The Reproduction in Ottoman and European Press: Europe-Based Reproductions Used in Servet-i Fünûn

Yıl 2023, Cilt: 32 Sayı: 2, 937 - 975, 31.12.2023

Oğuz Alp Dedeoğlu

https://doi.org/10.29135/std.1300136

Öz

Servet-i Fünûn (The Wealth of Sciences) was an Ottoman illustrated magazine published between 1891-1944. The magazine included science, culture, literature, travel, and novels and had rich art content. The articles, written between 1896 and 1901 with the contributions of the intellectual circle around the Ottoman intellectual Tevfik Fikret, generally covered the subjects of literature and aesthetics. There were very few references to the plastic arts in these articles. However, the visual arts were one of the main themes of the magazine’s illustrated pages. Art reproductions were published from the earliest issues of the magazine. However, local conditions were insufficient for reproduction and printing. It was, therefore, necessary to import reproduction plates from other countries.
This study analyses the European reproductions used in Servet-i Fünûn, an Ottoman illustrated periodical. Servet-i Fünûn’s use of reproductions related to Western art is linked to multiple fields such as photo-mechanical developments, reproduction, and illustrated periodicals. For this reason, the sample reproduction analyses are based on the development of illustrated periodical publishing and reproduction in Europe, the transfer of these developments to the Ottoman press, and the thoughts and debates around these phenomena. In this way, the study aims to show how the reproduction mobility from Europe to the Ottoman Empire was formed and how the works of art obtained from the same cliché were transformed between magazines belonging to different geographies within the first ten years of the periodical, together with their technical, cultural and artistic dimensions.
In order to study the early stages and development of the reproduction trade, the first decade of Servet-i Fünûn (1891-1901) was included in the research. The signatures Napier, UNION X. A. and Bong X. A. abound in the reproductions published between the relevant years. In addition, the signature on all the reproductions was not legible or visible. However, when researching UNION X. A. and Bong X. A. through digital archives, it became clear that most reproductions without signatures came from the same source. Therefore, in this study, Die Gartenlaube and Modern Kunst: Illustrierte Zeitschrift, published by UNION X. A. and Bong X. A., were seen as evidence of the cross-country network of reproductions in which Servet-i Fünûn was included. It has been found that examples of art reproductions published in Servet-i Fünûn were published in relevant magazines in the same year or previous years. The form and position of the signatures are precisely the same.
The following conclusions can be drawn from the editorial and discursive analyses of the images: The reproductions were published in magazines of two different countries, usually at close dates. In general, the pictures were named differently in each country. However, there were also images with the same name. One of the differences between countries in the reproductions is the copyright and information texts. Whereas in Servet-i Fünûn, only the name of the picture was given under the image, in its European counterparts, detailed information was given, such as the painter, the name of the painting, the print, and the source of the photograph. Pictures in European journals were accompanied by a short text describing the picture’s composition. Servet-i Fünûn briefly explained landscape, architectural, and portrait photographs, but art reproductions were rarely accompanied only by poems or stories. These stories and poems were texts that described the composition in the picture and provided words to guide the imagination that might arise in the audience. As a result, the paintings published in Servet-i Fünûn were evaluated together with the cross-country art reproduction network. It was understood that the paintings in mobility had the details that formed their tradition and discourse in Ottoman geography.

Anahtar Kelimeler

19th Century, European Press History, Visual Culture, Servet-i Fünûn, Illustrated Periodicals, Art reproduction, East-West relations.

Osmanlı Ve Avrupa Matbuatında Reprodüksiyon: Servet-İ Fünûn'da Kullanılan Avrupa Kaynaklı Reprodüksiyonlar

Öz

Bu çalışma, Servet-i Fünûn’da kullanılan Avrupa kaynaklı reprodüksiyonları mercek altına almıştır. Servet-i Fünûn’un Batılı perspektifli resim sanatına ilişkin reprodüksiyonlara yer vermesi, foto-mekanik gelişmeler, reprodüksiyon ve resimli süreli yayımlar gibi birden fazla sahayla bağlantılıdır. Bu sebeple örnek reprodüksiyon incelemeleri, Avrupa’da resimli süreli yayımcılık ile reprodüksiyonun gelişimi, bu gelişmelerin Osmanlı matbuatına aktarımı ve tüm bu olguların etrafında şekillenen düşünce ve tartışmalarla temellendirilmiştir. Böylelikle çalışma, Avrupa’dan Osmanlı’ya reprodüksiyon hareketliliğinin nasıl oluştuğunu, mecmuanın ilk on yılı içerisinde aynı klişeden elde edilen sanat eserlerinin farklı coğrafyalara ait dergiler arasında nasıl dönüşüme uğradığını teknik, kültürel ve sanatsal boyutlarıyla birlikte göstermeyi amaçlamaktadır. Çalışmada, reprodüksiyon ağının içerisindeki dinamikleri vurgulamak için farklı ülkelerin resimli dergilerinde keşfedilmiş olan benzer reprodüksiyonlardan örnekler ele alınmaktadır. Buna göre, çalışma, Mösyö Napier, Bong X. A., UNION X. A. hakkak ve baskı şirketlerine ait imzalı reprodüksiyonları konu edinmiştir. Bununla birlikte resimlerin ağırlıklı olarak Alman Die Gartenlaube, Modern Kunst: Illustrierte Zeitschrift dergilerinde yayımlandığı tespit edilmiş olsa da İngiltere ve Fransa gibi ülkelerin dergilerinde yayımlanan reprodüksiyonları yine Servet-i Fünun sayfalarında görmek mümkündür. Tespit edilen güzel sanatlara ilişkin resimler, ülkeler arası reprodüksiyon ağıyla birlikte değerlendirilmiştir. Değerlendirmeler sonucunda Osmanlı ve Avrupa’da resimlerin birbirine yakın tarihlerde yayımlandığı görülmüştür. Ayrıca tablo isimlerinde, açıklayıcı metinlerde ve ressam ile baskı sanatçısına dair bilgilendirme tercihlerinde keskin farklılıklar olduğu gözlemlenmiştir. Sonuç olarak Osmanlı Modernleşmesinin yaşandığı bir dönemde toplumun gündelik hayatına dahil olan Avrupa menşeili resimlerin yeni bir geleneğe uyum sağlayarak dönüşüme devam ettiği örneklerle açıklanmıştır.

Anahtar Kelimeler

19. yüzyıl, Görsel Kültür, Resimli Süreli Yayın, Reprodüksiyon, Doğu-Batı İlişkisi

Kaynakça

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