Development of Turkish Painting (Second half of 19th - Beginning of 20th Century) The Legacy of Abdülmecid II PDF

Preview

Summary

Turkic Peoples Through the Ages and Lands… Asırlar Boyunca Türk Halkları ve Toprakları... Т к к а а ж в к в з ... University of Warsaw Faculty of Oriental Studies Turkic Peoples Through the Ages and Lands… Varşova Üniversitesi Şarkiyat Fakültesi Asırlar Boyunca Türk Halkları ve Toprakları… Ва шав к...

Description

Turkic Peoples Through the Ages and Lands… Asırlar Boyunca Türk Halkları ve Toprakları... а

Т

ж

к к

а в к в

з

...

University of Warsaw Faculty of Oriental Studies

Turkic Peoples Through the Ages and Lands… Varşova Üniversitesi Şarkiyat Fakültesi

Asırlar Boyunca Türk Halkları ve Toprakları… Ва шав к У в Фак В к в

Т

к к

а

в к в

з

а

Warsaw 2018

ж …

Editors/Ed törler/ : Marzena Godzińska Kamila Barbara Stanek Ed tors, Adjustment and Correct on /Ayar ve Düzeltme / English/İng l zce/А – Joanna Dol ńska Turkish/Türkçe/ – N lüfer Karadavut Russian/Rusça/ – Viacheslav Chernev © Copyr ght – Faculty of Or ental Stud es, Un vers ty of Warsaw ISBN 978-83-65135-05-6

Projekt plastyczny i skład Dariusz Górski Druk i oprawa Fabryka Druku

:

Contents / İç ndek ler

TURKIC PEOPLES CULTURE – Raushangul Mukusheva, Hungarian Scholars on the Features of Kazakh Culture (19th ‒ the beginning of 20th century) / В ё XIX – . XX . . . . . . . . 13 – Elvira Latifova, A New View on the Role of Turks in the Ethnic History of the Caucasus (Based on Toponymic Material of the North-Western Regions of Azerbaijan) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 – Hüsey n Durgut, On Some Archa c Words n Turk sh M rajname n the Manuscr pts of L thuan an Tatars / L tvanya Tatarları El Yazmalarındak Türkçe M raçnamede Bazı Arka k Kel meler Üzer ne . . . . . . . . . . . . 36 – Mehmet Ali Yolcu, Are the Crimean Tatars in Turkey a Diaspora Community? / Türkiye’de Yaşayan Kırım Tatarları Bir Diaspora Topluluğu Mudur? . . 46 – Gal na M šk n enė, H.Seraja Szapszal, Input nto Development of Turkology Dur ng Interwar Per od n V ln us / İk Savaş Arası Dönemde V ln us’tak Türkoloj n n Gel şmes ne Seraya Han Szapszal’ın Öneml Katkısı . . . . . 53 – V acheslav Chernev, On Several Issues of the Modern Bashk r Language: Orthography, Grammar, Vocabulary . . . . . . . . . . . . . . . . . . . . . 63 HISTORY AND POLITICS – Ünsal Özünlü, ‘A Christian Turn’d Turk’ and the British Perception of the Image of the Turk in the Early Renaissance / ‘Dönme Türk’ ve Rönesans’ın İlk Dönemlerinde İngiliz Düşüncelerine Göre Türk . . . . . . . . . . . . . 83 – Ümran Türkyılmaz, Turk-Ottoman Image from the V ewpo nt of Jean Thévenot / Jean Thévenot’nun Gözüyle Türk-Osmanlı İmges Üzer ne B r Değerlend rme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Contents / İç ndek ler

