Byzantine Churches in Istanbul
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Cagaloglu Hamam 46 Ecumenical Patriarchate
THIS SIDE OF THES GOLDEN Yerebatan Cistern 44 Spiritual brothers: The HORN: THE OLD TOWN AND Cagaloglu Hamam 46 Ecumenical Patriarchate EYUP 8 Nuruosmaniye Mosque 48 of Constantinople 84 Topkapi Palace 10 Grand Bazaar 50 Fethiye Mosque (Pamma- The Power and the Glory Knotted or woven: The Turkish karistos Church) 86 of the Ottoman Rulers: art of rug-making 52 Chora Church 88 Inside the Treasury 12 Book Bazaar 54 Theodosian City Wall 90 The World behind the Veil: Traditional handicrafts: Eyiip Sultan Mosque 92 Life in the Harem 14 Gold and silver jewelry 56 Santralistanbul Center of Hagia Eirene 16 Beyazit Mosque 58 Art and Culture 94 Archaeological Museum 18 Siileymaniye Mosque 60 Fountain of Sultan Ahmed 20 Rustem Pa§a Mosque 64 BEYOND THE GOLDEN Hagia Sophia 22 Egyptian Bazaar HORN:THE NEWTOWN Constantine the Great 26 (Spice Bazaar) 66 AND THE EUROPEAN SIDE Sultan Ahmed Mosque Yeni Mosque, OF THE BOSPHORUS 96 (Blue Mosque) 28 Hiinkar Kasri 68 Karakoy (Galata), Tophane 98 Arasta Bazaar 32 Port of Eminonii 70 Jewish life under the The Great Palace of the Galata Bridge 72 Crescent Moon 100 Byzantine Emperors, Myths and legends: The Istanbul Modern Museum 102 Mosaic Museum 34 story(ies) surrounding Shooting stars above the Istanbul's Traditional the Golden Horn 74 gilded cage of art: Wooden Houses and Sirkeci train station 76 Istanbul Biennal 104 the Ravages of Time 36 $ehzade Mosque Kilig Ali Pa§a Mosque, The Hippodrome 38 (Prince's Mosque) 78 Nusretiye Mosque 106 Sokollu Mehmet Pa§a Valens Aqueduct 80 Galata Tower 108 Mosque 40 Fatih -
Sultan Abdülmecid Döneminde İstanbul-Ayasofya Camii'ndeki
Sultan Abdülmecid Döneminde İstanbul-Ayasofya Camii’ndeki Onarımlar ve Çalışmaları Aktaran Belgeler Sema Doğan* Özet: Bizans başkenti Konstantinopolis’in en önemli yapısı olan Hagia Sophia Kilisesi’nin tarihi, 4. yüzyılın ilk yarısında birinci, 5. yüzyılın başlarında ikinci, 6. yüzyılda üçüncü yapım evrelerinde izlenir. Osman- lı Dönemine kadar geçirdiği doğal tahribatlara karşın pek çok onarımla ayakta kalabilen kilise, 29 Mayıs 1453’te Fatih Sultan Mehmed’in İs- tanbul’u almasıyla camiye dönüştürülür. Ayasofya, Osmanlı Dönemin- de kentin en büyük Camii olmasıyla önemini sürdürmüştür. 19. yüzyıla kadar yeni bölümlerin ve mimari öğelerin eklenmesine karşın, büyük depremler yapıda zararlara yol açmıştır. Sultan Abdülmecid’in (1839-1861) yaptırdığı onarımların, yapının gü- nümüze gelebilmesinde payı büyüktür. İsviçre’li iki kardeş mimarın gö- revlendirilmesiyle 1847 yılında başlayan onarımlar, 1858 yılına dek devam etmiştir. Başta Fossati Kardeşler’in görsel ve yazılı belgeleri ile yayınlarının yanı sıra, aynı dönemde İstanbul’a gelen gezginlerin seya- hatnamelerinde gravürler eşliğinde aktardıkları bilgiler, Osmanlı arşiv- lerindeki kayıtlar, Ayasofya risaleleri ve dönemin ressamlarının Aya- sofya konulu tablolarında onarımlar izlenmekte, yapının önemi ortaya konmaktadır. Anahtar Kelimeler: Hagia Sophia Kilisesi, Ayasofya Camii, Abdülmecid dönemi, Fossati Kardeşler, onarımlar. Giriş Ayasofya’nın Bizans ve Osmanlı Dönemlerine ait mimari, mimari bezeme ve mozaiklerinin günümüze gelebilmesinde Sultan Abdülmecid’in (1839-1861) yaptırdığı onarımların -
Acoustic Solutions in Classic Ottoman Architecture
ACOUSTIC SOLUTIONS IN CLASSIC OTTOMAN ARCHITECTURE IMPORTANT NOTICE: Author: Prof. Dr. Mutbul Kayili Chief Editor: Lamaan Ball All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Sub Editor: Rumeana Jahangir accessing these web pages, you agree that you may only download the content for your own personal non-commercial Production: Aasiya Alla use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Release Date: May 2005 Limited. Publication ID: 4087 Material may not be copied, reproduced, republished, downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use Copyright: © FSTC Limited, 2005 requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. Readers should always verify information with the appropriate references before relying on it. -
