Publication of Association Esprit, Socit et Rencontre Strasbourg/FRANCE

The Journal of Academic Social Science Studies

Academic Social Science Studies Dergisi ylda alt defa yayn yapan uluslararas hakemli bir dergidir. Academic Social Science Studies Dergisinde yaynlanan tm yazlarn, dil, bilim ve hukki adan btn sorumluluu yazarlarna, yayn haklar www.jasstudies.coma aittir. Yaynlanan yazlar yayncnn yazl izni olmakszn ksmen veya tamamen herhangi bir ekilde baslamaz, oaltlamaz. Yayn Kurulu dergiye gnderilen yazlar yaynlayp yaynlamamakta serbesttir. Gnderilen yazlar iade edilmez. The Journal Of Academic Social Science Studies, Uluslar aras hakemli ve indeksli bir dergidir. MLA, EBSCO, ASOS, TE, ARASTRMAX, Akademik Dizin (Akademik Trk Dergileri ndeksi) bata olmak zere onlarca veritaban ve indeks tarafndan taranmaktadr. The Academic Social Science Studies is an international, six-reviewed in a year journal. Authors bear the sole legal responsibility for their published works in www.jasstudies.com. The Academic Social Science Studies has the sole ownership of copyright to all published works. No part of this publication shall be produced in any form without the written consent of the Academic Social Science Studies. The Editorial Board makes the final decision to publish articles. No article is returned to authors.

ISSN: 2147-2971
Volume 5/8 December 2012

The Journal of Academic Social Science Studies

International Journal of Social Science

Editor Esengl KARADAYI

E-mail: ramazanboluk@gmail.com, esengulkaradayi@gmail.com Web: http://www.jasstudies.com/

JASS Studies
Volume 5 / 8 December 2012

ACADEMIC SOCIAL SCIENCE STUDIES

Uluslararas Hakemli Dergi / International Journal of Academic Social Science Studies

Sahibi / Owner
Association Esprit, Socit et Rencontre

Editr / Editor Esengl KARADAYI Editr Yardmclar / Assistant Editor Ramazan BLK Sibel KILI Yaz leri Mdr / Manager Ramazan BLK Yayn Kurulu Bakan/ Chief of Editorial Board Do. Dr. Mehmet Dursun ERDEM Yayn Kurulu / Editorial Board Prof. Dr. Tahir BALCI - Prof. Dr. uayip ZDEMR - Prof. Dr. Esra MACAROLU AKGL - Prof. Dr. H. brahim DELCE-Prof. Dr. Suna Timur AILDERE - Prof. Dr. brahim TELLOLU-Prof. Dr. Hidayet AYDAR Do. Dr. Soyalp TAMELK -Do. Dr. Yavuz BAYRAM Danma Kurulu/Board of Advisory Prof. Dr. smail TA - Prof. Dr. Hseyin GM - Do. Dr. Perihan YALIN Do. Dr. Beyhan ASMA - Do. Dr. Sami KILI - Do. Dr. Fuat BOYACIOLU Do. Dr. Mustafa ERTRK - Do. Dr. Mustafa YAVUZ

ACADEMIC SOCIAL SCIENCE STUDIES

Uluslararas Hakemli Dergi / International Journal of Academic Social Science Studies

Volume 5 / 8 December 2012

Hakemler / Referees
Prof. Prof. Prof. Prof. Prof. Prof. Prof. Prof. Prof. Prof. Prof. Prof. Prof. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Abdullah KAHRAMAN Cumhuriyet niversitesi Abulkudds BNGL Atatrk niversitesi Adem BAIBYK Erzincan niversitesi Adnan GRBZ Cumhuriyet niversitesi Ahmet GRSES Atatrk niversitesi Ali Osman UYSAL anakkale Onsekiz Mart . Altan ETN Gazi niversitesi Asuman Seda SARACALOLU Adnan Menderes niversitesi Bahattin DZGN Atatrk niversitesi Behet Kemal YELBURSA Abant zzet Baysal niversitesi Bilgehan PAMUK Gaziantep niversitesi Cemal YALIN Cumhuriyet niversitesi Cevat BAARAN Atatrk niversitesi

Prof. Dr. idem NAL Atatrk niversitesi Prof. Dr. Ejder OKUMU Eskiehir Osmangazi niversitesi Prof. Dr. Enver Alper GVEL ukurova niversitesi Prof. Dr. Esra BURCU Hacettepe niversitesi Prof. Dr. Esra MACAROLU AKGL Yldz Teknik niversitesi Prof. Dr. Feridun MERTER nn niversitesi Prof. Dr. Firdevs GNE Bartn niversitesi Prof. Dr. Glden ERTURUL Dokuz Eyll niversitesi Prof. Dr. Glmira KURUOLU Dokuz Eyll niversitesi Prof. Dr. H. brahim DELCE Cumhuriyet niversitesi Prof. Dr. Hamza GNDODU Atatrk niversitesi Prof. Dr. Hasan Hseyin BAYRAKLI Afyon Kocatepe niversitesi Prof. Dr. Hidayet AYDAR stanbul niversitesi Prof. Dr. Huseyin GM Marmara niversitesi Prof. Dr. brahim Hakk AYDIN Atatrk niversitesi Prof. Dr. brahim TELLOLU Ondokuzmays niversitesi Prof. Dr. smail ALIKAN Cumhuriyet niversitesi Prof. Dr. smail TA Necmettin Erbakan niversitesi Prof. Dr. Kadir ZKSE Cumhuriyet niversitesi Prof. Dr. Kenan DEMRAYAK Atatrk niversitesi Prof. Dr. M. Hanefi PALABIYIK Atatrk niversitesi Prof. Dr. Mehmet Ali BEYHAN stanbul niversitesi Prof. Dr. Mehmet Durdu KARSLI Onsekiz Mart niversitesi Prof. Dr. Mehmet EVSLE Ondokuz Mays niversitesi Prof. Dr. Mehmet Sinan TEMURLENK Atatrk niversitesi Prof. Dr. Mesut AYDIN nn niversitesi Eitim Fakltesi Prof. Dr. Metin COAR Cumhuriyet niversitesi Prof. Dr. Mohammad ARAFAT Karadeniz Teknik niversitesi Prof. Dr. Mualla UYDU YCEL stanbul niversitesi Prof. Dr. Muhittin ELAIK Krkkale niversitesi Prof. Dr. Mukadder ERKAN Atatrk niversitesi Prof. Dr. Mustafa Hilmi BULUT Cumhuriyet niversitesi Prof. Dr. Mustafa TURAN Gazi niversitesi Prof. Dr. Nejat ERK ukurova niversitesi Prof. Dr. O. Faruk AKYOL stanbul Medeniyet niversitesi Prof. Dr. mr BTEV DOLUN Artvin oruh niversitesi Prof. Dr. Ruhattin YAZOLU Atatrk niversitesi Prof. Dr. Saliha KODAY Atatrk niversitesi Prof. Dr. Sedat CEREC Batman niversitesi Prof. Dr. Seluk ESENBEL stanbul 29 Mays niversitesi Prof. Dr. Suna Timur AILDERE Gazi niversitesi Prof. Dr. aban SALIK Ondokuzmays niversitesi Prof. Dr. uayip ZDEMR Frat niversitesi Prof. Dr. Tahir BALCI ukurova niversitesi Prof. Dr. Temel YELYURT Erciyes niversitesi Prof. Dr. Turul NAL Ufuk niversitesi Prof. Dr. Turan NDE Atatrk niversitesi Prof. Dr. Turgut YT Ankara niversitesi Prof. Dr. Vedat KELE Atatrk niversitesi Prof. Dr. Yusuf GRINAR ukurova niversitesi Prof. Dr. Zafer CRHNLOLU Cumhuriyet niversitesi Prof. Dr. Zakir AVAR Gazi niversitesi

Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do.

Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr. Dr.

