Please use this identifier to cite or link to this item: http://hdl.handle.net/11527/17360
Title: Hayali İstanbul manzaraları
Authors: Ögel, Semra
Gürçağlar, Aykut
53321
Sanat Tarihi
Art History
Keywords: Manzara
Resimler
İstanbul
Landscape
Pictures
Istanbul
Issue Date: 1996
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: Ottoman architecture. It is nearly impossible to identificate each building or to make a description about buildings one by one. Yet these architectural elements are altogether build a perfect looking of the Sultan's capital. Thus these evidences refer to the Ottoman miniature painting. But when it is taken an example of imaginary Istanbul landscape made by a European artist it will be seen the differency of idealistic manner. The city of Istanbul is changed to a North African city or decorated with European architectural elements so as to get a neighbourhood effect from a strange, oriental, unknown, attractive city somehow. XXIV many things about the Orient changed. Most of the artists found ways of travelling to the Orient, many of them visited Istanbul. A great program for the colonization of the Orient was carried out under the leaderships of Britain and France. In the second part of the 19th century artists used photography in their paintings. Hundreds of Istanbul landscapes were made in photographic reality in the 19th century. Yet a lot of imaginary Istanbul landscapes were also made in the same century. Some of the artists who made imaginary Istanbul landscapes visited Istanbul while some did not. The ones who visited Istanbul might have expected huge, flamboyant buildings, palaces and mosques but the modesty of the city and the simplicity of Ottoman architecture probably disappointed them and mey preferred to apply the so-called North African architecture in an Istanbul landscape because it was more welcome by the European. The other artists who did not visit Istanbul used photographs or engravings in the books of travels and they created mystic, styleless imaginary Istanbul landscapes. Figures in the imaginary Istanbul landscapes did not have any functions. Yet sometimes they were placed on the first scene so as to point out the resignation of the Oriental woman or putting Europeans to be the slaves at the slave market. It is not easy to find chronological exactitude in the costumes of the figures in the imaginary Istanbul landscapes, like J-L. Geröme's picture of the costume of the harem guard. We can say that in the 19th century the imaginary ideas about the Orient were completely reflected in the imaginary landscapes of Istanbul. Despite the fact that the Orient was scrutinized better in the 19th century, western artists did not give up seeing the Orient the way they loved to see it. Imaginary Istanbul landscapes were also made in the territories of the Ottoman Empire. These imaginary Istanbul landscapes are located on the walls or the friezes of the the walls in the two or three storey houses. These landscapes were the works made by unknown local masters. The origin of these pictures depends on the Ottoman miniature painting. But many of these landscapes were made in more stylistic and simple manner than the Ottoman miniature painting. The aim of making imaginary Istanbul landscapes in the Ottoman houses were to crown imperial capital as the city of caliphate and dominant power all over the empire. On the other hand these pictures indicate the desire of countryside people towards a well developed city, here Istanbul. These pictures differ from the imaginary Istanbul landscapes made by European artists having been preserved its pure Ottoman looking and sometimes mixed with Byzantine elements. Inspite of being made in imaginary point of view, these pictures depicted by the Ottoman masters show deep differency from the imaginary Istanbul landscapes made by European artists. Local masters generally intended to design a city of caliphate in which typical Ottoman houses, mosques, palaces and the Bosphorus as surroundings. These elements indicate the symbols of the Ottoman capital on which everyone can easily understand the city is depicted the wall is certainly Istanbul in one hand, on the other hand show the dominancy of the Sultan over his empire. Most of the houses painted by the local masters are based on their knowledges gained from the daily öfe. ha some pictures mosques are abnormally huge or in forms of unusual imaginative design. However all the architectural elements in these pictures are the universal forms of the Ottoman architecture. It is nearly impossible to identificate each building or to make a description about buildings one by one. Yet these architectural elements are altogether build a perfect looking of the Sultan's capital. Thus these evidences refer to the Ottoman miniature painting. But when it is taken an