{"id":59879,"date":"2026-03-09T10:00:00","date_gmt":"2026-03-09T07:00:00","guid":{"rendered":"https:\/\/blog.turkishairlines.com\/?p=59879"},"modified":"2026-04-01T11:03:55","modified_gmt":"2026-04-01T08:03:55","slug":"istanbulda-osmanli-mimarisi-eserleri","status":"publish","type":"post","link":"https:\/\/blog.turkishairlines.com\/tr\/istanbulda-osmanli-mimarisi-eserleri\/","title":{"rendered":"\u0130stanbul\u2019da Osmanl\u0131 Mimarisi"},"content":{"rendered":"\n
\n\n\n\n

Osmanl\u0131 mimarisine genel bak\u0131\u015f<\/strong><\/h2>\n\n\n\n
\"S\u00fcleymaniye
S\u00fcleymaniye Camii<\/figcaption><\/figure>\n\n\n\n

Osmanl\u0131 mimarisi; Erken D\u00f6nem, Klasik D\u00f6nem, Lale Devri, Bat\u0131l\u0131la\u015fma D\u00f6nemi (Barok, Rokoko ve Ampir) ve 1. Ulusal Mimarl\u0131k Ak\u0131m\u0131 gibi bir\u00e7ok farkl\u0131 d\u00f6neme ayr\u0131l\u0131yor. Her bir d\u00f6nem estetik anlay\u0131\u015f\u0131ndaki de\u011fi\u015fiklikler ve mimari eserlere de \u00fcslup de\u011fi\u015fiklikleri olarak yans\u0131yor. Erken d\u00f6nem eserleri \u00f6zellikle \u0130znik, Bursa ve Edirne\u2019de yo\u011funla\u015f\u0131rken klasik d\u00f6nem ve sonras\u0131ndaki eserleri a\u011f\u0131rl\u0131kla \u0130stanbul\u2019da g\u00f6rmek m\u00fcmk\u00fcn.<\/p>\n\n\n\n

Erken d\u00f6nem<\/strong> | 13. yy – 16. yy<\/strong><\/h3>\n\n\n\n
\"\u00c7inili
\u00c7inili K\u00f6\u015fk<\/figcaption><\/figure>\n\n\n\n

Osmanl\u0131\u2019n\u0131n erken d\u00f6nemde ba\u015fkenti olan Bursa\u2019da in\u015fa edilen an\u0131tsal yap\u0131lar sebebiyle baz\u0131 kaynaklarda Bursa \u00fcslubu olarak da ge\u00e7en Osmanl\u0131 erken d\u00f6nem mimarisi, devletin kurulu\u015fundan itibaren Bayezid Camii\u2019nin in\u015fas\u0131n\u0131n ba\u015flamas\u0131na kadar olan s\u00fcreci kaps\u0131yor. Baz\u0131 ara\u015ft\u0131rmac\u0131lara g\u00f6re Edirne\u2019deki \u00dc\u00e7 \u015eerefeli Cami in\u015faat\u0131n\u0131n bitmesiyle sona eren bu d\u00f6nemde, klasik d\u00f6nemde g\u00f6r\u00fclen kubbe kullan\u0131m\u0131 gibi baz\u0131 fikirlerin temelleri at\u0131l\u0131yor.<\/p>\n\n\n\n

Fatih Sultan Mehmet, \u0130stanbul\u2019u fethettikten sonra \u015fehirde kapsaml\u0131 bir imar \u00e7al\u0131\u015fmas\u0131 ba\u015flat\u0131yor ve ba\u015fkent Edirne\u2019den \u0130stanbul\u2019a ta\u015f\u0131n\u0131yor. Edirne\u2019deki Eski Saray yerine \u0130stanbul\u2019da Beyaz\u0131t Meydan\u0131\u2019na bir saray in\u015fa ediliyor. Yine bu s\u00fcre\u00e7te Fatih K\u00fclliyesi ve Topkap\u0131 Saray\u0131 in\u015fa edilmeye ba\u015fl\u0131yor. 1766 depreminde y\u0131k\u0131lan Fatih Cami, 1771\u2019de tekrar in\u015fa edilerek g\u00fcn\u00fcm\u00fczdeki halini al\u0131yor. Erken d\u00f6nemin \u00fcnl\u00fc eserlerinden bir di\u011feri ise Topkap\u0131 Saray\u0131\u2019n\u0131n yazl\u0131k saray\u0131 olarak in\u015fa edilen ve g\u00fcn\u00fcm\u00fczde \u0130stanbul Arkeoloji M\u00fczeleri\u2019nin binalar\u0131ndan biri olan \u00c7inili K\u00f6\u015fk. Sel\u00e7uklu etkisinde yap\u0131lan k\u00f6\u015fk\u00fcn d\u0131\u015f cephesinde giri\u015f eyvan\u0131n\u0131 kaplayan mozaik \u00e7iniler Sel\u00e7uklu devri gelene\u011fini devam ettiren son izler. Osmanl\u0131 sivil mimarisinin \u0130stanbul\u2019da bulunan \u00f6nemli \u00f6rneklerinden olan yap\u0131 ziyaret edilmesi gereken yerler aras\u0131nda yer al\u0131yor.<\/p>\n\n\n\n

