|
COPYRIGHT 2002 Eastern Mediterranean University
Abstract
Kayseri is a city, which had the privilege to retain a capital city status in its past history alongside with Konya, and is also an important center for the funerary architecture of the Seljuk period. This city remained the capital city during the rule of the State of Eretna after the Seljuk period, houses a considerable number of tomb structures some of which are constructed for women. Although these structures do not differ from other tombs in terms of design, they seem to have been more decorated as compared to the identical ones constructed for men. It has been observed that these tombs are not merely examples of funerary architectures, but as in the case of some examples, they have also turned out to be a symbol of the sultanate from the aspect of their inscriptions, decorations and locations.
Keywords: Woman, tombs, Turkish, art, architecture, Kayseri, ornamentation.
Introduction
The patrons who built some of the large scale monuments constructed between the 13th-14th centuries, especially in the first half of the 13th century, were women which indicates contrary to the expectations, that during these centuries some women in the Anatolian-Turkish society had a place, as strong and esteemed as men's. The building activities have all been significant indicators from the point of view of the share of women's patronage for the building activities of Kayseri during the Medieval Ages. Several examples can be cited. For example the restoration of The Kuluk Mosque, one of the significant structures in Kayseri by Atsiz Elti Hatun. Also the building of the Cifte Medrese upon the will of Sultan Gevher Nesibe and the attempt to continue and complete the construction of the complex of buildings that was initiated by Alaeddin Keykubat by his wife Mahperi (Hunat) Hatun and the patronage of Sivasi Hatun for the construction of the Develi Great Mosque as well as the building of Barsama Mosque by Mahupeyker Hatice Hatun are such activities.
Therefore, this article will introduce eight examples of funerary monuments which are known to have been the most common types of buildings to have been supported by women in pre-Ottoman Anatolian Turkish architecture, (1) as well as one Ottoman example, existing in Kayseri today. Although one of the tomb stones is claimed to belong to Gurcu Melek Hatun, (2) there are no existing monuments attributed to this woman.
1. The Tomb of Sultan Gevher Nesibe
The Tomb of Sultan Gevher Nesibe is the earliest dated female tomb in Kayseri. The tomb is located north of the eastern iwan of the medrese building, which is in fact the eastern part of two attached buildings, comprising the medrese and the hospital (Fig. 1, 9, 10). The tomb is constructed with smooth ashlar stones with the rectangular plan running along the north-south axis as the direction of the pointed vault. The mescid of the tomb is octagonal in plan, which is again covered with an octagonal, pyramidal roof in accordance with its base plan. This structure is significant as it is the first example of octagonal pyramidal and conical roof used as a covering element both internally as well as externally. (3) Small niches have been placed in the middle of the walls in the northeast, northwest, southeast and southwest directions of the mescid section of the tomb.
[FIGURES 1-10 OMITTED]
Due to the lack of any evidence in the building to determine the date, such as a sarcophagus or tombstone in the tomb or as any written tablet in the mescid part, it may be assumed that the tomb was constructed in the same year as the hospital and medrese in 1205/1206. This is in view of the inscription tablet at the entrance portal of the hospital. (4)
There is no biographical information about the life of Gevher Nesibe Sultan in the sources studied so far. The only information about her is the fact that she was one of two daughters of Kilicarslan II (5) and according to the inscription on the portal of the hospital, this hospital and medrese were constructed by her brother Sultan Giyaseddin Keyhusrev I upon her testament in the year 602/1206-6. Therefore, in view of this information, that the whole complex was constructed upon her testament, implies that Gevher Nesibe might have passed away as a result of a serious infection.
Since the tomb bears an organic attachment to the medrese and it is not a later addition, this complex is referred to as "The Medrese of Sultan Gevher Nesibe" although she is not Its patron builder of the building.
2. The Tomb of Mahperi (Hunat) Hatun
The Tomb of Mahperi Hatun, (6) the most famous woman patron builder in the Seljuk period, was constructed within a small courtyard, which was formed in the northwest corner of the mosque (Fig. 2, 11) and in the south-east corner of the medrese complex named after her.
[FIGURE 11 OMITTED]
The octagonal shaped body of the tomb, which does not contain the crypt, rises upon a square shaped pedestal extended from the ground to the top with the help of muqarnas decoration (Fig. 12). This structure (Fig. 13), classified in the group of octagonal body tombs by O. Arik, (7) is covered internally with a dome while externally it has an octagonal pyramidal conical roof. It has no external portal and the eight corners of the octagonal body of the tomb are emphasized with collonettes embellished with rich geometrical ornamentations designed as high relief carvings (Fig. 14). The capitals of these collonettes, decorated with muqarnases, are in harmony with the band of muqarnas ornamentation running all round the building, separating the wall from the upper cover at the eave level, as well as with the mugarnas line framing the pedestal of the tomb. Beneath this decorative band of muqarnas, there is an inscription band encircling the octagonal body of the structure with the holy prayer called 'Ayet El Kursi', which in similar style was commonly applied to most of the tombs in Kayseri during the Middle Ages.
[FIGURES 12-14 OMITTED]
A dynamism is achieved on each wall by forming a pointed arch with the two bands of continuous geometrical relief ornamentation starting from the ground level of the octagonal body on each side of the walls bordered with corner colonnettes below the level of the inscription band.
The geometric compositions of the ornamentation motifs in high relief and filling each band forming the arch are original and unique, as are the spandrels on each wall (Fig. 15-16). Each wall is pierced with double windows with the exception of the north and south parts, for the purpose of ventilation rather than providing lighting. The double arcaded window on each facade are open with trefoliated arches and divided with a collonette of white marble while the hood molds and ornamentation motifs bring a dynamic appearance to the surfaces of the building. The ornamental scheme is composed of interlacing foliations with the rumi motifs terminating in knotted leaves as well as three lobed palmettes which also terminate with knotted leaves or lotus flowers on separate stalls. The latter are arranged in a linear order or, as bands forming fluted molds filling in the spandrels of the double arches and in the pointed arch shaped hood mold crowning these double windows (Fig. 17).
