u011fr\u0131s\u0131 tamamen ge\u00e7mi\u015f. \u0130mparator, dikkatlice s\u00fctuna bakt\u0131\u011f\u0131nda ufak bir delik oldu\u011funu ve bu delikten bir ya\u015f\u0131n s\u00fcz\u00fcld\u00fc\u011f\u00fcn\u00fc g\u00f6rm\u00fc\u015f. Bu ya\u015f\u0131n, Meryem Ana\u2019n\u0131n g\u00f6zya\u015f\u0131 oldu\u011funu ve kendisini iyile\u015ftirmesi i\u00e7in Tanr\u0131 taraf\u0131ndan g\u00f6nderildi\u011fini d\u00fc\u015f\u00fcnm\u00fc\u015f. Halk, bu mucizeden haberdar olunca s\u00fctun kutsal kabul edilmi\u015f. Bundan sonra hastal\u0131klar\u0131n\u0131n iyile\u015fmesini isteyenler Ayasofya\u2019ya gelmeye ba\u015flam\u0131\u015flar. Bu s\u00fctundaki deli\u011fe parmaklar\u0131n\u0131 sokarak, parmaklar\u0131n\u0131 \u0131slatan suyu hasta olan b\u00f6lgelerine s\u00fcrerlermi\u015f.<\/p>\n

\u00dcst kat<\/strong><\/p>\n

\u00dcst kata alt kattaki i\u00e7 narteksin\u00a0bat\u0131 ucunda yer alan bir kap\u0131dan ge\u00e7ilerek, irili ufakl\u0131 ta\u015flarla \u201carnavut kald\u0131r\u0131m\u0131\u201d tarz\u0131nda d\u00f6\u015fenmi\u015f bir rampadan \u00e7\u0131k\u0131l\u0131r. Bu rampa imparatori\u00e7enin\u00a0taht\u0131yla sars\u0131lmadan ta\u015f\u0131nmas\u0131na kolayl\u0131k sa\u011flamaktaym\u0131\u015f. Rampa duvarlar\u0131nda yer yer eski tu\u011fla kemerler g\u00f6r\u00fcl\u00fcr. Bizans d\u00f6neminde de Osmanl\u0131 d\u00f6neminde de \u00fcst kat daima kad\u0131nlara ayr\u0131lm\u0131\u015ft\u0131. \u00dcst katta da alt katta oldu\u011fu gibi, g\u00fcney ve kuzey nefleri bulunur. Bu iki nef birlikte bir “at nal\u0131” bi\u00e7imini olu\u015ftururlar.<\/p>\n

G\u00fcney \u00dcst Nef (Trib\u00fcn)<\/strong><\/p>\n

\u0130mparatori\u00e7e Locas\u0131<\/strong><\/p>\n

T\u00f6renleri izlemek \u00fczere Ayasofya\u2019ya gelen imparatori\u00e7e \u00fcst kata \u00e7\u0131kar\u0131l\u0131r, t\u00f6renleri maiyetindekilerle birlikte \u00fcst kat\u0131n g\u00fcney nefindeki “imparatori\u00e7e locas\u0131”ndan izlerdi. \u0130mparatori\u00e7e locas\u0131ndan g\u00fcn\u00fcm\u00fcze ula\u015fan k\u0131s\u0131mlar mermer ba\u015fl\u0131kl\u0131 iki k\u00fc\u00e7\u00fck ye\u015fil porfirden yap\u0131lma s\u00fctun ve zemindeki imparatori\u00e7enin taht\u0131n\u0131n konaca\u011f\u0131 yeri g\u00f6stermek \u00fczere yerle\u015ftirilmi\u015f dairesel ye\u015fil porfir ta\u015f\u0131ndan olu\u015fur. Bu ye\u015fil daire omphalion’daki\u00a0daireler gibi yap\u0131lm\u0131\u015ft\u0131r. Buradan binan\u0131n alt kat\u0131 ve i\u00e7 mekan\u0131na hakim bir bak\u0131\u015f a\u00e7\u0131s\u0131 elde edilebilmektedir.<\/p>\n

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\u00dcst kat\u0131n neflerinde tavan\u0131 kaplayan, insan fig\u00fcr\u00fc i\u00e7ermeyen mozaikler Osmanl\u0131 d\u00f6neminde ya\u011fmur suyundan tahrip oldu\u011fundan, 19. y\u00fczy\u0131lda Osmanl\u0131 sultan\u0131 Abd\u00fclmecit\u00a0bunlar\u0131n onar\u0131lmas\u0131n\u0131 emretmi\u015fti. Fakat mozaik sanat\u0131 19. y\u00fczy\u0131lda unutulmu\u015f bir sanat\u00a0durumuna geldi\u011finden \u0130talyan Fossati karde\u015fler sultana bunlar\u0131 onaramayacaklar\u0131n\u0131 belirtip, ba\u015fka bir \u00e7\u00f6z\u00fcm \u00f6nerisinde bulundular: \u00c7ok tahrip olan mozaikler s\u0131vayla kapland\u0131 ve altta kalan mozaik motifler bu s\u0131va \u00fczerine resmedildi. Baz\u0131 s\u00fctunlar\u0131n \u00fcst k\u0131s\u0131mlar\u0131ndaki kemerlerde s\u0131vayla kaplanmam\u0131\u015f mozaikler halen g\u00f6r\u00fclebilir durumdad\u0131r. Fakat yer yer nemden dolay\u0131 orijinal renklerini kaybetmi\u015flerdir. Ayr\u0131ca yer yer d\u00f6k\u00fclen veya altta mozaik olup olmad\u0131\u011f\u0131 anla\u015f\u0131lmak \u00fczere kasten a\u00e7\u0131lm\u0131\u015f s\u0131valar alt\u0131ndan da eski mozaikler g\u00f6r\u00fclebilmektedir. Fossati karde\u015flerin \u00fcst kattaki tavan mozaiklerini kaplamadan \u00f6nce t\u00fcm mozaiklerin kopyalar\u0131n\u0131 ka\u011f\u0131tlara \u00e7\u0131kard\u0131klar\u0131 bilinmekteyse de, yanlar\u0131nda g\u00f6t\u00fcrd\u00fckleri bu ka\u011f\u0131tlar\u0131n g\u00fcn\u00fcm\u00fczde nerede olduklar\u0131 bilinmemektedir.<\/p>\n

Cennet ve Cehennem Kap\u0131s\u0131<\/strong><\/p>\n

\u0130mparatori\u00e7e locas\u0131n\u0131n az ilerisinde, \u00fczerlerindeki anahtar kabartmalar\u0131ndan dolay\u0131 \u201ccennet ve cehennem kap\u0131s\u0131\u201d olarak adland\u0131r\u0131lan, vaktiyle bir kap\u0131 i\u00e7erdi\u011fi san\u0131lan, duvarlara sabitlenmi\u015f iki mermer blok g\u00f6r\u00fcl\u00fcr. Bu bloklar \u00fczerinde ya\u015fam a\u011fac\u0131,\u00a0bal\u0131k gibi semboller\u00a0i\u00e7eren k\u00fc\u00e7\u00fck kabartmalar\u00a0bulunur. Kilise temsilcileri synod\u00a0ad\u0131 verilen toplant\u0131lar\u0131n yap\u0131laca\u011f\u0131 odaya gitmek \u00fczere bu kap\u0131dan ge\u00e7erlerdi.<\/p>\n