Klasik d\u00f6nem<\/strong> | 16. yy – 18. yy<\/strong><\/h3>\n\n\n\n
\"Ma\u011flova
Ma\u011flova Kemeri<\/figcaption><\/figure>\n\n\n\n

Osmanl\u0131 mimarisinde klasik d\u00f6nem olarak adland\u0131r\u0131lan 15. y\u00fczy\u0131l baz\u0131 kaynaklarda Erken Klasik D\u00f6nem, Mimar Sinan D\u00f6nemi ve Ge\u00e7 Klasik D\u00f6nem olarak \u00fc\u00e7 alt kategoride inceleniyor. Mimar Sinan bu d\u00f6nemde S\u00fcleymaniye Cami, \u015eehzade Cami ve Mihrimah Sultan Cami gibi \u0130stanbul\u2019un sembol yap\u0131lar\u0131n\u0131n yan\u0131 s\u0131ra su mimarisinin en \u00f6nemli eserleri aras\u0131nda g\u00f6sterilen Ma\u011flova Kemeri’ni in\u015fa ediyor. Klasik d\u00f6nemin son b\u00fcy\u00fck camisi olan, mavi \u00e7inileriyle me\u015fhur Sultanahmet Cami de bu d\u00f6nemin sonunda Sedefk\u00e2r Mehmed A\u011fa taraf\u0131ndan in\u015fa ediliyor. Yine ayn\u0131 d\u00f6nemde yap\u0131lan ve Mimar Sinan \u00fcslubu ile yeti\u015fen ku\u015faklar\u0131n son b\u00fcy\u00fck eseri olarak g\u00f6r\u00fclen Yeni Cami ise g\u00fcn\u00fcm\u00fczde Galata K\u00f6pr\u00fcs\u00fc\u2019n\u00fcn Emin\u00f6n\u00fc taraf\u0131nda Hali\u00e7 k\u0131y\u0131lar\u0131n\u0131 selamlamaya devam ediyor. Sultanahmet Camii\u2019ni yak\u0131ndan g\u00f6rmek i\u00e7in hemen bir \u0130stanbul u\u00e7ak bileti<\/a> alabilirsiniz. Sultanahmet Camii’nden S\u00fcleymaniye’ye, Yeni Cami’den Ey\u00fcp Sultan’a kadar \u015fehrin farkl\u0131 d\u00f6nemlerine ait camileri ke\u015ffetmek i\u00e7in \u0130stanbul camileri<\/a> yaz\u0131m\u0131za g\u00f6z atabilirsiniz.<\/p>\n\n\n\n

Emin\u00f6n\u00fc\u2019nde denizin hemen k\u0131y\u0131s\u0131nda yer alan Yeni Cami\u2019nin in\u015fas\u0131na Safiye Sultan d\u00f6neminde ba\u015flan\u0131yor ancak \u00f6nce mimar\u0131n sonras\u0131nda III. Mehmed ve Safiye Sultan\u2019\u0131n vefat etmesiyle in\u015faat yar\u0131m kal\u0131yor. Yap\u0131 zamanla y\u0131pran\u0131yor ve 1660 y\u0131l\u0131ndaki b\u00fcy\u00fck yang\u0131nda zarar g\u00f6r\u00fcyor. Yang\u0131n sonras\u0131nda halka yard\u0131m i\u00e7in \u015fehri gezen Turhan Sultan yar\u0131m b\u0131rak\u0131lm\u0131\u015f in\u015faata rastl\u0131yor ve kendisinin de bir cami yapt\u0131rma niyetinde olmas\u0131 sebebiyle buradaki camiyi tamamlamaya karar veriyor. \u0130stanbul\u2019da Osmanl\u0131 Hanedan\u0131 taraf\u0131ndan yapt\u0131r\u0131lan b\u00fcy\u00fck camilerin son \u00f6rne\u011fi olan cami ile birlikte H\u00fcnkar Kasr\u0131 ve M\u0131s\u0131r \u00c7ar\u015f\u0131s\u0131 arastas\u0131 da in\u015fa ediliyor.<\/p>\n\n\n\n

Kubbeli merkezi plan ad\u0131 verilen, t\u00fcm mekan\u0131n merkezdeki tek bir b\u00fcy\u00fck kubbe etraf\u0131nda topland\u0131\u011f\u0131 mimari plan bu d\u00f6nemde en \u00e7ok kullan\u0131lan stil oluyor. Mimar Sinan\u2019\u0131n da s\u0131kl\u0131kla kulland\u0131\u011f\u0131 bu planda i\u00e7eride g\u00f6r\u00fc\u015f\u00fc k\u0131s\u0131tlayan mimari \u00f6geler kald\u0131r\u0131l\u0131p, yerine mekan\u0131 b\u00f6lmeden ayakta tutan s\u00fctunlar kullan\u0131l\u0131yor.<\/p>\n\n\n\n

