Yazar \u0130brahim Zeyd Ger\u00e7ik, “Kanuni Sultan S\u00fcleyman d\u00f6neminde Osmanl\u0131 n\u00fcfusunun yar\u0131s\u0131n\u0131n Hristiyan oldu\u011funu belirterek, S\u00fcleymaniye K\u00fclliyesi’nde \u00e7al\u0131\u015fan 20 bin ki\u015fiden 10 bininin Hristiyan oldu\u011funu a\u00e7\u0131klad\u0131.<\/p>\n
<\/p>\n
S\u00fcleymaniye K\u00fclliyesi 1550-1557 y\u0131llar\u0131 aras\u0131nda, devrin padi\u015fah\u0131, Avrupal\u0131lar\u0131n “Magnificent” (Muhte\u015fem) olarak and\u0131klar\u0131 Kanuni Sultan S\u00fcleyman taraf\u0131ndan Mimar Sinan’a in\u015fa ettirildi. Mimar Sinan’\u0131n “kalfal\u0131k eserim” dedi\u011fi S\u00fcleymaniye K\u00fclliyesi, yaln\u0131z Osmanl\u0131 mimarisinin de\u011fil, d\u00fcnya mimarisinin de en se\u00e7kin eserlerinden biri.<\/p>\n
\u0130\u00e7inde yer ald\u0131\u011f\u0131 semte de ad\u0131n\u0131 veren S\u00fcleymaniye K\u00fclliyesi, merkezde cami olmak \u00fczere b\u00fct\u00fcn yap\u0131lar\u0131n bir “U” d\u00fczeni i\u00e7inde s\u0131ralanmas\u0131 esas\u0131yla in\u015fa edildi. Yakla\u015f\u0131k 70 d\u00f6n\u00fcm \u00fczerine in\u015fa edilen k\u00fclliye, cami ve haziredeki Kanuni ve H\u00fcrrem Sultan t\u00fcrbeleri d\u0131\u015f\u0131nda, farkl\u0131 derecelerde e\u011fitim veren 4 medrese, bir Dar\u00fc’l hadis, bir t\u0131p medresesi, hastane, Kur’an-\u0131 Kerim e\u011fitimi verilen bir bina, ilkokul, imaret, misafirhane, han, hamam, k\u00fct\u00fcphane, Sinan’\u0131n t\u00fcrbesi ve \u00e7ok say\u0131da s\u0131ra d\u00fckkanlardan olu\u015fuyor.<\/p>\n
\u0130brahim Ger\u00e7ik, S\u00fcleymaniye Kulliyesi’nin, Osmanl\u0131 Devletinin y\u00f6netim sisteminin 250 y\u0131ll\u0131k birikiminin simgesi oldu\u011funu s\u00f6yledi.<\/p>\n
K\u00fclliyeyi \u0130stanbul’un \u00fc\u00e7\u00fcnc\u00fc tepesi \u00fczerine kurulan “bir \u00e7\u0131nar” olarak nitelendiren Ger\u00e7ik, “S\u00fcleymaniye \u015fu anda 460 ya\u015f\u0131nda. S\u00fcleymaniye yap\u0131ld\u0131ktan sonra iki b\u00fcy\u00fck deprem g\u00f6rd\u00fc ancak en ufak bir \u00e7\u00f6kme, y\u0131k\u0131lma olmad\u0131. \u00d6n taraftaki minareler 76, arka taraftaki iki minare 56 metredir. Kubbenin yerden y\u00fcksekli\u011fi 50 metre. \u00c7\u00f6kme ve y\u0131k\u0131lma olmamas\u0131n\u0131n en \u00f6nemli nedeni Osmanl\u0131 y\u00f6netim sisteminin m\u00fcthi\u015f bir planlama, en ince ayr\u0131nt\u0131ya odaklanma ve organize yetene\u011fidir.” diye konu\u015ftu.<\/p>\n
Sesin dengeli da\u011f\u0131lmas\u0131 i\u00e7in caminin kubbesine 256 k\u00fcp yerle\u015ftirildi<\/p>\n
S\u00fcleymaniye Camisi’nin i\u00e7 mekan\u0131nda hem y\u00f6netim, hem sanatsal, hem de inan\u00e7 sistemi ile ilgili bir\u00e7ok \u00e7\u00f6z\u00fcmleme oldu\u011funu dile getiren Ger\u00e7ik, \u015f\u00f6yle konu\u015ftu:<\/p>\n
“Renkli camlar, vitraylar hem bir y\u00f6netimsel anlam ifade ediyor hem de bir inan\u00e7 sistemine ili\u015fkin bir anlam ifade ediyor. G\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131 olmadan bu camlar\u0131n renklerini g\u00f6remiyoruz. Ne zaman g\u00fcne\u015f vurursa o zaman renkler ortaya \u00e7\u0131k\u0131yor. Burada Allah’\u0131n nuru insan\u0131n i\u00e7ine yans\u0131mad\u0131\u011f\u0131 m\u00fcddet\u00e7e insandaki g\u00fczelliklerin ortaya \u00e7\u0131kmayaca\u011f\u0131na vurgu yap\u0131l\u0131yor. Camide ses, adil bir \u015fekilde da\u011f\u0131l\u0131yor. Asl\u0131nda kubbe mimaride sesi bozan bir yap\u0131d\u0131r. Kubbeye yerle\u015ftirilen 256 k\u00fcp ve a\u011f\u0131zlar\u0131ndaki ceylan derileri dengeli bir \u015fekilde sesin 360 derece i\u00e7 mekana yay\u0131lmas\u0131n\u0131 sa\u011fl\u0131yor. 20 bin insan caminin in\u015fas\u0131nda organize ediliyor. 