Deisis Mozai\u011fi<\/strong><\/p>\n

Buradan ge\u00e7ildikten sonra sa\u011f tarafta yer alan duvarda, 12. y\u00fczy\u0131ldan kalma \u201cdeisis\u201d olarak adland\u0131r\u0131lan, \u0130sa’n\u0131n k\u0131yamet g\u00fcn\u00fc\u00a0insanl\u0131k i\u00e7in Tanr\u0131’dan niyaz dilemesini simgeleyen bir mozaik bulunur. Alt k\u0131sm\u0131 yok olmu\u015f bu b\u00fcy\u00fck mozaikte ortada \u0130sa, sa\u011fda Vaftizci Yahya,\u00a0solda ise Meryem g\u00f6r\u00fcl\u00fcr. \u0130sa\u2019n\u0131n sa\u011f eli, alt kattaki i\u00e7 nartekste\u00a0yer alan mozaikte de g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi \u201cvaftiz\u00a0i\u015fareti\u201d denilen bir halde tasvir edilmi\u015ftir.<\/p>\n

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Bu mozai\u011fin muhtemelen di\u011fer \u00e7e\u015fitli Ortodoks kiliselerinde taklit edilmeye \u00e7al\u0131\u015f\u0131lan bir \u00f6zelli\u011fi, \u0130sa\u2019n\u0131n y\u00fcz\u00fcn\u00fcn sa\u011f ve sol yar\u0131lar\u0131n\u0131n birbirlerinden farkl\u0131 olarak tasvir edilmi\u015f olmas\u0131d\u0131r. Bu fark, sa\u011f ve sol g\u00f6zlerde de g\u00f6r\u00fcl\u00fcr. Bir yap\u0131m hatas\u0131 olmayan bu \u00f6zellik, Leonardo da Vinci’nin \u00fcnl\u00fc eserinde de g\u00f6r\u00fclmekle birlikte, Ayasofya\u2019daki bu mozaik 12. y\u00fczy\u0131lda yap\u0131lm\u0131\u015f oldu\u011fundan Vinci\u2019nin eserinden daha eskidir. Mozai\u011fi yapan sanat\u00e7\u0131 \u0130sa\u2019n\u0131n y\u00fcz k\u0131sm\u0131na \u00f6yle bir \u00f6zellik kazand\u0131rm\u0131\u015ft\u0131r ki, mozaikten Kud\u00fcs\u00a0y\u00f6n\u00fcne do\u011fru 10-15 metre kadar y\u00fcr\u00fcnerek geri d\u00f6n\u00fcp bak\u0131ld\u0131\u011f\u0131nda hem \u0130sa\u2019n\u0131n y\u00fcz\u00fcn\u00fcn iki yar\u0131s\u0131 simetrik\u00a0hale gelir, hem de \u0130sa\u2019n\u0131n g\u00f6zleri o konumdaki ki\u015fiye bakar bir vaziyet al\u0131r. Bu mozaik Bizans resim sanat\u0131nda R\u00f6nesans’\u0131n ba\u015flang\u0131c\u0131 olarak ele al\u0131n\u0131r.<\/p>\n

\u00dcst kat\u0131n bu k\u0131sm\u0131nda sa\u011fda, zeminde Venedik Cumhuriyeti’nin\u00a0k\u00f6r h\u00fck\u00fcmdar\u0131, \u0130stanbul’u mahveden adam\u00a0Dandolo’nun mezar\u0131<\/strong> yer al\u0131r. Venedik d\u00fck\u00fc Henri iste\u011fi \u00fczerine vefat edince Ayasofya\u2019ya (\u00fcst kat) g\u00f6m\u00fclm\u00fc\u015ft\u00fc. Rivayete g\u00f6re Bizansl\u0131lar Dandolo’nun kemiklerini k\u00f6peklere atm\u0131\u015flar. Burada sadece mezar ta\u015f\u0131 var.<\/p>\n

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\u00a0Komnenos, Meryem, \u0130sa, \u0130rene Mozai\u011fi<\/strong><\/p>\n

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G\u00fcney \u00fcst nefinin do\u011fu ucunda, sa\u011fda binan\u0131n e\u011frilmeye maruz kal\u0131\u015f\u0131n\u0131n a\u00e7\u0131k bir g\u00f6stergesi olan, Piza kulesi\u00a0gibi e\u011frilmi\u015f bir s\u00fctun bulunur.<\/p>\n

Solda ise yine alt k\u0131s\u0131mlar\u0131 tahrip edilmi\u015f iki mozaik yer al\u0131r. 1122’de yap\u0131lm\u0131\u015f olan ilk mozaikte ortada \u00e7ocu\u011fuyla Meryem Ana, solda, elinde bir para kesesi tutan Bizans imparatoru II. Yannis Komnenos, sa\u011fda e\u015fi \u0130rene g\u00f6r\u00fcl\u00fcr. Mozai\u011fin 90 derece a\u00e7\u0131 yaparak yan duvarda (payede) devam eden k\u0131sm\u0131nda imparatorun veremden \u00f6len o\u011flu Aleksios tasvir edilmektedir. \u0130mparator ve e\u015fi o\u011fullar\u0131n\u0131n gen\u00e7 ya\u015fta \u00f6lmesinden sonra \u00e7ocuklar i\u00e7in \u00fccretsiz bir hastanenin a\u00e7\u0131lmas\u0131n\u0131 finanse etmi\u015flerdir.<\/p>\n

Zoe ve E\u015fi Mozai\u011fi<\/strong><\/p>\n

\"\"<\/strong><\/p>\n

11. y\u00fczy\u0131ldan kalma di\u011fer mozaikte ortada \u0130sa yer al\u0131r. Bizans mozaik sanat\u0131nda genellikle, \u0130sa ba\u015ftaki haleye bir ha\u00e7\u00a0ili\u015ftirilerek tasvir edilir ve ayr\u0131ca mozaiklere kimlikleri a\u00e7\u0131klay\u0131c\u0131 yaz\u0131lar eklenir. Bu bak\u0131mdan Bizans mozaiklerinde kimliklerin te\u015fhis edilmesinde zorluk \u00e7ekilmez. Mozaikte sa\u011fda \u0130mparatori\u00e7e Zoe yer al\u0131r. Zoe, kocalar\u0131n\u0131n \u00f6l\u00fcm\u00fcnden dolay\u0131 \u00fc\u00e7 kez evlenmi\u015f ve \u00fc\u00e7 imparatora e\u015flik etmi\u015ftir. Her evleni\u015finde mozaikteki \u0130mparatoru ve ad\u0131n\u0131 de\u011fi\u015ftirmek gerekti\u011finden, sanat\u00e7\u0131 mozaikteki \u0130mparator’un v\u00fccudunu t\u00fcm\u00fcyle de\u011fi\u015ftirmek yerine yaln\u0131zca kafay\u0131 ve kim oldu\u011funu a\u00e7\u0131klayan yaz\u0131y\u0131 de\u011fi\u015ftirmek yoluna gitmi\u015ftir. Bu y\u00fczden mozaikte \u0130mparatorun kafas\u0131n\u0131n ve ad\u0131n\u0131n \u00e7evresinde kaz\u0131nma izleri g\u00f6r\u00fclmektedir. Mozaikteki son kocas\u0131 imparator IX. Konstantin Monomakos’tur. O da elinde bir para kesesi tutar halde tasvir edilmi\u015ftir.<\/p>\n

