Topkapı Sarayı'nın mimarisinde batılılaşma süreci
The European influences on the Topkapı Palace's architecture
- Tez No: 21764
- Danışmanlar: PROF. DR. FİLİZ ÖZER
- Tez Türü: Yüksek Lisans
- Konular: Mimarlık, Architecture
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1992
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Fen Bilimleri Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 292
Özet
Topkapı Sarayı Osmanlı'nın sanatına ait gelişmelerin adeta sergilendiği bir yapılar topluluğudur. Kurulduğu dönemden itibaren Erken Klasik Osmanlı Mimarisinin egemenliğinde biçimlenen Saray'da Onsekizinci yüzyıl 'dan itibaren Batı etkileri görülmeye başlanır. Tezin birinci bölümünde Topkapı Sarayı' nın mimarisinin de Batılılaşma' nın konu olarak seçilme nedeni, çalışmanın amacı ve yöntemi belirtilmiştir. İkinci bölümde; Osmanlı İmparatorluğu' nda Batılılaşma hareketleri incelenmiştir. İmparatorluğa giren Batılı üsluplar ve Osmanlı sanatına etkileri üçüncü bölümde ele alınmıştır. Dördüncü bölümde; Topkapı Sarayı' nın tarihçesi ve Batılılaşma öncesi mimari ve bezeme özellikleri belirtilmiştir. Tezin beşinci bölümünde Saray'da Batı etkilerini yansıtan mekanlar tek tek ele alınıp Batılılaşma öncesi ve Avrupa 'daki örneklerde yer belirtilerek incelenmiştir.
Özet (Çeviri)
This dissertation is divided into five parts. The first part is about the reason why the thesis subject was chosen which includes methods of research and the short comings. In the second part“the westernization movement”taking place in social and political life has be considered. In the thid part the European influences on the Ottoman art is studied. The history and the characteristics of the Topkapi Palace before the European influence was dwelled upon in the fourth part in the fifth part,“twenty one sections of the Palace having features reflecting European influences are examined. At the end of the dissertation is a conclusion section. In this dissertation it was researched the possible influences of the Topkapi Palace and found that, countrary to a European influence, there was a strong Ottoman architectural dominance. In the first part, as stated priviously, the reason for selecting this subject is discussed in detail and methods of research are outlined. In the second part of the thesis the Westernization movement taking place in social and political life has been considered. Until the beginning of the 18th century, mainly wars and commercial contacts existed between the Ottomans and the Western world. Other than these contacts the Ottomans lived as a society ”closed up“. However with the political events taking place in the 17th and 18th century, they felt the need to ”open up“ to the outside world. With the beginning of the Tulip period, the Ottoman-Western relationship become stronger. After the 18th century the Ottoman Empire started to send ambassadors to European countries. Also at this time experts from Europe in different technology areas were invited to develop technology within' the Empire, in this way exchanges of technology and Culture become more and more common between the Europe and the Ottoman Empire. This resulted in a lot of developments in many fields including science; art, architecture etc... These exchanges starting from the 18th century up to the present time, have developed an attitude of wanting the country to become more westernised. This caused in the social and political areas of the Empire and this in turn was reflected in their art. Although social and political changes were influenced by government policies, the new style of art came into existence by itself. In the third part the: European influences on the Ottoman art is studied. European goods, entering to the Empire with political and. cc?m.mercial exchange has created a new attitude Western influences entering to the Ottoman Empire through minor arts has also brought a change in architecture. The first divergence from the classical Ottoman art takes place in the Tulip period» This period has formed the base necessary for the acceptance of the Western influences. Nevertheless, beginning from the ruling period of Mahmut I when Concepts begin to appear. Baroque and Roccoco was dominant in 18th century mhere as Neo-Classic an Eclectic styles were prominent in the 19th century in the 20th century Art Nouveau was influential. The history and the characteristics ot the Topkapi Palace before the European influence is dwelled upon in the fourth part. The Topkapi Palace was first built during the ruling period of Fatih. with the additions made in the fallowing periods, the Palace continued its development, In the 16th century the buildings constructed in the Fatih period were enlarged. Beginning with the 17th century, the Palace spread out even more-In the 18th and 19th century restorations and additions influenced by the European art were carried out. The Palace was emptied in the 19th century and became the place where the consorts and slaves of the Sultan's predeccessors lived. In the Turkish Republican period, the Palace was changed into a museum and continues its function to our day. Along the history of the palace the fourth part also includes the characteristics of the Palace before the European influence. The Topkapi Palace which has the characteristic of being dia-chronic, differs from the European Palaces because of this the