Heraclea, Pelagonia and Medieval Bitola: an Outline of the Ecclesiastical History (6Th-12Th Century)
Robert MIHAJLOVSKI Heraclea, Pelagonia and Medieval Bitola: An outline of the ecclesiastical history (6th-12th century) uDK 94:27(497.774)”5/l 1” La Trobe university, Melbourne [email protected] Abstract: Thisstudy presents my long-term field researCh on the Early Christian episCopal seat o f HeraClea LynCestis that was loCated along the anCient Roman Via Egnatia and in the valley o f Pelagonia. 1 disCuss various historiCal sourCes and topography of the region of medieval bishopric o f Pelagonia and Bitola. In addition, I also deal with the Christian Cultural heritage in the region. In this work these approaChes are within the Context o f archaeologiCal, historiCal and eCClesiastiCal investigation in the sites o f anCient HeaClea and modern Bitola. Key words: Heraclea Lyncestis, Pelagonia, Bitola, Prilep, Via Egnatia The Early Christian world on the Balkan Peninsula began to crumble already in the fourth century, with the invasions and migrations of the peoples and tribes. Vizigoths disrupted Balkan urban conditions in 378, the Huns of Atilla ravaged in 447 and Ostrogoths in 479. After the year 500 the disturbing catastrophes included an earthquake in 518, which seriously damaged the urban centers. Then came the Bubonic plague of 541-2, which was a terrible disaster of unprecedented magnitude, and other epidemics and catastrophes, which were recorded in 555, 558, 561, 573, 591 and 599.1 The invasions, epidemics and economic recession badly affected the population and society of the Eastern Roman Empire. Life in Herclea Lynkestis slowly declined. The Episcopal church was rebuilt in the early sixth century when the latest published coins of Justin II are found. -
5D4N Taste of Istanbul and Bursa from Blue Mosque | Topkapi Palace | Spice Bazaar | Grand Mosque
Travel itinerary Ground travelpackage itinerary ground package Scan QR code to see all of our packages 5D4N Taste of Istanbul and Bursa From Blue Mosque | Topkapi Palace | Spice Bazaar | Grand Mosque Day 1 Istanbul D USD420.00 Upon arrival at Istanbul International Airport, transfer to the hotel for check in. You are free per pax (twin share) at leisure to explore the city on your own. Overnight in Istanbul. *minimum 4 pax Day 2 Istanbul B/L/D PACKAGE CODE: After breakfast at the hotel, visit the Hippodrome of Constantinople (known as Sultanahmet TRIST4-01MT-5 Square today) and be regaled with the tales of horse and chariot-racing during the Roman PACKAGE INCLUSIONS times. Visit the Blue Mosque (also known as Sultan Ahmed Mosque) that was built in the 15th century. Hand-painted blue tiles adorn the mosque’s interior walls, and at night the mosque 4 nights’ accommodation at selected hotels or similar class is bathed in blue as lights frame the mosque’s five main domes, six minarets and eight based on twin sharing secondary domes. Continue to Topkapi Palace, the official residence and administrative Halal meals as per itinerary headquaters of the Ottoman sultans in the 15th century. In the afternoon, enjoy shopping at Tours and entrance fees as per Spice Bazaar. Return to the hotel and overnight in Istanbul. itinerary Day 3 Istanbul – Bursa B/L/D Transportation by air-conditioned After breakfast and check out from the hotel, visit Leather outlet centre. Then, drive to Bursa vehicle English-speaking guide during city (2 hours and 20 minutes). -
Note on Captions, Transliterations, and Translations