Kuzey \u00dcst Nef<\/strong><\/p>\n

Kuzey \u00fcst nefinde g\u00fcn\u00fcm\u00fczde Ayasofya\u2019n\u0131n mozaiklerinin ve \u00e7e\u015fitli k\u0131s\u0131mlar\u0131n\u0131n b\u00fcy\u00fck boy foto\u011fraflar\u0131 sergilenmektedir. Bu nefin sa\u011f taraf\u0131nda kuytuda kalan bir duvarda imparator Aleksandros\u2019un<\/strong> (912-913) Mozai\u011fi<\/strong> bulunur. \u0130mparator Aleksandros’un e\u015fcinsel\u00a0oldu\u011fu ve \u00f6zel ya\u015fam\u0131na \u00f6nem verebilmesi i\u00e7in imparatorlu\u011fun y\u00f6netimini karde\u015fi VI. Leon’a\u00a0b\u0131rakt\u0131\u011f\u0131 belirtilir.<\/p>\n

Cebrail Mozai\u011fi<\/strong><\/p>\n

Nefin do\u011fu ucundaki bitiminde, solda a\u015fa\u011f\u0131 kata ini\u015f rampas\u0131 bulunur. Sa\u011fda ise, g\u00fcney nefinin ucundaki girintinin simetri\u011fi tarz\u0131nda bir girinti yer al\u0131r. Buradan bak\u0131ld\u0131\u011f\u0131nda tam kar\u015f\u0131da, absitin \u00fcst k\u0131sm\u0131 ile yar\u0131m kubbe aras\u0131ndaki kemerde Cebrail’i\u00a0tasvir eden mozaik g\u00f6r\u00fcl\u00fcr. Mozaik buradan, alt kattan g\u00f6r\u00fclme derecesine k\u0131yasla daha iyi ve daha yak\u0131ndan g\u00f6r\u00fclebilmektedir. 9. y\u00fczy\u0131la tarihlenen bu mozaikte kanatlar\u0131yla tasvir edilmi\u015f ba\u015f meleklerden Cebrail, sol elinde bir k\u00fcre tutar halde tasvir edilmi\u015ftir. Bu k\u00fcrenin d\u00fcnyay\u0131 temsil etti\u011fi san\u0131lmaktad\u0131r. Fakat mozai\u011fin d\u00fcnyan\u0131n yuvarlak oldu\u011funun bilinmedi\u011fi 9. y\u00fczy\u0131lda yap\u0131lm\u0131\u015f oldu\u011fu g\u00f6z \u00f6n\u00fcne al\u0131n\u0131rsa, sanat\u00e7\u0131n\u0131n hangi bilgiye dayanarak d\u00fcnyay\u0131 yuvarlak temsil etmi\u015f olmas\u0131 ilgin\u00e7tir.<\/p>\n

Absitteki Meryem mozai\u011fi buradan da g\u00f6r\u00fclmektedir. Bu mozai\u011fin \u00f6teki nefin bitimindeki girintiden g\u00f6r\u00fclmesine k\u0131yasla buradan g\u00f6r\u00fclmesinin tek fark\u0131, buradan Meryem ve \u0130sa’n\u0131n bak\u0131\u015flar\u0131n\u0131n d\u00fc\u015fm\u00fc\u015f oldu\u011fu san\u0131lan melek mozai\u011fine y\u00f6nelmi\u015f olduklar\u0131n\u0131n farkedilebilmesidir.<\/p>\n

\u00c7\u0131k\u0131\u015f <\/strong><\/p>\n

\u00c7\u0131k\u0131\u015f Mozai\u011fi<\/strong>\u00a0(J\u00fcstinyen, Meryem ve B\u00fcy\u00fck Konstantin)<\/strong><\/p>\n

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Binadan \u00e7\u0131k\u0131\u015f i\u00e7 narteksin g\u00fcney ucundaki kap\u0131dan olur. Bu \u00e7\u0131k\u0131\u015f kap\u0131s\u0131n\u0131n \u00fczerine yerle\u015ftirilmi\u015f bir ayna oraya, \u00e7\u0131k\u0131\u015f y\u00f6n\u00fcnde ilerleyen ziyaret\u00e7ileri, arkalar\u0131nda kald\u0131\u011f\u0131ndan g\u00f6remedikleri bir mozai\u011fin daha bulundu\u011fu konusunda uyarmak \u00fczere yerle\u015ftirilmi\u015ftir. 10. y\u00fczy\u0131ldan kalma bu mozaik, Fossati taraf\u0131ndan 1849’da ke\u015ffedilip tekrar kapat\u0131lm\u0131\u015f, 1933-1934 y\u0131llar\u0131nda temizlenmi\u015ftir.<\/p>\n

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Mozaikte ortada \u00e7ocu\u011fuyla birlikte Meryem yer al\u0131r. Olgun bir insan\u0131n y\u00fcz hatlar\u0131yla tasvir edilen “\u00c7ocuk \u0130sa” sa\u011f eliyle vaftiz\u00a0i\u015fareti yapmakta ve sol elinde “malik olma”y\u0131 simgeleyen bir rulo tutmaktad\u0131r. Solda \u00fc\u00e7\u00fcnc\u00fc Ayasofya\u2019y\u0131 in\u015fa ettiren J\u00fcstinyen, Meryem’e Ayasofya’n\u0131n bir maketini sunar halde tasvir edilmi\u015ftir. Bu Ayasofya maketinde kubbenin \u00fczerinde bir ha\u00e7 bulundu\u011fu g\u00f6r\u00fclmektedir. Sa\u011fda ise Konstantinopolis’in\u00a0kurucusu say\u0131lan\u00a0 Roma \u0130mparatoru B\u00fcy\u00fck Kostantin, Meryem’e surlarla\u00a0\u00e7evrili Konstantinopolis’in\u00a0maketini sunar. Ad\u0131 Bizans alfabesiyle yukar\u0131dan a\u015fa\u011f\u0131 do\u011fru yaz\u0131lm\u0131\u015ft\u0131r. Meryem’in taht\u0131n\u0131n zeminini olu\u015fturan mozaik ta\u015flar\u0131n\u0131n yap\u0131m\u0131nda g\u00fcm\u00fc\u015f kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n

