{"id":39108,"date":"2016-03-17T02:47:06","date_gmt":"2016-03-17T07:47:06","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=39108"},"modified":"2016-03-17T02:47:06","modified_gmt":"2016-03-17T07:47:06","slug":"zengin-otokton-kent-dokusuna-sahip-mardin-sehri","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=39108","title":{"rendered":"Zengin Otokton Kent Dokusuna Sahip Mardin \u015eehri"},"content":{"rendered":"

\"Mardin\"<\/a>Tomas \u00c7ERME *<\/b><\/p>\n

Mardin, G\u00fcneydo\u011fu Anadolu\u2019da ve \u00fcnl\u00fc Yukar\u0131 Mezopotamya Ovas\u0131\u2019n\u0131n ba\u015flang\u0131\u00e7 noktas\u0131nda yer alan, tarihi eskilere uzanan bir kenttir. Ge\u00e7mi\u015fin \u00fcnl\u00fc \u0130pekyolu ile ba\u011flant\u0131s\u0131 olan kent; topo\u011frafyas\u0131ndan kaynaklanarak, fiziki konumuna yans\u0131yan karakteristik \u00e7izgileriyle adeta kartal yuvas\u0131 g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc alm\u0131\u015ft\u0131r (1,2).<\/i><\/b><\/p>\n

\u00a0Mardin ad\u0131n\u0131n ilk kez ne zaman kullan\u0131ld\u0131\u011f\u0131 ve nereden geldi\u011fi konusunda, pek \u00e7ok eski kentimizde oldu\u011fu gibi \u00e7e\u015fitli g\u00f6r\u00fc\u015fler, varsay\u0131mlar ve hatta efsaneler vard\u0131r. Bu efsanelerden ilki, Pers krallar\u0131ndan birisinin hasta olan Mardin adl\u0131 o\u011flu, d\u00f6rt mevsimi de birbirinden g\u00fczel olan bu kentte sa\u011fl\u0131\u011f\u0131na kavu\u015ftu\u011fu i\u00e7in onun ad\u0131yla an\u0131ld\u0131\u011f\u0131 \u015feklindedir. \u0130kinci varsay\u0131m ise, \u00fcnl\u00fc tarih\u00e7i\u00a0 HAMMER\u2019e g\u00f6re, V. Arzaz (Arde\u015fir), Marde kavminin bir b\u00f6l\u00fcm\u00fcn\u00fc ( Masius) Masis Da\u011f\u0131\u2019na yerle\u015ftirir ve \u015fehre bunlar\u0131n ismini verir. Tarih\u00e7i ve co\u011frafyac\u0131 Strabon\u2019a g\u00f6re Marde Kavmi, ele ge\u00e7irilmesi, zapt edilmesi imkans\u0131z bir nesildir. Kom\u015fular\u0131\u00a0 (Arevortik ) Ermeni \u015eemsiler gibi g\u00fcne\u015fe taparlar (Hammer S.1092) (3,24).<\/p>\n

Surp Kevork Ermeni (Surp Krikor Lusavori\u00e7) Kilisesi, Hristiyanl\u0131\u011f\u0131n kabul\u00fc sonras\u0131 in\u015fa edilen kiliselerin en eskilerinden olup, Mardin\u2019in ilk kilisesidir.<\/p>\n

\u00a0 M.S. 420 y\u0131l\u0131nda Mardin\u2019de in\u015fa edilen bu kilise, Piskopos Hovagim Tazbazyan d\u00f6neminde 1791 y\u0131l\u0131nda onar\u0131l\u0131p ad\u0131, Surp Kevork (K\u0131rm\u0131z\u0131 Kilise) olarak de\u011fi\u015ftirilmi\u015ftir.\u00a0 Onar\u0131m s\u0131ras\u0131nda 6. yy.\u2019a ait, Mardin \u015fehrinin kurulu\u015fu ile ilgili ta\u015f levhaya rastlan\u0131r. Levhada \u015f\u00f6yle yaz\u0131l\u0131d\u0131r; \u201c M.S. 363\u2019de Pers ordusu, kumandan Mambut (\u0130mam Put) \u00f6nc\u00fcl\u00fc\u011f\u00fcnde Nusaybin \u015fehrine sald\u0131r\u0131r. \u015eehrin halk\u0131 olan Ermenileri k\u0131l\u0131\u00e7tan ge\u00e7irir ve zenginli\u011fini talan eder. Ermeni sava\u015f\u00e7\u0131lar ise bug\u00fcnk\u00fc Mardin da\u011f\u0131na s\u0131\u011f\u0131n\u0131rlar. Da\u011fda da kar\u015f\u0131la\u015ft\u0131klar\u0131 Pers g\u00fc\u00e7leri ile sava\u015f\u0131rlar ve onlar\u0131 yenmeyi ba\u015far\u0131rlar.<\/p>\n

\u00a0 Sivil halka katliam uygulayan Pers kumandan\u0131n\u0131n ad\u0131n\u0131n unutulmamas\u0131 i\u00e7in Ermeni Patrikhanesi, Mardin \u015fehrine \u201cMambut\u201d ad\u0131n\u0131 verir. Tarih\u00e7iler ise burada sava\u015fan Ermeniler i\u00e7in Mardiros, Mardik ve Mard\u0131 ad\u0131n\u0131 kullanmaktad\u0131r. Bu kelimelerin anlam\u0131 sava\u015f\u00e7\u0131 ve \u015fehittir (2,5).<\/p>\n

\u00a0 Eski \u00e7a\u011flarda, olduk\u00e7a hareketli bir ge\u00e7mi\u015fi oldu\u011fu bilinen Mardin, k\u0131sa aral\u0131klarla \u00e7e\u015fitli siyasi birimlerin y\u00f6netimi alt\u0131nda ya\u015fam\u0131\u015ft\u0131r. Asl\u0131nda, kentin ilk\u00e7a\u011f tarihi hakk\u0131nda fazla bilgi yoktur. Ancak daha sonra de\u011fi\u015fik zamanlarda Mardin\u2019e s\u0131ras\u0131yla; Ar\u015faguniler, Makedonyal\u0131lar (B\u00fcy\u00fck \u0130skender), Persler, Tikranlar, Romal\u0131lar, Bizansl\u0131lar, B\u00fcy\u00fck Sel\u00e7uklular, Artuko\u011fullar\u0131 ve Osmanl\u0131 \u0130mparatorlu\u011fu hakimiyet kurmu\u015ftur. Bu y\u00fczdendir ki, y\u00f6rede her biri, kendi k\u00fclt\u00fcrlerine ait \u00e7e\u015fitli eserler b\u0131rakm\u0131\u015ft\u0131r ( 6).<\/p>\n

M.S. 640 y\u0131l\u0131nda Mardin, Arap \u0130slam ordusu \u00f6nemli kumandanlar\u0131ndan \u0130bn-Ganem taraf\u0131ndan feth edildi. M.S. 873\u2019te Mervaniler, daha sonra Artuklular, 1109 ile 1409 y\u0131llar\u0131 aras\u0131nda, \u00fc\u00e7 as\u0131r Mardin\u2019i ba\u015fkent olarak kullan\u0131p, h\u00fck\u00fcm s\u00fcrm\u00fc\u015flerdir. \u0130zleyen y\u0131llarda ise Karakoyunlular (1409), Akkoyunlular (1432) ve Safaviler (1507) Mardin\u2019i siyasi s\u0131n\u0131rlar\u0131 i\u00e7ine katm\u0131\u015flard\u0131r. Osmanl\u0131 egemenli\u011fine giri\u015fi ise (1517) y\u0131l\u0131ndad\u0131r ve Yavuz Sultan Selim\u2019in komutanlar\u0131ndan B\u0131y\u0131kl\u0131 Mehmet Pa\u015fa taraf\u0131ndan Osmanl\u0131 topraklar\u0131 i\u00e7ine kat\u0131lm\u0131\u015ft\u0131r (7).<\/p>\n

Mardin kenti fiziki g\u00f6r\u00fcn\u00fcm olarak, y\u00fcksek\u00e7e bir tepeye yaslanm\u0131\u015f ve eteklerinde dikd\u00f6rtgen evleri bulunan ilgin\u00e7 bir yerle\u015fimdir. Tepenin en y\u00fcksek noktas\u0131nda (Masius) Masis sava\u015f kalesi yer al\u0131r. Her yerle\u015fim birimi kendi i\u00e7inde adeta k\u00fc\u00e7\u00fck bir kale gibidir. As\u0131rlarca farkl\u0131 medeniyetlere ev sahipli\u011fi yapm\u0131\u015ft\u0131r (3,8,9).<\/p>\n

\u00a0 Mardin kentsel \u00f6nemini, Artuklular d\u00f6neminde kazanm\u0131\u015ft\u0131r. Bu d\u00f6nemde Mardin, siyasi a\u00e7\u0131dan oldu\u011fu kadar, bilimsel ve k\u00fclt\u00fcrel y\u00f6nden de bu co\u011frafyan\u0131n ba\u015fkenti olmu\u015ftur. Mardin\u2019e bu \u00f6zelli\u011fi kazand\u0131ran, g\u00fcn\u00fcm\u00fcze kadar s\u00fcregelen ho\u015fg\u00f6r\u00fc ortam\u0131 ve insana g\u00f6sterilen sayg\u0131d\u0131r. Mardin halk\u0131n\u0131n bu \u00f6zelliklerine bir \u00f6rnek vermek gerekirse, \u00f6nce Antakya \u015fehrinde kurulmu\u015f olan Yakubi S\u00fcryani Patrikhanesi oradan ayr\u0131lm\u0131\u015ft\u0131r. Patrikhane, daha sonra s\u0131ras\u0131yla, Adana (Sis), Rumkale, Homs, Mara\u015f, Ad\u0131yaman ve Diyarbak\u0131r gibi \u015fehirlerde uzun s\u00fcreli kalamay\u0131nca, en son Mardin\u2019e ta\u015f\u0131n\u0131r. Tarihte ad\u0131,\u00a0 Der- Zafaran Manast\u0131r\u0131 olarak ge\u00e7en ve son y\u0131llarda ise Deyr\u00fcl-Zafaran Manast\u0131r\u0131 ad\u0131yla an\u0131lan bu manast\u0131r, Yakubi S\u00fcryaniler taraf\u0131ndan sat\u0131n al\u0131narak, Patrikhane\u2019nin merkezi olarak kullan\u0131lm\u0131\u015ft\u0131r (10,11).<\/p>\n

