두 세계의 만남: 15-16세기 오스만 술탄 초상화
At the Intersection of Two Worlds: Fifteenth and Sixteenth-Century Portraits of Ottoman Sultans
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오스만 왕조의 술탄 초상화는 술탄의 권위와 정통성을 대변하는 이미지이다. 오스만 제국에서 궁정 초상화 제작의 전통은 15세기 중반 메흐메드 2세의 초상화에서 시작되었으며, 1579년 오스만 왕가의 공식 역사서인 채색 필사본, 『셰마일나메』의 완성으로 확립되었다. 이 시기에 술탄의 이미지는 유럽에서도 유행했다. 술탄의 초상을 담은 회화와 메달이 명망있는 인사들의 초상화들을 모은 유럽의 미술 컬렉션에 포함되었고, 이 이미지들은 다시 책으로 출판되어 널리 유통되었다. 술탄을 대면할 기회가 극히 제한된 상황에서 화가들은 유럽과 오스만 제국에서 제작되었던 이전의 작품들을 모사했다. 이 논문은 15-16세기 오스만 술탄 초상화의 기능과 그것이 제작되고 유통, 복제된 과정을 살펴보고, 이를 통해 이 이미지들이 오스만 제국과 유럽 사이에서 증대된 정치, 예술 그리고 지적 교류의 산물임을 밝히고자 한다.
Abstract
Ottoman sultans’ portraits represented the authority of individual sultans and the legitimacy of their rule. The tradition of court portraits in the Ottoman Empire began with the commissions of Mehmed II’s portraits in the midfifteenth century and was firmly established by 1579, with the creation of the first Şemâ’ilnâme, the official illustrated history of the House of Osman. During this period, images of Ottoman sultans gained popularity in Europe as well. Paintings and medals made their way into European portrait collections featuring illustrious men. The images were also reproduced in widely circulated, printed books. As access to the sultans was extremely limited, artists found models for the portraits in earlier art works from both European and Ottoman traditions. By tracing the production, function, circulation, and reproduction of Ottoman imperial portraits in the fifteenth and sixteenth centuries, this paper argues that these likenesses were a product of the intensified political, artistic, and intellectual interaction between the Ottoman Empire and Europe.
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