Abdulkadir BAHAREK Abdulkadir GL Abdulkadir LEVENT Abdullah NARALAN Abdullah SOYSAL Abdullah ENGL Abdurrahman ATE Abdllatif TZER Abdurrahim EMHAN Adem EFE Adem KARA Ahmet MUTLU Ahmet OCAK Ahmet MEK Ahmet YATKIN Ahmet YT Ahsen ARMAAN Ali ASLAN Ali Fuat REN Ali Murat AKTEMUR Alpaslan UAR Alper Cihan KONYALIOLU Aslan GLC Asl YAZICI Bar ZENER Baaran GENDOAN Beyhan ASMA Cemal ELTA Cengiz AKBULAK Cneyt EREN D. Yelda KANICI Didem SYEZ Durdu Mehmet BURAK Ebubekir SOFUOLU Enver TATAR Erdal ESER Eren YRDR Erkan AKAR Eyup BEKRYAZICI Eyp AKMAN Faruk YCEL Ferit USLU Fikri SALMAN Fuat BOYACIOLU Gkhan DEMRCOLU Glbadi ALAN Glah BAOL Grbz OCAK Grkan HAT Grsoy AHN Hakan SARIBA Hakk Engin GDERER Hakk UYAR

nn niversitesi Erzincan niversitesi Batman niversitesi Atatrk niversitesi Kilis 7 Aralk niversitesi Afyon Kocatepe niversitesi nn niversitesi Cumhuriyet niversitesi Dicle niversitesi Sleyman Demirel niversitesi Abant zzet Baysal niversitesi Ondokuz Mays niversitesi Bolu Abant zzet Baysal niversitesi Sakarya niversitesi Frat niversitesi Mula Stk Koman niversitesi Ege niversitesi Atatrk niversitesi stanbul niversitesi Atatrk niversitesi Abant zzet Baysal niversitesi Atatrk niversitesi Atatrk niversitesi ankr Karatekin niversitesi Cumhuriyet niversitesi Atatrk niversitesi Erciyes niversitesi Afyon Kocatepe niversitesi anakkale Onsekiz Mart niversitesi Dokuz Eyll niversitesi Ege niversitesi Dokuz Eyll niversitesi Ahi Evran niversitesi Sakarya niversitesi Atatrk niversitesi Cumhuriyet niversitesi Gaziosmanpaa niversitesi Afyon Kocatepe niversitesi Atatrk niversitesi Kastamonu niversitesi Ege niversitesi Hitit niversitesi Atatrk niversitesi Seluk niversitesi Karadeniz Teknik niversitesi Erciyes niversitesi Gaziosmanpaa niversitesi Afyon Kocatepe niversitesi Bilecik eyh Edebal . Afyon Kocatepe niversitesi Blent Ecevit niversitesi ankr Karatekin niversitesi Dokuz Eyll niversitesi

Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do. Do.

Dr. Halil brahim SALAM Dr. Halim ZNURHAN Dr. Halit EV Dr. Hanife Nalan GEN Dr. Hasan Ali AHN Dr. Hasan ARSLAN Dr. Hasan BURAN Dr. Hatice UBUKU Dr. Hava SELUK Dr. Hseyin KSE Dr. brahim KOPAR Dr. sa KIZGUT Dr. smail BOYACI Dr. smail Hakk NAKLCOLU Dr. Jlide Akyz ORAT Dr. Kaan CANDURAN Dr. Kadir PAKSOY Dr. Kemal DOYMU Dr. Kemal DURUHAN Dr. Koray ZCAN Dr. Krad YILMAZ Dr. M. Dursun ERDEM Dr. Mahmut MASCA Dr. Mahmut ZTRK Dr. Mehmet EK Dr. Mehmet DEMRTA Dr. Mehmet ERDEM Dr. Mehmet HASGLER Dr. Mehmet Sadk NCL Dr. Mehmet Serhat YILMAZ Dr. Mehmet AHN Dr. Mehmet Yaar ERTA Dr. Mehmet ZAMAN Dr. Melek KSZ Dr. Mesut ERAN Dr. Murat AKAKAYA Dr. Murat YILDIZ Dr. Musa BLGZ Dr. Mustafa CHAN Dr. Mustafa EKNC Dr. Mustafa ERTRK Dr. Mustafa Fadl SZEN Dr. Mustafa HOTAMILI Dr. Mustafa ORAL Dr. Mustafa AHN Dr. Mustafa YAVUZ Dr. Mcahit DLEKMEN Dr. Mjde Ker DNER Dr. Nazan YELKKALAN Dr. Nebahat GER Dr. Necmettin AYGN Dr. Nevzat GM Dr. Nilay BAOK

Sakarya niversitesi Erciyes niversitesi Celal Bayar niversitesi Ondokuz Mays niversitesi Erciyes niversitesi Canakkale Onsekiz Mart niversitesi nn niversitesi ukurova niversitesi Erciyes niversitesi Atatrk niversitesi Atatrk niversitesi Akdeniz niversitesi Dokuz Eyll niversitesi Afyon Kocatepe niversitesi Kafkas niversitesi Erciyes niversitesi Harran niversitesi Atatrk niversitesi nn niversitesi Seluk niversitesi Dumlupnar niversitesi Ondokuzmays niversitesi Afyon Kocatepe niversitesi Abant zzet Baysal niversitesi Gaziantep niversitesi Bitlis Eren niversitesi Frat niversitesi Lefke Avrupa niversitesi Cumhuriyet niversitesi Kastamonu niversitesi anakkale Onsekiz Mart nv. Pamukkale niversitesi Atatrk niversitesi Karadeniz Teknik niversitesi Eskiehir Osmangazi niversitesi Gazi niversitesi Cumhuriyet niversitesi Atatrk niversitesi Atatrk niversitesi Harran niversitesi Mula niversitesi Akdeniz niversitesi Afyon Kocatepe niversitesi Akdeniz niversitesi Dokuz Eyll niversitesi Necmettin Erbakan niversitesi Atatrk niversitesi Ege niversitesi anakkale Onsekiz Mart niversitesi Cumhuriyet niversitesi Aksaray niversitesi Dokuz Eyll niversitesi Ege niversitesi

Do. Dr. Nurettin TURGAY Do. Dr. Nuriye SEMERC Do. Dr. Okan BAOLU Do. Dr. Orhan YAZICI Do. Dr. zlem SERTKAYA DOAN Do. Dr. Perihan YALIN Do. Dr. Recep KOAK Do. Dr. Refik DLBER Do. Dr. Rfat GNDAY Do. Dr. Rza KARAGZ Do. Dr. S. Sunay YILDIRIM DORU Do. Dr. Sabri KARADOAN Do. Dr. Sabriye SEVEN Do. Dr. Sadiye TUTSAK Do. Dr. Salih Paa MEMOLU Do. Dr. Sami KILI Do. Dr. Seluk DUMAN Do. Dr. Selda N AKALI Do. Dr. Serap DURUSOY Do. Dr. Serkan EN Do. Dr. Seyfullah KARA Do. Dr. Soner YAVUZ Do. Dr. Soyalp TAMELK Do. Dr. Suat NAL Do. Dr. Sleyman AKYREK Do. Dr. Sleyman DNDAR Do. Dr. Sleyman NAN Do. Dr. ahin KKTRK Do. Dr. evki ZBLEN Do. Dr. kr YAPRAKLI Do. Dr. Tevfik ERKAL Do. Dr. Tevhit AYENGN Do. Dr. Tuncay MAMOLU Do. Dr. Trkan ARGON Do. Dr. Ulvi KESER Do. Dr. Vedat ALIKAN Do. Dr. Yasin SOYLU Do. Dr. Yaar KAYA Do. Dr. Yavuz BAYRAM Do. Dr. Ylmaz KARADENZ Do. Dr. Yusuf CERT Do. Dr. Yusuf DOAN Do. Dr. Yusuf KILI Do. Dr. Yusuf TOPAL Do. Dr. Zeki KODAY Do. Dr. Zeki USLU Do. Dr. Zlbiye TOLUK UAR

Dicle niversitesi Bartn niversitesi Gazi niversitesi nn niversitesi stanbul niversitesi Gazi niversitesi Gaziosmanpaa niversitesi Atatrk niversitesi Ondokuz Mays niversitesi Ondokuz Mays niversitesi Dokuz Eyll niversitesi Dicle niversitesi Atatrk niversitesi Uak niversitesi Abant zzet Baysal niversitesi Frat niversitesi Gaziosmanpaa niversitesi Ege niversitesi Abant zzet Baysal niversitesi Ondokuzmays niversitesi Karabk niversitesi Blent Ecevit niversitesi Gazi niversitesi Karadeniz Teknik niversitesi Erciyes niversitesi Afyon Kocatepe niversitesi Pamukkale niversitesi Ondokuzmays niversitesi Bayburt niversitesi Atatrk niversitesi Afyon Kocatepe niversitesi anakkale Onsekiz Mart niversitesi Atatrk niversitesi Abant zzet Baysal niversitesi Atlm niversitesi anakkale Onsekiz Mart niversitesi Atatrk niversitesi nn niversitesi Ondokuzmays niversitesi Mu Alparslan niversitesi Abant zzet Baysal niversitesi Cumhuriyet niversitesi Pamukkale niversitesi Afyon Kocatepe niversitesi Atatrk niversitesi Seluk niversitesi Abant zzet Baysal niversitesi

