Aesthetics of the dramatic scene in Ottoman Turkish photography

Abstract

The current research deals with the aesthetics of the dramatic scene in Ottoman Turkish photography, by studying the elements of dramatic construction and the aesthetic construction of scenes of Ottoman Turkish miniature for the period of time (1544-1603AD). Therefore, in the first chapter, the researcher sought to clarify the research problem, its importance, and the need for it, in addition to the research goal, which was represented by the following:

“Aesthetics of the dramatic scene are known in Ottoman Turkish photography.” Then the researcher concluded the aforementioned chapter by defining terms that have a direct relationship to the title of the research and its objectives. As for the second chapter, it included a presentation of the theoretical framework and indicators. It was made up of two studies. The first chapter proved the emergence of drama and the elements of the dramatic construction. As for the second topic, it deals with the technical characteristics of the Ottoman Turkish School of Painting. The third chapter was concerned with monitoring the research community and the tool that included collecting information, so a sample of it was adopted in an intentional way. (6) pictorial works covered the boundaries of the research by adopting the descriptive and analytical approach for the purpose of analyzing them according to the axes of the analysis tool adopted by the researcher. As for the fourth chapter, it included the results of the research, which included:1- The Ottoman Turkish photographer relied, in choosing his subjects, on simulating reality and its various events stemming from the intellectual structure of the Turkish society within an integrated dramatic context. He embodied scenes of historical religious events as in the sample (4,3,2), and warfare as in the sample (6), and scenes Life as in the sample (5,1).2- The scene of the Ottoman Turkish miniature and the course of its events was characterized by a dramatic formative dialogue between the characters, by the photographer's reliance on the principle of meeting the characters or by adopting the movement of bodies in harmony with the course of the event within constructive spaces that varied between closed or open spaces, which enhanced the aesthetics of the dramatic sceneAnd then the conclusions that emerged from which the possibility of achieving the research objectives through the tool designed by the researcher, including:1- The Ottoman Turkish photographer's interest in adopting realistic topics and real events that took place in the past or contemporary, worked to organize them according to his imagined vision within a balanced dramatic context, which is nothing but confirmation of his adherence to reality, the traditions and values ​​of society and the important religious and historical events that had an effective impact. - That the Ottoman Turkish photographer embodied a variety of photographed works in his subjects, carrying an intellectual and aesthetic dimension and a meaningful message related to the intellectual structure of his community, which made the dramatic event valuable in miniature scenes.