The General Directorate of Research and Education of the Ministry of Culture and Tourism of the Republic of Turkey, in cooperation with the Municipality of Edirne, relevant institutions and NGOs, had prepared a file for the inclusion of Hıdırellez Festivities in the Representative Tentative List of the Intangible Cultural Heritage of Humanity of the United Nations Educational, Scientific and Cultural Organization (UNESCO). Turkey and Macedonia jointly prepared and submitted to UNESCO in 2016, "Celebration of Spring: Hıdırellez" was evaluated at the 12th Intergovernmental Committee Meeting for the Safeguarding of Intangible Cultural Heritage, which took place in Jeju Island, South Korea between December 4-8, 2017. As a result of the evaluation, Hıdırellez was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity and it was pointed out that this is an important indicator of Turkey's activities to strengthen mutual cultural respect and understanding in the international arena.

In fact, the story of Hıdırellez begins with the fall of the dwarf to the ground. The Arabic word cemre means fire, piece of fire, ember. This hopeful spring festival, which is celebrated with wishes for health, fertility, abundance and luck, takes place on the date when nature is thought to revive after the harsh winter period and the weather is thought to be getting warmer. However, spring festivals are also present in pre-Islamic Turkish culture. Hıdırellez is an important day celebrated long before the Turks accepted Islam (Gök, 2000: 5).

Hıdırellez, which is one of the rituals performed every year on the sixth of May to celebrate the arrival of spring, is a combination of the words Hızır and İlyas. In the Turkish cultural geography, it is celebrated among the peoples, as well as known and celebrated by other peoples. While this holiday is known as Aya Yorgi among Orthodox, it is known as St. George among Catholics (Kalafat, 2011, p.21-23).

There are many legends about Hızır and İlyas. One of them is as follows: "Hızır and İlyas are two soldiers in the army of Alexander the Great. One day Alexander the Great goes out with his army in search of the water of immortality. On the journey, Hızır and İlyas are separated from the other soldiers. They stop at a watering hole and take out dried fish to eat. Just then the sea water splashes the fish, the fish comes to life and jumps into the water. Thus Khidr and Ilyas find the water of immortality. At this moment an angel arrives. He informs them that Hızır and Ilyas will live until the Day of Judgment, but that Hızır will help those in need on land and Ilyas will help those in need at sea." (Oğuz, 2008, p.159)

Hıdırellez is the herald of the revival of nature, of leaving behind the sleeping nature of winter and rejoining the spring season. It has been celebrated with ceremonies wherever people have lived for years.

"Kakava" is one of the most important days of the year for Roma. The celebrations known as Kakava in Thrace are known as "Hıdırellez" in Anatolia. Hıdırellez is not limited to the Roma but has become a day of celebration shared by all Anatolian peoples. According to various studies, Kakava originated in Egypt and Asia Minor. According to the mythology and belief of the Roma, Kakava, an ancient folk culture, is the transformation of the "miraculous" events that took place in Ancient Egypt during the reign of the God-King Pharaoh with the Coptic people (Kiptis), which had its origins in the persecution of another people, into a belief over time. Scientists researching on this subject state that it dates back 6 thousand years.

In Edirne, Hıdırellez and Kakava Festivities are celebrated as part of the activities organized by the Municipality of Edirne. The events start on May 5th with traditional horse races. On that day, the Roma in Edirne elect the head of the Çeribaş. The Governor of Edirne, the Mayor of Edirne and other protocol, the Chief Chief and his team, the people of Edirne and local and foreign tourists coming to our city meet in Sarayiçi within the program determined by the Municipality of Edirne. In this area, music and folklore groups perform at the stands set up by the Municipality to welcome the "Spring Festival". Then, the prepared "Hıdırellez-Kakava Fire" is lit. Some time after the fire is lit, it is tilted so that it can be jumped over and the people who come here jump over this fire three times. It is believed that jumping over the fire on Hıdırellez saves from evil and brings luck and health.

In Edirne, as in many other provinces of Turkey, on the night of Hıdırellez (May 5), people put lines and objects under the rose tree to represent their wishes for the realization of their wishes during the year. While doing this, they also pray and make offerings for the realization of these wishes. These wishes are usually things like houses, cars, etc. It is also important that these wishes are not shared with anyone.

The people of Edirne and local and foreign tourists coming to the city gather in Sarayiçi area between 05.00-06.00 on the morning of May 6. Edirne Municipality serves tea and bagels to the public. Young girls who come to the area come to the banks of the Tunca River wearing their wedding dresses before sunrise for the opening of their fortune. Those who want to make a wish tie their wishes to the wishing tree. Afterwards, young Roma girls enter the water in their wedding dresses, wishing for prosperity and health. Some take water from the river and wash their hands and faces, while others take water from the river to wash their hands and faces and take it home. Some Romani people and tourists also leave candles in the Tunca River for 'health, purification and prosperity' as per their beliefs. There is also a belief that Babafingo will come out of the river and help people overcome difficulties.