Editrden
Kymetli JASSS okurlar Dergimizin 5/8 says ile yine birlikteyiz. Yorucu ve verimli bir yl geirdik ve yine sizinle yeni bir saymzda bulumann sevincini yaamaktayz. Dergimizin 5. yl olduka youn geti. Ancak en nemli gelime bu yl ierisinde dergimizin yayn merkezi ve btn yayn faaliyetleri Fransaya tand. Bu saymz da dahil olmak zere bundan sonra dergimiz yurt dndan yayn yapacaktr. Bu durum dergimize birok avantaj salarken, yazarlarmz adna da yurt d yayn olmas sebebiyle avantaj salayacaktr. Dergimizin yayn sahibi Association Esprit, Socit et Rencontre olup, yayn yeri bundan sonra Strasbourg/FRANCEdr. Bununla birlikte bu yl dergimize, son zamanlarda YOKn her makaleden istedii DOI numaras almay baardk. Olduka ek maliyet getiren bu durumun da altndan kalktk. Dergimizi yeni indekslere tarattk ve yeni indekslere bavurular devam etmektedir. Artk dergimiz daha gl ve daha bilinli olarak yayn faaliyetlerine devam edecektir. Bu yln son says olan 5/8 saymzda 80 zerinde yaz yaymladk. Hepsi hakem srecini tamamlam birbirinden kymetli yazlar olarak karmzda durmaktadr. Bu saymzda da Eitim Bilimleri, ktisat, letme, Kamu Ynetimi, Uluslar aras likiler, Tarih, Corafya, Edebiyat, lahiyat gibi sosyal bilimler alannda birok yaz yaymlamay baardk. Bununla birlikte yayn yaptmz site tasarm tamamen deiecektir. Site tasarm deitiinde ayrntl iletiim bilgileri, mailler, adresler bu yeni tasarlanm siteye ayrntl olarak yerletirilecektir. Tabi ki bu srete bizi asla yalnz brakmayan kurul yelerimize, hakemlerimize ve yazarlarmza teekkr ediyoru z. Bu yeni saymzn da sosyal bilimler adna faydal olmasn diliyoruz.

Esengl KARADAYI Editors of JASSS The Journal of Academic Social Science Studies

NDEKLER / CONTENTS

Yrd. Do. Dr. zlem AFACAN & Yrd. Do. Dr. Ayegl SELMHOCAOLU Okul ncesi retmenlerinin Fen Etkinliklerine likin Yeterlilikleri Ve Bu Yeterliliklerinin Baz Deikenlere Gre ncelenmesi (Krehir li rnei) Determining The Proficiency Of Preschool Teachers Of The Science Activities And Examining These Competence According To Some Factors (Kirsehir Sample) r. Gr. Dr. Gl AKTA Kadnlarn znel Kimliklerini na Etme Srecinde Aile i Kltrel Sylemler: Gen Kzlar zerine Bir Aratrma Intrafamilial Cultural Discourses In The Process Of Subjectiveidentity Construction Of Women: A Research On Young Girls Do. Dr. Ali Murat AKTEMUR Alexandre Vallaurynin Karakydeki Eserleri Works Of Alexandre Vallaury In Karakoy Do. Dr. M. Yavuz ALPTEKIN Yeni Bir Dnya Algs Olarak Dnya ehir-Sistem Yaklam World City-System Approach As A New Perception Of The World Zeynep ADANUR KUDAL & Yrd. Do. Dr. Taner ALTUN Birletirilmi Snflarda Yaplandrmac Yaklamn Uygulanabilirliinin retmen Grleri Asndan Deerlendirilmesi: Trabzon li rnei Evaluation Of Teachers Views On Applicability Of Constructivist Approach In Joint Classrooms: Sample Of Trabzon Yrd. Do. Dr. SALH ERDEN & Do. Dr. RAMZ ARABACI Rehber retmenlerin retmenlik Uygulamas Dersine likin Grleri Views Of The Guide Teachers On Teaching Practice Course Yrd. Do. Dr. Abdulselam ARVAS Soy Kkmzn Esas Faktr Ana Dilimizdir The Main Factor For Our Race Is Mother Tongue Adem AYDEMR Trkede Baz Shr Akrabalk Terimleri zerine About Some Judicial Kinship Terms In Turkish Language

1-20

21-35

37-74

75-88

89-109

111-120

121-124

125-142

Yrd. Do. Dr. Abdullah AYDIN eitli lkelerin Ortaretim Kimya Dersi retim Programlarnda Benimsenen renme Anlaylar Ve renme Yollar Learning Approaches And Models Adopted In The High School Chemistry Curricula In Several Nations Dr. Ali AYHAN Sosyal Alarn Kuatt Bir Dnyada alg Eitiminde Eitsel Video Kullanmnn nemi The Importance Of Usage The Educational Video In Musical Instrument Education In A World Which Has Been Surrounded By Social Networks Yrd. Do. Dr. afak ZTRK AYNAL & mer Faruk SNMEZ Minik Temalar Banda: Tema Vakf Doaeitimi Projesiyle niversite rencilerini Buluturuyor Tema Foundtions Project Of Minik Tema Meets With University Students Yrd. Do. Dr. Muhammet BAHADIR The Analyse Of Precptaton And Temperature In Afyonkarahisar (Turkey) In Respect Of Box-Jenkins Technique Afyonkarahisarda (Trkiye) Ya Ve Scakln Box Jenkins Teknii le Analizi Mehmet Emin BARS Krolu Destannda Metinleraras likiler Inter-Textual Relationships In The Epic Of Krolu Yrd. Do. Dr. Bengl Salman BOLAT Tanzimattan Demokrat Partiye Kltr Politikalar Ve Tarih Anlaylar Cultural Policies And Historical Approaches From Tanzimat To Democrat Party Dr. Mahmut BOLAT Modern Trkiye Cumhuriyetinin Oluum Srecinde Atatrk lkeleri Ve nklp Tarihi Dersinin Yeri Ve Amalar The Importance And Aims Of Atatrks Principles And Revolution History Course In The Formation Process Of Modern Turkish Republic

143-169

171-178

179-194

195-212

213-229

231-247

249-264

Dr. Celil BOZKURT Filistin Sorunu Ve lk Arap-Yahudi atmalarnn Trk Basnndaki Yanklar (1929-1939) The Phalestine Problem And Reflection Of The First Arab-Jew Conflicts On Turkish Press (1929-1939) Dr. Mesut BULUT & Dr. Salih ORHAN Trke-Edebiyat Ders Kitaplarnn Dil Ve Kltr Aktarmndaki Rol Ve nemi zerine Bir nceleme Turkish And Literature Textbooks Language And Culture Transmitting An Investigation Of The Role And Importance Dr. Nihal Misket ZCAN & Dr. Safiye SARICI BULUT Gazi niversitesi Eitim Fakltesi rencilerinin Eitimle lgili Anlarnn Nitel Bir ncelemesi A Qualittative Analysis Of Gazi University Gazi Education Faculty Students Memories About Educational Experiences Yrd. Do. Dr. Dilek CERAN Trke retmeni Adaylarnn Konuma Eitimi Dersine Ynelik Tutumlarnn Deerlendirilmesi Turkish Teachers Attitudes Towards The Evaluation Of Speech Training Course Ar. Gr. Reit AKMAK, Prof. Dr. Giray TOPAL & Mret AKMAK Kimya retiminde Yeni Bir Kavram: Yeil Kimya A New Concept In Chemistry Teaching: Green Chemistry Do. Dr. Mustafa AHN, Prof. Dr. A. Azmi YETM & Yrd. Do. Dr. Akn ELK Psikolojik Salamln Geliiminde Koruyucu Bir Faktr Olarak Spor Ve Fiziksel Aktivite Physical Activity And Sport As A Preventive Factor In Building Resilience Ar. Gr. Dr. Bar FT & Dr. Zafer TANGL Snf retmeni Adaylarnn Atatrk lkeleri Hakkndaki Metaforik Alglar The Metaphoric Perceptions Of Classroom Teacher Trainees About Ataturks Principles

265-295

297-311

313-336

337-358

359-371

373-380

381-395

Yrd. Do. Dr. Arif DANE & Hasan BAKURT lkretim 8.Snf rencilerinin zdelik Ve Denklem Kavramlarn Alglama Dzeyleri Ve renme Glkleri Perception Levels Of The Concepts Of Identification And Equation Of The Elementary Grade Eight Students And Their Learning Difficulties Yrd. Do. Dr. ar ZTRK DEMRBA & Yrd. Do. Dr. Tekin ELKKAYA Sosyal Bilgiler retmen Adaylarnn Programdaki Deerlere likin Algsal Farkndalklar Perceptual Awareness Of Social Studies Teacher Candidates Regarding The Values Within The Curriculum Yrd. Do. Dr. Metin DEMRC & Dr. Mesut GN Rzaeddin Fahreddinin Edeb Eserlerinde slup Style Of Rizaeddin Fahreddins Literary Works smigl COAR & Yrd. Do. Dr. Mehmet Kaan DEMR 2005 lkretim Program Uygulamalarna likin Veli Grleri The Opinions Of The Parents On 2005 Elementary School Curriculum Applications Yrd. Do. Dr. Demokaan DEMREL Tanzimat Ve Merutiyet Dneminde Kamu Reformlar Public Administration Reforms In Tanzimat And The Constitutional Monarchy Dr. Necla DURSUN & Ar. Gr. kr DURSUN Safev ah Hseyin Mirzann Sikkeleri The Shah Of The Safavid Huseyin Mirza Of Coins Yrd. Do. Dr. Meltem EROL DZBASTILAR Rast arklarda Aralklarn Kullanm Usage Of Interval In Rast Compositions Yrd. Do Dr. Hatice O. ELMEZ & r. Gr. zgr ELMEZ The Importance Of Music In Intercultural Communication And Within This Context, Common Folk Dances And Music Of The Turkish Cypriot And Greek Cypriot Communities Kltrlerarasi letiimde Mziin nemi Ve Bu Balamda Kibris Trk, Kibris Rum Toplumlarinin Ortak Halk Oyunlari le Mzikleri

