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Görünenin Ötesinde Osman Hamdi Bey Osman Hamdi Bey Beyond Vision Görünenin Ötesinde Osman Hamdi Bey Beyond Vision

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Görünenin Ötesinde Osman Hamdi Bey Osman Hamdi Bey Beyond Vision Görünenin Ötesinde Osman Hamdi Bey Beyond Vision GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY OSMAN HAMDİ BEY BEYOND VISION GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY BEYOND VISION ISBN: 978-605-2095-42-3 9 786052 095423 İŞBİRLİĞİYLE / IN COLLABORATION Sabancı Üniversitesi Sakıp Sabancı Müzesi / Sabancı University Sakıp Sabancı Museum Filiz Kuvvetli Danimarka Müzeleri Ortak Konservasyon Merkezi, Tablo Konservasyon Uzmanı Hüma Arslaner SSM Resim Koleksiyonu Yöneticisi Nurçin Kural Özgörüş SSM Konservasyon Laboratuvarı Yöneticisi Sabancı Üniversitesi Nanoteknoloji Araştırma ve Uygulama Merkezi / Sabancı University Nanotechnology Research and Application Center Prof. Dr. Mehmet Ali Gülgün Dr. Öğretim Görevlisi Meltem Sezen Dr. Öğretim Görevlisi Feray Bakan Koç Üniversitesi Yüzey Teknolojileri Araştırma Merkezi / Koç University Surface Science and Technology Center Dr. Gülsu Şimşek İstanbul Teknik Üniversitesi Organik Kimya Laboratuvarı/ Istanbul Technical University Organic Chemistry Laboratory Dr.Öğretim Görevlisi Cüneyt Ünlü Getty Konservasyon Enstitüsü / The Getty Conservation Institute Dr. Lynn Lee Proje destekçisi / Project supporter İletişim ve Teknoloji Sponsoru / Communication & Technology Sponsor GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY OSMAN HAMDİ BEY BEYOND VISION Sakıp Sabancı Müzesi Koleksiyonu’ndaki Osman Hamdi Bey tabloları için yapılan bilimsel analiz ve konservasyon çalışmalarının sonuçları The results of the scientific analysis and conservation of Osman Hamdi Bey’s paintings from the Sakıp Sabancı Museum Collection İÇİNDEKİLER ÖNSÖZ 6 Dr. Nazan Ölçer DOĞULU BİR ORYANTALİST NASIL OLUNUR? 10 Edhem Eldem GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY 58 X-IŞINI GÖRÜNTÜLEME TEKNİĞİ NEDEN GEREKLİDİR? 60 PİGMENT ANALİZİ NEDİR? TUVAL BEZİNİN ÖZELLİKLERİ NASIL BELİRLENİR? NAİLE HANIM PORTRESİ 62 KOKONA DESPİNA 66 KURAN OKUYAN HOCA 70 ARZUHALCİ 74 VAZODA ÇİÇEKLER 78 CAMİ 82 OSMAN HAMDİ BEY TABLOLARININ 86 BİLİMSEL ANALİZLERİ VE KONSERVASYONU — BULGULAR PİGMENT ANALİZİ VERİLERİ 88 ZAMAN İÇİNDE OSMAN HAMDİ BEY 90 CONTENTS FOREWORD 7 Dr. Nazan Ölçer HOW DOES ONE BECOME AN ORIENTAL ORIENTALIST? 11 Edhem Eldem OSMAN HAMDİ BEY BEYOND VISION 59 WHY IS X-RAY IMAGING NECESSARY? 60 WHAT IS PIGMENT ANALYSIS? HOW ARE THE CHARACTERISTICS OF THE CANVAS DETERMINED? PORTRAIT OF NAİLE HANIM 62 KOKONA DESPİNA 66 HODJA READING THE KORAN 70 THE PETITIONER 74 FLOWERS IN A VASE 78 THE MOSQUE 82 SCIENTIFIC ANALYSES AND CONSERVATION OF 87 OSMAN HAMDİ BEY’S PAINTINGS — RESULTS PIGMENT ANALYSIS DATA 88 OSMAN HAMDİ BEY TIMELINE 90 ÖNSÖZ Dr. Nazan Ölçer Sabancı Üniversitesi Sakıp Sabancı Müzesi Müdürü Sabancı Üniversitesi Sakıp Sabancı Müzesinde (SSM) gerçekleştirdiğimiz “Görünenin Ötesinde Osman Hamdi Bey” sergisiyle hepimizi heyecanlandıran bir çalışmanın sonuçlarını ziyaretçilerimizle paylaşmaktan büyük mutluluk duyuyoruz. Sergi, Tanzimat döneminin yetiştirdiği önemli ressamlardan Osman Hamdi Bey’in çalışma tarzını yakından görmemizi sağlamasıyla özel bir önem taşıyor ve “Osman Hamdi Bey