- Mimar Sinan Güzel Sanatlar Üniversitesi
Meslek Yüksekokulu
Esma Igus
Mimar Sinan Fine Arts University, Vacational School, Faculty Member
- History, Art History, History of Ottoman Art and Architecture, History of Istanbul, Late Ottoman Period, 19th century Ottoman history and politics of education, and 78 moreModern Ottoman History, Ottoman Turkish historical writing, Ottoman History, Gender Studies, Women's Studies, Women's History, History of Perspective in Painting, Painting, Ottoman Education, Islamic Traditional Textiles and Costumes, Traditional Clothing, Food in history roman to Victorian, Clothing and costume 1000-1820, Naval and Military 1000-1820, Armenian Studies, Museum Studies, History of Museums, Marxist and Materialist Feminism, Feminist Theory, Feminism, Woman Studies, Orientalism, Orientalism in art, Edward Said; orientalism; Anti-Westernism, History of Costume, Social History, History of clothing and fashion, Fashion History, Women and Gender Studies, Feminist Art History, Womens History, 19th Century (History), Historical Theory, Nazım Hikmet, Mythology, History of Modern Turkey, Ottoman Armenians, Early modern Ottoman History, Gentrification, Sanat, Identity (Culture), Orhan Pamuk, Ahmet Hamdi Tanpınar, Archaeology; Looting, Looting Art, Looted art, Cultural Heritage, Heritage Studies, Late Ottoman Social History, 19th Century Ottoman History, Genocide Studies, Ottoman Genocide(s), Minorities in Turkey, History of photography, Middle East Studies, Armenian History, History of Religions, Catholic and Protestant Missionaries in the Ottoman Empire, Christians In the Ottoman Empire, Ottoman-Armenian History and Material Culture, Ottoman Anatolia (1200-1500) Comparative empire, Islamic History, British Imperial and Colonial History (1600 - ), Post-Colonialism, cultural crossing and post colonialism in archaeology (Phoenician period), Türk Islam Sanatı, Ottoman Balkans, Victorian Studies, Nineteenth Century Studies, Nineteenth Century British History and Culture, Victorian cultural studies, Travel Writing, Gender Studies, Ottoman Selanik (Thessaloniki), Urban History, Istanbul, History of architecture, Cultural Studies, Cultural History, Louisiana Creole Culture, and Gender and Sexualityedit
- PhD Thesis: II. Abdülhamid Dönemi Eğitim Sistemi, Eğitim Yapıları ve Askeri Rüşdiyeler/ Abdul Hamid II's Period Education System, Education Buildings and Military Secondary Schoolsedit
This article aims to analyze the transition of domestic life design from alaturka to alafranga, one of the visible stages of Ottoman modernization. Our primary source was interior photographs of the Ottoman Embassy in Sofia. Leyla Asım... more
This article aims to analyze the transition of domestic life design from alaturka to alafranga, one of the visible stages of Ottoman modernization. Our primary source was interior photographs of the Ottoman Embassy in Sofia. Leyla Asım Turgut Heritage houses these photographs in Painting and Sculpture Museum Archive at Mimar Sinan Fine Arts University in Istanbul. Leyla Asım Turgut, the daughter of first Sofia Ambassador and Foreign Minister of Ottoman Empire Mustafa Asım Turgut, is one of the first female architects in Turkey during the Turkish Republican era. The estate was transferred to the museum after Leyla Asım Turgut's death in accordence with her will in 1996. There are seven photographs of the interior of the heritage in total. However, there are no photographs of the exterior of the embassy. The photographs of the Sofia Embassy are an objective represantation of the social changes in the process of modernization of the Ottoman through the use of space and design. It is also archival material. It has historical and evidentiary value regarding the furniture fashion and spirit of the time. Therefore, these photographs provide a rich source of study for scholars in the fields of modernization, Ottoman family history, social history, art history, architectural history, and interior design. The study intends to assess the historical images of the Ottoman Embassy in Sofia, using the methodology of art history. Another aim is to examine of the positioning of an Ottoman bureaucratic family with Western codes within the East-West dichotomy. It was found out that the family of Mustafa Asım Turgut preferred an eclectic style of furnishing by using the furniture of Alafranga and the objects of Alaturka together. Therefore, it is concluded that the family blends the West and the East in their lives.
Research Interests:
Research Interests:
Research Interests: Humanities and Art
Research Interests:
Turkish Abstract: Bu makale, Osmanli’nin son donemlerine tarihlenen Cemberlitas Selim Bey Konagini mekânsal kimlik, kentsel hafiza ve tarihi cevre kavramlari baglaminda inceleyerek, konagin plan duzeni, cephe olusumunu ve ic mekân... more
Turkish Abstract: Bu makale, Osmanli’nin son donemlerine tarihlenen Cemberlitas Selim Bey Konagini mekânsal kimlik, kentsel hafiza ve tarihi cevre kavramlari baglaminda inceleyerek, konagin plan duzeni, cephe olusumunu ve ic mekân suslemelerini sanat tarihi metodolojisiyle tespit etmektedir.English Abstract: This article identifies the layout, side formation and interior systems of the mansion by the methodology of history of art, by examining the Cemberlitas Selim Bey Mansion, dating back to last periods of the Ottoman Empire, in terms of spatial identity, civic memory and historical neighborhood.
Research Interests:
Research Interests:
This article examines the life and works of British architect William James Smith and outlines his contributions to nineteenth century Ottoman architecture and presents his prominence as an architectural historian of nineteenth century... more
This article examines the life and works of British architect William James Smith and outlines his contributions to nineteenth century Ottoman architecture and presents his prominence as an architectural historian of nineteenth century British architectural work.
Research Interests: Art History, Art, Architecture, History of Ottoman Art and Architecture, History of architecture, and 9 moreSanat Tarihi, Social Science Research Network, 19. and early 20. century Ottoman modernization, Mimarlik Tarihi, Osmanlı Tarihi, Tanzimat reforms Ottoman Empire, History of Architecture, Arthitecture, and Tanzimat Dönemi
Bu makale, Osmanlı Devleti’nin Hariciye Nazırı Mustafa Asım Turgut’un kızı, Devlet Güzel Sanatlar Akademisi mezunu Türkiye’nin ilk kadın mimarlarından ve Akademi Mimarlık Şubesinin ilk kadın akademisyeni Yüksek Mimar Leyla Asım Turgut’a... more
Bu makale, Osmanlı Devleti’nin Hariciye Nazırı Mustafa Asım Turgut’un kızı,
Devlet Güzel Sanatlar Akademisi mezunu Türkiye’nin ilk kadın mimarlarından
ve Akademi Mimarlık Şubesinin ilk kadın akademisyeni Yüksek Mimar Leyla
Asım Turgut’a dairdir. Çalışmanın temel amacı, kadın/mimarlık tarihine dair
yapılan çalışmalara, Leyla Asım Turgut biyografisi ile katkı sağlamaktır. Leyla
Asım Turgut figürü üzerinden 1940 ve 1950’ler Türkiye’sinde kadın mimarların
erkek mimarlarla aralarındaki cinsiyete dayalı mesleki iktidar ilişkilerini
sorgulamak bu makalenin üzerinde durduğu bir başka noktadır. Metninyazılmasını kolaylaştırıcı unsur, Leyla Asım Turgut’un tıpkı Avrupa’daki
aristokrat aileler gibi aile geçmişi ve kendi kişisel geçmişine dair kayıtları
koruyarak özel arşivini oluşturmasıdır. Bu arşivin bir kısmını vasiyetinde, Mimar
Sinan Güzel Sanatlar Üniversitesi İstanbul Resim Heykel Müzesi ve İstanbul
Kitaplığı Çelik Gülersoy Vakfı’na bağışlamıştır. Metnin oluşumunda literatür
taramasının beraberinde bu iki kuruma devredilen Leyla Turgut Terekesindeki,
fotoğraflardan ve arşiv malzemesinden yararlanılmıştır. Fotoğrafların arkasına
el yazısı ile yazılmış özel notlar biyografinin kurgulanmasında kolaylaştırıcı,
hatta biyografinin doğruluğunu sağlayan unsur olmuştur.
Anahtar Kelimeler: Erken Cumhuriyet Dönemi, Kadın, Mimar, Leyla Asım
Turgut.
