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From Sultan Mahmud Ii to Sultan Mehmed Vi Vahdeddn

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THE DEATHS AND FUNERAL CEREMONIES OF OTTOMAN SULTANS (FROM SULTAN MAHMUD II TO SULTAN MEHMED VI VAH İDEDD İN) Thesis submitted to the Institute for Graduate Studies in the Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts in History by Servet Yanatma Bo ğaziçi University 2007 The Deaths and Funeral Ceremonies of Ottoman Sultans (From Sultan Mahmud II to Sultan Vahideddin) The thesis of Servet Yanatma has been approved by: Assis. Prof. Yavuz Selim Karakı şla ______________________________ (Thesis Advisor) Prof. Edhem Eldem ____________________________________________ Prof. Selçuk Esenbel ____________________________________________ 24 December 2006 ii Abstract of the Thesis of Servet Yanatma “The Deaths and Funeral Ceremonies of Ottoman Sultans (From Sultan Mahmud II to Sultan Mehmed VI Vahideddin)” Death and funeral ceremonies are important means of understanding the cultures of communities and states. This study firstly aims to describe the demise and funeral ceremonies of the last seven Ottoman sultans (from Sultan Mahmud II to Sultan Mehmed VI Vahideddin) in detail. Determining the similarities and differences by analyzing the subject and gaining a deeper understanding of them is another significant goal of this study. Moreover, the common features of the funeral ceremonies of Ottoman sultans from the early period to Tanzîmât era are explained, and they are compared with the later period. An effort is made to examine the place of funerals under study within general process, and to reveal the continuing, extinct and “invented” funeral rituals. While exaggerated grief is seen in the mourning shows, funeral prayers and techîz (equipping) are in accordance with Islam. This study underlines that there was no respect for the personality and testament of the deceased sultan, and points out that the new sultan was the only efendi who could determine the burial place. In addition, it is explained that changes in the administrative structure- the “ ekber-er şâd ” system, the increasing influence of the Committee of Union and Progress, and constitutional monarchy affected the practice of funeral ceremonies. Another significant emphasis of this study is that Westernization, which was frequently discussed in the last century of the Ottoman Empire, also affected the funeral ceremonies, and some Western elements were added in this process. iii ÖZET Cenaze-i Hümâyûn: Osmanlı Sultanlarının Vefatları ve Cenaze Merasimleri (Sultan II. Mahmud’dan Sultan VI. Mehmed Vahideddin’e) Vefat ve cenaze merasimleri toplum ve devlet yapısını anlamanın önemli araçlarındandır. Bu çalı şma ilk olarak, ele aldı ğı Osmanlı İmparatorlu ğu’nun son yedi padi şahının (Sultan Mahmud’dan Sultan Vahideddin’e) vefatlarını ve a ğırlıklı olarak cenaze merasimlerini teferruatlarıyla anlatmayı amaçlıyor. Tasvir edilen konunun analiz edilerek, ortak ve ayrı şan noktaların tespiti ve bunların anlamlandırılması çalı şmanın di ğer önemli bir safhasını olu şturuyor. Ayrıca, son döneme kadar olan Osmanlı sultanlarının cenaze merasimlerinin temel özellikleriyle ortaya konularak, bunların Tanzîmât sonrası dönemle kar şıla ştırılması da yapılıyor. Bu çaba, incelenen dönemin genel süreç içindeki yerini değerlendirek devam eden hususları ve kopu şları ortaya çıkarıyor. Yas gösterilerinde abartılı üzüntüler göze çarparken, cenaze namazı ve “techîz” işleminin büyük ölçüde İslâm’a uygun biçimde gerçekle şti ği görülüyor. Çalı şmada, Osmanlı sultanlarının şahsına ve vasiyetine önem verilmedi ği vurgulanırken, vefat eden sultanın defin yerini belirlemeye kudretinin olmadığı ve selefinin tek efendi oldu ğuna dikkat çekiliyor.Sultanın “ekber-er şâd” sistemiyle belirlenmesi