{"id":149718,"date":"2026-11-15T10:38:03","date_gmt":"2026-11-15T07:38:03","guid":{"rendered":"https:\/\/mersingazetesi.com\/?p=149718"},"modified":"2026-11-15T10:38:03","modified_gmt":"2026-11-15T07:38:03","slug":"osmanli-selatin-camilerinde-oymacilik-ve-kakmacilik-sanati","status":"publish","type":"post","link":"https:\/\/mersingazetesi.com\/index.php\/2026\/11\/15\/osmanli-selatin-camilerinde-oymacilik-ve-kakmacilik-sanati\/","title":{"rendered":"OSMANLI SELAT\u0130N CAM\u0130LER\u0130NDE OYMACILIK VE KAKMACILIK SANATI"},"content":{"rendered":"
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Selatin cami, Osmanl\u0131 \u0130mparatorlu\u011fu d\u00f6neminde padi\u015fahlar veya padi\u015fah izniyle hanedan \u00fcyeleri (valide sultanlar, \u015fehzadeler ve padi\u015fah e\u015fleri) taraf\u0131ndan yapt\u0131r\u0131lan b\u00fcy\u00fck ve g\u00f6rkemli camilere verilen add\u0131r. ,
\nArap\u00e7a k\u00f6kenli olan “selatin” kelimesi, “sultan” s\u00f6zc\u00fc\u011f\u00fcn\u00fcn \u00e7o\u011fuludur ve “sultanlar” anlam\u0131na gelir.
\nOsmanl\u0131 saray gelene\u011finde bir caminin selatin cami say\u0131lmas\u0131 ve in\u015fa edilmesi belirli kurallara dayan\u0131rd\u0131.
\na- Finansman Kayna\u011f: Bu camilerin in\u015fas\u0131nda devlet hazinesinden para kullan\u0131lmazd\u0131. Yap\u0131m masraflar\u0131 tamamen padi\u015fah\u0131n ki\u015fisel servetinden veya kazand\u0131\u011f\u0131 sava\u015f ganimetlerinden kar\u015f\u0131lan\u0131rd\u0131.
\nb- Zafer \u015eart\u0131: Klasik d\u00f6nemde bir padi\u015fah\u0131n selatin cami yapt\u0131rmas\u0131 i\u00e7in \u00f6nemli bir askeri zafer kazanmas\u0131 gerekirdi. Bu gelenek I. Ahmed’in Sultanahmet Camii’ni yapt\u0131rmas\u0131yla esnemi\u015f ve 18. y\u00fczy\u0131lda tamamen terk edilmi\u015ftir.
\nc- Mimari Ayr\u0131cal\u0131klar: Devlet g\u00fcc\u00fcn\u00fc simgeleyen bu yap\u0131larda birden fazla minare ve \u015ferefe kullan\u0131lmas\u0131 hanedana \u00f6zg\u00fc bir ayr\u0131cal\u0131kt\u0131. Ayr\u0131ca yap\u0131lar\u0131n i\u00e7inde padi\u015fah\u0131n ibadet etmesi ve dinlenmesi i\u00e7in \u00f6zel olarak tasarlanm\u0131\u015f “h\u00fcnkar mahfili” bulunurdu.
\nd- K\u00fclliye Yap\u0131s\u0131: \u00c7o\u011fu selatin cami tek ba\u015f\u0131na de\u011fil; \u00e7evresinde medrese, \u015fifahane, imaret, hamam ve k\u00fct\u00fcphane gibi sosyal yap\u0131lar\u0131 bar\u0131nd\u0131ran b\u00fcy\u00fck bir k\u00fclliye merkezinde in\u015fa edilirdi.
\n\u0130lk \u00d6rnekler. Osmanl\u0131 tarihindeki ilk selatin camileri Bursa’daki Ulu Camii ve Ye\u015fil Camii’dir.
\n\u0130stanbul’daki \u0130lkler ise Fetihten sonra camiye \u00e7evrilen Ayasofya hari\u00e7 tutuldu\u011funda, \u0130stanbul’da s\u0131f\u0131rdan in\u015fa edilen ilk selatin cami Fatih Camii’dir. \u00d6zg\u00fcn yap\u0131s\u0131n\u0131 g\u00fcn\u00fcm\u00fcze kadar koruyan en eski \u00f6rnek ise Bayezid Camii kabul edilir.