Devlet Güzel Sanatlar Akademisi mezunu Türkiye’nin ilk kadın mimarlarından
ve Akademi Mimarlık Şubesinin ilk kadın akademisyeni Yüksek Mimar Leyla
Asım Turgut’a dairdir. Çalışmanın temel amacı, kadın/mimarlık tarihine dair
yapılan çalışmalara, Leyla Asım Turgut biyografisi ile katkı sağlamaktır. Leyla
Asım Turgut figürü üzerinden 1940 ve 1950’ler Türkiye’sinde kadın mimarların
erkek mimarlarla aralarındaki cinsiyete dayalı mesleki iktidar ilişkilerini
sorgulamak bu makalenin üzerinde durduğu bir başka noktadır. Metninyazılmasını kolaylaştırıcı unsur, Leyla Asım Turgut’un tıpkı Avrupa’daki
aristokrat aileler gibi aile geçmişi ve kendi kişisel geçmişine dair kayıtları
koruyarak özel arşivini oluşturmasıdır. Bu arşivin bir kısmını vasiyetinde, Mimar
Sinan Güzel Sanatlar Üniversitesi İstanbul Resim Heykel Müzesi ve İstanbul
Kitaplığı Çelik Gülersoy Vakfı’na bağışlamıştır. Metnin oluşumunda literatür
taramasının beraberinde bu iki kuruma devredilen Leyla Turgut Terekesindeki,
fotoğraflardan ve arşiv malzemesinden yararlanılmıştır. Fotoğrafların arkasına
el yazısı ile yazılmış özel notlar biyografinin kurgulanmasında kolaylaştırıcı,
hatta biyografinin doğruluğunu sağlayan unsur olmuştur.
Anahtar Kelimeler: Erken Cumhuriyet Dönemi, Kadın, Mimar, Leyla Asım
Turgut.
Research Interests:
This study concerns a soap factory built in the early years of the twentieth century in Ayvalık Soap factories which are described within the scope of immovable industrial assets of the region, are substantial in terms of the commercial... more
This study concerns a soap factory built in the early years of the twentieth century in Ayvalık Soap factories which are described within the scope of immovable industrial assets of the region, are substantial in terms of the commercial life of Ayvalık, just like the olive oil factories. Soap factories having a crucial role in the industry-based spatial history of Ayvalık, are reviewed in two main groups according to their structure. The first group includes soap factories which were built as individual single buildings. The second group includes soap factories, each of which was built adjacent to an olive oil factory looking like its twin. Many of the soap factories are today either abandoned or being used as cafes, hotels, stores etc. as a result of repurposing. The soap factory forming the subject of this article is located in the 150 Evler District, on the historical industrial manufacturing axis of Ayvalık. Therefore the factory is in an area of Ayvalık which is considered to be hectic in terms of production and trading in its time. Respectively, field research, archival research and a literature review were performed in this study. As a result of the data obtained and finds the soap factory was evaluated in the context of historicity within the framework of architecture and art history disciplines and was analyzed in terms of mass and structure aspects.
Research Interests:
Bu makale, İstanbul Beyoğlu ilçesinde yer alan ve günümüzde Mimar Sinan Güzel Sanatlar Üniversitesi’nin kullanımında olan Tophane Kasrı’na dairdir. Kasır, Sultan Abdülmecid tarafından 1851 yılında Tophane Askeri Tesislerine rıhtımdan... more
Bu makale, İstanbul Beyoğlu ilçesinde yer alan ve günümüzde Mimar Sinan Güzel Sanatlar Üniversitesi’nin kullanımında olan Tophane Kasrı’na dairdir. Kasır, Sultan Abdülmecid tarafından 1851 yılında Tophane Askeri Tesislerine rıhtımdan gelen ziyaretçilerin karşılanması amacıyla yaptırılmıştır. Kasır, yapıldığı tarihten günümüze kadar varlığını sürdürmüştür. Tasarımı, Osmanlı Sarayı’nın maaşlı resmi mimarı İngiliz William James Smith’e aittir. Makalede, Tophane Kasrı’nın mimari ve süsleme özellikleri sanat ve mimarlık tarihi disiplinleri çerçevesinde ele alınmıştır. Ayrıca yapının bulunduğu fiziksel çevre, tarihsellik perspektifinde değerlendirilmiştir. Kasrın mimarı William James Smith’in kısa bir biyografisi ile mimarın XIX. yüzyıl Osmanlı mimarlığındaki yeri ve metinde ele alınan diğer başlıklardır. Metnin oluşumunda literatür taraması ve sonrasında yerinde araştırma yapılmıştır. Ayrıca Devlet Arşivleri Başkanlığı Osmanlı Arşivi’nde konuya ilişkin belgeler ile çeşitli arşivlerde yer...
Research Interests:
This study concerns a soap factory built in the early years of the twentieth century in Ayvalık Soap factories which are described within the scope of immovable industrial assets of the region, are substantial in terms of the commercial... more
This study concerns a soap factory built in the early years of the twentieth century in Ayvalık Soap factories which are described within the scope of immovable industrial assets of the region, are substantial in terms of the commercial life of Ayvalık, just like the olive oil factories. Soap factories having a crucial role in the industry-based spatial history of Ayvalık, are reviewed in two main groups according to their structure. The first group includes soap factories which were built as individual single buildings. The second group includes soap factories, each of which was built adjacent to an olive oil factory looking like its twin. Many of the soap factories are today either abandoned or being used as cafes, hotels, stores etc. as a result of repurposing. The soap factory forming the subject of this article is located in the 150 Evler District, on the historical industrial manufacturing axis of Ayvalık. Therefore the factory is in an area of Ayvalık which is considered to be hectic in terms of production and trading in its time. Respectively, field research, archival research and a literature review were performed in this study. As a result of the data obtained and finds the soap factory was evaluated in the context of historicity within the framework of architecture and art history disciplines and was analyzed in terms of mass and structure aspects.
Research Interests:
This article is about Tophana Pavilion which is located in Beyoglu, Istanbul and is at disposal of Mimar Sinan Fine Arts University today. Abdulmejid I, had the Pavilion constructed in 1852 to welcome the visitors arriving at the port to... more
This article is about Tophana Pavilion which is located in
Beyoglu, Istanbul and is at disposal of Mimar Sinan Fine
Arts University today. Abdulmejid I, had the Pavilion
constructed in 1852 to welcome the visitors arriving at
the port to the Tophana Military Installation. The
Pavilion is still standing since the day of its construction.
Its design belongs to the English William James Smith,
who was the official salaried architect of the Ottoman
Palace.
The architectural and ornamental features of Tophana
Pavilion are discussed within the framework of the
disciplines of art and architectural history in this article.
In addition, the physical environment of the structure is
assessed in the perspective of historicity. A brief
biography of the architecture of the Pavilion, William
James Smith, and his role in the XIX century Ottoman
architecture are other topics covered in the text.
Literature reviews and on-site research were performed
in the formation of the text. Moreover relevant
documents from the Directorate of State Archives,
Ottoman Archive Section were used along with
documents and photographs from various archives.
Keywords: XIX. Century, Abdulmejid I, tophana,
Tophana Pavilion, William James Smith
Beyoglu, Istanbul and is at disposal of Mimar Sinan Fine
Arts University today. Abdulmejid I, had the Pavilion
constructed in 1852 to welcome the visitors arriving at
the port to the Tophana Military Installation. The
Pavilion is still standing since the day of its construction.
Its design belongs to the English William James Smith,
who was the official salaried architect of the Ottoman
Palace.
The architectural and ornamental features of Tophana
Pavilion are discussed within the framework of the
disciplines of art and architectural history in this article.
In addition, the physical environment of the structure is
assessed in the perspective of historicity. A brief
biography of the architecture of the Pavilion, William
James Smith, and his role in the XIX century Ottoman
architecture are other topics covered in the text.
Literature reviews and on-site research were performed
in the formation of the text. Moreover relevant
documents from the Directorate of State Archives,
Ottoman Archive Section were used along with
documents and photographs from various archives.
Keywords: XIX. Century, Abdulmejid I, tophana,
Tophana Pavilion, William James Smith
Research Interests:
ABSTRACT
Research Interests:
This study is the second of the trilogy written / to be written by the author, on the urban and architectural history of Ottoman Istanbul. The first of the trilogy is “A District, A Mansion: Çemberlitaş Selim Bey Mansion” and this article... more
This study is the second of the trilogy written / to be written by the author, on the urban and architectural history of Ottoman Istanbul.
The first of the trilogy is “A District, A Mansion: Çemberlitaş Selim Bey Mansion” and this article which is called “A District, A Place of
Temple: Cerrahpaşa Canbaziye Mosque” is the second. The last of the trilogy is “A District, A School: Yedikule, German School”, yet to be finished. The common point of the articles is the analysis of a specific historical structure located in a specific district of Walled City of Istanbul
with architecture and art history disciplines. This trilogy can be considered as an attempt to write a monograph. The subject of this article is Canbaziye Mosque which dates back to the fifteenth
century, located in Cerrahpaşa, the seventh hill of Istanbul. Since it is one of the mosques built after the conquest of Istanbul, surviving to this day, it is important regarding city and venue history. Spatial history of Cerrahpaşa district is discussed in the study along with the mosque’s
district / spatial identity review in a context of historicity, architecture and art history. The graveyard and the fountain located next to it are
also mentioned along with some tombstones in the graveyard.