– Zeynep İnan Al yazıcıoğlu, The Ottoman World from the Po nt of V ew of German Or ental st Jakob Ph l pp Fallmerayer . . . . . . . . . . . . . . . . 108 – Gözde Güngör, One of the Unpubl shed H stor cal Works of Husse nzade Al Turan: ‘In the Presence of Image of T mur’ / Hüsey nzade Al Turan’ın Türk Tar h n Konu Ed nd ğ ve Daha Önce Yayımlanmamış B r Eser : ‘T mur’un Hayal Karşısında’ . . . . . . . . . . . . . . . . . . . . . . . . . 121 – Turgay Anar, The Manuscript of ‘A Trip to Germany’ by Kâtip Fâik, the Scribe of Abdul Hamid II / II. Abdülhamit’in Kâtibi olan Kâtip Fâik’in ‘Almanya Seyahatnamesi’nin El Yazması . . . . . . . . . . . . . . . . . . 130 – Svitlana Biliaieva, Turks Civilizations of the Northern Black Sea Area in the Creation and Development of Trade and Information Systems (2nd Half of 13th-15th Centuries) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 – Piotr Nykiel, Ottoman Soldiers in Galicia (1916-1917) in the Photographs of Kazimierz Kuzyk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 – Iurii Chainskyi, Pan-Turkism and Hamdullah Suphi Tanrıöver’s Activity in the Context of the Polish Promethean Policy in Turkey in 1920-1931 . . . 173 – Murat Zeytinli, The Effects of Syrian Refugees on Turkish-European Union Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 – Giulia Alasania, Turkey and Syria in the Current International Policy Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 ART AND SOCIETY – Melaike Hüseyin ,Mierzejewski, The Development of Turkish Painting (Second Half of 19th – Beginning of 20th Century). The Legacy of Abdülmecid II 225 – Marzena Godzińska, Leon Barszczewski – Polish 19th Century Photographer in Central Asia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 – Mustafa Aça, Folklore Studies and the Urban Culture in Turkey: Some Remarks and Recommendations / Türkiye’de Halk Bilim Araştırmaları ve Kentsel Kültür: Bazı Notlar ile Tavsiyeler . . . . . . . . . . . . . . . . . . 250 DIVAN LITERATURE – Deniz Abik and Erdem Dağıstanlıoğlu, Kashfu’l-Huda: the First Commentary of Qasida-i Burda Written in the Eastern Turkish in the 1st Half of 15th Century / Keşfü’l-Hüdâ: 15. Yüzyılın ilk Yarısında Doğu Türkçesiyle Yazılmış ilk Kasîde-i Bürde Şerhi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 – Shahla Kazimova, Genesis of Turkish Sufi Literature – Poet and Mystic Khoja Ahmad Yasavi / – Х А . . . . . . . . . . . . . . . . . . . . 274

Contents / İç ndek ler

– Armağan Zöhre, Palace in the Padishah’s Eyes: Palace Attendants in the Divan of Muhibbî / Padışahın Gözlerinde Saray: Muhibbî Divanı’nda Saray Görevlileri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 – Karadavut Nilüfer, Structural Analyse of the Pronoum We in Redifli Gazels of Hayâlî and Na’ilî’nin / Hayâlî ve Na’ilî’nin Biz Redifli Gazellerinin Şerhi ve Yapısalcılık Açısından İncelenmesi . . . . . . . . . . . . . . . . . . . . 296 CONTEMPORARAY LITERATURE – Ali Duymaz, The Mythology Books from Tanzimat to National Literature Era and the Perception of Mythology in Early Period / Tanzimat’tan Milli Edebiyat Dönemine Kadar Mitoloji Kitapları ve Erken Dönemde Mitolojinin Algılanışı . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 – İsmail Avcı, Three History Poems of Mehmed Bahaeddin within the Context of a Contribution to Studies on Urban History / Şehir Tarihi Araştırmalarına Katkı Bağlamında Mehmed Bahaeddin’in Üç Tarih Manzumesi . . . . . . 338 – Niyar Qurtbilal, Research on the Vocabulary of Crimean Tatar Poet Eşref Şemi-Zade’s Epic Poem ‘The Wall of Tears’ / Kırımlı Şair Eşref ŞemiZade’nin ‘Közyaş Divar’ Destanının Söz Varlığı Üzerine Araştırmalar . . 353 – Mehmet Aça, A Comparison Between the People of ‘Land of the Dead’ in Siberian Folk Narratives and the People Suffering in Hell in Islamic Tales / Sibirya Halk Anlatılarındaki ‘Ölüler Ülkesi’nin İnsanları ile İslamî Anlatıların Cehennem Azabı Çeken İnsanları Arasında Bir Karşılaştırma . . . . . . . . 361 – Aslı Büyükokutan Töret, An Evaluation of Presenting Turkish Fairy Tales on Websites / Türk Masallarının İnternet Sitelerindeki İcrası Üzerine Bir Değerlendirme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 TURKIC LINGUISTICS – Hülya Savran, On the Phoneme Ñ (Ny) and the Word Añıg n Turk c Language / Türk Dilinde Ñ (Ny) Sesi ve Añıg Kelimesi Üzerine . . . . . 389 – Ülkü Polat, -mIştA Gerund in Old Uighur Turkish and Functions of this Suffix / Eski Uygur Türkçesinde -mIştA Zarf Fiil Eki ve Fonksiyonları . . 404 – Maral A. Taganova, The Peculiarity of the -gyt/-git Word Formation Affix in the Turkmen Language / -gyt/-git . . . . . . . . . . . . . . . . . . . . . . . . 413 – Savaş Şahin, Language of Mervi Turkmens in Afghanistan / Afganistan’da Merv Türkmenlerin Dili . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 – Caşteğin Turgunbayer, Analytic and Synthetic Forms of Expressing the Meaning of the Present Simple Tense in Kyrgyz Language / Kırgız

