2024-11-0920201300-570710.29135/std.663408https://hdl.handle.net/20.500.14288/3691The most significant archive of the 2nd Constitutional era of the Ottoman Empire and the Early Republican Era drawing practices in Turkey is the Mimar Sinan Fine Arts University Istanbul Painting and Sculpture Museum's drawing collection. The drawing collection consists of 2745 drawings of 51 artists presenting the drawing practices over a century. The majority of the drawings in the collection are nudes and landscapes. Drawing had been a part of various Ottoman educational institutions' curriculum since the late 18th century and its importance increased in the Early Republican Era. And the outcomes of these practices were gathered in this museum as it was constituted within the State Academy of Fine Arts (Istanbul Devlet Guzel Sanatlar Akademisi). However, the academic studies on the subject remain very limited, and there is a scarce number of documentation on drawings other than the inventory of the museum. The variety of examples over 150 years makes it possible to draw the outlines of the Ottoman and the Republican drawing chronology. As a result, the most important documentation of the drawings is themselves. In order to determine the outlines of the chronology, the common ground of the drawings was examined which is the drawing techniques and curriculums. Thus the drawings are evaluated in a formalist view. The examination made simultaneously with the terminology emerged in the Military Academy (Mekteb-i Harbiye), Academy of Fine Arts (Sanayi-i Nefise Mekteb-i Alisi), and the State Academy of Fine Arts (Istanbul Devlet Guzel Sanatlar Akademisi) curriculums, the drawing method prepared by Hoca Ali Riza (1858-1930), reveals the tension of cultural shifts on art education, especially on the drawing courses. In Turkish art history literature drawing has been evaluated as the significance of originality. However these drawings also reveal that it was utilized as a very important part of studio training. The drawing method by Hoca Ali Riza is peculiar the Military Academy and it was also appreciated by civil artist. Also some models were produced for these classes. Figure drawing and nude studies in drawing classes were an achievement of the Academy of Fine Arts (Sanayi-i Nefise Mekteb-i) and continued in the State Academy of Fine Arts (Devlet Guzel Sanatlar Akademisi) with its own devices produced for classes such as mold statues and night classes for further studying (cour de soir). The collection exemplifies the choices between the difference between the Ottoman military schools, Academy of Fine Arts (Sanayi-i Nefise Mekteb-i), and the State Academy of Fine Arts (Devlet Guzel Sanatlar Akademisi) in the Republican Era; as well as the disengagement from the realist esthetic towards post-structural views. Hence the drawings are another artistic practice that exemplifies the cultural influences and contrasts, as well as the paintings dating to the chosen period. One of the striking outcomes of this evaluation implies that the Military Academy' (Mekteb-i Harbiye), drawing curriculum was influenced by Western practices not only in the establishment of the drawing classes but all through the 19th century. The drawing collection determines these influences were dominant up to the 1960s in the mentioned academies that continued through the Turkish Republic.pdfArtJournal Article2636-8064https://doi.org/10.29135/std.663408591682500005N/ANOIR02600