\nDi\u011fer \u00dcnl\u00fc Yap\u0131lar: \u0130stanbul’daki S\u00fcleymaniye Camii, Sultanahmet Camii, Yeni Camii ve Edirne’deki Selimiye Camii en bilinen selatin camileri aras\u0131ndad\u0131
\nSelatin camilerde oymac\u0131l\u0131k ve kakmac\u0131l\u0131k sanatlar\u0131, Osmanl\u0131 mimarisinin ihti\u015fam\u0131n\u0131 ve estetik anlay\u0131\u015f\u0131n\u0131 yans\u0131tan en \u00f6nemli s\u00fcsleme unsurlar\u0131d\u0131r.
\nPadi\u015fahlar ve hanedan \u00fcyeleri taraf\u0131ndan yapt\u0131r\u0131lan bu an\u0131tsal yap\u0131larda, ta\u015f, ah\u015fap ve maden gibi malzemeler b\u00fcy\u00fck bir ustal\u0131kla i\u015flenerek mek\u00e2na derinlik ve zarafet kazand\u0131r\u0131lm\u0131\u015ft\u0131r.
\nOymac\u0131l\u0131k, se\u00e7ilen malzemenin (ta\u015f, mermer veya ah\u015fap) y\u00fczeyinin \u00e7e\u015fitli aletlerle yontularak motiflere d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi sanat\u0131d\u0131r. Selatin camilerde bu sanat iki ana alanda yo\u011funla\u015f\u0131r:
\n1- Ta\u015f ve Mermer Oymac\u0131l\u0131\u011f\u0131: Ta\u00e7 kap\u0131lar, mihraplar, minberler ve vaaz k\u00fcrs\u00fcleri mermer oymac\u0131l\u0131\u011f\u0131n\u0131n en g\u00f6rkemli \u00f6rnekleridir. \u00d6zellikle ajur (kafes i\u015fi) tekni\u011fiyle mermerin dantel gibi i\u015flenmesi, minber korkuluklar\u0131nda s\u0131k\u00e7a g\u00f6r\u00fcl\u00fcr.
\n2 Ah\u015fap Oymac\u0131l\u0131\u011f\u0131: Kap\u0131 kanatlar\u0131, pencere kepenkleri, rahleler ve mahfil korkuluklar\u0131 ceviz, abanoz ve \u015fim\u015fir gibi sert a\u011fa\u00e7lardan oyularak haz\u0131rlanm\u0131\u015ft\u0131r. Bitkisel motifler (rumi, hatai) ve geometrik ge\u00e7meler ah\u015fap y\u00fczeylerde derinlikli bir kabartma etkisi yarat\u0131r.
\nKakmac\u0131l\u0131k Sanat\u0131na gelince:
\nKakmac\u0131l\u0131k, ana malzemenin (genellikle ah\u015fap veya mermer) y\u00fczeyinde a\u00e7\u0131lan yuvalara farkl\u0131 renk ve dokudaki de\u011ferli malzemelerin yerle\u015ftirilmesi i\u015flemidir.
\nSelatin camilerde mekan\u0131n odak noktalar\u0131n\u0131 belirginle\u015ftirmek i\u00e7in kullan\u0131lm\u0131\u015ft\u0131r.
\n\u015e\u00f6yle ki:
\n1- Ah\u015fap \u00dczerine Kakma: K\u00fcndekari tekni\u011fiyle yap\u0131lan kap\u0131 ve pencere kanatlar\u0131nda sedef, fildi\u015fi, ba\u011fa (deniz kaplumba\u011fas\u0131 kabu\u011fu), g\u00fcm\u00fc\u015f ve alt\u0131n gibi malzemeler ah\u015fab\u0131n i\u00e7ine g\u00f6m\u00fclerek e\u015fsiz desenler olu\u015fturulmu\u015ftur.
\nS\u00fcleymaniye ve Sultanahmet Camii’nin kap\u0131 ve pencere kanatlar\u0131 bu tekni\u011fin zirvesidir.
