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An evaluation of the construction and formation process of the “Islamic Art” image

Yıl 2023, Sayı: 47, 16 - 25, 31.12.2023

Oytun Doğan

https://doi.org/10.33613/antropolojidergisi.1317817

Öz

Islamic art, as an indicator, defined art productions determined by religious and geographical limitations. Islamic works of art, in general terms, are the productions of societies governed under the rule of sharia. This situation aims to name and give meaning to the perspective of the definer and the society in which the definition takes place. Art, as a branch of science in the West, has built its development on secular thought. For this reason, the canon knowledge of art was formed by the stylistic changes that Western society experienced culturally and politically. Islamic art, like all non-Western societies’ art research, began on the basis of ethnographic research. In this context, research objects were seen as cultural production, not as works of art. For this reason, Islamic art experts have become experts in anthropology, religion and political history, as well as art history. The research will evaluate the problems caused by the inclusiveness of Islamic art, which has become socialized with this orientation, by examining the formation of the Islamic art image. In this analysis, it is aimed to reveal the ideological background of the image of Islamic art, which has developed as a unifying term by ignoring differences. The research is limited to evaluating Islamic art as an indicator in the knowledge construction process carried out by Western museums on Islamic societies.

Anahtar Kelimeler

Islamic art anthropology cultural studies postcolonialism Middle East

Kaynakça

  • Ağa-Oğlu, M. (1954). Remarks on the character of Islamic Art. The Art Bulletin, 36(3), 175-202. https://doi.org/10.2307/3047561
  • Araeen, R. (2005). From primitivism to ethnic arts. S. Hiller (Ed.) içinde, The myth of primitivism: Perspective on art (s. 158-184). Routledge.
  • Bacharach, J. L. (1977). Near Eastern civilizations through art. University of Washington Extension Division.
  • Baltrusaitis, J. (2001). Düşsel Ortaçağ gotik sanatta Antik, İslami ve Uzak Doğu etkileri (M. A. Kılıçbay, Çev.). İmge Kitabevi. (Özgün eserin basımı 1955)
  • Bates, D. G., ve Rassam, A. (2000). Peoples and vultures of the Middle East. Prentice Hall.
  • Belting, H. (2011). Florence and Baghdad: Renaissance art and Arab science (D. L. Schneider, Çev.). Harvard University Press. (Özgün eserin basımı 2008)
  • Bernal, M. (1987). Black Athena: The Afroasiatic roots of classical civilization. Rutgers University Press.
  • Blair, S. S., ve Bloom, J. (2003). The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field. The Art Bulletin, 85(1), 152-184. https://doi.org/10.2307/3177331
  • Burckhardt, T. (2009). Art of Islam, language and meaning. Indiana University Press.
  • Classen, A. (2020). Imagination, fantasy, otherness, and monstrosity in the Middle Ages and the early modern World. New approaches to cultural-historical and anthropological epistemology. Also an introduction. A. Classen (Ed.) içinde, Imagination and fantasy in the Middle Ages and Early Modern time (s. 1-230). De Gruyter. https://doi.org/10.1515/9783110693669-001
  • Collingwood, R. G. (1925). Outlines of a philosophy of art. Oxford University Press.
