Patara ve Ksanthos Vadisi’nin Harry John Johnson’un 1856’sergilenen İki “Caprice” Eserinde Yankısı: “Hierapolis, Asia Minor...” ve “Sardis...”

Year 2020, Volume: 8, 725 - 762, 30.06.2020

T. Michael P. Duggan

https://doi.org/10.13113/CEDRUS.202037

Abstract

Harry John Johnson’ın 1843-1844 arasında 4 ay süren ve çoğunlukla Likya’da bulunduğu gezisinin 1859 yılında Londra’da sergilenen apokaliptik resimlerinde görülen peyzajların kaynağı olduğu anlaşılıyor. Bunlardan İncil’den alıntılarla isimlendirdiği ikisi, Hierapolis Küçük Asya, “Kenti balabana verip bataklığa çevireceğim, ve, Sardis, “Yaşıyorsun diye ad yapmışsın ama ölüsün”. Hindistan’da İngiliz yönetimine karşı gerçekleşen ayaklanma sonlanmadan önce sergilenmişti. Resimlerin orjinal isimleri zaman içinde değiştirilmiştir. Hierapolis, Yunanistan olarak verilmiş, bir diğer resim Macri 1844 yanlışlıkla Mukri olarak okunmuştur. Fethiye Hasan Paşa Camii’ni konu alan iki ayrı resim ise Johnson’un Likya gezisinde görüp kaydettiği imgeleri 1844’de 18 yaşında Londra’ya dönüşünden 1884’de ölümüne kadar geçen süre içinde de resmetmeye devam ettiğini göstermektedir.

Keywords

Likya, Patara, Harry John Johnson, Kıyamet, Hristiyan Capriccio

AN ECHO OF PATARA AND THE XANTHUS VALLEY REFLECTED IN TWO WORKS OF CAPRICE BY HARRY JOHNSON, ENTITLED, ‘HIERAPOLIS, ASIA MINOR…’ AND, ‘SARDIS…’ EXHIBITED IN 1859

Abstract

Harry John Johnson’s 4 months spent largely in Lycia in 1843-44 seem to have provided the source for the landscapes in his apocalyptic paintings exhibited in London in 1859 entitled: ‘Hierapolis, Asia Minor. “I will make it a possession for the bittern, and pools of water”’, and, ‘Sardis, Thou Hast A Name That Thou Livest, And Art Dead’ — Rev. iii. I.’ Both exhibited before the Indian Mutiny ended. Some corrections are made to the titles that have subsequently been given to his paintings, not least, that Hierapolis is not in Greece but in Asia Minor, and that Macri is today Fethiye in ancient Lycia in southwestern Turkey, and is not Mukri in Turkmenistan. Two previously unidentified depictions of the 1791 Hassan Pasha mosque in Fethiye are noted, together with further evidence to show he remained involved reworking the images he saw and recorded in Lycia from his return to London in 1844 aged 18, over the course of the next forty years, until his death in 1884.

Keywords

Lycia, Patara, Harry Johnson, Apocalypse, Christian Capriccio

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