Osmanlı resim sanatı ve müzik: XV - XVIII. yüzyıl minyatürlerinde çalgılar ve betimlemeler

Abstract

`Osmanlı Resim Sanatı ve Müzik` başlıklı bu çalışmada Güzel Sanatların iki önemli dalı, Resim ve Müzik birarada ele alınmıştır. Tezin amacı 15.yüzyıldan 18. yüzyılın sonuna kadar olan dönemde Osmanlı saray müziğinin minyatürlerle incelenmesidir. Sanat Tarihi disiplininin rehberlik ettiği çalışma, zaman zaman müzik tarihine bir yönlendirme olacaktır. Yapılan araştırmalardan Osmanlı Müzik Tarihi ile ilgili çalışmaların henüz çok yetersiz olduğu anlaşılmaktadır. Pek çok çalışmadan anlaşıldığı gibi günümüzde yapılan müzik araştırmaları daha çok tarih, biyografiler, anılar ve batılı seyyahların yazdıkları seyahatnamelerden yaralanılarak yapılmaktadır. Ancak düşüncemiz sanat tarihinden gerektiği kadar yararlanılmadığı doğrultusunda gelişmiştir. Çalışmada resim üstüne kurulan an tema sıkça `müzik`e kayarak kimi yerde resim ve müziğin yanyana, kimi yerde ise içice olduğu bir beraberliğin gözler önüne serilmesi bi- içiminde gelişmiştir. `Müzik` sözcüğünün çok geniş bir kavramı ifade etmesi doğal ola- Rak çalışmada bir sınırlma gerektirmiştir. Bu yönde saptanan müzik türü, Osmanlı sanatı- na bağlı olarak gelişen bir çeşit saray müziği olmuştur. Osmanlı resminde işlenen müzik öğeleri ön plana çıkarılarak müziğin belirli yönleri irdelenirken, resim sanatı açısından da yapılması gereken incelemeler gözardı edilmemiştir. Bu bağlamda Osmanlı Resim Sanatının tek türü olan minyatürlü elyazmaları araştırmamızda sosyal, kültürel, tarihsel ve sanatsal ortamını yansıtan bir resim malzemesi olarak önemli bir işlev üstlenmiştir. Bilindiği gibiSaraya bağlı olarak gelişmiş olan minyatür resmi üçyüz yılı aşkın bir süre çeşitli eserler vermiştir. İlk ürünlerini II. Mehmet döneminden itibaren vermeye başlayan resim sanatında işlenen konular Osmanlı resim sanatı tarihi açısından olduğu kadar Osmanlı Saray müziği içinde büyük önem taşıyan bir çeşit belge resimlerdir. Resimli minyatürlerle yapılan incelemelerde Osmanlı Saray'ında Mehter, dini musiki ve fasıl müziği olmak üzere üç tür müzik icra edildiği saptanmıştır. Bu doğrultuda yapılan araştırmada Osmanlı Saray'ında müziğin tesadüfi değil, belli bir kurumsallık içinde gelişmiş olduğu ve Osmanlı sanatının başka bir önemli boyutunu oluşturduğu anlaşılmıştır. Saray yaşamında müziğin öneminin büyük olduğu, tarih boyunca her ülke sarayında da müziğin serpilip geliştiği, minyatürlerde izlenen sahnelerden de görülmektedir. Müziğin geliştiği belli başlı yerlerden belki de en önemlisi olduğu anlaşılan, özellikle büyük imparatorluk saraylarının daha etkili müzik çevreleri yaratmaları, müziğin gelişmesini ve yayılmasını sağlamış olmalıdır.