\u00a0Mardin as\u0131ll\u0131 \u0130shak Armale, \u201cMardin Manast\u0131rlar\u0131\u2019na Tarihi Bir Bak\u0131\u015f\u201d adl\u0131 kitab\u0131nda da yer verdi\u011fi gibi, (\u015eark Mecmuas\u0131, say\u0131 12, sayfa 763, y\u0131l 1909), \u0130bn-el \u0130bri tarihinin Patrik Kryakos\u2019un hayat\u0131 b\u00f6l\u00fcm\u00fcnden naklen ald\u0131\u011f\u0131 ve Nusturi yazar Ye\u015fi Dahna\u2019a dayand\u0131r\u0131lan Hananya Roma d\u00f6neminden kalma bu kesme ta\u015ftan in\u015fa edilmi\u015f yap\u0131y\u0131 sat\u0131n alarak, buray\u0131 ad\u0131yla an\u0131lacak bir manast\u0131r haline getirmi\u015ftir. 1293 y\u0131l\u0131nda da patriklik merkezi halini alm\u0131\u015ft\u0131r.<\/p>\n

Ancak Lozan Bar\u0131\u015f Antla\u015fmas\u0131\u2019ndan sonra 1924\u2019te Patrikhane Mardin \u015fehrinden Suriye\u2019ye ta\u015f\u0131nm\u0131\u015ft\u0131r. \u00d6zellikle Artuko\u011fullar\u0131 zaman\u0131nda in\u015fa edilen dini ve sosyal e\u011fitim ile ilgili benzer yap\u0131lar, yaln\u0131z Mardin\u2019in de\u011fil, Anadolu T\u00fcrk mimarisinin en \u00f6zg\u00fcn \u00f6rnekleri olarak kabul edilmektedir (12).<\/p>\n

\u00a0Anadolu \u015fehirlerinin bir \u00e7o\u011funda oldu\u011fu gibi, Mardin\u2019de esasl\u0131 bir \u015fehir plan\u0131ndan mahrumdur. Daha do\u011frusu bir sokak \u00fczerine iki s\u0131ra halinde dizilmi\u015f yap\u0131lardan olu\u015fur. Ta\u015f\u0131n, mimarisine ve k\u00fclt\u00fcr\u00fcne \u015fekil verdi\u011fi \u015fehirlerden birisi olan tarihi Mardin \u015fehrinin, ilk sakinleri ve mimarlar\u0131 as\u0131rlarca u\u011fra\u015farak, tarihi Mardin \u015fehrini yaratt\u0131lar. Ta\u015f, do\u011fada bulundu\u011fu haliyle kullan\u0131labilen bir yap\u0131 malzemesidir. Sadece dizili\u015finde bile, kullan\u0131ld\u0131\u011f\u0131 yere \u00e7ok farkl\u0131 bi\u00e7imsel \u00f6zellikler kazand\u0131rabiliyor. Ta\u015f ile yap\u0131 yapmak zor oldu\u011fu kadar, \u00e7ok da zaman al\u0131r. Bu i\u015fin pahal\u0131 k\u0131sm\u0131 ise, m\u0131nkar ve \u00e7eki\u00e7le ger\u00e7ekle\u015fen bi\u00e7imlendirme s\u00fcrecidir (13).<\/p>\n

\u00a0 MARD\u0130N \u015eEHR\u0130NDE TA\u015e\u00c7ILIK ZANAATI:<\/strong><\/p>\n

Mardin halk sanatlar\u0131n\u0131n i\u00e7inde ta\u015f yontmac\u0131l\u0131\u011f\u0131, ilgi \u00e7ekici bir konudur. Kaba ta\u015f\u0131n kesili\u015finden en ince nak\u0131\u015f s\u00fcslemelere kadar ge\u00e7en s\u00fcrece, eskiden Osmanl\u0131ca \u201c kat-il ahcar\u201d, ustalar\u0131na da \u201cSenktra\u015f\u201d denirdi. \u201cM\u0131nkar\u201d ad\u0131 verilen bir tak\u0131m \u00e7elik kalemlerle, ta\u015flar\u0131 kesip yontarak \u00e7e\u015fitli estetik \u015fekiller verme sanat\u0131 olan bu sanat, geometrik bilgi, zevk \u00fcst\u00fcnl\u00fc\u011f\u00fc isteyen \u00f6nemli Osmanl\u0131 halk sanatlar\u0131ndan biridir. \u00d6nemli kaynaklardan biri olan ve Ba\u015fbakanl\u0131k Osmanl\u0131 Ar\u015fivi\u2019nde yeralan \u201cehl-i hiref\u201d defterlerinde, ta\u015f yontma ustalar\u0131n\u0131n bir \u00e7o\u011funun adlar\u0131 kay\u0131tl\u0131d\u0131r. Bu defterlerde eski halk sanatlar\u0131n\u0131n bir \u00e7o\u011funa da yer verilmi\u015ftir. Mardin ta\u015f\u00e7\u0131l\u0131k sanatkarlar\u0131n\u0131n ne kadar\u0131n\u0131n kay\u0131tl\u0131 oldu\u011fu \u00f6nemli bir ara\u015ft\u0131rma konusudur. Mimarl\u0131k, in\u015faat ve s\u00fcsleme gibi \u00e7e\u015fitli y\u00f6nlerden incelemeye de\u011fer bir konu olan Mardin ta\u015f\u00e7\u0131l\u0131\u011f\u0131n\u0131n, halk sanatlar\u0131 y\u00f6n\u00fcnden en karakteristik \u00f6zelliklerini Mardin binalar\u0131n\u0131n nizamlar\u0131nda g\u00f6rmekteyiz(14,15).<\/p>\n

\u00a0Bu iptidai mimarlar ve nakka\u015flar, m\u0131nkar ve baz\u0131 \u00e7elik ara\u00e7larla harikalar yaratm\u0131\u015f, ayn\u0131 zamanda da mimarba\u015f\u0131 ve kalfalar yeti\u015ftirmi\u015flerdir. Bu sanatkarlar bir\u00e7ok medrese, cami, manast\u0131r, kilise, saray, malikhane ve k\u00f6pr\u00fc gibi eserlerle \u015fehri s\u00fcslemi\u015flerdir. Mardinli mimarlar, ta\u015ftan tarih yazm\u0131\u015flard\u0131r. Mardin \u015fehri mimarlar\u0131 hakk\u0131nda maalesef derin bilgi edinmek ba\u015fl\u0131 ba\u015f\u0131na ara\u015ft\u0131rma ve ekip i\u015fidir. Son y\u0131llarda turizme a\u00e7\u0131lan Mardin i\u00e7in bu konunun etrafl\u0131ca ara\u015ft\u0131r\u0131lmas\u0131n\u0131n, \u00e7ok faydal\u0131 bir faaliyet olaca\u011f\u0131na inan\u0131yoruz. Mardin \u015fehri ve tarihi yap\u0131lar\u0131 beraberinde bir\u00e7ok soruyu getirmi\u015ftir. Mardin tarihinin, k\u00fclt\u00fcr\u00fcn\u00fcn ve en \u00f6nemlisi mimarisinin ger\u00e7ek\u00e7i bir yakla\u015f\u0131mla konu\u015fulup yaz\u0131lmas\u0131 gerekir. 19 yy. ve 20 yy. aras\u0131 ya\u015fam\u0131\u015f Mardinli mimarlar\u0131n listesini ara\u015ft\u0131r\u0131p bulmak, benim i\u00e7in bir y\u0131l\u0131m\u0131 a\u015fan bir \u00e7al\u0131\u015fma olmu\u015ftur. Ermeni as\u0131ll\u0131, nam-\u0131 de\u011fer Mimarba\u015f\u0131 Sarkis Lole\u2019den (Levon) bahsetmeden ge\u00e7emeyece\u011fim. Tespitlerime g\u00f6re, Lole Ailesi \u00fc\u00e7 as\u0131rdan beri Mardin, Diyarbak\u0131r, Hasankeyf, Mayfarkin, Bitlis, Urfa ve Adana b\u00f6lgelerine mimari a\u00e7\u0131dan damgalar\u0131n\u0131 vurmu\u015flard\u0131r. Bir\u00e7ok mimar yeti\u015ftirmi\u015flerdir. Son yeti\u015ftirdikleri mimarlar, Ermeni as\u0131ll\u0131 Mahdesi Mimar Yusuf Gerzelo, Sarkis Lole\u2019nin (Levon) o\u011flu Mahdesi Selim Lole ve Mimar Hac\u0131 Abdulcelil Kao (\u0130ldo\u011fan) olmu\u015flard\u0131r. Sarkis Lole\u2019nin Mardin\u2019deki son eseri, \u015eehidiye Camisi\u2019nin minaresi olmu\u015ftur. Ermeni mimarlar, genellikle kutsal yerlerin mimarisinin e\u011fitimini almak i\u00e7in Venedik\u2019teki Surp Kazar Adas\u0131\u2019n\u0131n Manast\u0131r\u0131\u2019na giderlerdi. Ancak Lole Ailesi fertlerinin, Venedik\u2019te, bu e\u011fitimi al\u0131p almad\u0131klar\u0131n\u0131 tespit etmek imkan\u0131m olmad\u0131. Bu ayr\u0131ca ara\u015ft\u0131r\u0131lmas\u0131 gereken bir konudur.\u00a0 Lole Ailesi\u2019nin Mardin\u2019e kazand\u0131rd\u0131klar\u0131 ba\u015fl\u0131ca yap\u0131tlar;\u00a0 Surp Hovsep Ermeni Kilisesi [ 1877 y\u0131l\u0131nda padi\u015fah ferman\u0131yla Meclis-i Mebusan \u00dcyesi Mardinli Hosep Kazasyan (Hoca Hosep)** ad\u0131na yap\u0131lan], Mar Butrus (Bedros) Kilisesi, Katolik Patrikhanesi (\u015eehir M\u00fczesi), Meryem Ana Kilisesi ve Mardin \u015fehir giri\u015findeki Der Mar Efram (Surp Minas) Manast\u0131r\u0131d\u0131r (14,16).\u00a0\u00a0<\/p>\n

Sarkis Lole\u2019nin \u00f6nemli eserlerinden biri de Der-Zafaran Manast\u0131r\u0131\u2019n\u0131n ikinci kat\u0131 ve ilaveleridir. Bu ilaveler manast\u0131ra bug\u00fcnk\u00fc ihti\u015faml\u0131 g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc kazand\u0131rm\u0131\u015ft\u0131r.<\/p>\n

Mimar Cebrail (Hekimyan) ise, Mardin askeri k\u0131\u015fla binas\u0131n\u0131 in\u015fa etmi\u015ftir. Bug\u00fcnlerde bu bina restore edilmekte olup, \u015fehir m\u00fczesine d\u00f6n\u00fc\u015ft\u00fcr\u00fclmektedir. Ayr\u0131ca, eskiden \u015eemsi mabetlerinden olan, yak\u0131n tarihte Yakubi S\u00fcryani Kilisesi\u2019ne d\u00f6n\u00fc\u015ft\u00fcr\u00fclen Mar Mihail, Mar I\u015fmune ve K\u0131rklar Kiliseleri\u2019nin \u00e7an kulelerinin de mimar\u0131 olup, kendine \u00f6zg\u00fc yeni bir usl\u00fcp geli\u015ftirmi\u015ftir(12).<\/p>\n

\u00a0Mardin\u2019deki binalar\u0131n ta\u015f yataklar\u0131, \u015fehrin g\u00fcneyinde Belsik denen mevkide idi. 1925\u2019lerde bu ta\u015f yataklar\u0131 t\u00fckendi.\u00a0 Sarkis Lole, yeni ta\u015f yataklar\u0131 aramaya ba\u015flad\u0131. Midyat\u2019ta nahit ta\u015flar\u0131n\u0131n yataklar\u0131n\u0131 ke\u015ffetti. Orada da Mardin ta\u015f i\u015f\u00e7ili\u011fini ve kendi mimari uslubunu \u00f6\u011fretip, yeni mimarlar yeti\u015ftirdi. Son y\u0131llarda ald\u0131\u011f\u0131 ihale ve verilen sipari\u015fleri kendi yeti\u015ftirdi\u011fi mimarlara yapt\u0131r\u0131rd\u0131. Bu bilgileri bize aktaran rahmetle and\u0131\u011f\u0131m\u0131z Sarkis Lole\u2019nin yan\u0131nda yeti\u015fen Abdulcelil Kao (\u0130ldo\u011fan) ve Lole\u2019nin torunu Jozef\u00a0 Erta\u015f (Lole)\u2019dir. Efsane Mimarba\u015f\u0131 Sarkis Lole, do\u011fdu\u011fu Mardin \u015fehrinde 1931 y\u0131l\u0131nda vefat etmi\u015ftir. O tarihte Ermeni kiliseleri askeri k\u0131\u015fla olarak kullan\u0131ld\u0131klar\u0131 i\u00e7in cenaze merasimi, Keldani Kilisesi\u2019nde yap\u0131lm\u0131\u015f, Ermeni Mezarl\u0131\u011f\u0131\u2019nda topra\u011fa verilmi\u015ftir. Lole Ailesi, Mardin \u015fehrinde yeti\u015fen en \u00fcnl\u00fc mimar ailesidir. Tabir-i caiz ise Mardin ve etraf\u0131ndaki \u015fehirlerin \u201cMimar Sinan\u201d\u0131\u2019d\u0131r. Mardin \u015fehrinin mimarisi, kendine has \u00fcslubu ile ne arap, ne de ba\u015fka bir mimariye benzer. Bilakis kom\u015fu \u015fehirler, Mardin mimarisinden etkilenmi\u015ftir. Cezire \u015fehirlerinin (Musul, Erbil, Sincar, Kam\u0131\u015fl\u0131 vs.) en \u00f6nemli mimarba\u015flar\u0131 Mardin as\u0131ll\u0131d\u0131r(17).<\/p>\n

\u00a0\u00a0 Mardin \u015fehri mimarisinin geli\u015fmesi Artuklular ile ba\u015flar. Osmanl\u0131 ile devam eder. Anadolu T\u00fcrk sanat\u0131 ara\u015ft\u0131rmalar\u0131nda, nispeten daha az incelenmi\u015f bir b\u00f6lge olan G\u00fcneydo\u011fu Anadolu\u2019ya 12. yy. ba\u015f\u0131ndan 14. yy. sonuna kadar b\u00f6lgeye Artuklular muhtelif zamanlarda egemen oldu. Artuklular\u2019\u0131n mimari an\u0131tlar\u0131, Anadolu\u2019nun genel yap\u0131 mimarisinden\u00a0 farkl\u0131 \u00f6zellikler g\u00f6stermesi a\u00e7\u0131s\u0131ndan ilgi \u00e7ekicidir. Artuklu devri mimarlar\u0131, kuvvetli ta\u015f i\u015f\u00e7ili\u011fi ve ta\u015f\u00e7\u0131 gelene\u011fine sahip olan b\u00f6lgede, bu gelene\u011fi ba\u015far\u0131l\u0131 bir bi\u00e7imde uygulam\u0131\u015flard\u0131r. Bu mimari sentez, devaml\u0131 bir ara\u015ft\u0131rma ve geli\u015ftirmenin sonucu olarak uzun s\u00fcre b\u00f6lge mimarisini etkileyen bir gelenek haline gelmi\u015ftir(13).<\/p>\n

\u00a0MARD\u0130N M\u0130MAR\u0130S\u0130 (\u00dcSLUBU):<\/strong><\/p>\n

\u00a0Mardin evleri muhte\u015fem bir mimarl\u0131k eseridir. Konumu uzaktan bak\u0131ld\u0131\u011f\u0131nda \u00fcst \u00fcste g\u00f6r\u00fcnecek \u015fekilde dik bir yama\u00e7 \u00fczerindedir. Ta\u015f binalar d\u00fcz daml\u0131d\u0131r. Kenar revak ve ta\u015f s\u00fcslemeleri ile dikkat \u00e7eker. Bu bak\u0131mdan ta\u015f oyma sanat\u0131 ince detaylara inecek \u015fekilde i\u015flenmi\u015ftir. Baz\u0131 binalar\u0131n d\u0131\u015f cephelerinde kitabeler hat sanat\u0131n\u0131n g\u00f6ze \u00e7arpan \u00f6rnekleri olmu\u015ftur. Bu hat sanat\u0131n\u0131n en g\u00fczel \u00f6rnekleri medreselerdeki kitabelerde g\u00f6r\u00fclmektedir. G\u00fcneydo\u011fu Anadolu\u2019da, \u00fcnl\u00fc Mezopotamya ovas\u0131n\u0131n ba\u015flang\u0131\u00e7 noktas\u0131nda yer alan Mardin, bilindi\u011fi gibi tarihi \u00e7ok eskilere uzanan bir kenttir. Ge\u00e7mi\u015fin \u00fcnl\u00fc \u0130pekyolu ile ba\u011flant\u0131s\u0131 olan kent, fiziki konumuna yans\u0131yan karakteristik \u00e7izgileriyle dantel g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc alm\u0131\u015ft\u0131r. Dini yap\u0131lar\u0131nda, konutlar\u0131n\u0131n mimarisinde kullan\u0131lan egemen yap\u0131 malzemesi ta\u015ft\u0131r. Y\u00fczy\u0131llar\u0131n deneyimi, birikimi ve iklim ko\u015fullar\u0131 ile ta\u015f, bu mimariyle en iyi \u015fekilde ba\u011fda\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r (18).<\/p>\n

