The Visual Past
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"The Visual Past” showcases the latest research by scholars who explore the visual, spatial, and material culture that shaped the Ottoman world. The series will address not only objects, images, and calligraphy, but also works of architecture that were themselves contexts for other media. Before being designated historical landmarks or enshrined in museum displays, these rich artistic and architectural products constituted an intrinsic part of Ottoman life, intersecting with and affecting all levels of society. Episodes in this series investigate crucial issues about sight and seeing in the Ottoman Empire, including the power of the gaze, the depiction of human and animal imagery, and questions of style, aesthetics, and patronage. The series also explores transformations in technology that opened up new possibilities during the nineteenth and twentieth centuries for the popular dissemination of images through photographs, print media, and film.
Currently our series contains 27 podcast episodes featuring 35 contributors available for play or download through our podcast feeds. Let us know what you'd like to hear next!
Throughout the last several decades, art historians have been shifting their efforts away from the more traditional large-scale survey works that chart the formal evolution of artistic styles. Rather, these scholars are embracing the fields of cultural studies and social history, combining the tools of visual and spatial analysis with textual sources to discover the cultural and political meanings associated with a particular object or architectural monument. In the same vein, all of the episodes in this series collectively seek to bring a critical perspective to the visual culture of the Ottoman world, approaching paintings, photographs, maps, buildings, etc. as constructed objects that can be “read” and analyzed like any other document. What were the various roles that the patron, artist, and craftsman played in the creation of an object or building? Where and how were objects encountered, exchanged, or moved from one location to another? In what ways could access to particular objects or spaces be controlled or restricted? Although the content covered here spans a broad range of time and media, all of our guests ultimately concern themselves with such questions about how the Ottomans engaged their material world.(click to read more)
Historians of Ottoman art have traditionally focused on works commissioned for members of the imperial court, including illustrated manuscripts, sultanic and vizierial mosques, and luxurious decorated objects for practical and ceremonial use. Though this scholarly bias has in recent years been rightly contested, the leading role that the sultan and his circle played in the patronage of art remains key to our understanding of Ottoman visual culture. Particularly after the conquest of Constantinople, the court acted as the empire’s chief tastemaker, establishing itself as the apex of an aesthetic structure defined by a recognizable hierarchy of semantically laden motifs and styles. Current scholarship, while acknowledging this privileged position, is increasingly situating the court within broader perspectives that emphasize its connectedness and responsiveness to external factors. The court’s ability to nurture and coopt various strategies of artistic self-representation rested in no small part on its endeavors in the spheres of diplomacy and cross-cultural exchange, topics of increasing scholarly inquiry. Objects, images, and ideas imported from both East and West provided the court workshops with rich models that could be utilized in the production of a distinctively Ottoman synthesis, which spoke to the empire’s cosmopolitan sophistication. This process was facilitated by the diverse backgrounds of the artists themselves, many of whom were of non-Muslim or foreign origin. The works that emerged from this milieu allowed the court not only to demonstrate its preeminence to local audiences, but also to engage in competitive posturing on a global scale, whether by sending showy diplomatic gifts or by impressing foreign residents and visitors in the empire itself. Besides their status as artworks in their own right, buildings and objects commissioned by the court served to accommodate and furnish public festivals ranging from princely circumcisions to mosque inaugurations. These charged events, which are receiving growing attention among researches, made lavish use of textiles, jeweled objects, and architectural spaces both to entertain and to amaze spectators, who included foreigners as well as locals. Ceremonial thus provides one of the most fruitful contexts in which to analyze the far-reaching impact of courtly artistic productions in their wider social and international framework. Another revealing context—and one that is a burgeoning area of study—is the concurrent activity of regional courts and centers in the Ottoman provinces, which had their own distinctive artistic and ceremonial cultures even as they referred to the paradigms set by the capital.