\u00c7\u0131k\u0131\u015fta yer alan, art\u0131k kapat\u0131lamayan bronz kap\u0131<\/strong>, d\u00fcnya\u2019n\u0131n en eski kap\u0131lar\u0131ndan biri say\u0131lmaktad\u0131r.<\/p>\n

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M.\u00d6. II. y\u00fczy\u0131la ait bu kap\u0131 Ayasofya\u2019ya Tarsus\u2019taki bir tap\u0131naktan\u00a0getirilmi\u015ftir. Ayasofya\u2019n\u0131n zemini Bizans d\u00f6nemindeki bir depremden sonra bir miktar (30\u201335\u00a0cm.) y\u00fckseltilmek zorunda kal\u0131nm\u0131\u015ft\u0131r. Bu y\u00fczden bu kap\u0131 iptal edilerek yerine yenisi yap\u0131lm\u0131\u015f, fakat eski kap\u0131 ba\u015fka yere g\u00f6t\u00fcr\u00fclmeyerek orada b\u0131rak\u0131lm\u0131\u015ft\u0131r. Bu sayede kap\u0131n\u0131n alt k\u0131sm\u0131nda Ayasofya\u2019n\u0131n 6. y\u00fczy\u0131la ait zemini g\u00f6r\u00fclebilmektedir.<\/p>\n

Avlu <\/strong><\/p>\n

\u015ead\u0131rvan<\/strong><\/p>\n

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Alt kattaki \u00e7\u0131k\u0131\u015f kap\u0131s\u0131ndan avluya \u00e7\u0131k\u0131ld\u0131\u011f\u0131nda g\u00f6r\u00fclen \u015fad\u0131rvan I. Mahmut\u00a0d\u00f6neminde eklenmi\u015ftir.<\/p>\n

Arkas\u0131nda yer alan\u00a0hem ta\u015f hem tu\u011fla kullan\u0131larak in\u015fa edilmi\u015f yap\u0131 ise Osmanl\u0131 d\u00f6neminde eklenmi\u015f, \u00e7ocuklar\u0131n Kur’an e\u011fitimi i\u00e7in kullan\u0131lm\u0131\u015f S\u0131byan Mektebi<\/strong>dir.<\/p>\n

T\u00fcrbeler<\/strong><\/p>\n

Sol taraftaki kap\u0131 t\u00fcrbelere a\u00e7\u0131l\u0131r. Ayasofya M\u00fczesi\u2019ne ait t\u00fcrbeler, II. Selim’in, III. Mustafa’n\u0131n, III. Mehmet’in, Sultan Mustafa’n\u0131n, Sultan \u0130brahim’i ve \u015fehzadelerinin\u00a0t\u00fcrbeleridir. T\u00fcrbeler art\u0131k ziyarete a\u00e7\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Bu t\u00fcrbelerden birinde y\u00fcr\u00fct\u00fclen restorasyon \u00e7al\u0131\u015fmalar\u0131 sonucu bilinen en b\u00fcy\u00fck boyutlu, Bizans d\u00f6neminin 6. y\u00fczy\u0131l \u00f6ncesi erken Hristiyanl\u0131k d\u00f6nemine ait vaftiz havuzu<\/strong> ortaya \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r.<\/p>\n

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Avluyu \u00e7evreleyen di\u011fer binalar m\u00fcze m\u00fcd\u00fcrl\u00fc\u011f\u00fcn\u00fcn personelince \u00e7al\u0131\u015fma ama\u00e7l\u0131 kullan\u0131lmaktad\u0131r.<\/p>\n

Ayr\u0131ca, genellikle konserlerde a\u00e7\u0131lan Aya \u0130rini\u00a0M\u00fczesi de Ayasofya M\u00fcd\u00fcrl\u00fc\u011f\u00fc\u2019ne ba\u011fl\u0131d\u0131r.<\/p>\n

Ayasofya’da M\u00fcsl\u00fcmanlar i\u00e7in ibadete a\u00e7\u0131lan b\u00f6l\u00fcm var.<\/strong><\/p>\n

\u0130stanbullu S\u00fcha abimizden Ayasofya’n\u0131n do\u011fu giri\u015finde ibadete a\u00e7\u0131lan bir b\u00f6l\u00fcm oldu\u011funu \u00f6\u011freniyoruz.<\/p>\n

Buras\u0131 I. Mahmud d\u00f6neminde yap\u0131lan H\u00fcnkar Kasr\u0131. Padi\u015fah buraya gelir, istirahatini yapar, tefekk\u00fcr eder, abdestini al\u0131r, camiye ge\u00e7ermi\u015f.<\/p>\n

Asl\u0131nda buradaki ibadet 1991 y\u0131l\u0131nda ba\u015flam\u0131\u015f. \u00d6\u011fle ve ikindide ibadete a\u00e7\u0131l\u0131yormu\u015f.<\/p>\n

2012 y\u0131l\u0131ndan beri ise bu vakit ezanlar\u0131 Sultanahmet ile kar\u015f\u0131l\u0131kl\u0131 okunuyor ve muhte\u015fem etkileyici oluyor. Daha \u00f6nce denk gelmi\u015ftim ve k\u0131m\u0131ldamadan dinlemi\u015ftim bu ruhani ziyafeti.<\/p>\n

Ekim 2016’da ise buraya ilk defa asaleten bir imam atan\u0131yor. Be\u015f vakit ibadete a\u00e7\u0131l\u0131yor. S\u00fcha abi bizi buran\u0131n imam\u0131 ile tan\u0131\u015ft\u0131r\u0131yor. \u00d6nder Soy ile. \u00d6nder bey spora ve sanata merakl\u0131, mesle\u011fi ile ilgili veya farkl\u0131 bir\u00e7ok kurslara devam edip kendini geli\u015ftirmeye devam eden, ayd\u0131n g\u00f6r\u00fc\u015fl\u00fc, geldi\u011fi makama lay\u0131k olmaya \u00e7al\u0131\u015fan bir insan. H\u00fcnkar Kasr\u0131’n\u0131n ibadet yap\u0131lan alan\u0131nda ba\u015fl\u0131yor muhabbetimiz.<\/p>\n

\"\"<\/p>\n

Ard\u0131ndan Kasr\u0131n di\u011fer alanlar\u0131n\u0131 geziyoruz.<\/p>\n

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Ve mutlu mesut ayr\u0131l\u0131yoruz \u00d6nder Bey’in yan\u0131ndan.<\/p>\n