\u00a0Ayr\u0131ca Mardin, hem \u0130slam hem de Hristiyan k\u00fclt\u00fcr ve mimarisi aras\u0131nda, k\u00f6pr\u00fc g\u00f6revini \u00fcstlenmi\u015ftir. Mardin kentinde, ilk sivil mimari dokunun, daha do\u011fru bir tan\u0131mla, ilk mahalle niteli\u011findeki \u00fcnitelerin, kale i\u00e7inde olu\u015ftu\u011fu anla\u015f\u0131lmaktad\u0131r. Kentin sivil dokusunun ise, ilk kez 5. yy. da kale d\u0131\u015f\u0131na ta\u015ft\u0131\u011f\u0131 tarihi kaynaklarca belirtilmektedir. Mardin Kalesi\u2019nin g\u00fcneyinde dik yama\u00e7lar yer almaktad\u0131r. Kaleye paralel olarak uzanan ve kenti ikiye b\u00f6len tek ana cadde ayn\u0131 zamanda, Mardin\u2019in \u00e7ar\u015f\u0131s\u0131 g\u00f6revini \u00fcstlenmi\u015ftir. Kamu yap\u0131lar\u0131 ve i\u015f yerleri bu cadde \u00fczerinde toplanm\u0131\u015ft\u0131r. Kentin ana antrelerle ayr\u0131lan iki kesiminde, camiler, medreseler, t\u00fcrbeler, kiliseler, hamamlar, \u00e7e\u015fmeler ve evler birbirine darac\u0131k sokaklar ile basamak basamak merdivenler ya da y\u00f6rede \u201cabbara\u201d denilen \u00fcst\u00fc tonozlu ge\u00e7itlerle ba\u011flan\u0131rlar. Mardin ovas\u0131ndan kente bak\u0131ld\u0131\u011f\u0131nda, konutlar arazinin e\u011fimine uyarak birbiri \u00fcst\u00fcne dizilmi\u015f g\u00f6r\u00fcn\u00fcmleriyle adeta \u00e7ok katl\u0131 apartman bloklar\u0131 izlenimlerini vermektedir. Yak\u0131n zamanlarda in\u015fa edilen baz\u0131 resmi yap\u0131lar d\u0131\u015f\u0131nda, mimari doku, a\u00e7\u0131k renkli ta\u015fla olu\u015fturulmu\u015ftur. Yerli halk\u0131n deyimiyle beyaz, sar\u0131 ve k\u0131rm\u0131z\u0131 tonlarda olan \u201cnahit\u201d ta\u015flar\u0131 da kullan\u0131larak renkli g\u00f6r\u00fcn\u00fcmler elde edilmi\u015ftir. Mardin\u2019de nak\u0131\u015fl\u0131 ta\u015flara, \u201cnahit\u201d ad\u0131 verilmi\u015ftir. Bu deyim Ermeni Tanr\u0131\u00e7as\u0131 Anahit\u2019ten gelmektedir (22). Evler arazinin konumuna g\u00f6re teraslar \u015feklinde en az iki \u00fc\u00e7 katl\u0131 olarak planlanm\u0131\u015ft\u0131r. \u00dcst \u00f6rt\u00fc sistemi, tamamen d\u00fcz ve toprak damd\u0131r. Damlar\u0131n akmamas\u0131 i\u00e7in ya\u011fmurlardan sonra \u201cmenderune\u201d ad\u0131 verilen silindirik bir ta\u015fla, toprak s\u0131k\u0131\u015ft\u0131r\u0131l\u0131r. Duvar \u00f6rg\u00fcs\u00fcnde ilk bak\u0131\u015fta g\u00f6r\u00fclmeyecek kadar az har\u00e7 kullan\u0131lm\u0131\u015ft\u0131r. Ta\u015flar\u0131n \u00fcst \u00fcste konulmas\u0131yla ortaya \u00e7\u0131kar\u0131lan \u00e7ok kal\u0131n duvarlar\u0131n, evlerin yaz\u0131n \u00e7ok serin, k\u0131\u015f\u0131nda s\u0131cak olmas\u0131n\u0131 sa\u011flar. \u0130\u00e7inde birka\u00e7 ku\u015fa\u011f\u0131 ya\u015fatan ve geni\u015f aile tiplerini bar\u0131nd\u0131ran g\u00f6rkemli Mardin evlerinin ilk kat\u0131, s\u00fctunlara bindirilmi\u015ftir. Hafif sivri kemerlerin meydana getirdi\u011fi\u00a0 -U- bi\u00e7iminde revakl\u0131 bir avlu ve avluya a\u00e7\u0131lan odalardan meydana gelmi\u015ftir (11,13).<\/p>\n

\u0130kinci kat, birinci kat odalar\u0131n\u0131n \u00e7apraz tonozlar\u0131 \u00fczerine bindirilerek arazinin e\u011fimine g\u00f6re geri \u00e7ekilmi\u015f, teras \u015feklinde ve geni\u015f\u00a0 -L- bi\u00e7imli bir avlu ile di\u011fer mekanlardan olu\u015fmaktad\u0131r. T\u00fcm Mardin evlerinin de\u011fi\u015fmez \u00f6zelli\u011fi, \u00fczeri bas\u0131k tonozla \u00f6rt\u00fcl\u00fc y\u00f6re dilinde \u201c\u00f6rt\u00fcl\u00fc eyvan\u201d denilen birimlerdir. Eyvana a\u00e7\u0131lan odalar, teras kat\u0131 olarak da tan\u0131mlayabilece\u011fimiz ikinci katta yer almaktad\u0131r. Teraslar t\u00fcm Mardin ovas\u0131na egemen ve birbirlerinin g\u00f6r\u00fc\u015f a\u00e7\u0131lar\u0131n\u0131 engellemeyecek \u015fekilde d\u00fczenlenmi\u015ftir. Yaz mevsiminin s\u0131cak g\u00fcnlerinde serinli\u011fi ve havaland\u0131rmay\u0131 sa\u011flamak amac\u0131yla, avlu cephesindeki uzun pencere \u00fcstlerine, halk\u0131n \u201ckamariye\u201d dedi\u011fi yuvarlak havaland\u0131rma delikleri a\u00e7\u0131lm\u0131\u015ft\u0131r. Ha\u00e7 \u015feklinde olan \u201ckamariye\u201dler de vard\u0131r.\u00a0 Mardin \u015fehri mimarisinde en \u00e7ok kullan\u0131lan fig\u00fcrlerden biri g\u00fcvercin motifidir. Kitab-\u0131 Mukaddes\u2019ten al\u0131nan bu ku\u015f fig\u00fcr\u00fcn\u00fcn anlam\u0131 ise; \u0130sa Mesih\u2019in vaftizi an\u0131nda, Tanr\u0131 taraf\u0131ndan kutsanmak \u00fczere g\u00f6nderilen g\u00fcvercinin a\u011fz\u0131ndan kutsal ya\u011f damlar. Vaftiz, t\u00fcm Hristiyan uluslar\u0131n ortak bir \u015fart\u0131 ve gelene\u011fi olmas\u0131na ra\u011fmen g\u00fcvercin fig\u00fcr\u00fc sadece Ermeni Kilisesi taraf\u0131ndan kullan\u0131lmaktad\u0131r (5). Mardin evleri ilk yap\u0131ld\u0131klar\u0131nda geni\u015f aile tiplerinin ihtiya\u00e7lar\u0131n\u0131 kar\u015f\u0131layan saray yavrusu malikaneler \u015feklinde in\u015fa edilmi\u015ftir. Bu tarihi Mardin evleri, zaman i\u00e7inde aile tiplerinin k\u00fc\u00e7\u00fclmesi sonucu b\u00f6l\u00fcmlere ayr\u0131larak kullan\u0131l\u0131r duruma gelmi\u015ftir. Eski orijinal g\u00f6r\u00fcn\u00fcm\u00fcndeki \u00f6zelli\u011fini kaybetmi\u015ftir (5).<\/p>\n

G\u00fcn\u00fcm\u00fczde an\u0131tlar\u0131 ve konut mimarisi a\u00e7\u0131s\u0131ndan ger\u00e7ek bir a\u00e7\u0131k hava m\u00fczesi g\u00f6r\u00fcn\u00fcm\u00fc arz eder. Mardin evlerinin avludan itibaren ta\u015f i\u015f\u00e7ili\u011fi bezeme y\u00f6n\u00fcnden \u00e7ok zengin olan i\u00e7 dekorasyonuna kar\u015f\u0131l\u0131k, d\u0131\u015f cepheleri olduk\u00e7a yal\u0131n duvarlarla kapl\u0131d\u0131r (17).<\/p>\n

\u00a0Bir bak\u0131ma t\u00fcm Anadolu\u2019daki geleneksel konutlar i\u00e7in ge\u00e7erli olan, d\u0131\u015fa kapal\u0131 olma e\u011filimi bu b\u00f6lge i\u00e7inde ge\u00e7erlidir. Bu nedenle dar ve y\u00fcksek duvarlarla konutlardan ayr\u0131lan sokaklar, adeta birbirinin benzeridir. K\u0131\u015f\u0131n, kar\u0131 d\u0131\u015far\u0131ya atmak i\u00e7in pencereli \u00e7\u0131kmalardan yararlan\u0131l\u0131r. Tahta \u00fczerine demir kaplamal\u0131 sokak kap\u0131lar\u0131, halen kullan\u0131lmakta olan b\u00fcy\u00fck boy anahtar kilitleri ve kap\u0131 tokmaklar\u0131 dikkat \u00e7ekicidir. Bronzdan yap\u0131lma tokmaklar genellikle 3 tiptedir: Halkal\u0131, han\u0131meli ve stilize horoz fig\u00fcr\u00fc \u015feklinde olan kap\u0131 tokmaklar\u0131 g\u00fcn\u00fcm\u00fczde de i\u015flevlerini ayn\u0131 \u015fekilde s\u00fcrd\u00fcrmektedir. Ayr\u0131ca, \u00e7ocuklara mahsus kap\u0131 tokmaklar\u0131 da vard\u0131r. Ge\u00e7mi\u015ften g\u00fcn\u00fcm\u00fcze kadar karakteristik \u00f6zellikleri baz\u0131 evlerde korunmu\u015ftur. Baz\u0131lar\u0131n da ise korunamam\u0131\u015ft\u0131r. Bunun sebepleri a\u015fa\u011f\u0131da taraf\u0131mca a\u00e7\u0131klanm\u0131\u015ft\u0131r(19).<\/p>\n

Mardin evlerinin b\u00fcy\u00fck \u00e7o\u011funlu\u011fu, en az y\u00fcz y\u0131ll\u0131kt\u0131r. Yap\u0131lar\u0131n temellerinde rutubeti \u00f6nlemek i\u00e7in tuz d\u00f6k\u00fcl\u00fcrd\u00fc. Bu usul, antik \u00e7a\u011fdan gelmedir. Tespit edebildi\u011fimiz mimarba\u015f\u0131, mimar ve kalfalar\u0131n adlar\u0131n\u0131, hangi unsura ait olduklar\u0131 a\u015fa\u011f\u0131da belirtilmi\u015ftir(14).<\/p>\n

MARD\u0130N EVLER\u0130N\u0130N TA\u015e OCAKLARINDAN B\u0130NA \u015eEKL\u0130NE D\u00d6N\u00dc\u015eEN PLAN EVRELER\u0130:<\/strong><\/p>\n

1)\u00a0\u00a0 Makta: Ta\u015flar\u0131n kaba taslak k\u00fcp \u015feklinde kesilmesine denir.<\/p>\n

