Türk Resminde Folklorik Ögeler

Abstract

Bu çalışmada, 16. yüzyıl geleneksel minyatür resminden 1940'lı yıllara kadar olan dönemde gerçekleştirilen örnekler, tema olarak ele alınan folklorik öğelere ağırlık verilerek katalog düzeni içned incelenmeye çalışılmış, bunun yanında perspektif, ışık ve renk gibi resim-sel özellikler üzerinde de durulmuştur. Batılılaşma sürecinde, minyatürden tuval resmine geçişte, değişim yalnız teknik ve malzemede değil, ele alınan konularda da sözko-nusudur. İki boyutlu minyatür resminin bazı örneklerinde, tema olarak yerel halk yaşamının betimlendiği görülür. Batılı anlamda tuval resmi uygulanmaya başlandıktan sonra, ağırlıklı olarak manzara, natürmort gibi resim türleri izlenirken, 20. yüzyılın başlarında yerel halk yaşamını içeren konuların da resimlendiği görülür. Türk resminde konu alanında görülen bu değişim, dönemin yaşanılan olaylarıyla bağlantılı olarak hız kazanmıştır. Bu dönemde oluşturulan yapıtlar incelenirken, kırsal yöre insanı, yaşanılan çevre, ekonomi ve eşya kültürü, örf ve adetler üzerinde titizlikle durulmuştur. Ayrıca, Halk yaşamını konu alan bu yapıtlar, dönemin yaşam biçimini, gelenek ve göreneklerini folklorik öge/ögeler olarak yansıtmaları bakımından da belgesel niteliktedir.