Tablolarının Bilimsel Analizleri ve Konservasyonu” araştırmasının bulguları ile Türkiye’de ilk kez yapılan, öncü niteliğine sahip bir çalışmayı içeriyor. Osman Hamdi Bey’in Sakıp Sabancı Müzesi Resim Koleksiyonunda yer alan altı tablosunun, Vazoda Çiçekler, Kuran Okuyan Hoca, Kokona Despina, Naile Hanım Portresi, Arzuhalci ve Cami’nin karşılaştırmalı olarak incelendiği ve konservasyonlarının yapıldığı, iki yıla yayılan araştırmada, sanatçının üretimi ve eserlerine dair her detay bilimsel yöntemlerle ortaya çıkarıldı. “Osman Hamdi Bey Tablolarının Bilimsel Analizleri ve Konservasyonu” araştırması, Bank of America Merrill Lynch’in dünya çapında yürüttüğü ve farklı ülkelerden mimari yapılar, sanat eserleri ve elyazmaları dahil birçok kültür hazinesinin koruma altına alındığı “Sanatı Koruma Projesi” kapsamında gerçekleştirildi. 2015’te yaptığımız başvuru ve ayrıntılı bir değerlendirme sürecinin ardından proje kapsamına kabul edilen araştırmanın çalışmalarına 2016’da başlandı. Tabloların üzerinde kapsamlı bir incelemeyi gerektiren araştırma 2018’e kadar devam etti ve elde edilen sonuçlar, Türkiye için yeni bir sergileme anlayışıyla Sakıp Sabancı Müzesi, Atlı Köşk’e taşındı. Danimarka Müzeleri Ortak Konservasyon Merkezinde tablo konservasyon uzmanı olan, aynı zamanda Sakıp Sabancı Müzesi sergilerinde resim ve çağdaş sanat konservasyon uzmanı olarak çalışan Filiz Kuvvetli, SSM Resim Koleksiyonu Yöneticisi Hüma Arslaner ve SSM Konservasyon Laboratuvarı Yöneticisi Nurçin Kural Özgörüş yönetiminde titizlikle yürütülen araştırma, Sakıp Sabancı Müzesinin bir üniversite müzesi olarak taşıdığı bilimsel misyon doğrultusunda, Türkiye’nin üç büyük üniversitesinin katkılarıyla şekillendi. Sabancı Üniversitesi Nanoteknoloji Araştırma ve Uygulama Merkezi (SUNUM), Koç Üniversitesi Yüzey Teknolojileri Araştırma Merkezi (KUYTAM) ve İstanbul Teknik Üniversitesi Organik Kimya Laboratuvarı'ndan uzmanların katıldığı bu araştırmanın sonunda ulaşılan bulgular, konservasyon alanında dünyanın en önemli eğitim kurumlarından Getty Conservation Institute’a (Getty Konservasyon Enstitüsü) gönderildi. Tüm bu sürecin sonunda 100 yılı aşkın geçmişi olan bu eserlerin yapımına ait ayrıntıları ve koleksiyonumuza dahil edilmeden önce geçirdiği süreçleri öğrendik. Araştırmanın ilk aşamasında X-ışını görüntüleme tekniği kullanılarak eserlerin geçirdiği eski restorasyon işlemleri ortaya çıkarıldı, tuval üzerine yağlıboya tabloların katmanlarında gözle görülmeyen bulgular incelendi. Bir sonraki adımda tablolardaki unsurların kimyasal analizlerini gerçekleştirmek amacıyla çalışmalar yürütüldü. Sanatçının kullandığı malzemelerin yapısının, renginin, boya katmanlarının ve dokusunun araştırıldığı pigment analizinin ardından tabloların tuval bezlerinin organik yapıları incelendi. 6 FOREWORD Dr. Nazan Ölçer Sabancı University Sakıp Sabancı Museum Director We are so pleased to share with our visitors the results of a research about which we were all very enthusiastic, through the ‘Osman Hamdi Bey Beyond Vision’ exhibition at the Sabancı University Sakıp Sabancı Museum (SSM). The exhibition which enables us to see more closely how this prominent artist of the Tanzimat era worked bears special significance, reflecting the outcome of the ‘Scientific Analyses and Conservation of Osman Hamdi Bey’s Paintings’ project, a pioneering undertaking in Turkey. The