Mevlevi`s influence on Turkish plastic arts

in our PhD Studies of Mevlevi's Influence on Turkish Plastic Arts' the vyork of art and the vvork of art found in special collections found in Afyon, Ankara, Bursa, Edirne, İstanbul, Karaman, Konya, Kütahya (The Tavşanlı Town) and Manisa have been examined closely. From Afyon Gedik Ahmet Paşa Turk-Islam Work of Art Museum l Islamic calligraphy board, l tombstone; from Afyon Mevlevi Mosque 3 Islamic calligraphy boards, l scarf; from Ankara Etnograph Museum 9 Islamic calligraphy boards, 4 section, l miniature, l (star) crescent on top of a mosque; from istanbul Divan Literatüre Museum (Galata Mevlevi House) 11 Islamic calligraphy boards, l illumination, 2 binding, 3 section, 3 katı', l mural, 3 painting, l \voodwok, 14 tombstones (Öne of the stonevvork is on a tomb, Öne is on a dome (vault) and the other is on a wall), l model; from istanbul Sadberk Hamm Museum l kati', l piece of glassware called Çeşmi Bülbül; from Süleymaniye Library 2 illuminations; from istanbul City Municipal Museum l Islamic calligraphy board, 2 section, l miniature, 4 pieces of glassvvare (sugar box), 2 pieces of metalwork (l seal, and l şurup spoon), l seal made of White Necef stone; from Topkapı Palace Museum 2 section, 2 miniatures, 4 vvatches; from istanbul Türk and islam Work of Art Museum 6 Islamic calligraphy boards; from istanbul Türk Foundation Writing Art Museum 2 Islamic calligraphy boards, 3 piece of marbled paper, l katı', from istanbul Yenikapı Mevlevi House 5 tombstones; from Karaman Aktekke Mosque, l Islamic calligraphy boards, l mural, l embroidery board; from Karaman Museum, l brass seal; from Konya Ateş baz-ı Veli's House (Zaviye), l Islamic calligraphy boards; from Konya Mevlana Museum 50 Islamic calligraphy boards, 5 illuminations, 3 binding, 2 murals, l painting, l woodwok (coffin; sarcophagus), 22 tombstones, 4 piece of metalvvork, l scarf (puşide), l embroidery board, 3 pieces of small handmade sample; from Konya Üçler Cemetery, 3 tambstones; from Kütahya l mural; from Manisa 11 samples of Islamic calligraphy and from the special collections 23 samples of Islamic calligraphy, 4 miniatures, and 10 paintings have been examined closely. For owe study 6 vvork of art from Afyon, 15 from Ankara, 80 from istanbul, 4 from Karaman, 97 from Konya, l from the town Tavşanlı, l from Manisa and 37 from special collections have been closely examine and taken into consideration. Together vvith the fact that Mevlevi's real birth place vvas Konya, istanbul was the city vvhere the Ottoman Empire developed. Therefore, the fact that many vvork of art have been found is the result of our studies done in these two cities. Mevlana's vvooden coffin which was made in 1273 by öne of Mevlevi's artists who lived during the Seljuk period and Mesnevi dated in 1278 have been examined Besides these, the tombstones of Eflâkî in 1359, Ali Dede's in 1454 and Mustafe bin Budak Çelebi in 1572 have been closely examined. We do not have enough detailed knovviedge about the artists of this period. A part from some, we just know the names of the artists. We do not even know the names of some of the artists. The vvork of art belonging to the Mevlevis' who lived during the Ottaman reign is of considerable sum. Among these vvork of art, some which are easily carried have been transported in various vvays and exlıibited in the museum of several foreign countries. in our country, some of the vvork of art have been ruined either by nature itself ör by the careless handling of people. Unfortunately, this destruction is continuing vvhether deliberately ör undeliberately.in our study we could examine more of the samples of Islamic calligraphy and the tombstones. in some of the fires which occured in Mevlevis' houses, some of the Islamic calligraphy boards have been carried to the vvarehouses of the museums. For example, we come across Yenikapı Mevlevi House's Islamic calligraphy boards in Ankara Etnography Museum. in istanbul Divan Literatüre Museum (Galata Mevlevi House) we were able to examine the Islamic calligraphy samples. Some of the boards are present in special collections. We faced some difficulties while we were trying to prove these work of art through some documents. The samples of illumination belong to the 13*, 14 *, 17*. 18* and the 19* centuries. The binding samples have been chosen from the IS*, 16* and the 19th centures. The marble paper belong to the 20* century. The sections belong to the 19* century. The katış' belong to the 16*, 18* and the 19* century. The miniatures were drawn during the 16*, 18*, 19* and the 20* centuries. The mural samples belong to the 16* and 19* century. The painting samples in the thesis were dravvn in the 17*, 18*, 19* and 20* centuries in the wcodwork part of our study the woodwork belonging to the 13*, 15* and 19* centuries have been included. Most of glassware was done in the 19* century. The tombstones mentioned in our study have stayed safe from the times of the 14lh, 15*, 16*, 17*, 18*, 19* and 20* centuries. The samples of metalwork weredone in the 13*, 19* and 20* centuries. The vvatches mentioned in our study belong to the 19* century. The samples of small hand-made work belong to the 19* centuries If \ve take examples above into serious consideration, we will see that the influence of Mevlevi on Türk Plastic Arts is immerse