Contemporary Turkish Painting as a Modernization Practice: Reflections of Creative Collective Memory and New Perspectives

Seyfi Başkan

Makale detayları

Contemporary Turkish Painting as a Modernization Practice: Reflections of Creative Collective Memory and New Perspectives

Yazarlar:

Seyfi Başkan

Yayıncı:

Ankara Hacı Bayram Veli University

Dergi:

Ankara Hacı Bayram Veli Üniversitesi Edebiyat Fakültesi Dergisi Issue Cumhuriyetin Yüzüncü Yılı Özel Sayısı, pp.106-123

Belge Tipi:

Makale

Yayın Tarihi:

4/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001287839

pISSN:

2687-6175

Anahtar kelimeler:

Özet:

 The Ottoman Empire, for reasons identified and determined by some statesmen and intellectuals as corruption and degeneration in the state order since the end of 16th century; suffered irreparable losses in the last three hundred years because of many reasons such as inability to renew itself, the loss of power in the central authority, and inability to intervene in the local area due to the problems in the center starting from 17th century. Almost every period of the solution process was difficult and painful with the resistance shown by certain segments in solving the numerous negativities experienced in military, administrative, political and social issues during the processes first considered as periods of stagnation and then regression. Moreover, the Ottoman modernization process targeting the ideal of a libertarian, egalitarian, fair, strong and prosperous state and society was interrupted and prolonged in some periods due to the resistance or wrong methods and inconsistencies of some social segments with similar motives. However, the differences between modernizers, who planned a future vision to be realized with western methods based on the understanding of thinking with science, turned into a strong desire and ideal as a modernization project not only around dynasty and intellectuals, but also on a common ground where social consensus is sought, with the anachronist approach representing a kind of opportunist conservatism, not innovation, not traditionalism and not modernization for the ways to keep up with the contemporary world at the beginning of 19th century. In this historical process, western arts are among the most important socio-cultural dynamics within the arguments representing the modernity metaphor of Ottoman Turkish Modernization. The earliest examples of the discourse and practice of Contemporary Turkish Painting evaluated in this context can be seen from the beginning of 19th century. In general, the process called Turkish Modernization with the target of reaching the whole society begun after the Ottoman Empire, which did not consider the European to be equal to itself and carried out a closedcircuit policy for centuries until 18th century being the beginning for all the arguments of Turkish modernization, stopped looking down on European and turned to Europe. Western art of painting, which entered into Turkish art repertoire with the nineteenth century, developed faster than other art types with the introduction to Turkish culture in the same period and found a wider base in our cultural life. Interestingly, the difficulties in integrating the Western art of painting we have included in our cultural world together with all its concepts and techniques into the Turkish society were not as much as the difficulties in the adaptation of other branches of art entered into the country with the winds of westernization. Moreover, Turkish people entered into a development process with the legacy inherited from their traditional depiction experiences going back hundreds of years in this new field of art, and managed to develop their own unique personality and new style. Meanwhile, a dialectical development process emerged spontaneousy with the establishment of the educational infrastructure of contemporary Turkish painting. Contemporary Turkish painting art starting with the Naturalist and Academic practices of the pioneering artists of the early period has reached todays contemporary practices by constantly renewing itself.

 The Ottoman Empire, for reasons identified and determined by some statesmen and intellectuals as corruption and degeneration in the state order since the end of 16th century; suffered irreparable losses in the last three hundred years because of many reasons such as inability to renew itself, the loss of power in the central authority, and inability to intervene in the local area due to the problems in the center starting from 17th century. Almost every period of the solution process was difficult and painful with the resistance shown by certain segments in solving the numerous negativities experienced in military, administrative, political and social issues during the processes first considered as periods of stagnation and then regression. Moreover, the Ottoman modernization process targeting the ideal of a libertarian, egalitarian, fair, strong and prosperous state and society was interrupted and prolonged in some periods due to the resistance or wrong methods and inconsistencies of some social segments with similar motives. However, the differences between modernizers, who planned a future vision to be realized with western methods based on the understanding of thinking with science, turned into a strong desire and ideal as a modernization project not only around dynasty and intellectuals, but also on a common ground where social consensus is sought, with the anachronist approach representing a kind of opportunist conservatism, not innovation, not traditionalism and not modernization for the ways to keep up with the contemporary world at the beginning of 19th century. In this historical process, western arts are among the most important socio-cultural dynamics within the arguments representing the modernity metaphor of Ottoman Turkish Modernization. The earliest examples of the discourse and practice of Contemporary Turkish Painting evaluated in this context can be seen from the beginning of 19th century. In general, the process called Turkish Modernization with the target of reaching the whole society begun after the Ottoman Empire, which did not consider the European to be equal to itself and carried out a closedcircuit policy for centuries until 18th century being the beginning for all the arguments of Turkish modernization, stopped looking down on European and turned to Europe. Western art of painting, which entered into Turkish art repertoire with the nineteenth century, developed faster than other art types with the introduction to Turkish culture in the same period and found a wider base in our cultural life. Interestingly, the difficulties in integrating the Western art of painting we have included in our cultural world together with all its concepts and techniques into the Turkish society were not as much as the difficulties in the adaptation of other branches of art entered into the country with the winds of westernization. Moreover, Turkish people entered into a development process with the legacy inherited from their traditional depiction experiences going back hundreds of years in this new field of art, and managed to develop their own unique personality and new style. Meanwhile, a dialectical development process emerged spontaneousy with the establishment of the educational infrastructure of contemporary Turkish painting. Contemporary Turkish painting art starting with the Naturalist and Academic practices of the pioneering artists of the early period has reached todays contemporary practices by constantly renewing itself.