  • Coomaraswamy, A. (2016). The transformation of nature in art. Angelico Press .
  • Doğan, İ., ve Keskin, F. (2010). Gelenek ve modernlik. L. Çalıkoğlu (Ed.) içinde, Gelenekten çağdaşa: Modern Türk sanatında kültürel bellek - Sergi konuşmaları (s. 29-50). İstanbul Modern Sanat Müzesi.
  • Ettinghausen, R., Grabar, O., ve Jenkins-Madina, M. (2001). Islamic art and architecture, 650-1250. Yale University Press.
  • Fahmi, A. A. (2018). Studies in art: Art and freedom. A. Lenssen, S. Rogers, ve N. Shabout (Ed.) içinde, Modern art in the Arab world: Primary documents (M. McClure, Çev.), (s. 96-99). Duke University Press.
  • Flood, F. B. (2007). From prophet to postmodernism? New World Orders and the end of Islamic art. E. Mansfield (Ed.) içinde, Making art history: A changing discipline and its institutions (s. 31-35). Routledge.
  • Gombrich, E. (1951). The story of art. Phaidon Press.
  • Gonzalez, V. (2018). Islamic art curation in perspective: A comparison with East Asian models through the case of the Leeum Samsung Museum. Journal of Conservation and Museum Studies, 16(1), 1-13. https://doi.org/10.5334/jcms.170
  • Grabar, O. (1987). The formation of Islamic art. Yale University Press.
  • Graves, M. S. (2012). Feeling uncomfortable in the nineteenth century. Journal of Art Historiography, 6, 1-27.
  • Graves, M. S. (2018). Fracture, facture and the collecting of Islamic art. D. Becker, A. Fischer, ve Y. Schmitz (Ed.) içinde, Faking, forging, counterfeiting: Discredited practices at the margins of Mimesis (s. 91-110). Transcript Publishing. https://doi.org/10.1515/9783839437629-006
  • Gruber, C., ve Haugbolle, S. (2013). Visual culture in the modern Middle East: Rhetoric of the image. Indiana University Press.
  • Hegel, G. W. (1975). Hegel’s aesthetics: Lectures on fine art, Vol. I. (T. M. Knox, Çev.). Oxford University Press. https://doi.org/10.1093/actrade/9780198244998.book.1
  • Herzfeld, E. (2017). The genesis of Islamic art and problem of Mshatta. J. M. Bloom (Ed.) içinde, Early Islamic art and architecture (s. 7-86). Routledge. https://doi.org/10.4324/9781315257280-3
  • Hodgson, M. (1977). The venture of Islam conscience and history in a world civilization. The University of Chicago Press.
  • Hourani, A. (2013). A history of the Arab peoples. Warner Books.
  • Jamal, O. (1997). E B Havell: The art and politics of Indianness. Third Text, 11(39), 3-19. https://doi.org/10.1080/09528829708576669
  • Jenkins-Madina, M. (2000). Collecting the “Orient” at the Met: Early tastemakers in America. Ars Orientalis, 30, 69-89.
  • Jusdanis, G. (1991). Belated modernity and aesthetic culture: Inventing national literature. University Of Minnesota Press.
  • Komaroff, L. (2000). Exhibiting the Middle East: Collections and perceptions of Islamic art. Ars Orientalis, 30, 1-8.
  • Lewis, B. (1993). The Arabs in history. Oxford University Press.
  • Lorenz, C. F. (1999). ‘You got your history, I got mine’. Some reflections on the possibility of truth and objectivity in history. Österreichische Zeitschrift für Geschichtswissenschaften, 10(4), 563-584.
  • Maasri, Z. (2020). Cosmopolitan radicalism: The visual politics of Beirut’s global sixties. Cambridge University Press. https://doi.org/10.1017/9781108767736