Keywords: Istanbul, Ottoman Architecture, Cerrahpaşa Canbaziye Mosque, Cemetery
Bu makale, Osmanlı İstanbul’unun kent ve mimarlık tarihîne dair, yazar tarafından kaleme alınmış/alınacak üçlemenin ikincisidir. Üçlemenin ilki, “Bir Semt, Bir Konak: Çemberlitaş Selim Bey Konağı”, ikincisi ise, bu çalışma olan “Bir Semt, Bir Mabet: Cerrahpaşa Canbaziye Cami”dir. Üçlemenin sonuncusu “Bir Semt, Bir Okul: Yedikule Alman Mektebi’’, hazırlık aşamasındadır. Üçlemelerin ortak noktası, Suriçi İstanbul’undan bir semtin seçilerek o semtte var olan ve tarihî özellik taşıyan bir yapının, mimarlık ve sanat tarihî disiplinleriyle çözümlenmesidir. Üçlemelerin tümü bir nevi monografi yazma girişimidir. Bu metnin konusu olan ve
on beşinci yüzyıl sonuna tarihlenen Canbaziye Cami, İstanbul’un yedinci tepesi olarak Cerrahpaşa’da yer almaktadır. Fethin akabinde yapılan
İstanbul camilerinden olması ve varlığını halen de sürdürmesi nedeniyle Canbaziye Cami, İstanbul kent ve mekân tarihî açısından önem
taşımaktadır. Çalışmada, öncelikle Cerrahpaşa semtinin mekânsal tarihî ele alınmıştır. Daha sonra Canbaziye Cami, semt/mekânsal kimlik
tarihsellik, mimarlık ve sanat tarihî bağlamında incelenmiştir. Ayrıca yapının hemen yanında bulunan hazire ile tarihî çeşme de metne dahil
edilmiştir. Hazirede önemli olduğu düşünülen bazı mezar taşları da bu çalışmada yer almıştır.
Anahtar Kelimeler: İstanbul, Osmanlı Mimarisi, Cerrahpaşa, Canbaziye Cami, Hazire.
The first of the trilogy is “A District, A Mansion: Çemberlitaş Selim Bey Mansion” and this article which is called “A District, A Place of
Temple: Cerrahpaşa Canbaziye Mosque” is the second. The last of the trilogy is “A District, A School: Yedikule, German School”, yet to be finished. The common point of the articles is the analysis of a specific historical structure located in a specific district of Walled City of Istanbul
with architecture and art history disciplines. This trilogy can be considered as an attempt to write a monograph. The subject of this article is Canbaziye Mosque which dates back to the fifteenth
century, located in Cerrahpaşa, the seventh hill of Istanbul. Since it is one of the mosques built after the conquest of Istanbul, surviving to this day, it is important regarding city and venue history. Spatial history of Cerrahpaşa district is discussed in the study along with the mosque’s
district / spatial identity review in a context of historicity, architecture and art history. The graveyard and the fountain located next to it are
also mentioned along with some tombstones in the graveyard.
Keywords: Istanbul, Ottoman Architecture, Cerrahpaşa Canbaziye Mosque, Cemetery
Bu makale, Osmanlı İstanbul’unun kent ve mimarlık tarihîne dair, yazar tarafından kaleme alınmış/alınacak üçlemenin ikincisidir. Üçlemenin ilki, “Bir Semt, Bir Konak: Çemberlitaş Selim Bey Konağı”, ikincisi ise, bu çalışma olan “Bir Semt, Bir Mabet: Cerrahpaşa Canbaziye Cami”dir. Üçlemenin sonuncusu “Bir Semt, Bir Okul: Yedikule Alman Mektebi’’, hazırlık aşamasındadır. Üçlemelerin ortak noktası, Suriçi İstanbul’undan bir semtin seçilerek o semtte var olan ve tarihî özellik taşıyan bir yapının, mimarlık ve sanat tarihî disiplinleriyle çözümlenmesidir. Üçlemelerin tümü bir nevi monografi yazma girişimidir. Bu metnin konusu olan ve
on beşinci yüzyıl sonuna tarihlenen Canbaziye Cami, İstanbul’un yedinci tepesi olarak Cerrahpaşa’da yer almaktadır. Fethin akabinde yapılan
İstanbul camilerinden olması ve varlığını halen de sürdürmesi nedeniyle Canbaziye Cami, İstanbul kent ve mekân tarihî açısından önem
taşımaktadır. Çalışmada, öncelikle Cerrahpaşa semtinin mekânsal tarihî ele alınmıştır. Daha sonra Canbaziye Cami, semt/mekânsal kimlik
tarihsellik, mimarlık ve sanat tarihî bağlamında incelenmiştir. Ayrıca yapının hemen yanında bulunan hazire ile tarihî çeşme de metne dahil
edilmiştir. Hazirede önemli olduğu düşünülen bazı mezar taşları da bu çalışmada yer almıştır.
Anahtar Kelimeler: İstanbul, Osmanlı Mimarisi, Cerrahpaşa, Canbaziye Cami, Hazire.
Research Interests:
This article examined the tomb of (The Mad) Husrev Pasha, which is located in the neighborhood of Yenibahce in Istanbul. This tomb, designed by Mimar Sinan at the beginning of his professional career, is known as one of the oldest urban... more
This article examined the tomb of (The Mad) Husrev Pasha, which is located in the neighborhood of Yenibahce in Istanbul.
This tomb, designed by Mimar Sinan at the beginning of his professional career, is known as one of the oldest urban
spaces in Istanbul. Dating back to the 16th century, it is unique in terms of its design and decoration. Previously, there was
a bazaar, a school, and an Ottoman coffee house surrounding the tomb, but today, the monument is situated between
buildings. Despite its importance, the monument has only been discussed in Ekram Hakke Ayverdi’s 1995 work about
the architecture of Mimar Sinan titled, “the Tomb of Husrev Pasha,” and in the history of academic literature in Turkey.
However, there are serious mistakes and ambiguous statements in these studies about the tomb itself and the date that
it was built. Additionally, the mistakes and contradictory statements about the lodge that used to be located next to the
tomb and whose presence was detected through old maps, manuscripts, and written sources, make it almost impossible
to establish the correct spatial history of the tomb. Thus, Mimar Sinan’s creation of the Tomb of Husrev Pasha was analyzed
from a monographic perspective, within the framework of art history and architectural history. Moreover, through the
identification of the repeated historical and spatial errors in the various sources, this article formulates a correct inscriptive
This tomb, designed by Mimar Sinan at the beginning of his professional career, is known as one of the oldest urban
spaces in Istanbul. Dating back to the 16th century, it is unique in terms of its design and decoration. Previously, there was
a bazaar, a school, and an Ottoman coffee house surrounding the tomb, but today, the monument is situated between
buildings. Despite its importance, the monument has only been discussed in Ekram Hakke Ayverdi’s 1995 work about
the architecture of Mimar Sinan titled, “the Tomb of Husrev Pasha,” and in the history of academic literature in Turkey.
However, there are serious mistakes and ambiguous statements in these studies about the tomb itself and the date that
it was built. Additionally, the mistakes and contradictory statements about the lodge that used to be located next to the
tomb and whose presence was detected through old maps, manuscripts, and written sources, make it almost impossible
to establish the correct spatial history of the tomb. Thus, Mimar Sinan’s creation of the Tomb of Husrev Pasha was analyzed
from a monographic perspective, within the framework of art history and architectural history. Moreover, through the
identification of the repeated historical and spatial errors in the various sources, this article formulates a correct inscriptive
Research Interests:
İstanbul'un konakları köşeli Dışı da mermer içi de halı döşeli Altı ay oldu ben bu derde düşeli Kütahya, Derleyen Muzaffer Sarısözen ÖZET Bu makale, Osmanlı'nın son dönemlerine tarihlenen Çemberlitaş Selim Bey Konağını... more
İstanbul'un konakları köşeli Dışı da mermer içi de halı döşeli Altı ay oldu ben bu derde düşeli Kütahya, Derleyen Muzaffer Sarısözen ÖZET Bu makale, Osmanlı'nın son dönemlerine tarihlenen Çemberlitaş Selim Bey Konağını mekânsal kimlik, kentsel hafıza ve tarihi çevre kavramları bağlamında inceleyerek, konağın plan düzeni, cephe oluşumunu ve iç mekân süslemelerini sanat tarihi metodolojisiyle tespit etmektedir. ABSTRACT This article identifies the layout, side formation and interior systems of the mansion by the methodology of history of art, by examining the Çemberlitaş Selim Bey Mansion, dating back to last periods of the Ottoman Empire, in terms of spatial identity, civic memory and historical neighborhood.