[FIGURES 15-17 OMITTED]
Marble is used in the pedestal decorated with muqarnas and for the twin arched small colonnetts while, the rest of the building is constructed with smooth ashlar stones.
The five-facaded altar, oriented into the middle of the southern wall of the interior space of the tomb, is lavishly decorated with geometrical ornamental compositions. The tomb is connected to the cell of the medrese by means of a door and a corridor opened to the northern facade. The tomb houses the marble sarcophagus of Mahperi Hatun. It is, however, impossible to learn from the inscription on the sarcophagus (8) the date for the construction of the tomb or her death. However, due to this inscription referring to her as the mother of Giyaseddin Keyhusrev (died in 1246), it is possible to come to the conclusion that she passed away after the death of her son. There are no inscription on the other structures that comprise the whole complex such as bath and medrese. However, by means of the inscription on the western door of the mosque, it is understood that the order for the construction of the mosque was given in the year 635/1237-8 by Mahperi Hatun, mother of Giyaseddin Keyhusrev.
Also there was no predetermined plan regarding the layout of the structures that make up the whole complex (9) although various discussions have taken place for the dating of the individual buildings.
Haluk Karamagarali who carried out detailed research relating to the whole system, has discovered the chronological order of the structures. Accordingly the bath and then the medrese and finally the mosque were constructed in sequence. The tomb, on the other hand was the last part of the structures constructed. (10)
Karamagarali took into consideration the signs of the dilatations exiting at the Southern wall of the medrese which suggested the presence of a non-Islamic ancient building on this spot (most probably a baptistery). Also, by taking into consideration the rumors cited in Texier and Tozer he even made further suggestions that this structure might have been transformed at later times into a hermit's tomb. He also assumed that the medrese could have been added to the side of this structure without demolishing it. At a still later date, the tomb of Mahperi Hatun might have been constructed in the place of the so called hermit tomb or non-Islamic structure (baptistery). (11) Also, it was reasoned that the tomb might have been constructed after Mahperi Hatun died some time between the years 1260-1270. (12)
The planning of the tomb of Mahperi Hatun, known as the wife of Alaeddin Keykubat, who is accepted as the most powerful sultan of the Anatolian Seljuk, was squeezed in between the two monumental structures of the large complex system. It is suggested that this might have been her personal request rather than being the decision of the architects after her death. It is clear that a land in which such a monumental tomb would be settled already existed. It could be suggested that this design is the desire of Mahperi Hatun, who had foreseen in advance the crises to be suffered by her state, such as the invasion of the Mongols in 1243 and foreseen the death of her son in 1246. The plan of this tomb also reflects her strong ambition to establish power over her husband Aladdin Keykubat, who was well known as the patron builder of several architectural complexes (most probably initiating the construction of the mosque as well), with her strong desire to be remembered and prayed for her good works. Her desire for a powerful image must have begun after her son's death in the year 1246 and the initiation of a tomb in Kayseri for Gaziye Hatun by her daughters. Gaziye Hatun was the other spouse of Alaeddin Keykubat, who had her strangled in Ankara. Also the desire of Mahperi Hatun to claim power and ownership over her husband's achievements as well as retaining the position of the "mother hatun", is clear considering the distance of the location selected for the tomb of Gaziye Hatun, which was for away from the city of Kayseri. Thus, in view of the reasons cited above and the example of the construction of the tomb of Hudavent Hatun in the year 1312, twenty years in advance of her death, we could not share the view that the tomb had been constructed between the years 1260-1270, some years after the death of Mahperi Hatun as suggested by H. Karamagarali.
It is claimed that Mahperi Hatun, the daughter of Kyr Vart, the Greek Tekfur (Kolonoros) of Alanya, (13) became the wife of Alaeddin Keykubat as a result of a politically arranged marriage. (14) However, Ibn-i Bibi supports this idea as he records this as an important historical event. Accordingly, as it was the desire of Alaeddin Keykubat to conquer Kolonoros without blood shed, he sent messengers to express his wish that rather than pouring blood he preferred to establish a kinship relation with Kyr Vart. The reply to this wish was happily received and "he had sent him 'one of the selected women with high manners and of great virtue he had purchased a while ago' with great pleasure after preparing her according to Mohamed's religious orders for her joining to the Sultan's most celebrated harem and be part of his most respectable family members." (15) This marriage probably was realised in the year 1222. Alaeddin Keykubat and Mahperi Hatun had a daughter called Selcuk Hatun and a son named Keyhusrev. It has been understood from a letter sent by Giyaseddin Keyhusrev, her son to the Latin king Boudoin in Istanbul, that Mahperi remained faithful to her own religion until she died. (16) However, the fact cannot be disregarded that Mahperi Hatun, for the sake of her son and to ensure his occupying the throne after the death of her husband Alaeddin Keykubad, who had been poisoned, did not hesitate to convert into Islam.
Mahperi Hatun managed to settle down and influenced the atmosphere and the oppositional reactions that could prevent her son's ascending the throne by changing her own religion. As he was only 15 years old, she held the throne with the title of 'naib' to assist him. Meanwhile, she has taken her prominent place in Turkish history with the identity of "a charitable-religious Hatun Sultan" by patronising building activities with the construction of several structures such as caravanserais, mosques, etc. It may be have been her strong desire to have herself accepted by the Anatolian community...
Read the full article for free courtesy of your local library.
|
Bookmark this article
Print this article
Link to this article
Email this article
Digg It!
Add to del.icio.us
RSS
