KARE Uluslararası Karşılaştırmalı Edebiyat Dergisi 2536-4596 2536-4596 Erciyes University 10.38060/kare.1186654 Creative Arts and Writing Sanat ve Edebiyat Erken Modern Avrupa Heykellerinde Müslüman Esirler Muslim Captives in Early Modern European Sculpture https://orcid.org/0000-0003-2992-1893 Matar Nabil University of Minnesota 12 15 2022 14 98 124 10 10 2022 11 21 2022 Copyright © 2016, KARE Uluslararası Karşılaştırmalı Edebiyat Dergisi 2016 KARE Uluslararası Karşılaştırmalı Edebiyat Dergisi

Erken modern dönemde Avrupalılar Müslümanları tutsak ederek sayıları, geldikleri yerleri ve fiziksel görünümleri gibi bilgilerini kaydetmişlerdir. Köle sahipleri, tüccarlar, kayıt tutanlar, deniz kaptanları, kilise ve devlet memurları ve tutsakların yürüdüğü, çalıştığı ve hatta duygusal bağ kurduğu kasaba ve şehir sakinleri için Türklerin deneyimleri, kadırga kölelerinin veya maden işçilerinin deneyimlerinden farklıydı. Esirlerin çoğu efendileriyle meslekleri, aileleri, en sevdikleri yiyecekler, bölgesel gelenekleri ve kasabaları hakkında konuşurlardı. Hikayeleri bu tutulan kayıtlar sayesinde bugüne dek ulaşmıştır. Müslümanları çeşitli rollerde, ayırt edici özellikler ve fiziksel niteliklerle tasvir eden hikayeler yaratılmış olsa da Türk'ün heykellerdeki tasviri sürekli olarak aynıdır: yenilgi ve aşağılanma ile basmakalıp hale getirilmiştir. Bu dönemde, korkutucu ve güçlü Türkleri utanç verici bir yenilgi ve teslimiyet içinde tasvir etmek daha etkili olduğu için erkek Türkler heykelde daha çok yer alır. Heykellerde tasvir edilen Türkler, anlattıkları hikayelerdeki sesini kaybetmek zorunda bırakılmıştır. Bu makale, erken modern dönemde Türklerin heykellerde nasıl tasvir edildiğini incelemektedir.[1] Bu makale büyük ölçüde, yazarın izniyle, Mediterranean Captivity through Arab Eyes, 1517-1798 (Leiden: Brill, 2021) alınmıştır.

In the early modern period, Europeans held Muslims captive and recorded their information, such as their number, places of origin and physical appearance. The experiences of the Turks were distinct from those of galley slaves or mine labourers for the slave masters, traders, record keepers, sea captains, church and government officials, and residents of towns and cities where captives walked, worked and even indulged in sensuous behaviour. Many captives spoke with their masters about their professions, families, favourite foods, regional traditions, and towns. Their stories arrived today thanks to these records. Although tales about Muslims were created which portrayed them in various roles and with distinctive traits and physical qualities, the portrayal of the Turk in sculpture was consistently the same: they were stereotyped in defeat and humiliation. In this period, male turcs dominated sculpture as it was more impactful to depict the intimidating and powerful Turks in shameful defeat and submission. In sculpture, the turc was forced to lose his voice heard in the stories they told. This paper studies how turcs are depicted in sculpture in the early modern period.[1] This chapter is largely taken from Mediterranean Captivity through Arab Eyes, 1517-1798 (Leiden: Brill, 2021), with the permission of the author.

