1995-03-30T23:59:59Z
2023-10-17T03:43:42Z
"Et il y aura un seul troupeau. . . : l'imaginaire de la confrontation entre Turcs et Chrétiens dans l'art figuratif en France et en Italie de 1453 aux années 1620
1994
1994-01-01
La confrontation avec les turcs, a partir de 1453, a suscite, tant en france qu'en italie, une importante production d'images constituant une veritable culture iconographique : ces representations ont ete les cristallisations de conceptions propres a ces deux cultures nationales, voire d'idees communes, parfois meme l'expression inedite d'attitudes collectives. La conversion des turcs au catholicisme, qui aurait ainsi conduit a la formation d'"un seul troupeau", a ete le fondement d'une confrontation entre chretiente et islam turc qui, dans l'econographie, ne laissa pas de place a une coexistence pacifique, en dehors des representations de cette conversion longtemps esperee, notamment en italie. Parallelement, l'islam turquifie etait denonce, tant en france qu'en italie, par une iconographie hostile qui le presentait comme monstrueux et attaquait la personne du prophete-imposteur. L'echec de la conversion conduisit a condamner la tyrannie turque, dont on figura les persecutions des chretiens et les traits des plus fameux sultans, notamment dans la peinture italienne. L'hostilite politico-religieuse debouchait sur l'incessants appels a la croisade, contraries par la politique europeenne face aux turcs : a l'implication francaise initiale succeda l'alliance politique des valois avec la porte, qui laissa le champ libre aux tentatives de l'empereur pour une croisade, inflexion sensible dans l'iconographie italienne. Les preparatifs diplomatiques et militaires a la confrontation armee eurent aussi une iconographie propre, qui perdura jusqu'au debut du dix-septieme siecle. L'affrontement fut le sujet de predilection d'images, de plus en plus nombreuses et produites par un concours accru de l'ensemble des arts visuels, qui contribuerent a fixer une memoire dont lepante fut l'evenement symbolique : oublis et cristallisations sont des lors plus comprehensibles, tout comme les consequences graphiques des choix politiques italiens ou francais.
As from 1453, the confrontation with the turks triggered, in france as well as in italy, a vast production of images which constitutes a true iconographie culture : those representations crystallized notions which were inherent in those two national cultures, and sometimes even were the novel expressions of collective attitudes. The conversion of the turks to catholicism, which therefore would have led to "one flock", was the basis of a confrontatioin between christendom and turkish islam which, in the field of iconography, did not leave any room for any notion of pacific coexistence outside the representations of this longawaited conversion, especially in italy. Simultaneously, the turkified islam was denounced, in france and in italy too, by a hostile iconography which presented it as monstruous and attacked the false prophet. The failure of the conversion led to condemn the turkish tyranny, which persecutions against christians and which features of the most famous sultans were represented, particularly in italian painting. The outcome of the political-religious hostility was ceaseless calls for the crusade, which were hampered by the european policy with regard to the turks : after the french involvement came the political alliance of the valois dynasty with the gate, which gave full scope to the attempts at a crusade on the part of the emperor, and this change was reflected in the italian iconography. The diplomatic and military preparations for the military clash also engendered an iconography of their own, which lasted through the beginning of the 17th century. The confrontatioin was the favourite topic of images which became increasingly numerous and were more and more the fruit of the joint endeavours of the visual arts. Those images contributed to the remembrance of which lepanto was the symbolic event : we thus understand more clearly oblivion and remembrance, as well as the graphical consequences of the french or italian political choices.
Chrétiens -- Dans l'art
Turcs -- Dans l'art
Illustrations -- 16e siècle
Orient et Occident -- Dans l'art
Le Thiec, Guy
Jouanna, Arlette
Montpellier 3