Eckhard Unger and “İlm-I Asar-I Atika Medhali” [Introduction to the Science of Antiquities]

Total Page:16

File Type:pdf, Size:1020Kb

Eckhard Unger and “İlm-I Asar-I Atika Medhali” [Introduction to the Science of Antiquities] ITU A|Z • Vol 13 No 2 • July 2016 • 175-184 Teaching the “Science of Antiquities” in the Late Ottoman Turkey: Eckhard Unger and “İlm-i Asar-ı atika Medhali” [Introduction to the Science of Antiquities] Gül CEPHANECİGİL [email protected] • Department of Architecture, Faculty of Architecture, Istanbul Technical University, Istanbul, Turkey Received: February 2016 • Final Acceptance: February 2016 Abstract Archaeology, art & architectural history, and aesthetics were all new fields of intellectual activity in the late Ottoman era. Even as some of them were being taught in institutions of higher education and articles were appearing in journals and newspapers on these subjects, it was difficult to name their development as the emergence of separate new disciplines. Rather, the general tableau they pre- sented was a composite area of interest with a high degree of interpenetration. As for courses in academic institutions, the professors usually were not trained in these areas and the courses had neither continuity nor a precisely defined content. We have to admit that our knowledge of these courses is rather restricted as well. For most of them, only the name of the course and/or the name of the professor is known. In this context, the notes of the ilmi asar-ı atika medhali [introduction to the science of antiquities] lectures given by the German archaeologist Eckhard Unger at Darülfünun [University] appear to be a valuable source that may help to clarify the notion of ilmi asar-ı atika and to shed light on the history of archaeo- logical education in the Ottoman Empire. Keywords doi: 10.5505/itujfa.2016.46320 doi: Antiquities, Archaeology education, Ottoman Empire 176 1. Antiquities [Asar-ı atika] and the meaning of ilmi asar-ı atika [the sci- science of antiquities [İlm-i Asar-ı ence of antiquities]: it may include Atika] both archaeology and art history. “Asar-ı atika” is a generic term used However, the art historian Mehmed for antiquities in Ottoman Turkish. Vahid, in his Opinions on Some Import- The law of antiquities issued in 1874 ant Art Terms published in 1915 gives describes it in a very general manner: “archéologie” and “altertumskunde” “All kinds of artifacts that remain from as ilmi asar-ı atika’s translations in ancient times should be considered French and German (Mehmet Vahit as antiquities” (Madran, 2002). Even Bey, 2003). In a study published by the though the definition does not ex- Committee for Scientific Terminology, press any time limit, considering the archaeology is translated as “atikiyat”, contexts for which it was used, it can a word which connotes a complex field be said that asar-ı atika meant archae- that may cover many areas related to ological finds primarily for the sec- the study of the antiquity--similar to ond half of the nineteenth century. In altertumskunde (Maarif-i Umumiye the 1906 revision of the law, the same Nezareti Istılahat-ı İlmiye Encümeni, general regard remains, with a more 1331). Celal Esad also uses atikiyat detailed description: “..[A]ll artifacts, as the equivalent of archaeology in remnants of the peoples lived earlier his dictionary of art terms, but he ex- … and which are related to their art, plains it as the science that examines science, crafts, literature and religion the art works and monuments of an- should be considered as antiquities.” cient times (Djelal Essad, 1340). Thus, (Madran, 2002). However, in the list whether it comprises other fields re- of examples that accompany the defi- lated to the study of antiquity or it is nition, it is noteworthy to observe that the exact equivalent of archaeology, it mosques and charity buildings, houses, seems that ilmi asar-ı atika should not and palaces were also included. Paral- be understood as a general art history lel to the growing interest in the early but as a field consecrated to the study twentieth century in the Islamic and of antiquity. Ottoman past, asar-ı atika began to cover more recent objects and build- 2. Teaching the “science of ings belonging to the Islamic and Ot- antiquities” toman geographies. Examples of civil The earliest attempt for the estab- architecture were to be considered as lishment of a course on ilmi asar-ı ati- a part of antiquities as well. One can ka appears in the regulation of public observe that the language related to education issued by the ministry of its preservation --both the language of education in 1869. In the section de- bureaucracy and the popular language voted to the establishment of a univer- of newspapers and periodicals--was sity [Darülfünun-ı Osmani], courses in parallel with this change1. Celal Esad, ilmi asar-ı atika and numismatics can in his 1924 French-Turkish dictionary be observed in the curricula prepared of art terms, points out a difference for the literature & philosophy depart- between French and Turkish usage ment (Dölen, 2009; İhsanoğlu, 2010). (Djelal Essad, 1340). He states that in But neither of these courses appear in French two different words were used the programs of the first three years 1Along with many to express the difference between the (1870-73) during which Darülfünun others, the well known article vestiges of ancient times and those of remained open (Dölen, 2009; İhsanoğ- of Halil Edhem later periods. While “antique” was used lu, 2010). According to Ergin (1977), entitled “Asar-ı for the former, “antiquités” may also be it was the lack of professors and books Atika-i Milliyemiz used for later periods such as Byzan- that led to the elimination of some Nasıl Mahvoluyor?” tine, Romanesque, Gothic, and Renais- courses from the intended program. [How our national antiquities is sance. In Turkish, however, he states The second attempt for teaching falling in ruins?] that asar-ı atika was the only term to ilmi asar-ı atika is in the context of appeared in 1911 express all of them. the newly founded Imperial Museum in Şehbal may be Considering the range of subjects [Müze-i Hümayun]. Probably led by remembered here and time periods covered by the term the growing need for educated staff as an example of this change in asar-ı atika, a duality appears in the for and the excavations conducted by language. ITU A|Z • Vol 13 No 2 • July 2016 • G. Cephanecigil 177 the museum, a decision to establish a İhsanoğlu (2010), the school of litera- school of archeology2 [Asar-ı atika Me- ture did not have the same status of the ktebi] was announced in the Mecmua-ı other schools--law and engineering. Maarif in 1874 (Cezar, 1995). After Based on the facts that its name did receiving the necessary authorization not appear in the general regulation from the sultan, its regulation was pub- but only in the internal regulation and lished in 1875 in the Franco-Ottoman that its courses were obligatory for the newspaper La Turquie (Anonym, 1875, students of the other schools, he asserts March 9). From this regulation, it can that the literature school was not an be deduced that it would be a two-year independent one and that it was rath- school specializing in archeology and er a department providing courses for numismatics. The director of the mu- general education. On the other hand, seum, Anton Dethier, would be the Ergin (1977), pointing out the problem director of the school as well. Two of of providing Turkish textbooks and the museum staff would accompa- Turkish speaking professors for some ny him in this latter task. Apart from subjects, indicates that some classes archeology and numismatics classes, were taught partly in French which students would be expected to attend resulted in a restriction on the student courses on drawing, plaster casting, profile. Only those whose language photography, and minerology. In sum- knowledge was good enough to under- mer, they would be sent to excavation stand French-taught courses would be areas in the vicinity of Istanbul to re- students of these schools. In this con- ceive practical training. According to text, different than the earlier attempt the regulation, the school would accept in the Museum’s archaeology school, twelve students each year. In order to the firstilmi asar-ı atika classes were be accepted, students were required to designed not for professional training have accomplished a certain level of but as part of the general education study in general history and geography. and could be realized only in the small They were also asked to be proficient circles of an elite institution such as in Turkish, French, ancient Greek and Mekteb-i Sultani. The school couldn’t Latin. Following the publication of the last very long, and it had to close after regulation, comments appeared in the two years. newspapers criticizing its highly selec- The next attempt for a new insti- tive acceptance conditions (Anonym, tution with ilmi asar-ı atika courses 1875, March 18). As a matter of fact, came from a well-known architect who no information can be found showing also held the title of chief architect of that the school actually opened. The the state, Sarkis Balyan (Ürekli, 1997; plan for teaching ilmi asar-ı atika again Ersoy, 2010). His proposal for a new could not be realized. institution of higher education for fine In the same year of the initiative for arts and advanced sciences [sanayi-i a school of archeology, a project for a hasene ve fünun-ı aliyye] envisages new Darülfünun [Darülfünun-ı Sul- four branches of specialization: archi- tani] was put into execution. Instead tecture, mining engineering, civil en- of a new establishment, the ministry gineering, and chemical engineering. of education tried to found a group of According to the detailed program schools following the French model of attached to the proposal, students spe- Grands Ecoles, all under the direction cializing in architecture were expected of the already established Mekteb-i Sul- to take two courses in ilmi asar-ı atika, tani, one of the most westernized high in the second and third years of their schools of the empire.