20 bin insan asl\u0131nda Osmanl\u0131 n\u00fcfus b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc g\u00f6steriyor. Kanuni’nin d\u00f6neminde Osmanl\u0131 n\u00fcfusunun y\u00fczde 50’si M\u00fcsl\u00fcman, y\u00fczde 50’si Hristiyan. S\u00fcleymaniye K\u00fclliyesi’nin \u00e7al\u0131\u015fan 10 bin insan M\u00fcsl\u00fcman, 10 bin ki\u015fi Hristiyan. Farkl\u0131 k\u00fclt\u00fcr ve inan\u00e7lar, ortak bir de\u011fer sistemi i\u00e7in bir araya geliyor. Bu ekipleri bir arada tutan en \u00f6nemli y\u00f6netimsel de\u011ferler g\u00fcven, farkl\u0131l\u0131klara g\u00f6steriler ho\u015fg\u00f6r\u00fc, adalet ile hakk\u0131n ve \u00fcretkenli\u011fin \u00f6d\u00fcllendirilmesi.”<\/p>\n
Ger\u00e7ik, Mimar Sinan’\u0131n, caminin i\u00e7inde yanan 4 bin kandilin isinin caminin i\u00e7ini karartmamas\u0131 i\u00e7in kurulan vakum tarz\u0131 bacalar sayesinde bu duman\u0131n is odas\u0131na aktar\u0131ld\u0131\u011f\u0131n\u0131 ve bu isten \u00e7ok kaliteli m\u00fcrekkep elde edildi\u011fini belirtti.<\/p>\n
Caminin i\u00e7indeki s\u00fctunlar hakk\u0131nda da bilgi veren Ger\u00e7ik, \u015funlar\u0131 kaydetti:<\/p>\n
“4 s\u00fctun, Osmanl\u0131 medeniyeti i\u00e7inde kalan 4 tarihi medeniyeti simgeler. 4 s\u00fctunu 4 farkl\u0131 noktadan getirilmi\u015ftir. S\u00fctunlar M\u0131s\u0131r, \u0130brani, Roma ve Yunan medeniyetini temsil eder. \u0130braniler d\u0131\u015f\u0131ndakiler putperest medeniyetlerdir. Osmanl\u0131 bu 4 s\u00fctunu buraya koyarak, ‘ben kendi i\u00e7indeki ge\u00e7mi\u015f miras\u0131 i\u00e7ime ald\u0131m ve bu miras\u0131 koruyorum ama ayn\u0131 zamanda bu miras, \u0130slam’\u0131n hizmeti ve korumas\u0131 alt\u0131ndad\u0131r’ \u015feklinde bir sembolik anlat\u0131m yapmaya \u00e7al\u0131\u015f\u0131r.”<\/p>\n
Ger\u00e7ik, Mimar Sinan’\u0131n, caminin temelindeki kanallar arac\u0131l\u0131\u011f\u0131yla yaz\u0131n olu\u015fan nemin binan\u0131n temeline zarar vermemesi i\u00e7in havaland\u0131rma sistemi kurdu\u011fu bilgisini verdi.<\/p>\n
Musluksuz \u015fad\u0131rvan<\/strong><\/p>\n Mimar Sinan’\u0131n caminin ana giri\u015f kap\u0131s\u0131 \u00f6n\u00fcndeki \u015fad\u0131rvan\u0131 Kabe’nin minyat\u00fcr\u00fc \u015feklinde in\u015fa ettirdi\u011fine vurgu yapan Ger\u00e7ik, “Amac\u0131, insana ilk mabede selam verdirmesi. Bu \u015fad\u0131rvan\u0131n etraf\u0131ndan dolanmadan, k\u0131sa bir tavaf yapmadan i\u00e7 mekana ge\u00e7emiyoruz. \u015ead\u0131rvan ayn\u0131 zamanda ar\u0131tma sistemi. Sinan, yaz aylar\u0131nda havan\u0131n y\u00fckselerek tozlanmas\u0131 ve kurumas\u0131 nedeniyle buraya bu \u015fad\u0131rvan\u0131 yerle\u015ftirerek, i\u00e7eri girecek havan\u0131n f\u0131skiyelerle temizlenmesini ve nemlenmesini sa\u011fl\u0131yor. Bu \u015fad\u0131rvandan ama\u00e7, su i\u00e7ilmesi veya abdest al\u0131nmas\u0131 de\u011fil.” g\u00f6r\u00fc\u015f\u00fcn\u00fc dile getirdi.