Practices of Neo-Ottomanism in Art and Art History: Media of Sacralization between Anachronistic Affirmation and Subversion

本研究项目以目前广泛讨论的国家对奥斯曼帝国文化传统的拨款为起点，这必须被视为该项目第一部分调查的那些艺术立场的对立面，自20世纪80年代以来，这些艺术立场已经放弃了凯末斯主义国家的世俗配置。虽然在该项目的第一阶段，针对当代艺术的普遍性-世俗话语对当地特定的土耳其-伊斯兰文化传统进行艺术复兴，意在批判性地可视化多元的历史概念，但现在的重点将更强烈地包括当前的重新奥斯曼化形式，它们奉行国家方面相反的、肯定的战略。2020年，圣索菲亚从凯末斯主义者的博物馆转变为雷杰普·塔伊普·埃尔多·ğ安下令的清真寺，这提供了一个具体的线索，他加紧努力，为自2018年以来由私人公司与伊斯坦布尔耶迪普双年展组织的国际当代艺术双年展提供了一个具体的线索。根据这篇论文，当前的文化政策以伊斯兰艺术和手工艺的物质传统以及拜占庭和奥斯曼帝国纪念碑的新功能为重点，推行不合时宜的认同运动，其参与者试图通过宣布文化排斥和统一来消除模棱两可的观念。本项目继续进入不合时宜的当代新奥斯曼主义路线，一方面也提供了机会，一方面更仔细地审视扩大的艺术立场，但也再次特别关注那些神圣的媒体和空间，这些媒介和空间目前正在获得超越凯末尔主义博物馆话语的政治意义。对“伊斯兰”艺术史的讨论现在有了一个扩展的起点。伴随着最近对具体的伊斯兰神圣现象学的方法论方法(Shaw 2019年)，将深入研究西方艺术历史学家在普及记录奥斯曼土耳其神圣建筑(哈曼)以及其他神圣媒体，特别是书法方面的形成作用，以便询问他们在ErdoğAn肯定的宗教政策中的先驱作用。

The present research project takes its starting point in the currently much-discussed state appropriations of Ottoman cultural traditions, which must be perceived as the antithesis of those artistic positions investigated in the first part of the project that have, since the 1980s, abandoned the secular dispositif of the Kemalist state. While in the first phase of the project the artistic reclamation of specific local Turkish-Islamic cultural traditions against the universalist-secular discourse of contemporary art intended a critical visualization of plural concepts of history, the focus will now more strongly include those current forms of re-Osmanization that pursue an opposing, affirmative strategy on the part of the state.The conversion of the Hagia Sophia from a Kemalist museum to a mosque ordered by Recep Tayyip Erdoğan in 2020 provides a concrete clue, as does his intensified effort to provide a counterbalance to the international biennials of contemporary art organized by private companies with the Istanbul Yeditepe Biennial for "classical Turkish art" since 2018. With a focus on the material traditions of Islamic arts and crafts as well as a new functionalization of Byzantine and Ottoman monuments, the current cultural policy, according to the thesis, pursues an anachronistic identity campaign, whose actors seek to achieve the annulment of ambiguous perceptions with the proclamation of cultural exclusion and unification. The continuation of the present project into the anachronistic contemporary dis-course of neo-Ottomanism also provides the occasion, on the one hand, to take a closer look at expanded artistic positions, but also, once again, specifically at those sacred media and spaces that are currently gaining political relevance beyond the Kemalist museum discourse. The discussion of "Islamic" art history is now to receive an expanded starting point. Accompanied by recent methodological approaches to a specifically Islamic sacred phenomenology (Shaw 2019), the formative role of Western art historians for the popularized recording of Ottoman Turkish sacred architecture (hamam) as well as other media of the sacred, especially calligraphy, will be examined in depth in order to ask about their precursor role for Erdoğan's affirmative religious policy.