\n2- Ta\u015f \u00dczerine Kakma (Pietra Dura): Mermer y\u00fczeylere farkl\u0131 renklerdeki yar\u0131 de\u011ferli ta\u015flar\u0131n (akik, firuze, renkli mermerler) yerle\u015ftirilmesiyle yap\u0131l\u0131r. \u00d6zellikle mihrap ni\u015flerinde ve h\u00fcnkar mahfillerinde renk kontrast\u0131 yaratmak amac\u0131yla tercih edilmi\u015ftir.
\n\u00d6ne \u00c7\u0131kan \u00d6rnekler ve Motifler \u015f\u00f6yle \u00f6zetlenebilir:
\na- Motif Zenginli\u011fi: Her iki sanatta da sonsuzlu\u011fu simgeleyen y\u0131ld\u0131z ge\u00e7meleri, bereketi temsil eden selvi ve bahar dallar\u0131 ile Kufi ve S\u00fcl\u00fcs hat yaz\u0131lar\u0131 bir arada kullan\u0131lm\u0131\u015ft\u0131r.
\nb- Tarihi Zirve: Mimar Sinan d\u00f6nemi eserleri olan \u015eehzade, S\u00fcleymaniye ve Selimiye Camileri, oymac\u0131l\u0131k ve kakmac\u0131l\u0131k sanatlar\u0131n\u0131n mimariyle en kusursuz b\u00fct\u00fcnle\u015fti\u011fi yap\u0131lard\u0131r.
\nEvet…
\nOsmanl\u0131lar d\u00f6neminde b\u00fcy\u00fck camilerin ah\u015fap yap\u0131lar\u0131ndaki oymac\u0131l\u0131k ve Kakmac\u0131l\u0131k bu sanatlar\u0131n en g\u00fczel \u00f6rnekleridir.
\nOymac\u0131l\u0131k ve Kakmac\u0131l\u0131k M\u00fcsl\u00fcman sanat\u00e7\u0131lar taraf\u0131ndan geli\u015ftirilen bir sanat \u015feklidir.
\nEski M\u0131s\u0131r, Yunanistan, Bizans bu kakmac\u0131l\u0131k sanat\u0131n\u0131n ilk \u00f6rneklerinin g\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fclkelerdir, uygarl\u0131klard\u0131r.
\nM.\u00d6. 2000 y\u0131llar\u0131nda M\u0131s\u0131r’da, Firavun Tutankamon\u2019un mezar\u0131nda bulunan tahta e\u015fyalar \u00fczerinde g\u00f6r\u00fclen fildi\u015fi ve alt\u0131n kakmalar bilinen en eski \u00f6rneklerdir.
\nR\u00f6nesans d\u00f6nemini inceledi\u011fimiz zaman bu d\u00f6nemde \u0130talya\u2019da kakmac\u0131l\u0131k sanat\u0131n\u0131n \u00e7ok \u00fcst\u00fcn bir d\u00fczeye ula\u015ft\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. Do\u011fu\u2019da kakmac\u0131l\u0131\u011f\u0131n geli\u015fti\u011fi merkezlerin en \u00f6nemlilerinden biri \u0130stanbul olmu\u015ftur.
\nAvrupa\u2019da kakmac\u0131l\u0131k mobilya a\u011f\u0131rl\u0131kl\u0131 iken Osmanl\u0131larda ev e\u015fyalar\u0131 \u00fczerine uygulanmaya ba\u015flanm\u0131\u015ft\u0131r.
\nBaz\u0131 Osmanl\u0131 padi\u015fahlar\u0131n\u0131n bu s\u00fcsleme sanat\u0131yla yakinen ilgilendikleri de bilinen bir durumdur.
\n\u0130slam sanat\u0131 olarak da camilerin mihrap, minber ve vaaz k\u00fcrs\u00fclerinde kendini g\u00f6stermektedir.
\nKakmac\u0131l\u0131k; tahta, ta\u015f, maden, mermer gibi maddelerin baz\u0131 yerlerinin ovularak i\u00e7ine ayn\u0131 cinsten veya daha k\u0131ymetli maddelerden par\u00e7alar kakma y\u00f6ntemiyle ger\u00e7ekle\u015ftirilen s\u00fcsleme sanat\u0131d\u0131r.