project which continued for two years entailed a comparative analysis of Osman Hamdi Bey’s six paintings from SSM’s Painting Collection, namely Flowers in a Vase, Hodja Reading the Koran, Kokona Despina, Portrait of Naile Hanım, The Petitioner and The Mosque whereby every detail from the artistic technique and works of the artist was determined through scientific methods. The ‘Scientific Analyses and Conservation of Osman Hamdi Bey’s Paintings’ project was undertaken as part of Bank of America Merrill Lynch’s global ‘Art Conservation Project’ aimed at conserving works of art of artistic or cultural significance, including architectural structures, manuscripts and other works of art from different countries all over the world. Our research proposal submitted in 2015 was accepted after a detailed evaluation process and the project was carried on between the years 2016 and 2018, culminating in the exhibition at the Sakıp Sabancı Museum where the findings were presented with an innovative concept for Turkey. The research, diligently carried on under the leadership of Filiz Kuvvetli, painting conservation specialist at the Art Conservation Centre of Denmark who also works at SSM exhibitions as painting and contemporary art conservation specialist, SSM Painting Collection Manager Hüma Arslaner and SSM Conservation Laboratory Manager Nurçin Kural Özgörüş, was executed with the collaboration of three prominent Turkish universities, in accordance with SSM’s scientific mission as a university museum. Findings of the research conducted by Sabancı University’s Nanotechnology Research and Application Center (SUNUM), Koç University’s Surface Science and Technology Center (KUYTAM) and Istanbul Technical University's Organic Chemistry Laboratory specialists were sent to Getty Conservation Institute, a leading institute worldwide. As a result of this process, we were able to find out the details pertaining to the creation of these century old paintings and the processes they underwent before becoming part of our collection. The first step of the project consisted of subjecting the six paintings to X-ray imaging in order to reveal previous restoration work on the paintings as well as the evidence in the paint layers not visible to the naked eye. This was followed by the chemical analyses of the elements of the paintings. The pigment analysis aimed at determining the structure, colors, paint layers and texture of the materials used by the artist was followed by the analysis of the canvases’ organic structure. The project revealed the details of Osman Hamdi Bey’s meticulous creation process; it became apparent that the artist started with detailed charcoal drawings of figures and spaces 7 Tüm bu süreçte Osman Hamdi Bey’in titiz çalışma yönteminin ayrıntıları belirlendi; figürleri ve mekânları önce kurşunkalemle çizdiği, görünüşte pürüzsüz olan resim yüzeyinin altında serbest fırça darbeleri uyguladığı ortaya çıktı. Sanatçının, kendi kuşağındaki diğer isimlere göre çok daha kaliteli malzemeler kullanabilme şansına sahip olduğunu anladık. Osman Hamdi Bey, Afganistan’da bulunan yarı değerli taş lapis lazulinin öğütülmesiyle elde edilen ve zamanında çok değerli bir malzeme olan doğal ultramarin rengini kullanabilmiş, son derece kaliteli ketenden üretilen tuvaller elde
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