Note on Captions, Transliterations, and Translations Captions for multiple images of the same building give dates and locations only in the first instance. Without further qualification, “Istanbul” indicates a site within the walled city proper; extramural locations such as Üsküdar and Eyüp are additionally specified. Except in transliterated quotations and book titles, foreign terms that have en- tered standard English dictionaries (for example, “pasha,” “dhimmi,” “mihrab”) are written in their anglicized forms, and even less familiar terms are italicized only on their initial occurrence. Ottoman terms are provided with full diacritics when first written and thereafter spelled according to modern Turkish orthography, though I have retained medial ’ayns and hamzas throughout (for example, “mi’mar”). In transliterating from Ottoman Turkish, I have followed the system used by the are غ and خ:International Journal of Middle Eastern Studies, with the following adaptions respectively rendered as h and ġ, and certain orthographic conventions pertaining to ˘ native Turkish words are ignored in favor of spellings that better reflect the actual pronunciation of the time (for example, etdirüp rather than itdirüb). As is typical for the period, all eighteenth- century Ottoman texts quoted in this book are originally un- punctuated, and any punctuation that appears in the transliterations is my own. Names of buildings are written in accordance with their “scholarly” modern Turk- ish forms if these are well known (for example, “Sultan Ahmed Mosque” rather than “Sultanahmet Mosque”), though in cases where this approach would be pedantic, I have used the spellings that are today most current (for example, “Hacı Kemalettin Mosque,” not “Hacı Kemaleddin Mosque”). -
The Lamentation of Santa Sophia Marios Philippides
Tears of the Great Church: The Lamentation of Santa Sophia Marios Philippides URING THE PERIOD of the Ottoman occupation, the so- called Tourkokratia, the Greeks expressed their concerns D in folk songs, whose numerous variants were gradually collected and published in the nineteenth century to form an impressive corpus. Some songs reach back all the way to the last years of Byzantine Greece before its fall to the Ottoman Turks. One song in particular achieved a great deal of pop- ularity and perhaps qualifies as the most popular demotic song among Greek-speakers of the nineteenth century and the first decades of the twentieth. The poem is well known, but it has not received the scholarly attention it deserves. Entitled [The Song] of Santa Sophia, it is thought to describe the situation shortly before the fall of Constantinople to Sultan Mehmed II Fatih on May 29, 1453. This song survived orally and was finally recorded in the nineteenth century. Numerous versions existed in the eighteenth century; its nucleus dates to the period of the fall of Constantinople. I will attempt to demonstrate that at least one form of this poem dates to a specific event in 1452, six months before the conquest of Constantinople. Numerous variations of this poem have been collected.1 Fau- riel, in the first edition, presented a short version.2 Pouqueville 1 Variants from numerous regions are collected in A. Kriares, Πλήρηϛ Συλλογὴ Κρητικῶν Δηµωδῶν Ἀσµάτων (Athens 1920). A version was pub- lished in C. A. Trypanis, The Penguin Book of Greek Verse (Harmondsworth 1971) 469–470, no. -
