KLȂSİK DÖNEM OSMANLI MİNYATÜRÜNDE DERİNLİK YANILSAMASI
DEPTH ILLUSION ON CLASSICAL PERIOD OTTOMAN MINIATURE

Summary/Abstract: All the objects that we see in two dimensions with our eyes and the space in which they are located, are perceived by our brain as three-dimensional. When this situation, called “illusion of depth” is transferred by highlighting or destroying to a two-dimensional surface, everything that is read is now a product of illusion. The subject of illusion examined in the article is related to the problem of transferring of the three-dimensional perceived world to the two-dimensional surface. The reason classical period Ottoman miniature dated to the second half of 16th century is taken as an example is that it has eluded effects of foreign influences and gained characteristics unique to the Ottoman period. The reason “Early Renaissance” period dated to 15th century is taken as an example is because of the use of depth illusion methods effectively by abandoning the superficial stains, universal light, nominal color and tectonic stance of the Gothic book picture. The Ottomans had been in contact with the West by the reasons of war, immigration, trade and acceptance of craftsmen, etc. However, The religious belief, philosophy, tradition, social and administrative structure of society had not allowed a radical change except for the differences in style in the miniature tradition. In the West, analyzing what methods were used to obtain depth in the transition from book painting to toile painting was, an indicator of what were ignored in Ottoman miniature. In this article, the depth illusion methods used in pictures of the Early Renaissance period are explained and with a retrospective study, the logic of form and space formation of the classical Ottoman miniature craftsman who was deliberately distant from the visible world and told the truth behind it is tried to be solved.

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