397-413

415-427

429-458

459-473

475-487

489-503

505-511

513-523

Do. Dr. Mehmet ERDEM Medine Vesikasnn Maddelendirilme ekli ve Trke evirileri zerine Baz Mlahazalar Some Observations On The Form Of The Madina Document And Its Translations To Turkish Do. Dr. Tevfik ERKAL obanlar Havzas'nda (Afyonkarahisar) Toprak Erozyonunun Deerlendirilmesi Assessment Of The Soil Erosion In The obanlar Basin, Afyonkarahisar, Turkey Dr. Gl Fahriye EVREN Mzik Eitimi Veren Kurumlarda Ses Eitimi Derslerinde Kullanlabilecek Bedensel Ve Zihinsel Geveme Yntemleri The Use Of Physical And Mental Relaxation Techniques For Vocal Training Courses At Musical Education Institutions Mehmet Ali GEN Grsel Sanatlar Alannda stn Yetenekli renciler Ve Trkiyedeki Eitimleri Gifted Children In The Field Of Visual Arts And Their Education In Turkey Do. Dr. Salih Zeki GEN & Ar. Gr. Hanife ESEN retmen Yetitirmede Demokratik Deerlerin Benimsenmesi Adoption Of Democratic Values In Teacher Education Yrd. Do. Dr. Alev GRL & rt. Gr. Deniz TEKN ERSAN Investigating Empathy Skill Levels Of Children With Autism And Typically Developed Children Between The Ages Of 9-16 9-16 Yalar Arasndaki Otizmli Ve Tipik Geliim Gsteren ocuklarn Empati Beceri Dzeylerinin ncelenmesi Hatice GLE rgtlerde Farkllklarn Ynetimi: Okullara likin Baz karmlar Diversity Management In Organizations: Some Inferences Regarding Schools

525-542

543-562

563-572

573-587

589-602

603-614

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Assist. Prof. Dr. Murat GL International Relations And The International System: Symbiosis Of Continuity And Change Uluslararas likiler Ve Uluslararas Sistem: Devamllk Ve Deiimin Ortak Yaam Yrd. Do. Dr. Dilek AIRGAN GLTEN & lker SOYTRK lkretim Matematik retmen Adaylarnn Matematiksel Problem zme nanlarnn Baz Deikenler Asndan ncelenmesi An Investigation Of Primary School Mathematics Teacher Candidates Mathematical Problem Solving Beliefs Through Some Variables Yrd. Do. Dr. mran GR Yeni Hayatta Kopya, Biyonizm, Sahte Merkez, Aray Copy, Bionizm, False Center, Searcing, In New Life Yrd. Do. Dr. Baki Bora HANA Tanm M Tarif Mi? Halk Hikyesinin Tanmlanmas Meselesi Definition Or Description? The Problem Of Defining Folk Tale Kadriye HOCAOLU Tanzimatn Birinci Dnem airlerinin Divan iiri Hakkndaki Grlerinin Eserlerindeki Yansmalar The Reflections Of The First Era Reform Poets Opininons About Ottoman Poetry To Their Work Ar. Gr. Bekir Yksel HO Bosna Hersek Siyasi Corafyasnda Gemiten Gnmze Ky Snrndaki Deiimler Ve Denize k Sorunu Coastal Border Changes And The Issue Of Access To The Sea In Political Geography Of Bosnia And Herzegovina From Past To Present Dr. Abdullah NCE Modern Dnemde Yalanma Ve Din Aging And Religion In Modern Time

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Yrd. Do. Dr. Baak Burcu TEKN The Yasawi Shrines Bronze Doorknockers: An Assessment Of The Timurid Artistic World Yesevi Klliyesi Bronz Kap Tokmaklar: Timurlu Sanat Dnyas Asndan Bir Deerlendirme Dr. Bar TOPTA Haydn, Mozart Ve Beethovenn Piyano Sonatlarna Genel Bir Bak General An Overview At Haydn, Mozart And Beethoven Sonatas Yrd. Do. Dr. Cemal TOSUN & Do.Dr. Erdal ENOCAK niversite rencilerinin Probleme Dayal renme (Pd) Ortam Hakkndaki Grleri Undergraduate Students Perceptions Of The Problem-Based Learning (Pbl) Environment Ar. Gr. Rasim TSTEN & lyas EKNC Japonya Eitim Sisteminde Yksekretim Japon Higher Education System r. Gr. Tugay TUTKUN & Yrd. Do. Dr. Muzaffer ZDEMR Bte Blm rencilerinin Bilgisayar n Yeterliklerinin Blm Derslerindeki Baarlarna Etkisi Effects Of Computer Pre-Qualification On Cit Students Success In Department Courses Yrd. Do. Dr. Muammer ULUTRK Eskiler Yeniler Ve Deienler Balamnda Gnmz Tur Abdin Sryanilerinde Evlenme Gelenekleri Marriage Customs In Todays Tur Abdin Syrians Within The Context Of Olds Moderns And Covariates r. Gr. Aye UYANIK Patrck Sskndin Koku Adl Romannn Trke evirisinde Dil Oyunlar Edeerlii Translation Equivalence Of Language Plays In Turkish Translation Of Patrick Sskinds Novel Das Parfum Yrd. Do. Dr. Veli NSAL Krehirin Tarihi Corafyas II (M.. 2. Ve 1. Bin Yl) Historical Geography Of The Kirehir II (1st And 2nd. Millennium B.C)

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Publication of Association Esprit, Socit et Rencontre Strasbourg/FRANCE

The Journal of Academic Social Science Studies

Volume 5 Issue 8, p. 1135-1155, December 2012

THE YASAWI SHRINES BRONZE DOORKNOCKERS: AN ASSESSMENT OF THE TIMURID ARTISTIC WORLD
YESEV KLLYES BRONZ KAPI TOKMAKLARI: TMURLU SANAT DNYASI AISINDAN BR DEERLENDRME

Yrd. Do. Dr. Baak Burcu TEKN Erciyes niversitesi, Gzel Sanatlar Fakltesi, Temel Eitim Bilimleri Blm

The Yasawi Shrines Bronze Doorknockers : An Assessment Of The Timurid Artistic World

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Abstract
The Yasawi Shrine was built by Timur in 1397 to honour Khawaja Ahmad Yasawi 230 years after his death in Turkestan. Today when you visit the city of Turkestan (Yasi) in Kazakhstan, you can sense a feeling of eternity inspired by the gigantic building. The structures significance comes from the importance attributed to the Sufi Sheikh Khawaja Ahmad Yasawi. This building symbolises both the spiritual power of Yasawi and the worldly reign of Timur and the Eurasian steppes. The subject of this paper is the doorknockers on the entrance door of this shrine. The aim of this study is not only to examine the doorknockers but also to expose their place in Timurid art. Accordingly, the doorknockers will be analyzed from an artistic perspective, and the iconographic descriptions will illustrate how Timur understood symbolism in art. As an integrative and comparative study, this paper examines several sources of Timurs political and art history, the iconography of Buddhism and Islam which were dominant in the region, Yasawi Sufi thought and Ahmad Yasawis poetry. Also included are comparisons of the miniatures, wooden artworks and architecture. This research shows Timurs artistic powerful and far -reaching influence as it was reflected in the massive Ahmad Yasawi Shrine and in its smallest art works like the doorknockers.

