Pictorial Representation of Architecture in 15th- and 16th-Century Ottoman Illustrated Manuscripts

15 世纪和 16 世纪奥斯曼插图手稿中的建筑图画

• 批准号: 2269292
• 金额: --
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2269292
• 关键词: Pictorial; Representation; Architecture; 15th; 16th

The pictorial representation of architectural structures and elements shaped essentially the form and the aesthetics of Ottoman book painting and played a key role in both its early development (1410s-1550s) and in what was called the "classical" style achieved during its main florescence (1550s-1600s), when patronage and manuscript production at the Ottoman court reached its peak. The proposed research has two primary objectives. First, it aims to analyse how the Persianate, Byzantine, European and possibly even Sephardic Jewish - both pictorial and real architectural - models were reflected and transferred in the Ottoman architectural imagery during the formative period of Ottoman book painting; and to what measure and in which form they were subsequently acquired and shifted by the specifically Ottoman visual idiom. The appropriation of these foreign models is traceable in four main phenomena: the spatial conventions and spatial rendering of architectural representation (perspective, compositional layout, transitionality of space including the relation between interior and exterior etc.); the architectural forms and elements portrayed (open chamber, single-standing pavilion, shouldered arch, opus sectile etc.); the decorative motifs and patterns employed on the surface of the depicted architectural structures (marble texture, triangular brick-lay and hexagonal-tiled motifs on façades, dadoes etc.); and the function and meaning of the architectural representation. At the same time, the possible means of transmission of the aforementioned models are examined.The second objective of the research is to explore the transformation of Ottoman architectural imagery towards its specifically Ottoman conception - emerged in the 1550s on the basis of the synthesis of the aforementioned foreign models, mainly due to the reformulations in the function of book painting that resulted from imperial ideology and, consequently, an increasingly extensive dialogue with actual Ottoman architecture. This focuses on several issues: the emancipation process of Ottoman architectural representation from the Persianate, Byzantine and European idioms; the matter of the authenticity of formal mimesis in depictions of actual buildings; the painters' reflection of the stylistic shifts within Ottoman architecture (particularly these of chief architects Alaeddin and Sinan); and the visual translation of aesthetics, social role and hierarchy, decorative programmes and architectural forms of the Topkapi Palace, Sinan's imperial mosques, Ottoman public spaces (Atmeydani Square with the Ibrahim Pasa Palace, Divan Yolu etc.) and others into the medium of painting. The conception of space as one of the main characteristics of architecture is addressed throughout. The notions of separation, enclosure, continuum or the extension of the sultan's body as an expression of his majesty is considered in regard to the Ottoman pictorial representation of architecture. The text-image relationship is explored in the cases of both the belles-lettres genres and historiographies. The research project mainly employs the methods of formal and comparative analysis. It juxtaposes the illustrations of particular venues and buildings, and compares them not only to one another and to actual structures, but also to additional contemporary textual and visual sources, in order to trace the 15th- and 16th-century appearances when layers of palimpsest.The crucial driving force behind this research endeavour is to uncover not just the early cultural multiplicity of approaches toward Ottoman architecture and book painting, but also their interaction and possible mutual influence. Thus, using the unique case of the pictorial representation of architecture in the corpus of approximately 120 manuscripts...

对建筑结构和元素的图画表现基本上塑造了奥斯曼帝国书画的形式和美学，并在其早期发展(1410-1550年代)和在奥斯曼帝国主花期(1550-1600年代)实现的被称为“古典”风格中发挥了关键作用，当时奥斯曼帝国宫廷的赞助和手稿生产达到了顶峰。拟议的研究有两个主要目标。首先，它旨在分析在奥斯曼帝国书画的形成时期，波斯人、拜占庭人、欧洲人，甚至可能是塞法迪克犹太人--无论是图画上的还是真实的建筑--模型是如何在奥斯曼帝国的建筑意象中反映和传递的，以及它们后来被奥斯曼帝国特有的视觉习语获得和转移到了什么程度和形式。这些外国模型的借用主要表现在四个方面：建筑表现的空间惯例和空间表现(透视、构图布局、空间的过渡性，包括室内和外部的关系等)；所描绘的建筑形式和元素(开放的房间、单立式凉亭、肩拱、作品分段等)；所描绘的建筑结构表面所采用的装饰图案和图案(大理石纹理、三角砖瓦和立面上的六角砖图案等)；以及建筑表现的功能和意义。研究的第二个目标是探索奥斯曼帝国建筑意象向其具体的奥斯曼帝国观念的转变--在综合上述外国模型的基础上于15世纪50年代出现的，主要是由于帝国意识形态导致的书画功能的重新制定，从而与现实的奥斯曼帝国建筑进行了越来越广泛的对话。重点讨论了几个问题：奥斯曼帝国建筑表现形式从波斯语、拜占庭语和欧洲习语中解放出来的过程；实际建筑描述中形式模仿的真实性问题；画家对奥斯曼帝国建筑风格变化的反映(特别是首席建筑师阿拉丁和西南的风格变化)；托普卡皮宫、西南帝国清真寺、奥斯曼帝国公共空间(带有易卜拉欣·帕萨宫的阿特梅达尼广场、Divan Yolu等)美学、社会角色和等级、装饰方案和建筑形式的视觉翻译。还有一些人进入了绘画的媒介。作为建筑的主要特征之一的空间的概念贯穿始终。关于奥斯曼帝国建筑的图画，考虑到分离、封闭、连续体或苏丹身体的延伸等概念，以表达他的威严。文本与图像的关系在美人文学体裁和史学研究中都得到了探讨。本研究项目主要采用了形式分析和比较分析的方法。它将特定场所和建筑的插图并列在一起，不仅将它们相互比较，与实际结构进行比较，还将它们与其他当代文本和视觉来源进行比较，以追溯15世纪和16世纪层层重塑时的外观。这项研究背后的关键驱动力不仅是揭示奥斯曼帝国建筑和书画方法的早期文化多样性，而且还包括它们之间的相互作用和可能的相互影响。因此，在大约120篇手稿的语料库中，使用建筑图形表示的独特案例……