Lale Devri | 18. yy<\/strong><\/h3>\n\n\n\n
\"III.
III. Ahmet \u00c7e\u015fmesi<\/figcaption><\/figure>\n\n\n\n

Lale Devri, Osmanl\u0131 Devleti\u2019nde 1718-1730 y\u0131llar\u0131 aras\u0131n\u0131 tan\u0131mlayan d\u00f6nem. Devrin padi\u015fah\u0131 Sultan III. Ahmet\u2019in de en sevdi\u011fi \u00e7i\u00e7ek olan lalenin yeti\u015ftiricili\u011fi o y\u0131llarda giderek pop\u00fclerle\u015fiyor ve d\u00f6neme ad\u0131n\u0131 veriyor. Bu d\u00f6nemde mimari yap\u0131larda mek\u00e2nsal de\u011fi\u015fiklikler yerine daha \u00e7ok dekoratif de\u011fi\u015fiklikler tercih ediliyor. Bug\u00fcn m\u00fczelerde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz meyve ve \u00e7i\u00e7ek motifli vazolar ise bu dekorasyonlar\u0131n en sevilen unsuru h\u00e2line geliyor, \u00e7inilerde ve s\u00fcslemelerde ise lale motifi s\u0131kl\u0131kla kullan\u0131l\u0131yor.<\/p>\n\n\n\n

D\u00f6nemin bir di\u011fer karakteristik \u00f6zelli\u011fi ise sivil mimariye verilen \u00f6nem. S\u00fcsl\u00fc an\u0131tsal meydan \u00e7e\u015fmeleri, i\u015flevselli\u011fin \u00f6n planda oldu\u011fu duvara yaslanm\u0131\u015f \u00e7e\u015fmelerin yerini al\u0131yor. Bo\u011fazi\u00e7i k\u0131y\u0131lar\u0131 ile Sadabad\u2019da (g\u00fcn\u00fcm\u00fczde Ka\u011f\u0131thane) in\u015fa edilen s\u00fcsl\u00fc yal\u0131lar, saraylar, k\u00f6\u015fkler ve kas\u0131rlar ise Lale Devri\u2019nin konut mimarisinin \u00f6rneklerini olu\u015fturuyor. Ah\u015faptan in\u015fa edilmeleri sebebiyle g\u00fcn\u00fcm\u00fczde bu yap\u0131lar\u0131n pek \u00e7o\u011fu art\u0131k ayakta olmasa da Aynal\u0131kavak Kasr\u0131 ve Topkap\u0131 Saray\u0131\u2019n\u0131n i\u00e7inde bulunan III. Ahmet K\u00fct\u00fcphanesi hala g\u00f6rebilece\u011finiz eserlerden.<\/p>\n\n\n\n

Bu d\u00f6nemde yap\u0131lardaki geni\u015f sa\u00e7aklar yap\u0131y\u0131 g\u00fcne\u015ften ve ya\u011fmurdan korurken estetik bir hava kat\u0131yor, k\u0131vr\u0131ml\u0131 ve hareketli hatlar ise klasik d\u00f6nemin keskin ve geometrik hatlar\u0131n\u0131n yerini al\u0131yor. Lale Devri\u2019nin g\u00fcn\u00fcm\u00fczde en bilinen eseri ise Topkap\u0131 Saray\u0131\u2019n\u0131n giri\u015finde yer alan III. Ahmet \u00c7e\u015fmesi; bu \u00e7e\u015fme ayn\u0131 zamanda rokoko mimari \u00fcslubunun Osmanl\u0131\u2019da ilk kullan\u0131ld\u0131\u011f\u0131 yerlerden. G\u00fcne\u015f vurdu\u011funda parlayan beyaz mermer, renkli ta\u015flar ve alt\u0131n varakl\u0131 s\u00fcslemeler devrin g\u00f6steri\u015f ve l\u00fcks anlay\u0131\u015f\u0131n\u0131 simgeliyor.<\/p>\n\n\n\n

Bat\u0131l\u0131la\u015fma d\u00f6nemi (Barok, Rokoko ve Ampir)<\/strong> | 19. yy<\/strong><\/h3>\n\n\n\n
\"Dolmabah\u00e7e
Dolmabah\u00e7e Saray\u0131<\/figcaption><\/figure>\n\n\n\n