It is necessary firstly to talk about the folklore's methodology, meaning, definition, content, matter, target, be cause of the impor-tance of the folklore elements in the picture of this study on the usage of the folkloric elements in the early period Turkish Picture.The word "Folklore", is an English term, is combined with "Folk" and "lore" words. "Folk" means people and "lore" is knowledge firstly, it is used by William J. Thoms (1803-1885) just as Thoms has used Folklore in literatüre, it has been used at the same meaning. Diffe-rent opinions about the definitions of folklore, confronted at the se-arched origins. According to the knowledge gained from them, folklore is a branch of science that searchs the cultural documents of a people's physical and spiritual characters, classifies, analyzes, inter-prets them with the help of technique and methods shows the way to make national culture, bringing the culture values of the post.and westem painting technique was applied because of the process of westemization and also, subjects were changed. For that reason, at the introduction section, the development of painting from 16^ C. with respect to usage of folkloric elements, was tried to summarize. The factors and masons preparing folkloric trends in the picture were mentioned dealing with the period in which folkloric approaches were seen definitely. At the 2nc* section, the catalogue chapter that some works were formed according to defined-method was taken part in Arranging at the 2nc* catalogue chapter, the birthdays of crafts men were taken into consideration while examining folkloric elements in the table, systems that showed the ways collection, arrangement and searching were profîtted by. Some knowledge such as environment, buildings, house vari-eties, economy, goods, feeding dressing, traditions, festivals, plans, games, theatres, folklores which this system involved according to folkloric search became source to study folklore, besides, painting characters such as using of perspective, light, shadow colours, were studied as detailed form describing what folkloric elements harmony and where from they come. Although less limit was drawn as a be-ginning to take folkloric elements as subject even if the period upto 1940s was taken, some craftsmen stading local subjects at this per-rod have some subjects and perception. And placing of these achi-evements at our work caused to overcome top limit. These pictures were formed at the later perrods, but it is a question to draw the top limit for some pictures of which painted dates are unknown. At the conchusion, discussing trends of craftsmen to local subjects, and factors and reasons directs this trend, craftsmen and their pictures were subjected to a new evaluation. Individual differences at the approach of the craftsmen to the local subjects, style characters were tried to be determined.It is accepted that the article "Halk Medeniyeti" of Ziya Gökalp, was published at the magazine "Halk Doğru" in 23 July 1913 is an initiation of the folklore studies in Turkey. But before this date, there were some studies contain some knowledge about Turk folklore though they were not scientific, conscious. In this study, the subject that folkloric elements on the Turkish-picture of early period were examined was valuable to be dealt with from the point of bringing the cultures as folkloric element and proot, the reflection of the custom, tradition and daily life of the ru-ral society. Passing from the miniature, that was the art of the traditional Ottoman, to the canvas art of the west wasn't suddenly but was re-alized after certain stages. After the process of westernization, the dranges were seen on the Ottoman culture effected miniature, and the traditional art.In the 17th and especially 18^ century, anew art medium way established in the Ottoman Empire. At the period, political and eco-nomic relations were formed with west effected the cultural process. Corning of the objects and picture books to palace oriented the deco-rators to conscious searching of the miniature. The miniature with two dimensions, at this term is trying to find a third dimension. The miniature in which new techniques and styles were tested left its place to rural stages, costume and flower pictures and men and wo-men portraits. Different subjects were used, further more, seazhing the third dimension and place, even placing a natural section in the composition to make depth is an important development. The first examples showing people's life in miniature are tradesman's parade in the festivals. Osman, the decorator, in a paper of his book invol-ves the festival of 1582 year shows the glaziers make glass, taking glass-paste from furnace with the help of pipe. Different groups of tradesman is showed in every miniature of Levni in the festival of 1720 these tradesman joined in the parade have got introductory characters of their careers. These miniatures are the proot to show the role of local people in the festivals, the profession groups, hand-arts, mentality of dressing. Sultan partriats and dress pictures have placed in the miniatures of the 2n<^ term of the 18th century. The Europeans take interest in Ottoman life and dress. For that reason, they were having dress-albums prepaned for making known Ottoman dresses that Europeans were interested in. After this period, Ottoman nobles have got the albums showing westem dresses prepared. These albums have introductory qualified of uniforms or dresses of different countries.The miniatured-copies of the books "Hubarname" and "Zemanname" of Fazıl Enderuni, was a poet of this period, was a kind of dress-album have mentioned the beauty of male and female. The newness and westemization have been seen to become powerful at the periods of Mustafa, the 3r^ (1757-74), Selim the 3rt* (1789-1807) and Mahmut the 2nc* (1808-39). These neunesses firstly begins at the military field because of defeat of the army successively. With being established of Mühendishane-i Bahri-i Hümayun, techique-drawings, Bidd-sketches were mode. Like the newness at the military schools, the picture lessons were placed in civil-schools. The pers-pective themes in that subjects were architectural were dealt with at the pictures of the craftsman most of who were graduated from military school. The painting lessons at the military and civil schools the exhibitions that Şeker Ahmet Paşa organized in 1873 February and continued after this date were important stages that caused canvas painting to be known and spread. During the lst World War (1914-18), with the command of Enver Paşa, the military minister, a studio in which the war-pictures were painted was established. Here, the craftsmen generation of 1917 who trained in west painted many pictures whose subjects were war and soldier. This tendency was formed at the war-years caused the craftsmen to reflect their national feelings and the Turkish fîght.The foundation of new revolutionist Turkish Republic in 1923, reforms were realized one after the other formed many newnesses to art. The aim of founding of Public Houses which were cultural insti-tutions of Atatürk reforms in 1932 was to spread education, know-ledge and skill to every where with the help of Public Houses and to supply people's education. A thought-system of which aim was pub-lic-education were reflected to art of Republic as a new subject due to 10th anniversary of Turkish-Republic pictures of war Independence and Atatürk's reforms were exhibited at the ls^ Revolution Exhibi-tion was opened at Ankara Exhibition Galery. The struggles in the war of Independence, the joining of people in this struggle, the new-nesses of Republic were taken as a subject in the 1930s. Canalizing of craftsman as a group to folkloric themes was become true in the cultural programme of Public Houses were established by C. H. P. go-vemment. At this stage, the craftsman of this period were sent to different regions of countıy between 1938-34 years and were wanted to paint pictures that reflect the characters of these regions. These travels caused craftsmen to see country-reals and to spread the idea suggested to realize country-reals. From the process of westemiza-tion up to nowadays, with the affect of western trends like perspec-tive, stili life, figures, were directed towards the local people like. Some characters like environment tradition, dress which Anatolians have got with sensitivity are folkloric proofs. Traditional painting left and westem painting technique was applied because of the process of westemization and also, subjects were changed. For that reason, at the introduction section, the development of painting from 16^ C. with respect to usage of folkloric elements, was tried to summarize. The factors and masons preparing folkloric trends in the picture were mentioned dealing with the period in which folkloric approaches were seen definitely. At the 2nc* section, the catalogue chapter that some works were formed according to defined-method was taken part in Arranging at the 2nc* catalogue chapter, the birthdays of crafts men were taken into consideration while examining folkloric elements in the table, systems that showed the ways collection, arrangement and searching were profîtted by. Some knowledge such as environment, buildings, house vari-eties, economy, goods, feeding dressing, traditions, festivals, plans, games, theatres, folklores which this system involved according to folkloric search became source to study folklore, besides, painting characters such as using of perspective, light, shadow colours, were studied as detailed form describing what folkloric elements harmony and where from they come. Although less limit was drawn as a be-ginning to take folkloric elements as subject even if the period upto 1940s was taken, some craftsmen stading local subjects at this per-rod have some subjects and perception. And placing of these achi-evements at our work caused to overcome top limit. These pictures were formed at the later perrods, but it is a question to draw the top limit for some pictures of which painted dates are unknown. At the conchusion, discussing trends of craftsmen to local subjects, and factors and reasons directs this trend, craftsmen and their pictures were subjected to a new evaluation. Individual differences at the approach of the craftsmen to the local subjects, style characters were tried to be determined.