{"id":5750,"date":"2021-01-04T19:27:47","date_gmt":"2021-01-05T01:27:47","guid":{"rendered":"http:\/\/circassiancenter.com\/tr\/?p=5750"},"modified":"2021-01-07T15:21:25","modified_gmt":"2021-01-07T21:21:25","slug":"ilk-cerkes-kadin-ressam-mihri-hanim-1886-1954","status":"publish","type":"post","link":"https:\/\/www.circassiancenter.com\/tr\/ilk-cerkes-kadin-ressam-mihri-hanim-1886-1954\/","title":{"rendered":"\u0130LK \u00c7ERKES KADIN RESSAM: M\u0130HR\u0130 HANIM (1886-1954)"},"content":{"rendered":"

\"\"<\/p>\n

Avni D\u0131p\u015fov<\/span><\/strong>
\n<\/span> Kafkasya Ger\u00e7e\u011fi, Ekim 1990, Say\u0131:2, Sayfa: 19-20-21-22<\/p>\n

T\u00fcrkiye\u2019de kad\u0131nlar\u0131n f\u0131r\u00e7a kullanmas\u0131 ve resim yapmas\u0131 yeni say\u0131l\u0131r. Ba\u015flang\u0131c\u0131 yirminci y\u00fczy\u0131l\u0131n ilk y\u0131llar\u0131na, Osmanl\u0131 \u0130mparatorlu\u011fu\u2019nun \u00e7\u00f6k\u00fc\u015f d\u00f6nemine rastlar. \u201cMe\u015frutiyet\u201d d\u00f6neminden \u201cCumhuriyet\u201d d\u00f6nemine kadarki zaman dilimi i\u00e7erisinde, g\u00fczel sanatlar\u0131n resim dal\u0131nda yeti\u015fenleri, mesleklerinde \u00f6nc\u00fc kad\u0131nlar olarak niteleyebiliriz. \u00dcnl\u00fc kad\u0131n ressam\u0131m\u0131z Mihri Han\u0131m da bunlar\u0131n ba\u015f\u0131nda gelir. Ya\u015f bak\u0131m\u0131ndan ondan b\u00fcy\u00fck olan Nuriye ve Celile han\u0131mlar gibi, biri grav\u00fcrde, di\u011feri pastel ve ya\u011fl\u0131boya eser vermi\u015f kad\u0131nlar varsa da, ilkinin yapt\u0131\u011f\u0131 \u00fc\u00e7 be\u015f grav\u00fcrden \u00f6teye bu mesle\u011fe fazla e\u011filmemesi, di\u011ferinin de tekni\u011finde Mihri Han\u0131m d\u00fczeyine eri\u015fememesi a\u00e7\u0131s\u0131ndan Mihri Han\u0131m\u2019\u0131 yaln\u0131z s\u00fcrg\u00fcndeki \u00c7erkeslerin de\u011fil, belki T\u00fcrkiye\u2019nin de ilk kad\u0131n ressam\u0131 olarak tan\u0131mlamak do\u011fru olur. Mihri Han\u0131m\u2019a \u00f6ncelik veren bir di\u011fer fakt\u00f6rde Sultan Re\u015fat d\u00f6neminde kap\u0131s\u0131n\u0131 ilk defa T\u00fcrk ve M\u00fcsl\u00fcman k\u0131zlar\u0131na a\u00e7an \u201cK\u0131z G\u00fczel Sanatlar Okulu\u201dnun ilk kad\u0131n profes\u00f6r\u00fc olmas\u0131d\u0131r. \u0130stanbul\u2019da oldu\u011fu kadar, belki daha da fazla Roma\u2019da, Paris\u2019te ve yerle\u015fip \u00f6mr\u00fcn\u00fcn son y\u0131llar\u0131n\u0131 ge\u00e7irdi\u011fi Amerika\u2019da pek \u00e7ok \u00fcnl\u00fclerin portrelerini yapmas\u0131, Mihri Han\u0131m\u2019\u0131 uluslar aras\u0131 nitelikte bir kad\u0131n ressam d\u00fczeyine \u00e7\u0131karm\u0131\u015ft\u0131r. Ara\u015ft\u0131rmalara g\u00f6re T\u00fcrkiye\u2019de 32, \u0130talya\u2019da 36, Fransa\u2019da 9\u2019u galerilerde sat\u0131lm\u0131\u015f olan 23, Amerika\u2019da 60\u2019\u0131 a\u015fk\u0131n eseri bulunmaktad\u0131r. <\/span><\/p>\n