Architecture was perhaps the most visible and effective way in which patrons of art could leave their mark. The Ottomans transformed their successive capitals—and above all Istanbul—with a series of monuments that built on past visual legacies even while trying to outdo them. The conspicuous referencing of prestigious Byzantine and Persianate models that typifies the architecture of Bursa gave way in Istanbul to a more distinctly Ottoman mode—the so-called “classical” style—characterized by its stately monumentality and associated in particular with the sixteenth-century architect Sinan. From the eighteenth century onward, new styles that creatively adapted European forms emerged, visualizing the empire’s attempts to redefine itself as a modern power in a changing world. The well-established tendency to view the “classical” moment as the touchstone against which to measure (often disparagingly) earlier and later Ottoman architecture is coming under increasing challenge, with the later material inspiring particular reappraisal. As well as exhibiting new aesthetic modes that compel us to grapple with the perennial issue of “Westernization,” buildings of the eighteenth and nineteenth centuries bespeak important socio-economic shifts that enabled a growing number of non-courtly individuals to join the ranks of architectural patrons. This increased competition led to ever more novel responses on the part of the court, which, while no longer able to build on the same scale as before, worked to maintain its primacy despite altered circumstances. Local non-Muslim architects, whose communities were long-standing intermediaries with Europe, achieved unprecedented prominence in this context, securing the majority of royal and non-royal commissions and even eclipsing the official corps of court architects. Recent scholarship has explored these changes not only as they pertain to Istanbul, but also in relation to provincial capitals and centers, the study of which continues to inform, and may ultimately redefine, the concerns of the field at large.
Although Ottoman architectural developments are richly attested in factual terms, few Ottoman texts discuss questions of architectural style or theory, and it is the buildings themselves—in their plans, designs, and decorative programs—that stand as the fullest records of the tradition they represent. New art-historical approaches that treat form and style as documentary complements to the available written sources are yielding original and insightful analyses. So too are the increasingly close readings of the texts that are often to be found inscribed on the monuments. Such inscriptions, which clarify the buildings’ intended symbolism and celebrate their artistic novelty, became more numerous and legible with time, presupposing a growing audience of literate individuals with connoisseurial interests. Beyond the material evidence, scholars are paying long-overdue attention to the sensory factors that would have shaped Ottoman experiences of architecture, including light, sound, and smell. The difficult work being undertaken to reconstruct these ephemeral phenomena has both enlivened and expanded our conception of Ottoman architectural history.
In his “Modest Manifesto for Museums,” Orhan Pamuk draws a distinction between the great art objects in the Topkapı and the ephemera of everyday life, with the former relating the history of the imperial state and the latter more revealing of the “humanity” (insanlık) of individuals. This firm division between high and low—between the state and the individual—is something of a false dichotomy, but Pamuk’s statement is still useful for drawing attention to the idea that the “visual past” of the Ottoman world should not only denote works commissioned within the context of the imperial court, but also include a broader material and popular culture from all levels of society. For example, the budding field of Ottoman archaeology has begun to offer the historian new pathways for understanding large-scale changes in both the urban and rural landscape. Advances in ceramic analysis and GIS have the potential to provide new information about demographics and settlement patterns that have long been the exclusive domain of scholars who study land registers in the archives. More targeted excavations of vernacular architecture stand as a compelling method for writing “history from below,” joining recent efforts by environmental and social-economic historians to shed light on the lives of those who are practically invisible in historical chronicles or state documents. Exciting work on visual and material culture in the Ottoman world is also expanding beyond the walls of the library and art museum to repositories in ethnographic museums as well as family archives. These collections of photographs and other ephemera are beginning to find an audience online through various digitization initiatives as well as exhibition spaces around Istanbul, and this growing interest in more humble objects as containers of memory is a theme that is invoked and explored by Pamuk’s own Museum of Innocence project.
