In Osman Hamdi Bey’s paintings, versatile expressions, meanings, and contents were encountered. In most of his works, he included the space, from, and motifs of Eastern culture. He handled the figures and objects he dealt with in a realistic method, preserving their forms. His pictures are photographic, like the frame of a moment. Therefore, he evokes a feeling of unfinishedness in his paintings. 

Including Osman Hamdi Bey’s work analysis within the scope of the research; will enable them to know how the relationship between meaning, form and content in their works is handled. With the knowledge of this situation, it is hoped that it will shed light on how the relationship between motif and stylization in the artist’s paintings can be related. The motifs in Osman Hamdi Bey’s paintings are carpet and kilim motifs of different cultures, as stated in the scope of the article. The research includes who these cultures are. In addition, the stylization tendencies of the motifs in his paintings are also mentioned. In addition, the content of the subject has been enriched by making comparisons between contemporary artists and their works, and their common and separated aspects from the artist have been examined. Within the scope of the subject, three paintings made by the artist at different times were analyzed. These works are Ab-ı Hayat Fountain, Weapon Dealer and Woman with Mimosa. In his paintings made at different times, stylistic changes were observed over time. Different stylistic features were identified in his three paintings and what these points were was explained. In addition, the analysis of the works of Şeker Ahmet Pasha and Nazmi Ziya Güran, who are the contemporary artist, is included in the subject and the differences in interpretation between the artists are determined. It was revealed that all three artists applied different identities, structures and shaping orientations in the same period. It can be stated that their similar points are the stylizations they applied in their paintings. Many artists who are contemporary of the artist in Turkish art have progressed in either a realist or an impressionist line. However, although a realistic style draws attention in Osman Hamdi Bey’s paintings; The stylization orientation on the floors, walls and motifs in his paintings has drawn attention. For this reason, it is hoped that Osman Hamdi Bey’s paintings will reveal a situation that could not be detected and researched before. With the research of this subject in Turkish art; Due diligence will be made about why stylization is important in a painting. 

In order to realize the meaning and content of Osman Hamdi Bey’s paintings, the following titles are included in the research: The Relationship between Motif and Stylization, Stylization and Meaning: “Ab-ı Hayat Fountain”, Pictorial Style and Meaning: “The Gun Dealer”, Analysis of the Work: “Woman with Mimosa”.

The relationship between motif and stylization is mentioned in the title titled “Relationship of Motif and Stylization”. It has been explained that stylization is a technique   and a method of expression. What the motif is and how it is handled in the works of the artists are examined. In addition, the artists who included stylization in the motifs in their paintings were identified and exemplified.

Stylization and Meaning: “The analysis of Osman Hamdi Bey’s Ab-ı Hayat Fountain” under the title “Ab-ı Hayat Fountain” has been made. The figure, rug, fountain, and space in the work are emphasized; Information on how the stylization is done on prominent motifs is given. In addition, it was determined and explained to which regions the motifs belong. In addition, Şeker Ahmet Paşa’s work called Self-Portrait was included and a comparison was made with Osman Hamdi Bey’s Ab-ı Hayat Fountain; The differences and common aspects of both artists are mentioned.

Osman Hamdi Bey’s work titled Pictorial Style and Meaning: “The Gun Dealer” is included in the title “The Gun Dealer”. The column capital and the motifs on the weapon in the work were examined and how the artist handled the stylization was examined. In addition, the work analysis of his contemporary Nazmi Ziya Güran and the work of Osman Hamdi Bey and Nazmi Ziya Güran were compared. Similar features of artists working in two different styles were highlighted. Thus, the interpretation differences in the works of the artists were determined

Analysis of the Work: In the title of “Woman with Mimosa”, the stylistic difference of the artist was revealed. In the study, it was determined that Osman Hamdi Bey used different techniques together in his paintings. It is known that he is an Orientalist among many sources. Although it is Orientalist as an approach to the subject, it has been realized that it is not a correct approach to limit the artist only to this movement. The artist’s work named Woman with Mimosa was evaluated in this context. It has been understood that her work titled Woman with Mimosa is different from other works of the artist, as it contains both Impressionist and Orientalist influences. In this respect, it has been concluded that the painting is suitable for stylization, as wide brush strokes, a transfer away from details and instant impressions draw attention.

As a result, the technique and expression orientation Osman Hamdi Bey used in his paintings; is proof that the artist should not be limited to only one movement. In order to understand the subject, sub-titles and artist examples are included in the research. Although the techniques used by Osman Hamdi Bey in the works of contemporary artists are different, similarities have been identified in the stylization technique. In this respect, it is important to analyze the artist’s work to understand the modern line of Turkish art and to enlighten future generations. In addition, it is thought that it will contribute to the reader realising how the stylization technique is used in Turkish art and with which objects and expressions it is applied.