<\/p>\n S\u00fcleymaniye Camisi’ni \u00e7evreleyen duvarlarda Kur’an-\u0131 Kerim’den bir\u00e7ok ayetin yer ald\u0131\u011f\u0131n\u0131 ifade eden Ger\u00e7ik, konu\u015fmas\u0131n\u0131 \u015f\u00f6yle s\u00fcrd\u00fcrd\u00fc:<\/p>\n “Ayetleri se\u00e7en devrin \u015eeyh\u00fclislam’\u0131 Ebussuud Efendi. Ana giri\u015fteki mavi \u00e7ini panolarda Fetih suresinin son iki ayeti var. Caminin giri\u015findeki sa\u011f tarafta ise Ayet’el K\u00fcrsi var. Asl\u0131nda S\u00fcleymaniye K\u00fclliyesi, Fetih S\u00fcresinin bu ayetinin somutla\u015ft\u0131r\u0131lmas\u0131 hali. Ayette Allah,’Hakikati inkar edenlere kar\u015f\u0131, sa\u011flam ve kararl\u0131 dururlar, birbirlerine kar\u015f\u0131 merhamet ve \u015fefkatlidirler’ ifadesi ile giri\u015f yapar. S\u00fcleymaniye’ye d\u0131\u015far\u0131dan bakt\u0131\u011f\u0131m\u0131zda, m\u00fcthi\u015f bir heybet, kararl\u0131l\u0131k, sa\u011flaml\u0131k, b\u00fct\u00fcnl\u00fck ve birle\u015ftiricilik g\u00f6r\u00fcr\u00fcz. \u0130\u00e7 mekana girdi\u011fimizde m\u00fcthi\u015f bir tevazu, dinginlik ve merhamet g\u00f6r\u00fcr\u00fcz. Sinan, bir \u015fekilde bu ayetin mimari dille anlat\u0131m\u0131n\u0131 ger\u00e7ekle\u015ftirmi\u015f ve bir m\u00fcminin liderce nas\u0131l durmas\u0131 gerekti\u011fini S\u00fcleymaniye \u00fczerinden anlatmaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131r.”<\/p>\n \u0130ran \u015fah\u0131n\u0131n g\u00f6nderdi\u011fi elmaslar minareye har\u00e7 yap\u0131ld\u0131<\/strong><\/p>\n S\u00fcleymaniye Camisi yap\u0131l\u0131rken, bir\u00e7ok ilgin\u00e7 olay\u0131n ya\u015fand\u0131\u011f\u0131na dikkati \u00e7eken Ger\u00e7ik, s\u00f6zlerini \u015f\u00f6yle tamamlad\u0131:<\/p>\n “Eserin temeli at\u0131l\u0131rken zeminin oturmas\u0131 i\u00e7in yakla\u015f\u0131k 2 sene bekleniyor. Bu bekleyi\u015f farkl\u0131 alg\u0131lan\u0131yor. O d\u00f6nem Safevilerin \u015eah\u0131 olan Tahmasp, Osmanl\u0131 s\u0131k\u0131nt\u0131da kalm\u0131\u015f, kaynaklar\u0131 azalm\u0131\u015f ve Osmanl\u0131’y\u0131 biraz da hafifsemek amac\u0131yla bir el\u00e7iyle bir sand\u0131k dolusu elmas yolluyor. Kanuni, Sinan’\u0131 \u00e7a\u011f\u0131rarak ‘bu elmaslar\u0131 in\u015faat\u0131n uygun bir yerinde kullan’ diyor. O esnada minarelerin temelleri \u00f6r\u00fclmeye ba\u015flanm\u0131\u015f. Sinan, \u0130ran el\u00e7isinin \u00f6n\u00fcnde elmaslar\u0131 par\u00e7alatarak, kum tanelerine d\u00f6n\u00fc\u015ft\u00fcr\u00fcyor ve bu elmaslar\u0131 Fatih’e bakan minarenin harc\u0131na yerle\u015ftiriyor. O minare elmas par\u00e7ac\u0131klardan dolay\u0131 100 y\u0131l boyunca s\u00fcrekli parl\u0131yor. Bu nedenle Evliya \u00c7elebi bu minareye M\u00fccevher minare ad\u0131n\u0131 veriyor.”<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Kanuni Sultan S\u00fcleyman d\u00f6neminde Mimar Sinan taraf\u0131ndan yap\u0131lan S\u00fcleymaniye K\u00fclliyesi’nde \u00e7al\u0131\u015fan emek g\u00fcc\u00fcn\u00fcn yar\u0131s\u0131n\u0131n Hristiyanlardan olu\u015ftu\u011fu bildirildi<\/p>\n","protected":false},"author":3,"featured_media":10228,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"footnotes":""},"categories":[15],"tags":[],"coauthors":[],"class_list":["post-10227","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat"],"yoast_head":"\n