Türk minyatür sanatında renk
The Colour in Turkish miniature art
- Tez No: 94461
- Danışmanlar: YRD. DOÇ. DR. ALİ DÜZGÜN
- Tez Türü: Yüksek Lisans
- Konular: Güzel Sanatlar, Fine Arts
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2000
- Dil: Türkçe
- Üniversite: Yüzüncü Yıl Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 169
Özet
Özet yok.
Özet (Çeviri)
The existence of an old-established tradition of Turkish miniature pairing quite distinct from the general Islamic tradition is now beyond dispute. A continuous, uninterrupted tradition of Turkish miniature painting arose only after the final settlement of the Turks in Anatolia.Anatolian Seljuk painting is represented by wall tiles with figures and by illustrated manuscripts, as well as by the miniatures, illustrating the story of ' Varka and Gulshah ', in which we find all the distinctive features of traditional Turkish art. Immediately after the Seljuks we find very few exsemples of Turkish book illustration, but with the conques t of Istanbul by Sultan Mehmed II we enter a period thad is well worth dwelling upon in greater detail. Documentary evidence confirms Mehmed the Conqueror 's keen interest inthe art of painting, and his invitations to Italioan artists to paint his portrait as well as his endeavours to promote portrait painting by having Moslem painters instructed in the art shows his desire to create a closer association with the western world. Artistic production in the palace studion attained a very high level during the reign of Süleyman the Magnificent (1520-1566), which saw the establishment of a truly ottoman school of miniature painting as well as the creation of a large number of works in variousother artistic fields.Thepower of observation diplayed in Matraqi 's works played a very important role in the development of Turkish minature painting. On the other hand, the art of portrait painting, which had resulted from the opening to the West in the time of Mehmed the Conqueror, continued its existence in the works of the celebrated portrait painter Nigari. The artists of the classical period brought a completely new attitude and understanding to this type of subject matter. For them, the greatest interest was held by the events and the heroes of these events, and they set themselves the task of illustrating these events and their backgrounds with a very distinctive type of realism. It is this attitude of ard as a means of documenting the times in which they lived that most clearly distinguisher the art on the Turkish miniature from the stereotyped,traditional, purely decorative works of the Persian miniaturists. In Ottoman miniatures nature is102 used merely as a backgrond to the action, and usually consists of nothing more than one or two hills and an occosional tree, with a colour scheme that avoids the use of vivid, striking colours. It is only when nature is intimately connected with the event itself that the artist rums his attention to the delineation of rivers, forests and castles. The work was illustrated by a large team of artists under the direction of Nakkash Osman, who had illustrated a number of works of the classical school, and consisted of close on two hundred and fifty double folios. Certain features- the arrangement of the arena, the galleries housing the guests and the Sultan's box- form an unchanging background to the parades of the various guilds, and the continually changing festivities and entertainments. The second and last golden age of the Ottoman miniature is to be found in the first half of the 1 8th century, and was largely due to the interest in art show by Sultan Ahmed III and his court. The most outstanding representative of this period was the extremely prolific artist Levni, whose greatest work consisted of the miniatures in the 'Surnama', a book illustrating the circumcision festivies for Sultan Ahmed's sons. Levni is succeeded by artists such as Abdullah Buhari who confined themselves to pictures of flovers or single figures, but although Levni and his followers remained faithful to the traditional aesthetic values of the Ottoman miniature the search for a third dimension is already apparent in many details. This probably resulted from the appreciation of vestern art which wasto lead in the second half of the century to the production of the first paintings in the Western tradition.
Benzer Tezler
- Türk resim sanatında renk kullanımı
Use of colour in Turkish painting
GÜLİZ BAYDEMİR
Sanatta Yeterlik
Türkçe
2016
Güzel SanatlarMimar Sinan Güzel Sanatlar ÜniversitesiResim Ana Sanat Dalı
DOÇ. MUSTAFA ORKUN MÜFTÜOĞLU
- Türk minyatür sanatında kutsalın rengi: Siyer-i Nebî ve Ahvâl-i Kıyâmet örnekleri
The Color of Sacred in Turkish Miniature Art: Siyer-i Nebî and Ahvâl-i Kıyâmet examples
YAĞMUR YÜCE
Yüksek Lisans
Türkçe
2022
El SanatlarıOndokuz Mayıs ÜniversitesiSanat Tarihi Ana Bilim Dalı
DOÇ. DR. KEMAL ÖZKURT
- Osmanlı Dönemi Türk minyatür sanatında hamam ve hamam sahneleri
Turkish batsh and shots of batsh in Turkish miniature of the Ottomane Empire
BİRGÜL GENÇ
Yüksek Lisans
Türkçe
2002
Sanat TarihiGazi ÜniversitesiArkeoloji ve Sanat Tarihi Ana Bilim Dalı
PROF. DR. HALİT ÇAL
- Cumhuriyet sonrası Türk minyatür sanatının özellikleri
The features of the post-republiç Turkish art of miniature
AHMET AKKURT
Yüksek Lisans
Türkçe
2015
El SanatlarıGazi ÜniversitesiEl Sanatları Eğitimi Ana Bilim Dalı
PROF. DR. HATİCE FERİHA AKPINARLI
- Osmanlı Dönemi'nde Türk minyatürü
Başlık çevirisi yok
MUSTAFA DİĞLER
Yüksek Lisans
Türkçe
2001
Sanat TarihiDicle ÜniversitesiGüzel Sanatlar Eğitimi Ana Bilim Dalı
DOÇ. AHMET ATAN