At the moment, quite a few of the episodes in this series focus on material from the nineteenth and early twentieth centuries, exploring the dynamic shifts in visual culture in the late Ottoman and early Republican eras. The recent convergence of scholarly attention on this time period is an encouraging corrective to the fact that most surveys of Islamic art and architecture conclude around 1800, implying that living tradition is something that should be set apart from earlier practices of design and art making (Flood 2007). Joining a broader effort in art and architectural history to adopt a more global view of the nineteenth and twentieth centuries, many of the researchers featured in this podcast series address in particular how the introduction of cultural reforms and new technologies—such as photography, cinema, lithography, the industrial production of cast iron and glass—impacted Ottoman society. These discussions naturally touch upon how images and architectural spaces reflect wider issues peculiar to Ottoman modernity, such as Orientalism, colonialism, and Westernization. Several episodes in this series also address the effect of capitalist systems on Ottoman art and culture, whether through the emergence of art markets, or commercial branding and advertising.
Beyond its modern continuation, Ottoman art in its broadest sense remains with us in its contemporary afterlife. The “Ottomania” of today’s Turkey—a movement that finds its expression both at the popular level and in more cynical political ploys—alerts us to the continued vitality and relevance of Ottoman visual culture. In a very different way, the more troubled issues of restituting cultural patrimony and the preservation of historical sites are frequently at the center of intense international debate, especially in former parts of the empire that are more ambivalent about their Ottoman past. With these points in mind, many of the episodes in this series reflect on how the legacy of the Ottoman Empire continues to be utilized (or rejected) by various stakeholders.
|Introducing the Visual Past|
Contributors: Chris Gratien, Emily Neumeier, Nina Ergin
Release Date: 29 June 2016
Location: Institute for Advanced Study, Princeton
Join us in this special introductory episode to "The Visual Past" series on Ottoman History Podcast featuring Nina Ergin with Chris Gratien and Emily Neumeier.
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The Built Environment
Experiencing Ottoman Architecture
|Imperial Architecture in Ottoman Aleppo editor's pick|
Contributors: Heghnar Watenpaugh, Chris Gratien, Emily Neumeier
Episode No. 157
Release Date: 31 May 2014
Location: Beyoğlu, Istanbul
As the Ottoman state continued to expand its reach into new territories, particularly the formerly Mamluk regions of the Arab world, the cityscape became a site for the construction of an imperial image. Therefore, to understand the making of Ottoman cities, we must look not only to the bustling capital created by the ascendant empire but also to urban interventions in longstanding cities that came under Ottoman dominion. Our interview with Heghnar Watenpaugh about urban architecture in Ottoman Aleppo offers insightful reflection upon the ways in which buildings served as continual sites of political expression and contention in Ottoman cities.
|Producing Pera popular post|
Contributors: Nilay Özlü, Chris Gratien
Episode No. 90
Release Date: 25 January 2013
Location: Beyoğlu, Istanbul
During the nineteenth century, the urban space of Istanbul was transformed by actors consciously involved in reshaping the face of Ottoman and high society in this European capital. In this episode, Nilay Özlü explores the culture and architecture of the Pera neighborhood during these formative years through the story of three generations of the Vallaury family, Levantine Istanbulites who rose to prominence in the fields of cuisine, cafe culture, and finally architecture through the figure of Alexander Vallaury.
|Architecture and Late Ottoman Historical Imagination|
Contributors: Ahmet Ersoy, Susanna Ferguson
Episode No. 280
Release Date: 8 November 2016
Location: ANAMED, Istanbul
What happens when we encounter "Orientalist" aesthetics outside the West? In the late nineteenth century, a cosmopolitan group of Ottoman architects turned to modern forms of art history writing to argue that synthesis and change stood at the heart of a particularly "Ottoman" architectural aesthetic. Working together, these writers produced the first text of modern art history writing in the Ottoman empire, the Usul-ı Mi’marî-yi Osmanî or The Fundamentals of Ottoman Architecture. This volume was published simultaneously in Ottoman Turkish, French and German for the Universal Exposition or World's Fair in Vienna in 1873. In this episode, Ahmet Ersoy explores the making of this text, its arguments, and its implications for understanding the relationship of the late-Tanzimat Ottoman Empire with Europe, its own cosmopolitan "hyphenated-Ottoman" intellectuals, and historical imagination.