[metaslider id=”5752″]<\/span><\/p>\n

Mihri Han\u0131m, \u201cAskeri T\u0131bbiye\u201dnin \u00fcnl\u00fc hocalar\u0131ndan \u00c7erkes Dr. Mehmet Rasim Pa\u015fa\u2019n\u0131n k\u0131z\u0131d\u0131r. Dr. Rasim Pa\u015fa, t\u0131bb\u0131n anatomi dal\u0131ndaki uzmanl\u0131\u011f\u0131 yan\u0131nda musikiden de anlayan, enstr\u00fcman \u00e7alan \u00e7ok y\u00f6nl\u00fc bir ayd\u0131n olarak tan\u0131n\u0131r. G\u00f6revi nedeniyle kendisinden \u201cT\u0131bbiye Naz\u0131r\u0131\u201d veya \u201cT\u0131bbiye Reisi\u201d olarak da bahsedilen Mehmet Rasim Pa\u015fa\u2019n\u0131n \u00c7aml\u0131ca\u2019da bir k\u00f6\u015fk\u00fc, Kad\u0131k\u00f6y\u2019de Bahariye semtinde bir kona\u011f\u0131 vard\u0131. Hatta bu kona\u011f\u0131n bulundu\u011fu soka\u011fa bir zamanlar Dr. Rasim Pa\u015fa ad\u0131 verilmi\u015fti. Ressam\u0131m\u0131z Mihri Han\u0131m 1886 y\u0131l\u0131nda i\u015fte bu konakta do\u011fdu.<\/p>\n

Ayd\u0131n bir ki\u015fili\u011fi olan Dr. Rasim Pa\u015fa \u00e7ocuklar\u0131na bat\u0131ya d\u00f6n\u00fck bir e\u011fitim verdi. Mihri\u2019nin edebiyata, musikiye ve resme olan yetenekleri belirgin hale gelince, bunlardan ilk ikisi bir kenara itildi. Mihri\u2019nin resme olan ola\u011fan\u00fcst\u00fc e\u011filimi, saray ressam\u0131 Zonaro\u2019nun dikkatini \u00e7ekmi\u015fti. Zonaro, Akaretlerdeki b\u00fcy\u00fck at\u00f6lyesinde k\u00fc\u00e7\u00fck Mihri\u2019ye \u00f6zel dersler verdi. Zonaro\u2019nun verdi\u011fi dersler, Mihri\u2019de bat\u0131 sanat\u0131n\u0131n \u00f6zlemin filizlendirdi. O g\u00fcn\u00fcn ko\u015fullar\u0131 i\u00e7inde bir k\u0131z\u0131n resim e\u011fitimi i\u00e7in Avrupa\u2019ya g\u00f6nderilmesi \u00e7ok yad\u0131rganacak bir \u015fey oldu\u011fundan, b\u00fcy\u00fckannesinin Ye\u015filk\u00f6y\u2019deki evine s\u0131\u011f\u0131nan Mihri, sahte bir pasaportla Galata\u2019dan kalkan bir \u0130talyan vapuruna atlad\u0131. Bir s\u00fcre Roma\u2019daki aile tan\u0131d\u0131klar\u0131 yan\u0131nda kald\u0131ktan sonra sanat d\u00fcnyas\u0131n\u0131n o zamanki merkezi say\u0131lan Paris\u2019e giderek e\u011fitim ve \u00f6\u011frenimini orada s\u00fcrd\u00fcrd\u00fc. O y\u0131llarda oldu\u011fu gibi bug\u00fcn de ressamlar\u0131n sitesi niteli\u011finde olan Montparnasse\u2019a yerle\u015fti. Portreler yaparak hayat\u0131n\u0131 kazanmaya ba\u015flad\u0131. Bu arada Sorbon\u2019da siyasi bilimler \u00f6\u011frenimi g\u00f6rmekte olan Bursa\u2019l\u0131 Selami Pa\u015fa\u2019n\u0131n o\u011flu M\u00fc\u015ffik Selami Bey\u2019le tan\u0131\u015farak evlendi.<\/p>\n

