Contemporary Turkish Artists Inspired by Manuscripts: Three Cases -in English [TR: El Yazmalarından İlham Alan Çağdaş Türk Sanatçıları: Üç Örnek] (original) (raw)

2023, 2023, 16th International Congress of Turkish Art. October 3-5, 2019, Ankara: Proceedings, vol. 2 16. Uluslararası Türk Sanatları Kongresi. 3-5 Ekim 2019, Ankara : Bildiriler, C. 2 (İstanbul: TC Kültür ve Turizm Bakanlığı, 2023).

Abstract

Inspirational sources of the artists are almost limitless. Many individual and/or social events and phenomena such as nature, faith, social environment, politics, emotions, and dreams have inspired art production. In this paper, three Turkish artists from three generations will be examined through their artworks that are inspired by manuscripts and miniatures. The paper will also exhibit their interpretation of the high art of the past in contemporary art while transmitting to new media. Among the initial inspirational sources that have been transferred from the past are geometrical designs and calligraphic arts. However, at the end of the 20th century and at the beginning of the 21st century, contemporary artists were also influenced by illumination, illustration, and marbled paper. Besides, modern masters of Turkish classical art have started to use contemporary techniques, imagery, and compositions. In addition to the traditional artists who create content in contemporary forms, the works of contemporary artists inspired by the past are almost in a dialogue today. Since the end of the past century, a new title, "Contemporary Islamic Art", was created as a classification to claim some contemporary works produced in the region called MENA (Middle East, North Africa) including Turkey. First of all, the title is problematic in relating calligraphy, illumination, etc. as arts associated directly with Islam. Moreover, bringing all contemporary artists from the MENA region, who often use "Islamic" motifs in their works is not very appropriate for the art historical approach. Because, in this highly cosmopolitan region, each country's unique culture, tradition, history, and social structure affect every artist differently and shape their art practices. Art in Turkey is affected by politics of culture, education training, the demand for art circles, etc. A sharp sword might symbolize the distinction between contemporary art and traditional art in the past, but today it seems like the sword has left its place to a soft thread. Because internet and social media make it easy to access information and images as well as receive fast feedback through the same media which is an advantage for every artist. In this environment, all forms of art can learn from each other and the concept of "interdisciplinarity" can be seen in the art world. In this paper, three artists from three different generations of Turkish contemporary art will be presented. The use of manuscripts and miniatures in their styles and techniques will be analyzed to display their interactions with past traditions.

Figures (10)

an important place in her works that can be read from a feminist perspective. Working with concepts such as identity, representation, and gender Duben deals with current problems like domestic violence, honor killings, displacement, and migration while creating installations and artists’ books that interact with her audience. Using different techniques and materials she makes paint- — a we - ~ - an important place in her works that can be read from a feminist perspective.

an important place in her works that can be read from a feminist perspective. Working with concepts such as identity, representation, and gender Duben deals with current problems like domestic violence, honor killings, displacement, and migration while creating installations and artists’ books that interact with her audience. Using different techniques and materials she makes paint- — a we - ~ - an important place in her works that can be read from a feminist perspective.

The second artist is CANAN (Senol) (b. 1970, Istanbul)? who refers to many elements of the Islamic illustrations in her works. Known for her political stance and works on the relations between gender, social power, and the control of the female body, the artist frequently uses new media such as video, animation, and installation. Since the mid-2000s, the image repertoire of Islamic miniature painting dominates her works. While change and transformation are observed in her visual language, the critical content in her works adapts accordingly. “Al- though they take their inspiration from subjects such as ‘Waq Waq Tree’, ‘Ajaib al-Makhluqat’, and ‘Bahnama’, Canan's miniatures are contemporary works down to their bones” (Schick, 2017).

