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Ruhiye Onurel Kiyamet Ve Son Yargi Tasvirlerinde Hibrit

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Ruhiye Onurel Kiyamet Ve Son Yargi Tasvirlerinde Hibrit KIYAMET VE SON YARGI TASVİRLERİNDE HİBRİT İKONOGRAFİSİ RUHİYE ONUREL Nazlı KANBUR IŞIK ÜNİVERSİTESİ 2018 KIYAMET VE SON YARGI TASVİRLERİNDE HİBRİT İKONOGRAFİSİ RUHİYE ONUREL Lisans, Kimya, İstanbul Üniversitesi, 1991 Yüksek Lisans, Sanat Tarihi, İstanbul Teknik Üniversitesi, 2011 Bu Tez Işık Üniversitesi Sosyal Bilimler Enstitüsü’ne Doktora (PhD) derecesi için sunulmuştur. IŞIK ÜNİVERSİTESİ 2018 KIYAMET VE SON YARGI TASVİRLERİNDE HİBRİT İKONOGRAFİSİ ÖZET Başlangıcı olan her şeyin bir sonu olduğu bilincinden hareketle, gelecekte insanlığı nasıl bir sonun beklediğine ilişkin merak sorunsalı, toplumların inanç biçimlerine göre şekillenmektedir. Apokaliptik düşünce yapısının, Antik dönemden bu yana sunduğu kaynakların yansımaları aydınlanma çağının da ötesine geçerek etkisini sürdürmektedir. Bu araştırma, 16. ve 17. yüzyıl Post-Bizans dönemi Ortodoks Son Yargı İkonaları ile İslâm kıyamet kültürünün yansımasını bulduğu, yaklaşık aynı döneme tarihlenen Osmanlı kıyamet minyatürlerinin incelenmesi temelinde ele alınmıştır. Bununla birlikte, aynı kutsal kaynaklardan beslenen bu iki semavi dine ait iki kültürün etkileşim sürecinde apokaliptik hibrit tasvirlerin ikonografik biçimlenişi ve tipolojik karşılaştırması araştırmanın ana konusunu oluşturmaktadır. Ortodoks Hıristiyan teolojisinde ikonalar, kutsallıklarıyla litürjinin bir parçası konumundadır. İslâm sanat geleneğinde tasvirlerin böyle bir kutsallık alanı olmamakla birlikte, çeşitli konulardaki tasvirlerin yanında dini içerikli olanlar da bulunmaktadır. İnanç bağlamında araştırmanın odaklandığı temel sorunsal, iki kültürün kıyamet tasvirlerinde yer alan hibrit imgelerin yazınsal alandan imgesel olana aktarımında kollektif hafızanın biçimlenişine etki eden dinamiklerin gelenekler doğrultusunda değerlendirilmesi, ikonografik ve ikonolojik bir okumayla benzerlik ya da farklılıkların saptanmasıdır. Bizans ve İslâm geleneklerinde hibrit tasvirlerin gelişiminin izlenmesi bu değerlendirmede tezin önemli bir aşamasını oluşturur. Araştırmada kullanılan metodoloji, araştırma sürecinde elde edilmiş verilerin “nitel veri analizi” yöntemi çerçevesinde, bulguların ayıklanmasını içeren eksiltme yöntemidir. Bu bağlamda araştırmada kullanılan veriler, konu bütünlüğünün sağlanması bakımından örneklem amacıyla azaltılarak seçilmiş bulguları içermektedir. Anahtar Kelimeler: Hibrit İkonografisi, Bizans resim sanatı, Post-Bizans, Osmanlı minyatür sanatı, Kıyamet i HYBRID ICONOGRAPHY IN APOCALYPSE AND LAST JUDGEMENT DEPICTIONS Abstract With reference to the awareness that everything with a beginning has an end, the question of curiosity about how humanity will come to cease is shaped by various faiths in societies. The reflections of resources the apocalyptic mindset has been offering since the antiquity continue to be influential beyond the age of enlightenment. This research is based on the examination of Post-Byzantine Orthodox Last Judgement Icons of 16th and 17th centuries and Ottoman Apocalypse miniatures from roughly the same period where one can see the reflections of the Islamic apocalypse culture. Yet, the main issue this research focuses on is the iconographic formation and typological comparison of apocalyptic hybrid depictions in the interaction between the two cultures created by these monotheistic religions which stand on the same divine resources. In Orthodox Christian theology icons are deemed sacred and thus a part of liturgy. Although depictions don’t have such a field of sanctity in Islamic art tradition, there are depictions of religious subjects among various others. Within the context of faith, the study focuses on the main question of evaluating in line with traditions the dynamics that influence the formation of a collective memory as hybrid images in apocalypse depictions of the two cultures are translated from literary domain to image, and determining their similarities and differences through an iconographical and iconological reading. In this evaluation, keeping track of the development of hybrid depictions in Byzantine and Islamic traditions constitute an important part of the thesis. The research methodology involves a “qualitative analysis” of the acquired research data and sorting through the findings. Within this context the research employs selected findings as sampling to ensure the coherence of the thesis. Keywords: Hybrid Iconography, Byzantium Icon Art, Post-Byzantine, Ottoman miniature painting, Apocalypse ii Teşekkür Doktora tez konusunun saptanmasında belirleyici öğelerden biri, birlikte çalışmaktan hem keyif aldığım hem de onur duyduğum, kucaklayıcı yaklaşımlarıyla desteklerini hiçbir zaman esirgemeyen değerli hocalarım Prof. Dr. Filiz Özer ve Prof. Dr. Evangelia Şarlak danışmanlığında İTÜ Sanat Tarihi Bölümü’nde hazırlamış olduğum yüksek lisans tezidir. Üç semavi dinin kutsal kabul ettiği bir kişilik üzerinden ele aldığım Osmanlı minyatürlerindeki hibrit tasvirlerin köken araştırmasını içeren tez, konusu gereği mitoloji ve dinler tarihi alanına girişi de beraberinde getirdi. Kıyamet tasvirlerinde ikonografik karşılaştırma düşüncesinin oluşmaya başladığı bu dönemde az bildiğim konuları öğrenme itkisiyle araştırıp, biriktirdiğim verilerden süzülenler, bu doktora tezinin oluşumuna zemin hazırlamış oldu. Dört yıldan bu yana üzerinde çalışmakta olduğum bu araştırma, beş bin yıl öncesine uzanan bir zaman aralığındaki metinlerle tanışıklığımı artırdı. Ancak, araştırma süreçlerinde, metinler ve görseller silsilesi içinde kaybolduğumu hissettiğim zamanlar olduğunu itiraf etmem gerekir. Tez izleme sürecinin her aşamasında değerli hocalarımın görüşlerini açık yüreklilik ve samimiyetle ifade etmeleri, bilgi ve birikimlerini cömertce paylaşmış olmaları her zaman ana çizgiye dönmemi sağladı. Sadece tezin dört yıllık sürecinde değil, çalışmaya başladığımız andan itibaren Tez danışmanım Prof. Dr. Evangelia Şarlak’ın yol gösterici yapısı, pratik zekâsı, metodolojideki uzmanlığı ve eşsiz danışmanlığıyla, değerli hocam Prof. Dr. Filiz Özer’in en zorlu evrelerde sorunların çözümüne yönelik önerileri ve sevgili hocam Prof. Balkan Naci İslimyeli’nin yüreklendirici ve destekleyici tavrıyla kolaylıkla aşıldı. Resmi öğrencisi olmasam da derslerini büyük bir ilgiyle izlediğim, savunma jürimde yer alarak tez kaynaklarının son şeklini almasındaki titiz yaklaşımı ve önerileriyle desteğini esirgemeyen değerli hocam Prof. Dr. Ahmet Kâmil Gören’e, yapıcı ve sıcak iii yaklaşımlarıyla görüşlerini paylaşan, tezimi okuma sabrını gösteren sevgili Dr. Öğr. Üyesi Çeyiz Makal Fairclough’a ve Dr. Öğr. Üyesi Didem Kara Sarıoğlu’na teşekkürü borç bilirim. Yalnızca iyi bir editör ve çeviri ustası olarak değil, dostluğuyla da yanımda olan her yardım çağrıma tereddütsüz koşan değerli dostum Müjde Bilgütay’a, tezi satır satır okuyan ve önerilerde bulunan yazar dostlarım Ayla Beşir Aydın ile yazar Serdar Kip’e müteşekkirim. Doktora eğitim sürecinde değerli yardımları ve engin sabrı için Dr. Öğr. Üyesi Eren Koyunuğlu’na ve kaynaklara çabucak ulaşım sağlayan konusunda uzman Kütüphane sorumlusu Ümit Özdemir’e ve metin taramalarında çaba gösteren sevgili öğrencim Ceren Kaymakçı’ya içtenlikle teşekkür ederim. Kuşkusuz, tezin oluşumunda emeği olan pek çok kişiyi istemeden de olsa es geçmiş olabilirim ancak birkaç kişinin adını daha burada anmak isterim. Ulaşamadığım kaynaklara erişmemi sağlayan Boğaziçi Üniversitesi Kütüphanesi’nden Sn. Emine Gür’e, Süleymaniye Kütüphanesi’ndeki minyatürlere hızlıca ulaşmamda destek olan Sn. Hatice Ergüven Karagöz’e teşekkür ederim. Başta Enstitü Sekreteri Sn. Leyla Şahin ve Arş. Gör. Elvan Asena Deniz olmak üzere Işık Üniversitesi Sosyal bilimler Enstitüsü çalışanlarına güler yüzlü yaklaşımları ve tüm desteklerinden dolayı minnettarım. Yıllardır her türlü sanatsal ve tez baskı işlerimi sorun olmaktan çıkaran, cilt ustası sevgili İlhan Aktaş’a ayrıca teşekkürlerimi dile getirmek isterim. Yüksek lisans eğitim süreçlerimi sonsuz sevgileriyle her koşulda destekleyen annem Ayten Onurel ile babam Ali Onurel’e hiçbir zaman minnet borcumu ödeyemem. Uzun çalışma ve araştırma sürecindeki sabrı, anlayışı ve küçücük yaşlarından itibaren gösterdiği olgun tavrıyla en büyük manevi destekçim biricik kızım Yağmur Şimşek’e sevgim ve teşekkürüm ise sonsuzdur. iv Kızım Yağmur’a, İlk öğretmenlerim Annem ile Babama… ve öğrenim süreçlerime katkısı olan tüm hocalarıma... v Önsöz “El sueno de la razon produce monstruos” “Aklın uykusu canavarlar üretir” Francisco José de Goya y Lucientes vi İçindekiler Özet .............................................................................................................................. i Abstract ....................................................................................................................... ii Teşekkür .................................................................................................................... iii İthaf ............................................................................................................................. v Önsöz .......................................................................................................................... vi İçindekiler ................................................................................................................. vii Resim Listesi ............................................................................................................. ix Kısaltmalar Listesi .................................................................................................. xvi 1. Giriş ........................................................................................................................
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