The people who get up early in the morning and go to the riverside start to return with the first light of the morning. As the people return from Sarayiçi, they break willow branches. They hang these willow branches on the doors of their own and neighboring houses. It is believed that these branches will bring abundance and fertility to the houses. On May 6, concerts are given on Saraçlar Street by the Municipal Band and other music groups. There are also egg breaking and intentions raffle events. "Hıdırellez and Kakava Festivities" are celebrated in the city with various cultural activities until late at night.

In Edirne, the City of History, Culture and Tourism, this spring festival is celebrated under the name "Hıdırellez and Kakava Festivities". The Spring Festival: Hıdırellez, for which Edirne is marked as a geographical region in UNESCO's Intangible Cultural Heritage List, has turned into an international event. Relevant institutions and organizations should take the necessary measures to ensure that both the presentation and the tourists coming to the city and the organizations to be held can be watched without any stampede. Our cultural heritage "Kakava & Hıdırellez", which has moved to an international dimension, will make a significant contribution to the promotion of our city in the national and international arena.

To successful "Hıdırellez-Kakava Festivals full of spring enthusiasm..."

Nowadays, one of the most important oil wrestling events held in a festive and ceremonial atmosphere is the Kırkpınar Oil Wrestling, which takes place in Edirne's Sarayiçi Er Square. In 1357, during Orhan Gazi's campaigns to conquer Rumelia, his son Süleyman Pasha went on a reconnaissance raid around Edirne after temporarily capturing Edirne with his troops. The vanguard returns and stops at Semavine, which today is in the territory of Greece. Forty brave men wrestle here. In the wrestling that lasted for hours, the brothers, whose names were Ali and Selim, could not win. Later, near Ahı village, the same couple wrestles again. However, they cannot fight again and they die on the spot, gasping for breath. In 1361, Murat I, who conquered Edirne, organized a wrestling in the summer of the same year in memory of forty valiant raiders. This organized wrestling has gone down in history as "Kırkpınar Wrestling". After that, it has become a tradition to organize "Kırkpınar Wrestling" every year on "Hıdırellez Day". These wrestles, which were held in Semavine, which is within the borders of Greece, are held every year with the organization of Edirne Municipality in Sarayiçi district of Edirne after the War of Independence.

Six friends paved the way for the resumption of Kırkpınar wrestling. These people named Şevket Ödül, Ekrem Demiray, Tevfik Sülün, Nazım, Mehmet and Şazi started Kırkpınar Oil Wrestling again on May 18, 1924 in Sarayiçi, one of the promenade places of the people of Edirne. Before these wrestling matches, an entertainment was organized by the Turkish Quarry in Sarayiçi in 1923, and within this entertainment, wrestling competitions were held under the direction of Adalı Halil, one of our famous wrestlers.

In 1925, Kırkpınar, which took the name of "Kırkpınar Wrestling", was held within the framework of Hıdırellez activities in the old years, except for the month of Ramadan. Since Sarayiçi was flooded during these months, it was held in June and July in later periods and has survived until today.

In the first years of the Republic, the events called "Kırkpınar Fair" continued as "Historical Kırkpınar Oil Wrestling" in the following years. Since 1966, it has been organized under the name of "Historical Kırkpınar Oil Wrestling and Festivals" and "Historical Kırkpınar Oil Wrestling Festivals and Culture - Art Events" in periods and has come to the present day.

These wrestling matches organized for the benefit of the Child Welfare Institution were organized for the benefit of the Child Welfare Institution in the following years, especially since 1938, with the support of the C.H.P. General Secretariat, the People's House and the General Directorate of Physical Education. This form of organization continued until 1950. After the 1950 elections, the organizations started to be carried out by the Municipality of Edirne. Thanks to the diligent efforts of the Municipality of Edirne, "Kırkpınar Oil Wrestling" has been able to reach today. Governors of Edirne and Mayors of Edirne have produced various projects in order to save Kırkpınar Oil Wrestling from the atmosphere of a fair and transform it into a national or international fair event.

"Historical Kırkpınar Oil Wrestling", one of the oldest traditional sports activities in the world, won the "European Distinguished Destinations Award" in 2008 and as a result of the efforts carried out by the Ministry of Culture and Tourism and Edirne Municipality, it was included in the "Representative List of the Intangible Cultural Heritage of Humanity" of UNESCO on November 16, 2010 under the name of "Kırkpınar Oil Wrestling Festival".

Wrestling events, which have an important social function in terms of the rapprochement and solidarity of people, bring together wrestlers from many regions of the country and those who come to watch them. Kırkpınar Oil Wrestling should not be seen as a mere sportive action. For wrestlers coming from many different parts of the country and striving to be successful, Kırkpınar symbolizes both the struggle to show themselves and to have a good place in society.

For the wrestlers who work for a year to become the Chief Wrestler of Turkey and who aim to be successful from all corners of Turkey, the historical Sarayiçi is the "Er Square" where they realize their struggle both to show themselves and to have a good place in society.