Recommended publications
  • The Protection of Historical Artifacts in Ottoman Empire: the Permanent Council for the Protection of Ancient Artifactsi
    Universal Journal of Educational Research 7(2): 600-608, 2019 http://www.hrpub.org DOI: 10.13189/ujer.2019.070233 The Protection of Historical Artifacts in Ottoman Empire: The Permanent Council for the i Protection of Ancient Artifacts Sefa Yildirim*, Fatih Öztop Department of History, Faculty of Science and Letters, Ağrı İbrahim Çeçen University, Turkey Copyright©2019 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The historical artifacts that reveal the social, establishment, functioning, duties and activities of the political, aesthetic, moral, architectural, etc. stages, before-said council are tried to be explained. through which the human beings have been; which transfer and reveal information from past to present and Keywords Historical Artifacts, Protection of future; which have an artistic, historical or archaeological Historical Artifacts, Council importance are very important physical elements that the present-day civilized societies protect or must protect as cultural values. Such works both strengthen the ties to the past due to the transfer of cultural heritage to existing and 1 . Introduction future generations and plays a very important role in the writing of the past through the data provided to the The first initiative for the protection of the historical researchers. The protection of the historical artifacts was artifacts in the Ottoman Empire can be considered as the under sharia laws until 1858 in Ottoman Empire, since beginning of the storage of two collections of old weapons then, some regulations were done about this issue, in the and artifacts since 1846 in the Hagia Irene Church end, The Permanent Council for the Protection of Ancient (Sertoğlu & Açık, 2013, p.160).
    [Show full text]
  • Constantinople As Center and Crossroad
    Constantinople as Center and Crossroad Edited by Olof Heilo and Ingela Nilsson SWEDISH RESEARCH INSTITUTE IN ISTANBUL TRANSACTIONS, VOL. 23 Table of Contents Acknowledgments ......................................................................... 7 OLOF HEILO & INGELA NILSSON WITH RAGNAR HEDLUND Constantinople as Crossroad: Some introductory remarks ........................................................... 9 RAGNAR HEDLUND Byzantion, Zeuxippos, and Constantinople: The emergence of an imperial city .............................................. 20 GRIGORI SIMEONOV Crossing the Straits in the Search for a Cure: Travelling to Constantinople in the Miracles of its healer saints .......................................................... 34 FEDIR ANDROSHCHUK When and How Were Byzantine Miliaresia Brought to Scandinavia? Constantinople and the dissemination of silver coinage outside the empire ............................................. 55 ANNALINDEN WELLER Mediating the Eastern Frontier: Classical models of warfare in the work of Nikephoros Ouranos ............................................ 89 CLAUDIA RAPP A Medieval Cosmopolis: Constantinople and its foreigners .............................................. 100 MABI ANGAR Disturbed Orders: Architectural representations in Saint Mary Peribleptos as seen by Ruy González de Clavijo ........................................... 116 ISABEL KIMMELFIELD Argyropolis: A diachronic approach to the study of Constantinople’s suburbs ................................... 142 6 TABLE OF CONTENTS MILOŠ
