Publication: UYGUR MİNYATÜRLERİNDE METİN-RESİM İLİŞKİSİ VE SONRASI
Loading...
Files
Date
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
Minyatür sanatının temel unsuru, yazmadaki metni görsel olarak izleyene sunmaktır. Bu bağlamda minyatür metin ile ilişkilidir. Anlatılmak veya vurgulan-mak istenen olay veya kişilerin çözümlemesi metnin tam olarak okunması ve in-celenmesi ile mümkündür.Yazmanın oluşum aşamasındaki sıra, metnin önce yazılıp minyatürün sonra yapılmasıdır. Dolayısıyla yazım aşamasında hangi sayfaya minyatür geleceği veya hangi sahnenin yapılacağı hususu belirlenmiş olmalıdır. Kimi minyatürlerde me-tin, minyatürün üst veya alt kısmanda dikdörtgen bir parça olarak devam eder.Minyatürlerde kimi zaman da metin; figür veya yapının kenarında, yapının veya şahsın isimlerinin yazımı olarak yer alır. Bu durum, resmi destekleyici olarak konunun daha iyi anlaşılması ve şahısların veya yerlerin belirlenmesi için uygu-lanır. Farklı dönemlerde ve coğrafyalarda yazma eserlerdeki metin-minyatür ilişkisi Osmanlı Devleti’nin sonuna kadar yani yazma eser geleneğinin bitimine kadar sürmüştür. Makalemiz Uygur Maniheist elyazmalarındaki metin-minyatür ilişkisinin analizi ile ilgilidir.
The basic element of miniature art is presenting the text on the manuscript virtually to the viewer. In this context, miniature is associated with the text. Analyzing the events and the persons that are attempted to be explained or expressed is possible by fully reading and examining the text._x000D_ The order of creating the manuscript is first writing the text and then produc-ing the miniature painting. Therefore, the page that the miniature will come or the scene to be presented must be specified before the writing phase. In some miniatures, the text continues as a rectangular piece at the top or bottom of the miniature product. Sometimes texts in miniatures appear on the edge of the fig-ure or structure, or as the spelling of the person's names. This is used as a sup-porter for a better understanding of the subject in the painting, and for the iden-tification of persons or places. The relationship between the text and the minia-ture in the manuscripts in different eras and geographies had continued until the collapse of the Ottoman Empire, that is to say until the ending of the tradi-tion of manuscripts. Our paper is about the analysis of the text-miniature relation in the Uighur Manichaeist manuscripts.
The basic element of miniature art is presenting the text on the manuscript virtually to the viewer. In this context, miniature is associated with the text. Analyzing the events and the persons that are attempted to be explained or expressed is possible by fully reading and examining the text._x000D_ The order of creating the manuscript is first writing the text and then produc-ing the miniature painting. Therefore, the page that the miniature will come or the scene to be presented must be specified before the writing phase. In some miniatures, the text continues as a rectangular piece at the top or bottom of the miniature product. Sometimes texts in miniatures appear on the edge of the fig-ure or structure, or as the spelling of the person's names. This is used as a sup-porter for a better understanding of the subject in the painting, and for the iden-tification of persons or places. The relationship between the text and the minia-ture in the manuscripts in different eras and geographies had continued until the collapse of the Ottoman Empire, that is to say until the ending of the tradi-tion of manuscripts. Our paper is about the analysis of the text-miniature relation in the Uighur Manichaeist manuscripts.