18. y\u00fczy\u0131lla birlikte Osmanl\u0131 mimarisinde bat\u0131l\u0131la\u015fma etkileri g\u00f6r\u00fclmeye ba\u015fl\u0131yor. 17. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda Avrupa\u2019da ortaya \u00e7\u0131kan barok ve rokoko gibi mimari tarzlar, 18. y\u00fczy\u0131l ba\u015flar\u0131nda Osmanl\u0131 mimarisinin de bir par\u00e7as\u0131 h\u00e2line geliyor. Barok g\u00f6rkemli, abart\u0131l\u0131 ve hareketli bir tarz\u0131 yans\u0131t\u0131rken rokoko eserlerde daha zarif, hafif ve asimetrik bir yakla\u015f\u0131m benimsiyor. Barok d\u00f6nemin me\u015fhur eserleri aras\u0131nda dairesel ve dalgal\u0131 hatlar\u0131yla Nuruosmaniye Cami ve Laleli Cami g\u00f6sterilebilir. Barok \u00fcslubun Osmanl\u0131\u2019daki ilk ve en b\u00fcy\u00fck \u00f6rne\u011fi olan Nuruosmaniye Cami, ayn\u0131 zamanda yar\u0131m daire \u015feklinde bir avluya sahip olan ilk cami. Laleli Cami ise C ve S harfleri \u015feklindeki k\u0131vr\u0131ml\u0131 tasar\u0131m \u00f6\u011feleri ile d\u00f6nemin hareketli mimari anlay\u0131\u015f\u0131n\u0131 rokoko \u00fcslubu ile birle\u015ftirerek yans\u0131t\u0131yor. Rokoko i\u00e7in ise B\u00fcy\u00fck Mecidiye Camii\u2019nin, Dolmabah\u00e7e Saray\u0131\u2019n\u0131n ve baz\u0131 yal\u0131lar\u0131n i\u00e7 motifleri \u00f6rnek olarak verilebilir. Genellikle barok \u00fcslupla birlikte kullan\u0131lan rokoko, i\u00e7 mekan dekorasyon ve s\u00fcslemelerinde a\u011f\u0131rl\u0131kl\u0131 olarak kullan\u0131l\u0131yor.<\/p>\n\n\n\n

\u0130stanbul\u2019da barok ve rokoko ile birlikte kullan\u0131lan ampir \u00fcslubu ise ilk kez Nusretiye (Tophane) Camii\u2019nde kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Bu \u00fcslubun en \u00f6nemli temsilcileri ise Dolmabah\u00e7e Saray\u0131 ve B\u00fcy\u00fck Mecidiye Cami gibi \u015fehirdeki bir\u00e7ok g\u00f6rkemli eserde imzas\u0131 bulunan Balyan ailesi.<\/p>\n\n\n\n

Bat\u0131l\u0131la\u015fma d\u00f6neminin tamam\u0131na yay\u0131lan \u00fc\u00e7 \u00f6zellik g\u00f6r\u00fcl\u00fcyor. Bunlardan ilki, klasik d\u00f6nemde yo\u011fun olarak kullan\u0131lan \u00e7ini sanat\u0131n\u0131n yerini ta\u015f oymac\u0131l\u0131\u011f\u0131, mermer kabartmalar ve kalem i\u015fi duvar resimlerine b\u0131rakmas\u0131. Buna ek olarak daha ayd\u0131nl\u0131k i\u00e7 mekanlar olu\u015fturuluyor, pencereler eskiye g\u00f6re daha b\u00fcy\u00fck ve s\u0131k olacak \u015fekilde tasarlan\u0131yor; bu sayede i\u00e7 mekanlar daha ferah ve \u0131\u015f\u0131kl\u0131 hale geliyor. Son olarak, binalar\u0131n giri\u015fleri merdivenlerle y\u00fckseltiliyor ve an\u0131tsal kap\u0131lar yap\u0131l\u0131yor. Bu farklar R\u00fcstem Pa\u015fa Cami ve B\u00fcy\u00fck Mecidiye Cami ya da Topkap\u0131 ve Dolmabah\u00e7e saraylar\u0131 incelendi\u011finde rahatl\u0131kla g\u00f6r\u00fcl\u00fcyor.<\/p>\n\n\n\n

Ulusal Mimarl\u0131k Ak\u0131m\u0131<\/strong> |<\/strong> 20. yy ba\u015f\u0131<\/strong><\/a><\/h3>\n\n\n\n
\"\u0130stanbul
\u0130stanbul B\u00fcy\u00fck Postane<\/figcaption><\/figure>\n\n\n\n

Osmanl\u0131 mimarisinin son d\u00f6nemi ayn\u0131 zamanda yepyeni bir aray\u0131\u015f\u0131n ba\u015flang\u0131c\u0131na sahne oluyor. 1908’de II. Me\u015frutiyet’in ilan\u0131yla g\u00fc\u00e7lenen milliyet\u00e7ilik ak\u0131m\u0131, mimarl\u0131kta da kendini g\u00f6steriyor ve yabanc\u0131 mimarlar\u0131n eklektik \u00fcslubuna bir tepki olarak 1. Ulusal Mimarl\u0131k Ak\u0131m\u0131 do\u011fuyor. Mimar Kemaleddin Bey ve Vedat Tek \u00f6nc\u00fcl\u00fc\u011f\u00fcndeki bu hareket, Sel\u00e7uklu ve Klasik Osmanl\u0131 mimarisinin s\u00fcsleme unsurlar\u0131n\u0131 modern yap\u0131larda yeniden yorumlamay\u0131 hedefliyor.<\/p>\n\n\n\n