    [Show full text]
  • Ernest Mamboury (1878 — 1953)
    Biyografya : ERNEST MAMBOURY (1878 — 1953) Dr. SEMAV~~ EY~ CE Istanbul'un tarihi ve arkeolojik ara~t~ rmalar sahas~, geçen y~l beklenmedik bir surette ölen Prof. Dr. Alfons Maria Schneider'den sonra 1, bu y~l da Ernest Mamboury'yi kaybetmi~~ bulunuyor. Öm- rünün büyük bir k~sm~n~~ yurdumuzda geçiren Mamboury çok ~ey görmü~~ ve çok malzeme toplam~~~ olmakla beraber, faaliyetinin büyük bir k~sm~n~~ memleketimizin muhtelif bölgeleri hakk~ ndaki rehberlere hasretmi~~ ve bunlar aras~ nda bilhassa bir tanesi, muhtelif dillerde birçok bask~lar~~ yap~lan Istanbul rehberi ile, hakl~~ bir ~öhrete eri~- mi~tir 2. I. HAYATI Ernest Mamboury, ~sviçre'nin Waud (Waadtland) kantonunda, Cenevre gölü k~y~s~ndaki Nyon'da ~~ Nisan 1878 de dünyaya gelmi~, çok küçük ya~ta iken k~sa bir fas~ la ile baba ve annesini kaybetmi~tir. Nyon kolejinde ve Lausanne'da Ecole Normale'de tahsilini yapt~ k- tan sonra Cenevre'deki Ecole des Arts Industriels'den 1905 de dip- loma alarak k~sa bir müddet için Paris'e gitmi~~ ve burada Güzel Sanatlar Akademisinin Seramik bölümüne devam etmi~tir. Mam- boury 1906'da yurduna döndü~ünde, resim ö~retmeni olarak Lau- sanne'da vazife alm~~t~r. Mamboury'nin isviçre'veki ö~retmenlik hayat~~ pek uzun sür- memi~tir. Bir müddet için izin alarak 19o9'da Istanbul'a gelmi~~ ve A. M. Schneider hk. bk. S. Eyice, Prof. Dr. ~ltfons Maria Schneider, "Belleten", 16 (1952) 585-598. 2 Mamboury'nin vefat~~ üzerine ~sviçre bas~n~ nda hayli yaz~~ ç~ km~~ t~ r. Bun- lardan ikisini burada bildiriyoruz, Ph. Schweinfurth, Nachruf auf einen Schweizer Byzantinisten, "Neue Zurcher Zeitung", 19 ekim 1953, Fernausgabe No.
    [Show full text]
  • Osman Hamdi Bey New Interpretations
    ESSAYS: OSMAN HAMDI BEY NEW INTERPRETATIONS WHAT’S IN A NAME? OSMAN HAMDI BEY’S GENESIS Edhem Eldem; Boğaziçi University, Istanbul Osman Hamdi Bey (1842-1910) is one of the most studied characters of late Ottoman cultural history. Quite a number of reasons can be invoked to explain this phenomenon, from Osman Hamdi’s pioneering role in the arts to his striking character of a polymath, from his prolific artistic production to the relative dearth of any serious rival during his lifetime. The list could be extended ad infinitum and would be confirmed by what is one of the best indicators of public interest: the incredible market prices that his paintings have reached in the last ten years or so. This “overstudying” to which Osman Hamdi has been subjected is further characterized by a systematic disregard for historical context and a tendency to seek meaning in the artist’s paintings. Every point in the artist’s life becomes a self-fulfilling prophecy: given a general knowledge of Osman Hamdi Bey’s artistic, intellectual, and political inclinations, all it takes is a proper “reading” of one of his paintings to discover what was intended from the very beginning. The agenda, moreover, is rather limited: the discussion revolves around the question of whether or not Osman Hamdi Bey was an Orientalist, and if so, whether his Orientalism is comparable to that of his western contemporaries. The verdict is almost unanimous: he may have been Orientalist in style, but his intentions were quite different from that of European painters of the 1 same genre.