Keywords: Yasawi, Symbolism, Timurid Art, Eurasia, Central Asia,

z
Hoca Ahmed Yesevi Klliyesi, Timur tarafndan nceleri Yesi olarak bugn ise Trkistan olarak anlan ehirde Hoca Ahmed Yesevinin lmnden 230 yl sonra 1397 ylnda ina edilmitir. Gnmzde dahi, Trkistan (Yesi) ehirini ziyaret ettiinizde bu antsal inaatn etkiliyeciliine kaplnlmaktadr. Hoca Ahmed Yesevi Klliyesinin nemi dorudam Hoca Ahmed Yesevi2ye atfedilen nem ile ilintilidir. Bu yap hem Ahmed Yesevinin ruhani lider kiiliinin hem Timur dnemi ynetiminin hem de Avrasya steplerinin sembolik ifadelerini barndrmaktadr. Bu almann konusu Klliyenin giri kaps zerinde yer alan bronz kap kollardr. Kap kollarnn tanmlamas deil, Timurlu sanat iindeki yerinin de saptanmas bu almann amacdr. Bu nedenle kap kollarnn genel zelliklerinin betimlenmesinden ok kullanlan motiflerin sembolik anlamalar zerinde durulmutur. Bu ama dorultusunda bronz kap kollar sanatsal zellikleri ve ikonografik aklamalar ile ele alnacak ve byle bir anlamda Timurun sanat ve sembolizm ile ilgili yaklam da incelenmi olacaktr. Karlatrmal olarak Timurlu siyasi ve sanat tarihi verileri, blgede hakim olan Budizm ve slamiyet ikonografisi, Yesevi dncesi ve Ahmed Yesevi iirleri karlatrmal deerlendirme iin kaynak olarak kullanlmtr. Ayrca karlatrmalara ahap sanat,mimari ve minyatrler de dahil edilmit ir. Bu aratrma ile Timurun sanatsal gcnn nasl etkin olduu ve Timurlu beenisinin byk boyutlu Hoca Ahmed Yesevi Klliyesi iindeki kk lekli bir eser olan bronz kap kollarnda nasl yanstld gsterilmee allacaktr.

Anahtar Kelimeler: Yesevi, Sembolizm, Timurlu Sanat, Maden Sanat, Orta Asya,

1137 Baak Burcu TEKN

Introduction Today as you visit the city of Turkestan (Yasi) in Kazakhstan, you can experience a sense of eternity stimulated by a gigantic building (Fig.1). The shrine of Ahmad Yasawi was built by Timur in memory of Yasawi in 1397. As the size of the building meets the vastness of the steppe, it becomes a symbol of contrasts. The gigantic building symbolises both the spiritual power of Yasawi and the worldly reign of Timur. The symbols of Sufi tradition and Timurs artistic understanding were skilfully integrated even in the minute details, into an artistic-architectural whole. Ahmad Yasawi lived in the 12th century However his spiritual influence has continued to the present day to the extent that nowadayas Turkic people living in Central Asia see a visit to the shrine as a first and necessary step before beginning their pilgrimage to Mecca (Privatsky 2001 :90). His death in 1166 did not end his spiritual influence. In contrast, he became more spiritually influential than ever. The Yasawi Shrine, which was built by Timur in 1397 to honour Yasawi 230 years after his death, is an illustrative example of his lasting influence. The main purpose of this paper is to examine the iconographic decorations of bronze doorknockers which enhance this Timurid era building. One of the sub- purposes of this study is to argue that decorations were not only used for their own sake, but they were also used to provide an iconographic integrity. The other sub purpose is to illustrate on a small scale, Timurs artistic judgment that reflected his organized style. 1.Artistic Conception of the Timur Period: Imperial Style under Court Control Timur, the patron of the shrine, was born in the 14th century as a son of the chief of a Turkicized Mongol tribe. His birth, childhood and youth became so legendary that it is almost impossible to suggest anything relevant on scientific grounds that can go beyond the legend (Barthold 1975:290). Within a short time, Timur became a real power in Transoxiana (Mawarannahr) in 1370 (Aka 1991; Grousset 1996). Until his death in 1405, he led numerous conquests. When he died on the way to his last military expedition to China in 1405, he left behind a vast land of 14 million square km, then known as Turkestan, covering a large area of present day Uzbekistan, Kazakhstan and Turkmenistan. The empire and sultanate of the Timurid dynasty remained in place until 1517 in Turkestan and until 1858 in India albeit on a much smaller scale and was less politically powerful and influential. Timur rose to power, and the world he conquered was the product of the Mongol Empire; Mongol history and traditions defined his goal, his methods and his ideology (Manz 1991: 2). The Timurid era was a period of two different and contrasting worlds. The first was a world in which settled Muslims were influenced by urban Persian culture, and the other was comprised of nomadic tribes who were then still under the influence of Shamanists and Buddhists living in the vast Eurasian steppes (Roux 1994: 214). The spoken language of this new culture was Turkic, its religion was Islam, and its political legitimation was Mongolian ( Manz 1991:3). Timur managed to hold these contrasting worlds together within his Empires border by relying not only on military means but also on cultural ones. For example, although he was a Muslim sultan, he adapted Chengiz laws in the administrative system (Serafettin Ali 2000), He was also supported by the local Muslim elites including the Shaykh al-Islam of Samarkand and the Sufis, who became his spiritual advisors and who also may have helped him rally support from both nomadic and town populations to legitimize his new

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regime (Marvin 2002: 229). On a large basalt rock from Kazakhstan, the honours given to Timur in 1391 were recorded in both Uighur and Arabic, which hints at a polyglot culture even after the conversion to Islam (Herrin 2006:239). Timurs administrative skills, which brought different, contrasting social components together, can also be found in the making of the Timurid artistic style he insisted upon. Timur did not base his hegemony on brutal force alone as Chengiz Han, who lived 150 years before him had done. He was rigid in performing his religious duties and paid consideration to pious men he respected and to their schools, shrines and mausoleums and to men reputed in learning (Dalal 1995: 158). In fact, Timur was much more interested in architecture than in other artistic forms. This very interest itself is an important clue in the evaluation and understanding of the style he wanted to generate. Gigantic architectural monuments, never seen until his time, became the very symbol of his political power. Qavam al-Din ibn Zayn alDin Shirazi is the only architect that can be identified as a personality recorded in literary sources, He also worked at the shrine of Khawaja Ahmad Yasawi at Turkestan between 1395 and 1399 as a shagird or apprentice, His contribution to Timurid architecture was to produce a number of integrated large-scale monuments in a distinctive style, which includes Iranian design elements, features of the contemporary Turanian monuments and personal hall-marks of the master (Wilber 1987: 31-32). Golombek and Wilber called this style, which was developed according to Timurs requisition, the Imperial Style (1988). Imperial style artistic can categorized into following order. 1. Monumental buildings as signs and symbols of Timurs political power 2. Following centralized directives from Timur himself and his court 3. Craftsmen, artists, architectures brought and/or invited from different land and cultures. 4. A common world of motif and composition based on decorative and iconographic integrity. In this manner, Timurs identity emerged. Gigantic architectural monuments, never seen until his time, became significant symbols of his political power. His saying Those who suspect our power should look at our buildings (Zakhidov 1996; 83) clearly shows how consciously the imperial style was designed and created by Timur. The great Timurid poet Al-Shr Nav' (1441-1501), born 40 years later once wrote that who built a long lasting building his name lives with it, as long as the building stands his name became a legend on people lips (Quoted in Lenzt-Lowry 1989:43). This saying also reflects how Timur consciously designed and created his ideal artistic style. The rules of imperial style were not only for architecture but were also adapted to other branches of art. Artisans, craftsmen, artists and architects who came from as far away as Qazvin, Tabriz, Syria, Shiraz and even from India contributed, under Timurs supervision, to establishing the style which turned Timurs vision into artistic forms (Golombek Wilber 1988:188-189). Timur closely supervised and directed their artistic efforts according to his desire and principles. It can be strongly argued that without Timurs close supervision, the bringing of skilled craftsmen and artists to Samarkand would not have been enough on its own to create his distinctive style. In other words, it was Timurs preferences, vision and principles that played the major role in the emergence of his imperial style without which it would have been nothing but a mass of eclectic artistic products.

1139 Baak Burcu TEKN

The place where the Imperial Style came to life was the kitabhane, the library in the court. The Arzadasht written by Jafar Tabrizi1 in a petition to Baysungur Mirza (1397-1433) about works in the palace library in Herat is a later dated document about Timurs purpose for organized, court controlled artistic products (Jafar Tabrizi 1989: 323-28). An album in the Topkap Palace Library containing 15 sheets of embellished patterns of mostly vegetal composition was used in a wide range of decorations from wall paintings to metal works; this indicates that court library played a role in forming the Timurid style (Lentz- Lowry 1989:192; KnoblochHrbas 1965: 15; Blunt 1973: 133). Therefore, regardless of which region it originated in Timurid art developed its own decorative programme (Kaya 2009:60). Sharafuddin Ali Yazdi, the Timurid period official historiographer mentioned these is artistic activities in Zafarnama: It had been commanded that the Egyptian and Syrian builders should raise a royal palace in the midst of garden that had been made to south of the Shimal Garden..The workers from Fars and Persian Iraq covered the exterior in tile work of great elegance and magnificence (1989:90). Likewise, the Timurid conquest had a far -reaching effect upon the development of Persian art, including metalwork, insofar as it brought about a complete shift in its centre of gravity from western to eastern Iran, this was because first Transoxiana (Mawarannahr), and then Khurasan became the focus of Timurid artistic patronage (Kamaroff 1992: 17). From 1379 onwards, Timur started bringing artisans, artists, architects and skilled workers from conquered lands to his capital, and shortly after began to build the Khawaja Ahmad Yasawi Shrine using many artisans with a wide range of skills in Turan in 1397 (Golombek 1992:3). The Khawaja Ahmad Yasawi Complexs, metalwork and woodwork were most probably the work of craftsmen from outside Central Asia (Kamaroff 1992: 19). The earliest Timurid metalwork in the complex was derived from the techniques, styles and forms developed in western Iran and adjacent lands in the 14th century rather than those that evolved indigenously from central Asian traditions (Kamaroff 1992: 17). 2.The Iconographic World of the Ahmad Yasawi Shrine Despite ethnic and cultural diversity in the Timurid Empire, the genesis of decorative and iconographic unity in the imperial style is an important question needing our attention. To date, the arts and artistic values in the Timurid period have been studied on a macro scale with reference to gigantic buildings, centralized directives, and artisans and artists from different cultural backgrounds. Researchers have studied common motifs and compositions to understand the characteristics of imperial art. Examining this imperial style on a micro scale, for example the bronze doorknockers, illustrates how these common motifs and compositions were incorporated. The particular focus is on the decorative and iconographic unity of the shrines wooden entrance door and its doorknockers . The decorations were not created as independent elements, but they were purposely rendered with their iconographic and decorative unity in mind. It is almost impossible to believe that Timur, who used every opportunity to strengthen his political image and legitimacy, would no interest in the iconographic meaning of the
1