What distinguishes Kırkpınar from other wrestling events is that it has an intertwined cultural structure that has preserved its traditional appearance for centuries. The continuation of a deep-rooted cultural tradition by individuals, groups and communities contributes to the widespread understanding of Intangible Cultural World Heritage in this respect. Within the scope of the "Kırkpınar Oil Wrestling Festival Digitization Project" carried out by Ender Bilar, Culture and Art Advisor to the Mayor, written, oral, visual and electronic documents related to Kırkpınar Oil Wrestling were digitized and collected in a database. The project was carried out under the roof of "T.R. Edirne Municipality Kırkpınar Oil Wrestling Festival Information and Documentation Center" established in May 2014.

As a result, all archival documents from the past to the present about the centuries-old historical sports tradition "Kırkpınar Oil Wrestling Festival" have met with the whole world through the WEB server (www.edirnekirkpinar.com) of Edirne Municipality. This project I have carried out contributes to the promotion of Kırkpınar Oil Wrestling on the one hand, and on the other hand, it crowns the values of the Museum City Edirne.

"Kırkpınar Oil Wrestling Festival", which has been going on for centuries and is one of the important organizations of the Municipality of Edirne, continues to be the center of attention of local and foreign tourists.

Cultural Heritage is a treasure that tells the members of a society about their common past and strengthens the feelings of solidarity and unity among them.

Ebru Turkish Paper Decoration Art, derived from "ebr" meaning "cloud". Research has revealed that the art of marbling was first used as a side paper in manuscript books, that is, on the papers connecting the binding cover and the book. The oldest marbled paper with a date on it is a Malik-i Deylemi inscription dating back to 1554.

It is highly probable that the art of marbling, one of the post-Islamic arts of the Turks, was practiced in Turkestan in the XVth century. The art of marbling came to Anatolia from Central Asia via Silk. In the early periods, it functioned as an auxiliary art branch to bookbinding and calligraphy. For this reason, they do not have the names of the masters and the dates they were made. Sheikh Sadık Efendi, one of the first masters of this art in Anatolia, learned the art of marbling in Bukhara. "The oldest ebru paper that we can personally see is a Mâlik-i Deylemi inscription dated 962 AH (1554)." (Begiç, 2015; p.;591

As we come to the present day, we come across well-known marblers such as Necmeddin Bey. The Uzbekler Tekke in Sultantepe worked as a center, and the sons of Sheikh Sadık Efendi, İbrahim Ethem and Mehmet Salih Efendi were important marblers. Niyazi Sayın, who works today with a more modern understanding of art, is also an important marbler. (Belge, M.;2008)

In short, marbling is done by the paper that is made on the paint sprinkled on the surface of the water placed in a basin to absorb that paint. But behind this short description is a very detailed and arduous process. It requires working very fast without the paint spreading on the water. As in all handicrafts, the materials, paints, etc. used are surprisingly diverse in terms of their origins and sources, and bringing each to the desired consistency requires special skill. Water is mixed with a glue called "chitre" and brought to a consistency. Objects such as sea velvet, quince seeds, and cow dung are also added. Earthen dyes that do not dissolve are also made from turbot. The dyes are sprinkled into the water with a horsetail brush, and a variety of different techniques are used to create patterns and shapes. As in the oldest style, the style in which the paints take spontaneous forms is called battal marbling; if the paint is moved left and right with a needle or a single horse sheath and with hard strokes, it is called combing/tidal marbling; if these are relatively random movements, it is called shawl marbling; if circles are drawn from the edge to the center, it is called bülbüly nest. If needles attached to a stick are moved across the surface of the water to create different patterns, this is called comb marbling. There are also varieties such as Somaki marbling, sandy marbling, and double-marbled marbling.

The winds of change brought about by globalization have led to changes in the execution of political, cultural, economic, etc. cooperation activities carried out in the international arena, as in every field. Today's societies can easily access the information they want without borders through developing information technologies and carry out their cultural and social communication. In this context, individuals and/or nations have realized that an important factor of social development is cultural development. This awareness allows for intensive intercultural communication and interaction.

All these processes have caused nations to carry their artistic, cultural and historical accumulations from the past to the present, enrich them, transfer them to the future and promote them to the whole world in order to realize their cultural development.

The meeting of the Intergovernmental Committee on Intangible Cultural Heritage was held in Paris, where UNESCO Headquarters is located, between 24-29 November 2014 with the participation of 190 countries.

The Ministry of Culture and Tourism organized the "EBRU: TURKISH PAPER ART" was submitted to UNESCO in 2013 for inclusion in the list. On November 27, 2014, Hüseyin Avni Botsalı, Ambassador of the Republic of Turkey to the United Nations Educational, Scientific and Cultural Organization (UNESCO), Prof. Dr. Öcal Oğuz, President of the Turkish National Commission for UNESCO, marbling teacher Timuçin Tanarslan and his student Ömer Sabuncu were present at the meeting. As a result of the evaluations made at the meeting, the file was deemed successful and "EBRU: TURKISH PAPER ART" was included in the list. In the file prepared by the General Directorate of Research and Education of the Ministry of Culture and Tourism, the geographical location of Ebru Art is stated in the Inventory Fiche as Istanbul and Edirne.

These works will take their place in the pages of our history as important works that leave a mark on the future in order to introduce the cultural and historical values of our country to the whole world and to transfer them to future generations.