Research Interests:
Research Interests:
This study is related with the Italian Architect Vitaliano Poselli who was sent to Thessalonica from Istanbul by Sultan Abdulhamid II in order to design a series of public constructions at the end of 19th century and the constructions... more
This study is related with the Italian Architect Vitaliano Poselli
who was sent to Thessalonica from Istanbul by Sultan Abdulhamid
II in order to design a series of public constructions at the end of
19th century and the constructions designed by the architect in Thessalonica.
Poselli has not only designed public but also private projects
during the course he had worked at Thessalonica on behalf of the Ottoman Empire. He brought apartments, villas, industrial structures for
notables of the city and houses of worship for the communities in the
Thessalonica architecture inventory. Having been sent to Thessalonica
for obligatory residing by the proclamation of Constitutional
Monarchy II, Sultan Abdulhamid II stayed at the Alatini Mansion built
in 1898 by the architect he sent to bring new structures in Thessalonica,
namely Vitaliano Poselli, for three and a half years, and the destiny
of the architect and sultan crossed in a house located in Thessalonica.
In the text to be created in context of above statements; The Prime Ministry Ottoman Archive, German Archeology private photo archives shall be utilized in addition to literature review.
Keywords: Abdul Hamid II Period, Architecture, Architect, Thessalonica,
Vitaliano Poselli.
who was sent to Thessalonica from Istanbul by Sultan Abdulhamid
II in order to design a series of public constructions at the end of
19th century and the constructions designed by the architect in Thessalonica.
Poselli has not only designed public but also private projects
during the course he had worked at Thessalonica on behalf of the Ottoman Empire. He brought apartments, villas, industrial structures for
notables of the city and houses of worship for the communities in the
Thessalonica architecture inventory. Having been sent to Thessalonica
for obligatory residing by the proclamation of Constitutional
Monarchy II, Sultan Abdulhamid II stayed at the Alatini Mansion built
in 1898 by the architect he sent to bring new structures in Thessalonica,
namely Vitaliano Poselli, for three and a half years, and the destiny
of the architect and sultan crossed in a house located in Thessalonica.
In the text to be created in context of above statements; The Prime Ministry Ottoman Archive, German Archeology private photo archives shall be utilized in addition to literature review.
Keywords: Abdul Hamid II Period, Architecture, Architect, Thessalonica,
Vitaliano Poselli.
Research Interests:
Reading Imperial Military Middle Schools in Abdulhamid II Period on
Archıitectural Plans/ II. Abdülhamid Dönemi Askeri Rüşdiyelerini Mimari Planları Üzerinden Okumak
Archıitectural Plans/ II. Abdülhamid Dönemi Askeri Rüşdiyelerini Mimari Planları Üzerinden Okumak
Research Interests:
This article identifies the layout, side formation and interior systems of the mansion by the methodology of history of art, by examining the Çemberlitas Selim Bey Mansion, dating back to last periods of the Ottoman Empire, in terms of... more
This article identifies the layout, side formation and interior systems of the mansion by the methodology of history of art, by examining the Çemberlitas Selim Bey Mansion, dating back to last periods of the Ottoman Empire, in terms of spatial identity, civic memory and historical neighborhood.
Key Words: Çemberlitas, Divanyolu, Selim Bey Mansion.
Key Words: Çemberlitas, Divanyolu, Selim Bey Mansion.
Research Interests:
This article examines the life and works of British architect William James Smith and outlines his contributions to nineteenth century Ottoman architecture and presents his prominence as an architectural historian of nineteenth century... more
This article examines the life and works of British architect William James Smith and outlines
his contributions to nineteenth century Ottoman architecture and presents his prominence as an architectural historian
of nineteenth century British architectural work.
Bu makale Osmanlı İmparatorluğu adına çalışan ilk yabancı mimarlardan biri olan İngiliz Mimar
William James Smith’in hayatını ve eserlerini inceleyerek Smith’in XIX. yüzyıl Osmanlı mimarlığındaki yerini ve
Osmanlı mimarisine yaptığı katkıları tespit etmekte ve XIX. yüzyıl İngiltere’si mimarlık dünyasında, mimarlık tarihi
yazarı olarak da varlık gösterdiğini tespit etmektedir.
his contributions to nineteenth century Ottoman architecture and presents his prominence as an architectural historian
of nineteenth century British architectural work.
Bu makale Osmanlı İmparatorluğu adına çalışan ilk yabancı mimarlardan biri olan İngiliz Mimar
William James Smith’in hayatını ve eserlerini inceleyerek Smith’in XIX. yüzyıl Osmanlı mimarlığındaki yerini ve
Osmanlı mimarisine yaptığı katkıları tespit etmekte ve XIX. yüzyıl İngiltere’si mimarlık dünyasında, mimarlık tarihi
yazarı olarak da varlık gösterdiğini tespit etmektedir.
Research Interests:
The East, and consequently the Ottoman culture was perceived as exotic and a magical world in the world of thought of the West from the 16th century onwards. Curiosity and interest in the exotic and magical Ottoman world was met by the... more
The East, and consequently the Ottoman culture was perceived as exotic and a magical world in the world of thought of the West from the 16th century onwards. Curiosity and interest in the exotic and magical Ottoman world was met by the albums prepared in the West, containing images of Ottoman culture with explanatory texts. As these albums were the cultural objects created by societies, the first discussion in our study will be on what the concept of “culture” means in scientific grounds. The meaning of cross-culture concept which is a subdiscipline of cultu¬re, will be explained in terms of art and the discipline of cultural history. Another topic examined in this study is the chronological determination of the Ottoman albums prepared in Europe, containing images of Ot¬to¬man culture. After that, the preparation processes of “Young Album” and “Album of Turkish Military Cos¬tume” which were printed in London under the protection of Ottoman Empire in 19th century, will be mentioned and these albums will be introduced within the frame of discipline of cultural history. Where these albums stand within the Ottoman and English world of thought, how these two cultures perceive these albums, and the link between these albums and the cross-culture concept will be examined within the Conclusion part of the text.
Research Interests:
It is a serious problem for Abdülhamid II during his reign, who avoids his individual presence from public to give meaning to his non physcal presence in the modern world. It is a very serious problem for his power. Sultan Abdulhamid II,... more
It is a serious problem for Abdülhamid II during his reign, who avoids his individual presence from public to give meaning to his non physcal presence in the modern world. It is a very serious problem for his power.
Sultan Abdulhamid II, in overcoming this crisis of representation to become visible for the public and build his own power, Abdülhamid uses instruments that has been taken as reference by the modern world with the solution ways that appropriate Islamic culture.
It's sociologically very possible to see his physical appearing since Abdülhamid is a modern and public personality.
This text is about understanding the Sultan's public presence with the perspective of the so-called ideological concept of education which is used as a propaganda tool and shaped by the politic environment of that period. Also there is another issue is to show that how Abdülhamid build his power with the architecture elements used in schools, the interior designs of schools, syllabus, ceremonies and other rituels.
Sultan Abdulhamid II, in overcoming this crisis of representation to become visible for the public and build his own power, Abdülhamid uses instruments that has been taken as reference by the modern world with the solution ways that appropriate Islamic culture.
It's sociologically very possible to see his physical appearing since Abdülhamid is a modern and public personality.
This text is about understanding the Sultan's public presence with the perspective of the so-called ideological concept of education which is used as a propaganda tool and shaped by the politic environment of that period. Also there is another issue is to show that how Abdülhamid build his power with the architecture elements used in schools, the interior designs of schools, syllabus, ceremonies and other rituels.
Research Interests:
Research Interests:
Beatrice Offor: A Female Painter of Tottenham from Victorian London. Beatrice Offor born in 1864 in the district of Sydenham, London, is a British Painter/ Artist who lived in the period of Queen Victoria and King Edward VIII. Since she... more
Beatrice Offor: A Female Painter of Tottenham from Victorian London.
Beatrice Offor born in 1864 in the district of Sydenham, London, is a British Painter/ Artist who lived in the period of Queen Victoria and King Edward VIII. Since she spent the last years of her live in the district of Tottenham, London, she was identified as Woman Artist from Tottenham in various sources and local historical studies in London.
40 Works of the Artist made in oil painting technique, which is included in the Tottenham Bruce Grove Museum Collection is another factor why she was considered to be from Tottenham in various communities.
