The Transformation of the Acanthus Motif in Ottoman Westernization with Samples from İstanbul

Ayşe Duran; Gül Geyik

Makale detayları

The Transformation of the Acanthus Motif in Ottoman Westernization with Samples from İstanbul

Yazarlar:

Ayşe Duran | Gül Geyik

Yayıncı:

Ataturk University

Ana Başlıklar:

El Sanatları

Dergi:

Sanat ve Yorum Issue 45, pp.18-34

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001331181

pISSN:

2822-2865

Anahtar kelimeler:

Özet:

 The Ottoman Empires turning its face towards Europe in the 18th century in order to make reforms in areas such as military, politics and education led to significant changes in cultural and artistic life. The first western influences began to be seen in the art of the Tulip Era, which occurred in the first half of this century and constituted a transitional stage between classical Ottoman art and westernization. In the westernization that continued for about two centuries after this process, Rococo, Baroque and Empire art, as well as the Eclectic understanding from the second half of the 19th century onwards, were effective in Ottoman lands under the influence of France. These styles, which were seen in Ottoman art simultaneously with the Western world, took place especially in the decorative arts with an intense influence. The parallel historical processes of Western styles in Ottoman art and the common elements of the styles led to a confusion in the definition of ornaments. In the studies on the ornaments of this period, it is generally seen that the style is defined as Baroque-Rococo, Baroque-Rococo-Empire or Eclectic without specifying the sub-styles. In this study, it is aimed to determine how the acanthus, which is one of the primary motifs in the art of westernization, is seen in the styles in question, its reflection in Ottoman art and to determine the style through the motif. It was tried to determine the points of divergence of Rococo, Baroque, Ampir and Eclectic period acanthus. In this study, Istanbul examples, where westernization was seen in its most intense and simplest form, were preferred. In the examples, fountains, where the development of styles can be followed more clearly, constitute the most crowded group. In addition to these architectural works, examples such as palaces, tombs and mosques were also utilized. The study is also intended to be a source for possible research on the stylistic confusion of the westernization period.

 The Ottoman Empires turning its face towards Europe in the 18th century in order to make reforms in areas such as military, politics and education led to significant changes in cultural and artistic life. The first western influences began to be seen in the art of the Tulip Era, which occurred in the first half of this century and constituted a transitional stage between classical Ottoman art and westernization. In the westernization that continued for about two centuries after this process, Rococo, Baroque and Empire art, as well as the Eclectic understanding from the second half of the 19th century onwards, were effective in Ottoman lands under the influence of France. These styles, which were seen in Ottoman art simultaneously with the Western world, took place especially in the decorative arts with an intense influence. The parallel historical processes of Western styles in Ottoman art and the common elements of the styles led to a confusion in the definition of ornaments. In the studies on the ornaments of this period, it is generally seen that the style is defined as Baroque-Rococo, Baroque-Rococo-Empire or Eclectic without specifying the sub-styles. In this study, it is aimed to determine how the acanthus, which is one of the primary motifs in the art of westernization, is seen in the styles in question, its reflection in Ottoman art and to determine the style through the motif. It was tried to determine the points of divergence of Rococo, Baroque, Ampir and Eclectic period acanthus. In this study, Istanbul examples, where westernization was seen in its most intense and simplest form, were preferred. In the examples, fountains, where the development of styles can be followed more clearly, constitute the most crowded group. In addition to these architectural works, examples such as palaces, tombs and mosques were also utilized. The study is also intended to be a source for possible research on the stylistic confusion of the westernization period.

 The Ottoman Empires turning its face towards Europe in the 18th century in order to make reforms in areas such as military, politics and education led to significant changes in cultural and artistic life. The first western influences began to be seen in the art of the Tulip Era, which occurred in the first half of this century and constituted a transitional stage between classical Ottoman art and westernization. In the westernization that continued for about two centuries after this process, Rococo, Baroque and Empire art, as well as the Eclectic understanding from the second half of the 19th century onwards, were effective in Ottoman lands under the influence of France. These styles, which were seen in Ottoman art simultaneously with the Western world, took place especially in the decorative arts with an intense influence. The parallel historical processes of Western styles in Ottoman art and the common elements of the styles led to a confusion in the definition of ornaments. In the studies on the ornaments of this period, it is generally seen that the style is defined as Baroque-Rococo, Baroque-Rococo-Empire or Eclectic without specifying the sub-styles. In this study, it is aimed to determine how the acanthus, which is one of the primary motifs in the art of westernization, is seen in the styles in question, its reflection in Ottoman art and to determine the style through the motif. It was tried to determine the points of divergence of Rococo, Baroque, Ampir and Eclectic period acanthus. In this study, Istanbul examples, where westernization was seen in its most intense and simplest form, were preferred. In the examples, fountains, where the development of styles can be followed more clearly, constitute the most crowded group. In addition to these architectural works, examples such as palaces, tombs and mosques were also utilized. The study is also intended to be a source for possible research on the stylistic confusion of the westernization period.