Glazed ceramic household items or wall panels decorated with various colors and motifs, made by firing clay soil made into dough, are called "tiles". Tiling, on the other hand, refers to the craftsmanship shaped around the traditional Turkish tile art, which has been around since the 12th century with its unique production and decoration techniques such as "minai", "luster", "glaze" and "underglaze".

Tile masters have been using the "underglaze technique" since the 16th century in the tiles they make according to recipes containing traditional knowledge about nature. In this technique, mud is prepared according to the recipe and turned into dough.

After the dough is shaped, a primer is applied, dried and fired in tile kilns to obtain a smooth surface called "biscuit". The patterns, which are pierced on the paper with the openwork technique, are transferred to the surface with charcoal powder and the outer contours of the pattern (tahrir) are drawn by hand with black paint using a brush. In the next stage, the patterns are painted with various colors. Finally, the ceramic is covered with glaze and fired a second time at 900-940°C to complete the production of the tile.

In tile decorations, geometric shapes, floral ornaments and animal figures symbolizing cosmic thoughts and beliefs are generally used with different color compositions. The use of red, cobalt blue, turquoise and green colors on a white or navy blue background in color compositions is a characteristic feature of traditional tiles.

The most fundamental factor that gives traditional tile art its character and protects it is the traditional craftsmanship that manifests itself in the knowledge and practices that are passed down from generation to generation regarding the procurement of raw materials, the preparation of paints, the construction and use of production tools, firing processes, ornamentation techniques and aesthetic understandings.

The carriers and practitioners of traditional tile art are tile masters. It is estimated that there are more than 5000 tile masters in Turkey. In tile workshops, there are also masters, journeymen and apprentices who are known by names such as "çarkçı" (wheelwright), "tahrirci" (decorator), "boyaamacı" (painter), who paints the inner parts of the patterns, and "bakcı" (baker) who does the firing work. These people are an important group in the transmission and implementation of the tradition.

Communities and individuals related to the element are organized through local non-governmental organizations (NGOs). There are 4 local NGOs in Kütahya and 2 in Iznik. Although there is no umbrella NGO operating throughout Turkey, there are many NGOs working on traditional Turkish handicrafts in metropolitan cities such as Istanbul, Ankara, and Izmir. These NGOs fulfill an important function in the preservation, transmission, promotion and new research on tile making.

The knowledge, techniques, recipes, rituals and ethical attitudes in the tradition of craftsmanship, which have been developed collectively for centuries, have been passed down from generation to generation in a master-apprentice/parent-child relationship. Especially the tile workshops in Kütahya, which have been in continuous existence since the 14th century, are important cultural spaces that keep the common memory of the element alive. In tile making, although there is no tradition of a written invocation from the master, there is an oral tradition of invocation called "taking hands". The journeyman who "takes the hand" from his master is accepted in social life and can train apprentices as a master who has mastered the tools of production, can successfully apply recipes and ornamentation techniques, and has acquired all the ethical norms of being a tile master.

The element also has an important cultural function in transmitting the perception of space in architecture, practices related to nature and the universe, aesthetic manners and culinary culture to future generations.

Tile art, which has been used as a spiritual healing tool for centuries and therefore adorns the facades of public and religious buildings, is an important part of the city identity in Kütahya, İznik and Çanakkale, as well as a special part of the city image in terms of giving its character to landmark buildings in big cities such as Antalya, Konya, Kayseri, Sivas and Istanbul.

The symbols in the colors and patterns of the tiles used by the people in their daily lives and frequently encountered in public and religious buildings, and the allegorical narratives they create, reflect the religious beliefs, world views, lifestyles, and aesthetic understandings of the people from the past to the present in an artistic form and as subtexts. In this way, tile making contributes to the strengthening of the cultural bond between the past and the present, and to the transfer of the feelings of cultural continuity, belonging and identity to the future.

In accordance with tradition, tile masters and trainers do not only teach their apprentices and students tile making and application techniques; they also encourage them to use time correctly, to be creative, patient, disciplined, balanced and harmonious. For this reason, people who participate in tile art trainings can achieve personal development in areas such as developing positive mental attitudes, coping with stress, establishing healthy social relationships, developing creativity and increasing self-confidence.

In order to become a tile master, it is necessary to have a certain technical and stylistic maturity as well as a certain moral understanding. Among these, there is nothing contrary to human rights, dignity, equality, personality, different ways of life and the concept of intercultural respect. In this context, tile art and the tradition of craftsmanship shaped around this art in no way belittle or marginalize other cultures and their products; on the contrary, it respects them and establishes a relationship of mutual inspiration with them.

Proposals were made by Kütahya, Bursa, Aksaray and Edirne Provincial Identification Boards for the inclusion of Tiling in the National Inventory and sent to the Ministry of Culture and Tourism between 2008 and 2010. The Commission of Experts on Intangible Cultural Heritage evaluated these proposals and recommended the Ministry to include Tiling in the National Inventory. The element was included in the National Inventory system in 2013.