2)\u00a0\u00a0 Nahhat: Kesilen kaba ta\u015flar\u0131 d\u00fczeltip t\u0131ra\u015flayana denir.<\/p>\n

3)\u00a0\u00a0 Nakka\u015f: D\u00fcz t\u0131ra\u015flanm\u0131\u015f ta\u015flara motif \u00e7izip, \u00e7elik kalemle oyana denir.<\/p>\n

4)\u00a0\u00a0 Benne (Duvarc\u0131) ve kalfa: Mimar\u0131n plan\u0131na g\u00f6re nahit ta\u015flar\u0131 yerine yerle\u015ftirenlere denir.<\/p>\n

5)\u00a0\u00a0 Mimar: \u0130n\u015faat\u0131 pl\u00e2nlayana denir.<\/p>\n

6)\u00a0\u00a0 Mimarba\u015f\u0131: Bir\u00e7ok eseri olan ve mimarlar yeti\u015ftirenlere denir.<\/p>\n

MARD\u0130NL\u0130 T\u00dcRK M\u0130MARLAR:<\/strong><\/p>\n

1) Abde Velo (Ak\u0131\u015f\u0131n): Kalfa ve mimar.<\/p>\n

2) Hac\u0131 Abd\u00fclcelil Kao (\u0130ldo\u011fan): Kalfa ve mimar.<\/p>\n

3) \u015eehmus Zeroke: Nahhat ve nakka\u015f.<\/p>\n

4)Mehmet Atay: Kalfa , mimar.<\/p>\n

5)Yusuf K\u0131d\u0131r: Nakka\u015f, kalfa ve mimar.<\/p>\n

MARD\u0130NL\u0130 ERMEN\u0130 M\u0130MARLAR VE M\u0130MARBA\u015eLARI:<\/strong><\/p>\n

1)\u00a0\u00a0\u00a0 Sarkis Lole (Levon): Mimarba\u015f\u0131.<\/p>\n

2)\u00a0\u00a0\u00a0 Selim Lole Erta\u015f: Sarkis Lole\u2019nin o\u011fludur. Mimarba\u015f\u0131.<\/p>\n

3)\u00a0\u00a0\u00a0 Cor\u00e7 Lole Erta\u015f: Nakka\u015f ve mimar.<\/p>\n

4)\u00a0\u00a0\u00a0 Jozef Lole Erta\u015f: Selim Lole\u2019nin o\u011fludur. Nakka\u015f ve mimar.<\/p>\n

5)\u00a0\u00a0\u00a0 Sait El Abyad: Nakka\u015f ve mimar.<\/p>\n

6)\u00a0\u00a0\u00a0 Hanna Mimarba\u015f\u0131: Nakka\u015f ve mimar.<\/p>\n

7)\u00a0\u00a0\u00a0 Sait Mimarba\u015f\u0131: Nakka\u015f ve mimar. Hanna\u2019n\u0131n o\u011fludur.<\/p>\n

8)\u00a0\u00a0 Cercis Sane: Nakka\u015f ve benne (kalfa).<\/p>\n

9)\u00a0\u00a0\u00a0 Jozef Sane: Nakka\u015f ve benne. Cercis\u2019in o\u011fludur.<\/p>\n

10)\u00a0\u00a0 Sabri Sane: Nakka\u015f ve benne. Cercis\u2019in o\u011fludur.<\/p>\n

11)\u00a0\u00a0 \u0130lyas Gendora (Mengelyan): Benne ve mimar.<\/p>\n

12)\u00a0\u00a0 Cebrail (Hekimyan) Mimar: Kalfa ve mimar.<\/p>\n

13)\u00a0\u00a0 Mihail (Hekimyan) Mimar: Nahhat. Cebrail\u2019in karde\u015fidir.<\/p>\n

14)\u00a0\u00a0 Cercis (Hekimyan) Mimar: Mimar.<\/p>\n

15)\u00a0\u00a0 Jak (Hekimyan) Mimar: Mimar.<\/p>\n

16)\u00a0\u00a0 Yusuf Gerzelo: Nakka\u015f, benne ve mimar.<\/p>\n

17)\u00a0\u00a0 Cor\u00e7 Gerzelo: Nahhat ve nakka\u015f. Yusuf\u2019un karde\u015fidir.<\/p>\n

18)\u00a0\u00a0 Enis (B\u0131smarci) Neg\u00fczel: Nakka\u015f.<\/p>\n

19)\u00a0\u00a0 Yusuf (Sahhar) U\u011furgel:Nahhat.<\/p>\n

20)\u00a0\u00a0 Sait (Say\u0131\u011f) Dilli: Kalfa.<\/p>\n

21)\u00a0\u00a0 Abd\u00fclmesih (Sununu): Nakka\u015f ve mimar.<\/p>\n

22)\u00a0\u00a0 Cercis (Sununu): Kalfa ve mimar.<\/p>\n

23) \u00a0\u00a0Cemil (Sununu): Nakka\u015f ve kalfa.<\/p>\n

24)\u00a0\u00a0 S\u0131d\u0131k Kayri: Makta.<\/p>\n

25)\u00a0\u00a0 Hosep Sarrafyan: Mimarba\u015f\u0131.<\/p>\n

MARD\u0130NL\u0130 S\u00dcRYAN\u0130 M\u0130MAR VE KALFALAR:<\/strong><\/p>\n

1)\u00a0\u00a0 Abd\u00fclmesih (Asse, Ahmardakno) Asil: Kalfa.<\/p>\n

2)\u00a0\u00a0 Yakup Hedeye: Benne ve kalfa.<\/p>\n

3)\u00a0\u00a0 Abd\u00fclmesih Sese: Kalfa.<\/p>\n

4)\u00a0\u00a0 Abd\u00fclmesih Kalo (Ge\u00e7kald\u0131n): Nakka\u015f.<\/p>\n

5)\u00a0\u00a0 Raffi Kalo (Ge\u00e7kald\u0131n): Nakka\u015f ve mimar.<\/p>\n

6)\u00a0\u00a0 Bahde (Papahar): Makta ve nahhat.<\/p>\n

7)\u00a0\u00a0 \u0130lyas (Papahar): Makta. Bahde\u2019nin o\u011fludur.<\/p>\n

8)\u00a0\u00a0 Aziz (Habot) Tokun\u00e7: Makta.<\/p>\n

9)\u00a0\u00a0 \u0130skender (Habot) Tokun\u00e7: Makta.<\/p>\n

Adlar\u0131 elimize ge\u00e7meyen mimar ve kalfalar\u0131 yazamad\u0131\u011f\u0131m\u0131z i\u00e7in \u00f6z\u00fcr dileriz. Bu muhte\u015fem k\u00fclt\u00fcr miras\u0131n\u0131 haz\u0131rlay\u0131p bize b\u0131rakanlar\u0131, Mardin\u2019i sevenleri, bu hizmeti veren mimarlardan kalfalara kadar b\u00fct\u00fcn eme\u011fi ge\u00e7enleri sayg\u0131yla an\u0131yoruz. Say\u0131n Abd\u00fclcelil Kao (\u0130ldo\u011fan) ve Jozef Lole Erta\u015f\u2019a, verdikleri \u00f6nemli bilgilerden dolay\u0131 \u015f\u00fckranlar\u0131m\u0131 sunar\u0131m (20). Mekanlar\u0131 cennet olsun.<\/p>\n

\u00a0Siyasi imar kararlar\u0131 ve sosyo-ekonomik ko\u015fullar, mimarimizin bu g\u00fcne ula\u015fan kan\u0131tlar\u0131n\u0131 bir bir yok ediyor. Pek \u00e7ok kentimizde oldu\u011fu gibi, Mardin\u2019de de durum b\u00f6yle. Toplumsal umursamazl\u0131\u011f\u0131m\u0131z, resmi tav\u0131r ve \u201cnas\u0131l olsa bizde \u00e7ok\u201d mant\u0131\u011f\u0131 elele verince tarihi harcama hovardal\u0131\u011f\u0131na karar dayanmaz. Kentsel ve b\u00f6lgesel hatta ulusal bazda, kimli\u011fin belirlenmesindeki ana unsurlardan birini olu\u015fturan Mardin tarihi yap\u0131lar\u0131, ge\u00e7mi\u015fle gelecek aras\u0131nda birer k\u00f6pr\u00fc durumundad\u0131r. Bu a\u00e7\u0131dan, bu yap\u0131lar ya\u015fat\u0131lmal\u0131 ve korunmal\u0131d\u0131rlar. Tarihi \u00e7evreleri ya\u015fatman\u0131n en do\u011fru yolu, yap\u0131lar\u0131 birer canl\u0131 organizma olarak\u00a0 kabul edip, sosyal ya\u015famdaki yerlerinin korumalar\u0131ndan ge\u00e7er. Mardin, eski g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc ve kentsel niteliklerini \u00f6nemli \u00f6l\u00e7\u00fcde yitirmi\u015f olan, tarihi bir \u015fehirdir. Dolay\u0131s\u0131yla gelecek ku\u015faklara somut \u00f6rnekler b\u0131rakmak, ayn\u0131 zamanda sa\u011fl\u0131ks\u0131z kentle\u015fmeye kar\u015f\u0131 do\u011fru ve g\u00fczel \u00f6rnekleri korumak ve koruma bilincini yayg\u0131nla\u015ft\u0131rmak gerekir. \u0130ki ve \u00fc\u00e7 katl\u0131 konutlar\u0131yla be\u015f kat olana\u011f\u0131 tan\u0131nmas\u0131, buradaki geleneksel evlerin korunmas\u0131n\u0131 adeta olanaks\u0131z k\u0131lmakta, tarihi eserleri korumama d\u00fc\u015f\u00fcncesi benimsenmi\u015f olacakt\u0131r. Bu durumda, evleri ekonomik olarak eskiyen ki\u015filer, h\u0131zl\u0131 davran\u0131p birka\u00e7 daire sahibi olmu\u015f kom\u015fular\u0131na g\u00f6re, kendilerini ekonomik kayba u\u011fram\u0131\u015f kabul edecektirler (13, 18, 20).<\/p>\n