 The Ottoman Empire, for reasons identified and determined by some statesmen and intellectuals as corruption and degeneration in the state order since the end of 16th century; suffered irreparable losses in the last three hundred years because of many reasons such as inability to renew itself, the loss of power in the central authority, and inability to intervene in the local area due to the problems in the center starting from 17th century. Almost every period of the solution process was difficult and painful with the resistance shown by certain segments in solving the numerous negativities experienced in military, administrative, political and social issues during the processes first considered as periods of stagnation and then regression. Moreover, the Ottoman modernization process targeting the ideal of a libertarian, egalitarian, fair, strong and prosperous state and society was interrupted and prolonged in some periods due to the resistance or wrong methods and inconsistencies of some social segments with similar motives. However, the differences between modernizers, who planned a future vision to be realized with western methods based on the understanding of thinking with science, turned into a strong desire and ideal as a modernization project not only around dynasty and intellectuals, but also on a common ground where social consensus is sought, with the anachronist approach representing a kind of opportunist conservatism, not innovation, not traditionalism and not modernization for the ways to keep up with the contemporary world at the beginning of 19th century. In this historical process, western arts are among the most important socio-cultural dynamics within the arguments representing the modernity metaphor of Ottoman Turkish Modernization. The earliest examples of the discourse and practice of Contemporary Turkish Painting evaluated in this context can be seen from the beginning of 19th century. In general, the process called Turkish Modernization with the target of reaching the whole society begun after the Ottoman Empire, which did not consider the European to be equal to itself and carried out a closedcircuit policy for centuries until 18th century being the beginning for all the arguments of Turkish modernization, stopped looking down on European and turned to Europe. Western art of painting, which entered into Turkish art repertoire with the nineteenth century, developed faster than other art types with the introduction to Turkish culture in the same period and found a wider base in our cultural life. Interestingly, the difficulties in integrating the Western art of painting we have included in our cultural world together with all its concepts and techniques into the Turkish society were not as much as the difficulties in the adaptation of other branches of art entered into the country with the winds of westernization. Moreover, Turkish people entered into a development process with the legacy inherited from their traditional depiction experiences going back hundreds of years in this new field of art, and managed to develop their own unique personality and new style. Meanwhile, a dialectical development process emerged spontaneousy with the establishment of the educational infrastructure of contemporary Turkish painting. Contemporary Turkish painting art starting with the Naturalist and Academic practices of the pioneering artists of the early period has reached todays contemporary practices by constantly renewing itself.