Jafar Tabrizi was born in Tabriz at the end of the 14th century. He became a successful calligrapher at an early age. He was appointed as director to the library founded by Baysungur Mirza, the grandson of Timur, in Herat in 1420. The place to which h e was went after Baysungurs death in1433 is not known. See (zergin 1976:80-81).

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monuments and buildings he founded. In contrast, the transformation of interior and exterior decorations into images on his buildings became symbolic narratives of his political power. In this regard, it is possible to think that the iconographic composition of the Ahmad Yasawi Complex was also carefully designed and planned with the same purpose in mind. The iconographic world of the Ahmad Yasawi Shrine comes from three sources: the works of Ahmad Yasawi, Sufism and Buddhist art. 2.1.First Source-Khawaja Ahmad Yasawi : Khawaja Ahmad Yasawi was born around 1085-1095 AD in the village of Sayram, which is located 8 kilometres to the north of the city of Cimkent in southern Kazakhstan (Arslan 1995:794-95). As founder of the Yasawi order he had long shared spiritual hegemony in Central Asia with the Naqshbandiya and enjoyed particular popularity (Algar 1976:132). Yasawi was closely associated with Uzbek Sufism which is currently enjoying renewed popularity (Levin 1993:57). During his lifetime, Yasawi provided spiritual guidance and wrote poems called Hikmat, which roughly means gnosis, in order to emphasize Islamic moral values and beliefs. Yasawis poems aimed to provide high moral qualities in connection with and /or under the guidance of the Quran and the prophetic deeds of Muhammad; they are still loved and read with great respect. Yasawis spiritual power in Central Asia reached such a high level that people in the Turkestan region still sincerely believe the legend that highlights Timurs unbeatable power and how it is related to the wholehearted respect he showed towards Yasawi and his principles (Aka 1996:529). It is also commonly believed that before the Ankara war with Bayazd, Timur read Yasawis Hikmat, i.e. his book containing spiritual poems. He read a poem supposedly by Yasawi, that said whenever you have a difficult time, whenever you run into a hardship read this poem to be relieved from your hardship. One legend is that before the Ankara war, Timur read this poem 70 times by heart and with its spiritual help won the war (Kprl 1991:41). This narrative shows that Timur, who knew Yasawis spiritual influence over people, tried to use this influence by showing his respect for Yasawis spirituality for his own political ends. It should be emphasized here that Timurs use of Yasawis became more important than what Timur actually thought about him and his spiritualit. Today, a prevalent belief among the people living in Central Asia is that a pilgrimage to Mecca without paying a visit to Yasawis shrine has no value in Gods eyes; thus the spiritual power Yasawi had in the Timurid period becomes clearer. For this reason, respect for Yasawi and his teaching, whether for political ends or for sincere personal adherence, was strongly reflected in the Khawaja Ahmad Yasawi Complex. Timurs endowment for the Ahmad Yasawi Shrine dated from the late 1390s, and it also pointed to his high regard for Ahmad Yasawi (Woods 1984:331). The works of Khoja Ahmed Yasawi are not regarded as reliable sources since they onder went change over time. Fuat Kprl states that none of the existing copies of the Hikmat belonged to his period, and they were completely amended in accordance with the Naqshbandi traditions and it is necessary to evaluate Ahmet Yasawi and Yasaviyya in that framework (Kprl 1940:212). These works do not reflect the real Ahmed Yasawi, the legendary Ahmet Yasawi, in other words, the Islam of the 12th century, the time when Yasawi lived in Asia, but reflect the Naqshbandi Ahmet Yasawi trying to defend Islam against Shamanistic winds blown by Mongol invasions which began in the 13th century( Ocak 1996:35). As a result of such determinations, the questionas to how particularly the Hikmats can be used as a source comes to mind. At his point, dating is of essence. This is because, Timur and people of his period, did not have the chance to know Ahmed Yasawi, who lived before their time and his original works. Hikmats read in their periods had undergone several changesare those which went the change at issue. Notice that research to be conducted on hikmets will mislead researcher at the beginning of the research ( Ocak 1996:53) will not be

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deemed to be applicable for any study to be made on the iconographic meanings of the motives created in the late 14th and early 15th centuries. Consequently, symbols on the structure were formed according to those Hikmats which had undergone change. The purpose herein is not to discover the original Yasaviyya. The contents of the Hikmats which are considered to have an impact on iconography are become more important than their originality. 2.2.Second Source/Sufism: Sufism is important because Ahmad Yasawi had Sufi training, and the Sufi orders followed his teachings. The Yasawi tradition as a Sufi path has many religious, social and cultural ramifications. It played a role in the Islamization of Turkish tribes, in the adaptation of Islam to the Turkish nomadic milieu and in linguistic reconciliation through the ideas and poems of Yasawi (Trimingham 1971:58). The sources of these ideas, whose reflection can be observed on the motifs in the Shrine, lie in Sufism. Central Asian mysticism was so powerfully rooted in the Yasawi tradition that every Sufi order among the Turks has drawn upon it in some way ( Ocak 1996:40). 2.3.Third Source/Buddhism: motifs originating in Buddhism were used in the Yasawi Shrine to a significant extent. Buddhism was born in India and spread first to Indo-China and China, and then to Central Asia. The Huns were among the first Turkic people who accepted Buddhism. Towards the second half of the 6th century, Buddhism spread among the Gokturks. It is known that even Bilge Khan developed an interest in Buddhism, but on the advice of his vizier, Tonyukuk, the Khan had to control his interest ( Ocak 1983: 37-40). The influence of Buddhism on Turkic people in the same century is illustrated in the Bugut Inscription2. According to the inscription, Bumin Khan was an adherent of Buddhism, and upon the call of his spirit, he ordered his successors to build a Buddhist monastery (Roux 1998:85). In the middle of the 9th century, Uigur Turks became the major Buddhist population as a result of living in a strongly Buddhist environment, after they migrated into the oasis cities on the Silk Route (Kudara 2002:100-102). Descriptions on the frescos uncovered in Bezelik revealed the fact that Buddhism found its strongest adherents among the Uigurs (Smith 2005:30). Buddhism was the official religion among the Uigurs until the beginning of the 13 th century (Gnay-Gngr 1996:28). In the 11th century, it has been suggested that Manicheism could have weakened Buddhism, but Buddhism regained its strength; a prominent scholar of the time, Mahmud al-Kashgari Mahmut, mentioned no trace of Manicheism in his works (Roux 2001:215). As Yasawis teaching spread among the nomadic tribes in Transoxiana (Mawarannahr), it adapted itself well to already existing beliefs and traditions (Kprl 1991: 116) . The legends about Buddha and Buddhist saints in Uigurian books written in the Sogdian alphabet were adapted to the lives of Yasawi and other prominent Muslim saints and were transformed into saint legends in the Islamic mould (Ocak 1983:43) In addition, Ahmad Yasawi and his successors developed a method of teaching in Sufi form which was not unknown to the nomadic people who were familiar with Shamanist and Buddhist ecstasy (Ocak 1996:587).
2

The Bugut inscription is one of the old Turkic inscriptions found in Mongolia. It derives its name from the Bugut Mountain located in the Bayn Tsagaan Gl (The Sacred White Lake) region within the Arhangay Aymag. It is one of the Turkic cultural and civic monuments among others in the mausoleum complex which dates back to the First Kktrk Kaganate and constructed on the valley 10 km away from the Bugut Mountain in the East. This Bugut Inscription is a didactic text and a narrator of the historical events. With these features it also set the example for the later Turkic inscriptions. The Bugut Inscription and its turtle-like base are exhibited in the garden of Cecerleg museum. For details see (Alylmaz 2003:11-21).