Contents / İç ndek ler

Türkçesinde Geniş Zaman Bildirme Kipliğini İfade Etmenin Sentetik ve Analitik Biçimleri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 – Spartak Kadiu, Some Examples of Turkish Roots and Themes That Created New Words in Albanian Language According to the Albanian Morfological Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 – Xhemile Abdiu, About the Negative and Positive Conotations of Some Turkish Words in Albanian Language . . . . . . . . . . . . . . . . . . . . 453 – Mustafa Güleç, Linguistic Input Processing: an Example from a TurkishDutch Bilingual Context . . . . . . . . . . . . . . . . . . . . . . . . . . . 466 – Kamila Barbara Stanek, The Connection Between Language and Culture – the Linguistic Image of the Feeling of Mercy in Turkish Proverbs and Phraseological Expressions / D l ve Kültür Arasındak Bağlantı – Merhamet Duygusunun D lsel Dünya Tasv r (Türk Atasözler ve Dey mler ) . . . . . 486

INTRODUCTION

The book Turkic Peoples Through the Ages and Lands is the result of the most interesting papers and debates raised during the Fourth International Congress of Turkology which was organized by the Department of Turkish Studies and Inner Asian Peoples of the Faculty of Oriental Studies at the University of Warsaw from 21st to 23rd September 2016. In the presented publication we continue the discussion that has been initiated during previous Congresses with the aim to respond to wide scientific interests of our readers. The fields of Turkology and Turkish Studies differentiate as separate branches between the Turkish language, history and culture on the one hand, and Turkic languages, history and culture on the other hand. Turkic Studies are very often excluded from Turkish Studies or treated as a separate field of interest and research. In the contemporary world where interdisciplinary studies are much appreciated, there is certainly a need to consider that Turkology means also Turkic Studies and one branch cannot exist without another. During the Fourth International Congress we concentrated on the contemporary studies and research on the history, culture and language of Turkey and Turkish (Turkic) peoples, as well as on the lands they currently inhabit and where they dwelt in the past. Following the volumes representing the results of the previous Congresses, we have completed the most interesting voices in the debate on the Turkish and Turkic Studies understood as a complete and broad area of research. Editors

Melaike HÜSEYIN HÜSEYİN MIERZEJEWSKI Melaike Melaike University of Warsaw

The Development of Turk sh Pa nt ng (Second Half of th – Beg nn ng of th Century). The Legacy of Abdülmec d II