\u00a0Mardin tarihi eserlerinin koruma \u00e7abas\u0131 ve sevgisi ile \u00e7ok b\u00fcy\u00fck maddi olanaklara kavu\u015fma aras\u0131ndaki ikilem, ki\u015fileri zor durumda b\u0131rakmaktad\u0131r ve ne yaz\u0131k ki, g\u00fcn\u00fcm\u00fczde ikinci se\u00e7enek a\u011f\u0131r basmaktad\u0131r. Di\u011fer yandan bu uygulamalara k\u00fclt\u00fcrel cinayet diyecek kadar sert tepkide bulunanlar ise, bu yakla\u015f\u0131m\u0131n kent kimli\u011fini bozdu\u011funa inan\u0131rlar.<\/p>\n

\u00a0Yery\u00fcz\u00fcnde \u00e7e\u015fitli mimariler ve sanat eserleri, onlar\u0131 yaratan milletlerin k\u00fclt\u00fcrlerinin bir ifadesidir. Camiler, medreseler, manast\u0131rlar, kiliseler, mezar yap\u0131lar\u0131, mabetler, k\u00fcmbetler gibi sanat eserleri, milletlerin d\u00fcnya g\u00f6r\u00fc\u015flerini ve inan\u0131\u015flar\u0131n\u0131 bize aksettirmektedir. Bu nedenle bu eserlerin korunmas\u0131 \u00f6nemlidir. Mardin\u2019deki eserlerin s\u00fcrekli olarak bak\u0131m\u0131 ve onar\u0131lmas\u0131 konusunda gerekli hassasiyetin g\u00f6sterilmesi gerekmektedir (21).<\/p>\n

\u00a0Zaman\u0131m\u0131zda, bu tarihi eserler, harap olmaya y\u00fcz tuttuktan sonra, restore edilmeleri yoluna gidilmektedir. Oysa s\u00fcrekli bak\u0131mlar\u0131 gerekir. Dikkat edilmesi gereken ba\u015fka bir konu ise, mimari eserlerin bak\u0131m ve onar\u0131mlar\u0131nda, k\u00fclliye binalar\u0131n\u0131n b\u00fct\u00fcn\u00fc ile ele al\u0131n\u0131p, asl\u0131na uygun olarak restorasyonu yap\u0131lmal\u0131d\u0131r. Daha d\u00fcne kadar Avrupal\u0131 seyyahlar\u0131n ba\u015fta Mardin olmak \u00fczere, Anadolu \u015fehirlerini d\u00fcnyan\u0131n en g\u00fczel k\u00f6\u015feleri olarak vas\u0131fland\u0131rmalar\u0131 nedensiz de\u011fildir.<\/p>\n

\u00a0Bu \u015fehirlerde g\u00f6r\u00fclen o muhte\u015fem estetik duygu, tabiatla kucakla\u015fma, hakim olan kutsall\u0131k duygusu ve sanatlar\u0131 ile b\u00fct\u00fcnle\u015fmi\u015f mimariler, ne yaz\u0131k ki, s\u00fcratle kay\u0131p olmaya ve yerini birbirine benzeyen ruhsuz beton y\u0131\u011f\u0131nlar\u0131na b\u0131rakmaya ba\u015flam\u0131\u015ft\u0131r.<\/p>\n

MARD\u0130N Z\u0130YARET\u0130<\/strong><\/p>\n

\u00a01957 y\u0131l\u0131nda, ben 16 ya\u015f\u0131ndayken ailece Mardin\u2019den \u0130stanbul\u2019a g\u00f6\u00e7 ettik. \u0130stanbul\u2019da ya\u015fad\u0131\u011f\u0131m s\u00fcrece Mardin\u2019e hi\u00e7 gitmedim. Ancak 50 y\u0131l sonra, 2007 y\u0131l\u0131nda Mardin Valisi Say\u0131n Mehmet K\u0131l\u0131\u00e7lar\u2019\u0131n daveti \u00fczerine Mardin\u2019e gittim. Bu davet, Mardin\u2019de d\u00fczenlenen Uluslararas\u0131 Artuklu Sempozyumu\u2019na kat\u0131lmam i\u00e7indi. Bu sempozyumda, Artuklu-Ermeni ili\u015fkileri \u00fczerine bir bildiri sundum. \u00dc\u00e7 g\u00fcn s\u00fcren sempozyumdan arta kalan zamanda ise, \u015fehri gezmek istedim.<\/p>\n

\u00a0\u0130lk sahipleri T\u00fcfenk\u00e7iyan Ailesi olan Cercis Murat Kona\u011f\u0131\u2019n\u0131n teras\u0131ndan t\u00fcm Mezopotamya ovas\u0131n\u0131 seyretmeye ba\u015flad\u0131m. Gece, ova muhte\u015fem bir denizi and\u0131r\u0131yordu. Mardin \u015fehrine, insanlar\u0131n yapt\u0131\u011f\u0131 ay\u0131plar\u0131n t\u00fcm\u00fcn\u00fc, gecenin karanl\u0131\u011f\u0131 \u00f6rtmekteydi. Sabah, g\u00fcne\u015f do\u011fdu\u011funda ise, betonarme yap\u0131la\u015fman\u0131n bizlere ya\u015fatt\u0131\u011f\u0131 ger\u00e7ekler, t\u00fcm \u00e7\u0131plakl\u0131\u011f\u0131 ile ortaya \u00e7\u0131k\u0131yordu. Bunu kabullenmek ise, insana zor geliyordu. Zaman i\u00e7inde yap\u0131lan tahribatlarla, adeta bir r\u00fcya kenti olan Mardin\u2019in k\u0131ymetinin bilinmedi\u011fi ortaya \u00e7\u0131k\u0131yordu.\u00a0\u00a0 E\u011fer \u015fehrin tarihi dokusunu koruyabilmi\u015f olsayd\u0131k, Orta \u00c7a\u011f\u2019\u0131n mimari \u015faheserlerinden Floransa ve Venedik kentlerinden farkl\u0131 olmayacakt\u0131. \u015eehir kanserli ur gibi yay\u0131lm\u0131\u015f olan betonlardan kurtulmak ister gibiydi. Mardin \u015fehri, yok etti\u011fimiz de\u011ferlerimizin ne ilki, ne de son \u00f6rne\u011fi olacakt\u0131r.<\/p>\n

\u00a0Di\u011fer bir ziyaretim de, Der-Zafaran Manast\u0131r\u0131\u2019na idi. Medeniyetin sembol\u00fc, restorasyon ad\u0131 alt\u0131nda ana giri\u015f, en alttan ba\u015flayarak y\u00fcksek\u00e7e beton da\u011f\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fc. Bu giri\u015f yolunun, azap yoluna d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesine bir anlam veremedim. Manast\u0131r\u2019\u0131n i\u00e7 ve d\u0131\u015f giri\u015flerinin\u00a0 aras\u0131ndaki b\u00f6l\u00fcme de sar\u0131 nahit ta\u015ftan, hi\u00e7bir anlam ifade etmeyen bir yap\u0131 eklenmi\u015ftir. Bu yap\u0131, manast\u0131r\u0131n eski ve ahenkli dokusuna hi\u00e7 yak\u0131\u015fmamaktad\u0131r. Der-Zafaran Manast\u0131r\u0131 sadece Mardinlilere de\u011fil, ayn\u0131 zamanda b\u00fct\u00fcn T\u00fcrkiye\u2019ye ait bir tarihi eserdir. Restorasyon ad\u0131 alt\u0131nda bu kadar de\u011fi\u015fikli\u011fe nas\u0131l izin verildi\u011fini anlayabilmek m\u00fcmk\u00fcn de\u011fildir.<\/p>\n

Eskiden manast\u0131r\u0131n tam kar\u015f\u0131s\u0131nda bulunan bostan, ba\u011f ve bah\u00e7eler vard\u0131. \u00d6zellikle \u00fcz\u00fcm ve incir a\u011fa\u00e7lar\u0131ndan olu\u015furdu. Nitekim o \u00e7evrede hi\u00e7bir a\u011fa\u00e7 kalmam\u0131\u015ft\u0131. San\u0131r\u0131m orda da betonarme binalar\u0131n in\u015fa haz\u0131rl\u0131\u011f\u0131 vard\u0131. Bu b\u00f6lgenin beton y\u0131\u011f\u0131n\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesine olanak sa\u011flayacak bir yap\u0131la\u015fmaya hi\u00e7bir surette izin verilmemelidir. Der-Zafaran Manast\u0131r\u0131 siluetinin bozulmamas\u0131 gerekmektedir. Bu b\u00f6lge koruma alt\u0131na al\u0131nmal\u0131d\u0131r.<\/p>\n

Der-Zafaran Manast\u0131r\u0131\u2019n\u0131n kuzeyinde bulunan Mar Yakup ve Mar Seyde mabetleri aras\u0131ndaki b\u00f6lge \u015eemsiler\u2019in (G\u00fcne\u015fo\u011fullar\u0131) yerle\u015fim b\u00f6lgesiydi. Ancak bu yerle\u015fim b\u00f6lgesinin kal\u0131nt\u0131lar\u0131 ve bitki \u00f6rt\u00fcs\u00fcn\u00fcn ortadan kald\u0131r\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6rd\u00fcm.<\/p>\n

Bu harap olmu\u015f \u015eemsi Mahallesi ile ilgili, (Kaynak:Vatan Gazetesi Mardin \u0130lavesi, 10.06.1953), S\u00fcryani Metropolit Hanna Dolap\u00f6n\u00fc ile yap\u0131lan r\u00f6portajda, tarihi mahalle tespit edilmi\u015ftir. O g\u00fcn\u00fcn foto\u011fraflar\u0131 da mevcuttur (bkz. \u015eekil 17). Asl\u0131nda Mar Seyde ve Mar Yakup Manast\u0131rlar\u0131 Hristiyanl\u0131k \u00f6ncesi Pagan d\u00f6neminin kaya mezarlar\u0131d\u0131r. Arkeologlar taraf\u0131ndan bu b\u00f6lgede yap\u0131lacak kapsaml\u0131 bir kaz\u0131da, \u00e7ok \u00f6nemli kal\u0131nt\u0131lara rastlanacakt\u0131r.<\/p>\n