ve me şrutiyet yönetimine geçi şle birlikte İttihad ve Terakki Cemiyeti’nin etkisinin artmasıyla yönetim yapısında görülen de ğişikliklerin cenaze merasimlerin yapısını ve uygulamaları etkiledi ği de çalı şmada anlatılıyor. Osmanlı İmparatorlu ğu’nun son asrında sıkça tartı şılan Batılıla şma’nın cenaze merasimlerini de do ğal olarak etkiledi ği ve uygulamalarda tamamen Batılı unsurların da görülmeye ba şlandı ğı bu çalı şmanın ortaya attı ğı önemli tezlerden birisi. iv ACKNOWLEDGEMENTS Loyalty, Thanks and Love It is surely a tiresome process to attempt to write a graduate thesis and to complete it successfully. Although I had not told my elders that I would be a historian when I grew up when they asked me about my future, I was able to finish my thesis at “extra times”. I received the support and help of several persons and I want to refer them in two separate parts. -I- During the writing process, I surely received the greatest support and contribution from Assist. Prof. Yavuz Selim Karakı şla, who was also my thesis advisor. Having confidence in me, he always motivated me with his positive approach. He directed me in reaching the necessary sources and kindly provided some books. Yavuz Selim Karakı şla did not impose his views on the formation of the basis outline of the thesis, setting me free in terms of my own views and plans, but he always supervised me. He read my thesis more than four times, correcting the fatal mistakes and suggesting different perspectives. With his calm manner, he always helped me out during my hard times of writing chaos. I sincerely present my gratitude and thanks to Yavuz Selim Karakı şla. The course I took from Prof. Edhem Eldem was very influential in determining the subject of my thesis. He provided me with the necessary contributions and sources to compile homework for the course in question and he kindly responded to my questions regarding the writing process of my thesis. With his immense knowledge on the subject, Edhem Eldem, who was at the thesis jury, did not refrain from criticizing my thesis to remove the faults. His advice greatly enriched my study. Prof. Selçuk Esenbel also guided me on corrections, pinpointing the important deficiencies, and put forward valuable advice with her questions. I need to extend my thanks to them. Besides them, I extend my thanks to Prof. Selim Deringil, Associate Prof. Nadir Özbek, Associate Prof. Hakan Erdem and Associate Prof. Asım Karaömerlio ğlu. I have learned a lot and gained a historiographical perspective from them in my undergraduate and graduate courses. I also need to express my thanks to my dear colleague Vefa for encouraging me, and suggesting different perspectives for my subjects and thesis with his interdisciplinary accumulation, and finally presenting his criticism on the draft of my thesis. Aslı Tarkan from Bo ğaziçi University Foreign Languages helped me to understand some sources in French, and she encouraged me in my study. Sema Göksel from Bo ğaziçi University Social Science Institute edited my English and she made my study clearer. Fuad Yaman from the Ottoman State Archives generously spent his time to help me in finding the necessary documents. Atilla Aydın from the Republican Archives in Ankara showed great hospitality. We also learned that we are hem şeri . The v Librarians of Atatürk Kitaplı ğı and the National Library helped me to get the copies of the newspapers. I thank all of them. -II- This part of the acknowledgments is firstly of course for my mother and father. I was a lucky child. My parents have never hindered me throughout my life except briefly during my high school days when I was under the fervor of being a goalkeeper. They did not force me to study marketing to earn money. Setting me free in my preferences, they did not assume the role of traditional Turkish