AI Summary & Key Takeaways
AI InsightBy this means, Akdik’s documentary style and composition is discussed.
📌 3 Key Takeaways
Abstract
Şeref Akdik’s painting Atatürk on the Excavation Site of Ahlatlıbel (1933) presents the Turkish History Survey Association's group portrait as the representation of national histograhy. Reşit Galip, Nevzat Tandoğan, Yusuf Hikmet Bayur, Afet İnan, Yusuf Akçura, and Hamit Zübeyr Koşay who are portraied in the painting are public figures who contribututed to the Association. The artifacts retrieved from the excavation were a part of the Second Turkish History Congress Exhibition (1937), and emphasized the painting’s content. The painting is a rare example where archaeology represents the national identity. During the 1930’s anthropology and archaeology were supported by the government and used for constructing a new national historiography. Both were developing simultaneously, producing data for the national history. The painting is a group portrait of the scientist, burocratcs working on these fields to construct the national history. The painting has been referred to only by its date in literature however, there is no in-depth research on it. A feature of the painting is its documentary style. This paper is based on the excavations' preliminary studies, the memoirs of the scientists, articles of the period, drawings, and photographs of the excavation site. By this means, Akdik’s documentary style and composition is discussed.
Özet
Özet: Şeref Akdik’in Atatürk Ahlatlıbelde Kazıda (1933) tablosu, Türk Tarih Tedkik Cemiyeti’nin grup portresini, millî tarih yazımı çalışmaları ile birleştirerek sunar. Resimde yer alan Mustafa Kemal Atatürk, Reşit Galip, Nevzat Tandoğan, Yusuf Hikmet Bayur, Afet İnan, Yusuf Akçura ve Hamit Zübeyr Koşay Türk Tarih Tedkik Cemiyeti’nin etkinlikleri ile toplumda tanınan kişilerdir. Ayrıca resimde yer alan kazı buluntuları İkinci Türk Tarih Kongresi Sergisi’nde (1937) yer almış ve tablonun yapılışından sonraki bu sergileme, resmin anlamını güçlendirmiştir. Ahlatlıbel Kazı sonuçları Ankara Valisi Nevzat Tandoğan tarafından, Türk Tarih Tezi doğrultusunda bir Ankaralı ve Ankara kimliği oluşturmak ayrıca Ankara’nın başkent olarak seçilmesini gerekçelendirmek üzere kullanılmıştır. Arkeolojinin resim sanatında ülkenin kimliğini görselleştirmek üzere kullanılması önemlidir ancak nadirdir. 1930’lu yıllarda devlet tarafından desteklenen antropoloji ve arkeoloji, yeni kurulan Cumhuriyet’in ulusal tarihinin yazılması için kullanılmaktadır. Arkeoloji de antropoloji ile eş zamanlı gelişip ulusal tarihin temellendirileceği veriler üretmektedir. Tablo 1930’lu yıllarda arkeoloji ve antropoloji alanında çalışmalar yapan bilim insanları ve bürokratların yer aldığı bir grup portresi olarak bir ulusun tarih yazım serüvenini görselleştirir. Resme Şeref Akdik’le ilgili yapılan araştırmalarda sadece yapım tarihi verilerek değinildiği ancak üzerine inceleme yapılmadığı gözlemlenmiştir. Resmin önemli özelliklerinden biri de Şeref Akdik’in belgesel tarzda yaptığı çalışmalardan biri olmasıdır. Araştırma sırasında kazının ön çalışmaları, kazıya katılan kişilerin anıları ya da kazıya ilişkin yazdıkları makaleler ve kazı buluntuları çizimleri ile kompozisyon karşılaştırılmış; bu şekilde Akdik’in belgesel nitelikli resim anlayışı ve tablonun kompozisyonu tartışılmıştır. Anahtar Kelimeler: Şeref Akdik, Arkeoloji, Birinci Türk Tarih Kongresi, Türk Tarih Tedkik Cemiyeti, Ahlatlıbel. Abstract: Şeref Akdik’s painting Atatürk on the Excavation Site of Ahlatlıbel presents the Turkish History Survey Association's group portrait as the representation of national histograhy. Reşit Galip, Nevzat Tandoğan, Yusuf Hikmet Bayur, Afet İnan, Yusuf Akçura, and Hamit Zübeyr Koşay who are portraied in the painting are famous public figures also known for their contribution to the Association. The artifacts retrieved from the excavation were a part of the Second Turkish History Congress Exhibition. Although the exhibition was organized after the painting was completed it emphasized the arguments about its content. The artifacts were also used by the governor of Ankara, Nevzat Tandoğan in order to construct an identity for Ankara and residents of Ankara. The painting is a rare example where archaeology represents the national identity therefore it is important. During the 1930’s anthropology and archaeology were supported by the government and used as a tool for constructing a new national historiography. Both anthropology and archaeology were developing simultaneously and producing data for the national history. The painting is a group portrait of the scientist and burocratcs working on these fields as an endeavor of constructing the national history. During the research for this paper it was observed that the painting has been referred to in the literature only by its -finalization date however, there is no in-depth research or discussion on it. A remarkable feature of the painting is its documentary style. This paper is based on the excavations' preliminary studies, the memoirs of the archeologist and anthropologists, related articles of the period, technical drawings, and photographs of the findings and the excavation site. By this means, Akdik’s documentary style and composition is discussed. Keywords: Şeref Akdik, Archaeology, I. Turkish History Congress, Turkish History Association, Ahlatlıbel.