Islamicizing Motifs in Byzantine Lead Seals: Exoticizing Style and the Expression of Identity Alicia Walker Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2012 Islamicizing Motifs in Byzantine Lead Seals: Exoticizing Style and the Expression of Identity Alicia Walker Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Custom Citation Alicia Walker, "Islamicizing Motifs in Byzantine Lead Seals: Exoticizing Style and the Expression of Identity," Medieval History Journal 15.2 (2012): 381-408. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/61 For more information, please contact [email protected]. The Medieval History Journal http://mhj.sagepub.com/ Islamicising Motifs in Byzantine Lead Seals: Exoticising Style and the Expression of Identity Alicia Walker The Medieval History Journal 2012 15: 385 DOI: 10.1177/097194581201500207 The online version of this article can be found at: http://mhj.sagepub.com/content/15/2/385 Published by: http://www.sagepublications.com Additional services and information for The Medieval History Journal can be found at: Email Alerts: http://mhj.sagepub.com/cgi/alerts Subscriptions: http://mhj.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://mhj.sagepub.com/content/15/2/385.refs.html >> Version of Record - Mar 20, 2013 What is This? Downloaded from mhj.sagepub.com at BRYN MAWR COLLEGE on April 15, 2013 Islamicising Motifs in Byzantine Lead Seals: Exoticising Style and the Expression of Identity Alicia Walker* Among a relatively small number of ninth- to eleventh-century Byzantine lead seals with animal motifs, scholars have long recognised that some show Islamicising stylistic and iconographic features. -
The Theophany of Allah by Means of Lightin
The Pennsylvania State University The Graduate School BRINGING TO LIGHT THE QUR’AN: THE THEOPHANY OF ALLAH BY MEANS OF LIGHTING DESIGN IN THE SÜLEYMANIYE MOSQUE A Thesis in Architecture by Stella Destephanis Murray © 2020 Stella Destephanis Murray Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science May 2020 The thesis of Stella Destephanis Murray was reviewed and approved by the following: Denise Rae Costanzo Assistant Professor of Architecture Thesis Adviser Jonathan Eugene Brockopp Professor of History and Religious Studies Cathy Michelle Braasch Assistant Professor of Architecture Darla V. Lindberg Professor of Architecture Mehrdad Hadighi Professor of Architecture Head of the Department of Architecture ii ABSTRACT In 1558, the Ottoman architect Koca Mimar Sinan Agha (c. 1488-1588) began construction on the Süleymaniye Mosque in Constantinople (Istanbul). Commissioned by Sultan Süleyman (1494-1566), the mosque was built early in Sinan’s career even though it was soon considered a masterpiece. The Süleymaniye Mosque drew significant inspiration from the nearby Hagia Sophia (532-37), a monument built a thousand years earlier for a different religion (Byzantine). Despite the differences in their theological origins, these two works of architecture in the same city share similar structural systems and lighting strategies. Although both the Süleymaniye Mosque and Hagia Sophia were designed to dramatize daylighting, the former has been more successful. Whereas Hagia Sophia is relatively dim inside, natural light alone fully illuminates the upper half of the Süleymaniye Mosque. In the lower half of the mosque, the simple yet effective mosque lamps serve as task lighting for Muslims who wish to pray. -
Blue Mosque (Sultan Ahmed Mosque), Istanbul
Blue Mosque (Sultan Ahmed Mosque), Istanbul TouristsPicture ofat thethe BlueBlue MosqueMosque Courtyard of the Blue Mosque An emblem of the Turkish and Islamic art, the Blue Mosque in Istanbul, Turkey is a place, both of meditation and admiration. This prominent building is listed on the itinerary of every tourist who comes to Istanbul. Built during the reign of Ahmed I, the Blue Mosque (aka Sultanahmet Camii in Turkish) derives its name from the blue colored tiles of the walls used in its construction. It is also called the Sultan Ahmed Mosque , as it houses the resting place of its founder. The mosque has a madrasa. There is also a provision of medical aid at the mosque. Even though there are three entrances to the mosque, it is suggested to enter the mosque from the west direction for panoramic views. The sybaritic curves of the mosque, the commodious courtyards, sky-reaching minarets, make this Ottoman mosque a doozy of religious