parents and never underestimated me. They provided unconditional support to me, trusting in me. In addition to them, my uncles Hidayet and Ramazan were always close to me. Like the motto “my life changed after reading a book,” it is appropriate for me to say, “My life changed after taking a course from a lecturer.” He was a missioner to make his students be historians. To use his words, “I infected the others with the virus.” Thus, I am very happy to refer him in the family part of the acknowledgments. Goodly I was infected with the virus. Thanks to your teaching, interest, support and love, I took this road and always enjoyed taking it. With their friendship and help, İbrahim, Hasan Basri, Namık, Ertan, Semiha, Burcu, Nuray Teyze and my sister Cansu always gave me energy. I want to mention the names of my executives Erhan Ba şyurt, Faruk Akkan, Celil Sa ğır for their understanding as I completed my thesis. Yâr-i Sâbıkam was always beside me to the last term of my graduate education. She had right and labor on this thesis. I thank her very much. The scorer of a “golden goal” at extra time is always glorified but Huri ş has justly deserved it. How can I express my acknowledgements to this sweet girl who guided and encouraged me with her interest and patience? Her help and labor are more than she assumes. vi CONTENTS CHAPTER I: INTRODUCTION ....……………………………........………….1 CHAPTER II: NARRATIVES OF THE DEATHS AND FUNERAL CEREMONIES OF OTTOMAN SULTANS IN THE LATE ERA Sultan Mahmud II ............................................................... 9 Sultan Abdülmecid ............................................................ 18 Sultan Abdülaziz ……………………………………… 26 Sultan Murat V. ………………………………………….. 36 Sultan Abdülhamid II. ……………..…………………….. 52 Sultan Mehmet V Re şad …………………………..……. 72 Sultan Mehmed VI Vahideddin …....……………………. 86 CHAPTER III: UNDERSTANDING THE FUNERAL CEREMONIES OF SULTANS IN THE LATE OTTOMAN EMPIRE Mourning Shows ........................................................ 109 Equipping: Washing
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    G Ü N D E M Tiyatro Hürrem Sultan Son aylarda TRT’de ve başka bir özel kanalda harem hayatının iç Osmanlı tarihinde içinde kendi- yüzünü göstermeye çalışan iki dizi sine yurt içinde ve yurt dışındaki dolayısıyla yazılı ve görsel basında çalışmalarda özel bir yer ayrılan birçok haber, eleştiri ve yorum Kanuni Sultan Süleyman, 1512- yayınlarına tanık olduk. Ancak aynı 1566 yılları arasında hüküm sürerken tarihlerde Devlet Tiyatrosunda sah- hasekisi Hürrem (1500-1558) ile nelenen Hürrem Sultan hakkında gaze- nikah kıydırmış ve bu davranışıyla telerde ve dergilerde hemen hemen kendisinden bir hayli söz ettirmiştir. hiçbir yazar -sanat eleştirmeni de dâhil Hürrem Sultan nikâh kıyılmasından olmak üzere- kalem oynatmadı. Oysa sonra, sarayın hemen hemen bütün iç işlerinde önemli bir rol oynamıştır. bu Hürrem Sultan piyesi gerçekten Bütün kaynaklarda Slav kökenli görülmeye değer, güzel bir sanat eseri olduğu belirtilen Hürrem’in Lehistan idi. topraklarında esir edilen- Bir tıp doktoru olan ler arasında en talihli kişi Orhan Asena (7.1.1922- olduğu kesindir. Çünkü 15.2.2001) bu eseri çok Osmanlı Devleti'nde ilk önceleri, 1960 yılında kez bir cariye iken köle- yazmıştı. Aradan elli yıldan likten kurtulan, hür ve fazla geçmiş olmasına nikâh kıyılarak padişahın rağmen değerinden ve yegâne hanımlığına güncelliğinden bir şey mazhar olmuştur. Kendi öz kaybetmeyen bu piyes- oğullarının tahtın varisi ola- ten başka diğer eserleri de bilmesi için sarayda çeşitli sahnelenen Orhan Asena entrikalar çevirmiştir. Ayrı bu yolda çeşitli ödül- ve özel bir yönetime sahip lere da layık görülmüştü. olan harem hayatı, renkli olduğu ka- Kocaoğlan 1956’da Basın Yayın Ge- dar da bir hayli dramatik sahnelerle nel Müdürlüğünün açtığı yarışmada doludur.