 Sculpture Captivity Representation of Muslims Avrupa Heykeli Esirlik Müslüman Temsili Anelli, Angelo. L’italiana in Algeri, 1813. Bartal, Ruth. ‘The Image of the Saracen in Romanesque Sculpture. Literary and Visual Perceptions’. In Jerusalem the Golden: The Origins and Impact of the First Crusade, edited by Susan B. Edgington and Luis García-Guijarro, 329–45. Turnhout: Brepols Publishers, 2014. Belhamissi, Moulay. Les Captifs Algériens et l’Europe Chrétienne. Paris: Enterprise Nationale du Livre, 1988. Bickerstaff, Isaac. The Captive: A Comic Opera; as It Is Perform’d at the Theatre-Royal in the Hay-Market. London: W. Griffin, 1769. Bindman, David, Henry Louis Gates, and Karen C. C. Dalton, eds. The Image of the Black in Western Art, Volume III: From the ‘Age of Discovery’ to the Age of Abolition, Part 2: Europe and the World Beyond. Vol. 3. 5 vols. Cambridge, Massachusetts: Harvard University Press, 2011. Bion, Jean François. ‘An Account of the Torments Which the French Protestants Endure Aboard the Galleys’. In The Torments of Protestant Slaves in the French King’s Galleys : And in the Dungeons of Marseilles, 1686-1707 A.D. : With Some Illustrative Texts, edited by Edward Arber, 433–60. London: Stock, 1908. Cardini, Franco. Europe and Islam. Translated by Caroline Beamish. Oxford: Wiley-Blackwell, 2001. Carnoy, Dominique. Représentations de l’islam dans la France du XVIIe siècle: La ville des tentations. Paris: Editions L’Harmattan, 1998. Cossé Brissac, Philippe de, ed. Sources Inédites de l’histoire Du Maroc. Deuxième Série, Dynastie Filalienne (1661-1757). VI, 1700-2 Mai 1718. Vol. 6. 8 vols. E. Leroux, 1960. D’Amora, Rosita. ‘“Saving a Slave, Saving a Soul”: The Rhetoric of Losing the True Faith in Seventeenth-Century Italian Textual and Visual Sources’. In Conversion and Islam in the Early Modern Mediterranean, 155–78. New York: Routledge, 2017. Defoe, Daniel. A Plan of the English Commerce: Being a Compleat Prospect of the Trade of This Nation, as Well the Home Trade as the Foreign. In Three Parts. London: Charles Rivington, 1728. Dopico, Clara Ilham Alvarez. ‘The Catholic Consecration of an Islamic Dār. The Chapel of the Saint John de Matha Trinitarian Hospital in Tunis’. In Sacred Precincts: The Religious Architecture of Non-Muslim Communities Across the Islamic World, edited by Mohammad Gharipour, 291–307, 2015. Favart, Charles-Simon. Les Trois Sultanes, Ou Soliman II, Comédie En 3 Actes, En Vers. Nouvelle Édition Conforme à La Représentation. [Paris, Les Comédiens Italiens, 9 Avril 1761 ; et Comédie-Française, 13 Février 1908.] / Favart. Paris: P.-V. Stock, Editeur, 1761. Fontenay, Michel. ‘L’esclave Galérien Dans La Méditerranée Des Temps Modernes’. In Figures de l’esclave Au Moyen-Age et Dans Le Monde Moderne, edited by Henri Bresc, 115–43. Paris: L’Harmattan, 1996. Green, John. A Journey from Aleppo to Damascus. London: W. Mears, 1736. Greene, Molly. Catholic Pirates and Greek Merchants: A Maritime History of the Early Modern Mediterranean. Princeton: Princeton University Press, 2013. Hamel, Chouki El. ‘The Register of The Slaves of Sultan Mawlay Isma’il of Morocco at The Turn of The Eighteenth Century’. The Journal of African History 51, no. 1 (2010): 89–98. Harper, James G., ed. The Turk and Islam in the Western Eye, 1450-1750: Visual Imagery Before Orientalism. Surrey: Ashgate Publishing, 2011. Hume, David. Hume on Religion. Edited by Richard Wollheim. Cleveland: World Pub. Co., 1964. Longino, Michèle. Orientalism in French Classical Drama. Cambridge: Cambridge