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Mehmet Erim
and rich expression effect by getting rid of the material-oriented vicious circle. The yazmas,
which are one of these initiatives and quests, have not found much place for themselves in
Turkish painting art except for a short period. However, the artists, who grew up with the
workshops and training of masters such as Bedri Rahmi, Mustafa Pilevneli and Mustafa
Aslier, have been in search of training, interdisciplinary interaction and in different quests and
have influenced modern Turkish painting profoundly.
5. References
Edgu, Ferid, (1976). Bedri Rahmi Eyüboğlu’nun Yaşam Öyküsü, Yaşayan Bedri Rahmi Sergi
Tan tmal ğ , (
The life of Bedri Rahmi Eyuboglu, Living Bedri Rahmi Eyuboglu Exhibition
Catalouge) Vakko Publications
Erol, Turan, (1984).
Bedri Rahmi Eyuboglu, (
Bedri Rahmi Eyuboglu )Istanbul ( p. 54.)
Eyuboglu, Bedri Rahmi,
(1986). Resme Başlarken
, (
While Starting to Paint) Bilgi
Publications: 213, Ankara, (p.359.)
Gokaydin, Nevide (1987). Tahta Bask Tekniği
Dünü Bugünü Eğitimde Yeri, (
Block
Printing Technics in Past, Today Education) Turkish German Block Print Art
Hacettepe
University Publications: 6, Ankara ( p.46)
Taranci, Cahit Sitki, (02.01.1936). Tan Newspaper.
Yalman, Tunc, (28.03.1951). Bedri Rahmi Yazma Sergisi,(
Bedri Rahmi Yazma
Exhibition)
Vatan
Newspaper
Impacts of Westernization on Turkish Painting
§§
Osman Hamdi Bey- Vasiliy
Vereshchagin
Gonul Uzelli
1. Introduction
Besides political relationships between the Ottoman Empire and Russia, important
developments have occurred in the arts and culture in 18
th
and 19
th
centuries. During the
decline of the Ottoman Empire, the period called “Westernization Movement” started with the
desire to benefit from the knowledge and technical advancements of the West with the
purpose of preventing the fall of the empire and strengthening it. The first objective of
westernization was to make the military reforms which will strengthen the country and
prevent its fall rather than benefiting from the experience of the West in terms of culture and
arts. For that reason, the beginning of western impacts in the Ottoman arts was a result of
natural progress.
2. Impacts of Westernization
During Ahmet III’s reign, Yirmisekiz Çelebi Mehmet Efendi was sent to Paris as an
ambassador in 1720. His
Sefaretname (
The Book of Embassy) in which he told his experiences
and impressions in France was highly appreciated in the court. Especially his writings about
manors, courts and gardens were implemented in the civil architecture (Renda, 2002, p. 17).
Western impact on the cultural structure of the Ottoman Empire started in the 18
th
century. In
the beginning of that century, İbrahim Müteferrika established the first printing house in 1727
and the state support provided to him was the first significant step taken in terms of
Westernization.
In mid-18
th
century, western impact has developed in the field of architecture and decoration
which is related to architecture in the cultural life of the Ottoman Empire. In that period, the
interest of the Westerners in the Ottoman Empire has increased and ambassadors brought
along scientists and painters to İstanbul. Westerners also published books by examining the
state and social structure of the Empire. As a result of tight relations developed in time,
European culture and art started to become effective in
the Ottoman society, especially around
the court.
The first of the scheduled Westernization movements in the Ottoman Empire was that
Humbarac Ahmet Paşa was appointed to train the Ottoman Empire according to European
techniques in the Sultan Mahmut I’s reign (1730-1754).
During the reign of Sultan Mustafa II (1757-1774), Chamber of Geometry, which was the
beginning of Imperial Naval Engineering School, was opened in 1773. Astronomy and
medicine books were brought from Paris and some of them were translated into Turkish.
In the reign of Sultan Abdülhamid I (1774-1789), Grand Vizier Halil Hamit Paşa brought a
number of foreign teachers to the Imperial Naval Engineering School and reopened the
artillery school which was closed by the Sultan. As a result of the pressure on France by
§§
The paper is supported by İstanbul University BAP Scientific Research Project (BEK-2016-22312).
108
Gonul Uzelli
Russia and Austria which do not want that Ottoman Empire gains
strength with the innovation
movements, French experts returned to their country.
When Selim III (1789-1807) ascended the throne, he started the reform movements again in a
scheduled way. Choiseul Goffier, who was the French Ambassador in Turkey between 1784
and 1792, brought a number of painters to the capital such as Hilair, Fauvel and Kauffer. Thus
the ambassadors’ habit to bring along painters continued in the 18
th
century.
Among the painters who came to İstanbul in the second half of the 18
th
century, Antoine de
Favray, Jean Baptiste Leprince, Richard Dalton, Amedée Van Loo yan s ra Mercati, Luciari,
Tonioli, Brugniére, Carbognano, Roset and Castellan depicted İstanbul in their works and
they introduced the Ottoman to perspective in painting.
In the late 18
th
century, painting became the second field in which western impacts were seen
following the architecture and decoration related to architecture. Inclusion of paintings and
maps in the books published after 1797 is a quite significant stage in this field.
While Sultan Selim III was making use of the embassy committees in İstanbul, he requested
that the ambassadors sent to Europe learn the culture, arts and language of the countries they
went. The Sultan had a special interest in the Western painting. Engraving of Selim III made
by an artist named Lemmon was included at the beginning of the painter and architect
Melling’s album which consisted of İstanbul paintings. Painting was also included in
curriculums at this period. Sultan Selim III’s order to Constantine of Kap
dağ to draw the
paintings of Ottoman Sultans was an indicator of significant changes in the Ottoman Court.
Mahmut II (1808-1839), who spent his youth observing the innovation movements of his
uncle, Selim III, was also interested in arts. His reign is full of Russia, France, England and
Austria’s plans to divide the Empire and civil rebellions. While he was dealing with these
incidents on one hand, Mahmut II continued westernization movements decidedly. In 1826,
he closed the Guild of Janissaries and prioritized education. He founded Military School of
Medicine, Military College and Ministries, he introduced western style of clothing to the
society and he had his painting hung in state agencies.
Foreign painters who came to the country during Mahmut II’s reign have reflected the daily
life of the Ottoman as well as İstanbul in their engravings. Among the western painters who
came in this period, artists such as Préauls, Henry Aston Barker, Frans Hegi, Thomas Allom,
William Henry Barlett stood out and they paved the way for the Ottomans to learn and
embrace perspective in painting.
Ferik İbrahim and Ferik Tevfik Paşa, who were sent to Europe during Mahmut II’s reign for
education in painting, were the first artists who learned western painting techniques. These
painters who painted in western style gave importance to pattern and perspective and
struggled to imitate the nature. Mahmut II made use of painting when necessary and he had a
badge made with his painting on top of it. In 1838, he sent his painting to Mehmet Ali Paşa
who was the Governor of Egypt in that time (Renda, 2002, p. 28-44, Cezar, 1995, p. 28-44).
When Abdülmecid enacted Hatt-I Humayun in 1839, Tanzimat Period started in the Ottoman
Empire and western impact has increased compared to previous periods. British painter Sir
David Wilkie made a painting of Abdülmecid during his stay in İstanbul (Germaner and
İnankur, p. 1989, 89-90), French Félix Ziem and British artists Camille Rogier, Mac Bean and