In this study it is targeted to fulfill the application of writing the biography of a woman which is one of the titles of the symposium. In the Communiqué which is to be prepared from his point, it is targeted to create the scientific biography of the female actor Beatrice Offor, who remained hidden in painting of England at the end of the 19th century and the beginning of the 20th century. In the general flow of the text; it is stated that the first step in the preparation of the study is the local archive unit within the Bruce Grove Museum Harringey Municipality, and information will be separately given about this archive. Field studies made in London, library research and the work of the artiest will also be helpful in the preparation of this article about writing the biography of Beatrice Offor.
Beatrice Offor born in 1864 in the district of Sydenham, London, is a British Painter/ Artist who lived in the period of Queen Victoria and King Edward VIII. Since she spent the last years of her live in the district of Tottenham, London, she was identified as Woman Artist from Tottenham in various sources and local historical studies in London.
40 Works of the Artist made in oil painting technique, which is included in the Tottenham Bruce Grove Museum Collection is another factor why she was considered to be from Tottenham in various communities.
In this study it is targeted to fulfill the application of writing the biography of a woman which is one of the titles of the symposium. In the Communiqué which is to be prepared from his point, it is targeted to create the scientific biography of the female actor Beatrice Offor, who remained hidden in painting of England at the end of the 19th century and the beginning of the 20th century. In the general flow of the text; it is stated that the first step in the preparation of the study is the local archive unit within the Bruce Grove Museum Harringey Municipality, and information will be separately given about this archive. Field studies made in London, library research and the work of the artiest will also be helpful in the preparation of this article about writing the biography of Beatrice Offor.
ÖZET Osmanlı İmparatorluğu’nda XIX. yüzyılda her alanda yaşanan değişim, Osmanlı kentlerinde özellikle de İstanbul kent dokusunda kentsel ve yaşamsal dönüşümlerin yaşanmasına neden olmuş,böylece İstanbul’un bürokrat ve zengin sınıfına... more
ÖZET
Osmanlı İmparatorluğu’nda XIX. yüzyılda her alanda yaşanan değişim, Osmanlı kentlerinde özellikle de İstanbul kent dokusunda kentsel ve yaşamsal dönüşümlerin yaşanmasına neden olmuş,böylece İstanbul’un bürokrat ve zengin sınıfına mensup aileler ikamet alanlarını tarihi yarımadadan Pera ve Nişantaşı bölgesine kaydırmışlardır. Hariciye Nezareti (Tevfik Paşa) Konağı da bu dönüşüm sürecinde XIX. yüzyılın son çeyreğinde İstanbul Ayaspaşa’da inşa edilmiş önemli sivil yapı örneklerindendir.İtalyan Büyükelçisi Baron Blanc tarafından yaptırılan konak; önce İtalyan Büyükelçiliği, daha sonra ise Hariciye Nezareti Lojmanı olarak kullanılmış, ancak 1911 yılında çıkan bir yangında içindeki değerli eşyalar ile birlikte yanmıştır. Yangından konağın sadece müştemilat binaları kurtulmuştur. Hariciye Nazırı Ahmet Tevfik Paşa'nın mülkiyetinde olan konağın müştemilat binaları 1930 yılında Paşa'nın ailesi tarafından otele çevrilmiştir.
Mimar Sinan Güzel Sanatlar Üniversitesi Resim Heykel Müzesi Arşivi’ndeki Leyla Turgut Terekesi’nde, Hariciye Nezareti (Tevfik Paşa) Konağının cephe ve iç mekan fotoğrafları bulunmaktadır. Bundan dolayı bu çalışmanın hazırlanmasında, Leyla Turgut Terekesi’ndeki Hariciye Nezareti (Tevfik Paşa) Konağı’na ait fotoğraflar önemli bir yere sahiptir.
Anahtar Kelimeler: XIX. Yüzyıl, II. Abdülhamid, Hariciye Nazırlığı, Ahmet Tevfik Paşa, Asım Turgut, Mimar Sinan Güzel Sanatlar Üniversitesi Resim Heykel Müzesi Arşivi, Leyla Turgut Terekesi.
Osmanlı İmparatorluğu’nda XIX. yüzyılda her alanda yaşanan değişim, Osmanlı kentlerinde özellikle de İstanbul kent dokusunda kentsel ve yaşamsal dönüşümlerin yaşanmasına neden olmuş,böylece İstanbul’un bürokrat ve zengin sınıfına mensup aileler ikamet alanlarını tarihi yarımadadan Pera ve Nişantaşı bölgesine kaydırmışlardır. Hariciye Nezareti (Tevfik Paşa) Konağı da bu dönüşüm sürecinde XIX. yüzyılın son çeyreğinde İstanbul Ayaspaşa’da inşa edilmiş önemli sivil yapı örneklerindendir.İtalyan Büyükelçisi Baron Blanc tarafından yaptırılan konak; önce İtalyan Büyükelçiliği, daha sonra ise Hariciye Nezareti Lojmanı olarak kullanılmış, ancak 1911 yılında çıkan bir yangında içindeki değerli eşyalar ile birlikte yanmıştır. Yangından konağın sadece müştemilat binaları kurtulmuştur. Hariciye Nazırı Ahmet Tevfik Paşa'nın mülkiyetinde olan konağın müştemilat binaları 1930 yılında Paşa'nın ailesi tarafından otele çevrilmiştir.
Mimar Sinan Güzel Sanatlar Üniversitesi Resim Heykel Müzesi Arşivi’ndeki Leyla Turgut Terekesi’nde, Hariciye Nezareti (Tevfik Paşa) Konağının cephe ve iç mekan fotoğrafları bulunmaktadır. Bundan dolayı bu çalışmanın hazırlanmasında, Leyla Turgut Terekesi’ndeki Hariciye Nezareti (Tevfik Paşa) Konağı’na ait fotoğraflar önemli bir yere sahiptir.
Anahtar Kelimeler: XIX. Yüzyıl, II. Abdülhamid, Hariciye Nazırlığı, Ahmet Tevfik Paşa, Asım Turgut, Mimar Sinan Güzel Sanatlar Üniversitesi Resim Heykel Müzesi Arşivi, Leyla Turgut Terekesi.
Özet Osmanlı İmparatorluğunun son yıllarında doğmuş ve erken cumhuriyet döneminde İstanbul Devlet Güzel Sanatlar Akademisi'nde sanat eğitimi almış olan Zerrin Bölükbaşı, sanat tarihimizdeki öncü kadın heykeltıraşlarımızdandır. 1950'li... more
Özet
Osmanlı İmparatorluğunun son yıllarında doğmuş ve erken cumhuriyet döneminde İstanbul Devlet Güzel Sanatlar Akademisi'nde sanat eğitimi almış olan Zerrin Bölükbaşı, sanat tarihimizdeki öncü kadın heykeltıraşlarımızdandır. 1950'li yılların Türkiyesi'nde aktif kadın sanatçı olarak varlık gösteren Bölükbaşı, yaşama karşı duruşu ve hayatta üstlendiği kimlikleriyle (çalışan kadın-sanatçı kadın-,eş, anne,) toplumsal yaşamdaki modern kadın imgesi ile uyum içindedir. Dolayısıyla Zerrin Bölükbaşı, eğitimli, bilinçli ve özgür kadın imgesininTürk toplumunda ete kemiğe bürünmüş halidir. Kırk yıllık sanat yaşamı boyuncasayısız sergiye katılan ve ödülleri olan Bölükbaşı, eril heykel dünyasında başarılarıyla varlık göstermiştir.
Abstract
Zerrin Bölükbaşı, born in late years of Ottoman Empire and got education of art in an Academy in early republican period, is one of the pioneer women sculptors in our history of art. Presenting herself as an active woman artisan in Turkey of 1950s, Bölükbaşı has been in harmony with the image of modern woman in a social life, by her posture towards living and the identities (workingwoman – artisan woman – wife, mother) she assumed in life. Therefore, Zerrin Bölükbaşı presents a case of taking the form of flesh and bone of image of being educated, well informed and liberal woman, in Turkish society. Bölükbaşı participated in countless shows and was awarded with numerous awards throughout her forty-year art life and has been active in the sphere of masculine sculpture.
Osmanlı İmparatorluğunun son yıllarında doğmuş ve erken cumhuriyet döneminde İstanbul Devlet Güzel Sanatlar Akademisi'nde sanat eğitimi almış olan Zerrin Bölükbaşı, sanat tarihimizdeki öncü kadın heykeltıraşlarımızdandır. 1950'li yılların Türkiyesi'nde aktif kadın sanatçı olarak varlık gösteren Bölükbaşı, yaşama karşı duruşu ve hayatta üstlendiği kimlikleriyle (çalışan kadın-sanatçı kadın-,eş, anne,) toplumsal yaşamdaki modern kadın imgesi ile uyum içindedir. Dolayısıyla Zerrin Bölükbaşı, eğitimli, bilinçli ve özgür kadın imgesininTürk toplumunda ete kemiğe bürünmüş halidir. Kırk yıllık sanat yaşamı boyuncasayısız sergiye katılan ve ödülleri olan Bölükbaşı, eril heykel dünyasında başarılarıyla varlık göstermiştir.