    [Show full text]
  • The Historiography of Ottoman Archaeology: a Terra Incognita for Turkish Archaeologists
    Cihannüma Tarih ve Coğrafya Araştırmaları Dergisi Sayı III/1 – Temmuz 2017, 109-122 THE HISTORIOGRAPHY OF OTTOMAN ARCHAEOLOGY: A TERRA INCOGNITA FOR TURKISH ARCHAEOLOGISTS Filiz Tütüncü Çağlar* Abstract The history of Ottoman archaeology is yet to be written. The existing scholarship is lacking an exhaustive account on the subject and is in need of a critical outlook to the current discourse. There is ample literature taken into account by Turkish historians on the history of the Ottoman Imperial Museum (Müze-i Hümayun) with a particular focus on the period following Osman Hamdi Bey’s appointment as director of the museum in 1881. Turkish archaeologists, on the other hand, have remained remote to the early history of archaeology prior to the Republican era due to practical and ideological reasons. As a result, the field has been dominated by historians, whose approaches and areas of interest greatly differ from those of archaeologists. The concentration of historiographical interest on Osman Hamdi Bey and his role in the protection of antiquities lying in the Ottoman territory has overshadowed the merits and contributions of other pioneering figures in the field, most of whom with more in-depth knowledge and substantial technical expertise on archaeology. This paper aims to draw attention to the major issues prevalent in the Turkish historiography of Ottoman archaeology and calls for expanding the sources and areas of study in the field. Writing the disciplinary history of archaeology in Turkey is not an easy task; it requires language skills – the majority of the archival sources are in Ottoman Turkish, familiarity with historical methodology as well as a good understanding of archaeological method and theory.
    [Show full text]
  • Istanbul Bibliyografyasi
    İSTANBUL BİBLİYOGRAFYASI CEMAL TOKSOY* - YUNUS UĞUR** Bu çalışma, kitap ve doktora tezi formatındaki eserler Bibliyografya hazırlanırken taraması yapılan katalog merkeze alınarak yaklaşık 3.700 çalışmayı muhtevi ve Veri Tabanları şunlardır: TDV İSAM Kütüphanesi, bir listedir. İstanbul ile ilgili yapılmış tüm yayınları Milli Kütüphane, Kültür Bakanlığı Kütüphaneler Ortak kapsama iddiasında değildir. Aşağıda belirtilen kataloglar Veritabanı, Atatürk Kitaplığı, İstanbul Kitaplığı, taranarak İstanbul şehrinin tarihi ile doğrudan ilgili European Library, Library of Congress, olan çalışmalara yer verilmeye çalışılmıştır. Eserler Bibliotheque National, British Library, National listelenirken kitap ve tez ayırımı yapılmadan yazarların Library of Greece, Deutsche Nationalbibliothek, ve yayına hazırlayan kişilerin soyadları dikkate alınarak Boğaziçi Üniversitesi Kütüphanesi, İstanbul alfabetik sıralama yapılmıştır. Herhangi bir yazar- Üniversitesi Kütüphanesi, Yıldız Teknik Üniversitesi hazırlayan ismi belirtilmeyen çalışmalar ise listenin Kütüphanesi, İstanbul Teknik Üniversitesi sonunda kitap başlıklarına göre alfabetik sıralanmıştır. Kütüphanesi, Marmara Üniversitesi Kütüphanesi, Tekrarlardan kaçınmak için birkaç dilde yayınlanmış Mimar Sinan Güzel Sanatlar Üniversitesi çalışmalardan telif yani özgün dili tercih edilmiş, Kütüphanesi, YÖK Ulusal Tez Merkezi, Citation birkaç kere basımı yapılan yayınların ise ilk baskısı Index, ProQuest Dissertation, Archive.org, DART-Europe bibliyografyaya dahil edilmiştir. E-theses Portal ve http://www.envanter.gov.tr.
