Central and significant perspectives as different ways of seeing

This study is proceeded with the purpose of comparing different vision styles caused by different sight angles arise from different cultures. In accordance with this purpose, the theoretical context, problem, purpose, significance, premises, finiteness of the study are included at the beginning. Later on, culture and art environment in Renaissance Period, the regime of central perspective as a vision regime and portrait is explained over the tendency on human of artists. After that, definitions of miniature, its historic process and the Perspective of Significance are given. Nakkaşhane tradition and Sultan portraitism are discussed. In the end, analysis is done followed by the comparison of Fatih portraits made by both artist Bellini and Nakkaş Sinan using Semiotics Method. The purpose of this study is to be able to do critical readings towards to the standardisation of sight and different vision styles over the portraits of Sultan Fatih made by different techniques and in different cultures. While gaining contiunity by revolving the culture in the West as generation of Manierism by the decay of Central Perspective, Miniature lost its cultural function and become impracticable today in the East. In this study, an answer for failing the transformation and falling into the redundacy of ways of seeing and culture in the miniature tradition within the historic process is searched over the path of the standardisation of sight.