  • Naef, S. (2003). Reexploring Islamic art: Modern and contemporary creation in the Arab world and its relation to the artistic past. RES: Anthropology and Aesthetics, 43, 164-174. https://doi.org/10.1086/RESv43n1ms20167596
  • Nash, G., Kerr-Koch, K., ve Hackett, S. (2014). Postcolonialism and Islam: Theory, literature, culture, society and film. Routledge. https://doi.org/10.4324/9781315884813
  • Necipoğlu, G. (2012). The concept of Islamic Art: Inherited discourses and new approaches. B. Junod, G. Khalil, G. Wolf, ve S. Weber (Ed.) içinde, Islamic art and the museum (s. 57-75). Saqi Book.
  • Nochlin, L. (1989). The politics of vision: Essays on Nineteenth-century art And society. Routledge.
  • Porter, V. (2006). Word into art: Artists of the modern Middle East. British Museum Press.
  • Rabbat, N. (2011). What is Islamic architecture Anyway? M. Graves, ve B. Junod (Ed.) içinde, Architecture in Islamic arts: Treasures of the Aga Khan Museum: Architecture in Islamic arts (s. 17-29). Aga Khan Trust for Culture.
  • Reid, D. M. (1992). Cultural imperialism and nationalism: The struggle to define and control the heritage of Arab art in Egypt. International Journal of Middle East Studies, 24(1), 57-76. https://doi.org/10.1017/S0020743800001422
  • Renda, G. (1988). Traditional Turkish painting and the beginnings of Western trends. O. Grabar, G. Renda, T. Erol, A. Turani, K. Özsezgin, ve M. Aslıer (Ed.) içinde, A history of Turkish painting (s. 16-86). Palasar SA.
  • Roxburgh, D. J. (2000). Au Bonheur des amateurs: Collecting and exhibiting Islamic Art, ca. 1880-1910. Ars Orientalis, 30, 9-38.
  • Roxburgh, D. J. (2010). After Munich: Reflection on recent exhibitions. A. Lermer, ve A. Shalem (Ed.) içinde, After one hundred years: The 1910 exhibition “Meisterwerke muhammedanischer Kunst” reconsidered (s. 357-386). Brill. https://doi.org/10.1163/9789004191020_016
  • Said, E. (1979). Orientalism. Vintage Books.
  • Schelling, F. (2008). The philosophy of art. (D. W. Stott, Çev.). University of Minnesota Press. (Özgün eserin basımı 1859)
  • Shabout, N. M. (2015). Modern Arab art: Formation of Arab aesthetics. University Press of Florida.
  • Shalem, A. (2012). Dangerous claims: On the ‘Othering’ of Islamic art history and how it operates within global art history. Kritische Berichte. Zeitschrift für Kunst- und Kulturwissenschaften, 2, 69-86.
  • Shalem, A. (2012). What do we mean when we say ‘Islamic Art’? A pea for a critical rewriting of the history of the arts of Islam. Journal of Art Historiography, 6, 1-18.
  • Shaw, W. (2003). Possessors and possessed museums, archaeology, and the visualization of history in the Late Ottoman Empire. University of California Press. https://doi.org/10.1525/9780520928565
  • Shaw, W. (2019). What is “Islamic” Art? Between religion and perception. Cambridge University Press. https://doi.org/10.1017/9781108622967
  • Shaw, W. M. (2012). The Islam in Islamic art history: Secularism and public discourse. Journal of Art Historiography, 6, 1-34.
  • Shiner, L. (2003). The invention of art. University of Chicago Press.
  • Turner, B. S. (2006). Orientalism, postmodernism and globalism. Routledge.
  • Türker, D. (2004). Hakky-Bey and his Journal Le Miroir de l’Art Musulman, or, Mir’āt-ı şanāyi‛-i islāmiye. Muqarnas, 31, 277-306. https://doi.org/10.1163/22118993-00311P11
  • Vernoit, S. (1997). The rise of Islamic archaeology. Muqarnas, 14, 1-10. https://doi.org/10.2307/1523232

