The mihrabs in Hatay

İn the İslamic religion architecture, the mihrabs had been used top ray and to indicate the direction of Kiblah. Besides, the mihrabs are important architectural elements reflecting the plan feature facade arragaments, ornamentation programs and the artistic characteristics of the period. From the first applications, mihrabs which made made using various materials and techniques until today. Different Islamic countries in architecture, show differences according to periods reveals art and aesthetic pleasure of time. The Hatay Mihrabs have a distinct place in Turkish İslamic Art with its own artistic interpretation and identify in this research on the Hatay regional mihrabs, the designs of 43 mihrabs had examined in the point of view of art history with stylistic change, development and their interractions with the related cultural enviroment. The examples of the mihrabs which is the subject of research are dated from the 16 th century to the 20 th century. All of these examples belong to the Ottoman period. The use of stone materials prevaling in the local architecture is also valid for he mihrabs. Marble, had beed used as a dignity mark in the mihrabs of certain structures. Brick and tile material were only included in one sample. İt is seen that the niches of mihrabs sometimes move towards the harim within a rectangular prismatic mass. There are also examples that overflow from the outside. The mihrabs were made using various materials and tecnicques from the first application until today and it offers differences according to periods in the architectural of different İslamic countries, revealing the artistic and aestetic pleasure of time. İn this research on the Hatay regional mihrabs, the design of 43 mihrabs examples were examined. İn the historical process, these examples have been tried to be examined in the point of view of art history with stylistic change, development and their interactions with the related cultural enviroment. The examples of the mihrab which is the subject of research are dated from the 16 th century to the beginning of the 20 th century. All of these examples belong to the Ottoman Period. The 43 mihrabs included in the catalog are 34 mosque and 9 masjids. May of the examples of the mihrabs lost their orginality in a certain extent as a result of the repairs they have seen with the structures they are connected. The use of stone materias prevaling in the local architecture is also valid for the mihrabs. It is seen that even the mihrabs which are considered the the simplest in harim have been decorated with smooth cut stone coating. Marble, had been used as a dignity mark in the mihrabs of certain structures. Brick and tile materials were only included in one sample. The mihrab in Hatay mosque masjid mainly appears as a half circle. These mihrabs, sometimes begins with a flat rectangle and complete with a half circle. And Mihrabs ends from the top, with cavsara a pointed arched, half-domed arch. It is seen that the niche niches sometimes move towards the harvest within a rectangular prismatic mass. There are also examples that move out from the outside. In addition to the examples mostly covered in plain niches, base (kaide), frames, hilly and console, rarely engaged columns are the elements that complement the design in an unimportant number of examples. The custom of opening window on the niche wall of the mihrab which is very rare in its application is confronted as a unique and remarkable element in the Hatay Mihrabs. İn the region, the ornament covering the whole face of the mihrab is rarely encountered. The ornamention elements, are mostly seen on the hilly and on the surfaces of the consoles. Besides, these ornamentions are located in engaged column, in certain sutructures and in frames. İn the ornamention program, the region carnes traces of a multicultural structure because of its location at the intersection of important roads. İn the region where political and commercial ties are predominantly conducted through Aleppo in the historical process, the stylistic interaction with this region also manifests itself in mihrab designs and ornaments. The examples of the mihrab examined in the Ottoman period in which they belonged in this region far away from the capital show their own unique character which is reflected by the local interpretation and application under the influence of the cultural environment including the Southeastern Anatolia and the Northern Syria region and the reflections of the various styles adopted in this process. Key Words ; Hatay, mihrab, Ornamentation, Ottoman Architecture, Turkish İslamic Architecture.