Hipodrom<\/strong><\/p>\n

\u0130stanbul’un en \u00fcnl\u00fc meydanlar\u0131ndan olan Sultanahmet Meydan\u0131; Roma ve Bizansl\u0131lar taraf\u0131ndan “Hipodrom”, Osmanl\u0131lar taraf\u0131ndan “At Meydan\u0131” olarak isimlendirilmi\u015f. Bu \u00fc\u00e7 imparatorlu\u011fun da merkezi kabul edilen bu b\u00f6lge imparatorluklar\u0131n siyasi ve dini merkezi konumuna gelmi\u015f ve en ihti\u015faml\u0131 eserler burada yap\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Bizans d\u00f6neminde Sultanahmet Cami’nin oldu\u011fu yerde \u0130mparatorluk Saray\u0131 varm\u0131\u015f. \u0130mparatorluk Saray\u0131 ve \u015fimdilerde \u0130l Milli E\u011fitim M\u00fcd\u00fcrl\u00fc\u011f\u00fc (Eski Adliye Saray\u0131) aras\u0131nda ise b\u00fcy\u00fck bir U harfi \u015feklinde Hipodrom bulunuyordu. 480x117metrelik alana sahip Hipodrom’da araba yar\u0131\u015flar\u0131, vah\u015fi hayvan g\u00f6sterileri, zafer alaylar\u0131 gibi \u00e7e\u015fitli e\u011flence ve faaliyetler yap\u0131l\u0131rd\u0131. Bir\u00e7ok eserin sergilendi\u011fi Hipodrom’un do\u011fu duvar\u0131nda bulunan 4 adet bronz\u00a0 heykel \u015fehrin Latin istilas\u0131 s\u0131ras\u0131nda ka\u00e7\u0131r\u0131larak Venedik’teki San Marco Meydan\u0131’na g\u00f6t\u00fcr\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n

Hipodrom’dan g\u00fcn\u00fcm\u00fcze 3 tane an\u0131t kalm\u0131\u015ft\u0131r: \u00d6rme Dikilita\u015f, M\u0131s\u0131r’dan getirilen Dikilita\u015f (Obeliks) ve Delfi’deki Apollon Tap\u0131na\u011f\u0131’ndan getirilen Y\u0131lanl\u0131 S\u00fctun. Hipodrom zemini 4-5 metre y\u00fckseltilerek, kalan bu 3 an\u0131t bug\u00fcnk\u00fc g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc alm\u0131\u015ft\u0131r.<\/p>\n

Dikilita\u015f (Obeliks,\u00a0Theodosius Dikilita\u015f\u0131)<\/strong><\/p>\n

\"\"<\/p>\n

Meydan\u0131n simgesi durumundad\u0131r. Asl\u0131nda bir M\u0131s\u0131r an\u0131t\u0131d\u0131r. M.\u00d6. 1600 y\u0131l\u0131nda Firavun Tutmosis ad\u0131na Karnak’ta (M\u0131s\u0131r) dikilmi\u015ftir. M\u0131s\u0131r’\u0131 fetheden Roma \u0130mparatoru Theodosius pembe granitten yekpare ta\u015f an\u0131t\u0131 390 y\u0131l\u0131nda gemilerle \u0130stanbul’a getirtmi\u015f ve Hipodrom’a diktirmi\u015ftir.<\/p>\n

Dikilita\u015f’\u0131n d\u00f6rt cephesinde antik M\u0131s\u0131r dilinde yaz\u0131tlar vard\u0131r.<\/p>\n

\"\"<\/p>\n

An\u0131t, mermer bir kaidenin \u00fczerinde d\u00f6rt bronz aya\u011fa oturur. Kaidenin d\u00f6rt y\u00fcz\u00fc de kabartmalarla kapl\u0131d\u0131r. Bu kabartmalarda I. Theodosius, o\u011fullar\u0131, kar\u0131s\u0131 ve yard\u0131mc\u0131lar\u0131 ile Hipodrom sahneleri ve an\u0131t\u0131n dikili\u015fini g\u00f6steren tasvirler yer al\u0131r. An\u0131t\u0131n kaidesinde biri Latince, biri Grek\u00e7e olmak \u00fczere iki kitabe vard\u0131r.<\/p>\n

Latince kitabede an\u0131t kendi a\u011fz\u0131ndan konu\u015fur: “\u00d6nceleri direnmi\u015ftim, ama y\u00fcce efendimizin buyru\u011funa itaat ederek ezilen tiranlar \u00fczerinde zafer \u00e7elengini ta\u015f\u0131mam i\u00e7in gerekli her \u015fey, Theodosius ve onun kesintisiz devam eden s\u00fclalesine boyun e\u011fdi. Bana da galebe \u00e7al\u0131nd\u0131 ve Proklos’un idaresinde 30 g\u00fcnde dikilmeye mecbur edildim.”<\/p>\n

Grek\u00e7e kitabe:\u00a0 “Devaml\u0131 yerde yatan d\u00f6rt ta\u015f\u0131 dikmek cesaretini ancak \u0130mparator Theodosius g\u00f6sterebildi. Yard\u0131ma Proklos’u \u00e7a\u011f\u0131rd\u0131 ve b\u00f6ylece 32 g\u00fcnde ta\u015f dikilebildi.”<\/p>\n

Bu t\u00fcr dikilita\u015flar\u0131n dikilme amac\u0131 buradan da anla\u015f\u0131ld\u0131\u011f\u0131 gibi \u0130mparatorun halk \u00fczerindeki g\u00fcc\u00fcn\u00fcn artmas\u0131n\u0131 sa\u011flanmakt\u0131r.<\/p>\n

\u00d6rme Ta\u015f (Kostantin Dikilita\u015f\u0131)<\/strong><\/p>\n

(Yukar\u0131da Dikilita\u015f’\u0131n arkas\u0131nda)<\/p>\n

32 metre uzunlu\u011fundad\u0131r. Kimin taraf\u0131ndan yap\u0131ld\u0131\u011f\u0131 bilinmemekle birlikte 7. Konstantin taraf\u0131ndan bak\u0131mlar\u0131 yapt\u0131r\u0131lm\u0131\u015f ve babas\u0131 olan \u0130mparator 1. Basileios\u2019un sava\u015flar\u0131n\u0131 ve zaferlerini anlatan kabartma tasvirler eklenmi\u015ftir. Mermer kaidesine \u201c7. Konstantin, Rodos \u015fehrindeki dev an\u0131tla rekabet edecek bir \u015faheser yaratt\u0131\u201d yazmaktad\u0131r.<\/p>\n

Daha \u00f6nceleri s\u00fctunun \u00fcst\u00fcnde tun\u00e7 bir k\u00fcre ve\u00a0\u00a0s\u00fctun boyunca tun\u00e7 kabartmalar bulunuyormu\u015f. Ancak Latin istilas\u0131 s\u0131ras\u0131nda para basmak amac\u0131yla eritilmi\u015f.<\/p>\n