    [Show full text]
  • ENVIRONMENT of CULTURE and ART in the OTTOMAN EMPIRE in 19Th CENTURY
    The Online Journal of Science and Technology - April 2018 Volume 8, Issue 2 ENVIRONMENT OF CULTURE AND ART IN THE OTTOMAN th EMPIRE IN 19 CENTURY Nesli Tuğban YABAN Baskent University, Department of Public Relations and Publicity, Ankara-Turkey [email protected] Abstract: Westernisation and modernisation of the Ottoman Empire began to burgeon in the 17th century; it became evident in the 18th century and the 19th century witnessed the most intense interaction and the exact reconstruction process. New way of living which was originated in Europe and representatives thereof became influential as guides and determinants of reconstruction process in the Ottoman Empire. It is possible to point out that the Ottoman Empire which got closer to France for handling military problems, to England for industrialisation purposes and to Italy for architecture and arts had intense communication and the resulting interaction with European states in the course of reconstruction process. This study aims to give information about the social, cultural and artistic environment in the Ottoman Empire during the reign of Sultan Abdul Hamid II (1876-1909). Key Words: Culture, Art, Ottoman Empire, Sultan Abdul Hamid II. General View of the Environment of Culture and Art in 19th Century in the Ottoman Empire It is clear that sultans had a very important role in the ruling of the country as a part of state system of the Ottoman Empire thus, good or bad functioning of the state and events and actions which might affect the society from various aspects were closely connected to personality, behaviours and mentality of the sultan.
    [Show full text]
  • Görünenin Ötesinde Osman Hamdi Bey Osman Hamdi Bey Beyond Vision Görünenin Ötesinde Osman Hamdi Bey Beyond Vision
    GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY OSMAN HAMDİ BEY BEYOND VISION GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY BEYOND VISION ISBN: 978-605-2095-42-3 9 786052 095423 İŞBİRLİĞİYLE / IN COLLABORATION Sabancı Üniversitesi Sakıp Sabancı Müzesi / Sabancı University Sakıp Sabancı Museum Filiz Kuvvetli Danimarka Müzeleri Ortak Konservasyon Merkezi, Tablo Konservasyon Uzmanı Hüma Arslaner SSM Resim Koleksiyonu Yöneticisi Nurçin Kural Özgörüş SSM Konservasyon Laboratuvarı Yöneticisi Sabancı Üniversitesi Nanoteknoloji Araştırma ve Uygulama Merkezi / Sabancı University Nanotechnology Research and Application Center Prof. Dr. Mehmet Ali Gülgün Dr. Öğretim Görevlisi Meltem Sezen Dr. Öğretim Görevlisi Feray Bakan Koç Üniversitesi Yüzey Teknolojileri Araştırma Merkezi / Koç University Surface Science and Technology Center Dr. Gülsu Şimşek İstanbul Teknik Üniversitesi Organik Kimya Laboratuvarı/ Istanbul Technical University Organic Chemistry Laboratory Dr.Öğretim Görevlisi Cüneyt Ünlü Getty Konservasyon Enstitüsü / The Getty Conservation Institute Dr. Lynn Lee Proje destekçisi / Project supporter İletişim ve Teknoloji Sponsoru / Communication & Technology Sponsor GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY OSMAN HAMDİ BEY BEYOND VISION Sakıp Sabancı Müzesi Koleksiyonu’ndaki Osman Hamdi Bey tabloları için yapılan bilimsel analiz ve konservasyon çalışmalarının sonuçları The results of the scientific analysis and conservation of Osman Hamdi Bey’s paintings from the Sakıp Sabancı Museum Collection İÇİNDEKİLER ÖNSÖZ 6 Dr. Nazan Ölçer DOĞULU BİR ORYANTALİST NASIL OLUNUR? 10 Edhem Eldem GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY 58 X-IŞINI GÖRÜNTÜLEME TEKNİĞİ NEDEN GEREKLİDİR? 60 PİGMENT ANALİZİ NEDİR? TUVAL BEZİNİN ÖZELLİKLERİ NASIL BELİRLENİR? NAİLE HANIM PORTRESİ 62 KOKONA DESPİNA 66 KURAN OKUYAN HOCA 70 ARZUHALCİ 74 VAZODA ÇİÇEKLER 78 CAMİ 82 OSMAN HAMDİ BEY TABLOLARININ 86 BİLİMSEL ANALİZLERİ VE KONSERVASYONU — BULGULAR PİGMENT ANALİZİ VERİLERİ 88 ZAMAN İÇİNDE OSMAN HAMDİ BEY 90 CONTENTS FOREWORD 7 Dr.