In addition, Sıtkı OLÇAR and Mehmet GÜRSOY were declared as Living Human Treasures in recognition of their deep knowledge and high level of skills in the field of traditional tile art.

"Traditional Tile Craftsmanship" was inscribed in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity on behalf of our country at the 11th Ordinary Meeting of the Intergovernmental Committee on Intangible Cultural Heritage held in Adis Ababa, Ethiopia between 28 November-02 December 2016.

The word UNESCO is formed by taking the initials of the English words "United Nations Educational, Scientific and Cultural Organization" and is translated as "United Nations Educational, Scientific and Cultural Organization" in our language. UNESCO defines its mission as building peace in the minds of humanity through education, natural sciences, social and human sciences, culture and information and communication.

UNESCO, a specialized agency of the United Nations, was established in 1946 after the Second World War. The UNESCO Founding Convention was adopted in November 1945 in London at a meeting attended by representatives of 44 countries. Turkey was the tenth among the first twenty states to sign this law. The UNESCO Convention was ratified in Turkey by Law No. 4895 dated May 20, 1946. Following this ratification, the UNESCO National Commission for Turkey (NCCT), which is the sole and legal representative of the UNESCO Directorate General in our country in accordance with Article 7 of the UNESCO founding law, started its activities on 25.08.1949. UNESCO has 195 Member States and 10 Associate Member States.

According to the 1972 UNESCO Convention on the Protection of the World Natural and Cultural Heritage, cultural and natural assets that meet the criteria of "Outstanding Universal Value" are considered World Heritage. Places that qualify for the World Heritage List can gain worldwide prestige, status, touristic attraction and technical assistance.

As a result of the efforts initiated by the Municipality of Edirne in 2006 in cooperation with the Ministry of Culture and Tourism, the Selimiye Mosque and Complex in Edirne was included in the World Heritage List as a cultural asset in accordance with the unanimous decision taken at the June 27th meeting of the 35th Meeting of the UNESCO World Heritage Committee held in Paris between 19-29.06.2011.

Selimiye Mosque was built by Sultan Selim II in H: 976-M:1568, H:982-M:1574, is one of the masterpieces of Turkish-Islamic architecture as well as the history of world architecture.

This work, which Mimar Sinan built at the age of 80 and called his masterpiece, consists of 9 basic units. These are the Selimiye Mosque, the Dar'ul Qurra Madrasah, the Dar'ul Hadith Madrasah, the Sıbyan School, the Muvakkithâne, the Library, the courtyard with fountain and the outer courtyard. In this context, the "Arasta Bazaar", which was built to generate income for the mosque, was built by the architect Davut Aga during the reign of Murat III.

Selimiye Mosque, which crowns the city of Edirne and was built at the most visible point of the city in the area called Sarı Bayır, in other words Poplar Square, where the first Ottoman Palace was located, can be easily seen from all four corners of the city due to its location. This mastery of Sinan the Architect shows that he was an important urban planner as well as an architect.

The famous traveler Evliyâ Çelebi states in his Seyahatnâmesin that 27,760 Greek sacks (i.e. 550,000,000 akçe on average) were spent for the construction of the Mosque. (Çelebi, 2006) Selim II, who had the mosque built, did not live to see it. He died before seeing the completion of the mosque.

Although the "Urban Design and Landscape Project around Selimiye Mosque" made by Edirne Municipality was approved by UNESCO, it could not be put into practice for a long time due to different ideas among institutions and boards. This project was stopped due to the emergence of different ideas about the 'Yemiş Kapanı Inn' unearthed during excavations. For this reason, no work could be carried out in the idle area related to Selimiye Mosque Square for 6 years.

As a result of the studies carried out, the implementation process of the project prepared by Edirne Municipality was undertaken by the Ministry of Environment and Urbanization. Work on the implementation of the project started in September 2021. The first stage of the project, which will be implemented in three stages, was completed in May 2022. It is aimed to complete the other phases within the year.

Selimiye Mosque and Complex is the cultural symbol of the Ottoman classical culture that connects East and West and is the seal of the city.

Uzunköprü, one of the most important cultural heritage of Turkey and Edirne...

The bridge, which started to be built in 1427 during the reign of Murad II, was completed in sixteen years and put into service in 1443. It is the longest stone bridge in the world. The master of Uzunköprü is Muslihittin Bey. Mentioned in the Edirne Salnamesi as being 1392 meters long and 5.50 meters wide, the current length of the bridge is 1272 meters. Its width was increased to 6.80-6.90 meters in the 1964 repair by widening the two sides in the form of balconies. The bridge, which had 174 high arches in its first construction, has 164 high arches standing today.

On the left and right sides of the large eyes on the Ergene section, there are discharge eyes. The bridge has a total of seven discharge eyes. There are a number of animal figures and stylized plant motifs symbolizing power and strength on the bridge piers and arch keystones. Among the animal figures here, a woman's head representing the moon is seen behind the hind legs of the lion. On the same side with this depiction, there is also a tulip motif in the reverse. Also on the other side is a depiction of an elephant symbolizing power and long life.

