{"id":3350,"date":"2026-10-28T19:03:04","date_gmt":"2026-10-28T17:03:04","guid":{"rendered":"https:\/\/www.praksis.org\/makale\/devlet-ikonografisinin-donusumu-ve-muhtesem-suleyman-cagi-sergisinden-yeditepe-bienaline-turkiyenin-neoosmanlici-temsili\/"},"modified":"2026-10-28T21:11:55","modified_gmt":"2026-10-28T19:11:55","slug":"devlet-ikonografisinin-donusumu-ve-muhtesem-suleyman-cagi-sergisinden-yeditepe-bienaline-turkiyenin-neoosmanlici-temsili","status":"publish","type":"praksis_makale","link":"https:\/\/www.praksis.org\/en\/makale\/devlet-ikonografisinin-donusumu-ve-muhtesem-suleyman-cagi-sergisinden-yeditepe-bienaline-turkiyenin-neoosmanlici-temsili\/","title":{"rendered":"Devlet \u0130konografisinin D\u00f6n\u00fc\u015f\u00fcm\u00fc ve Muhte\u015fem S\u00fcleyman \u00c7a\u011f\u0131 Sergisi\u2019nden Yeditepe Bienali\u2019ne T\u00fcrkiye\u2019nin NeoOsmanl\u0131c\u0131 Temsili"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"<p>19. y\u00fczy\u0131l\u0131n ba\u015f\u0131ndan itibaren Osmanl\u0131 Devleti\u2019nin ve daha sonras\u0131nda T\u00fcrkiye\u2019nin devlet ikonografisini nas\u0131l \u015fekillendirmesi gerekti\u011fi konusu her zaman ciddiye al\u0131nan bir konu olmu\u015ftur. Son d\u00f6nemlerde daha da g\u00f6r\u00fcn\u00fcr olan devlet ikonografisinde ve devletin sembolik temsillerinde ya\u015fanan neo-Osmanl\u0131c\u0131 e\u011filim ise bu konunun dinamiklerini daha ayr\u0131nt\u0131l\u0131 bir bi\u00e7imde ele alma gereklili\u011fine i\u015faret eder. Bu \u00e7al\u0131\u015fma, AKP\u2019nin \u201cYeni T\u00fcrkiye\u201d ba\u011flam\u0131nda \u00f6ne s\u00fcrd\u00fc\u011f\u00fc \u201cyerlilik ve millilik\u201d s\u00f6yleminin g\u00f6rsel sanat alan\u0131ndaki geli\u015fiminin Osmanl\u0131\u2019n\u0131n son d\u00f6nemlerine kadar geri g\u00f6t\u00fcr\u00fclebilecek, fakat as\u0131l ivmesini 1990\u2019lardan itibaren devletin sembolik temsili \u00fczerinde ya\u015fanan \u00e7at\u0131\u015fmalardan alan bir tarihsel ba\u011flam i\u00e7erisinde ele al\u0131nmas\u0131 gerekti\u011fini iddia eder. Bu iddiay\u0131 desteklemek i\u00e7in makalenin ilk b\u00f6l\u00fcm\u00fcnde devlet ikonografisinin 1980\u2019lerden g\u00fcn\u00fcm\u00fcze kadar gelen s\u00fcre\u00e7te nas\u0131l bir d\u00f6n\u00fc\u015f\u00fcme ge\u00e7irdi\u011fi tart\u0131\u015f\u0131lmaktad\u0131r. Daha sonra devlet ikonografisinin farkl\u0131la\u015fmas\u0131n\u0131n ve kamusal alanlarda ya\u015fanan sembolik d\u00f6n\u00fc\u015f\u00fcmlerin nas\u0131l kavramsalla\u015ft\u0131r\u0131labilece\u011fi sorununa odaklan\u0131lmaktad\u0131r. Makalenin son b\u00f6l\u00fcm\u00fcnde ise T\u00fcrkiye\u2019nin \u00fc\u00e7 farkl\u0131 d\u00f6neminde organize edilen \u00fc\u00e7 sanat sergisi &#8211; Muhte\u015fem S\u00fcleyman \u00c7a\u011f\u0131 sergisi (1987), T\u00fcrkler: Bin Y\u0131ll\u0131k Yolculuk, 600-1600 sergisi (2005) ve Yeditepe Bienali (2018) &#8211; vas\u0131tas\u0131yla \u00fcretilen farkl\u0131 neo-Osmanl\u0131c\u0131 temsillerin kar\u015f\u0131la\u015ft\u0131rmal\u0131 bir analizi yap\u0131lacakt\u0131r. Anahtar Kelimeler: Devlet \u0130konografisi, Neo-Osmanl\u0131c\u0131l\u0131k, \u00c7a\u011fda\u015f Sanat, Yeditepe Bienali, Yerli ve Milli Sanat<\/p>\n","protected":false},"template":"","praksis_konu":[256,69],"praksis_yazar":[493],"praksis_anahtar":[],"class_list":["post-3350","praksis_makale","type-praksis_makale","status-publish","hentry","praksis_konu-kulturel-calismalar","praksis_konu-siyaset-bilimi","praksis_yazar-erdem-colak"],"_links":{"self":[{"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/praksis_makale\/3350","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/praksis_makale"}],"about":[{"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/types\/praksis_makale"}],"version-history":[{"count":1,"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/praksis_makale\/3350\/revisions"}],"predecessor-version":[{"id":4161,"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/praksis_makale\/3350\/revisions\/4161"}],"wp:attachment":[{"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/media?parent=3350"}],"wp:term":[{"taxonomy":"praksis_konu","embeddable":true,"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/praksis_konu?post=3350"},{"taxonomy":"praksis_yazar","embeddable":true,"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/praksis_yazar?post=3350"},{"taxonomy":"praksis_anahtar","embeddable":true,"href":"https:\/\/www.praksis.org\/en\/wp-json\/wp\/v2\/praksis_anahtar?post=3350"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}