\u0130stanbul’daki en dikkat \u00e7ekici \u00f6rneklerin ba\u015f\u0131nda Vedat Tek’in tasarlad\u0131\u011f\u0131 ve ak\u0131m\u0131n ilk yap\u0131s\u0131 kabul edilen Sirkeci B\u00fcy\u00fck Postane geliyor. G\u00f6rkemli giri\u015f cephesi, sivri kemerli pencereleri ve \u00e7ini s\u00fcslemeleriyle yap\u0131, Osmanl\u0131 ge\u00e7mi\u015fine a\u00e7\u0131k bir selam niteli\u011finde. Mimar Kemaleddin Bey’in Laleli’deki Harikzedegan (Tayyare) Apartmanlar\u0131 ise \u0130stanbul’un ilk betonarme yap\u0131lar\u0131 aras\u0131nda yer al\u0131yor ve g\u00fcn\u00fcm\u00fczde otel olarak hizmet veriyor. Yine ayn\u0131 mimar\u0131n Kamer Hatun Cami ve 4. Vak\u0131f Han\u0131, ak\u0131m\u0131n \u0130stanbul’daki di\u011fer \u00f6nemli \u00f6rnekleri aras\u0131nda say\u0131l\u0131yor. Ali Talat Bey’in tasarlad\u0131\u011f\u0131 Be\u015fikta\u015f \u0130skelesi de bu d\u00f6nemin zarif eserlerinden biri olarak Bo\u011faz k\u0131y\u0131s\u0131nda yerini koruyor.<\/p>\n\n\n\n

\n\n\n\n

Osmanl\u0131 D\u00f6nemi\u2019nin iz b\u0131rakan mimarlar\u0131<\/strong><\/h2>\n\n\n\n
\"\u015eehzade
\u015eehzade Cami<\/figcaption><\/figure>\n\n\n\n

Mimar Sinan<\/strong><\/h3>\n\n\n\n

15. y\u00fczy\u0131lda Kayseri\u2019de do\u011fan Sinan, Yavuz Sultan Selim d\u00f6neminde dev\u015firme olarak \u0130stanbul\u2019a getiriliyor ve askerlik y\u0131llar\u0131nda Kanuni Sultan S\u00fcleyman\u2019\u0131n seferlerine kat\u0131l\u0131yor. Bu d\u00f6nemde Osmanl\u0131 co\u011frafyas\u0131n\u0131n Rodos\u2019tan Moha\u00e7\u2019a, Belgrad\u2019dan Ba\u011fdat\u2019a farkl\u0131 yerlerini g\u00f6ren Sinan, buralardaki mimariyi yak\u0131ndan inceleme f\u0131rsat\u0131 buluyor.<\/p>\n\n\n\n

Osmanl\u0131 klasik d\u00f6nem mimarisinin en \u00f6nemli ismi olan Mimar Sinan\u2019\u0131n, eserleri ile kendinden sonraki bir\u00e7ok mimar\u0131 etkiledi\u011fi biliniyor. Kendisinin ifade etti\u011fi \u015fekliyle \u00e7\u0131rakl\u0131k eseri olan \u015eehzade Cami ve kalfal\u0131k eseri olan S\u00fcleymaniye Cami de \u0130stanbul\u2019un tarihi sil\u00fcetini s\u00fcsl\u00fcyor. Mimar Sinan’\u0131n hayat\u0131n\u0131 ve mimari dehas\u0131 ile \u015fekillendirdi\u011fi eserleri daha yak\u0131ndan tan\u0131mak i\u00e7in Bir \u00e7a\u011f\u0131 in\u015fa eden deha: Mimar Sinan eserleri<\/a> yaz\u0131m\u0131z\u0131 okuyabilirsiniz.<\/p>\n\n\n\n

\u00dcnl\u00fc mimar\u0131n ba\u015fyap\u0131t\u0131 Edirne\u2019deki Selimiye Cami gibi eserlerinin yan\u0131 s\u0131ra Anadolu ve Balkanlar’\u0131n d\u00f6rt taraf\u0131na yay\u0131lm\u0131\u015f 300\u2019den fazla eseri bulunuyor. \u0130stanbul\u2019un Tahtakale semtinde bulunan ve mavi s\u00fcslemeleriyle me\u015fhur R\u00fcstem Pa\u015fa Cami, Alibey Deresi \u00fczerindeki Ma\u011flova Kemeri, B\u00fcy\u00fck\u00e7ekmece G\u00f6l\u00fc ile Marmara Denizi\u2019nin birle\u015fim noktas\u0131nda yer alan Kanuni Sultan S\u00fcleyman K\u00f6pr\u00fcs\u00fc bu e\u015fsiz eserlerden ilk akla gelenler aras\u0131nda.<\/p>\n\n\n\n

R\u00fcstem Pa\u015fa Cami fevkani, yani bir y\u00fckseltinin \u00fczerinde olacak \u015fekilde in\u015fa ediliyor ve alt k\u0131sm\u0131na d\u00fckkanlar yerle\u015ftiriliyor. D\u0131\u015far\u0131dan olduk\u00e7a sade g\u00f6r\u00fcnen caminin i\u00e7erisinde devrin en g\u00fczel ve ba\u015far\u0131l\u0131 \u00e7ini i\u015f\u00e7iliklerini g\u00f6rmek m\u00fcmk\u00fcn. Kullan\u0131lan \u00e7ini miktar\u0131n\u0131n \u00e7ok fazla olmas\u0131 sebebiyle \u0130znik\u2019teki \u00e7ini at\u00f6lyeleri yeterli gelmiyor ve camiye \u00e7ini tedarik edebilmek i\u00e7in K\u00fctahya\u2019da da \u00e7ini at\u00f6lyeleri kuruluyor.<\/p>\n\n\n\n

