The Second Constitutinal and Early Republican Era Drawing Practices in the Light of MSFAU Istanbul Painting and Sculpture Museum Collection
Abstract
The most significant archive of the 2nd Constitutional era of the Ottoman Empire and the Early Republican Era drawing practices in Turkey is the Mimar Sinan Fine Arts University Istanbul Painting and Sculpture Museum’s drawing collection. The drawing collection consists of 2745 drawings of 51 artists presenting the drawing practices over a century. The majority of the drawings in the collection are nudes and landscapes. Drawing had been a part of various Ottoman educational institutions’ curriculum since the late 18th century and its importance increased in the Early Republican Era. And the outcomes of these practices were gathered in this museum as it was constituted within the State Academy of Fine Arts (İstanbul Devlet Güzel Sanatlar Akademisi).
However, the academic studies on the subject remain very limited, and there is a scarce number of documentation on drawings other than the inventory of the museum. The variety of examples over 150 years makes it possible to draw the outlines of the Ottoman and the Republican drawing chronology. As a result, the most important documentation of the drawings is themselves. In order to determine the outlines of the chronology, the common ground of the drawings was examined which is the drawing techniques and curriculums. Thus the drawings are evaluated in a formalist view.
The examination made simultaneously with the terminology emerged in the Military Academy (Mekteb-i Harbiye), Academy of Fine Arts (Sanâyi-i Nefîse Mekteb-i Âlîsi), and the State Academy of Fine Arts (İstanbul Devlet Güzel Sanatlar Akademisi) curriculums, the drawing method prepared by Hoca Ali Rıza (1858-1930), reveals the tension of cultural shifts on art education, especially on the drawing courses. In Turkish art history literature drawing has been evaluated as the significance of originality. However these drawings also reveal that it was utilized as a very important part of studio training. The drawing method by Hoca Ali Rıza is peculiar the Military Academy and it was also appreciated by civil artist. Also some models were produced for these classes. Figure drawing and nude studies in drawing classes were an achievement of the Academy of Fine Arts (Sanâyi-i Nefîse Mekteb-i) and continued in the State Academy of Fine Arts (Devlet Güzel Sanatlar Akademisi) with its own devices produced for classes such as mold statues and night classes for further studying (cour de soir).
The collection exemplifies the choices between the difference between the Ottoman military schools, Academy of Fine Arts (Sanâyi-i Nefîse Mekteb-i), and the State Academy of Fine Arts (Devlet Güzel Sanatlar Akademisi) in the Republican Era; as well as the disengagement from the realist esthetic towards post-structural views. Hence the drawings are another artistic practice that exemplifies the cultural influences and contrasts, as well as the paintings dating to the chosen period. One of the striking outcomes of this evaluation implies that the Military Academy’ (Mekteb-i Harbiye), drawing curriculum was influenced by Western practices not only in the establishment of the drawing classes but all through the 19th century. The drawing collection determines these influences were dominant up to the 1960s in the mentioned academies that continued through the Turkish Republic.
Keywords
MSGSÜ İstanbul Resi̇m Heykel Müzesi Koleksiyonunda Yer Alan Örnekler Işığında II. Meşrutiyet ve Erken Cumhuriyet Dönemlerinden Desen Uygulamaları
Abstract
II. Meşrutiyet ve Erken Cumhuriyet dönemleri desen uygulamalarını incelemek için en önemli arşiv T. C. Mimar Sinan Güzel Sanatlar Üniversitesi İstanbul Resim Heykel Müzesi koleksiyonudur. Desen bir nesneyi temsil eden veya biçiminin sınırlarını çizgilerle belirleyen şekil, plan ya da eskiz yapma tekniği ya da sanatı olarak tanımlanabilir. 18. yüzyıldan itibaren Osmanlı kurumlarının ders programlarına girmiştir. Erken Cumhuriyet döneminde önemi artmış olsa bile konu ile ilgili çok az akademik çalışma yapılmıştır. Desenlerle ilgili neredeyse hiç kayıt tutulmamıştır. Müzenin sunduğu desen çeşitliliği ve koleksiyonun kapsadığı dönem 19. yüzyıldan itibaren Osmanlı ve Türkiye desen tarihinin ana hatlarını çıkarmaya elverişlidir. Bu amaçla, desenler kendileri hakkındaki en önemli belgeler kabul edilmiş ve desenler biçimsel olarak incelenmiştir. Mekteb-i Harbiye, Sanâyi-i Nefîse Mekteb-i Âlîsi ve Devlet Güzel Sanatlar Akademisi (DGSA) ders programlarındaki terminoloji, desen dersleri için yayınlanan Hoca Ali Rıza’nın taş baskı albümler ve müzede yer alan örnekler bir arada ele alındığında desen tarihine ilişkin ipuçları ortaya çıkmaktadır. Dönemleri ve kaynakları karşılaştırarak incelemek, desen konusunda Fransız kaynakların etkisini, Mekteb-i Harbiye’de uygulanan ders programının içeriğini ve 20. yüzyıl desen uygulamalarının önemini ortaya çıkartmaktadır.
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