The second artist is CANAN (Senol) (b. 1970, Istanbul)? who refers to many elements of the Islamic illustrations in her works. Known for her political stance and works on the relations between gender, social power, and the control of the female body, the artist frequently uses new media such as video, animation, and installation. Since the mid-2000s, the image repertoire of Islamic miniature painting dominates her works. While change and transformation are observed in her visual language, the critical content in her works adapts accordingly. “Al- though they take their inspiration from subjects such as ‘Waq Waq Tree’, ‘Ajaib al-Makhluqat’, and ‘Bahnama’, Canan's miniatures are contemporary works down to their bones” (Schick, 2017).

representation in the video comprises the natural elements from the Islamic manu- scripts such as snail-shaped clouds, cypress trees, golden skies, purple coral colored fields and it is filled with creatures of different species like a rabbit, snake, gazelle, peacock, phoenix. CANAN as Eve eats an apple through the video without further references to any other human. She is all by herself in a familiar and esoteric set- ting, expressing integrity in her solitude. CANAN’s self-representations in such en- wabinenan Aaa, ck ete vaxthxr Al Axiom bao A waste Awe ea. AAO BAL Ata: RA

representation in the video comprises the natural elements from the Islamic manu- scripts such as snail-shaped clouds, cypress trees, golden skies, purple coral colored fields and it is filled with creatures of different species like a rabbit, snake, gazelle, peacock, phoenix. CANAN as Eve eats an apple through the video without further references to any other human. She is all by herself in a familiar and esoteric set- ting, expressing integrity in her solitude. CANAN’s self-representations in such en- wabinenan Aaa, ck ete vaxthxr Al Axiom bao A waste Awe ea. AAO BAL Ata: RA

One of CANAN’s latest works is Falnama (2020) which is exhibited in the “Miniature 2.0”. The artist has fictionalized figures such as horoscopes, angels, jinns, giants, lovers, animals from the visual repertoire of the illustrated Fal- names, on 71 single folios of the same size, as can be found in a manuscript or amuraqqa (fig. 8).

One of CANAN’s latest works is Falnama (2020) which is exhibited in the “Miniature 2.0”. The artist has fictionalized figures such as horoscopes, angels, jinns, giants, lovers, animals from the visual repertoire of the illustrated Fal- names, on 71 single folios of the same size, as can be found in a manuscript or amuraqqa (fig. 8).

be considered as the starting point of the series, takes its source from the 1977 9. Murat Palta, Star Wars, 2010. Fine art print, 70 x 46,5 cm. Courtesy of the artist

be considered as the starting point of the series, takes its source from the 1977 9. Murat Palta, Star Wars, 2010. Fine art print, 70 x 46,5 cm. Courtesy of the artist

the Star Wars saga can detect many characters from the movie while another who is familiar with Turco-Persian manuscript paintings can understand the transformation of the image.

the Star Wars saga can detect many characters from the movie while another who is familiar with Turco-Persian manuscript paintings can understand the transformation of the image.

In Kill Bill (2012), another work from the same series, the main character of Quentin Tarantino’s two-part movie from 2003-2004, The Bride, is represented as a similar version of Levni's dancing women (fig. 10). Complemented by blond hair, blue eyes, a sword, a yellow robe, and shalwar, which is a reference to the iconic yellow sweatpants of The Bride, the character stands in the center of the composition surrounded by the lifeless bodies of the people she had just killed in the previous struggle.

In Kill Bill (2012), another work from the same series, the main character of Quentin Tarantino’s two-part movie from 2003-2004, The Bride, is represented as a similar version of Levni's dancing women (fig. 10). Complemented by blond hair, blue eyes, a sword, a yellow robe, and shalwar, which is a reference to the iconic yellow sweatpants of The Bride, the character stands in the center of the composition surrounded by the lifeless bodies of the people she had just killed in the previous struggle.

In his exhibition “All Work No Play” (2019), he displays his observations and criticisms about the concept of entertainment and games in the visual ex- pression of Islamic depiction art. In Levent Erden’s words (2019), “Murat Palta plays a game on the bridge where he tells the deep issues, the language of yester- day with the codes of tomorrow.’ Gathering the cult cartoon characters with the Ottoman sultan in the bumper cars, pages patrolling, wire walkers in traditional clothing on the same composition, Fun Fair is a step in the development of Pal- ta’s artistic approach and perspective by using different themes in his unique plastic (fig. 12).

In his exhibition “All Work No Play” (2019), he displays his observations and criticisms about the concept of entertainment and games in the visual ex- pression of Islamic depiction art. In Levent Erden’s words (2019), “Murat Palta plays a game on the bridge where he tells the deep issues, the language of yester- day with the codes of tomorrow.’ Gathering the cult cartoon characters with the Ottoman sultan in the bumper cars, pages patrolling, wire walkers in traditional clothing on the same composition, Fun Fair is a step in the development of Pal- ta’s artistic approach and perspective by using different themes in his unique plastic (fig. 12).

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