Ma\u011flova Kemeri ya da di\u011fer ad\u0131yla Muallakkemer ise su mimarisinin ba\u015f yap\u0131tlar\u0131ndan biri olarak kabul ediliyor. \u0130stanbul\u2019a su getiren K\u0131rk\u00e7e\u015fme su sisteminin bir par\u00e7as\u0131 olan iki katl\u0131 kemer yakla\u015f\u0131k 260 metre uzunlu\u011funda ve g\u00fcn\u00fcm\u00fczde hala \u015fehre su ta\u015f\u0131yor. Ma\u011flova Kemeri’nin hik\u00e2yesini ve mimari detaylar\u0131n\u0131 daha yak\u0131ndan ke\u015ffetmek i\u00e7in Ma\u011flova Kemeri<\/a> yaz\u0131m\u0131za g\u00f6z atabilirsiniz.<\/p>\n\n\n\n

Balyan Ailesi<\/strong><\/h3>\n\n\n\n
\"K\u00fc\u00e7\u00fcksu
K\u00fc\u00e7\u00fcksu Kasr\u0131<\/figcaption><\/figure>\n\n\n\n

Osmanl\u0131\u2019n\u0131n son d\u00f6nemlerinde \u015fehirde bir\u00e7ok yap\u0131 in\u015fa eden Balyan Ailesi, Barok stilini klasik Osmanl\u0131 mimarisiyle birle\u015ftirerek T\u00fcrk Barok Mimarisi denilen yeni bir eklektik \u00fcslup olu\u015fturuyor. Be\u015f ku\u015fak boyunca imza att\u0131klar\u0131 eserler aras\u0131nda Dolmabah\u00e7e, \u00c7\u0131ra\u011fan ve Beylerbeyi Saraylar\u0131, K\u00fc\u00e7\u00fcksu ve Ihlamur Kas\u0131rlar\u0131, B\u00fcy\u00fck Mecidiye, Nusretiye ve Pertevniyal Valide Sultan camileri bulunuyor.<\/p>\n\n\n\n

Saray mimarlar\u0131 olarak \u0130stanbul\u2019da bir\u00e7ok yap\u0131da imzas\u0131 bulunan aile, 19. y\u00fczy\u0131lda \u015fehrin siluetini olu\u015fturan sahil saraylar\u0131n\u0131n yan\u0131 s\u0131ra dini ve kamusal yap\u0131lar da in\u015fa ediyor. Avrupa\u2019da ald\u0131klar\u0131 e\u011fitimle geleneksel T\u00fcrk mimarisinin \u00f6gelerini bir araya getiren aile mimari tasar\u0131mlar\u0131n\u0131n yan\u0131 s\u0131ra m\u00fchendis ve \u015fehir planlay\u0131c\u0131s\u0131 olarak da Sultan Abd\u00fclmecid ve Sultan Abd\u00fclaziz d\u00f6neminde en \u00f6nemli eserlerini veriyor.<\/p>\n\n\n\n

Alexandre Vallaury<\/strong><\/h3>\n\n\n\n
\"\u0130stanbul
\u0130stanbul Arkeoloji M\u00fczesi<\/figcaption><\/figure>\n\n\n\n

Frans\u0131z k\u00f6kenli \u0130stanbullu mimar Alexandre Vallaury, 19. y\u00fczy\u0131l Osmanl\u0131 mimarisinde \u00f6nemli bir fig\u00fcr olarak \u00f6ne \u00e7\u0131k\u0131yor. Ayn\u0131 zamanda bir ressam olan Vallaury d\u00f6nemin bir di\u011fer \u00fcnl\u00fc ressam\u0131 Osman Hamdi Bey ile tan\u0131\u015f\u0131yor ve bu yeni sanatsever arkada\u015f\u0131n\u0131n kurdu\u011fu Sanayi-i Nefise Mektebi\u2019nin mimarl\u0131k k\u0131sm\u0131n\u0131 a\u00e7\u0131yor. Daha sonra \u015fehirde bir\u00e7ok eser in\u015fa eden Vallaury, Mimar-\u0131 \u015eehir \u00fcnvan\u0131n\u0131 al\u0131yor. Pera ve Beyo\u011flu civar\u0131nda kendisinin bir\u00e7ok eseri bulunuyor; Osmanl\u0131 Bankas\u0131 binas\u0131 (g\u00fcn\u00fcm\u00fczde Salt Galata), Pera Palace Hotel, \u0130stanbul Arkeoloji M\u00fczesi ve Union Fran\u00e7aise bunlardan sadece birka\u00e7\u0131.<\/p>\n\n\n\n