This study, Osmanlı Resim Sanatı ve Müzik (The Arts Of Ottoman Painting And Music), is involved with two of the most important branches within the world of fine arts - painting and music While starting out from the perspective of the history of art, this study also touches on the history of music. The pricipal aim of this thesis is to investigate the history of Ottoman Court Music from the 15th to the 18th century by means of painting `manuscripts`. This is the first study on.Ph. D level. While painting remains the main subject of this study, the study often includes mention of music. Sometimes both painting and music are discussed laterally, while at other times the two are discussed as an intertwining whole. Because the word `music` has very wide meaning, its definition has been limited in this study to include only the kind of Ottoman art form that developed as court music. Obviously, a study devoted to painting could never discuss music in its entirety. It is for this reason, then, that the researcher has not adopted a musicologist reference, but has, instead, developed the thesis from a perspective derived from the art of painting. This study comprises a study of the depictions of music components found in Ottoman paintings and while the various elements of Ottoman music are investigated, the paintings are also discussed from an artistic perspective. The unique miniature paintings and manuscripts seen in Ottoman painting play an important role as a material which reflects the cultural and artistic atmosphere of that period. As it is well known, the art of miniature painting that developed out of palace workshops has bequeathed us with a three-hundred year long collection of various works of art. The first of these kinds of miniature paintings date to the period of Mehmet II. The subjects of these paintings are of great documentary importance in terms of Ottoman Art History. These miniatures, painted by court miniaturists, use their own unique style to explain and depict certain important events. These miniatures were used to illumine individual books and include depictions of historical and political topics that affected the course of the empire,including topics such as the life of the sultan, court ceremonies, celebrations, and military expeditions. These miniatures remain today as documents that constitute topographic portrayals of Ottoman cities and fortresses. Many of these miniatures document the period of Süleyman the Magnificent, the sultan who steered the Ottoman Empire to its zenith in terms of world importance. Music, especially that of court music, was one of the main themes of these miniatures. Music constitutes a social element in the court. This study is particularly concerned with court music, as training for this kind of style of music began in the inner court. Towards this end, then, this study includes an investigation of the stages by which court music became the music of the Ottoman Empire as a whole, the perspectives of this music, its music classifications and the ways it was played. The paintings investigated in this study gained new and important dimensions as they became resources of information regarding Ottoman music. They shed light on the kinds of instruments used for this music, their dimensions and individual features. This study includes an extensive historical period beginning with the early years of Ottoman art forms and continuing through the 18th century. The study was also limited `naturally` due to the feet that the 15th century Murat II had a deep interest and love of music and that court music was greatly supported during the reign of Mehmet II. Miniature painting often included Ottoman court music as its subject and this kind of painting provides documentation that stretches over a long period of time and lasting up until the beginning of the 19th century. When we look at the research conducted thus far it is apparent that those who have investigated this subject have generally consisted of individuals interested in the topic, rather than those who are experts in the field and that very little light has yet been shed on the history of Ottoman music. Many of these investigations have been based on history books, biographies, memoirs, and the notes of western travelers. It is believedVI that this study will cast considerable light on the topic as it has been conducted from the perspective of the discipline of art history. In the early days of this study, the researcher came across much information and contentions to the effect that Ottoman court music was not an institution. But the research was well aware that the Enderun (inner court), the Ehli Hiref (expert craftsmen), and the Nakkaşhaneler (palace workshops) were all of great importance to Ottoman painting forms and this fact led the researcher to consider the possible influence of these same institutions on music, an art form which was so intertwined during the Ottoman period with that of painting. In later stages of the research it became evident that, contrary to established belief, Ottoman court music was indeed institutionalized and existed in the form of a `meşkhane,` a singing school. This school was founded in 1634 during the expedition of Sultan Murat IV to Revan and it is generally assumed that Ottoman court music was only considered a formal branch of the arts during that era. We believe that this assumption is not based on an actual study of the Ottoman court and its formation, so we tried to research the question from a study of the administrational structure of the palace. Towards this end we determined the place of the `meşkhane` within the palace structure and we were thus able to discover that Ottoman court music had a structure within the palace that dates back to atime preceding the 15th century. Investigations of painting miniatures have led us to believe that there were three different kinds of music played in Ottoman palaces: 1. The first ofthese kinds of music was inherited from the Turkish Seljuks. This music is played by the sultan's own military marching bands (mehter) and is played at times of war, to celebrate peace, at various public official celebrations (especially that of military victories), and at private official celebrations such as weddings. This kind of music is played by a large number of instruments at a loud volume so that it carries over long distances and can reach a large audience. 2. The second kind of court music is called `fasıl` music. This type of music is played by a single stringed instrument (saz) or by a group of saz. While played indoors itvıı can also be played in the open air. There are many examples which demonstrate that this kind of fasıl music was played at the palace as a kind of entertainment music. 3. The third kind of music played in Ottoman palaces is one that the palace itself was largely responsible for developing. Various dervishes who were also highly accomplished performers worked to compose religious/mystical music and some of these became masterpieces. It is understood that the music played in Ottoman palaces, other than the military songs and marches, were played as a form of entertainment and that this music played a great role in the life of the court. Sultans organized entertainment-purpose musical recitals with a rich musical setting for audiences that included both men and women for their hunting parties, as entertainment during religious festivals, weddings and circumcisions, throne-accession rites and celebrations, and as entertainment for important state visitors. It is understood that famous musicians were gathered together to perform at these musical presentations. While this investigation into the art of music as it developed during the Ottoman period does not reflect musicological dimensions, the investigation of Ottoman miniature paintings that depict subjects related to the music of this period allow us to make certain statements about this music. We can understand that the wide variety of stringed instruments depicted shows that this music has its roots in a variety of cultures and that the choruses and verses of these pieces advance and develop the theoretical knowledge and reflect the influence of Central Asian Turkish, Mongolian, Far Eastern, Indian and Iranian music types. These areas of influence are also areas which influenced the art of Ottoman painting. We must assume, therefore, that the conditions influencing both were one and the same; take for example the influence of Iranian art on that of Ottoman miniature painting style. Following the Ottoman-Iranian wars Iranian musicians were brought to the Ottoman court, where some acted as composers and others as performers. According to certain