Burmal\u0131 S\u00fctun (Y\u0131lanl\u0131 S\u00fctun)<\/strong><\/p>\n

\"\"<\/p>\n

\u0130mparator 1. Konstantin taraf\u0131nda 324 y\u0131l\u0131nda \u0130stanbul’a getirilip diktirilmi\u015f. Mitolojik bir \u00f6yk\u00fcn\u00fcn simgesidir ayn\u0131 zamanda. Daha \u00f6nce Delfi’deki Apollon Tap\u0131na\u011f\u0131’n\u0131n \u00f6n\u00fcnde, g\u00fczellik, iyilik ve g\u00fc\u00e7 tanr\u0131s\u0131 Apollon’un bir bo\u011fa y\u0131lan\u0131n\u0131 bo\u011farak k\u00f6t\u00fcl\u00fcklere son vermesini simgeliyor. M.\u00d6. 5. y\u00fczy\u0131ldaki Pers Sava\u015flar\u0131’nda ele ge\u00e7en k\u0131l\u0131\u00e7, kalkan, z\u0131rh gibi malzemelerin eritilerek yap\u0131ld\u0131\u011f\u0131 rivayet edilir. Birbirine sar\u0131l\u0131 \u00fc\u00e7 y\u0131lanla ba\u015flar\u0131nda ta\u015f\u0131d\u0131klar\u0131 t\u00fcts\u00fc kazan\u0131ndan olu\u015fan an\u0131t\u0131n alt\u0131n kazan\u0131, \u0130stanbul’a getirilmeden \u00f6nce \u00e7al\u0131nm\u0131\u015f.\u00a0Tarihi belgelere g\u00f6re s\u00fctunun y\u0131lan ba\u015flar\u0131 17. y\u00fczy\u0131la kadar kadar yerinde duruyordu. Bir seyyaha g\u00f6re y\u0131lan ba\u015flar\u0131 Polonya el\u00e7isinin adamlar\u0131 taraf\u0131ndan, Evliya \u00c7elebi\u2019ye g\u00f6re ise bir yeni\u00e7eri taraf\u0131ndan kopart\u0131lm\u0131\u015ft\u0131r.\u00a0Bug\u00fcn 5 metrelik k\u0131sm\u0131 ayakta olan eserin, \u015fehri y\u0131lanlardan, b\u00f6ceklerden, \u00e7\u0131yanlardan ve akreplerden korudu\u011funa da inan\u0131l\u0131yordu.<\/p>\n

T\u00fcrk ve \u0130slam Eserleri M\u00fczesi (\u0130brahim Pa\u015fa Saray\u0131)<\/strong><\/p>\n

\"\"<\/p>\n

M\u00fcze T\u00fcrk ve \u0130slam eserlerini kapsayan ilk T\u00fcrk m\u00fczesidir.<\/p>\n

19. y\u00fczy\u0131l\u0131n sonlar\u0131nda vak\u0131f binalar\u0131, cami, mescit, tekke ve t\u00fcrbelerden eserlerin \u00e7al\u0131nmas\u0131 engellenemeyince Osman Hamdi Bey’in ba\u015fkanl\u0131\u011f\u0131nda kurulan komisyon yeni bir m\u00fcze a\u00e7maya karar verir.<\/p>\n

19. y\u00fczy\u0131l\u0131n sonlar\u0131nda ba\u015flayan kurulu\u015f \u00e7al\u0131\u015fmalar\u0131 1913 y\u0131l\u0131nda tamamlanm\u0131\u015f, S\u00fcleymaniye Cami K\u00fclliyesi i\u00e7inde imarethanede 1914’te “Evkaf-\u0131 \u0130slamiye M\u00fczesi” (\u0130slam Vak\u0131flar\u0131 M\u00fczesi) ad\u0131 ile ziyarete a\u00e7\u0131lm\u0131\u015ft\u0131r. Cumhuriyetin ilan\u0131ndan sonra “T\u00fcrk ve \u0130slam Eserleri M\u00fczesi” ad\u0131n\u0131 alm\u0131\u015ft\u0131r. 1983 y\u0131l\u0131nda m\u00fcze bug\u00fcn i\u00e7inde bulundu\u011fu \u0130brahim Pa\u015fa Saray\u0131’na ta\u015f\u0131nm\u0131\u015ft\u0131r.<\/p>\n

Tarihi Hipodrom kademelerinde y\u00fckselen \u0130brahim Pa\u015fa Saray\u0131 Kanuni Sultan S\u00fcleyman taraf\u0131ndan damad\u0131 ve veziri olan \u0130brahim Pa\u015fa’ya hediye edilmi\u015ftir. Baz\u0131 y\u00f6nlerden Topkap\u0131 Saray\u0131’ndan daha g\u00f6rkemli oldu\u011fu s\u00f6ylenen Saray’da bir\u00e7ok d\u00fc\u011f\u00fcn, \u015fenlik, kutlama yap\u0131lm\u0131\u015ft\u0131r. Bunun yan\u0131 s\u0131ra isyanlara da sahne olmu\u015ftur.<\/p>\n

D\u00f6rt b\u00fcy\u00fck i\u00e7 avlu \u00e7evresinde yap\u0131lan Saray ta\u015ftan yap\u0131lm\u0131\u015f olmas\u0131 sebebiyle g\u00fcn\u00fcm\u00fcze kadar ula\u015fabilmi\u015ftir.<\/p>\n

M\u00fcze 1984 y\u0131l\u0131nda “Avrupa Konseyi Y\u0131l\u0131n M\u00fczesi Yar\u0131\u015fmas\u0131 J\u00fcri \u00d6d\u00fcl\u00fc”n\u00fc, 1985 y\u0131l\u0131nda da Avrupa Konseyi Unesco taraf\u0131ndan \u00e7ocuklara k\u00fclt\u00fcr miras\u0131n\u0131 sevdirme konusundaki \u00e7al\u0131\u015fmalar\u0131ndan \u00f6t\u00fcr\u00fc verilen \u00f6d\u00fcl\u00fc alm\u0131\u015ft\u0131r.<\/p>\n

K\u0131rk bini a\u015fan eser sergilenmektedir.<\/p>\n

2012-2014 y\u0131llar\u0131 aras\u0131nda restorasyona giren saray, m\u00fczenin 100.y\u0131l\u0131n\u0131 kutlamas\u0131 sebebiyle “100 Y\u0131l \u00d6nce 100 Y\u0131l Sonra Sergisi” ile Aral\u0131k 2014’te yeniden a\u00e7\u0131lm\u0131\u015f.<\/p>\n

Restorasyon s\u0131ras\u0131nda Hipodrom’un bat\u0131 oturma s\u0131ralar\u0131na ait tonozlu kal\u0131nt\u0131lar ortaya \u00e7\u0131km\u0131\u015f ve M\u00fcze’nin te\u015fhir alanlar\u0131ndan biri haline getirilmi\u015f.<\/p>\n

M\u00fcze’de Kur’an-\u0131 Kerim’in k\u00fcfi yaz\u0131l\u0131 ilk n\u00fcshalar\u0131, sedef kakmal\u0131 rahleler, \u015famdanlar, seramikler, ah\u015fap e\u015fyalar, Kabe \u00f6rt\u00fcs\u00fc, kutsal emanetler bulunmaktad\u0131r.<\/p>\n

\u00a0\u015eam evraklar\u0131<\/div>\n

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Kabe \u00f6rt\u00fcs\u00fc<\/p>\n

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Eyyubiler b\u00f6l\u00fcm\u00fcnden eserler<\/p>\n

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Hal\u0131 sanat\u0131n\u0131n d\u00fcnyadaki en zengin koleksiyonunu olu\u015fturan hal\u0131 b\u00f6l\u00fcm\u00fc ayr\u0131 bir \u00f6nem ta\u015f\u0131m\u0131\u015f ve m\u00fczenin uzun y\u0131llar bir “Hal\u0131 M\u00fczesi” olarak an\u0131lmas\u0131na neden olmu\u015ftur.<\/p>\n