 Osmanlı İmparatorluğunun askerî, siyasi ve eğitim gibi alanlarda ıslahatlar yapmak amacıyla 18. yüzyılda yüzünü Avrupaya dönmesi, kültür ve sanat hayatında da önemli değişimlere neden olmuştur. Bu yüzyılın ilk yarısında yaşanan ve klasik Osmanlı sanatı ile batılılaşma arasındaki bir geçiş aşamasını oluşturan Lale Devri sanatında, ilk batılı etkiler görülmeye başlamıştır. Bu süreçten sonra yaklaşık iki asır boyunca devam eden batılılaşmada, Fransa etkisiyle Osmanlı topraklarında Rokoko, Barok ve Ampir sanatın yanı sıra 19. yüzyılın ikinci yarısından itibaren Eklektik anlayış etkili olmuştur. Batı dünyası ile eş zamanlı olarak Osmanlı sanatında görülen bu üsluplar, özellikle süsleme sanatlarında yoğun bir etkiyle yer almıştır. Batılı üslupların Osmanlı sanatında paralelik gösteren tarihi süreçleri ve üslupların ortak unsurları, bezemelerin tanımlanmasında bir karmaşaya yol açmıştır. Bu dönem bezemeleri ile ilgili yapılan çalışmalarda genellikle, üslubun; Barok-Rokoko, Barok-Rokoko-Ampir ya da alt üslupları belirtilmeden Eklektik şeklinde tanımlandığı görülmektedir. Bu çalışmada, batılılaşma sanatı içerisinde birincil motiflerden olan akantın, söz konusu üsluplarda nasıl görüldüğü, Osmanlı sanatındaki yansıması ve motif üzerinden üslup tayinini yapmak amaçlanmıştır. Rokoko, Barok, Ampir ve Eklektik dönem akantlarının ayrışan noktaları tespit edilmeye çalışılmıştır. Bu açıdan çalışmada, batılılaşmanın en yoğun ve yalın haliyle görüldüğü İstanbul örnekleri tercih edilmiştir. Örneklerde, üslupların gelişiminin daha belirgin şekilde takip edilebildiği çeşmeler en kalabalık grubu oluşturmaktadır. Bu mimari eserlerin yanı sıra saray, türbe ve cami gibi örneklerden de faydalanılmıştır. Çalışmanın, batılılaşma dönemi üslup karmaşası üzerinde yapılması muhtemel araştırmalara da kaynak olması hedeflenmektedir.

Makale detayları

The Transformation of the Acanthus Motif in Ottoman Westernization with Samples from İstanbul

Yazarlar:

Ayşe Duran | Gül Geyik

Yayıncı:

Ataturk University

Ana Başlıklar:

El Sanatları

Dergi:

Sanat ve Yorum Issue 45, pp.18-34

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001331181

pISSN:

2822-2865

Westernization

acanthus

Rococo

Baroque

EmpireBatılılaşma

Akant

Rokoko

Barok

Ampir

Sayı

Makale detayları

Yazarlar: Ayşe Duran | Gül Geyik

Yayıncı: Ataturk University

Ana Başlıklar: El Sanatları

Dergi: Sanat ve Yorum Issue 45, pp.18-34

Belge Tipi: Makale

Yayın Tarihi: 3/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001331181

pISSN: 2822-2865

Sayı

Yazarlar:

Ayşe Duran | Gül Geyik

Yayıncı:

Ataturk University

Ana Başlıklar:

El Sanatları

Dergi:

Sanat ve Yorum Issue 45, pp.18-34

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001331181

pISSN:

2822-2865