example of imaginary Istanbul landscape made by a European artist it will be seen the differency of idealistic manner. The city of Istanbul is changed to a North African city or decorated with European architectural elements so as to get a neighbourhood effect from a strange, oriental, unknown, attractive city somehow. XXIV many things about the Orient changed. Most of the artists found ways of travelling to the Orient, many of them visited Istanbul. A great program for the colonization of the Orient was carried out under the leaderships of Britain and France. In the second part of the 19th century artists used photography in their paintings. Hundreds of Istanbul landscapes were made in photographic reality in the 19th century. Yet a lot of imaginary Istanbul landscapes were also made in the same century. Some of the artists who made imaginary Istanbul landscapes visited Istanbul while some did not. The ones who visited Istanbul might have expected huge, flamboyant buildings, palaces and mosques but the modesty of the city and the simplicity of Ottoman architecture probably disappointed them and mey preferred to apply the so-called North African architecture in an Istanbul landscape because it was more welcome by the European. The other artists who did not visit Istanbul used photographs or engravings in the books of travels and they created mystic, styleless imaginary Istanbul landscapes. Figures in the imaginary Istanbul landscapes did not have any functions. Yet sometimes they were placed on the first scene so as to point out the resignation of the Oriental woman or putting Europeans to be the slaves at the slave market. It is not easy to find chronological exactitude in the costumes of the figures in the imaginary Istanbul landscapes, like J-L. Geröme's picture of the costume of the harem guard. We can say that in the 19th century the imaginary ideas about the Orient were completely reflected in the imaginary landscapes of Istanbul. Despite the fact that the Orient was scrutinized better in the 19th century, western artists did not give up seeing the Orient the way they loved to see it. Imaginary Istanbul landscapes were also made in the territories of the Ottoman Empire. These imaginary Istanbul landscapes are located on the walls or the friezes of the the walls in the two or three storey houses. These landscapes were the works made by unknown local masters. The origin of these pictures depends on the Ottoman miniature painting. But many of these landscapes were made in more stylistic and simple manner than the Ottoman miniature painting. The aim of making imaginary Istanbul landscapes in the Ottoman houses were to crown imperial capital as the city of caliphate and dominant power all over the empire. On the other hand these pictures indicate the desire of countryside people towards a well developed city, here Istanbul. These pictures differ from the imaginary Istanbul landscapes made by European artists having been preserved its pure Ottoman looking and sometimes mixed with Byzantine elements. Inspite of being made in imaginary point of view, these pictures depicted by the Ottoman masters show deep differency from the imaginary Istanbul landscapes made by European artists. Local masters generally intended to design a city of caliphate in which typical Ottoman houses, mosques, palaces and the Bosphorus as surroundings. These elements indicate the symbols of the Ottoman capital on which everyone can easily understand the city is depicted the wall is certainly Istanbul in one hand, on the other hand show the dominancy of the Sultan over his empire. Most of the houses painted by the local masters are based on their knowledges gained from the daily öfe. ha some pictures mosques are abnormally huge or in forms of unusual imaginative design. However all the architectural elements in these pictures are the universal forms of the Ottoman architecture. It is nearly impossible to identificate each building or to make a description about buildings one by one. Yet these architectural elements are altogether build a perfect looking of the Sultan's capital. Thus these evidences refer to the Ottoman miniature painting. But when it is taken an example of imaginary Istanbul landscape made by a European artist it will be seen the differency of idealistic manner. The city of Istanbul is changed to a North African city or decorated with European architectural elements so as to get a neighbourhood effect from a strange, oriental, unknown, attractive city somehow.
Description: Tez (Doktora) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1996
Thesis (Ph.D.) -- İstanbul Technical University, Institute of Social Sciences, 1996
URI: http://hdl.handle.net/11527/17360
Appears in Collections:Sanat Tarihi Lisansüstü Programı - Doktora

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