On the fountain located at the bridgehead, which was later moved, a marble inscription written in new letters has been placed in this section today, representing the repair inscription of Sultan Mahmud II, which was originally engraved during the Greek occupation. There are "S" and "C" curves and rose motifs at the top and bottom of the repair inscription.

There are different geometric, floral, textual and figurative decorations on the parts between the piers of the bridge and on the keystones of the bridge piers and arches. Among these, the figures of eagle, bird, elephant, three lions and the inscription "Ali" repeated three times are particularly interesting. In addition to the three lion figures whose heads are joined in the center of a round frame, another lion relief was made by the workers during the 1972 repair on the railing of the triangular bay window above the big eye. The lion with its tail parallel to its back is depicted tied with a chain and a flower pot and a branch can be seen behind it. On the other side is a relief of an elephant. On the keystones of the arches, the initials of the name "Ali" repeated three times in kufic character in a hexagonal frame are joined in the middle, and on the keystone of one of the arches there was the phrase "al-Mulk lillāh" in a frame. On the downstream face near the eastern end of the bridge, there was a star formed by mutual triangles within an octagonal octagon carved in relief in a quadrangular frame and a branch with a leaf in the middle. However, it was destroyed due to the water pipe that met the water needs of the city passing over them. Apart from these, there are twenty-eight round stones placed on the railings on the right and left sides of the bridge.

Murad II had a bridge, mosque, imaret, madrasah, caravanserai, bathhouse, thirty-three shops, oil house, bozahâne, bezirhâne, mumhâne, three fountains and two watermills built in this settlement called Cisr-i Ergene. Only the bridge, Murâdiye Mosque, fountain, bathhouse and Gazi Mahmud Bey Fountain have survived to the present day.
The bridge, which is still in use today, has a triangular shaped history pavilion with a height of 2.55 meters and a width of 4.50 meters and two balconies. The bridge restoration works were started by the General Directorate of Highways and are still ongoing.

Uzunköprü was included in the UNESCO World Heritage Tentative List in 2015.

This complex of Sultan Bayezid II, consisting of a mosque with a tabhâne (guesthouse-resting place) on both sides and a soup kitchen (imaret), kitchen, supply warehouse, madrasah, dârüşşifâ and bathhouse around it, was built on the northern bank of the Tunca River right on the edge of the river.

There is no trace of the bath built across the road to the south of the complex today. Another building belonging to this complex is the bridge connecting this area to the city (Beyazit II Bridge). Bayezid II, who came to Edirne in 889 Rebîülâhir (May 1484) to embark on the Kili and Akkirman expedition, had the foundations of the buildings laid during his stay here, and the mosque was completed in 893 (1487-88) according to its inscription. It can be assumed that the other buildings of the complex were completed on the same dates. Three endowments of the Beyazıt Complex have been identified. The first of these is dated 892 Cemâziyelâhir (June 1487) and is in Arabic. The second endowment, which was written in Turkish at the request of the sultan so that the foundation officials could better understand it, was dated 895 (1489-90) and includes a complete list of the officials and their salaries. There is also a third waqf dated 29 Rajab 913 (December 4, 1507), a copy of which is preserved in the archives of the Foundations and the Prime Ministry, and a copy written in 1214 (1799), which was copied from a waqf dated early 898 Zilkadesi (August 1493). A copy of this one is said to be in the Selimiye Library in Edirne. The endowments list the names of the villages in various parts of Thrace and Rumelia that were part of the külliye's endowment and the income collected each year. Revenues increased from 782,930 akçes at the end of the XVth century to 1,552,131 akçes in the second half of the XVIth century. In the kulliye, 147 people working at various levels received salaries, and eighteen students living in the madrasah also received a daily allowance of two akçe. There was also a small library of forty-two volumes of books on tafsir, hadith, fiqh, kalām, usul, rhetoric, logic and medicine.

The mosque's construction inscription in six rulers arranged in two lines is above the sentence gate. This inscription is known to have been written by Zenbilli Ali Efendi and its calligrapher is the famous Sheikh Hamdullah. There are two more inscriptions in five lines each on the niches in the form of mihrabs on the right and left walls of the entrance door. In these inscriptions, which resemble Sheikh Hamdullah's style in terms of style, the 9th and 10th verses of the Friday sûra inviting the believers to Friday prayer are written. The Turkish history poem written by the poet Ahmed Pasha about the complex was not engraved as an inscription.

The Beyazıt Mosque and Complex was visited by Evliya Çelebi in the seventeenth century and in his Seyahatnâme, he gave a detailed description of the darüşşifa. The Beyazıt Complex, which was also seen by all foreign travelers passing through Edirne during the Ottoman period and mentioned in their travelogues, was also examined by two Frenchmen, G. Sayger and A. Desarnod, during the Ottoman-Russian War of 1827, and their drawings were published in the album presented to Tsar Nicholas I in 1830. C. Gurlitt, on the other hand, included a plan of the Beyazıt Complex in his article published in 1911 after a few days of work in Edirne. Sedat Çetintaş drew a more accurate plan and survey of the mosque and the complex between 1935 and 1940. Aydın Yüksel prepared and published more detailed plans and surveys.