 Osmanlı İmparatorluğu, 16. yuzyılın sonlarından itibaren bazı devlet adamları ve aydınların devlet duzeninde yozlaşma ve bozulma olarak tespit ve teşhis ettikleri nedenlerle; 17. yuzyıldan başlayarak, kendisini yenileyememesi, merkezi otoritedeki guç kaybı, merkezdeki sorunlar nedeniyle yerele mudahalede yetersiz kalınması gibi pek çok sebeple İmparatorluk, son uç yuz yılında, telafisi mumkun olmayan kayıplar yaşamıştır. Önce duraklama, ardından gerileme dönemleri olarak kabul edilen sureçlerdeki askeri, idari, siyasi ve toplumsal konularda yaşanan sayısız olumsuzlukların çözumunde belirli kesimlerce gösterilen dirençle birlikte çözume ilişkin surecin hemen her dönemi zorlu ve sancılı geçmiştir. Hatta, özgurlukçu, eşitlikçi, adaletçi, guçlu ve mureffeh bir devlet ve toplum ulkusunu hedefleyen Osmanlı modernleşme sureci, benzer saiklerle bazı toplumsal kesimlerin ortaya koydukları direnç ya da yanlış yöntem ve tutarsızlıklar nedeniyle bazı dönemlerde kesintiye uğramış ve uzamıştır. Ancak 19. yuzyıl başına ulaşıldığında, çağdaş dunyaya ayak uydurabilmenin yolunun yenileşmeyi değil gelenekçiliği, modernleşmeyi değil bir çeşit oportunist konservativizmi temsil eden anakronist yaklaşım ile esası bilimle duşunme anlayışı olan, batılı usullerle yapılacak bir gelecek tasavvuru planlayan modernleşmeciler arasındaki farklılıklar sadece hanedan ve aydın çevresinde değil, toplumsal mutabakat aranan ortak zeminde bir modernleşme projesi olarak guçlu bir istek ve ideale dönuşmuştur.Bu tarihi sureçte, Osmanlı Turk Modernleşmesinin çağdaşlık metaforunu temsil eden argumanlar içinde, batılı sanatlar en önemli sosyokulturel dinamiklerdendir. Bu kapsamda değerlendirilen, Çağdaş Turk Resminin söylem ve pratiğinin en erken örnekleri 19. yuzyıl başından itibaren görulur. Genel olarak da; Turk modernleşmesinin tum argumanları için başlangıç olan 18. yuzyıla kadar, Avrupalıyı kendine denk görmeyen, yuzyıllarca kapalı devre bir politika yuruten Osmanlı İmparatorluğunun bu tarihten sonra, Avrupalı ya tepeden bakmayı bırakıp, yuzunu Avrupaya dönmesiyle, hedefi tum toplum katlarına ulaşmak olan Turk Modernleşmesi denilen sureç başlamıştır. 19. yuzyılla birlikte Turk sanatı repertuvarına giren Batılı anlamdaki resim sanatı, aynı dönemde Turk kulturune kazandırılan diğer sanat turlerinden daha hızlı gelişerek kultur hayatımızda daha geniş taban bulmuştur. İlginçtir ki, butun kavram ve teknikleriyle beraber kultur dunyamıza dahil ettiğimiz Batılı resim sanatının, Turk toplumunun bunyesine kazandırılmasında karşılaşılan guçlukler, batılılaşma ruzgârlarıyla yurda giren diğer sanat dallarının adaptasyonunda karşılaşılan zorluklar kadar olmamıştır. Üstelik Turk insanı bu yeni sanat alanında yuzlerce yıl geçmişe giden geleneksel tasvir deneyimlerinden devraldığı mirasla bir gelişim sureci içine girerek kendi özgun kişilikli, yeni uslubunu da geliştirmeyi başarmıştır. Bu arada, çağdaş Turk resminin eğitim-öğretim altyapısının oluşturulmasıyla diyalektik bir gelişim sureci de kendiliğinden ortaya çıkmıştır. Erken dönemin öncu sanatçılarının Naturalist, Akademik uygulamalarından yola çıkılarak başlayan Çağdaş Turk resim sanatı surekli olarak kendini yenileyerek gunumuzun çağdaş uygulamalarına kadar gelmiştir.

Makale detayları

Contemporary Turkish Painting as a Modernization Practice: Reflections of Creative Collective Memory and New Perspectives

Yazarlar:

Seyfi Başkan

Yayıncı:

Ankara Hacı Bayram Veli University

Dergi:

Ankara Hacı Bayram Veli Üniversitesi Edebiyat Fakültesi Dergisi Issue Cumhuriyetin Yüzüncü Yılı Özel Sayısı, pp.106-123

Belge Tipi:

Makale

Yayın Tarihi:

4/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001287839

pISSN:

2687-6175

Ottoman Empire

17.-19th Centuries

Ottoman-Turkish Modernization

Contemporary Turkish Painting

Transition from Miniature to PentureOsmanlı İmparatorluğu

17.-19. Yüzyıllar

Osmanlı-Türk Moderleşmesi

Çağdaş Türk Resmi: Minyarürden Pentüre Geçiş.

Sayı

Makale detayları

Yazarlar: Seyfi Başkan

Yayıncı: Ankara Hacı Bayram Veli University

Dergi: Ankara Hacı Bayram Veli Üniversitesi Edebiyat Fakültesi Dergisi Issue Cumhuriyetin Yüzüncü Yılı Özel Sayısı, pp.106-123

Belge Tipi: Makale

Yayın Tarihi: 4/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001287839

pISSN: 2687-6175

Sayı

Yazarlar:

Seyfi Başkan

Yayıncı:

Ankara Hacı Bayram Veli University

Dergi:

Ankara Hacı Bayram Veli Üniversitesi Edebiyat Fakültesi Dergisi Issue Cumhuriyetin Yüzüncü Yılı Özel Sayısı, pp.106-123

Belge Tipi:

Makale

Yayın Tarihi:

4/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001287839

pISSN:

2687-6175