traditional aspects of the Turkish art among which types of plannings, facade traits and ornomentation characteristics take place are examinated. İn the fifth part twenty one sections of the Palace which have features reflecting European influences are examined and their particular qualities are stated. The room which has been named ”Ahmet Ill's Fruit Room attracts attention with its ornamentation different from the classical Ottoman style. The tradition of using tiles to cover the walls has been abondonned and wooden panels have began to be used. On this wooden panels naturalist fruits and flowers motifs different from the Ottoman stylized compositions. The ornamentation of the room can not be classified as Baroque, Rococo, or classical Ottoman style. The Princes' school is the place in the Palace where Western originated ornamentation was first developed -XIX-This ornamentations which consist of wooden panels, moul dings, akanthus, cars andt shels) can also be seen in the Sofa Kiosk. This Kiosk is the first example of Western influence with its facade elements. These elements have been varied and enriched in the Osman III Kiosk. A rhythmatic mood with a three dimensional effect has been created on the facade of the Kiosk including the fountains and wall paintings. Although the Kiosk continues with a traditional Ottoman architecture the two archaic balconies can be considered as novelties brought by European influences. In this period, the books imported from Europe have been used, neverthless, in one of the Kiosk's room the cars are similar with the drawings in these books. The Hünkar Sofası which has been built in the 16th century, has the characteristics of the domed Ottoman space and original ornamentation have been replaced by new ones according to the contemporary style in the 18th. century. European faiences and wooden panels have replaced the classical Ottoman ornamentation elements- The fountains and baldequin in the Sofa reflect Baroque and Rococo styles. Mirrors which have the effect giving depth to space and creating illusions are outstanding. These mirroirs reminds the arrengements in the European Palaces. The Hünkar and Valide Baths which Sinan built in the 16th century, reflect the Western influence with its fountains and- iron separations added in the 18th Century. In the same centcuy the Porticos which added to the Fatih Kiosk and Bab-üs Selam reflects the western influences. The rooms named as“Abdülhamit I's bedroom”and“Abdülhamit I's dining room”demand attention with imported faience and Rococo ornamentations. İn the Mirrored Room (Aynalı Oda) belonging to the same period mirrors have been extensively used. Similar arrangements can be seen in the Pommersf elden and Nymphenburg Palaces in Europe. The Apartments for the Favorites (Gözdeler Dairesi) built in the ' period of Abdülhamit I, reflects the traditional Ottoman architecture. The balcony belonging to this -apartements can be accepted as a new vision coming into the Palace. The walls paintings in these apartments are examples of the first paintings made in the Palace. The walls paintings appeared in the Palace during the ruling period of Abdülhamit I and continued to be used in the Selim III and Mahmut II's periods. These paintings are different from the European ones in that they don't use human figures but represent landscapes and seawiews. The artists used European painting affects but they continued with the miniaturists approach. -xx-This kind af wall paintings can also be seen on the Bab-üs Saade which connects the Palace's second court to the third court. Bab-üs Saade; reflects the Ottoman architecture style but also a western influence in the ornamentations can be seen. The apartments built in the Harem for Selim III and his mother, have the richest Rococo ornamentations. In both rooms traditional Turkish form has been used together with western style ornamentation. The Divan renovated in the same period reflects the general charocteristicts of the Ottoman architecture together with. extensive- Rococo ornamentation. The Adalet Tower which dates to the ruling period of Mahmut II, with its niches, columns, and arc fragments reflects Neo-Classic style. Although the Alay Kiosk dates in same period, it has for the first time European influences in the architecture as well. After 19th century Western furniture began to be used.. Since the Throne room was built this room has gone through several restoration. After a fire in the 19th century the ceiling floor, doors and the windows have been rebuilt according to the Eclectic style. The Mecidiye Kiosk added to the Fouth court in the 19th century. This Kiosk reflects Edectic style. İt looks like a European Palace. This building with its plan, facade and ornamentation served as a model for the Beylerbeyi and Dolmabahçe Palaces. It represents the last stage of the westernisation influence in the palace. The last part of the dissertation is the condusion Although there was some European influence, in the ornamentation of the Topkapi Palace, this European ifluence did not penetrate the architectural style itself. The architectural character of the Ottoman style is clearly dominant.- Therefore the Topkapx Palace was abandoned in preference for the Dolmabahçe Palace which clearly had European architectural design.
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