Balkan Sava\u015f\u0131\u2019ndan sonra, Frans\u0131z\u2019larla bir bor\u00e7 anla\u015fmas\u0131 yapabilmek i\u00e7in Paris\u2019e giden, devrin Maliye Naz\u0131r\u0131 Cavit Bey, Osmanl\u0131 el\u00e7ili\u011findeki resepsiyon s\u0131ras\u0131nda, Ressam Mihri Han\u0131m\u2019la tan\u0131\u015ft\u0131. Naz\u0131r, \u0130ttihat ve Terakki H\u00fck\u00fcmeti taraf\u0131ndan bat\u0131ya d\u00f6n\u00fck bir e\u011fitim sistemi uygulan\u0131rken, b\u00f6ylesine yetenekli bir kad\u0131ndan yararlanman\u0131n gere\u011fini, bir telgrafla Maarif Naz\u0131r\u0131na \u00f6nerdi. B\u00f6ylece Mihri Han\u0131m \u0130stanbul \u201cDar\u00fclmuallimat\u201d (K\u0131z \u00d6\u011fretmen Okulu) resim \u00f6\u011fretmenli\u011fine atand\u0131. (1913)<\/p>\n

O y\u0131llarda Osmanl\u0131 \u00fclkesinde M\u00fcsl\u00fcman halk\u0131n k\u0131zlar\u0131n\u0131n devam etti\u011fi en y\u00fcksek \u00f6\u011fretim kurulu\u015fu, K\u0131z \u00d6\u011fretmen Okulu idi. Bilgi ve g\u00f6rg\u00fc birikimi, tatl\u0131 konu\u015fmalar\u0131 ve insanc\u0131l yakla\u015f\u0131m\u0131 ile Mihri Han\u0131m, t\u00fcm \u00f6\u011frencileri etkileyen ve taparcas\u0131na sevilen bir \u00f6\u011fretmen oldu. Hatta, hayata at\u0131lan \u00f6\u011frencileri evlenip k\u0131z \u00e7ocuk do\u011furduklar\u0131 zaman, \u00e7o\u011funlukla k\u0131zlar\u0131na \u201cMihri\u201d ad\u0131n\u0131 koydular. Mihri Han\u0131m, \u00f6\u011frencilerinin g\u00f6z\u00fcnde b\u00f6ylesine unutulmayan ve g\u00f6n\u00fcllerde ya\u015fayan bir ki\u015filik kazanm\u0131\u015ft\u0131.<\/p>\n

1914 y\u0131l\u0131nda k\u0131z \u00f6\u011frencilerin de y\u00fcksek \u00f6\u011frenim g\u00f6rmelerine, \u00f6zellikle g\u00fczel sanatlar alan\u0131nda yarat\u0131c\u0131l\u0131klar\u0131na olanak sa\u011flamak i\u00e7in bir \u201c\u0130nas Sanayi-i Nefise Mektebi\u201d (K\u0131zlar \u0130\u00e7in G\u00fczel Sanatlar Okulu) a\u00e7\u0131ld\u0131. O g\u00fcn\u00fcn tutucu ortam\u0131 g\u00f6z \u00f6n\u00fcnde bulundurularak, k\u0131zlar i\u00e7in a\u00e7\u0131lan bu okula, bir kad\u0131n \u00f6\u011fretmenin atanmas\u0131 uygun g\u00f6r\u00fcld\u00fc. T\u00fcrk k\u0131zlar\u0131na g\u00fcven veren Mihri Han\u0131m\u2019\u0131n ki\u015fili\u011fi, bu okula y\u00fcksek d\u00fczeyde bir kat\u0131l\u0131m sa\u011flad\u0131.<\/p>\n