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Timurs selection of Buddhist symbols for use on the buildings and monuments he wanted built may well be related to the cultural settings in which he was raised so that he saw no harm in adopting images from those symbols. As mentioned earlier, his choices may also be related to his tolerance. According to Ruy Gonzales de Clavijo, a Spanish ambassador to Timurs court, after the Ankara War, Timur brought an enamelled door with gold and silver inlays showing the Paul and Peter holding a Bible in their hands and used it at the entrance of his tent (1994:269). For a Sultan who took a door with Christian images from the treasure of another Muslim sultan, Bayazid, in order to use it as a symbol of his power, using motifs familiar to the cultural settings he lived in should be considered. However, an important point that deserves careful attention is that Buddhist motifs were not used as they were. They were stripped of their Buddhist meaning, all became Islamic motifs as they were incorporated into Islamic form. To suggest that all motifs in the Timurid period were used with iconographic meanings in mind may not be true. However it can be safely claimed that the majority of motifs used in the Timur period were intended to reflect latent meanings.

3.The Doorknockers : Characteristics Analysis Our discussion of the artistic highlights of Timurs reign and his perceptions could logically conclude with the bronze doorknockers on the wooden doors of the Yasawis Shrine. The first pair of doorknockers was on the entrance portal leading to the central domed chamber of the shrine complex; the second pair, now missing, was on the Shrine chambers doors. The missing second pair compelled us to limit our study only to investigating the doorknockers on the wooden entrance doors. The double panelled main wooden doors one panel is approximately 1.07x3.53 meters. The front and back surfaces are composed of three panels with inlays and engraved embellishments (Fig.2). each of the cast bronze doorknocker, measuring approximately 40x27 centimeters is decorated with silver and gold inlays. The doorknockers can be separated into four sections: crown, inscription plaque, door handle and the flat surface under the handle (Fig.3,4). The crown has two sections. At the top, palmette and stylised lotus motifs are used interchangeably. Similarly, palmette and stylised lotus are also used interchangeably in the decorative lines surrounding the doors edge in three dimensions. In the second section of the rectangular border, palmette and an Asian originating stylized flower khatai, on crosswise spiral curled branches interchangeably. We can see a very similar example of this decoration on the border surrounding each panel of the door. In a different way palmette petals are stretched and khatais are composed in imitations of spring flowers. The inscription plaque is located between the crown and the flat surface. The doorknockers inscriptions that are of concern in this context share complementary content. Our beloved Prophet says is written on the epigraph part with inlaid gold on the left one and the World is momentary and live it worshipfully on the right one. The spaces on the epigraph are of inlaid silver. A. A. Ivanov was the first researcher to translate the inscriptions (1981:73-75) . According to translation there are two signatures on the two different sets of doorknockers of in the Khawaja Ahmad Yasawi Shrine. The artisans name and date on the part in the form of a sectional medallion under study reads " Work of the poor slave the hopeful Izzal-Din ibn Taj al-Din al-Saki , the date 799/1396-97; and the second inscription Work of the poor slave Izz al-Din ibn Taj al-Din Isfahani belongs to the doorknockers of the mausoleum chambers wooden doors, these doorknockers are now lost (Ivanov 1981:74-75). It is specified that Ivanov read the artisans name utilizing the three exact scaled drawings made

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by the Hermitage Museum official A.Gurjiyenko (1981:181). Also, the Persian quatrain abridged from Sadis Gulistan with a slight variation, is inscribed on the surface of the handle, as well as on one of the other pair (Kamaroff 1992: 29). The handle and the flat surface under the handle are of interest. One of the major concerns here is the lions heads. The hinges of the doorhandle are attached on each side of the lions head in the middle. On the lower part, two lions heads are placed on each side. The handles project downward in the form of a lobed ogival medallion that ends at the bottom exterior of a palmette; the inside is filled with a vegetal ornamental pattern based on tangent split palm leaves, with a palmette in the centre and at the top. The flat surface under the handle contains hobnails with eight sliced surfaces at each corner, each measuring three cm in diameter (Fig. 5). On the surface of the flat panel a multi-foil inlaid arch can be seen. The vegetal decorations under the arch are split palm leaves in the middle, and at the top, curly forms of palm leaves are used similar to those on the door handle. Below, in the middle, there is a hobnail in the form of an eight-leaved flower. At the corners of the multi-foil arch there is a free style composition of khatais and leaves. 4.The Doorknockers : Iconographical Analysis Analyzing the decorations on the door handle according to their iconography can begin with the lion head figures (Fig. 3) Lion figures symbolism can be observed in almost all societies more or less similarly. Ample evidence about the symbolism of the lion can be found from antique Greece to Rome to Mesopotamia and as far away as Central Asia (oruhlu 1984:113). In all these cultures lion figures were used to symbolize power, strength and holiness. In Islamic lands, especially Shiite regions, particularly in Iran and its adjacent geography, lion figures were used to symbolize Caliph Ali (DeJong 1989:8). Yasawi, in his poems, likened Caliph Ali to a lion. Ali is the lion of God,
3

The infidels death caused by his sword (Ahmed Yesevi 1993:56) Although it is not known for certain that Timur was himself a Shiite, it has been suggested that he was under strong Shiite influence (Kamaroff 1992: 28). In this regard, it can be noted that the inscriptions on Timurs own sarcophagus, which provides the rulers genealogy, imply that Timur was a descendent of Ali (Kamaroff 1992:41). The number of lions heads is another important perspective because of the symbolism it carries. It is surprising to observe how the trinity, which is not recognized in Islam, made its way into the symbolism of certain artistic forms. The Shiite declaration of faith, There is no God but Allah, Muhammad is His Prophet and Ali is His friend, led to countless examples in poetry and in decorations of a trinity of Allah, Muhammad and Ali (Schimmel 1998:78) A miniature found in an album (AH.2153) in the Topkap Palace Library illustrates well the symbolic use of the trinity in Shiite influenced cultural settings that were not necessarily Shiite. These black inked miniatures in an Album are attributed to the artist named Muhammed Siyah Qalam. Ernst Grube, gives a useful catalogue of most of the pictures in Topkap Palace and attributes them to the pictorial art of Central Aisa, considering them to
3

English translations from this and all other Yasavi poems are my own.

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belong to the Timurid School of the 14th and 15th centuries (Grube 1978) ; however in his last work taking into account discussions at the collegium held in 1980, he says that some of the pictures were executed under the influence of Central Asian Buddhism and others may have been executed in Samarkand during the time of Timur and in Herat during the time of Ulugh Beigh and Shah Rukh (Grube 1985:1-36). The black-inked miniature in folio 29v, assumed to be drawn during the construction of Yasawis Shrine, describes a type of religious ceremony (Fig.6). Dancing dervishes with a piece of cloth and a rod in their hands refer to Yasawis adherents of esoteric Shiite dervishes where 12 sliced headgears represent the 12 Imams in Shiite doctrine (Karamaaral 1984:70 71). The dervish paintings combine a variety of cultural strands, suggesting shamanist and Tantric Buddhist rites, but also have Islamic connotations, such as men wearing the turbans of shaykhs over their corolla-shaped hats, and veiled women (Esin 2004:72). In Mawarannahr, the Yasaviyyah brotherhood (many specialists connect their origin with pre-Islamic rituals of shamanism) consider sama, dhikr and the ritual dance raqs as their main rites; furthermore the main subject about sama, raqs and dhkir in one of the earliest extant Persian Yasawi treatises the Risalah-i Hisam al-Din Sighnaqi was the participation of women. (Babajanov 2003:66). When in ecstasy, both Tantric and Muslim dervishes danced, to the diverse sound of instruments and such scenes appear in Siyah Qalams work, together with the symbol of the cup, in dances with handkerchiefs, as seen Uighur murals: drums, horns, castanets and bells (Esin 2004:76).The most important point in the miniature for this paper is a figure depicting a woman in ecstasy showing the sign of trinity with her left hand during this Yasawi sama, raqs and dhkir. This sign apparently represents Allah, Muhammad and Ali (Karamaaral 1984:70). In addition, a similiar trinity to this Shiite doctrine can be seen in Anatolia in Malatya Great Mosque. Malatya has strong ties with Persia and is also a centre of many Islamic movements ; for these reasons the inscriptions Allah, Muhammad, Ali on the walls of the Great Mosques iwan would not be surprising to encounter (Karamaaral 2006:300-301). For this reason, the figures of three lions in the Yasawi Shrine make us think of the trinity of Allah, Muhammad and Ali. Also one of the lions is depicted higher, bigger and with a mane symbolizing the Creator and has a privileged position in the miniature. Another important iconographic motif is the embellishment of an eight-leaved stylistic lotus at the lower part of the flat surface. Throughout the ages, the symbolic connections between paradise and the number eight can be found in different cultures. According to Sufi tradition in Islam, since the mercy of God is greater than His anger, there are seven hells and eight heavens. (Schimmel 1998:169-170). Many expressions in the lines of Yasawis poems, such as I left the worlds sorrow when I was eight years old (Ahmed Yesevi 1993: 8) and Muhammad the Prophet, the possessor of the Eight Heavens (Ahmed Yesevi 1993: 60) refer to the eight principles which were explained by Ahmet Kayhan which are also called the eight gates to heaven and the eight-phased spiritual journey to be followed to become a perfect human being(1994:148-149). With respect to his poems and Sufi tradition, it can be suggested that the motif was used to remind those who, like Ahmad Yasawi, wanted eight doors to be opened before they could enter his gate to arrive in his presence, that is, to follow his path,i.e. do what he says. The motif also means that entering the shrine is the same as entering heaven, or the presence of Ahmad Yasawi is like the presence of eight heavens. Lotus iconography is a Buddhist concept. The use of Buddhist iconographic motifs in Turkic cultures has been adapted and rendered into Islamic forms. One example of this adaptation is from a miniature in the Jamic al-Tavrikh manuscript, dated 1314. The Gods, Buddha and Siva and or Vishnu were displayed as prophets, and Mara was exposed as a demon in miniatures depicting Buddhas life (Canby 1993:301). The Islamic version uses of