|The Ottoman Empire's Sonic Past|
Contributors: Nina Ergin, Chris Gratien
Episode No. 211
Release Date: 19 November 2015
Location: Feriköy, Istanbul
When employing textual sources for history, it is easy to lose track of the fact that experiences of the past were immersed in rich sensory environments in which "the word" was only a small component of daily life. How can we restore the sights, sounds, and sensations of the Ottoman past? In this episode, Nina Ergin presents some of her research involving the sonic history of the Ottoman Empire, exploring topics such as architecture, gender, and politics through different sources that offer clues about Ottoman soundscapes.
|Alevi Religious Ceremony, Architecture, and Practice|
Contributors: Angela Andersen, Chris Gratien, Shireen Hamza
Episode No. 299
Release Date: 14 February 2017
Location: Harvard University
In this episode, we approach the religious architecture of the Alevis, to examine how practice shapes architectural space and how socioeconomic change transforms such spaces. Many of our episodes on Ottoman History Podcast have focused on how monumental architecture, such as mosques and other buildings of religious significance, are tied to political transformation and expressions of political power and ideology. Taking a different perspective, our guest, Angela Andersen, researches the history and development of Alevi architectural forms in Turkey and abroad. Historically, Alevi religious practice and cem ceremonies took place in homes and other multi-purpose buildings, which could be configured as ad hoc meeting places for local communities during the communal cem ceremony. But with Alevi urban migration to cities in Turkey, Germany, and elsewhere, the creation of a "permanent address" for Alevis has emerged in the form of community centers providing a number of services, including designated rooms or halls for the cem. In this episode, we trace the genealogy of the modern cemevi to older contexts of Alevi religious practice and consider the role played by the cemevi in Turkey's new political landscape.
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Manuscript Painting and the Calligraphic Arts
Ottoman Visual Aesthetics
|Exploring the Art of the Qur'an editor's pick|
Contributors: Massumeh Farhad, Simon Rettig, Emily Neumeier
Episode No. 297
Release Date: 10 February 2017
Location: Freer | Sackler, DC
The preeminent position of manuscript painting and poetry at the Ottoman court has been well established by historians, yet the equally important practice of commissioning and collecting sumptuously decorated copies of the Qur’an--the sacred text of Islam--has been less explored. The role of the Qur’an in the artistic culture of the Ottoman world is just one facet of the landmark exhibition The Art of the Qur’an: Treasures from the Museum of Turkish and Islamic Arts, on display at the Smithsonian Institution in Washington DC. The show traces the formal evolution of the Qur’an, especially in terms of calligraphy and manuscript illumination, with over 60 manuscripts and folios spanning a thousand years and created in an area stretching from Egypt to Afghanistan. Besides having an opportunity to appreciate the level of labor and skill invested in producing such high-quality manuscripts, visitors will also be surprised to learn about the mobility of these books, as they were avidly collected, repaired, and donated by members of the Ottoman court to various religious institutions around the empire. In this episode, curators Massumeh Farhad and Simon Rettig sit down with us to reflect both on the reception of the exhibition in the United States, as well as the process of organizing this collaborative venture between the Smithsonian and the Museum of Turkish and Islamic Arts in Istanbul.
|Picturing History at the Ottoman Court editor's pick|
Contributors: Emine Fetvacı, Emily Neumeier, Nir Shafir
Episode No. 222
Release Date: 27 January 2016
Location: Boston University
In the second half of the sixteenth century, the Ottoman court became particularly invested in writing its own history. This initiative primarily took the form of official chronicles, and the court historian (şehnameci), a new position established in the 1550s, set to work producing manuscripts accompanied by lavish illustrations. However, the paintings in these texts should not be understood merely as passive descriptions of historical events. Rather, these images served as complex conveyors of meaning in their own right, designed by teams of artists to satisfy the aspirations of their patrons, which included not only the sultan but also other members of the court. In this episode, Emily Neumeier and Nir Shafir speak with Emine Fetvacı about these illustrated histories, the subject of her 2013 volume Picturing History at the Ottoman Court.