Vallaury, birden fazla mimari \u00fcslubu birle\u015ftirdi\u011fi stilinde Paris\u2019teki G\u00fczel Sanatlar Y\u00fcksekokulu\u2019nda \u00f6\u011frendiklerini, Avrupa\u2019n\u0131n neoklasik mimarisi ile do\u011funun oryantalist unsurlar\u0131n\u0131 birlikte kullanmas\u0131yla biliniyor. Bunun en g\u00fczel \u00f6rneklerinden biri ise Karak\u00f6y\u2019de yer alan Osmanl\u0131 Bankas\u0131\u2019n\u0131n binas\u0131. G\u00fcn\u00fcm\u00fczde m\u00fcze olarak hizmet veren yap\u0131n\u0131n caddeye bakan taraf\u0131 neoklasik bir \u00fcslupla tasarlan\u0131rken Hali\u00e7\u2019e bakan y\u00fcz\u00fc oryantalist olacak \u015fekilde tasarlan\u0131yor. Binan\u0131n bulundu\u011fu caddedeki di\u011fer binalar da onunla benzer bir stilde in\u015fa ediliyor ve me\u015fhur Bankalar Caddesi ortaya \u00e7\u0131k\u0131yor.<\/p>\n\n\n\n

\n\n\n\n

\u0130stanbul\u2019un e\u015fsiz Osmanl\u0131 eserleri<\/strong><\/h2>\n\n\n\n

\u0130stanbul’un Osmanl\u0131 mimari miras\u0131 yaln\u0131zca camiler ve saraylarla bitmiyor. \u015eehrin benzersiz co\u011frafyas\u0131 ve stratejik konumu, ba\u015fka hi\u00e7bir yerde kar\u015f\u0131la\u015famayaca\u011f\u0131n\u0131z mimari eserlere de ev sahipli\u011fi yap\u0131yor.<\/p>\n\n\n\n

Rumeli Hisar\u0131<\/strong><\/h3>\n\n\n\n
\"Rumeli
Rumeli Hisar\u0131<\/figcaption><\/figure>\n\n\n\n

\u0130stanbul Bo\u011faz\u0131’n\u0131n en dar noktas\u0131nda, Anadolu Hisar\u0131’n\u0131n tam kar\u015f\u0131s\u0131nda y\u00fckselen Rumeli Hisar\u0131, Osmanl\u0131 askeri mimarisinin en etkileyici \u00f6rneklerinden biri. Fatih Sultan Mehmet, \u0130stanbul’un fethinden bir y\u0131l \u00f6nce, 1452’de Bo\u011faz\u2019dan ge\u00e7ecek yard\u0131m gemilerini engellemek amac\u0131yla bu devasa hisar\u0131n in\u015fas\u0131n\u0131 emrediyor. \u00dc\u00e7 b\u00fcy\u00fck kulenin yap\u0131m\u0131 Saruca Pa\u015fa, Za\u011fanos Pa\u015fa ve Halil Pa\u015fa’ya havale ediliyor. Yakla\u015f\u0131k d\u00f6rt ay gibi inan\u0131lmas\u0131 g\u00fc\u00e7 bir s\u00fcrede tamamlanan hisar, d\u00f6nemin en b\u00fcy\u00fck kale bur\u00e7lar\u0131na sahip. Bug\u00fcn m\u00fcze olarak hizmet veren Rumeli Hisar\u0131, Bo\u011faz manzaras\u0131yla birle\u015fen sil\u00fceti sayesinde \u0130stanbul’un en \u00f6nemli foto\u011fraf noktalar\u0131ndan biri.<\/p>\n\n\n\n

Kapal\u0131\u00e7ar\u015f\u0131<\/strong><\/h3>\n\n\n\n
\"Kapal\u0131\u00e7ar\u015f\u0131\"
Kapal\u0131\u00e7ar\u015f\u0131<\/figcaption><\/figure>\n\n\n\n

Fatih Sultan Mehmet d\u00f6neminde iki bedesten etraf\u0131nda \u015fekillenmeye ba\u015flayan Kapal\u0131\u00e7ar\u015f\u0131, y\u00fczy\u0131llar i\u00e7inde geni\u015fleyerek d\u00fcnyan\u0131n en eski ve en b\u00fcy\u00fck kapal\u0131 \u00e7ar\u015f\u0131lar\u0131ndan biri h\u00e2line geliyor. 30.000 metrekarenin \u00fczerinde bir alana yay\u0131lan \u00e7ar\u015f\u0131da 60’tan fazla sokak ve binlerce d\u00fckk\u00e2n bulunuyor. Tonozlu tavanlar\u0131, ta\u015f kemerleri ve labirent gibi sokak d\u00fczeniyle Kapal\u0131\u00e7ar\u015f\u0131, Osmanl\u0131 ticaret mimarisinin e\u015fsiz bir \u00f6rne\u011fi. Y\u00fczy\u0131llard\u0131r kesintisiz \u00e7al\u0131\u015fan bu yap\u0131, bir al\u0131\u015fveri\u015f merkezi oldu\u011fu kadar ya\u015fayan bir mimari an\u0131t.<\/p>\n\n\n\n