Abstract
Zerrin Bölükbaşı, born in late years of Ottoman Empire and got education of art in an Academy in early republican period, is one of the pioneer women sculptors in our history of art. Presenting herself as an active woman artisan in Turkey of 1950s, Bölükbaşı has been in harmony with the image of modern woman in a social life, by her posture towards living and the identities (workingwoman – artisan woman – wife, mother) she assumed in life. Therefore, Zerrin Bölükbaşı presents a case of taking the form of flesh and bone of image of being educated, well informed and liberal woman, in Turkish society. Bölükbaşı participated in countless shows and was awarded with numerous awards throughout her forty-year art life and has been active in the sphere of masculine sculpture.
Research Interests:
1950’LERİN SANAT ORTAMINDA KADIN SANATÇI KİMLİĞİYLE HEYKELTRAŞ ZERRİN (ARK) BÖLÜKBAŞI Tarihsel süreçte ve günümüzde toplum tarafından her iki cinse -kadın ve erkeğe- sosyal yaşamda çeşitli rol ve davranış modelleri yüklenmiş, bu rol ve... more
1950’LERİN SANAT ORTAMINDA KADIN SANATÇI KİMLİĞİYLE HEYKELTRAŞ ZERRİN (ARK) BÖLÜKBAŞI
Tarihsel süreçte ve günümüzde toplum tarafından her iki cinse -kadın ve erkeğe- sosyal yaşamda çeşitli rol ve davranış modelleri yüklenmiş, bu rol ve her iki cinsten beklenen davranışlar, toplum tarafından her ortamda değişmez doğrular olarak algılanmıştır. Ancak, toplumun sosyal yaşam içinde kadın ve erkekten beklentileri cinsiyete göre şekillenir, yani şartlar ve sonuçlar kadın ve erkek için farklılık ifade eder. Her iki cins için aynı olmayan olanaklar, sosyal yaşamda erkeklerin lehine sonuçlanmış, gerek bilimsel gerekse sanatsal alanda eril bir dili, ifade tarzını yaratmıştır. Her konuya hâkim eril bakış açısı, kadın sanatçı kimliğinin oluşmasında ve sanat dünyasında kadın sanatçı olarak varlık gösterebilmenin önemli açmazlarındandır.
Kadın sanatçı kimliğinin tarihsel serüveninde, Rönesans’a kadar kadın sanatçılar ve üretimleri görmezden gelinmiş, zanaatkâr olarak görülmüşlerdir. Kadınlar, sanatçı kimlikleri ile ilk kez Vasari tarafından tanımlanmıştır. Vasari’den sonra, 1970’li yılları beklemek gerekmiş, ancak bu tarihten sonra günümüze değin devam eden süreçte , kadın sanatçı kimliği sanat tarihi ve onunla ilişki içerisinde olan diğer disiplinlerin çalışma alanını oluşturmuştur. Osmanlı İmparatorluğu’nda ise kadın sanatçılar, ilk kez XIX. yüzyılın son çeyreğinde varlık göstermeye başlamalarına rağmen, kadın ve erkek sanatçı arasında bir cinsiyet eşitliğinden söz edilemez. Toplumun her noktasında olduğu gibi Osmanlı sanat yaşamında da hâkim unsur erkektir. Hele kas gücü gerektiren heykelle uğraşmak ise, erkek egemen dünyada kadın sanatçı açısından bir romantik bir fantezi olmaktan öte olarak görülmez. Bu nedenle XIX. yüzyılın son çeyreğinde ve XX. yüzyılın başlarında kadın sanatçılar, yoğunluklu olarak resim çalışmışlardır. Bu noktadan hareketle, Türk plastik sanatları eğitiminde resmi kayıtlara geçen en erken kadın heykel öğrencisi 1920 yılında Sanayi-i Nefise Mektebi’ne kaydolan Sabiha Ziya Bengütaş’dır. Sabiha Ziya’yı, Nermin Faruki ve Zerrin (Ark) Bölükbaşı takip etmiştir.
Yukarıda söylenenlerin minvalinde, tebliğimizin konusunu Erken Cumhuriyet Döneminde ve 1950’lerin Türkiye’sinde kadın sanatçı kimliği ile varlık gösteren Zerrin (Ark) Bölükbaşı oluşturmaktadır. Metnin genel akışı içerisinde, sanat tarihinde ve sanat dünyasında kadın sanatçı kimliğinin oluşumun tarihsel ve sosyolojik serüveni irdelenecektir. İlerleyen bölümde ise, Zerrin Bölükbaşı’nın yoğun olarak sanatsal üretimde bulunduğu 1950’li ve 1960’lı yıllarda kadın heykeltraş olarak eril sanat dünyasındaki duruşu ve varlığı biyografisi ve yapıtları ile desteklenerek ortaya konulacaktır.
Tarihsel süreçte ve günümüzde toplum tarafından her iki cinse -kadın ve erkeğe- sosyal yaşamda çeşitli rol ve davranış modelleri yüklenmiş, bu rol ve her iki cinsten beklenen davranışlar, toplum tarafından her ortamda değişmez doğrular olarak algılanmıştır. Ancak, toplumun sosyal yaşam içinde kadın ve erkekten beklentileri cinsiyete göre şekillenir, yani şartlar ve sonuçlar kadın ve erkek için farklılık ifade eder. Her iki cins için aynı olmayan olanaklar, sosyal yaşamda erkeklerin lehine sonuçlanmış, gerek bilimsel gerekse sanatsal alanda eril bir dili, ifade tarzını yaratmıştır. Her konuya hâkim eril bakış açısı, kadın sanatçı kimliğinin oluşmasında ve sanat dünyasında kadın sanatçı olarak varlık gösterebilmenin önemli açmazlarındandır.
Kadın sanatçı kimliğinin tarihsel serüveninde, Rönesans’a kadar kadın sanatçılar ve üretimleri görmezden gelinmiş, zanaatkâr olarak görülmüşlerdir. Kadınlar, sanatçı kimlikleri ile ilk kez Vasari tarafından tanımlanmıştır. Vasari’den sonra, 1970’li yılları beklemek gerekmiş, ancak bu tarihten sonra günümüze değin devam eden süreçte , kadın sanatçı kimliği sanat tarihi ve onunla ilişki içerisinde olan diğer disiplinlerin çalışma alanını oluşturmuştur. Osmanlı İmparatorluğu’nda ise kadın sanatçılar, ilk kez XIX. yüzyılın son çeyreğinde varlık göstermeye başlamalarına rağmen, kadın ve erkek sanatçı arasında bir cinsiyet eşitliğinden söz edilemez. Toplumun her noktasında olduğu gibi Osmanlı sanat yaşamında da hâkim unsur erkektir. Hele kas gücü gerektiren heykelle uğraşmak ise, erkek egemen dünyada kadın sanatçı açısından bir romantik bir fantezi olmaktan öte olarak görülmez. Bu nedenle XIX. yüzyılın son çeyreğinde ve XX. yüzyılın başlarında kadın sanatçılar, yoğunluklu olarak resim çalışmışlardır. Bu noktadan hareketle, Türk plastik sanatları eğitiminde resmi kayıtlara geçen en erken kadın heykel öğrencisi 1920 yılında Sanayi-i Nefise Mektebi’ne kaydolan Sabiha Ziya Bengütaş’dır. Sabiha Ziya’yı, Nermin Faruki ve Zerrin (Ark) Bölükbaşı takip etmiştir.
Yukarıda söylenenlerin minvalinde, tebliğimizin konusunu Erken Cumhuriyet Döneminde ve 1950’lerin Türkiye’sinde kadın sanatçı kimliği ile varlık gösteren Zerrin (Ark) Bölükbaşı oluşturmaktadır. Metnin genel akışı içerisinde, sanat tarihinde ve sanat dünyasında kadın sanatçı kimliğinin oluşumun tarihsel ve sosyolojik serüveni irdelenecektir. İlerleyen bölümde ise, Zerrin Bölükbaşı’nın yoğun olarak sanatsal üretimde bulunduğu 1950’li ve 1960’lı yıllarda kadın heykeltraş olarak eril sanat dünyasındaki duruşu ve varlığı biyografisi ve yapıtları ile desteklenerek ortaya konulacaktır.
