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

建筑结构和元素的图像表现基本上塑造了奥斯曼书画的形式和美学，并在其早期发展（1410年至1550年）和其主要繁盛时期（1550年至1600年）所谓的“古典”风格中发挥了关键作用，当时奥斯曼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，它的目的是分析波斯人，拜占庭人，欧洲人，甚至可能是西班牙系犹太人——无论是绘画还是真实的建筑——模型是如何在奥斯曼建筑意象中得到反映和转移的；以及它们后来以何种程度和何种形式被奥斯曼帝国特有的视觉习惯所获得和转移。这些外来模式的挪用主要表现在四个方面：建筑表现的空间约定和空间渲染（透视、构图布局、空间过渡性，包括室内外关系等）；所描绘的建筑形式和元素（开间、独阁、肩拱、雕花等）；在所描绘的建筑结构表面上使用的装饰图案和图案（大理石纹理，三角形砖砌和六角形瓷砖图案的faades， dododo等）；以及建筑表征的功能和意义。同时，对上述模型的可能传播途径进行了研究。研究的第二个目标是探索奥斯曼建筑意象向其独特的奥斯曼概念的转变——在上述外国模式的综合基础上，出现于1550年代，主要是由于帝国意识形态导致的书画功能的重新表述，因此，与实际的奥斯曼建筑的日益广泛的对话。这集中在几个问题上：奥斯曼建筑表现从波斯、拜占庭和欧洲习语中解放出来的过程；在对真实建筑的描绘中，形式模仿的真实性问题；画家对奥斯曼建筑风格转变的反映（特别是首席建筑师Alaeddin和Sinan的风格转变）；以及将美学、社会角色和等级、装饰方案和建筑形式的托普卡皮宫、锡南帝国清真寺、奥斯曼公共空间（Atmeydani广场与Ibrahim Pasa宫、Divan Yolu等）等视觉化转化为绘画媒介。空间概念作为建筑的主要特征之一贯穿始终。分离、封闭、连续或延伸苏丹身体的概念，作为他的威严的表达，被认为是关于奥斯曼建筑的绘画表现。本文从文学文体和史学两方面探讨了文本与形象的关系。本研究项目主要采用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置，不仅将它们与彼此和实际结构进行比较，还将它们与其他当代文本和视觉来源进行比较，以便追溯15世纪和16世纪的外观，当重写层出现时。这项研究努力背后的关键驱动力不仅是揭示早期奥斯曼建筑和书籍绘画方法的文化多样性，还包括它们的相互作用和可能的相互影响。因此，在大约120份手稿的语料库中，使用建筑的图像表现的独特案例……

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...