Academic literature on the topic 'Tire Müzesi'

İzmir'in Tire İlçesinin Eski Oba Köyü'nde 9.1.1951 tarihinde Tire Müzesi tarafından yapılan kurtarma kazısında, bir mezar içinde ele geçmiş olan üç lekythos, iki Ephesos tipi kandil ve bir fenerin oluşturduğu grup geç Hellenistik seramik kronolojisi ve buna bağlı tipolojik gelişim açısından önem taşır.

Along with the development of information and communication technologies, the phenomenon of leisure time, the transformation of everyday life practices and the effects of changing consumer identity have brought about transformations and new approaches in the understanding of museology as well as in almost every area of social life. Until recently, the museum, which was defined as preserving and exhibiting works of art with its basic functions, has now become a vital space based on user experience, based on the leisure time activities of life, beyond the work of preserving the works it hosts. In this transformation conceptualized as contemporary museology or postmodern museology, the museum which has become a consumption object, has excitement and open details that interact with the day that it is unforgettable to live apart from a constant and chronological journey. These are practices consisting of digital public relations and experiential marketing strategies that are designed and planned to bring and interact with the museum's collection and the creative elements that enable the user experience, as well as the desired visitor experience.In this study, it was aimed to determine digital public relations and experiential marketing practices of contemporary art museums in Turkey which are postmodern. The study is limited to the postmodern museums in Istanbul (Istanbul Modern, Pera Museum and Sakıp Sabancı Museum), which have emerged as extensions of the big holdings in our country and have been working on art management for many years and aiming to offer a multi-service approach. In the study in which in-depth interviews and descriptive analysis methods were used, the result of the obtained data reveals the place and usage of digital public relations and experiential marketing practices in postmodern museum.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetBilgi ve iletişim teknolojilerinin gelişmesiyle birlikte serbest zaman olgusu, gündelik hayat pratiklerinin dönüşümü ve değişen tüketici kimliğinin etkileri, toplumsal yaşamın hemen her alanında olduğu gibi müzecilik anlayışında da dönüşümleri ve yeni yaklaşımları beraberinde getirmiştir. Yakın tarihe kadar, temel işlevleri geçmişe ait sanat eserlerinin muhafaza edilip sergilenmesi olarak belirlenen müzeler, günümüzde, barındırdığı eserleri muhafaza eden bir yapının ötesinde, hayatın serbest zaman uğraşılarına odaklı, kullanıcı deneyimini temel alan ve tercih edilebilir yaşamsal bir alan haline dönüşmüştür. Çağdaş müzecilik anlayışı ya da postmodern müzecilik şeklinde kavramsal-laştırılan bu dönüşümde, tüketim nesnesi haline gelen müzeler sabit, kronolojik bir gezinin haricinde, ziyaretçiye heyecan veren ve o günü yaşamasını unutulmaz kılan, etkileşime açık detaylar barındırmaktadır. Bunlar müzenin koleksiyonunun ve sergileme biçimlerinin kullanıcı deneyimine imkan veren yaratıcı unsurlarının yanı sıra, bu deneyimi yaşaması arzu edilen ziyaretçiyi müzeye getirmeye ve onunla etkileşim kurmaya yönelik hazırlanmış ve planlanmış olan dijital halkla ilişkiler ve deneyimsel pazarlama stratejilerinden oluşan pratiklerdir.Bu çalışmada, postmodern nitelik gösteren Türkiye'deki çağdaş sanat müzelerinin dijital halkla ilişkiler ve deneyimsel pazarlama pratiklerini belirlemek amaçlanmıştır. Çalışma, ülkemizdeki büyük holdinglerin uzantısı olarak ortaya çıkan, uzun yıllardır sanat yönetimi konusunda çalışmalar yapan ve çoklu hizmet anlayışını bir arada sunmayı hedefleyen İstanbul’daki postmodern müzeler (İstanbul Modern, Pera Müzesi ve Sakıp Sabancı Müzesi) ile sınırlandırılmıştır. Derinlemesine görüşme, gözlem ve betimsel analiz yöntemlerinin kullanıldığı çalışmada elde edilen veriler sonucunda dijital halkla ilişkiler ve deneyimsel pazarlama pratiklerinin postmodern müzecilik anlayışı içindeki yeri ve kullanım şekilleri ortaya konulmuştur.