This study is related with Erzincan Imperial Military Middle School which was opened in 1883 during the period of Abdulhamit II of the Ottoman Empire. Education was provided in two different buildings in the education adventure of... more
This study is related with Erzincan Imperial Military Middle School which was opened in 1883 during the period of Abdulhamit II of the Ottoman Empire. Education was provided in two different buildings in the education adventure of Erzincan Imperial Military Middle School. The first is the initial building constructed at the center of Erzincan and in the form of military middle school. The second is the Cavalry Patrol located on the north of the city and settled after 1905. The Imperial military middle school continued its existence in Erzincan education life at the Cavalry Patrol until the military middle schools were ceased to operate in 1915.
The main objective of the text is the historical background of Erzincan Imperial Military Middle School and its position in the Turkish education history. Moreover, the plan analysis and facade assay of the construction will be performed by means of readings to be carried out based on architecture and history of art disciplines on the old photos and plans of the construction. In addition of the literature review, the documents related with the subject existing in the Prime Ministry Ottoman Archive, Abdulhamit II Photo Album in Washington Congress Library and Maarif (System of Education) Yearbooks shall be utilized in the formation of the text.
Bu çalışma, Osmanlı İmparatorluğu'nda II. Abdülhamid Döneminde, 1883 yılında açılan Erzincan Askeri Rüşdiyesi’ne ilişkindir.
Erzincan Askeri Rüşdiyesi, eğitim serüveninde birbirinden bağımsız iki ayrı binada eğitim vermiştir. Birincisi Erzincan’ın merkezinde askeri rüşdiye olarak yapılan binadır. İkincisi ise 1905 yılından sonra
okulun yerleştiği ve şehrin kuzeyinde bulunan Süvari Karakolu’dur. 1915 yılında askeri rüşdiyelerin faaliyetleri sonlandırılana kadar askeri rüşdiye, Süvari Karakolu’nda Erzincan eğitim dünyasında varlığını sürdürmüştür.
Metnin başat derdi, Erzincan Askeri Rüşdiyesi’nin tarihsel geçmişi ve Türk eğitim tarihi içindeki yeridir. Ayrıca yapıya ait eski fotoğraflar ve planlar üzerinden, mimarlık ve sanat tarihi disiplinleri ekseninde
yapılacak okumayla, yapının plan analizi ve cephe çözümlemesi yapılacaktır.
Metinin oluşumunda literatür taramasının yanı sıra, Başbakanlık Osmanlı Arşivi’ndeki konuya ilişkin belgeler, Washington Kongre Kütüphanesi II. Abdülhamid Fotoğraf Albümü, Maarif Salnameleri’den yararlanılacaktır.
The main objective of the text is the historical background of Erzincan Imperial Military Middle School and its position in the Turkish education history. Moreover, the plan analysis and facade assay of the construction will be performed by means of readings to be carried out based on architecture and history of art disciplines on the old photos and plans of the construction. In addition of the literature review, the documents related with the subject existing in the Prime Ministry Ottoman Archive, Abdulhamit II Photo Album in Washington Congress Library and Maarif (System of Education) Yearbooks shall be utilized in the formation of the text.
Bu çalışma, Osmanlı İmparatorluğu'nda II. Abdülhamid Döneminde, 1883 yılında açılan Erzincan Askeri Rüşdiyesi’ne ilişkindir.
Erzincan Askeri Rüşdiyesi, eğitim serüveninde birbirinden bağımsız iki ayrı binada eğitim vermiştir. Birincisi Erzincan’ın merkezinde askeri rüşdiye olarak yapılan binadır. İkincisi ise 1905 yılından sonra
okulun yerleştiği ve şehrin kuzeyinde bulunan Süvari Karakolu’dur. 1915 yılında askeri rüşdiyelerin faaliyetleri sonlandırılana kadar askeri rüşdiye, Süvari Karakolu’nda Erzincan eğitim dünyasında varlığını sürdürmüştür.
Metnin başat derdi, Erzincan Askeri Rüşdiyesi’nin tarihsel geçmişi ve Türk eğitim tarihi içindeki yeridir. Ayrıca yapıya ait eski fotoğraflar ve planlar üzerinden, mimarlık ve sanat tarihi disiplinleri ekseninde
yapılacak okumayla, yapının plan analizi ve cephe çözümlemesi yapılacaktır.
Metinin oluşumunda literatür taramasının yanı sıra, Başbakanlık Osmanlı Arşivi’ndeki konuya ilişkin belgeler, Washington Kongre Kütüphanesi II. Abdülhamid Fotoğraf Albümü, Maarif Salnameleri’den yararlanılacaktır.
CONFINEMENT IN A FORTRESS (KALEBENTLİK) and GENTRIFICATION OF A GEOGRAPHY: THE CASE of CEVAT SAKIR and BODRUM Esma IGUS and Hayriye ISMAILOGLU Abstract In the history of Turkish Literature there are numerous cases that authors were... more
CONFINEMENT IN A FORTRESS (KALEBENTLİK) and GENTRIFICATION OF A GEOGRAPHY: THE CASE of CEVAT SAKIR and BODRUM
Esma IGUS and Hayriye ISMAILOGLU
Abstract
In the history of Turkish Literature there are numerous cases that authors were forced to live away from their hometowns or more conceptually, were exiled, though the punishment by the political power. However, contrary to its negative perception, this obligatory residence took part in their biographies as the periods in which their literary productivity increased.
One of the prominent authors of the Early Turkish Republic Literature Era, Cevat Sakir was sentenced to confinement in a fortress, a type of banishment, by Independence Tribunals (Istiklal Mahkemeleri) because of a political reason and was sent to Bodrum Kaleici for his punishment. After two and a half years of obligatory residence, he left Bodrum Kaleici. However, his love of Bodrum sent him back there and he lived in Bodrum until the end of his life. His return to Bodrum is regarded as a milestone for his literature career, Bodrum and related themes became dominant in his literal work.
Cevat Sakir successively created the image of “Heavenly Bodrum” in the minds of his audience by consolidating the representation of Bodrum’s urban spaces in his related literal work. This representation transforms Bodrum from a peripheral place in Turkey in the 1940s and 1950s into a imaginary space that people desire to go, therefore contributing to its gentrification.
The main aim of this article is to analyze how authors can change the destiny of a geography during their obligatory residence. Through the analysis of Cevat Sakir’s literal work, the adventure of how Bodrum reached the masses in the following years; its history, culture and natural beauty; its path from locality to universality and the representation of urban and architectural spaces of Bodrum will be investigated.
Keywords: Exile, Bodrum, literature, gentrifirication.
Esma IGUS and Hayriye ISMAILOGLU
Abstract
In the history of Turkish Literature there are numerous cases that authors were forced to live away from their hometowns or more conceptually, were exiled, though the punishment by the political power. However, contrary to its negative perception, this obligatory residence took part in their biographies as the periods in which their literary productivity increased.
One of the prominent authors of the Early Turkish Republic Literature Era, Cevat Sakir was sentenced to confinement in a fortress, a type of banishment, by Independence Tribunals (Istiklal Mahkemeleri) because of a political reason and was sent to Bodrum Kaleici for his punishment. After two and a half years of obligatory residence, he left Bodrum Kaleici. However, his love of Bodrum sent him back there and he lived in Bodrum until the end of his life. His return to Bodrum is regarded as a milestone for his literature career, Bodrum and related themes became dominant in his literal work.
Cevat Sakir successively created the image of “Heavenly Bodrum” in the minds of his audience by consolidating the representation of Bodrum’s urban spaces in his related literal work. This representation transforms Bodrum from a peripheral place in Turkey in the 1940s and 1950s into a imaginary space that people desire to go, therefore contributing to its gentrification.
The main aim of this article is to analyze how authors can change the destiny of a geography during their obligatory residence. Through the analysis of Cevat Sakir’s literal work, the adventure of how Bodrum reached the masses in the following years; its history, culture and natural beauty; its path from locality to universality and the representation of urban and architectural spaces of Bodrum will be investigated.
Keywords: Exile, Bodrum, literature, gentrifirication.
Research Interests:
There are 1435 pieces of photographs on various matters, belonging to Mustafa Asım’s Family, a statesman and the first ambassador of Ottoman Empire in Sofia, in the Estate of Leyla Turgut, kept in the archive of Istanbul Painting and... more
There are 1435 pieces of photographs on various matters, belonging to Mustafa Asım’s Family, a statesman and the first ambassador of Ottoman Empire in Sofia, in the Estate of Leyla Turgut, kept in the archive of Istanbul Painting and Sculpture Museum. The mentioned estate has been passed to the museum by decease of Leyla Turgut, the daughter of Mustafa Asım. The photographs, characterize a prolific field for the researchers on history of Ottoman family, social history and history of architecture.
