6.Diyarbakır(AMED):
Diyarbakır is a major city in the Southeast of the Republic of Turkey. Situated on the banks of the River Tigris, it is the seat of Diyarbakır Province, and has a population of 545,000. It is the second largest city in Turkey’s South-eastern Anatolia region, after Gaziantep. Within Turkey, Diyarbakır is famed for its culture, folklore, and watermelons. Diyarbakır has a large Kurdish population, and is sometimes referred to as the “unofficial capital” of the regions ethnic Kurds
According to some scholars, the modern name “Diyarbakır” derives from “Diyârbekir”, an Ottoman Turkish Language rendering of the Persian compound “Diyâr-i Bekr” (“Land of the Bekr”), itself composed of the word “diyār” , which is Arabic for either “region” or “district”, followed by ” Bekr ” , it probably denoted the landholdings of the Arab Bekr tribe (which had settled in the area following the Islamic conquest of the 7th Century).
In an analysis by the Kurdish scholar Mehrdad Izady of the Department of Near Eastern Languages and Civilizations at Harvard University, the name Bakir is derived from the toponym Bagraoandene and is related to the Bagrawands or Bakrans tribal Kurdish names. At various times the previous name Amid was written as Amida, and Kara Amid.
Diyarbakir -The Great Mosque
The Great Mosque of Diyarbakir is hardly regarded as a "must see" in a tour of Turkey, yet it would impress the general public and not only those who have a special interest in Islamic art. The buildings around the courtyard which leads to the prayer hall are a unique example of reutilization of ancient Roman structures.
The Great Mosque and its ancillary facilities are located along Diyarbakir's main north-south street near its intersection with the main east-west road: in a Roman town the Forum and other important buildings were usually located in such a central position; it is therefore possible that sections of ancient buildings were incorporated into the Ulu Cami complex.
An old arch in a modernized building leads to the courtyard eastern portico.
The arch leading to the courtyard is decorated with reliefs showing two lions attacking two bulls; similar reliefs can be seen on the palace of the Artukids rulers of Diyarbakir. When compared to the nearby very elaborate Kufic inscriptions these reliefs have a very naive appearance which is difficult to explain; the lion's tail in particular seems more a calligraphic exercise than the depiction of an actual tail.
The view of the rectangular courtyard is impaired by the oversized XIXth century roof of a sadirvan, yet the attention of the visitor is immediately captured by the design of the western portico.
The courtyard is 63 meters/69 yards long and 30 meters/33 yards wide: it is aligned with the cardinal points; the mosque stands on its southern side because Diyarbakir is situated on the 40th Meridian of the Eastern Hemisphere which is the same as Mecca; for this reason all mosques of the town are built on a north-south axis; the orientation of the courtyard however, in addition to complying with Muslim requirements, is also consistent with the Greek/Roman approach of building on an east-west axis.
The Great Mosque was built in 1091-92 on the site of a previous mosque which in turn replaced a church dedicated to St. Thomas; it is a very wide building in relation to its length; the interior is similar to the Great Mosque of Damascus. At the time of its construction Diyarbakir was part of a large Seljuk Empire founded by Malik Shah after the 1071 Byzantine defeat at Manzikert; it included parts of Anatolia, Mesopotamia, Persia and Syria. Malik Shah died in 1092; dynastic quarrels led to the dissolution of this empire. A few years later the heirs of Artuk, a general under Malik Shah, took control of Diyarbakir. The square minaret was built during the Artukid rule; its decoration based on white stripes and inscriptions is similar to that of a tower near Yeni Kapi.
It is generally thought that the eastern portico is a reconstruction of a previous Roman building, not just that its columns and reliefs come from Roman monuments; this building could have been the scene of a theatre in this case the columns and entablatures were the decoration of a blank wall, which later on was rebuilt as a portico.
In the upper storey the shaft of the columns is made of a single block, whereas in the lower storey two blocks were assembled to give the shaft the desired height: this could mean that while the upper storey has the same height of the original structure, the lower one is higher than the original.
The decoration of the entablature is based on three bands; the oldest one is placed at the top; a frieze with a vine stalk forming loops around leaves and bunches of grapes is in a middle position and it probably belongs to a VIIth century Byzantine building; the lower band is a Kufic inscription of the Artukid period which says that the portico was completed in 1117.
The western portico was completed in 1164; its design is very similar but not identical to that of the eastern portico; total symmetry was forbidden by Muslim beliefs, which considered it as a symbol of perfection and thus not achievable by human beings.
The porticoes are supported by pointed arches, but the central arch of the eastern portico and three arches of the western one are of a very unusual and elaborate design: this kind of broken arch is supposed to derive from patterns developed in Central Mesopotamia (today's Iraq). In Turkey it was first used in these porticoes.
The Clash of Civilizations is a theory, proposed by political scientist Samuel P. Huntington, that people's cultural and religious identities will be the primary source of conflict in the post-Cold War world . The columns of the western portico which combine classical design with Islamic excellence in geometrical decoration suggest that at least artists know that there are better alternatives than confrontation and war.
Most of the northern side of the courtyard is occupied by a third portico built on columns with splendid Corinthian capitals; this portico leads to Mesudiye Medresesi which has also another totally different entrance.
The capitals are different in size and decoration, so they come various ancient buildings; it is possible that they were gathered and used for the mosque which preceded the XIth century Ulu Cami. Nasir Khusraw, a Persian poet and traveller who visited Diyarbakir in 1046, reported that the interior of the mosque was supported by hundreds of ancient columns.