K\u00fc\u00e7\u00fck ya\u015flardan beri resme oldu\u011fu gibi \u015fiire ve edebiyata da e\u011filimli olan Mihri Han\u0131m bu konuda \u00e7al\u0131\u015fmalar\u0131n\u0131 ilerletmemi\u015f olmakla beraber uza\u011f\u0131nda da kalmad\u0131. Paris\u2019ten \u0130stanbul\u2019a d\u00f6nd\u00fc\u011f\u00fc g\u00fcnlerde Tevfik Fikret, R\u0131za Tevfik, H\u00fcseyin Cahit gibi \u00fcnl\u00fc edebiyat\u00e7\u0131lar\u0131n portrelerini yaparken, renkli bir edebiyat ortam\u0131 i\u00e7erisindeydi. \u00d6zellikle \u015fair Tevfik Fikret\u2019le olan dostlu\u011fu unutulmaz an\u0131larla doludur. Kendisi de f\u0131r\u00e7a kullanan ve portreler yapan Tevfik Fikret, Mihri Han\u0131m\u2019\u0131n en g\u00fc\u00e7l\u00fc tan\u0131t\u0131c\u0131s\u0131 ve taktircisi oldu. Fikret \u00f6ld\u00fc\u011f\u00fcnde Mihri Han\u0131m h\u0131\u00e7k\u0131ra h\u0131\u00e7k\u0131ra a\u011flayarak \u00fczerine kapanm\u0131\u015f ve bat\u0131da yap\u0131ld\u0131\u011f\u0131 gibi y\u00fcz\u00fcn\u00fcn kal\u0131b\u0131n\u0131 alm\u0131\u015ft\u0131r.<\/p>\n

Muhtemelen T\u00fcrkiye\u2019de yap\u0131lan ilk mask olur.<\/p>\n

Mihri Han\u0131m, meslekta\u015f\u0131 ve kendisi gibi Kafkasya k\u00f6kenli olan ressam Nam\u0131k \u0130smail (Ze\u015fo) ve Avni L\u0131f\u0131j Beylerle de dostluk kurmu\u015f ve ayn\u0131 y\u0131llarda \u0130stanbul\u2019da kurulmu\u015f olan \u201c\u00c7erkes Kad\u0131nlar\u0131 Teav\u00fcn Cemiyeti\u201dnin \u00fcyeleri aras\u0131nda bulunmu\u015ftur. Nam\u0131k \u0130smail Bey, bu derne\u011fin Be\u015fikta\u015f\u2019ta a\u00e7t\u0131\u011f\u0131 \u201c\u00c7erkes \u00d6rnek Okulu\u201dnda resim ve Frans\u0131zca dersleri vermekteydi. Mihri Han\u0131m, 1922 y\u0131l\u0131nda Yunan ordusunun denize d\u00f6k\u00fclmesinin ilham\u0131yla Mustafa Kemal\u2019i mare\u015fal \u00fcniformas\u0131yla canland\u0131ran bir portre de yapm\u0131\u015f ve \u00c7ankaya\u2019ya g\u00f6t\u00fcrerek Ba\u015fkumandana sunmu\u015ftur. Bu tablo sonradan Yugoslavya Kral\u0131 Alekdandr\u2019a hediye edilmi\u015f ve \u0130kinci D\u00fcnya Sava\u015f\u0131 y\u0131llar\u0131nda kaybolmu\u015ftur. Bug\u00fcn elimizde bask\u0131s\u0131 yap\u0131lan bir foto\u011fraf\u0131 bulunmaktad\u0131r.<\/p>\n

Mihri Han\u0131m, 1922 y\u0131l\u0131n\u0131n sonlar\u0131nda baz\u0131 k\u0131skan\u00e7l\u0131klar ve \u00e7ekememezlikler y\u00fcz\u00fcnden T\u00fcrkiye\u2019yi ikinci kez terk ederek Avrupa\u2019ya gitti. Mihri Han\u0131m\u2019\u0131n T\u00fcrkiye\u2019den ve e\u015finden kopu\u015funda, eski \u0130ttihat ve Terakki Partisi ileri gelenleri ile olan yak\u0131nl\u0131\u011f\u0131 ve onlardan baz\u0131lar\u0131n\u0131n takibata u\u011framas\u0131n\u0131n kendisine kadar uzanabilece\u011fi endi\u015fesinin de rol oynad\u0131\u011f\u0131 anla\u015f\u0131lmaktad\u0131r.<\/p>\n

