SANAT NESNESİ OLARAK CAM: MİLLÎ SARAYLAR İDARESİ BAŞKANLIĞI ENVANTERİNE KAYITLI REVZENLER

Abstract

Revzenler, cam sanatının bir dalı olarak tarihî yapıları aydınlatan ve tezyin eden pencerelerdir. Tu¨rk-İslâm mimarisinin doğal aydınlatma araçlarından olan revzenler, gerek kurşun yerine alçı kalıpların kullanılması gibi teknik gerekse kemer formu ve su¨sleme motifleri gibi tezyinî özellikleriyle özgu¨n bir kimliğe sahiptir. Mimarinin bu¨tu¨nu¨ ile uyumlu ve İslâm medeniyetini meydana getiren du¨şu¨nce du¨nyasından beslenen bir estetik kaygı ile du¨zenlenmişlerdir. Mimari yapılarda ve orijinal konumlarında gu¨nu¨mu¨ze ulaşan revzenler olmakla beraber restorasyon ve yenileme gibi sebeplerle bulundukları yapılardan söku¨lu¨p mu¨zelere intikal eden revzenler de mevcuttur. Bu kapsamda Beykoz Cam ve Billur Mu¨zesi, revzenlere ayrılan seksiyonu ile önemli bir yere sahiptir. T.C. Cumhurbaşkanlığı Millî Saraylar Başkanlığı envanterine kayıtlı olup mu¨zede teşhir edilmeyen revzenler ise Topkapı Sarayı Aziziye depolarında muhafaza edilmektedir. Bu makalede Beykoz Cam ve Billur Mu¨zesi ile Topkapı Sarayı Aziziye deposunda yer alan toplam on altı adet revzen form, teknik ve tezyinî özellikleri ile tarihlendirme ve imal edildikleri dönemin revzen yapımına açıklık getiren detayları bakımından incelenmiştir.

Rowzans, as a distinct branch of glass art, are windows that not only illuminate historical structures but also enhance them with decorative elements. The terms 'stained-glass windows' and 'glazed-stucco windows' are often used in English to describe the Islamic art term 'rowzan.' However, since 'rowzan' refers specifically to a type of window made from a combination of glass and stucco, serving a particular aesthetic purpose within Islamic architecture, the term 'rowzan' is preferred in this article. As one of the natural lighting elements in Turkish-Islamic architecture, rowzans possess a unique identity, shaped by both technical features—such as the use of plaster molds instead of lead—and decorative characteristics, such as the arch form and ornamental motifs. They are designed with an aesthetic vision rooted in the philosophical and cultural worldview that gave rise to Islamic civilization, seamlessly integrating into the broader architectural composition. In addition to the rowzans that have historically functioned as windows in their original locations, placed in openings designated for them, there are also rowzans that have been transferred to museums for various reasons. In the Republic of Turkey, the Beykoz Glass and Crystal Museum houses a rich collection, including a dedicated section for glazed-stucco windows. Furthermore, the rowzans stored in the Aziziye warehouse of Topkapi Palace are key pieces of the museum's collection, though they have yet to be featured in any publication. This article will focus on the rowzans preserved in the Beykoz Glass and Crystal Museum, under the Directorate of National Palaces of the Presidency of the Republic of Turkey, and in the Aziziye warehouse of Topkapi Palace. The discussion will center on their form, technical and decorative characteristics, as well as the details that illuminate their dating and the historical context of rowzan production.