An examination of the ottoman miniatures in terms of cinematic language: The case study of Surname-i̇ Vehbi̇

Ottoman miniature art,especially in the era of Fatih Sultan Mehmet was protected as well as developed thanks to his support features of art and his interest to art. Since that era mininature art got organized in the palace and gained a lot of new works. Miniature models describing actual historical events are of considerable amount in nearly 500 years of Ottoman art. Those miniature artists emphasized reality and used the primary attraction as much as use of imagination. At that era artists created their own work in their own way and style as well as works including observation of the passing of the carvers work located within the event. In order to examine the presence of cinematographic characteristic in Ottoman miniature art in this study Surnâ-i Vehbi is preferred as an example. Surnâme-i Vehbî is an unique style artwork of Levnî that took an important place in Ottoman miniature art. The research on the miniatures in this study is based on the basic elements of cinema and are also discussed in terms of semiotics. Part One include the introduction to the Ottoman miniature art and sorting according to the period. In the light of the palace's art look and period`s conditions, often referred to as classical period of the 16th century and Westernization tips seen in the 17th century and 18th century works and artists, are the subject of this section.In the second part of the elements of cinematic language as light, color, movement, editing, composition were identified. The third part include the introduction to semiotics and plain meaning, connotation are the issues focused on. In the fourth part cinematic language analysis was conducted on the chosen examples of Surnâme-i Vehbî miniatures. Keywords: Ottoman Miniature Art, Surname-i Vehbi, Cinematographic language,Basics of Cinematographic Language, Semiotics.