  • Country Coding Units

    Country Coding Units

    INSTITUTE Country Coding Units v11.1 - March 2021 Copyright © University of Gothenburg, V-Dem Institute All rights reserved Suggested citation: Coppedge, Michael, John Gerring, Carl Henrik Knutsen, Staffan I. Lindberg, Jan Teorell, and Lisa Gastaldi. 2021. ”V-Dem Country Coding Units v11.1” Varieties of Democracy (V-Dem) Project. Funders: We are very grateful for our funders’ support over the years, which has made this ven- ture possible. To learn more about our funders, please visit: https://www.v-dem.net/en/about/ funders/ For questions: [email protected] 1 Contents Suggested citation: . .1 1 Notes 7 1.1 ”Country” . .7 2 Africa 9 2.1 Central Africa . .9 2.1.1 Cameroon (108) . .9 2.1.2 Central African Republic (71) . .9 2.1.3 Chad (109) . .9 2.1.4 Democratic Republic of the Congo (111) . .9 2.1.5 Equatorial Guinea (160) . .9 2.1.6 Gabon (116) . .9 2.1.7 Republic of the Congo (112) . 10 2.1.8 Sao Tome and Principe (196) . 10 2.2 East/Horn of Africa . 10 2.2.1 Burundi (69) . 10 2.2.2 Comoros (153) . 10 2.2.3 Djibouti (113) . 10 2.2.4 Eritrea (115) . 10 2.2.5 Ethiopia (38) . 10 2.2.6 Kenya (40) . 11 2.2.7 Malawi (87) . 11 2.2.8 Mauritius (180) . 11 2.2.9 Rwanda (129) . 11 2.2.10 Seychelles (199) . 11 2.2.11 Somalia (130) . 11 2.2.12 Somaliland (139) . 11 2.2.13 South Sudan (32) . 11 2.2.14 Sudan (33) .

  • Turkish Plastic Arts

    Turkish Plastic Arts by Ayla ERSOY REPUBLIC OF TURKEY MINISTRY OF CULTURE AND TOURISM PUBLICATIONS © Republic of Turkey Ministry of Culture and Tourism General Directorate of Libraries and Publications 3162 Handbook Series 3 ISBN: 978-975-17-3372-6 www.kulturturizm.gov.tr e-mail: [email protected] Ersoy, Ayla Turkish plastic arts / Ayla Ersoy.- Second Ed. Ankara: Ministry of Culture and Tourism, 2009. 200 p.: col. ill.; 20 cm.- (Ministry of Culture and Tourism Publications; 3162.Handbook Series of General Directorate of Libraries and Publications: 3) ISBN: 978-975-17-3372-6 I. title. II. Series. 730,09561 Cover Picture Hoca Ali Rıza, İstambol voyage with boat Printed by Fersa Ofset Baskı Tesisleri Tel: 0 312 386 17 00 Fax: 0 312 386 17 04 www.fersaofset.com First Edition Print run: 3000. Printed in Ankara in 2008. Second Edition Print run: 3000. Printed in Ankara in 2009. *Ayla Ersoy is professor at Dogus University, Faculty of Fine Arts and Design. TABLE OF CONTENTS INTRODUCTION 5 Sources of Turkish Plastic Arts 5 Westernization Efforts 10 Sultans’ Interest in Arts in the Westernization Period 14 I ART OF PAINTING 18 The Primitives 18 Painters with Military Background 20 Ottoman Art Milieu in the Beginning of the 20th Century. 31 1914 Generation 37 Galatasaray Exhibitions 42 Şişli Atelier 43 The First Decade of the Republic 44 Independent Painters and Sculptors Association 48 The Group “D” 59 The Newcomers Group 74 The Tens Group 79 Towards Abstract Art 88 Calligraphy-Originated Painters 90 Artists of Geometrical Non-Figurative