Geç Dönem Osmanli İstanbulu’nda Sufiler ve Fotoğraf: “Popüler” Mevlevi Fotoğraflarina Dair Yeni Bakış Açıları

Yıl 2023, Cilt: 10 Sayı: 1, 207 - 225, 06.06.2023

Onur Öner

https://doi.org/10.16985/mtad.1223928

Öz

Despite the growing literature on Ottoman photography, the depictions of the Mevlevis, in particular, are still considered a vestige of Orientalist thinking. Beyond those art historical approaches, a close reading of rather ‘popular’ dervish images reveals that the Mevlevis were actively engaged in representing themselves. From this perspective, this article argues that their intimate involvement in photography, as a modern medium, was profoundly related to certain characteristics of the Mevlevi order.
This article also scrutinizes the possible contributions of the visual sources to the history of Ottoman music, particularly the musical aspects of the Mevlevi photographs, to which the scholarship has paid little attention. What is more, those images are instrumental in critically addressing the historiographical debates around the Mevlevi tradition and the waves of Mevlevi revivalism, both of which have emerged overwhelmingly from the 1950s in Turkey.

Anahtar Kelimeler

Mevlevi order, Sufism, Ottoman photography, Pascal Sébah (1823-1886), Polycarpe Charles Joaillier (1848-1904), Ottoman music, Abdülbaki Gölpınarlı (1900-1982).

Sufis From the Late Ottoman Istanbul and Photography: Alternative Readings on the ‘Popular’ Mevlevi Images

Öz

Despite the growing literature on Ottoman photography, the depictions of the Mevlevis, in particular, are still considered a vestige of Orientalist thinking. Beyond those art historical approaches, a close reading of rather ‘popular’ dervish images reveals that the Mevlevis were actively engaged in representing themselves. From this perspective, this article argues that their intimate involvement in photography, as a modern medium, was profoundly related to certain characteristics of the Mevlevi order.
This article also scrutinizes the possible contributions of the visual sources to the history of Ottoman music, particularly the musical aspects of the Mevlevi photographs, to which the scholarship has paid little attention. What is more, those images are instrumental in critically addressing the historiographical debates around the Mevlevi tradition and the waves of Mevlevi revivalism, both of which have emerged overwhelmingly from the 1950s in Turkey.

Anahtar Kelimeler

Mevlevi order, Sufism, Ottoman photography, Pascal Sébah (1823-1886), Polycarpe Charles Joaillier (1848-1904), Ottoman music, Abdülbaki Gölpınarlı (1900-1982).

Kaynakça

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