This translation consists of a two-page risale, which is the subject of Hacı Bektaş Veli's answer to the question asked by his followers/murids. The work is on the last two pages of the work named Rubaiyyat-ı Hayyam, in the Mevlana Museum Specialized Library/Mevlana Müzesi İhtisas Kütüphanesi, No 2599. His followers asked questions and asked for answers to Hacı Bektaş Veli in order to benefit from his fayz in a conversation assembly. He answered the question asked about voluntary prayer and fasting by quoting the same expressions in Hace Abdullah Ensari's İlahi-name. Missing and spelling errors in the text have been corrected. The work is given here, along with a photograph and translation of the original. The work has not attracted much attention so far and has not been evaluated sufficiently in the literature. In this respect, for the first time, with this study, the work was shared with its translation and text. Keywords: Hacı Bektas Veli, Hace Abdullah Ensari, İlahi-name.

The article analyzes information about Jochi, the eldest son of Chinngis Khan, contained in two medieval Persian-language works, in the jadwal ([dynasty] table) Muntakhab al-Tawārīkh-i Mu‘īnī and the anonymous manuscript B.411 from the collection of the Topkapi Palace Museum Library (Topkapı Sarayı Müzesi Kütüphanesi, B. 411). Both works are attributed to the same author of Timurid times. The history of the study is given, a brief and comparative description of both works and their information, commented fragments about Jochi translated from Persian are published. Information from fragments of these works that have not previously been translated into Russian, introduced into scientific circulation, contains interesting examples of the perception of the history of the Ulus of Jochi in Timurid sources of the 15th century. Their further analysis will contribute to the understanding and characterization of the historical significance of Muntakhab al-Tawārīkh-i Mu‘īnī and Topkapı Sarayı Müzesi Kütüphanesi, B. 411. The article points out obvious historical errors, confusion and anachronisms in the published information from these works. At the same time, they are of significant source study and historiographical interest. The article is accompanied by the publication of photocopies of the relevant fragments in Persian

AbstractStudies of visual culture in the Persian-speaking world of the fourteenth and fifteenth centuries frequently discuss the literary contexts in which painting was often produced, yet scant attention has been paid to understanding how the visual can engage with the verbal beyond representing a sequential narrative. Arguing that paintings and literary texts are autonomous, yet can engage with similar ideas, this article focuses on a painting in the album TSMK H.2153 that is generally perceived to lie outside the frameworks of narrative poetry: ‘The Monastery’ (f.131b). The article investigates how the painting employs techniques of representation similar to those used in lyric and panegyric poetry, to connect individual motifs and thereby explore ideas. An engagement with the continuities between literary and visual cultures reveals a chronogram, giving the year in which ‘The Monastery’ was produced, and allows us to understand how it constructs a vision of unorthodox kingship.

Ayaklıkırı Köyü Tire ilçe merkezinin batısındadır. Yakınında bulunan Hasançavuşlar, Kurşak, Kumtepe ve Darmara köyleri ile civarlarında nekropol alanları, tümülüsler ve yerleşimlere ait yapı kalıntıları saptanmıştır. Söz konusu lagynos Tire Müzesi'ne 779 envanter numarası ile kayıtlıdır ve Tire'nin Ayaklıkırı Köyü'nde bulunmuş olup Fahri Bulgurcu tarafından müzeye hediye edilmiştir. Tire'nin Ayaklıkırı Köyü'nde bulunmuş olan bu lagynos 13, 1 cm. yüksekliğe, 3 cm. ağız çapına ve 6, 3 cm. kaide çapına sahiptir. Kiremit rengi ve mikalı hamuru vardır. Hafif dışa çekik ağızlı, ince-uzun boyunlu ve yivli kulpludur. Gövdenin en geniş yeri ortadadır. Kaide halka biçimlidir. Omzunda fırça vuruşlarıyla yapılmış oranj renkte girlandlar, gövdenin en geniş yerinde kalın bir bant ve gövde altında ince tek bir bant yer alır. Kaide tek bir bant halinde boyanmıştır. Büyük bir kısmı kireçle kaplı olan lagynos tamdır.