Mihri Han\u0131m ikinci kez gitti\u011fi Roma\u2019da, \u00f6\u011frencilik y\u0131llar\u0131n\u0131n an\u0131lar\u0131 aras\u0131nda, portreler yaparak, uzun s\u00fcre ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc. Konu olarak daima \u00fcnl\u00fc ki\u015fileri se\u00e7ti. \u0130talyanlar\u2019\u0131n milli kahraman\u0131 ve \u015fairi Gabriel d\u2019Annunzio\u2019nun ve onun vas\u0131tas\u0131yla birka\u00e7 kez Vatikan\u2019a kabul edilerek Papa\u2019n\u0131n portresini yapt\u0131. Bir Papa\u2019n\u0131n kar\u015f\u0131s\u0131nda durarak poz verdi\u011fi tek M\u00fcsl\u00fcman ve kad\u0131n ressam da\u00a0herhalde odur. Ne var ki, bu portre ancak, yeni Papa\u2019n\u0131n se\u00e7imine kadar Vatikan m\u00fczesinde kald\u0131. Daha sonra izi ve kayd\u0131 bilinmeyecek bir k\u00f6\u015feye at\u0131ld\u0131.<\/p>\n

Mihri han\u0131n, e\u015finden 1922 y\u0131l\u0131n\u0131n yaz\u0131nda bo\u015fanm\u0131\u015ft\u0131. G\u00fczelli\u011fi ile \u00fcnl\u00fc olan k\u0131z karde\u015fi Enise Salih Han\u0131m\u2019\u0131n da e\u015finden ayr\u0131larak \u0130svi\u00e7re\u2019de Bale Sanatoryumu\u2019nda veremden \u00f6lmesi, ard\u0131ndan ilk resim dersini verdi\u011fi ye\u011feni Hale Asaf\u2019\u0131n 1938\u2019de Paris\u2019te kanserden gen\u00e7 ya\u015fta hayata g\u00f6zlerini kapamas\u0131 \u00fczerine, Roma\u2019dan sonra yerle\u015fti\u011fi Paris\u2019te fazla oturamad\u0131. \u00d6mr\u00fcn\u00fcn kalan k\u0131sm\u0131n\u0131 bir ba\u015fka d\u00fcnyada, Amerika\u2019da ge\u00e7irmek istedi. Orada bir s\u00fcre \u00fcniversitelerde resim profes\u00f6rl\u00fc\u011f\u00fc yapt\u0131. Zengin Amerikan ailelerine \u00f6zel resim dersleri vererek ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc. 1954 y\u0131l\u0131nda ac\u0131nacak bir yoksulluk i\u00e7inde \u00f6ld\u00fc. Kimsesizler mezarl\u0131\u011f\u0131na g\u00f6m\u00fcld\u00fc.<\/p>\n

Tablolar\u0131n\u0131n baz\u0131lar\u0131n\u0131n, bir atalar\u0131n\u0131n yurdundaki m\u00fczede yer almas\u0131 umudu, belki onun i\u00e7in bir mezar ta\u015f\u0131 yerine ge\u00e7ebilir.<\/p>\n","protected":false},"excerpt":{"rendered":"

Avni Dıpşov Kafkasya Gerçeği, Ekim 1990, Sayı:2, Sayfa: 19-20-21-22 Türkiye’de kadınların fırça kullanması ve resim yapması yeni sayılır. Başlangıcı yirminci yüzyılın ilk yıllarına, Osmanlı İmparatorluğu’nun çöküş dönemine rastlar. “Meşrutiyet” döneminden “Cumhuriyet” dönemine kadarki zaman dilimi içerisinde, güzel sanatların resim dalında yetişenleri, mesleklerinde öncü kadınlar olarak niteleyebiliriz. Ünlü kadın ressamımız Mihri Hanım da bunların başında gelir. 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