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Minyatür, Osmanlı resim sanatında önemli bir yer kaplamakta, kendine has çizimsel özellikleri ve kurallarıyla resim sanatında farklı bir yere oturmaktadır. Osmanlı imparatorluğunda minyatür sadece kural kalıpları içinde kalmamış zamanla Avrupa resim sanatından da etkilenip plastik açıdan (perspektif, boyut, hareket vb. öğelerden) gelişim ve değişimler yaşamıştır. Lale devriyle duraklama dönemine giren Osmanlı minyatür sanatı, Levni’yle birlikte tekrar bir gelişim ivmesi kazanmıştır. Osmanlı minyatürlerinde resim sanatının plastik değerlerinin (oran, boyut, perspektif vb.) dışına çıkılarak bilinçli bir şekilde nesnelerin-objelerin, figürlerin formları ve biçimleri bozulmuştur. Nakkaş Levni ise bu anlayışı yıkmış gerçekçi formda ve biçimde resmin plastik değerlerine uygun minyatürler yapmıştır. Levni’nin minyatürlerinde gerçekçi tavırlar göstermesinin nedeni ise III. Ahmed’in portrelerini yapmış olan Vanmour’dan etkilenmiş ve onun portrelerini inceleyip ondan esinlenmeş olmasıdır. Araştırmanın amacı Nakkaş Levni’nin minyatür sanatına plastik açısından (hareket, biçim, boyut, oran…gibi) getirdiği farklı etkileri ortaya çıkarmaktır. Araştırmanın önemi ise minyatür sanatında kullanılan kurallar içerisindeki plastik değerlerin değişiminin önemini vurgulamaktır. Araştırmanın sonucunda Nakkaş Levni’nin minyatürlerinde tek figürlü kadın figürlerini çok çalıştığı, resmini yaptığı bazı kadın figürlerine Avrupa resim sanatında özellikle Rönesans döneminde kullanılan ‘S’ hareketini verdiği, bayan figürlerin göğüs dekoltesini göstererek klasik minyatürlerden ayrıştığı, anatomik yapıları belirgin çizdiği ve oranlamayı büyük oranda kurduğu, klasik minyatürlere göre eserlerinin çok gerçekçi olduğu, arka planı monokrom genellikle tek renk ve birkaç stilize çiçekle doldurulduğu, üst üste lekesel boyamalarla boyutlandırmaya gittiği, çok fazla renklilik tonal çeşitliliğin olmadığı görülmüştür. Levni’nin minyatür eserlerinin modern resme geçişte öncü olduğu kanısı araştırma sonucu ortaya çıkmıştır.
The miniature occupies an important place in the Ottoman painting art, sitting in a different place in the painting art with its own drawing characteristics and rules. In the Ottoman Empire, the miniature was not only in the rules patterns, but also influenced by European painting and plastic (perspective, size, movement, etc.). He has experienced evolution and change. The Ottoman miniature art, which has entered the stop period with the Lale period, has gained a new development momentum with Levni. Plastic values of the painting art in the Ottoman miniatures (premium, size, perspective, etc.) The forms and forms of objects, objects, figures, and objects are disrupted. Nakkaş Levni, however, made minyatures in a realistic form and shape that destroyed this understanding according to the plastic values of the picture. The reason for Levni's realistic attitudes in the miniatures is III. He was impressed by Vanmour who made his portraits and was inspired by his portraits. The purpose of the research is to reveal the different effects Nakkas Levni has on the miniature art in terms of plastic (like movement, shape, size, proportion, etc.). The importance of the research is to emphasize the importance of changing plastic values within the rules used in the miniature art. According to the research, Nakkaş Levni worked hard on single-figured female figures in the miniatures, gave some female figures the movement 'S' used in European painting especially during the Renaissance period, the female figures separated from the classical miniatures by showing the breast decollection, the anatomical structures clearly drawn and set the proportion in large proportion, the works were very realistic according to the classical miniatures, the background monochrome was usually filled with a single color and several styles of flowers, the female figures went to measure with a sliced paint, the color variation was not much. The blood that Levni's miniature works are the pioneer in the transition to modern painting has been revealed by research.
The miniature occupies an important place in the Ottoman art of painting and sits in a different place in the art of painting with its unique drawing features and rules. In the Ottoman Empire, miniatures were not only in patterns of rule, but were also influenced by the European art of painting in terms of plastic (perspective, size, movement, etc.). elements) has experienced development and changes. Ottoman miniature art, which entered a period of stagnation with the tulip era, gained momentum of development again with Levni. The plastic values of the art of painting in Ottoman miniatures (ratio, size, perspective, etc.) the forms and forms of objects-objects, figures have been broken out consciously. Nakkaş Levni, on the other hand, destroyed this understanding and made miniatures in realistic form and form in accordance with the plastic values of the painting. The reason levni showed realistic attitudes in his miniatures is that III. It is that he was influenced by Vanmour, who had made portraits of Ahmed, and studied his portraits and was inspired by him. The aim of the research is to reveal the different effects that Nakkaş Levni brings to miniature art in terms of plastic (movement, shape, size, proportion...). The importance of research is to emphasize the importance of changing plastic values within the rules used in miniature art. Levni's miniatures single figures as a result of the research in some very trying calligrapher female figures in European art of painting the female figure made a picture, especially of the Renaissance period used the ‘S’ of the movement is given by showing the female figure of classic miniatures from the cleavage divide, and drew largely oranlamay apparent anatomical structures, built according to the classic miniatures of his works is very realistic, the background is usually monochrome single color and it was filled with stylized flowers few, on top went to paint on the stain with sizing, it has been observed that there is not much colouration of the tonal variety. The belief that levni's miniature works were pioneers in the transition to modern painting has emerged as a result of research.
Field : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Journal Type : Uluslararası
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