Abstract. In this paper, we analyze the jadwal (table [of the dynasty]) in the Paris manuscript of Mu‘īn al-Dīn Naṭanzī’s Muntahab at-Tawārīkh-i Muʻīnī (hereinafter MTM) and the section of the Jochid Ulus in the manuscript Topkapı Sarayı Müzesi Kütüphanesi, B. 411 (Synoptic Account, hereinafter B. 411), probably by the same author as the MTM, both of which have received little attention so far, comparing and examining the information contained in them, and reevaluate the problem of the «Aq Orda» and «Kök Orda» and characteristics of the MTM. As is well known, there are several problems with the information about the Jochid Ulus in the MTM, but from an analysis of this paper it becomes clear that its author did possess a lot of important information about the Jochid Ulus, more than can be found in the MTM text. On the other hand, it is assumed that the author did not have accurate information about the early history of the «Left Hand» (Ordaids). In addition, the author could have had more accurate information about the «Aq Orda» and «Kök Orda» at the time of writing the B. 411, but the information was already confused. A further comparison and study of the jadwal and the B. 411, as well as the MTM text will allow us to clarify the history of the information contained in them regarding the Jochid Ulus in the future.

"Ottoman sultans showed a great interest in books; on the one hand, they had their palace workshops prepare manuscripts ornamented with unique illustrations and illuminations; on the other hand, they collected books created in other locations of the Islamic world through various means, such as, gifting, looting, and purchasing. The subject of this article involves the artistic manuscripts from the Ilkhanid era that entered the Topkapı Palace Treasury. Most manuscripts in the Topkapı Palace Library consist of copies and sections (juz’) of the Koran. With their illumination and binding, these large-format books designed by the skillful illuminators and bookbinders of the Ilkhanid era are early fourteenth-century masterpieces of Islamic art of the book. Among these are Koran sections prepared for the famous Ilkhanid ruler, Sultan Uljaytu Khodabanda, and the renowned vizier, Rashid al-Din. Some examples were written by the most illustrious Islamic calligraphers, Yaqut al-Musta’simi and Arghun Kamili, illuminated by the famous artist of the era who worked in Baghdad, Muhammad b. Aybak b. Abdallah, and bound by bookbinder Abd al-Rahman. The Ilkhanid era was also a time when fascinating and important manuscripts were prepared in terms of book illustration. Two of the three Mongol-era manuscripts in the Topkapı Palace collection are copies of the Jami’at-Tawarikh—a general history of the world prepared by a commission led by the vizier Rashid al-Din under the order of the Ilkhanid ruler Ghazan Khan— while the third is a copy of the Garshaspnama. In addition, some paintings that appear in one of the palace albums belong to a volume of the Jami’at-Tawarikh on the history of Mongol khans, which has not survived. The significant and unique paintings of the Ilkhanid era are the Miʿrajnama paintings made by Ahmed Musa featured in the album prepared for Bahram Mirza, the brother of the Safavid sultan, Shah Tahmasp. The preface of the album written by Dust Muhammad refers to the famous painter Ahmed Musa, who lived in the era of the Ilkhanid ruler Abu Said, to have “removed the veil from the face of painting and invented the painting that was popular in that era.” In addition, the author states that he illustrated a Miʿrajnama. However, only the eight album pages with miʿraj images have survived this work. Through their bindings, illuminations, calligraphy, and illustrations, Ilkhanid era manuscripts from the Topkapı Palace constitute a vital collection that demonstrates the advanced level reached by the arts of the book during this era. "