Contributors: İrvin Cemil Schick, Emrah Safa Gürkan
Episode No. 73
Release Date: 7 October 2012 (Türkçe)
Location: Istanbul Şehir University
Many have attributed the richness of the Islamic calligraphic tradition to a prohibition on the use of human images; however, this interpretation is based on many false assumptions about history and culture in the Islamic world as well as the normativity of the Western cultural experience. In this episode, Irvin Cemil Schick dismantles some of the usual cliches about art in Muslim societies and considers calligraphy (hat sanatı) as a symbolic art form in its own right.
|I. Selim imgesi ve 17. yüzyılda Osmanlı şehirlilerinin tarih algısı|
Contributors: Tülün Değirmenci, Emrah Safa Gürkan
Episode No. 89
Release Date: 19 January 2013 (Türkçe)
Location: Koç RCAC, Istanbul
In spite of lively debate regarding how history is reconstructed today, historians have paid less attention to how past societies perceived their own past. In this episode, based on a seventeenth-century illustrated manuscript, Tülün Değirmenci explores how 17th century Ottoman city-dwellers perceived the controversial figure of Sultan Selim I (episode is in Turkish).
|Festivals and the Waterfront in 18th Century Istanbul|
Contributors: Gwendolyn Collaço, Chris Gratien, Karen Pinto, Nir Shafir, Huma Gupta
Episode No. 262
Release Date: 25 August 2016
Location: Cambridge, MA
The illustrated account of the festivals surrounding the circumcision of Sultan Ahmed III's sons in 1720 is one of the most iconic and celebrated depictions of urban life in Ottoman Istanbul. With its detailed text written by Vehbi, accompanied by the vibrant miniature paintings of Levni, this work has been used as a source for understanding the cast of professions and personalities that occupied the public space of the Ottoman capital. In this episode, we focus not on the colorful characters of Levni's paintings but rather the backdrop for the celebrations: the Golden Horn and the waterfront of 18th-century Istanbul. As our guest Gwendolyn Collaço explains, the accounts of festivals in early modern Istanbul reflect the transformation of the city and an orientation towards the waterfront not only in the Ottoman Empire but also neighboring states of the Mediterranean.
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Visualizing the World
Mapping and the Depiction of Ottoman Space
|Mapping the Medieval World in Islamic Cartography|
Contributors: Karen Pinto, Nir Shafir
Episode No. 220
Release Date: 12 January 2016
Location: Brown University
Hundreds of cartographic images of the world and its regions exist scattered throughout collections of medieval and early modern Arabic, Persian, and Turkish manuscripts. The sheer number of these extant maps tells us that from the thirteenth century onward, when these map-manuscripts began to proliferate, visually depicting the world became a major preoccupation of medieval Muslim scholars. However, these cartographers did not strive for mimesis, that is, representation or imitation of the real world. These schematic, geometric, and often symmetrical images of the world are iconographic representations—‘carto-ideographs’—of how medieval Muslim cartographic artists and their patrons perceived their world and chose to represent and disseminate this perception. In this podcast, we sit down with Karen Pinto to discuss the maps found in the cartographically illustrated Kitāb al-Masālik wa-al-Mamālik (Book of Routes and Realms) tradition, which is the first known geographic atlas of maps, its influence on Ottoman cartography, and how basic versions of these carto-ideographs were transported back to villages and far-flung areas of the Islamic empire.
|Mapping the Ottomans|
Contributors: Palmira Brummett, Chris Gratien
Episode No. 221
Release Date: 23 January 2016
Location: Providence, RI
Where did the Ottomans fit within the geographical understandings of Christian kingdoms in early modern Europe? How did Europeans reconcile the notion of "the Turk" as other with the reality of an Ottoman presence in the Balkans and Eastern Europe? What was the relationship between the maps and representations of Ottoman space in Europe and the self-mapping carried out by the Ottomans in maps and miniatures? These are some of the major questions addressed by our guest Palmira Brummett in her new book Mapping the Ottomans, which uses maps to study early modern space and time, travel, the flow of information, claims to sovereignty, and cross-cultural encounters between the Ottomans neighboring Christian polities.