“İslam sanatı” imgesinin inşası ve oluşum süreci hakkında bir değerlendirme

Yıl 2023, Sayı: 47, 16 - 25, 31.12.2023

Oytun Doğan

https://doi.org/10.33613/antropolojidergisi.1317817

Öz

İslam sanatı, bir gösterge olarak dini ve coğrafi sınırlamalarla belirlenen sanat üretimlerini tanımlamıştır. İslam sanat eserleri genel bir tanımlamayla şeriat hükmü altında yönetilen toplumların üretimleri olmuştur. Bu durum, tanımlayanının bakış açısını ve tanımlamanın gerçekleştiği toplumu adlandırma ve anlamlandırma amacı taşımıştır. Sanat, Batı’da bir bilim dalı olarak gelişimini seküler düşünce üzerinden inşa etmiştir. Bu nedenle sanatın kanon bilgisi Batı toplumunun kültürel ve siyasal olarak kendi içinde yaşadığı üslup değişimleriyle oluşmuştur. İslam sanatı, tüm Batı dışı toplumların sanat araştırmalarında olduğu gibi etnografya araştırmaları temelinde başlamıştır. Bu bağlamda araştırma nesneleri sanat eseri olarak değil bir kültürel üretim olarak görülmüştür. Bundan dolayı İslam sanat uzmanları sanat tarihi dışında antropoloji, din ve siyasi tarihte de uzman kişiler olmuştur. Araştırma bu yönelimle toplumsallaşan İslam sanatının kapsayıcılığının yol açtığı problemleri İslam sanat imgesinin oluşumunun incelenmesiyle değerlendirecektir. Bu incelemede, farklılıkların göz ardı edilerek tekleştirici bir terim olarak gelişen İslam sanatı imgesinin ideolojik arka planının ortaya çıkarılması amaçlanmıştır. Araştırma, Batılı müzelerin İslam toplumları üzerine gerçekleştirdikleri bilgi inşa sürecinde İslam sanatının bir gösterge olarak değerlendirilmesiyle sınırlandırılmıştır.