Mesudiye Medresesi, adjacent to the Ulu Cami and one of the first theological school in the region, was completed by the Arturkids in 1198. Its decoration is based on the contrast between the prevailing black basalt stones and a white decoration, which is known as "cis" .
Virginia Mary Church
The apostate Arameans who call themselves “Assyrians”, the ultimate product of the Western Colonial wickedness among the Aramean nation causing the downfall of this Semitic people who have been presence since thousands of years in the lands of the forefathers, again abuse a event to promote the genocidal and fake name “Assyrianism”.
This culture extermination is carried out by means of willful identity distortion and misinformation. One of the organizations active to achieve this criminal spiritual genocide is the International Lie and Hate Machine AINA (Assyrian International News Agency). AINA is a organization specialized in distortions and fallacies in order to promote the criminal spiritual colonial Western invention “Assyrians”. They seize every opportunity to promote “Assyrianisme”. The terror of this one-man organization is unprecedented. They are prepared to do everything to sell the lie-name “Assyrians” to the world.
It is known that AINA, the international lie- and hate machine, many times invents stories or produces stories composed of half-truths hoping to get the attention of media for the immoral, criminal Western colonial name “Assyrians”. Thus: problems are being created with the main goal of propaganda for this unholy name.
Their struggle is certainly not meant to prevent persecution of Aramean Christians in Iraq and elsewhere in the Middle-East, but their struggle and the struggle of those together with them, who glorify the unholy name “Assyrians”, is aimed to advertise this lie-name and to exterminate the original Aramean identity of our nation – exactly what the criminal colonial intrigues had in their mind. That is their main goal!
Whether they are talking about genocide, or demonizing the Kurds, attacking the Arabs, slandering Turks and other nations, violations of the human rights of the Aramean nation in general and all other related issues; the only and the main goal of these criminals is to glorify and advertise the immoral and with blood besmirched terror-name “Assyrians”. That is the main goal of all their efforts.
The Malabadi Bridge (Turkish: Malabadi Köprüsü, Kurdish: Pira Malabadê) is an arch bridge spanning the Batman River near the town of Silvan in southeastern Turkey. It was built between 1146 and 1147 during the Artuk period by Timurtas of Mardin, son of Ilgazi, grandson of Artuk. It was restored in the late twelfth century, and recently in the beginning of the 20th century. It was once the only bridge across the river in this area, and was in continuous use until the 1950s, when a new road bridge was opened upstream.
The span of the bridge crosses perpendicular to the river, but the roadway is at an angle to the river, so there are angular breaks in the east and west approaches. The approaches rise from ground level to meet the central span, which is a pointed arch high over the deepest part of the river. Constructed from colored solid masonry, the approaches have small arches built into them to let flood-waters through. Two of the piers of the bridge sit in the river; the western support is decorated with two carved figures, one standing and one sitting. The bridge is
10 Eyed Bridge:
If you walk south from the Mardin Gate and pass Gazi Köskü you will after another km come to the bridge On Gözlu Köprüsü (Ten-Eyed Bridge). It is a bridge from the 11th century crossing the Tigris.
I did not walk that far but only saw it from the road to Gazi Köskü - I had walked enough for a while.
Esma Hob Home:
Another beautiful old Diyarbakir house is Esma Ocak Evi. The house is striped in white and dark grey. In the rooms around the courtyard there is less to see than at Cahit Sitki Taranci Museum, but it is still worth a visit and has got a beautiful architecture.
The house is just off Yenicapi Caddesi and is easy to pass, as there are no signs. When I came there the caretaker was showing a small group around and I walked around on my own. There is no entrance fee, but the caretaker expects a tip. I gave 2 000 000 TL, as that is the price for foreigners at many museums in Turkish towns. The caretaker did not think that was enough.
Cahit Sikti Taranci Museum
The poet Cahit Sitki Taranci was born (1910) in an old Diyarbakir house from 1820. As many of the old Diyarbakir houses from the Ottoman period it is made of black basalt. The house was divided into men's quarters and women's quarters, into summer- and winter quarters. The house is built around a very nice courtyard. In the museum there is an exhibition of the poets life and work.
The City Walls
The wall going round Diyarbakir is impressive. It is almost
The Wall At Night
At night the walls are lighted up and they look very beautiful and impressive.
During the evening families and old and young people are visiting the parks by the wall. It's a nice place to go for a walk at.
“The largest caravanserai in Diyarbakır”
Hüsrev Pasha Hani, also more commonly known as Deliller Hani, named after guides who used this complex as base for pilgrams travelling to sacred destinations. Deliller Hani, close to Mardin Kapı of City Walls, has almost survived close to it's orginal form , with 72 rooms to stay , enough space for 800 camels, around 17 stores and a large inner courtyard on two stories. Diyarbakır being a major stopover for silkroad traders, Deliller Hani was serving to traveling traders along with the pilgrams.Deliller Hani now serves as a boutique hotel.
The spacious inner courtyard with tall trees and a cooling fountain, is good to stop over for refreshment or a cup of coffee, which is on the way to several attractions of the old city like city walls, ten Holed Bridge on Tigris River, Seman Kosk ( Gazi Kosku) . You may not need to sit down but go inside and take a look at the courtyard.
View of Saint Giragos church
St. Giragos is an Armenian Orthodox Church in Diyarbakır, which although out of use has recently been renovated in part as a sign of reconciliation with the Christian community.
It was seen as one of the largest and most important Armenian churches in the Middle East, with seven altars.[3] It was closed during the Armenian Genocide in 1915-1916, and was returned to the local Armenian community in 1960, although due to emigration in the 1970s and 1980s the local Armenian community was much diminished. According to some art historians, the church is the largest in the Middle East. The complex sprawls over
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