Abstract: The authentically traditional Ottoman painting found in book reproductions and wall decorative compositions gained its own uniqueness after the second half of the 16th century. Bearing such a legacy of almost five hundred years, a complete transformation to European style painting was arduous. The endeavour of such Ottoman sultans as Sultan Selim III, Sultan Mahmut II, Sultan Abdülmecit I, Sultan Abdülaziz and Sultan Abdülhamit II in the engagement of all the possible means to educate the new generation of artists was outstanding. The development of Turkish painting reflects the whole process of transformation that the Ottoman Empire had to deal with during the second half of the 19th century. Despite the encouragements of Ottoman Palace circles, some Turkish artists did not have difficulty in adopting the main rules of the western style painting techniques. However, they remained devoted to the dominant believes of the eastern society, performing entirely figureless landscapes or still life compositions. The beginning of the 20th century saw the emergence of the Ottoman painters who received their education in Europe. More importantly, in 1914, women were given opportunity to enrol for study to the Sanai-i Nefise Mektebi. The caliph Abdülmecid Efendi (1868-1944) was renowned for his professional painting. He was also the founder and the chairman of Turkish prime painters organization – Ottoman Painters Association (1908–1919). Abdülmecid painted portraits of his wives and children as well as still life and landscapes, alongside some of the most significant moments of the Ottoman history. One can be easily intrigued by the variety of the subjects he chose, his ways of depiction, his manner of naming the paintings and even the diversity of his brush strokes. The legacy of Abdülmecid Efendi has multiple significant aspects which still comprise a broad field for detailed studies. Keywords: Turkish painting, Caliph Abdülmecid Efendi, Westernization of Ottoman Empire, Turkish women, Ottoman harem

The development of Turkish painting remarkably reflects in a certain way the whole process of transformation that the Ottoman Empire had to deal with during the second half of the 19th century. This process was quite specific and difficult at its early stage. The newly acquired ideas of westernization came along with the consciousness of the necessity for transformation

226

Melaike HÜSEYIN Mela ke HÜSEYİN MIERZEJEWSKI

in every sphere of public life. Consequently, this caused a new interest in the western art and even eagerness to embrace it. It might be assumed that the first steps were quite conservative and prudent. Besides the encouragements from the Ottoman Palace circles, some Turkish artists did not have difficulty in adopting the main rules of the western style painting techniques, based on such conceptions as perspective and light-shade transformations. However, they remained devoted to the dominant belief of the eastern society, performing entirely figureless landscapes or still life paintings. This fact could be explained with the generally accepted idea of the Islamic interpretation for depicting human beings. Even though in the Koran there is no strict utterance that forbids painting human figures, the largely advocated religious belief resulted in a slightly reluctant approach to the case. That way of dealing with such matter created the background for forming a well-known tendency towards all kinds of human depiction in the western style painting. The avoidance of perspective and other canons of western style painting among Ottoman artists could be interpreted as a purposeful stance, intending to stay far from realistic and in some way seen as a Christian like depiction. This situation apparently had a causal connection to a faithful religious interpretation of the matter. Nevertheless, the authentically traditional Ottoman painting found in book reproductions and wall decorative compositions gained its own uniqueness after the second half of the 16th century. Starting from that period, Ottoman miniature paintings bear particular features of documentary registration of historical and official events along with routine or grandiose happenings at the court1. Carrying the legacy of almost five hundred years, a complete transformation to European style painting was not an easy task. Taking into account the circumstances of those times, the endeavour of such Ottoman sultans as Selim III, Mahmud II, Abdülmecid, Abdülaziz and Abdülhamid II in the engagement of all the possible means to educate the new generation of artists is outstanding.

A A A The A Abr ef h story of the trend n Turkey. In the Ottoman Empire the 19th century was the period of major breakthroughs in the field of westernization of the country. It was Sultan Mahmud II (1785–1839) who reformed the Empire in many spheres. During the time Bağcı, Çağman, Renda, Tanındı,

:

.

The Development of Turk sh Pa nt ng...