Bo\u011fazi\u00e7i yal\u0131lar\u0131<\/strong><\/h3>\n\n\n\n
\"Bo\u011fazi\u00e7i'nde
Bo\u011fazi\u00e7i’nde yal\u0131lar<\/figcaption><\/figure>\n\n\n\n

\u0130stanbul Bo\u011faz\u0131’n\u0131n iki yakas\u0131n\u0131 s\u00fcsleyen ah\u015fap ve kagir yal\u0131lar, yaln\u0131zca bu \u015fehre \u00f6zg\u00fc bir mimari t\u00fcr. Osmanl\u0131 d\u00f6neminde saray ailesi ve \u00fcst d\u00fczey devlet adamlar\u0131 i\u00e7in in\u015fa edilen bu k\u0131y\u0131 konaklar\u0131, denizle i\u00e7 i\u00e7e ya\u015fam\u0131n mimari yans\u0131mas\u0131. Anadolu Hisar\u0131’ndaki 17. y\u00fczy\u0131ldan kalma Amcazade H\u00fcseyin Pa\u015fa Yal\u0131s\u0131, \u0130stanbul’da ayakta kalan en eski sivil Osmanl\u0131 yap\u0131lar\u0131ndan biri olarak b\u00fcy\u00fck \u00f6nem ta\u015f\u0131yor. Kuzguncuk’tan Bebek’e, \u00c7engelk\u00f6y’den Kandilli’ye uzanan k\u0131y\u0131 \u015feridinde ise farkl\u0131 d\u00f6nemlerden yal\u0131lar Bo\u011faz sil\u00fcetinin ayr\u0131lmaz par\u00e7as\u0131 olmaya devam ediyor. Bo\u011faz’\u0131n iki yakas\u0131ndaki bu zarif yap\u0131lar\u0131 daha yak\u0131ndan tan\u0131mak i\u00e7in \u0130stanbul Bo\u011faz\u0131 yal\u0131lar\u0131<\/a> yaz\u0131m\u0131z\u0131 okuyabilirsiniz.<\/p>\n\n\n\n

Erken d\u00f6nemin Sel\u00e7uklu etkisindeki k\u00f6\u015fklerinden klasik d\u00f6nemin g\u00f6rkemli camilerine, Lale Devri’nin zarif \u00e7e\u015fmelerinden Bat\u0131l\u0131la\u015fma d\u00f6neminin ihti\u015faml\u0131 saraylar\u0131na kadar \u0130stanbul, Osmanl\u0131 mimarisinin t\u00fcm d\u00f6nemlerini bir a\u00e7\u0131k hava m\u00fczesi gibi sergiliyor. Bu eserler yaln\u0131zca ta\u015ftan ve mermerden ibaret de\u011fil; her biri d\u00f6neminin siyasi iklimini, estetik anlay\u0131\u015f\u0131n\u0131 ve toplumsal d\u00f6n\u00fc\u015f\u00fcm\u00fcn\u00fc yans\u0131t\u0131yor. \u0130stanbul’a bir sonraki ziyaretinizde bu eserleri yaln\u0131zca g\u00f6rmekle kalmay\u0131n ve her birinin arkas\u0131ndaki hik\u00e2yeye de kulak verin.<\/p>\n","protected":false},"excerpt":{"rendered":"

Osmanl\u0131 mimarisine genel bak\u0131\u015f Osmanl\u0131 mimarisi; Erken D\u00f6nem, Klasik D\u00f6nem, Lale Devri, Bat\u0131l\u0131la\u015fma D\u00f6nemi (Barok, Rokoko ve Ampir) ve 1. Ulusal Mimarl\u0131k Ak\u0131m\u0131 gibi bir\u00e7ok farkl\u0131 d\u00f6neme ayr\u0131l\u0131yor. Her bir d\u00f6nem estetik anlay\u0131\u015f\u0131ndaki de\u011fi\u015fiklikler ve mimari eserlere de \u00fcslup de\u011fi\u015fiklikleri olarak yans\u0131yor. Erken d\u00f6nem eserleri \u00f6zellikle \u0130znik, Bursa ve Edirne\u2019de yo\u011funla\u015f\u0131rken klasik d\u00f6nem ve sonras\u0131ndaki […]<\/p>\n","protected":false},"author":53,"featured_media":59889,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[720,574,580,1160,495],"tags":[],"class_list":{"0":"post-59879","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-istanbul-gezi-rehberi","8":"category-seyahat-ve-tatil-fikirleri","9":"category-gezilecek-tarihi-yerler-ve-rotalar","10":"category-turkiye","11":"category-yerler"},"_links":{"self":[{"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/posts\/59879","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/users\/53"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/comments?post=59879"}],"version-history":[{"count":15,"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/posts\/59879\/revisions"}],"predecessor-version":[{"id":60089,"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/posts\/59879\/revisions\/60089"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/media\/59889"}],"wp:attachment":[{"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/media?parent=59879"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/categories?post=59879"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.turkishairlines.com\/tr\/wp-json\/wp\/v2\/tags?post=59879"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}