There are the dates and some private notes written down on the backsides of the portrait of Mustafa Asım and most of the photographs relating to the group and the days of ambassadorship in Sofia, existing in the estate, which enable to elucidate the story of Mustafa Asım’s private life. Those photographs, being a sort of diary in character, which remained ambiguous in the recent written sources on biography of Mustafa Asım and to fictionalize his biography.
Moreover, there are some photographs, in the estate, of the interior of Ottoman Embassy in Sofia. Those images contain crucial signs about the period’s preferences of furniture and the decoration of Ottoman embassies, and, thus, about the interior arrangement of Ottoman Embassy of Sofia, and preferences of furniture of the Ottoman elite class and they help to visualize the perception of luxury of Ottoman bureaucracy.
The relevance of our subject of paper with the history of Balkans stems from the attempt of fictionalization through the photographs of the biography of Mustafa Asım, the first Ottoman ambassador in city of Sofia. Furthermore, reading the interior of our embassy existing in the Balkan geography, through the photographs of Embassy of Sofia, is of vital importance in terms of our existence in the Balkans.
There are the dates and some private notes written down on the backsides of the portrait of Mustafa Asım and most of the photographs relating to the group and the days of ambassadorship in Sofia, existing in the estate, which enable to elucidate the story of Mustafa Asım’s private life. Those photographs, being a sort of diary in character, which remained ambiguous in the recent written sources on biography of Mustafa Asım and to fictionalize his biography.
Moreover, there are some photographs, in the estate, of the interior of Ottoman Embassy in Sofia. Those images contain crucial signs about the period’s preferences of furniture and the decoration of Ottoman embassies, and, thus, about the interior arrangement of Ottoman Embassy of Sofia, and preferences of furniture of the Ottoman elite class and they help to visualize the perception of luxury of Ottoman bureaucracy.
The relevance of our subject of paper with the history of Balkans stems from the attempt of fictionalization through the photographs of the biography of Mustafa Asım, the first Ottoman ambassador in city of Sofia. Furthermore, reading the interior of our embassy existing in the Balkan geography, through the photographs of Embassy of Sofia, is of vital importance in terms of our existence in the Balkans.
Research Interests:
Leyla Turgut, one of the first woman architects of Republic Period, died in lstanbul in 1980. Leyla Turgut, from a family belonging ta Ottoman intelligentsia, donated her personal properties and some artistic objects to Mimar Sinan... more
Leyla Turgut, one of the first woman architects of Republic Period, died in lstanbul in 1980.
Leyla Turgut, from a family belonging ta Ottoman intelligentsia, donated her personal properties and some artistic objects to Mimar Sinan University of Fine Arts, Museum of Paınting and Sculpture in her legacy.
As is also understood from the name of Leyla Turgut Heritage; holds substantial number of material regarding the history of woman and the image of woman in terms of quantity and quality in late periods of Ottomans and Republic Period's Turkey. Furthermore, by going ahead from the materials
in estate, it is also possible to trace the history of woman modernization in the geography that we live.
For this reason, that Leyla Turgut Heritage which takes place in our institutional archieve and which has not been expressed in any platform before is handled as a subject at this symposium whose subject is woman, is important. In the text of statement; firstly Leyla Turgut and Turgut family will be spoken of. The professional project and applications of our woman architect who was graduated from Academy of Fine Arts (today's Mimar Sinan University of Fine Arts) are the other subıects whıch
will be handled within the text flow. Sportswoman Leyla Turgut who joined Bertin Olympiads of 1936 will be included in the research. in the oncoming chapters, the lapsing process of Leyla Turgut Estate to Mimar Sinan University of Fine Arts, Museum of Paint and Sculpture will be handled and
the estate will be introduced with all its materials (photographs, oil color paintings, letters and special notebooks). In the conclusion, Leyla Turgut Estate in our museum's archieve will be mentioned regarding that it is a source forming memory concerning the woman history and the importance of this estate for woman researches will be highlighted.
Leyla Turgut, from a family belonging ta Ottoman intelligentsia, donated her personal properties and some artistic objects to Mimar Sinan University of Fine Arts, Museum of Paınting and Sculpture in her legacy.
As is also understood from the name of Leyla Turgut Heritage; holds substantial number of material regarding the history of woman and the image of woman in terms of quantity and quality in late periods of Ottomans and Republic Period's Turkey. Furthermore, by going ahead from the materials
in estate, it is also possible to trace the history of woman modernization in the geography that we live.
For this reason, that Leyla Turgut Heritage which takes place in our institutional archieve and which has not been expressed in any platform before is handled as a subject at this symposium whose subject is woman, is important. In the text of statement; firstly Leyla Turgut and Turgut family will be spoken of. The professional project and applications of our woman architect who was graduated from Academy of Fine Arts (today's Mimar Sinan University of Fine Arts) are the other subıects whıch
will be handled within the text flow. Sportswoman Leyla Turgut who joined Bertin Olympiads of 1936 will be included in the research. in the oncoming chapters, the lapsing process of Leyla Turgut Estate to Mimar Sinan University of Fine Arts, Museum of Paint and Sculpture will be handled and
the estate will be introduced with all its materials (photographs, oil color paintings, letters and special notebooks). In the conclusion, Leyla Turgut Estate in our museum's archieve will be mentioned regarding that it is a source forming memory concerning the woman history and the importance of this estate for woman researches will be highlighted.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
The modernization movement in education started with XVIIth century in Ottoman Empire also continued with Albdulhamid II’s Period, and despite of the financial difficulties, the education was perceived by political power as a public... more
The modernization movement in education started with XVIIth century in Ottoman Empire also
continued with Albdulhamid II’s Period, and despite of the financial difficulties, the education
was perceived by political power as a public service that must be assumed by government.
In Abdulhamid II’s Period, the Otoman educational system was strengthened with the realization
of all clauses of Maarif-i Umumiye Regulation (Public Educational Regulation), thus, the
generalization of the education and the control of the government over educational system was
achieved, even if partially, with setting up the infrastructure.
Adulhamid II, understanding the education as a functional means, considered the concept of
education as an institution through which he could have reproduced and strengtherned his power.
It is because of this reason that the education was worked up into one of the means that was
referred frequently to promote the official ideology.
When Abdulhamid II ascended to the throne, in Otoman Empire, there were 4 high schools, 4
teachers’ schools, 253 intermediary schools, 18.490 children’s schools and 1 private school.
Towards the end of the Abdulhamid II’s Period, the number of schools in the country reached to
619 intermediary, 109 preparatory, 32 teachers’ schools, and about 5000 primary schools.
In Abdulhamid II’s Period, besides other educational institutions, the military intermediary
schools were also considered important, and in a geography extending from İstanbul to Manastır
and Syria twenty eight military intermediary schools in total were included into the educational
system. The educational system and educational materials, which can be considered as modern
for its period, were put into practice in these schools. However, Abdulhamid who did very
assertive moves in modernization of education, on the contrary to the preparatory architectural,
could not have redesigned the architectural topology of the military intermediary schools in the
repertoire of XIX Century school architectural, and, it should not be overlooked that, in our
history of education, the military intermediary schools made their presence felt with their
educational models they applied, but, not with their architectural ones.
continued with Albdulhamid II’s Period, and despite of the financial difficulties, the education
was perceived by political power as a public service that must be assumed by government.
In Abdulhamid II’s Period, the Otoman educational system was strengthened with the realization
of all clauses of Maarif-i Umumiye Regulation (Public Educational Regulation), thus, the
generalization of the education and the control of the government over educational system was
achieved, even if partially, with setting up the infrastructure.
Adulhamid II, understanding the education as a functional means, considered the concept of
education as an institution through which he could have reproduced and strengtherned his power.
It is because of this reason that the education was worked up into one of the means that was
referred frequently to promote the official ideology.
When Abdulhamid II ascended to the throne, in Otoman Empire, there were 4 high schools, 4
teachers’ schools, 253 intermediary schools, 18.490 children’s schools and 1 private school.
Towards the end of the Abdulhamid II’s Period, the number of schools in the country reached to
619 intermediary, 109 preparatory, 32 teachers’ schools, and about 5000 primary schools.
In Abdulhamid II’s Period, besides other educational institutions, the military intermediary
schools were also considered important, and in a geography extending from İstanbul to Manastır
and Syria twenty eight military intermediary schools in total were included into the educational
system. The educational system and educational materials, which can be considered as modern
for its period, were put into practice in these schools. However, Abdulhamid who did very
assertive moves in modernization of education, on the contrary to the preparatory architectural,
could not have redesigned the architectural topology of the military intermediary schools in the
repertoire of XIX Century school architectural, and, it should not be overlooked that, in our
history of education, the military intermediary schools made their presence felt with their
educational models they applied, but, not with their architectural ones.