\nKakmac\u0131l\u0131k Osmanl\u0131lardan da \u00f6nce, \u0130slamiyet’in ortaya \u00e7\u0131k\u0131\u015f\u0131ndan da \u00f6nce ortaya \u00e7\u0131kan en eski sanatlardan biridir.
\nA\u011fa\u00e7, ta\u015f, maden, g\u00fcm\u00fc\u015f, pirin\u00e7, k\u0131l\u0131\u00e7, t\u00fcfek, kama \u00fczerine oymalar vap\u0131larak de\u011ferli ta\u015flar, metaller, sedef, fildi\u015fi gibi malzemeler i\u00e7ine oturtulduktan sonra y\u00fczey d\u00fczeltilerek kakma i\u015fi tamamlanm\u0131\u015f olur.
\nKullan\u0131lan malzemeye g\u00f6re kakma i\u015fi de \u00f6zel bir isim al\u0131rd\u0131.
\nEn \u00e7ok sedef, fildi\u015fi, abanoz kullan\u0131lm\u0131\u015ft\u0131.
\nSedef kakmac\u0131l\u0131\u011f\u0131 Osmanl\u0131lar\u0131n kulland\u0131\u011f\u0131 en yayg\u0131n kakma bi\u00e7imidir.
\nBu i\u015fi yapan kakmac\u0131lara sedefkari diye adland\u0131r\u0131lm\u0131\u015ft\u0131.
\nG\u00fcm\u00fc\u015f ve pirin\u00e7 e\u015fya \u00fczerine kakma alt\u0131n yada g\u00fcm\u00fc\u015f tellerle yap\u0131lm\u0131\u015ft\u0131.
\nKitap kapaklar\u0131, silahlar, ayakkab\u0131lar, fincan zarflar\u0131na yap\u0131lan kakmalar\u0131n yan\u0131nda mimari alanda da kakmac\u0131l\u0131k geli\u015fmi\u015ftir.
\nMimar Sinan bu sanata \u00e7ok \u00f6nem vermi\u015ftir.
\nG\u00fcn\u00fcm\u00fczde kakmac\u0131l\u0131kta yeni y\u00f6ntemler uygulanmaya ba\u015flam\u0131\u015ft\u0131r.
\nDekupaj makinalar\u0131, yapay re\u00e7ine plakalar\u0131, formika bu sanatta kullan\u0131lmaktad\u0131r.
\nHo\u015f\u00e7a kal\u0131n\u0131z.<\/div>\n
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Selatin cami, Osmanl\u0131 \u0130mparatorlu\u011fu d\u00f6neminde padi\u015fahlar veya padi\u015fah izniyle hanedan \u00fcyeleri (valide sultanlar, \u015fehzadeler ve padi\u015fah e\u015fleri) taraf\u0131ndan yapt\u0131r\u0131lan b\u00fcy\u00fck ve g\u00f6rkemli camilere verilen add\u0131r. , Arap\u00e7a k\u00f6kenli olan “selatin” kelimesi, “sultan” s\u00f6zc\u00fc\u011f\u00fcn\u00fcn \u00e7o\u011fuludur ve “sultanlar” anlam\u0131na gelir. Osmanl\u0131 saray gelene\u011finde bir caminin selatin cami say\u0131lmas\u0131 ve in\u015fa edilmesi belirli kurallara dayan\u0131rd\u0131. a- Finansman Kayna\u011f: […]<\/p>\n","protected":false},"author":11,"featured_media":148898,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"class_list":["post-149718","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gazi-mert"],"views":85,"_links":{"self":[{"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/posts\/149718","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/comments?post=149718"}],"version-history":[{"count":1,"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/posts\/149718\/revisions"}],"predecessor-version":[{"id":149719,"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/posts\/149718\/revisions\/149719"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/media\/148898"}],"wp:attachment":[{"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/media?parent=149718"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/categories?post=149718"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mersingazetesi.com\/index.php\/wp-json\/wp\/v2\/tags?post=149718"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}