Sufis From the Late Ottoman Istanbul and Photography: Alternative Readings on the ‘Popular’ Mevlevi Images

Onur Öner

Makale detayları

Sufis From the Late Ottoman Istanbul and Photography: Alternative Readings on the ‘Popular’ Mevlevi Images

Yazarlar:

Onur Öner

Yayıncı:

Marmara University

Ana Başlıklar:

Türk Kültür Tarihi

Dergi:

Marmara Türkiyat Araştırmaları Dergisi Vol.10 Issue 1, pp.207-225

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001290933

pISSN:

2148-6743

Anahtar kelimeler:

Özet:

 Despite the growing literature on Ottoman photography, the depictions of the Mevlevis, in particular, are still considered a vestige of Orientalist thinking. Beyond those art historical approaches, a close reading of rather popular dervish images reveals that the Mevlevis were actively engaged in representing themselves. From this perspective, this article argues that their intimate involvement in photography, as a modern medium, was profoundly related to certain characteristics of the Mevlevi order. This article also scrutinizes the possible contributions of the visual sources to the history of Ottoman music, particularly the musical aspects of the Mevlevi photographs, to which the scholarship has paid little attention. What is more, those images are instrumental in critically addressing the historiographical debates around the Mevlevi tradition and the waves of Mevlevi revivalism, both of which have emerged overwhelmingly from the 1950s in Turkey.

 Despite the growing literature on Ottoman photography, the depictions of the Mevlevis, in particular, are still considered a vestige of Orientalist thinking. Beyond those art historical approaches, a close reading of rather popular dervish images reveals that the Mevlevis were actively engaged in representing themselves. From this perspective, this article argues that their intimate involvement in photography, as a modern medium, was profoundly related to certain characteristics of the Mevlevi order. This article also scrutinizes the possible contributions of the visual sources to the history of Ottoman music, particularly the musical aspects of the Mevlevi photographs, to which the scholarship has paid little attention. What is more, those images are instrumental in critically addressing the historiographical debates around the Mevlevi tradition and the waves of Mevlevi revivalism, both of which have emerged overwhelmingly from the 1950s in Turkey.

 Despite the growing literature on Ottoman photography, the depictions of the Mevlevis, in particular, are still considered a vestige of Orientalist thinking. Beyond those art historical approaches, a close reading of rather popular dervish images reveals that the Mevlevis were actively engaged in representing themselves. From this perspective, this article argues that their intimate involvement in photography, as a modern medium, was profoundly related to certain characteristics of the Mevlevi order. This article also scrutinizes the possible contributions of the visual sources to the history of Ottoman music, particularly the musical aspects of the Mevlevi photographs, to which the scholarship has paid little attention. What is more, those images are instrumental in critically addressing the historiographical debates around the Mevlevi tradition and the waves of Mevlevi revivalism, both of which have emerged overwhelmingly from the 1950s in Turkey.

 Despite the growing literature on Ottoman photography, the depictions of the Mevlevis, in particular, are still considered a vestige of Orientalist thinking. Beyond those art historical approaches, a close reading of rather popular dervish images reveals that the Mevlevis were actively engaged in representing themselves. From this perspective, this article argues that their intimate involvement in photography, as a modern medium, was profoundly related to certain characteristics of the Mevlevi order. This article also scrutinizes the possible contributions of the visual sources to the history of Ottoman music, particularly the musical aspects of the Mevlevi photographs, to which the scholarship has paid little attention. What is more, those images are instrumental in critically addressing the historiographical debates around the Mevlevi tradition and the waves of Mevlevi revivalism, both of which have emerged overwhelmingly from the 1950s in Turkey.

Makale detayları

Sufis From the Late Ottoman Istanbul and Photography: Alternative Readings on the ‘Popular’ Mevlevi Images

Yazarlar:

Onur Öner

Yayıncı:

Marmara University

Ana Başlıklar:

Türk Kültür Tarihi

Dergi:

Marmara Türkiyat Araştırmaları Dergisi Vol.10 Issue 1, pp.207-225

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001290933

pISSN:

2148-6743

Mevlevi order

Sufism

Ottoman photography

Pascal Sébah (1823-1886)

Polycarpe Charles Joaillier (1848-1904)

Ottoman music

Abdülbaki Gölpınarlı (1900-1982).Mevlevi order

Sufism

Ottoman photography

Pascal Sébah (1823-1886)

Polycarpe Charles Joaillier (1848-1904)

Ottoman music

Abdülbaki Gölpınarlı (1900-1982).

Sayı

Makale detayları

Yazarlar: Onur Öner

Yayıncı: Marmara University

Ana Başlıklar: Türk Kültür Tarihi

Dergi: Marmara Türkiyat Araştırmaları Dergisi Vol.10 Issue 1, pp.207-225

Belge Tipi: Makale

Yayın Tarihi: 6/2023

Belge Dili: İngilizce

Document ID (Org No.): 2001290933

pISSN: 2148-6743

Sayı

Yazarlar:

Onur Öner

Yayıncı:

Marmara University

Ana Başlıklar:

Türk Kültür Tarihi

Dergi:

Marmara Türkiyat Araştırmaları Dergisi Vol.10 Issue 1, pp.207-225

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001290933

pISSN:

2148-6743