The location of the Beyazıt Mosque and Complex on the banks of the Tunca River caused many valuable works here to be severely damaged by river floods in the nineteenth century. During the Balkan War and the years that followed, Edirne as a city fell into a great depression and decline, and the Beyazıt Complex was one of the most damaged monuments of the city. Sultan Bayezid II Complex, one of these important buildings of our history, which faced the danger of being destroyed and disappeared due to the economic difficulties experienced after the Republic, was transferred to Trakya University in 1984 and started to be used as educational areas after a comprehensive restoration. Today, it welcomes its visitors as a museum affiliated to Trakya University.

Beyazıt Complex covers a large area. To the right of the outer courtyard separated by a wall were the dârüşşifâ and the madrasah, and to the left were the caravanserai (?), kitchens and soup kitchen-imaret. At the end of this outer courtyard on the Tunca side is the mosque. Adjacent to the wall outside the courtyard gate is a fountain with four facades and a pyramid-shaped masonry cone. According to its inscription, this fountain was built by Sinan Aga in 1080 (1669-70).

Mosque; The mosque courtyard with entrances from three sides is surrounded by domed porticoes. Some of the portico arches made of double-colored stones sit on granite, some on white marble and some on green breccia columns. There are double rows of windows on the outer walls of the courtyard. Evliya Çelebi reports that there are four cypress trees planted by Sultan Bayezid himself in this courtyard, of which no trace remains today. There is a large marble fountain pool in the center, which is understood from some traces that it was previously covered with a canopy. It was also found that there was a well on the courtyard floor. Although the last congregation place leaves the impression of the continuation of the porticoes in terms of architecture, the dome in the middle, which is crossed with rich muqarnas, was built higher than the others. In addition, the domes on both sides are spiral sliced from the inside. The last two sections of the last congregation pass to the tabhânes. The crown gate of the mosque is of extraordinary beauty in terms of architectural proportions. There is a construction inscription on the door arch made of two-colored stones. The top of the door niche is also decorated with muqarnas. The harim of the mosque is completely square and four half-round arches embedded in the walls carry the dome with a diameter of about 20 meters with the help of corner pendants. This dome, which reaches a height of 31 meters inside, provides a majestic exterior appearance with the cubic mass of the Beyazıt Mosque. In addition to the windows opened in the dome pulley illuminating the interior, there are also windows lined up in a harmonious manner on the facades. The niche of the marble mihrab also has muqarnas. The marble pulpit is one of the most beautiful among its precedents. The hünkâr mahfili, which is considered to be the first in Ottoman period Turkish art and located in the left corner of the mosque harim, is on arches made of double-colored marbles. A marble railing with a network surrounds it. From the traces on the qibla facade, it is understood that there was a wooden annex building outside the mahfil before. It is clearly evident that this was added later. Gurlitt states that this was a pavilion. An old photograph shows that the pavilion sits on thin columns and is empty underneath. The interlaced door wings of the mosque are also fine examples of Turkish woodwork. The pencil embroidery decorating the walls, pendants and around the windows of the mosque were probably made in the XIXth century and are not compatible with the architectural style of the work.

Located in the Yeniimaret neighborhood of the central district of our city, the mosque is open for worship today.

Minarets; The double minarets of the Beyazıt Mosque are at the outer corners of the tabhânes on both sides. Evliya Çelebi attributes the distance of the minarets from the mosque to the reason that they would not damage the dome if they collapsed in the earthquake. Their pulpits are multi-faceted and the sides of each facade are decorated with 3/4 diameter columns with muqarnas capitals and fluted bodies. There are Bursa arches above these columns. Each façade is also decorated with a protruding panel. The chamfered bodies of the minarets reach up to the mukarnas balconies. The minaret pulpits of the Beyazıt Mosque have a special value with their architectural ornaments, which are rare in Turkish art.

Tabhâneler (Guest House-Resting Place); A tabhâneler was built adjacent to the two side facades of the mosque. These tabhânes, which have doors both to the last congregation place and to the outside from the sides, were built according to the scheme of four rooms in the corners with four iwans diagonally, which is the usual plan type of Turkish architectural tradition since Central Asia. The iwans and rooms are covered with a dome. Since the central space was designed like a closed courtyard, its dome, which is higher than the others, was decorated with rich muqarnas and a lighthouse was placed in the center. In tabhânes, which were common in the Ottoman architecture of the XIV-XV. centuries, pabuçluks were built to accommodate the travelers passing by, and a hearth was built in each room for those who were hosted in the rooms. The tradition of tabhâne adjacent to the mosque, which completely disappeared in Ottoman architecture after the reign of Kanûnî, found its most monumental expression here, as in the Beyazıt Mosque in Istanbul.

Madrasa; Located to the right of the mosque's outer courtyard, the madrasa consists of eighteen domed cells surrounding a domed, porticoed fountain courtyard and a classroom-masjid in the center. Since the endowment records eighteen students, it means that each cell with a hearth and book cupboard was intended to accommodate one student. It is understood that the claim that this was a medical madrasah is not based on a solid foundation. Ibn Kemal was among its teachers and the books mentioned in the foundation were also kept in this madrasah.