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Sultanahmet Cami<\/strong><\/p>\n

Mavi, ye\u015fil, beyaz renkli e\u015fsiz \u0130znik \u00e7inileri, kap\u0131lar\u0131 s\u00fcsleyen sedef kakmalar\u0131, 6 minaresi, ve panoramik g\u00f6r\u00fcnt\u00fcs\u00fc ile Sultanahmet Cami, \u0130stanbul’un ana cami konumuna ula\u015fm\u0131\u015f etkileyici bir ibadethanesidir.<\/p>\n

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Osmanl\u0131 sultanlar\u0131 ve aileleri taraf\u0131ndan yapt\u0131r\u0131lan ve sultan camileri anlam\u0131na gelen selatin camilerinin alt\u0131nc\u0131s\u0131d\u0131r.<\/p>\n

1609-1617 y\u0131llar\u0131 aras\u0131nda I. Ahmet taraf\u0131ndan Mimar Sinan’\u0131n \u00f6\u011frencisi\u00a0Sedefkar Mehmet A\u011fa<\/strong>‘ya yapt\u0131r\u0131l\u0131yor. \u00c7inilerin renkleri nedeni ile\u00a0Avrupal\u0131larca “Mavi Cami” olarak tan\u0131n\u0131yor. En \u00e7ok foto\u011fraflanan camidir.<\/p>\n

Ayasofya’n\u0131n 1935 y\u0131l\u0131nda m\u00fczeye d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi sonras\u0131 ana cami konumuna geliyor. 2013-2016’da ciddi bir restorasyondan ge\u00e7iyor.<\/p>\n

Sultanahmet Cami k\u00fclliyesi ile birlikte \u0130stanbul’un en b\u00fcy\u00fck yap\u0131 komplekslerinden biri. K\u00fclliyenin baz\u0131 b\u00f6l\u00fcmleri g\u00fcn\u00fcm\u00fcze ula\u015fmam\u0131\u015ft\u0131r.<\/p>\n

Sultan Ahmet hakk\u0131nda birka\u00e7 bilgi:<\/p>\n

14 ya\u015f\u0131nda padi\u015fah olmu\u015ftur. 14. Osmanl\u0131 padi\u015fah\u0131d\u0131r. 14 y\u0131l h\u00fck\u00fcm s\u00fcrm\u00fc\u015f ve 28 ya\u015f\u0131nda \u00f6lm\u00fc\u015ft\u00fcr.<\/p>\n

Kanuni Sultan S\u00fcleyman’dan sonraki padi\u015fahlar i\u00e7inde devlet i\u015fleri ile yo\u011fun \u015fekilde u\u011fra\u015fan ilk padi\u015faht\u0131r.<\/p>\n

Kendinden sonra padi\u015fah olacak ki\u015filerin ya\u015f\u0131 en b\u00fcy\u00fck ve akl\u0131 ba\u015f\u0131nda olmas\u0131 kural\u0131n\u0131 koyarak karde\u015f katlini yasakl\u0131yor.<\/p>\n

Yapt\u0131raca\u011f\u0131 caminin Ayasofya’y\u0131 yapt\u0131ran ve “S\u00fcleyman seni yendim” diyen J\u00fcstinyen’in mabedinden ve g\u00f6rkemli kubbesi ile sanat \u015faheserlerinden olan Mimar Sinan’\u0131n eseri S\u00fcleymaniye Cami’nden b\u00fcy\u00fck ve g\u00fczel olmas\u0131n\u0131 istemektedir.<\/p>\n

Gen\u00e7 bir padi\u015fah oldu\u011fundan muhtemelen egosu nedeniyle 6 minareli bir cami yapt\u0131r\u0131yor. O g\u00fcne kadar 6 minareli tek cami Mekke’de. Rivayete g\u00f6re Mekke’deki camiye onunla yar\u0131\u015fmamak i\u00e7in 7. minareyi yapt\u0131r\u0131yor.<\/p>\n

Evliya \u00c7elebi notlar\u0131nda; Ahmet Han’\u0131n temel atma t\u00f6reninde ete\u011fine toprak doldurup “Ya Rab, Ahmet kulunun hizmetidir. Kabul eyle” dedi\u011fini s\u00f6yler.<\/p>\n

Medrese<\/strong><\/p>\n

Cami’nin Ayasofya taraf\u0131nda ve Sultan Ahmet T\u00fcrbesi kom\u015fulu\u011fundad\u0131r.<\/p>\n

D\u0131\u015f Avlu<\/strong><\/p>\n

8 kap\u0131 ile giri\u015f vard\u0131r.\u00a0Ayasofya manzaras\u0131 g\u00fczeldir. Bu taraftaki kap\u0131 A kap\u0131s\u0131d\u0131r.<\/p>\n

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\u0130\u00e7 avlu <\/strong><\/p>\n

\u00c7ok geni\u015ftir ve kesintisiz kemeralt\u0131yla \u00e7evrilmi\u015ftir. Ortadaki \u015fad\u0131rvan sembolik g\u00f6r\u00fcn\u00fcmdedir.<\/p>\n

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At meydan\u0131na bakan kap\u0131 C kap\u0131s\u0131d\u0131r. Bu kap\u0131n\u0131n \u00fcst\u00fcnden sarkan zincir Allah’\u0131n evine girerken e\u011filip selamlamay\u0131 sa\u011flamak i\u00e7in.<\/p>\n

Bu cephede bah\u00e7ede yer alan ta\u015f bank 1800 y\u0131ll\u0131k. Hipodrom zaman\u0131nda seyir alan\u0131ndan kalan tek par\u00e7a.<\/p>\n

Caminin kubbesi 43 metre y\u00fcksekli\u011finde ve 23,5 metre \u00e7ap\u0131nda m\u00fctevazi \u00f6l\u00e7\u00fclerde. Kubbeyi 4 fil aya\u011f\u0131 ve s\u00fctunlar destekliyor.<\/p>\n

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Akusti\u011fi iyi bir cami.<\/p>\n

Yap\u0131n\u0131n mimari ve sanatsal a\u00e7\u0131dan en \u00f6nemli \u00f6zelli\u011fi 22 bin \u0130znik \u00e7inisi ile bezenmesi. 50 farkl\u0131 lale deseni kullan\u0131lm\u0131\u015f. Mavi, turkuaz, ye\u015fil, beyaz renk kullan\u0131lm\u0131\u015f. \u0130znikteki t\u00fcm at\u00f6lyeler buras\u0131 i\u00e7in \u00e7al\u0131\u015fmaya ba\u015flay\u0131nca baz\u0131 ustalar d\u0131\u015far\u0131ya da \u00e7al\u0131\u015fmak i\u00e7in K\u00fctahya’ya gidiyor. \u0130znik \u00e7inilerinin bu y\u00fczden yava\u015f yava\u015f bitti\u011fi s\u00f6yleniyor.<\/p>\n

