II. Viyana Kuşatması’ndan Sonra Fransız Gravürlerinde Osmanlı Tasvirleri

Year 2020, , 261 - 291, 31.01.2020

Emine Kırıkcı

https://doi.org/10.26650/artsanat.2020.13.0011

Abstract

Osmanlı’nın Avrupa’da karşıt bir varlık ve kimlik olarak algılanışı birçok araştırmacı tarafından farklı açılardan değerlendirilmiştir. Bibliothèque National de France’da bulunan Michel Hennin: Estampes Relatives à l’Histoire de France adlı koleksiyona ait 1686–1689 yılları için Paris’te üretilen yedi adet gravürlü almanak / yıllık çalışmanın birincil kaynaklarını oluşturmaktadır. Bu gravürler, II. Viyana Kuşatması’ndan sonra yaşanan savaşları konu edinmektedir ve Avrupa’nın Osmanlı karşısındaki zaferini Roma ve Hristiyan öğelerinden oluşan görsel bir dille anlatır. Makalede her bir gravür ikonografiye dikkat çekilerek betimlenmektedir. Nitekim bu öğelerin ne oldukları ve ne anlama geldikleri açıklandıktan sonra Osmanlıların Avrupalılarca nasıl algılandıklarını incelemek ve Roma ve Hristiyan sembollerinin ve ikonografisinin savaş yıllarında “düşmanı” tasvir etmek için yeniden güncel olana uyumlanmış şekilde anlamlandırılışını ve kullanımını görmek mümkün olacaktır. Gravürlerde kullanılan ikonografi ve sembollerin gösterdiği gibi Osmanlılarla yapılan savaşlara dinî bir tarih anlayışına ve bu anlayışın yarattığı beklentilere göre bir rol verilmiştir.

Keywords

Osmanlı imajı, Fransız gravürleri, Roma ve Hristiyan sembolleri, Roma ve Hristiyan ikonografisi, 17. yüzyıl

Supporting Institution

Yazar bu çalışma için finansal destek almadığını beyan etmiştir.

Depictions of the Ottomans in the French Engravings After the Second Siege of Vienna

Abstract

The European perception of the Ottomans, as an opposite entity and identity, is a topic that has been studied by many scholars and from several perspectives. The present paper investigates this issue too. The seven almanacs with engravings of the collection Michel Hennin: Estampes Relatives à l’Histoire de France found at the Bibliothèque National de France constitute the primary sources that are examined here. These engravings were created in Paris for the years 1686–1689. They are illustrations of the wars that followed the Second Siege of Vienna, and depict the European victory over the Ottomans, with a visual vocabulary which consists of Roman and Christian components. Each engraving is described in detail with an emphasis on the iconography in this study. By explaining what their iconographic components are, and what they mean, it will be possible to analyze the European perception of the Ottomans, and see how the Roman and Christian symbols and iconography were re-loaded and utilized while depicting “the enemy” during the years of war. The employment of such iconography will also show that the wars with the Ottomans were given a place in the historical understanding and expectations that the symbolism which these engravings use.

Keywords

Ottoman image, French engravings, Roman and Christian symbols, Roman and Christian iconography, 17th century

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