艺术家和革命者:作为奥斯曼亚美尼亚画家的帕诺斯·特勒梅齐安

Gizem Tongo
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引用次数: 2

摘要

在奥斯曼帝国晚期,可能没有哪个画家比奥斯曼亚美尼亚艺术家帕诺斯·特勒梅齐安(Panos Terlemezian, 1865-1941)更与统治集团交战。Terlemezian在政治上积极反对奥斯曼帝国在苏丹阿卜杜勒哈米德二世(1876-1909)专制政权期间对其亚美尼亚臣民的周期性镇压,以及1915年亚美尼亚种族灭绝期间。因此,他早年的生活受到监狱和流放的创伤。然而,无论是他的政治承诺,还是他不断的流离失所,都没有阻止他成为最具才华的画家,先是现代奥斯曼艺术画家,然后是现代亚美尼亚艺术画家。本文以1885年至1915年为中心,探讨了特勒梅齐安作为奥斯曼-亚美尼亚画家的“最初身份”;将他置于奥斯曼帝国晚期的历史中,在那里他成为了一名革命者,在国际艺术世界中,他在发展成为一名艺术家的过程中与之互动。本文的结论是,Terlemezian的故事指出了奥斯曼伊斯坦布尔的一个国际化和一体化的艺术世界,但只是在短暂的历史机遇时期,这表明一个国家的政治议程如何在艺术家的生活中创造非凡的环境。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Artist and Revolutionary: Panos Terlemezian as an Ottoman Armenian Painter
Probably no painter in the late Ottoman Empire was at war with the ruling block more than the Ottoman Armenian artist Panos Terlemezian (1865-1941). Terlemezian was politically active against the Ottoman state’s periodic repressions of its Armenian subjects during the absolutist regime of Sultan Abdulhamid II (r. 1876-1909) and also during the Armenian Genocide of 1915. As such his early life was scarred by prison and exile. Yet neither his political commitments nor his constant displacements prevented him from becoming the most talented of painters, first, of modern Ottoman art, and then, of modern Armenian art. Focusing on the period 1885-1915, this paper explores Terlemezian’s “initial identity” as an Ottoman-Armenian painter; situating him within both the history of the late-Ottoman Empire in which he became a revolutionary and within the international art world with which he interacted as he was developing as an artist. This paper concludes that Terlemezian’s story points to a cosmopolitan and integrated art world in Ottoman Istanbul, but only in brief periods of historical opportunity, suggesting how the political agendas of a state can create extraordinary circumstance in an artist’s life.
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