Publication: II. Bayezid dönemi tezhip sanatı
Abstract
“II. Bâyezid Dönemi Tezhip Sanatı” başlıklı tezimiz altı bölümden meydana gelmektedir. Bölümlerden önce yer alan Giriş kısmında konunun önemi, niteliği, yöntem, terminoloji ve görsel malzeme listelerinden nasıl faydalanılacağı anlatılır. Tezin I. bölümü, siyasi ve kültür ortamı alt başlıkları açılarak anlatılmaktadır. Siyasi ortamda Sultan II. Bâyezid’in kişiliğinden, şehzadelik zamanlarından, kardeşi Cem ile saltanat mücadelesi ve saltanatının son yıllarından bahsedilir. Kültür ortamında ise; XV. yy. son çeyreğinde eser vermiş âlim, şair ve vak’anüvisler ile dönemin mimarî ve mûsikisi hakkında genel bilgi verilmektedir.II. bölümde XV. yy sonlarında gelişen sanat anlayışı, yükseliş dönemini yaşayan Osmanlı saray nakkaşhanesi, nakkaşlar, hattatlar mücellidler ve henüz sistemli olmasa da atölye çalışma biçiminden bahsedilir. II. bölüm katalog çalışmasıdır. II. Bâyezid dönemi tezhip sanatı üslubunu ortaya koyan zengin görsel malzeme kanaviçe, helezon sistemi ve resimler ile detaylı olarak anlatılmıştır. IV. bölümde sayfa tasarımı, kompozisyon, renk anlayışı, ve kullanılan motifler analiz edilmektedir. Yapılan motif ve pafta tipolojisinde en sade tasarımdan en yoğun olana doğru bir sıralama yapılmıştır. Dönemin el yazmalarında tezhip yapılan sahalar hangi özellikler göz önüne alınarak hazırlanmış, katalog ve tipoloji çizimlerine göndermeler yapılarak anlatılır. V. bölümde dönemin sanat anlayışı genel hatları ile ele alınırken tezhip sanatına yansıyan değişim unsurları ve sanat eserlerinde fark edilen etkileşimden bahsedilmektedir. XVI. bölüm değerlendirme bölümüdür. XV. yy sonu, Fatih Sultan Mehmet dönemi tezhip üslubu ve çağdaşı Türkmen üslubu ile mukayese edilerek anlatılır. Dönem içerisinde görülen değişimin Türk tezhip sanatına getirdiği yenikler ve XVI. yy. Osmanlı Klasik Tezhip Üslûbu’nun oluşmasındaki katkıları, görsel malzeme ile desteklenerek anlatılır.Sonuç, kaynakça, resim, tablo ve levha gibi görsel malzeme listesi, kısaltmalar ile konunun anlaşılmasına yardımcı olacak sözlük tezin en sonunda yer alır.
Our dissertation titled Art of the Illumination at Bayezid II Period is based on six sections. The importance of this subject and our method, the vocabulary and the way to use the visual materials are explained in the introductory part just before the main body.The first part again divided into two subtitles dealing with political and cultural environments. While the first one is based on Bayezid II’s personality and his prince hood, his competition with his brother Cem for the throne covering the period until the end of his reign, the latter is about the outstanding scholars, poets, recorders (vak'anuvist) and as well gives a general information about the architecture and the music during the last quarter of the XV th century.The artistic consideration that had flourished by the end of the XV th century, the Ottoman court ateliers (nakkaşhane) that reached to their zenith, painters, calligraphers, bookbinders and -even though not systematically well working yet- the workshops and their way of running are all mentioned in the second section.The third section is our catalogue that we explain the illumination fashion of Bayezid II’s time in detail throughout the very rich visual materials that enabled us to point out the drawing technique, the planning and spiral systems that the motives were based on. Page formations, compositions, the colour combinations and motives are analyzed in the fourth section A formal sorting of the motives from the simpler ones to the more complicated ones is preferred.The illuminated areas of the manuscripts are further explained with references to the illustrative drawings along with the catalogue sorting.In the fifth section explaining the general art vision of the period, the diversity elements that were reflecting from the illuminations and the appreciable effect of interaction on the art pieces were mentioned too. The sixth section is our conclusion where we introduce the last part of the XV th century comparing the illuminations of Mehmed II, The Conqueror’s era to its contemporary Turcoman (Türkmen) style. The innovations that were brought to the Turkish illumination by the transformation during that period and their contributions to the establishment of the XVI th century Classical Ottoman Illumination Style are explained by the supporting visual materials. Bibliography and the lists of visual materials as photographs, charts, and plates, the abbreviations and a mini vocabulary were attached to the end of our dissertation.
Our dissertation titled Art of the Illumination at Bayezid II Period is based on six sections. The importance of this subject and our method, the vocabulary and the way to use the visual materials are explained in the introductory part just before the main body.The first part again divided into two subtitles dealing with political and cultural environments. While the first one is based on Bayezid II’s personality and his prince hood, his competition with his brother Cem for the throne covering the period until the end of his reign, the latter is about the outstanding scholars, poets, recorders (vak'anuvist) and as well gives a general information about the architecture and the music during the last quarter of the XV th century.The artistic consideration that had flourished by the end of the XV th century, the Ottoman court ateliers (nakkaşhane) that reached to their zenith, painters, calligraphers, bookbinders and -even though not systematically well working yet- the workshops and their way of running are all mentioned in the second section.The third section is our catalogue that we explain the illumination fashion of Bayezid II’s time in detail throughout the very rich visual materials that enabled us to point out the drawing technique, the planning and spiral systems that the motives were based on. Page formations, compositions, the colour combinations and motives are analyzed in the fourth section A formal sorting of the motives from the simpler ones to the more complicated ones is preferred.The illuminated areas of the manuscripts are further explained with references to the illustrative drawings along with the catalogue sorting.In the fifth section explaining the general art vision of the period, the diversity elements that were reflecting from the illuminations and the appreciable effect of interaction on the art pieces were mentioned too. The sixth section is our conclusion where we introduce the last part of the XV th century comparing the illuminations of Mehmed II, The Conqueror’s era to its contemporary Turcoman (Türkmen) style. The innovations that were brought to the Turkish illumination by the transformation during that period and their contributions to the establishment of the XVI th century Classical Ottoman Illumination Style are explained by the supporting visual materials. Bibliography and the lists of visual materials as photographs, charts, and plates, the abbreviations and a mini vocabulary were attached to the end of our dissertation.