Anahtar Kelimeler

İslam sanatı antropoloji kültürel çalışmalar postkolonyalizm Orta Doğu

Kaynakça

  • Ağa-Oğlu, M. (1954). Remarks on the character of Islamic Art. The Art Bulletin, 36(3), 175-202. https://doi.org/10.2307/3047561
  • Araeen, R. (2005). From primitivism to ethnic arts. S. Hiller (Ed.) içinde, The myth of primitivism: Perspective on art (s. 158-184). Routledge.
  • Bacharach, J. L. (1977). Near Eastern civilizations through art. University of Washington Extension Division.
  • Baltrusaitis, J. (2001). Düşsel Ortaçağ gotik sanatta Antik, İslami ve Uzak Doğu etkileri (M. A. Kılıçbay, Çev.). İmge Kitabevi. (Özgün eserin basımı 1955)
  • Bates, D. G., ve Rassam, A. (2000). Peoples and vultures of the Middle East. Prentice Hall.
  • Belting, H. (2011). Florence and Baghdad: Renaissance art and Arab science (D. L. Schneider, Çev.). Harvard University Press. (Özgün eserin basımı 2008)
  • Bernal, M. (1987). Black Athena: The Afroasiatic roots of classical civilization. Rutgers University Press.
  • Blair, S. S., ve Bloom, J. (2003). The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field. The Art Bulletin, 85(1), 152-184. https://doi.org/10.2307/3177331
  • Burckhardt, T. (2009). Art of Islam, language and meaning. Indiana University Press.
  • Classen, A. (2020). Imagination, fantasy, otherness, and monstrosity in the Middle Ages and the early modern World. New approaches to cultural-historical and anthropological epistemology. Also an introduction. A. Classen (Ed.) içinde, Imagination and fantasy in the Middle Ages and Early Modern time (s. 1-230). De Gruyter. https://doi.org/10.1515/9783110693669-001
  • Collingwood, R. G. (1925). Outlines of a philosophy of art. Oxford University Press.
  • Coomaraswamy, A. (2016). The transformation of nature in art. Angelico Press .
  • Doğan, İ., ve Keskin, F. (2010). Gelenek ve modernlik. L. Çalıkoğlu (Ed.) içinde, Gelenekten çağdaşa: Modern Türk sanatında kültürel bellek - Sergi konuşmaları (s. 29-50). İstanbul Modern Sanat Müzesi.
  • Ettinghausen, R., Grabar, O., ve Jenkins-Madina, M. (2001). Islamic art and architecture, 650-1250. Yale University Press.
  • Fahmi, A. A. (2018). Studies in art: Art and freedom. A. Lenssen, S. Rogers, ve N. Shabout (Ed.) içinde, Modern art in the Arab world: Primary documents (M. McClure, Çev.), (s. 96-99). Duke University Press.
  • Flood, F. B. (2007). From prophet to postmodernism? New World Orders and the end of Islamic art. E. Mansfield (Ed.) içinde, Making art history: A changing discipline and its institutions (s. 31-35). Routledge.
  • Gombrich, E. (1951). The story of art. Phaidon Press.
  • Gonzalez, V. (2018). Islamic art curation in perspective: A comparison with East Asian models through the case of the Leeum Samsung Museum. Journal of Conservation and Museum Studies, 16(1), 1-13. https://doi.org/10.5334/jcms.170
  • Grabar, O. (1987). The formation of Islamic art. Yale University Press.
  • Graves, M. S. (2012). Feeling uncomfortable in the nineteenth century. Journal of Art Historiography, 6, 1-27.
  • Graves, M. S. (2018). Fracture, facture and the collecting of Islamic art. D. Becker, A. Fischer, ve Y. Schmitz (Ed.) içinde, Faking, forging, counterfeiting: Discredited practices at the margins of Mimesis (s. 91-110). Transcript Publishing. https://doi.org/10.1515/9783839437629-006
  • Gruber, C., ve Haugbolle, S. (2013). Visual culture in the modern Middle East: Rhetoric of the image. Indiana University Press.
  • Hegel, G. W. (1975). Hegel’s aesthetics: Lectures on fine art, Vol. I. (T. M. Knox, Çev.). Oxford University Press. https://doi.org/10.1093/actrade/9780198244998.book.1
  • Herzfeld, E. (2017). The genesis of Islamic art and problem of Mshatta. J. M. Bloom (Ed.) içinde, Early Islamic art and architecture (s. 7-86). Routledge. https://doi.org/10.4324/9781315257280-3
  • Hodgson, M. (1977). The venture of Islam conscience and history in a world civilization. The University of Chicago Press.
  • Hourani, A. (2013). A history of the Arab peoples. Warner Books.
  • Jamal, O. (1997). E B Havell: The art and politics of Indianness. Third Text, 11(39), 3-19. https://doi.org/10.1080/09528829708576669
  • Jenkins-Madina, M. (2000). Collecting the “Orient” at the Met: Early tastemakers in America. Ars Orientalis, 30, 69-89.
  • Jusdanis, G. (1991). Belated modernity and aesthetic culture: Inventing national literature. University Of Minnesota Press.
  • Komaroff, L. (2000). Exhibiting the Middle East: Collections and perceptions of Islamic art. Ars Orientalis, 30, 1-8.