Dârüşşifâ; Dârüşşifâ, which has a distinct place among the charitable buildings of the Ottoman period, is also interesting in terms of its architecture. Although there is no mention of such a service in the foundation deed, Evliya Çelebi writes that the mentally ill patients were treated with music and therefore a music committee playing various instruments gave concerts for the patients three days a week. Dârüşşifâ worked until the war of 1876, then it was evacuated for a while, and while it was used again at the end of the last century, it was closed during the Balkan War and left to ruin. Sultan Bayezid II Complex, one of the most important buildings of our history, which faced the danger of being destroyed due to the economic difficulties experienced after the Republic, was transferred to Trakya University in 1984 and started to be used as educational areas after a comprehensive restoration.

In 1997, the darüşşifa section of the complex, which was converted into a museum, received the 2004 European Museum Award of the Council of Europe, one of the most prestigious museum awards in the world, and had an important promotional opportunity. In 2005, it received the second best presentation award at the "World Meeting of Award-winning Museums" in Dubrovnik, Croatia, and in 2008, it received the "Best Presentation Award" in Cologne, Germany, making another great contribution to the promotion of our country and culture. The museum was accepted into the "Club of Excellence" by the European Cultural Heritage Association.

Here, an "Ottoman bimarhanesi" (Bimar: Patient, Hane: House) of 500 years ago was recreated. In addition to the medical knowledge of the period, music, the sound of water, fragrances and occupation are used in the treatment of patients, bringing the past to the present with a rich visual narrative.

Behind a columned portico on one side of the rectangular first courtyard of the Dârüşşifân, six cells with hearths and covered with domes are lined up. There are latrines at the very beginning. The gallery of the portico is covered with a vault. In the opposite corner of the courtyard, there is a section consisting of four spaces, one of which is vaulted and three of which are domed with lanterns. According to some, this section, which has a well just outside it and whose exact function is unclear, is a laundry, kitchen and storehouse for provisions. The presence of a well next to it supports this assumption.

A beautiful crown door on the bottom wall of an iwan opening to the courtyard provides access to the second courtyard. On both sides of the iwan are domed sections that can only be entered from the first courtyard. These rectangular sections, the purpose of which is unclear, also have hearths and consist of two domed sections, each separated by an arch. On either side of the second courtyard, there are domed iwans and square cells, also domed, at the four corners. In the center of the wide side of the courtyard was the crown gate giving passage to the third part. The fact that the iwans have benches with footrests underneath them indicates that they were designed for sitting in the appropriate seasons.

The most architecturally interesting part of the Dârüşşifân is the third section. It is organized according to a hexagonal plan and six iwan open to the hexagonal hall in the center. Four of these have sitting benches inside them. The central sofa or space has the character of an enclosed courtyard covered with a large dome with a lighthouse. There is a fountain fountain in the center.

Between the iwans, there are cells covered with domes with skillfully arranged entrances and hearths. After the cells on either side of the iwan to the south of the central hall, which can only be accessed through the iwan, there is a section with five facades and plenty of windows that protrudes from the center. Some have argued that this was a place of prayer, while others have claimed that the musicians mentioned by Evliya Çelebi took place on this ledge. The dârüşşifâsı of the Beyazıt Complex is a very valuable work of Turkish hospital architecture, with no other analogues.

In addition to the large number of personnel listed in the foundation deed of the Beyazıt Complex, the presence of a very crowded community in this foundation "site" is understood when the guests in the medical centers, the students in the madrasah, and the patients treated in the dârüşşifâ are taken into account. For these people, soup kitchen-imaret facilities were built on the left side of the outer courtyard of the complex. However, it is not possible to understand the original functions of the sections and spaces that make up the aşhane-imaret buildings. It is likely that there were spaces used for other tasks besides the dining hall, the storehouse and the kitchen. They consisted of two building masses with a space between them. The first mass, which is close to the mosque, consists of domed spaces surrounding a square courtyard, and it is likely that the space in the form of a long ward with three domes was the dining hall. On the other side of the courtyard, there is a domed four-sectioned space in the center resting on a single pâye and a fifth space connected to it. Light lanterns can be seen above the four domes. The second building mass consists of two parts. The one in the center with a square plan with four domes is the kitchen, as can be understood from the two large hearths inside. It is not known what the rectangular part with eight domes, which is adjacent to this part but not connected to it, was. Although it has been suggested that it was a stable, this claim is not very convincing. Only the presence of crenellated air vents seems to support this view. However, there is also the possibility that this large section was designed as a caravanserai.

Hamam; The facility specified as a double bath in the foundation was located on the opposite side of the street. No trace of this bath, whose water was drawn from Tunca with a Ferris wheel and whose annual income was 10,000 akçe, remains today. In an old photograph, the bath, which appears to have been quite large, can be seen with two large domes for changing places. According to Rıfkı Melûl Meriç, this bath, which was operational in 1172 (1758-59), was demolished by the Foundations in 1311 (1893-94) and its stones were used to build embankments.

Sultan Bayezid II Khan Complex was included in the UNESCO World Heritage Tentative List in 2016.