Mektup, günlük, vb. olarak kaleme alınan seyahatnameler yazılış amacına göre değişmektedir. Seyahatnamelerde kaleme alınan ülke, şehir ve kentlerin askeri donanımı, yolları, sosyal yaşantılarının yanı sıra dini hayatına da değinilmiştir. Avrupalı gezginlerin XV. ve XIX. yüzyıllar arasında Osmanlı İmparatorluğu’na yapmış oldukları geziler sırasında gördüklerini aktarma ve tanıtma amaçlı hem görsel hem metinsel yansımalarının aktarıldığı gezi notlarında birbirinden faklı bilgilerin yanı sıra İslam dini ve dervişler hakkında bilgiler yer almaktadır. Objektif olarak bakmaya çalışsalar da kendi dinlerinden farklı olan İslam dini ve bunu farklı ritüellerle ele alan dervişleri gerek metinsel aktarım gerekse gravürlerle ön yargılarını kırmadan baktıkları görülmektedir. Seyahatnamelerde ele alınan Kalenderi ve Mevlevî dervişlerinin gezginler tarafından oldukça farklı özellikte ele alındığı seyahatnamelerde, sanatın bir propaganda aracı olarak kullandığı net bir biçimde görülmektedir. Gezginlerin ziyaret ettikleri dönemlerde hem İslam dinine hem de dervişlere karşı oluşan önyargılarını kaleme alarak gezi notlarıyla destekleyip önyargıların artmasını sağlamışlardır. Birbirlerine yakın metinsel aktarımda bulunan gezginler yanlarında getirdikleri sanatçılara çizdirdikleri ya da metne bağlı kalarak sanatçının imgesine bıraktığı derviş gravürlerinde aktarılan farklılıkları net bir şekilde görmekteyiz.

Travelogues written as letters, diaries, etc. vary depending on the purpose of writing. In the travelogues, the military equipment, roads, social lives of the countries, cities and towns written were mentioned, as well as their religious life. XV of European travelers. and XIX. The dervishes and Islam in addition to different information about the trip notes and to promote what they see in their travels to the Ottoman Empire both visual and textual transfer of the image to be transferred includes information about each other. Although they try to look objectively, it seems that they look at the religion of Islam, which is different from their own religion, and the dervishes, who treat them with different rituals without breaking their prejudices, with both text transmission and engravings. It is clear that art is used as a propaganda tool in travelogues, where the Kalenderi and Mevlevi dervishes discussed in the travelogues are treated by travelers in quite different ways. During their travels, they supported the prejudices of travelers against both the Islamic religion and the dervishes by writing and increasing their prejudices with travel notes. Travelers who are in close textual communication with each other clearly see the differences conveyed in the dervish engravings that they have made artists draw with them or left in the artist's image by adhering to the text. The Islamic religion, which is a very different religion from their own religion, and the large number of people who believe in this religion have attracted the attention of European travelers and have made additions to travel notes with a lot of different information from each other. In addition to the notes attached, the travelogues, which are visually supported by engravings, provide sociological information as well as being documentary. The engravings transferred as a result of the descriptions of travelers or the artists' own observations were taken from the artists' own perspective. The religious life and dervishes discussed in the travelogues and engravings were handled in line with the travelers' own education and tendencies, and they caused prejudices against the religious life of the Ottoman Empire and dervishes in their own countries. For this reason, it is necessary to pay attention to the errors that occur as a result of this information transferred without even having the most basic Islamic religious knowledge. The travel notes contain recurring information about the religious life of the Turks. Travelers who came to visit the Ottoman lands questioned the place of these concepts in Islam and the laws of the Islamic religion by considering the issue of dervishness in Islam, which is a different religion from their own religious beliefs, and wrote down the information they had obtained. Travelers who could not easily enter the houses of worship in the Ottoman lands entered the Mevlevi and Kalender dervish lodges rather than mosques and gave information about the worship of the dervishes. In this article, which we aim to show how the dervishes in the engravings were written in the travel notes of the travelers and how they actually lived in the Ottoman lands, we tried to show that the European states, which used art as a propaganda tool, distorted how the religion of Islam was lived in the Ottoman lands among different groups. The engraving you obtain from travelogues and imagery that we discussed in Islamic sources about the method in accordance with the Dervish and travel information we obtain from the stylistic differences between both artists, in comparison with the variation that occurs within the period we tried to show both transmitted in dervish. When looking at the literature, it is seen that dervishes such as Rufai, Kalenderi, Mevlevi are examined by considering them one by one. While depictions in travelogues are included in such studies, engravings are not included in many of them. In this study, which we support with engravings, we aim to draw attention to the difference in style and visual depictions between artists, to look from a different perspective and to contribute to the literature in this field. In this study, in which we used the analysis method, XV: and XIX. We have discussed the Kalenderi and Mevlevi dervishes, who took place in travel books between the centuries. The travel books of the travelers who came to the Ottoman lands in different centuries for the determination of the source were examined and the parts that would contribute were added to the study. Apart from these, Islamic sources, master's and doctoral theses were examined and necessary places were added.