Abstract: <\/strong> The study originates from the similarities found in the page ornamentations, made with a different method, of copy of \u015e\u00e2h u Ged\u00e2, one of the mathnawis of Ta\u015fl\u0131cal\u0131 Yahya, a poet of 16th century registered in Amasya IInd Bayezid Provincial Public Library inventory no 2067 and the ornamentations in some works of arts thought to have been created within the same century. \u015e\u00e2h u Ged\u00e2\u2019s naturalist style flowers are reminiscent of the Karamemi style, the reference point for ornamentations of the era and are of a similar understanding and environment associated with the ornamentations included in Muhibb\u00ee Divan\u0131 (Topkap\u0131 Palace Museum Library: R.738 m.), dated 1565 and associated with Karamemi school. The fact that they are obtained through mould dressing method can be regarded as serial queries in technique. One of the reasons for this quest is the concerns in meeting the demands of foreigners crowding book markets emerging in certain localities of Istanbul of 16th century thus facilitating commercial activities in those markets. This can be seen in the albums thought to have been created with similar methods and having moved to Europe from Istanbul since 16th century. The inspiration for the flowers on the pages of \u015e\u00e2h u Ged\u00e2, which is a love story taking place in Istanbul, originates from the flower gardens, a popular venue in Istanbul of the era, and the flowers raised there, the style is associated with flowers painted with mild colors and animal figures dispersed among them.<\/p>\n Keywords: <\/strong> Ottoman, 16th century, \u015e\u00e2h u Ged\u00e2, Book arts, Naturalist style.<\/p>\n \u00d6z: <\/strong> 16. y\u00fczy\u0131l \u015fairlerinden Ta\u015fl\u0131cal\u0131 Yahya Bey\u2019in mesnevilerinden biri olan \u015e\u00e2h u Ged\u00e2\u2019n\u0131n Amasya II. Bayezid \u0130l Halk K\u00fct\u00fcphanesi 2067\u2019de kay\u0131tl\u0131 olan n\u00fcshas\u0131n\u0131n farkl\u0131 teknik kullan\u0131larak yap\u0131lm\u0131\u015f sayfa s\u00fcslemeleri ile \u00e7a\u011fda\u015f\u0131 oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen baz\u0131 eserlerin s\u00fcslemeleri aras\u0131nda g\u00f6r\u00fclen benzerlikler bu \u00e7al\u0131\u015fman\u0131n \u00e7\u0131k\u0131\u015f noktas\u0131 olmu\u015ftur. \u015e\u00e2h u Ged\u00e2\u2019n\u0131n nat\u00fcralist \u00fcsl\u00fbptaki \u00e7i\u00e7ekleri d\u00f6nemin s\u00fcsleme modas\u0131n\u0131 belirlemi\u015f olan Karamemi \u00fcsl\u00fbbunu akla getirmekle birlikte kal\u0131pla boyama yoluyla elde edilmi\u015f olmalar\u0131, d\u00f6nemin teknikte seri aray\u0131\u015flar\u0131 olarak g\u00f6r\u00fclebilir. Bu aray\u0131\u015f\u0131n nedenlerinden biri de 16. y\u00fczy\u0131l \u0130stanbul\u2019unun belirli semtlerinde olu\u015fmu\u015f olan kitap pazarlar\u0131na ra\u011fbet ederek bu pazarlar\u0131 canl\u0131 k\u0131lan yabanc\u0131lar\u0131n taleplerini kar\u015f\u0131lamadaki kayg\u0131lar olmal\u0131d\u0131r. Bu durum 16. y\u00fczy\u0131ldan itibaren \u0130stanbul\u2019dan Avrupa\u2019ya ta\u015f\u0131nan ve benzer teknikle yap\u0131ld\u0131klar\u0131 d\u00fc\u015f\u00fcn\u00fclen alb\u00fcmlerden de anla\u015f\u0131l\u0131r. Konusu \u0130stanbul\u2019da ge\u00e7en bir a\u015fk \u00f6yk\u00fcs\u00fc olan \u015e\u00e2h u Ged\u00e2\u2019n\u0131n sayfa y\u00fczeylerinde hafif renkler kullan\u0131larak boyanm\u0131\u015f \u00e7i\u00e7eklerine ve araya serpi\u015ftirilmi\u015f hayvan fig\u00fcrlerine ilham kayna\u011f\u0131 \u00f6nerisi ise d\u00f6nemin \u0130stanbul\u2019unun pop\u00fcler mek\u00e2nlar\u0131ndan olan \u00e7i\u00e7ek bah\u00e7eleri ve buralarda yeti\u015ftirilen \u00e7i\u00e7eklerdir.<\/p>\n Anahtar kelimeler: <\/strong> Osmanl\u0131, 16. y\u00fczy\u0131l, \u015e\u00e2h u Ged\u00e2, Kitap sanatlar\u0131, Nat\u00fcralist \u00fcsl\u00fbp.<\/p>\n 16. Y\u00fczy\u0131l Osmanl\u0131 Kitap Sanatlar\u0131nda Farkl\u0131 Bir Uygulama: \u015e\u00e2h u Ged\u00e2 Mesnevisinin \u00c7i\u00e7ek Bask\u0131l\u0131 K\u00e2\u011f\u0131tlar\u0131 <\/h1>\n
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