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Photography and Cinema in the late Ottoman Empire
|Following Ottoman Photographs editor's pick|
Contributors: Edhem Eldem, Emily Neumeier, Nir Shafir
Episode No. 195
Release Date: 11 August 2015
Location: Boğaziçi University
Photography came to the Ottoman Empire almost immediately after its invention in 1839. Some of the major figures and studios involved in Ottoman photography have been identified, and certain stylistic aspects of images produced in and of the Ottoman Empire such as orientalism are well established. Yet there is comparatively little extant work regarding the reception, impact, and circulation of images during the late Ottoman period. In this episode, Emily Neumeier and Nir Shafir sit down with Edhem Eldem to discuss the ways in which restoring contexts of viewing, circulation, and publication of images offers a different story of late Ottoman photography using examples from the Camera Ottomana photography exhibition at Koç RCAC in Istanbul, curated by Zeynep Çelik, Edhem Eldem, and Bahattin Öztuncay.
|Early Cinema of the Late Ottoman Period|
Contributors: Özde Çeliktemel-Thomen, Chris Gratien, Taylan Güngör
Episode No. 201
Release Date: 23 September 2015
Location: Feriköy, Istanbul
The production of motion pictures began in the 1890s, and before long, films were being screened throughout the world, including in Ottoman cities. How did Ottoman audiences receive the advent of film? What was the role of the state in promoting or limiting the spread of motion pictures? What were the contents of the earliest films shown and produced in the Ottoman Empire? In this episode, Özde Çeliktemel-Thomen offers an introduction to the emergence of cinema in the Ottoman Empire and discusses the results of her research on the subject at the Ottoman archives in Istanbul.
in Ottoman Anatolia popular post|
Contributors: Armen T. Marsoobian, Zoe Griffith
Episode No. 255
Release Date: 4 August 2016
Location: Koç RCAC
Interest in Ottoman photography has tended to focus on the orientalist gaze or the view from the imperial center. In this episode, Armen T. Marsoobian offers us the unique lens of the Dildilian family of Armenian photographers in provincial Anatolia. Around the turn of the twentieth century, the Dildilians worked to memorialize portraits of fragmenting families and to document everyday scenes in provincial cities such as Sivas, Samsun, and Merzifon. Marsoobian, himself a descendant of the Dildilians, has woven together the family's remarkable photographic archive along with their memoirs and oral histories, to describe how through ingenuity and professional connections, the family and with them much of their art survived the genocide in 1915-16.
|Everyday Life and History in Ottoman Illustrated Journals|
Contributors: Ahmet Ersoy, Susanna Ferguson
Episode No. 309
Release Date: 30 March 2017
Photography came to the Ottoman empire almost as soon as it was invented in Europe. Over subsequent decades, however, techniques improved, cameras got cheaper and more portable, and photographic production, circulation, and collection in Ottoman lands moved outside of the rarefied circles of the elite studios and the state. In this episode, Ahmet Ersoy discusses one of the main media for this kind of vernacular photography--the illustrated journals of the late Ottoman empire. What can understanding the circulation of images in this form help us to understand about history, identity, and print culture in the late Ottoman Empire, as well as about how to study photography itself?
Contributors: Nezih Erdoğan, Serkan Şavk
Episode No. 128
Release Date: 3 November 2013 (Türkçe)
Location: Izmir, Turkey
Public entertainment is another aspect of leisure in the urban setting. Our episode with Nezih Erdoğan explores the role of "the spectacle" in cities and the introduction of cinema in Ottoman Istanbul.