\"\"<\/p>\n

Yap\u0131da ayd\u0131nlatmay\u0131 sa\u011flayan 260 adet pencere bulunuyor.<\/p>\n

Tavan ve kubbelerde kalem i\u015fleri de kullan\u0131lm\u0131\u015f.<\/p>\n

\"\"<\/p>\n

Kur’andan s\u00f6zler i\u00e7eren hat eserlerinin \u00e7o\u011fu hattat Seyid Kas\u0131m Gubari taraf\u0131ndan yap\u0131lm\u0131\u015f.<\/p>\n

\"\"<\/p>\n

M\u00fcezzin Mahfili<\/strong><\/p>\n

\"\"<\/p>\n

Mermerden yap\u0131lm\u0131\u015f.<\/p>\n

Di\u011fer tarafta vaaz k\u00fcrs\u00fcs\u00fc var. Sedef, g\u00fcm\u00fc\u015f, kaplumba kabu\u011fu ve fil di\u015fi kullan\u0131lm\u0131\u015f.<\/p>\n

Mihrab<\/strong><\/p>\n

\"\"<\/p>\n

\u0130nce i\u015f\u00e7ilikle oyulmu\u015f mermerden yap\u0131lma mihrab caminin sanatsal \u00f6nemli bir \u00f6\u011fesidir. \u0130ki taraf\u0131nda kandiller vard\u0131r. Mihrab\u0131n yan\u0131nda kufi yaz\u0131yla yaz\u0131lm\u0131\u015f kitabesi var.<\/p>\n

Ya\u011f kandilleri bulunan b\u00fcy\u00fck avizeler var. Her bir \u00f6\u011fesine \u00f6zenilen camide avizeler de\u011ferli ta\u015flarla s\u00fcslenmi\u015f. Evliya \u00c7elebi avizelerin 100 m\u0131s\u0131r hazinesi de\u011ferinde oldu\u011funu yaz\u0131yor.<\/p>\n

Minber<\/strong><\/p>\n

Mihrab\u0131n sa\u011f\u0131nda dekorasyonu zengin minber bulunuyor.<\/p>\n

H\u00fcnkar Mahfili<\/strong><\/p>\n

\u00dcst katta. \u00d6zel izinle giriliyormu\u015f.<\/p>\n

Sultanlar neden H\u00fcnkar mahfilinde namaz k\u0131larlar:<\/p>\n

Bunun iki sebebi var. Birincisi Allah’\u0131n yery\u00fcz\u00fcnde g\u00f6lgesi say\u0131lan halife (Yavuz Sultan Selim’in halifeli\u011fi ald\u0131\u011f\u0131ndan beri) makam\u0131na h\u00fcrmeten. \u0130kincisi ise g\u00fcvenlik sebebiyle.<\/p>\n

Caminin avlusunda F kap\u0131s\u0131ndan \u00e7\u0131k\u0131nca K\u00fclliye’ye ait Arasta \u00c7ar\u015f\u0131s\u0131’na geliyoruz. Eskiden 200 d\u00fckkan varken 1912’de yang\u0131n atlat\u0131yor ve g\u00fcn\u00fcm\u00fcze 80 kadar d\u00fckkan ula\u015f\u0131yor.<\/p>\n

B\u00fcy\u00fck Saray Mozaikleri M\u00fczesi<\/strong><\/p>\n

Arasta \u00c7ar\u015f\u0131s\u0131 i\u00e7inde bulunuyor. Do\u011fu Roma d\u00f6nemine ait \u0130mparatorluk Saray\u0131’n\u0131n revakl\u0131 avlusunun kuzeydo\u011fu b\u00f6l\u00fcm\u00fcnde k\u0131smen sa\u011flam kalm\u0131\u015f mozaik d\u00f6\u015femeyi kapsayacak \u015fekilde olu\u015fturulmu\u015f bir m\u00fcze.\u00a0B\u00fcy\u00fck Saray Mozaikleri M\u00fczesi, 1953 y\u0131l\u0131nda \u0130stanbul Arkeoloji M\u00fczeleri’ne ba\u011flanm\u0131\u015ft\u0131r. 1979 y\u0131l\u0131ndan itibaren ise Ayasofya M\u00fczesi M\u00fcd\u00fcrl\u00fc\u011f\u00fcne ba\u011fl\u0131 bir birimdir.<\/p>\n

M.S. 450-550 y\u0131llar\u0131 aras\u0131na tarihlenen mozaikler hem sanatsal a\u00e7\u0131dan hem de tasvirli sahnelerin zenginli\u011fi a\u00e7\u0131s\u0131ndan dikkat \u00e7ekicidir. Mozaikli alan\u0131n sadece 180 metre karelik b\u00f6l\u00fcm\u00fc ortaya \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Mozaiklerde dini konulara rastlanmaz. Konular g\u00fcnl\u00fck hayattan, do\u011fadan ve mitolojiden al\u0131nm\u0131\u015ft\u0131r. Bunlar aras\u0131nda kertenkele yiyen grifon, fil ve aslan m\u00fccadelesi, bir k\u0131sra\u011f\u0131n tay\u0131n\u0131 emzirmesi, kaz g\u00fcden \u00e7ocuklar, ke\u00e7i sa\u011fan adam, e\u015fe\u011fine yem veren \u00e7ocuk, testi ta\u015f\u0131yan gen\u00e7 k\u0131z, elma yiyen ay\u0131lar ve avc\u0131 kaplan m\u00fccadelesini betimleyen sahneler yer almaktad\u0131r.<\/p>\n

\"\"\"\"\"\"<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

29 N\u0130SAN-1\u00a0MAYIS 2017 \u0130STANBUL SULTANAHMET GEZ\u0130S\u0130 \u00a0\u0130zmir K\u00fclt\u00fcr ve Sanat Derne\u011fi olarak bir gezide daha birlikteyiz. Cuma gecesi \u0130zmir\u2019den hareket eden midib\u00fcs\u00fcm\u00fcz 29 Nisan 2017 sabah\u0131 \u0130stanbul\u2019a var\u0131yor.<\/p>\n","protected":false},"author":1,"featured_media":2361,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[123,513],"tags":[233,240,239,235,234,237,241,236,238,242],"class_list":["post-2257","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-istanbul","category-sultanahmet","tag-ayasofya","tag-dikilitas","tag-eyup-sultan-cami","tag-justinyen","tag-konstantin","tag-mozaik-muzesi","tag-orme-sutun","tag-sultanahmet-cami","tag-turk-ve-islam-eserleri-muzesi","tag-yilanli-sutun"],"_links":{"self":[{"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/posts\/2257","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/comments?post=2257"}],"version-history":[{"count":29,"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/posts\/2257\/revisions"}],"predecessor-version":[{"id":4797,"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/posts\/2257\/revisions\/4797"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/media\/2361"}],"wp:attachment":[{"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/media?parent=2257"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/categories?post=2257"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.yeryuzundebirkacadim.com\/index.php\/wp-json\/wp\/v2\/tags?post=2257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}