places. The interior decor of the mosque is lavishly decorated with the psychedelic paintings. The stained glass and tiles generate luminous effects to complement the vistas. More than 20,000 recherché Iznik tiles were used to embellish the interiors of the mosque. Travel Tips Remove your shoes and put them in plastic bags that are available at the mosque (without any charges). Cover your head with coverings that are provided at the entrance, free of cost. Flash photography is prohibited inside the mosque. Maintain silence in the mosque. When you return, put the used plastic bags in the designated dustbins and return the head coverings. -
Tour De Istanbul, London and Amesbury 31St October -9Th November 2010
Tour De Istanbul, London and Amesbury 31st October -9th November 2010 Day 1 (31 st December 2010): Durham to Luton Airport. Luton Airport Parking: Airpark Services, LU1 4BZ Grove Road, Slip End, Luton, Beds Day 2 (1 st November 2010): Sabiha Airport to Istanbul Apartments Route 1: From Sabiha Gokchen, take bus E10 to Kardikoy (end of the station). 3.5 lira each. From Kardikoy, take ferry to Eminonu (end of the station, actually end to end). 1.75 lira each. From Eminonu, take Tram to Blue Mosque (Sultan Ahmet Station). They use Token (jeton) and price is 1.75 lira per person. Then from Blue Mosque station, just walk to Istanbul Apartment. Route 2: Sabiha Gokchen direct to Taksim. 13 lira per person. Then from Taksim to Metro underground to Kabatas. 1.75 lira each. From Kabatas, take Tram to Sultan Ahmet (Blue Mosque station), Another 1.75 lira each. Day 3 (2 nd November 2010): Hagia Sophia, Blue Mosque, Byzantine Hippodrome, Beyazit Mosque, Istanbul University and Al Fatih Mosque. Hagia Sophia : The Church of Holy Wisdom, undoubtedly one of the greatest architectural creations in the world used as a mosque during Ottomans and serving as a museum today. *Hagia Sophia is closed on Mondays and replaced with Underground Cistern Byzantine Hippodrome: the center for entertainment, amusement and sports in the city during the Roman and Byzantine Empires.The Egyptian Obelisk, the serpentine column and the German fountain of Willhelm II are sites to be visited. Blue Mosque : The Sultan Ahmed Mosque ,one of the most revered masterpieces of the Islamic world . -
Ozgecan Karadagli
From Empire to Republic: Western Art Music, Nationalism, and the Merging Mediation of Saygun’s Op.26 Yunus Emre Oratorio by Ozgecan Karadagli A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music University of Alberta © Ozgecan Karadagli, 2017 Abstract This dissertation focuses on Western art music during the second half of the 19th century Ottoman Empire and the first half of 20th century in Republic of Turkey in the construction of a national identity, and how it had been used as a part of cultural politics. One of the aims is to contest some misinterpretations on the history and roles of Western art music. Through the Tanzimat (reform) period of the Ottoman Empire, Western art music genres became part of their Westernization policy. However, music was not a part of state ideology. On the other hand, as a big part of culture revolutions, music played an immense role of forging the new national identity of Turkish Republic. This music, under the vision of the founder Mustafa Kemal Ataturk, was formed through the synthesis of newly constructed Turkish folk music and Western art music techniques. Ahmet Adnan Saygun, as one the first generation of composers of the new state, dedicated himself to creating the new nationalist music of Turkey. This dissertation also argues that Saygun brought together Turkish folk music, Turkish art music and Western art music to compose nationalist music. In doing so, Saygun mediated the aesthetic and cultural traditions of the past and the present as well as broke the artificial art and folk music binary.