  • Lewis, B. (1993). The Arabs in history. Oxford University Press.
  • Lorenz, C. F. (1999). ‘You got your history, I got mine’. Some reflections on the possibility of truth and objectivity in history. Österreichische Zeitschrift für Geschichtswissenschaften, 10(4), 563-584.
  • Maasri, Z. (2020). Cosmopolitan radicalism: The visual politics of Beirut’s global sixties. Cambridge University Press. https://doi.org/10.1017/9781108767736
  • Naef, S. (2003). Reexploring Islamic art: Modern and contemporary creation in the Arab world and its relation to the artistic past. RES: Anthropology and Aesthetics, 43, 164-174. https://doi.org/10.1086/RESv43n1ms20167596
  • Nash, G., Kerr-Koch, K., ve Hackett, S. (2014). Postcolonialism and Islam: Theory, literature, culture, society and film. Routledge. https://doi.org/10.4324/9781315884813
  • Necipoğlu, G. (2012). The concept of Islamic Art: Inherited discourses and new approaches. B. Junod, G. Khalil, G. Wolf, ve S. Weber (Ed.) içinde, Islamic art and the museum (s. 57-75). Saqi Book.
  • Nochlin, L. (1989). The politics of vision: Essays on Nineteenth-century art And society. Routledge.
  • Porter, V. (2006). Word into art: Artists of the modern Middle East. British Museum Press.
  • Rabbat, N. (2011). What is Islamic architecture Anyway? M. Graves, ve B. Junod (Ed.) içinde, Architecture in Islamic arts: Treasures of the Aga Khan Museum: Architecture in Islamic arts (s. 17-29). Aga Khan Trust for Culture.
  • Reid, D. M. (1992). Cultural imperialism and nationalism: The struggle to define and control the heritage of Arab art in Egypt. International Journal of Middle East Studies, 24(1), 57-76. https://doi.org/10.1017/S0020743800001422
  • Renda, G. (1988). Traditional Turkish painting and the beginnings of Western trends. O. Grabar, G. Renda, T. Erol, A. Turani, K. Özsezgin, ve M. Aslıer (Ed.) içinde, A history of Turkish painting (s. 16-86). Palasar SA.
  • Roxburgh, D. J. (2000). Au Bonheur des amateurs: Collecting and exhibiting Islamic Art, ca. 1880-1910. Ars Orientalis, 30, 9-38.
  • Roxburgh, D. J. (2010). After Munich: Reflection on recent exhibitions. A. Lermer, ve A. Shalem (Ed.) içinde, After one hundred years: The 1910 exhibition “Meisterwerke muhammedanischer Kunst” reconsidered (s. 357-386). Brill. https://doi.org/10.1163/9789004191020_016
  • Said, E. (1979). Orientalism. Vintage Books.
  • Schelling, F. (2008). The philosophy of art. (D. W. Stott, Çev.). University of Minnesota Press. (Özgün eserin basımı 1859)
  • Shabout, N. M. (2015). Modern Arab art: Formation of Arab aesthetics. University Press of Florida.
  • Shalem, A. (2012). Dangerous claims: On the ‘Othering’ of Islamic art history and how it operates within global art history. Kritische Berichte. Zeitschrift für Kunst- und Kulturwissenschaften, 2, 69-86.
  • Shalem, A. (2012). What do we mean when we say ‘Islamic Art’? A pea for a critical rewriting of the history of the arts of Islam. Journal of Art Historiography, 6, 1-18.
  • Shaw, W. (2003). Possessors and possessed museums, archaeology, and the visualization of history in the Late Ottoman Empire. University of California Press. https://doi.org/10.1525/9780520928565
  • Shaw, W. (2019). What is “Islamic” Art? Between religion and perception. Cambridge University Press. https://doi.org/10.1017/9781108622967
  • Shaw, W. M. (2012). The Islam in Islamic art history: Secularism and public discourse. Journal of Art Historiography, 6, 1-34.
  • Shiner, L. (2003). The invention of art. University of Chicago Press.
  • Turner, B. S. (2006). Orientalism, postmodernism and globalism. Routledge.
  • Türker, D. (2004). Hakky-Bey and his Journal Le Miroir de l’Art Musulman, or, Mir’āt-ı şanāyi‛-i islāmiye. Muqarnas, 31, 277-306. https://doi.org/10.1163/22118993-00311P11
  • Vernoit, S. (1997). The rise of Islamic archaeology. Muqarnas, 14, 1-10. https://doi.org/10.2307/1523232
Toplam 55 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Sosyal ve Kültürel Antropoloji (Diğer), Sosyoloji (Diğer)
Bölüm Değerlendirme (Derleme) Makaleleri
Yazarlar

Oytun Doğan 0000-0002-4180-5708

Yayımlanma Tarihi 31 Aralık 2023
Gönderilme Tarihi 21 Haziran 2023
Kabul Tarihi 24 Aralık 2023
Yayımlandığı Sayı Yıl 2023 Sayı: 47

Kaynak Göster

APA Doğan, O. (2023). “İslam sanatı” imgesinin inşası ve oluşum süreci hakkında bir değerlendirme. Antropoloji(47), 16-25. https://doi.org/10.33613/antropolojidergisi.1317817
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