    [Show full text]
  • Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art
    Annika K. Johnson exhibition review of Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Citation: Annika K. Johnson, exhibition review of “Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012), http://www.19thc-artworldwide.org/autumn12/johnson-reviews-osman-hamdi-bey-and-the- americans. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Johnson: Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art The Suna and Inan Kıraç Foundation Pera Museum, Istanbul October 14, 2011 – January 8, 2012 Archaeologists and Travelers in Ottoman Lands University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia September 26, 2010 – June 26, 2011 Catalogue: Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art (Osman Hamdi Bey & Amerikalilar: Arkeoloji, Diplomas, Sanat) Edited by Renata Holod and Robert Ousterhout, with essays by Renata Holod, Robert Ousterhout, Susan Heuck Allen, Bonna D. Wescoat, Richard L. Zettler, Jamie Sanecki, Heather Hughes, Emily Neumeier, and Emine Fetvaci. Istanbul: Pera Museum Publication, 2011. 411 pp.; 96 b/w; 119 color; bibliography 90TL (Turkish Lira) ISBN 978-975-9123-89-5 The quietly monumental exhibition, titled Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art, was the product of a surprising collaboration between the Suna and Inan Kıraç Foundation Pera Museum in Istanbul and the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia.
    [Show full text]
  • Mediatization of Culture: Queuing up for Museums Evrim Dogan Project Coordinator, Beyoglu Memory Research Center – Istanbul, Turkey
    Mediatization of Culture: Queuing up for Museums Evrim Dogan Project Coordinator, Beyoglu Memory Research Center – Istanbul, Turkey Evinc Dogan PhD Student, IMT Institute for Advanced Studies – Lucca, Italy Why do people visit a Museum? what determines the demand for museums? •The cost of visiting a museum • entrance fee • opportunity cost of time: • the price of alternative leisure activities • other costs of visiting like transport costs, parking costs. •Level of education/intelligence •Contents of the exhibition (art matters) •The design of the building •The provision of services like catering, museum shop, customer friendliness, hygiene. •Satisfying visits in the past •Marketing & Communication efforts http://www.museummarketing.info/2008/09/why-do-people-visit-a-museum/ Private Museums According to their management types, private museums are defined in the Law for Preservation of Cultural and Natural Artifacts (No. 2863), enacted in 1983. Museums which are not managed by the Ministry of Culture (former name) but dependent to the supervision of the ministry are legally named as “Private Museums”. This definition has a wide context, whereas museums dependent to the: - Turkish National Assembly, - Other ministries than of culture, - Public institutions and associations, - Real and corporate bodies, - Foundations, are entitled as “private museums”. Collectors’ and corporate museums: •The 2000s marked the shift in the demand for museums • Past: Museum as spaces of history and collective memory. • Present: Museums as spaces of consumption
    [Show full text]
  • Altıncı Daire Den Beyoğlu Belediyesi Ne