227

of his reign, due to his determined reformist approach, the Ottoman Empire underwent a huge development in numerous fields, such as law, medicine, military education, literature, music and fine arts. Similarly, sultans that followed his reign were also closely interested in painting and keen on promoting art by giving to artists both spiritual and financial support. It is significant to emphasize that between the end of the 18th and the early 19th century, Ottoman rulers planed to order a series of portraits of the dynasty members to decorate the newly built palaces and manor houses’ walls. Such project was contemporary to the efforts of the European painters to receive commissions from the Ottoman Palace2. Until the second part of the 19th century, painters who worked in the Ottoman territories produced paintings depicting the Ottoman Empire’s dressing style and Istanbul’s panoramic views. Since the middle of the 19th century, thanks to the dynasty members’ encouragement and efforts, painting became a part of contemporary art, which was more reachable to the circles interested in fine arts. Painters whose works were submitted to the palace, were bestowed by the Ottoman rulers with medals and gifts which were intended as symbols of appreciation. Another ruler who paid attention to art was Sultan Abdülmecid (1823–1861). Abdülmecid posed for portraits several times. Furthermore, the first exhibition of the Ottoman Empire took place during his reign. Prior to this event, many European artists, such as Horace Vernet, Félix Ziem, John Frederick Lewis, William Holman Hunt, Amadeo Preziosi, Fabius Brest, Jules Laurens, Camille Rogier, Adolphe Yvon and Eugene Flandin, came to Istanbul to continue their works. The appearance of such renowned artists became regular and created a marketplace for the Orientalist trend. Since then, the production and demand for their works constituted the source of income for painters. Similarly, the works of Turkish painters appeared in art galleries in Europe and North America. Regarding the field of fine arts, Sultan Abdülaziz (1830–1876), an immensely talented ruler, was known for his ability of drawing beautifully. He practiced drawing sketches in order to show to European painters how each work commissioned by him should look like3. During his stay in Paris in 1867, Abdülaziz visited Paris International Exhibition expressing great interest in one of its departments – the gallery of fine arts. Yet, during his visit to Vienna, he bought a vast number of famous European artists’ works to be hung on the walls of the palaces in Istanbul. Simultaneously, French painter Jean Baptiste Guillemet (1843–1918), after Germaner, İnankur, Germaner, İnankur,

: :

- . .

228

MelaikeMIERZEJEWSKI HÜSEYIN HÜSEYİN Mela ke

opening a private course, started teaching drawing and painting under the patronage of Sultan Abdülaziz. It is widely known that Jean-Léon Gérôme (1824–1904), upon returning from his travel to the East, established a workshop to educate almost two thousand students. Among those students there were Turkish painters such as Ferik İbrahim Paşa, Hüsnü Yusuf Bey and Emin Bey, who were connected to the Mekteb-i Osmani school opened in Paris in 1857. During the first art exhibition organized in Istanbul, Gérôme, at the request of Sultan Abdülaziz, was also the mentor of Şeker Ahmet Paşa4. In the times of Sultan Abdülaziz, such worldwide known artists as Ivan Ayvazovski, Jean-Baptiste-Antoine Guillemet and Stanisław Chlebowski were official painters to the Ottoman court. In 1883, the Fine Arts Academy (Sanayi-i Nefise Mektebi – a school that offered education in the field of art) was founded. Under the auspices of this institution, which was the first to educate artists, many of Ottoman painters accessed the opportunity to follow the teaching of European artists. “As civilian graduates joined the ranks of the late 19th century military Ottoman painters, art events and exhibitions flourished in the early 20th century in Istanbul and in Pera in particular”5. Curiously enough, the Ottoman painters Şeker Ahmet Paşa, Hüseyin Giritli, Hüseyin Zekai Paşa, Ahmet Ziya Akbulut and Hoca Ali Rıza, who were studying in that epoch, remained devoted to the unwillingness to depict human beings, painting solely landscapes and still life compositions, which mainly decorated palaces and walls of the famous Istanbul mansions6. Among the Turkish artists of this era, Osman Hamdi Bey (1842-1910) was the most popular and outstanding Orientalist. The beginning of the 20th century happened to be the time for the emergence of the Ottoman painters who received their education in Europe. The leading artists, who studied at Académie Julian in...