{"id":{"repo_id":"vcu","oai_identifier":"oai:scholarscompass.vcu.edu:etd-1355"},"canonical_url":"https://search.dev.ndltd.org/etd/vcu/oai:scholarscompass.vcu.edu:etd-1355","repository":{"repo_id":"vcu","name":"Virginia Commonwealth University","base_url":"https://scholarscompass.vcu.edu/do/oai/"},"display":{"title":"The Portrait Prints of Mehmed II","abstract":"This thesis examines four European portrait prints of Ottoman sultan Mehmed II, dated 1470 to 1493. At the center of this study is a formal and iconographical analysis that indicated all are rooted in traditional artistic conventions of both Western princely portraiture and stereotypical imagery of evil doers. Part of a feverish textual and visual discourse that was the result of great fear for the Ottoman aggression, they all adhere to a conventionalized type for the Eastern despot. The portraits employ to varying degrees a general pictorial language of evil, based on medieval folk imagery, that employed sartorial and physical signifiers used for a wide range of social groups that were not accepted by Christian society. The result is four images that share certain characteristics, most notably an iconic hat, but differ considerably in others to bring across diverging messages about the sultan's ambiguous public identity.","abstract_html":"This thesis examines four European portrait prints of Ottoman sultan Mehmed II, dated 1470 to 1493. At the center of this study is a formal and iconographical analysis that indicated all are rooted in traditional artistic conventions of both Western princely portraiture and stereotypical imagery of evil doers. Part of a feverish textual and visual discourse that was the result of great fear for the Ottoman aggression, they all adhere to a conventionalized type for the Eastern despot. The portraits employ to varying degrees a general pictorial language of evil, based on medieval folk imagery, that employed sartorial and physical signifiers used for a wide range of social groups that were not accepted by Christian society. The result is four images that share certain characteristics, most notably an iconic hat, but differ considerably in others to bring across diverging messages about the sultan's ambiguous public identity.","abstract_has_math":false,"creators":["Turpijn, Saskia"],"institution":null,"degree_name":"Master of Fine Arts","degree_level":"Thesis","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["Eric Garberson","Janna Israel","Michael Schreffler","Fredrika Jacobs"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2012,"date_issued":"2012-04-10T07:00:00Z","date_published":"2012-04-10T07:00:00Z","updated_at":"2026-07-24T05:53:48Z","subjects":["portrait","woodcut","engraving","fifteenth-century","Mehmed II","Arts and Humanities"],"languages":[],"rights":["© The Author"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarscompass.vcu.edu/etd/356"],"render_values":[{"text":"https://scholarscompass.vcu.edu/etd/356","href":"https://scholarscompass.vcu.edu/etd/356","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.25772/MNW1-N338","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Eric Garberson","Janna Israel","Michael Schreffler","Fredrika Jacobs"]},{"key":"dc:creator","label":"Author","values":["Turpijn, Saskia"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2022-05-14T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Fine Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["portrait","woodcut","engraving","fifteenth-century","Mehmed II","Arts and Humanities"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["© The Author"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.25772/MNW1-N338","https://scholarscompass.vcu.edu/etd/356"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis examines four European portrait prints of Ottoman sultan Mehmed II, dated 1470 to 1493. At the center of this study is a formal and iconographical analysis that indicated all are rooted in traditional artistic conventions of both Western princely portraiture and stereotypical imagery of evil doers. Part of a feverish textual and visual discourse that was the result of great fear for the Ottoman aggression, they all adhere to a conventionalized type for the Eastern despot. The portraits employ to varying degrees a general pictorial language of evil, based on medieval folk imagery, that employed sartorial and physical signifiers used for a wide range of social groups that were not accepted by Christian society. The result is four images that share certain characteristics, most notably an iconic hat, but differ considerably in others to bring across diverging messages about the sultan's ambiguous public identity."]},{"key":"dc:title","label":"Title","values":["The Portrait Prints of Mehmed II"]}]}],"canonical_facts":{"dc:contributor":["Eric Garberson","Janna Israel","Michael Schreffler","Fredrika Jacobs"],"dc:creator":["Turpijn, Saskia"],"dc:date.available":["2022-05-14T07:00:00Z"],"dc:description.abstract":["This thesis examines four European portrait prints of Ottoman sultan Mehmed II, dated 1470 to 1493. At the center of this study is a formal and iconographical analysis that indicated all are rooted in traditional artistic conventions of both Western princely portraiture and stereotypical imagery of evil doers. Part of a feverish textual and visual discourse that was the result of great fear for the Ottoman aggression, they all adhere to a conventionalized type for the Eastern despot. The portraits employ to varying degrees a general pictorial language of evil, based on medieval folk imagery, that employed sartorial and physical signifiers used for a wide range of social groups that were not accepted by Christian society. The result is four images that share certain characteristics, most notably an iconic hat, but differ considerably in others to bring across diverging messages about the sultan's ambiguous public identity."],"dc:identifier":["https://doi.org/10.25772/MNW1-N338","https://scholarscompass.vcu.edu/etd/356"],"dc:rights":["© The Author"],"dc:subject":["portrait","woodcut","engraving","fifteenth-century","Mehmed II","Arts and Humanities"],"dc:title":["The Portrait Prints of Mehmed II"],"thesis:degree_discipline":["Art History"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Fine Arts"]},"updated_at":"2026-07-24T05:53:48Z"}