Der-Zafaran Manast\u0131r\u0131\u2019n\u0131n \u00e7evre arazisi t\u00fcm\u00fcyle \u015eemsiler\u2019in yerle\u015fim alan\u0131 idi. Tam ortada olan bug\u00fcnk\u00fc manast\u0131r ise, g\u00fcne\u015fe tap\u0131nd\u0131klar\u0131 mabettir. G\u00fcne\u015f k\u00fclt\u00fcr\u00fcne ait izler, manast\u0131rda g\u00fcn\u00fcm\u00fcze kadar mevcuttur.<\/p>\n

HARABELER\u0130N \u00dcST\u00dc \u00d6RT\u00dcLMEDEN KAZI \u00c7ALI\u015eMALARI\u00a0 BA\u015eLATILMALI<\/strong><\/p>\n

Bir\u00e7ok uygarl\u0131\u011f\u0131n ya\u015fad\u0131\u011f\u0131 bu b\u00f6lgede; Romal\u0131lar, Bizansl\u0131lar, B\u00fcy\u00fck Sel\u00e7uklular ve \u015eemsiler\u2019in bir\u00e7ok eserine rastlanmaktad\u0131r. Der-Zafaran Manast\u0131r\u0131\u2019n\u0131n \u00e7evresinde, zaman\u0131nda yerle\u015fik d\u00fczenin de olmas\u0131 nedeniyle, yeralt\u0131nda bir yerle\u015fim alan\u0131n\u0131n bulunmas\u0131 dahi s\u00f6z konusudur.<\/p>\n

K\u00fclt\u00fcr ve Turizm Bakanl\u0131\u011f\u0131 Diyarbak\u0131r An\u0131tlar ve \u00c7evre Kurulu M\u00fcd\u00fcrl\u00fc\u011f\u00fc, Der-Zafaran Manast\u0131r\u0131\u2019n\u0131n \u00e7evresindeki bu \u00f6nemli medeniyetlerin kal\u0131nt\u0131 ve harabelerin \u00fcst\u00fc \u00f6rt\u00fclmeden, kaz\u0131 \u00e7al\u0131\u015fmalar\u0131n\u0131 ba\u015flatmal\u0131d\u0131r. Mardin\u2019in tarihi geli\u015fimi bak\u0131m\u0131ndan elde edilecek bu \u00e7ok \u00f6nemli bulgu ve kal\u0131nt\u0131lar yeralt\u0131nda b\u0131rak\u0131lmayarak, g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131kart\u0131lmal\u0131d\u0131r. Korkum ve endi\u015femin sebebi, bu kal\u0131nt\u0131lar ortaya \u00e7\u0131kar\u0131lmadan Der-Zafaran Manast\u0131r\u0131\u2019n\u0131n \u00e7evresinin, betonarme yap\u0131la\u015fmaya a\u00e7\u0131labilecek olmas\u0131d\u0131r. Medeniyetin be\u015fi\u011fi Mardin\u2019de ge\u00e7mi\u015fte t\u00fcrl\u00fc nedenlerle, \u015fimdilerde ise yok olmaya y\u00fcz tutan k\u00fclt\u00fcrel varl\u0131klar\u0131m\u0131z\u0131 koruyamayarak, adeta bir insanl\u0131k su\u00e7u i\u015fliyoruz. \u0130nsanl\u0131\u011fa mal olmu\u015f k\u00fclt\u00fcrel varl\u0131klar\u0131m\u0131z\u0131 koruma alt\u0131na almam\u0131z, tarihe ve t\u00fcm insanl\u0131\u011fa kar\u015f\u0131 sorumlulu\u011fumuzdur. K\u00fclt\u00fcrel miras\u0131m\u0131z\u0131 tahrip etmeden gelecek ku\u015faklara aktar\u0131lmas\u0131n\u0131 sa\u011flayarak, bu sorumlulu\u011fumuzu acilen yerine getirmeliyiz.<\/p>\n

Ald\u0131\u011f\u0131m\u0131z duyumlara g\u00f6re, bu b\u00f6lgede, modern konaklama tesisleri yap\u0131lmak istenmektedir. Bu t\u00fcr yeni yap\u0131la\u015fman\u0131n \u00f6ncesinde, kaz\u0131 ara\u015ft\u0131rmalar\u0131 mutlaka yap\u0131lmal\u0131d\u0131r. Yetkili kurulu\u015flar\u0131n dikkatini Mardin \u015fehri \u00fczerine \u00e7ekmek isterim. Kaz\u0131larda elde edilecek bulgu ve kal\u0131nt\u0131lar, \u015fehrin tarihi dokusu i\u00e7in \u00e7ok \u00f6nemlidir.<\/p>\n

MARD\u0130N, \u015eEMS\u0130L\u0130K VE YERLE\u015e\u0130K D\u00dcZEN<\/strong><\/p>\n

Yakubi S\u00fcryaniler\u2019in yerle\u015fik d\u00fczene ge\u00e7meleri Mardin\u2019de ya\u015fayan Ermeni \u015eemsiler\u2019in (g\u00fcne\u015fo\u011fullar\u0131) Arevortikler\u2019in cebren Hristiyanl\u0131\u011f\u0131 kabul edip S\u00fcryanile\u015fmesi\u2019nden sonra olmu\u015ftur (12). Mardin\u2019de ilk yerle\u015ftikleri yer (\u015fehrin do\u011fusu) \u015eemsiler\u2019in Mahallesi olmu\u015ftur.Yakubi S\u00fcryaniler, kendi dinlerini Ermeni \u015eemsiler\u2019e verirken onlarda, \u015eemsiler\u2019den yerle\u015fik ya\u015fama adab\u0131n\u0131 alm\u0131\u015flard\u0131r. Ermeni \u015eemsi Mahallesi\u2019ne ayn\u0131 zamanda K\u00f6lesiyan (k\u00f6le)\u00a0 Mahallesi\u2019de denir. Hristiyanl\u0131\u011f\u0131n b\u00fct\u00fcn mezheplerinde kiliselerin y\u00f6n\u00fc Kud\u00fcs\u2019e d\u00f6n\u00fckt\u00fcr. Sadece Ermeni kiliselerinin y\u00f6n\u00fc do\u011fuya d\u00f6n\u00fckt\u00fcr. Bunun nedeni ise, Ermenilerin tarih boyunca g\u00fcne\u015fi en az olan co\u011frafyada ya\u015fam\u0131\u015f olmalar\u0131d\u0131r. Hristiyanl\u0131k \u00f6ncesi inan\u00e7 sistemlerinde g\u00fcne\u015f kutsald\u0131. Ermeni kiliseleri g\u00fcne\u015fe tap\u0131lan d\u00f6nemleri, ayinlerinin bir kal\u0131nt\u0131s\u0131 olarak do\u011fuya d\u00f6n\u00fck in\u015fa edildi. Bug\u00fcn Mardin ve y\u00f6resinde kiliselerin t\u00fcm\u00fc, do\u011fuya d\u00f6n\u00fck durmaktad\u0131rlar (2,12).<\/p>\n

\u015eemsiler (G\u00fcne\u015fo\u011fullar\u0131) \u00f6l\u00fcy\u00fc topra\u011fa g\u00f6merken inan\u00e7lar\u0131na g\u00f6re, bir g\u00fcn dirildi\u011fi zaman y\u00fcz\u00fcn\u00fcn g\u00fcne\u015fi g\u00f6rmesi \u015feklinde g\u00f6m\u00fcl\u00fcr. Ermeniler \u00f6l\u00fclerini g\u00fcn\u00fcm\u00fcze kadar bu usulle g\u00f6m\u00fcyorlar. \u015eemsiler \u00f6l\u00fcleri ile beraber mezara, bir tas testi dolu \u015farap, bir alt\u0131n para ve de\u011fnek g\u00f6merler. Her birinin bir anlam\u0131 vard\u0131r. Cennete gitmek i\u00e7in kap\u0131daki g\u00f6revliye alt\u0131n paray\u0131 vereceksin, kabul etmezse \u015farab\u0131 i\u00e7irip sarho\u015f edeceksin, bunu da kabul etmezse de\u011fnek ile dayak atacaks\u0131n anlam\u0131ndad\u0131r. Bundan dolay\u0131, g\u00fcn\u00fcm\u00fcze kadar \u015eemsi mezarlar\u0131 definecilerin ilgisini \u00e7ekmektedir (2).<\/p>\n

Dinlerin ve dillerin \u015fehri Mardin\u2019de T\u00fcrk, Arap, Ermeni, K\u00fcrt, Yezidi, Keldani, Yakubi S\u00fcryani ve Yahudiler ya\u015fam\u0131\u015ft\u0131r. As\u0131rlar s\u00fcren tarih boyunca birbirleriyle sayg\u0131 ve sevgi ile i\u00e7 i\u00e7e olmu\u015flard\u0131r. Son elli y\u0131ld\u0131r Mardin\u2019den muhtelif \u00fclkelere ve \u015fehirlere g\u00f6\u00e7 olmu\u015ftur. Gen\u00e7 nesiller, baz\u0131 ger\u00e7ekler kar\u015f\u0131s\u0131nda haf\u0131za kayb\u0131na u\u011frat\u0131lm\u0131\u015f olsa da, yeni yeti\u015fen Mardin gen\u00e7leri, nerede olursa olsunlar ger\u00e7ekleri ara\u015ft\u0131r\u0131p, gelecek nesillere, do\u011fru kaynaklar aktaracaklard\u0131r. Mardinli\u2019nin, d\u00fcnyan\u0131n neresinde olursa olsun, Mardin\u2019in tan\u0131t\u0131m\u0131nda u\u011fra\u015f verdi\u011fi bilinmektedir. Mardin \u015fehri; k\u00fclt\u00fcr\u00fc, mimarisi ve ho\u015f g\u00f6r\u00fcs\u00fc ile \u00f6rnek bir \u015fehirdir.\u00a0<\/p>\n