    Altıncı Daire’den Beyoğlu Belediyesi’ne: 155 yıldır lider kent yönetimi Modern Türkiye’de belediyeciliğin tarihi aynı zamanda Beyoğlu Belediyesi’nin tarihidir. Beyoğlu ise İstanbul’un kalbi, Türkiye’nin gözbebe- ğidir. Tarihsel açıdan Türkiye’de yerel yönetimlerin öncüsüdür. Osmanlı-Türk modernleşmesinin sonuçlarından biri de belediyelerin ku- rulmasıydı. Bu belediyelerin ilki Beyoğlu oldu. Gücünü tarihinden alan bir belediyecilik anlayışı 155 yıldır Beyoğlu’nu güzelleştirmeye devam ediyor. Beyoğlu mevcut güzelliklerini, evrensel değerlerini bu hizmetler sayesinde ülke ve dünya ile paylaşıyor. Beyoğlu’nun gizli ve aşikâr tüm sembolleri belediyemizin gayretleri ile önce insanımıza sonra insanlığa ulaşıyor. Eskiden bayındırlık ihtiyaçlarını vakıf kültürüyle gören Osmanlı; belediyeci- lik kültürüyle ilk Beyoğlu’nda tanışmıştır. Kentleşme maceramız en rafine haliyle Beyoğlu’nda vücut bulmuştur. Zira, İstanbul’un ticaret, kültür ve sanat havzası olan Beyoğlu, imparatorluğun dünyaya açılan penceresiydi. Bu özelliği günümüzde de devam ediyor. Beyoğlu için sayısız şarkı ve şiir yazıldı; burası yüzlerce romana ve filme ev sahipliği yaptı. Modern Türkiye ahalisi tiyatro, gazino, konser salonları ve sinemalarla ilk kez Beyoğlu’nda tanıştı. Bu ayrıcalıklı tabiatıyla Beyoğlu, modernleşme tarihimizin geçit resmi yaptığı bir açık hava müzesidir. Bu eserde; Beyoğlu’nun yakın tarihini bir de Beyoğlu’na emeği geçmiş beledi- ye başkanları üzerinden okumak istedik. Hizmet vermiş her başkan bir tarih- sel kahraman, her icraat tarihe nakşedilmiş bir köşe taşı... Bu portrelerin ve hizmetlerin arkasında yaşayan bir şehrin biyografisini göreceksiniz. Beyoğlu sevdalıları olarak bu hizmeti bir gelenek olarak görüyoruz. Bu eser, geleneksel BAŞKAN’DAN hizmet yarışında parmak izi olan herkesi selamlamak için hayat buldu. İlk başkanımız Mehmet Kamil Bey’le başlayan Beyoğlu’nda parmak izi, alın teri, göz nuru olan tüm isimler bizim için muhterem..
    [Show full text]
  • Homer, Troy and the Turks
    4 HERITAGE AND MEMORY STUDIES Uslu Homer, Troy and the Turks the and Troy Homer, Günay Uslu Homer, Troy and the Turks Heritage and Identity in the Late Ottoman Empire, 1870-1915 Homer, Troy and the Turks Heritage and Memory Studies This ground-breaking series examines the dynamics of heritage and memory from a transnational, interdisciplinary and integrated approach. Monographs or edited volumes critically interrogate the politics of heritage and dynamics of memory, as well as the theoretical implications of landscapes and mass violence, nationalism and ethnicity, heritage preservation and conservation, archaeology and (dark) tourism, diaspora and postcolonial memory, the power of aesthetics and the art of absence and forgetting, mourning and performative re-enactments in the present. Series Editors Rob van der Laarse and Ihab Saloul, University of Amsterdam, The Netherlands Editorial Board Patrizia Violi, University of Bologna, Italy Britt Baillie, Cambridge University, United Kingdom Michael Rothberg, University of Illinois, USA Marianne Hirsch, Columbia University, USA Frank van Vree, University of Amsterdam, The Netherlands Homer, Troy and the Turks Heritage and Identity in the Late Ottoman Empire, 1870-1915 Günay Uslu Amsterdam University Press This work is part of the Mosaic research programme financed by the Netherlands Organisa- tion for Scientific Research (NWO). Cover illustration: Frontispiece, Na’im Fraşeri, Ilyada: Eser-i Homer (Istanbul, 1303/1885-1886) Source: Kelder, Uslu and Șerifoğlu, Troy: City, Homer and Turkey Cover design: Coördesign, Leiden Typesetting: Crius Group, Hulshout Editor: Sam Herman Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 269 7 e-isbn 978 90 4853 273 5 (pdf) doi 10.5117/9789462982697 nur 685 © Günay Uslu / Amsterdam University Press B.V., Amsterdam 2017 All rights reserved.
    [Show full text]