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Buddhist motifs can be seen more specifically on the doorknockers of the Ahmad Yasawi Shrine. The eight-leaved stylistic form like the lotus on the panel of the wooden door was used on the doorknockers flat surface ( Fig.7). The Buddhist lotus, transformed into an Islamic ontext , is similar and related to former iconography. This stylized lotus should probably symbolises, in macro scale, the great creator Allah, who possesses the Eight Heavens; in micro scale, the Khawaja Ahmed Yasawi, whose guidance is the best to reach the Eight Heavens. The three centimeter cylindrical pieces at the four corners of the flat surface should be considered together with the decoration on the back surface of the wooden door in a square panel (Figs.8-9). In this panel, a swastika composition is depicted inside an eight-leaved stylized lotus, and on each of the four sides of the swastika the word Bb- Mubarak, the Holy Gate is written in Kufi Arabic (Tekin 2002:877). At this point, it will be helpful to consider what the swastika means in Buddhist iconography. In Buddhism, when the swastikas arms are turned to the right, it denotes the seal of Buddha's heart (Eberhard 2000:121). For this reason, it exists in Buddha's foot print (Tekin 2006:418). The swastikas numerical value four is also imp ortant in Buddhism. Gautama meditates under the Bodhi tree at the age of 35, and he reaches the truth on the fourth day; he wakes up as the enlightened Buddha and the Buddha doctrine is based on four truths (Michell 1989:32). The iconography of the swastika in Buddhism is integrated with the four door concept of Sufism on the wooden door of the Khawaja Ahmad Yasawi Shrine; thus it is placed into an Islamic framework. In this respect, a later example of using the swastika in an Islamic context can be found in an Ottoman period manuscript album (Museum of Turkish and Islamic Art,Inv. 1443) attributed to calligrapher Ahmed Karahisari (1540-1550) . The Kufi calligraphic script elhamdulillah written four times in a square, begins from each border midpoint and ends at the other border midpoint and finally a swastika design occurs in the middle (Tekin 2006:416). According to Anne Marie Shimmel, the number four refers to the four phases of Sufi thought (1998: 60). The four stages of a Sufi leading to the reality of God are shariat (the law) , tariqat (the path), haqiqat (the truth) and maarifat ( the truth behind the truth) (Ferraro Bolat 2007:87). In his book Farkname, Khawaja Ahmad Yasawi describes these stages in detail (Gzel 1996:340-343). In one of his poems he mentioned the phases as symbolized by four doors: I walked around in the garden of Shari a I looked around in the rose leaf of Tariqa I held the wing of Haqiqat and flew. I opened the gate of Maarifat, my friend.(Ahmed Yesevi 1993: 38) Referring to the iconography of the doorknockers, the four hobnails placed on the flat surface probably refer to the four gates or phases that should be ascended. The decoration on the back of the door, the inscription plaque and Yasawis poems support this sentiment. In addition, the surfaces of the hobnails which are divided into eight slices seem to be complementary to both decorations with a swastika on the back surface of the door. The swastika and the four-times-written Holy Gate inscriptions are placed in an eight- leaved

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lotus. The perception of the number four, the swastika design and the inscription The Holy Gate are used together although in a more abbreviated design here. This compliments the idea that four doors should be passed in order to reach heaven, and the way shown by Yasawi is the best. The four hobnails very probably symbolized the Sufi term al-awtad, which is also related to the four stages. Within the Sufi hierarchy, there are four true men, al-awtad (the pillars), whose stations are the four corners of the world-East, West, North, South.(Armstrong 2001:27). Also al-awtad is the title of the third class of the divine order and refers to the four holy persons who are accepted as four poles. (Goldziher 1975:419). Conclusion In conclusion, it can be stated that Timur bequeathed his vision of the state through art. He encouraged the necessary environment, power and support for every belief and art style to be integrated into his overall vision. His ideal can be seen in all works of arts that were created during the Timurid era from the biggest to the smallest. Observations and assessments of the Khawaja Ahmad Yasawi Shrine doorknockers lead to this conclusion All selected designs had a purpose. From doorknockers to monumental construction every design was used by Timur as an implement for defining Timurid imperial art.

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ROUX,, Jean Paul (2001) Orta Asya Tarih ve Uygarlk. ev. Lale Arslan. stanbul: Kabalc Yaynevi . SERAFETTN Ali (2000). Timur ve Tzkat. ev.. Kevser Kutay, stanbul: Academy Plus. THOMAS W. Lentz and GLENN D. Lowr (1989).Timur and The Princely Vision. Los Angeles: L.A. County Museum of Art Pres. SHARAFUDDIN Ali Yazdi (1989). Zafarnama. A Century of Princes Sources on Timurid History and Art. Sel. and trans. W.M. Thackston, Cambridge, Mass.: The Aga Khan Program for Islamic Architecture: 63-100. SCHIMMEL Annemarie (1998).Saylarn Gizemi. ev. M. Kpolu, stanbul: Kabalc Yaynevi. SMITH, Russell Lilla (2005).Uygur Patronage in Dunhuang: Regional Art Centres on The Northern Silk Road In the Tenth and Eleventh Centuries..Leiden: E.J.Brill, TRIMINGHAM J.Spencer (1971).The Sufi Order in Islam, Oxford: Oxford University Pres TEKN Baak Burcu (2000). Timur Dnemi Mimari Bezeme Olarak Ahap Kullanm.Yaynlanmam Yksek Lisans Tezi. Ankara: Hacettepe niversitesi.

TEKN Baak Burcu (2002). Emir Timur Dnemi Ahap Kaplar, Trkler 8,Ankara: Yeni Trkiye Yaynlar: 872-880. TEKN Baak Burcu (2006). Anadoluda Hindu ve Budist Kkenli Motifler, Sanatta Anadolu Asya likileri Prof.Dr.Beyhan Karamaaralya Armaan, Ankara: Hacettepe niversitesi: 413-428. WILBER, Donald (1987).Qavam al-Din ibn Zayn al-Din Shirazi: A Fifteenth-Century Timurid Architect. Architectural History 30 :31-32. WOODS John E.(1984).Turco-Iranian II: Notes on a Timurid Decree of 1396/798. Journal of Near Eastern Studies 43 ( 4) :331-337. ZAKHIDOV, P.(1996)Architectural Glories of Temurs Area.Tashkent.

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FIGURES

Figure 1: Khawaja Ahmad Yasavi Shrine. Yasi (Turkestan), Kazakhstan,2000. Authors photograph.

Figure 2: The front panels of the the main door. Yasi (Turkestan) (Nurmuhammedolu 1993)

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Figure 3: The doorknockers of the Khawaja Ahmad Yasavi Shrine. Crown, inscription plaque and door handle parts. Yasi (Turkestan), Kazakhstan,2000. Authors photograph .

Figure 4: Detailed view of the handle part. Yasi (Turkestan), Kazakhstan,2000. Authors photograph .

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Figure 5: The flat surface of the doorknockers. Yasi (Turkestan), Kazakhstan,2000. Authors photograph.

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Figure 6: Mehmed Siyah Qalam. Album. Topkap Palace Museum, H.2153, fol. 29r.(pirolu 1985:31)

Figure 7: The eight leaved stylistic lotus design. Front panel of the main door. Khawaja Ahmad Yasavi Shrine . Yasi (Turkestan), Kazakhstan. Authors photograph. (Tekin 2000)

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Figure 8: The restitution of the eight leaved stylistic lotus design. Front panel of the main door. Authors drawing. (Tekin 2000)

Figure 9: The swastika design on the the back panel . Khawaja Ahmad Yasavi Shrine main door.Yasi (Turkestan), Kazakhstan. Authors photograph. (Tekin 2000)

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Figure 10: The swastika design on the the back panel. . Yasi (Turkestan), Kazakhstan. Authors drawing. (Tekin 2000).