İran’da Bulunan Bir Selçuklu Camisi: Save Cuma Camii

Save Cuma Camii, İran’ın Merkezi Eyaleti’nin Save şehrinde yer almaktadır. Caminin ortasında avlu, avlunun güney ve batı yönlerinde iki eyvan bulunmaktadır. Avlu güney, doğu ve batı yönlerde revaklarla çevrilmektedir. Kuzey bölümü zamanla tahrip olmuş ve günümüze gelememiştir. H. 504 tarihini içeren minare caminin duvarlarının dışında kuzey doğu köşesinde yer almaktadır. Cami kerpiç ve tuğladan yapılmıştır. Camide toplam 7 adet alçı mihrap bulunmaktadır. Selçuklu mihraplarından üç tanesi caminin farklı bölümlerinde yer almaktadır. Sathi nişlerden ibaret olan ve sadece bir kitabe bordürü ile çevrelenen mihraplar, bitkisel süslemeli zemin üzerine sade kûfi veya kûfiye yakın sülüs hatlar ile kuşatılmıştır. H.705 tarihini içeren İlhanlı mihrap, dıştan üç kitabe bordürü ile kuşatılmaktadır ve alçı süslemeli kavsara ve yarım ongen biçimindeki kavsara altı bölümlerinden oluşmaktadır. Bu mihraptaki kitabelerde Selçuklu mihraplarından farklı olarak yazıya olduğu kadar süslemeye de önem verildiği görülmektedir. Asıl ibadet mekânında yer alan ve Safeviler Dönemi’nde yapılan mihrap ise renkli alçı süslemeleri ile dikkat çekmektedir. Çift kitabe bordürü ile kuşatılan alçı mihrap, Safevi Dönemi’nin nadir görülen alçı mihraplarına önemli bir örnektir. Mihrap mukarnaslı kavsaralı olup kavsaranın altı, yarım ongen biçimindedir. Save Cuma Camisi’nin inşaat süreci VII. yüzyıldan XX. yüzyıla kadar sürmüştür. Farklı dönemlerde yapıya eklenen özelliklerle Save Cuma Cami adeta İran İslam mimarisinin özetidir. Ayrıca caminin büyük bir kısmı Selçuklu Dönemi’nde yapıldığı için ve bu dönemin mimarisi Anadolu Selçuklu mimarisinin öncüsü olduğu hasebiyle bu alanda çalışan araştırmacılar için ayrı bir önem arz etmektedir.

Anahtar Kelimeler:

Büyük Selçuklu, alçı mihrap, İran, cami, Büyük Selçuklu, alçı mihrap, İslam mimarisi

A Seljuk Mosque in Iran: Save Jameh Mosque

Saveh Jameh Mosque is located in the Merkezi province of Iran, in the city of Saveh. There is a courtyard in the middle of the mosque and two iwans on the south and west sides of the courtyard. The courtyard is surrounded by porticoes in the south, east and west directions. The northern part of the building has been destroyed in the course of time and has not survived until today. Outside the walls of the mosque, there is a cylindrical minaret at its northeast corner, slightly narrowing upwards. The construction process of Save Cuma Mosque lasted from the seventh century to the twentieth century. The first mosque was built according to the Arabian type plan scheme. In the first mosque, three naves, consisting of arches placed on mudbrick feet, surrounded the central courtyard. During the Great Seljuk Period (1037-1194), a rectangular domed space was created by removing the legs in the middle of the harim section located in the south of the building. Also in this period, four plaster altars and a minaret were added to the building. The mosque, which was attacked by the Mongols and turned into a ruin, was repaired in the Ilkhanid Period (1256-1335). The western iwan added to the mosque during the Ilkhanid Period is one of the rare examples of Iranian architecture. During the Safavid Period (1501-1736), the main place of worship in the south was transformed to be a square and a double-walled dome was added to this place. The open space in front of the domed space was closed and the southern iwan was created. There are 7 plaster mihrabs in total in the mosque. Three of the Seljuk mihrabs are located in different parts of the mosque. These mihrabs bear the characteristics of the early period (11th century) plaster ornaments and the inscriptions belonging to this period. Consisting of surface niches and surrounded by only an inscription border, the mihrabs are surrounded by simple kufi or near-kufi Thuluth lines on a floral ornamented ground. The fourth altar has been moved to the museum and is supposed to belong to a later period than the other altars. İlkhanid mihrab, which is surrounded by three inscription borders on the outside, consists of a plaster ornamented kavsara and a half-decagonal kavsara. In the inscriptions on this mihrab, unlike the Seljuk mihrabs, it is seen that the decoration is as important as the writing. The maquis, leafy and knitted kufi calligraphy used in the inscriptions support this view. Today, the mihrab on the qibla wall of the domed space, and the colorful plaster decorations on the walls, made with the tohme-gozari technique, were also created in this period. With the features added to the building in different periods, the Save Cuma Mosque is almost the summary of Iranian Islamic architecture and it is important to examine it in detail. In addition, since a large part of the mosque was built during the Seljuk Period and the architecture of this period is the pioneer of Anatolian Seljuk architecture, it has special importance for researchers working in this field.

Keywords:

The Great Seljuks, plaster mihrabs, Iran, Mosque, The Great Seljuks, plaster mihrabs, Islam Architecture,

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