University Press, 2006. Martin, Meredith, and Gillian Weiss. ‘“Turks” on Display during the Reign of Louis XIV’. L’Esprit Créateur 53, no. 4 (2013): 98–112. https://doi.org/10.1353/esp.2013.0049. Massing, Jean Michel. ‘The Mediterranean Scene’. In The Image of the Black in Western Art: From the ‘Age of Discovery’ to the Age of Abolition v. 3, edited by David Bindman and Henry Louis Gates. Cambridge, Mass.: Harvard University Press, 2011. McGrath, Elizabeth. ‘Caryatids, Page Boys, and African Fetters: Themes of Slavery in European Art’. In The Slave in European Art. From Renaissance Trophy to Abolitionist Emblem, edited by Elizabeth McGrath and Jean Michel Massing, 3–38. London: The Warburg Institute, 2012. Melvin, Karen. ‘Charity without Borders: Alms-Giving in New Spain for Captives in North Africa’. Colonial Latin American Review 18, no. 1 (1 April 2009): 75–97. https://doi.org/10.1080/10609160902738505. Mozart, Wolfgang Amadeus. Die Entführung Aus Dem Serail, 1782. Muscat, Joseph, and Dionisius A. Agius. ‘Slaves on Land and Sea’. In Georgio Scala and the Moorish Slaves: The Inquisition Malta 1598, edited by Dionisius A. Agius, 345–84. Sta Venera, Malta: Midsea Books, 2013. Opere, Fernando. Indian Captivity in Spanish America: Frontier Narratives. Translated by Gustavo Pellon. Charlottesville: University of Virginia Press, 2006. Ostrow, Steven F. ‘Pietro Tacca and His Quattro Mori: The Beauty and Identity of the Slaves’. Artibus et Historiae, no. 71 (1 January 2015): 145–80. Rabadan, Muhammad. Mahometism Explained. Translated by Joseph Morgan. Vol. 2. 2 vols. London: Mears, 1725. Robertson, Charles. ‘Allegory and Ambiguity in Michelangelo’s “Slaves”’. In The Slave in European Art; from Renaissance Trophy to Abolitionist Emblem, edited by Elizabeth McGrath and Jean Michel Massing, 39–61. Warburg Institute Colloquia. London: University of London Press, 2012. Rosen, Mark. ‘Pietro Tacca’s “Quattro Mori” and the Conditions of Slavery in Early Seicento Tuscany’. The Art Bulletin 97, no. 1 (2015): 34–57. Rossini, Gioachino. The Italian Girl in Algiers Overture, 1817. Rouillard, Clarence Dana. The Turk in French History, Thought and Literature: 1520-1660. New York: Ams Pr Inc, 1974. Rowson, Susanna. Slaves in Algiers; or, A Struggle for Freedom: A Play, Interspersed with Songs, in Three Acts. Philadelphia: Wrigley and Berriman, 1794. Said, Edward W. Orientalism. New York: Vintage, 1979. Salzmann, Ariel. ‘Migrants in Chains: On the Enslavement of Muslims in Renaissance and Enlightenment Europe’. Religions 4, no. 3 (September 2013): 391–411. https://doi.org/10.3390/rel4030391. Samuel C. Chew. The Crescent And The Rose Islam And England During The Renaissance. New York: Oxford University Press, 1937. Scorza, Rick. ‘Messina 1535 to Lepanto 1571. Vasari, Borghini and the Imagery of Moors, Barbarians and Turks’. In The Slave in European Art. From Renaissance Trophy to Abolitionist Emblem, edited by Elizabeth McGrath and Jean Michel Massing, 121–63. London: The Warburg Institute, 2012. Valensi, Lucette. Ces étrangers familiers. Paris: Payot, 2012. Venturi, Cesare. ‘"Il Monumento Livornese Detto Dei “Quattro Mori”’. Liburni Civitas 7, no. 5 (1934): 213–51. Vincent, Bernard, and Jocelyne Dakhlia. Les Musulmans dans l’histoire de l’Europe - tome 1: Une intégration invisible. Paris: Albin Michel, 2011. Weiss, Gillian. ‘Ransoming “Turks” from France’s Royal Galleys’. African Economic History 42, no. 1 (2014): 37–57. Windley, Flossie E. Runaway Slave Advertisements. Westport, Conn: Greenwood, 1983.