Yazar\u0131n notu: Frans\u0131zca, \u0130talyanca ve \u0130ngilizce \u00e7evirilerinden dolay\u0131 Arusyak \u00d6zfuruncu\u2019ya te\u015fekk\u00fcr ederim.<\/i><\/p>\n

*Ara\u015ft\u0131rmac\u0131-Yazar<\/em><\/p>\n

Davetli Makale<\/em><\/p>\n

**Makalenin yazar\u0131 Tomas \u00c7erme\u2019nin akrabas\u0131d\u0131r.<\/em><\/p>\n

\u00a0Kaynaklar:<\/b><\/p>\n

1-Prof. Nejat G\u00f6\u011f\u00fcn\u00e7, Mardin Sanca\u011f\u0131 16. yy.1969 \u0130stanbul.<\/p>\n

2-Mardin A\u015firet Cemaat Devlet. Suavi Ayd\u0131n, Kudret Emiro\u011flu, Oktay \u00d6zer ve Suha \u00dcnsal, Toplumsal Tarih Vakf\u0131 \u0130st.-2000.<\/p>\n

3-Hammer, Osmanl\u0131 Tarihi cilt 2, sf.1091-1092 \u0130st.<\/p>\n

4- Am\u00e9d\u00e9e Tardieu Geographie De Strabon.<\/p>\n

5-Mardinli Rahip Husik G\u00fclyan\u2019\u0131n Mardin Tarihi Ermenice el yazmas\u0131, Viyana Mhitaristler K\u00fct\u00fcphanesi, 1898 Mardin.<\/p>\n

6-Travels in Mesopotamia by S.S. Cul 1-London 1827.<\/p>\n

7-Papa Clemetis XI taraf\u0131ndan yay\u0131nlanan Joseph Simonius Assemanus-Bibliotheca Orientalis Roma MDCCXIX-1719.<\/p>\n

8- Diyarbak\u0131r Salnamesi Mardin kazas\u0131, 1286-1323 , 1869-1905.<\/p>\n

9- Kara Amid K\u00fclt\u00fcr Dergisi, say\u0131 4, \u0130stanbul 1960.<\/p>\n

10-Mardinli \u0130shak Armale \u201cMardin Manast\u0131rlar\u0131na Tarihi Bir Bak\u0131\u015f\u201d, 1919 Beyrut.<\/p>\n

11-Dr. Hasan \u015eamaysani, Medinet Mardin, Arap\u00e7a, Beyrut 1987.<\/p>\n

12-Tarih ve Toplum, ayl\u0131k ansiklopedik dergi, Tomas \u00c7erme, S\u00fcryaniler, Temmuz 2003,<\/p>\n

say\u0131 235 \u2013\u0130stanbul.<\/p>\n

13- T\u00fcrkiyemiz Sanat Dergisi, say\u0131 53, 1987 \u0130stanbul.<\/p>\n

14- Jozef (Lole) Erta\u015f, Sarkis Lole\u2019nin torunu, mimar, 9 A\u011fustos 2000 Bel\u00e7ika r\u00f6portaj\u0131.<\/p>\n

15-Z\u00fc\u2019kadiriyye Defteri ( 937\/1530 ) 1. T.C. Ba\u015fbakanl\u0131k Devlet Ar\u015fivi, Ankara 1998.<\/p>\n

16-Necdet \u00d6klem, Ege \u00dcniversitesi T\u00fcrk Devrim Tarihi \u00d6\u011fretim G\u00f6revlisi,1877 Meclis-i Mebusan\u0131, \u0130zmir 1982, Sayfa No: 38.<\/p>\n

17-Albert Gabriyel bibliyografyas\u0131, Yap\u0131 Kredi Bankas\u0131 Yay\u0131nlar\u0131, s. 156, \u0130stanbul 2006.<\/p>\n

18-Prof. Dr. Metin S\u00f6zen, Anadolu Medreseleri, cilt 1, 1970 \u0130stanbul.<\/p>\n

19-Mardinli mimar ve kalfa Abdulcelil (Kao) \u0130ldo\u011fan ile mulakat A\u011fustos 2000.<\/p>\n

20-Tarih ve Toplum Ansiklopedik Dergi, say\u0131 200, Tomas \u00c7erme, 2000 \u0130stanbul.<\/p>\n

21-Y\u0131ld\u0131zlara Yak\u0131n \u015eehir Mardin, Sadettin Noyan, s. 80 Ankara 2005.<\/p>\n

22- Arkitekt Dergisi, Kas\u0131m-Aral\u0131k 2007, Say\u0131 514, s.56.<\/p>\n

23-Prof.Dr.Yavuz Ercan, Osmanl\u0131 Y\u00f6netiminde Gayri M\u00fcsl\u00fcmler, Ankara 2001.<\/p>\n

24- B.Murat \u00d6zdemir, Yezidiler ve S\u00fcryaniler, \u0130stanbul 1988, Ekim yay\u0131nlar\u0131.<\/p>\n

25- Polonyal\u0131 Simeon\u2019un Seyahatnamesi, (1608-1619)\u00a0 Edebiyat Fak\u00fcltesi Yay\u0131nlar\u0131,<\/p>\n

sf.100-101 \u0130stanbul.<\/p>\n

http:\/\/mamasyria.blogspot.com.tr\/2016\/03\/zengin-otokton-kent-dokusuina-sahip.html<\/i><\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Tomas \u00c7ERME * Mardin, G\u00fcneydo\u011fu Anadolu\u2019da ve \u00fcnl\u00fc Yukar\u0131 Mezopotamya Ovas\u0131\u2019n\u0131n ba\u015flang\u0131\u00e7 noktas\u0131nda yer alan, tarihi eskilere uzanan bir kenttir. Ge\u00e7mi\u015fin \u00fcnl\u00fc \u0130pekyolu ile ba\u011flant\u0131s\u0131 olan kent; topo\u011frafyas\u0131ndan kaynaklanarak, fiziki konumuna yans\u0131yan karakteristik \u00e7izgileriyle adeta kartal yuvas\u0131 g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc alm\u0131\u015ft\u0131r (1,2). \u00a0Mardin ad\u0131n\u0131n ilk kez ne zaman kullan\u0131ld\u0131\u011f\u0131 ve nereden geldi\u011fi konusunda, pek \u00e7ok eski kentimizde […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,70],"tags":[],"class_list":["post-39108","post","type-post","status-publish","format-standard","hentry","category-haberler","category-makaleler"],"yoast_head":"\nZengin Otokton Kent Dokusuna Sahip Mardin \u015eehri - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/akunq.net\/tr\/?p=39108\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Zengin Otokton Kent Dokusuna Sahip Mardin \u015eehri - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Tomas \u00c7ERME * Mardin, G\u00fcneydo\u011fu Anadolu\u2019da ve \u00fcnl\u00fc Yukar\u0131 Mezopotamya Ovas\u0131\u2019n\u0131n ba\u015flang\u0131\u00e7 noktas\u0131nda yer alan, tarihi eskilere uzanan bir kenttir. 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Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/akunq.net\/tr\/?p=39108","og_locale":"en_US","og_type":"article","og_title":"Zengin Otokton Kent Dokusuna Sahip Mardin \u015eehri - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","og_description":"Tomas \u00c7ERME * Mardin, G\u00fcneydo\u011fu Anadolu\u2019da ve \u00fcnl\u00fc Yukar\u0131 Mezopotamya Ovas\u0131\u2019n\u0131n ba\u015flang\u0131\u00e7 noktas\u0131nda yer alan, tarihi eskilere uzanan bir kenttir. Ge\u00e7mi\u015fin \u00fcnl\u00fc \u0130pekyolu ile ba\u011flant\u0131s\u0131 olan kent; topo\u011frafyas\u0131ndan kaynaklanarak, fiziki konumuna yans\u0131yan karakteristik \u00e7izgileriyle adeta kartal yuvas\u0131 g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc alm\u0131\u015ft\u0131r (1,2). \u00a0Mardin ad\u0131n\u0131n ilk kez ne zaman kullan\u0131ld\u0131\u011f\u0131 ve nereden geldi\u011fi konusunda, pek \u00e7ok eski kentimizde […]","og_url":"https:\/\/akunq.net\/tr\/?p=39108","og_site_name":"Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","article_published_time":"2016-03-17T07:47:06+00:00","og_image":[{"url":"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2016\/03\/Mardin-300x198.jpg","type":"","width":"","height":""}],"author":"admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"admin","Est. reading time":"28 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/akunq.net\/tr\/?p=39108#article","isPartOf":{"@id":"https:\/\/akunq.net\/tr\/?p=39108"},"author":{"name":"admin","@id":"https:\/\/akunq.net\/tr\/#\/schema\/person\/096f1d38a12cce57fb855b485ed24c9e"},"headline":"Zengin Otokton Kent Dokusuna Sahip Mardin \u015eehri","datePublished":"2016-03-17T07:47:06+00:00","mainEntityOfPage":{"@id":"https:\/\/akunq.net\/tr\/?p=39108"},"wordCount":5704,"commentCount":0,"image":{"@id":"https:\/\/akunq.net\/tr\/?p=39108#primaryimage"},"thumbnailUrl":"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2016\/03\/Mardin-300x198.jpg","articleSection":["Haberler","Makaleler"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/akunq.net\/tr\/?p=39108#respond"]}]},{"@type":"WebPage","@id":"https:\/\/akunq.net\/tr\/?p=39108","url":"https:\/\/akunq.net\/tr\/?p=39108","name":"Zengin Otokton Kent Dokusuna Sahip Mardin \u015eehri - 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