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Art on the Move
The Migration of Artists, Objects, and Buildings
|Landscapes of the Eastern Question|
Contributors: Paolo Girardelli, Emily Neumeier
Episode No. 245
Release Date: 5 July 2016
Location: Kunsthistorisches Institut, Florence
In the classical Ottoman period, European embassies in Istanbul pretty much looked like any other residential building. At the end of the eighteenth century, however, a period of dramatic geo-political and social change, official foreign residences likewise underwent a process of transformation. Architectural designs shifted from Ottoman to Western styles, and these landmarks became increasingly prominent and visible in the urban landscape. In this episode, Emily Neumeier speaks with Paolo Girardelli about how Pera became the “district of diplomacy” in the Ottoman capital, the subject of his forthcoming book project, Landscapes of the Eastern Question: Architecture and Identity in Galata, Pera, and the Bosporus, 1774-1919.
|The Life and Art of
Ceramicist David Ohannessian|
Contributors: Sato Moughalian, Chris Gratien, Seçil Yılmaz
Episode No. 253
Release Date: 31 July 2016
Location: Manhattan, NY
The styles of Iznik and Kütahya porcelain, which have become synonymous with excellence in Ottoman-Turkish ceramics, adorned and renovated buildings in a radius extending beyond the Anatolian heartland and including Damascus, Mecca, and Cairo. They bear a striking resemblance to the colorful and ornate tiles on many buildings in the city of Jerusalem today, including the Dome of the Rock. This is due to the fact that the iconic ceramics industry of Jerusalem was founded after the First World War by Armenian ceramists who had gotten their start in the resurgent tile industry of late Ottoman Kütahya. As we learn from our guest in this episode, Sato Moughalian, the transfer of this celebrated ceramics tradition from Kütahya to Jerusalem was largely through the figure of David Ohannessian (1884-1953), a master ceramist who came up in the local ceramic arts of the western Anatolian region and received commissions from the likes of Ottoman governors, revivalist architects, and European notables, including Sir Mark Sykes. He survived the travails of deportation to the Syrian desert during WWI only to recreate his art and business in Mandate Palestine. In the podcast, we trace the material history of Ottoman Armenians through the life and journeys of Ohannessian and reflect on the history of Armenian music through some pieces recorded by Moughalian and her colleagues.
|The German Imperial Fountain in Istanbul|
Contributors: Lorenz Korn, Emily Neumeier, Sotirios Dimitriadis
Episode No. 246
Release Date: 8 July 2016
Location: University of Bamberg
The fountain standing in the Hippodrome (At Meydanı) in Istanbul, located just a few steps away from some of Turkey’s most famous tourist attractions like Hagia Sophia and the Blue Mosque, doesn’t attract much notice these days. But wrapped up in this monument, gifted to the people of the city by the German Emperor Wilhelm II, is a story that sheds some light on the bilateral relations between the Ottoman Empire and their European neighbors before WWI. What is the role that the arts play in this diplomatic relationship? Under what conditions could such an object be inserted in the topography of Istanbul’s historic monuments? In this episode, Emily Neumeier and Sotirios Dimitriadis speak with Lorenz Korn about his research on the imperial fountain, tracing the process of its design, construction and reception.
|The Journey of an Ottoman Painting|
Contributors: Emily Neumeier, Chris Gratien
Episode No. 81
Release Date: 24 November 2012
Location: Kurtuluş, Istanbul
Osman Hamdi Bey is recognized today as the foremost artist of the late-Ottoman period. Yet, in his time, it was his unique access to the ancient past as the head of Istanbul's archaeology museum that drew the interest of his Western contemporaries. In this episode, Emily Neumeier retraces the story of a rare Osman Hamdi Bey painting (At the Mosque Door, 1890 - click for high res image) that turned up in the Penn archaeology museum and explains what it tells us about art, artifacts, and diplomacy during the late-Ottoman era.
Contributors: Ashley Dimmig, Michael Połczyński
The Wild Field No. 8
Release Date: 22 July 2014
Ottoman imperial space was not always tied to permanent structures. For centuries tents functioned as mobile palaces, providing domestic space and ceremonial stage settings reinforcing the power of the Padishah. Considering the material remains of fabric imperial architecture opens new avenues for exploring and understanding Ottoman visual culture and architectural history. Beyond the Empire, Ottoman tents changed hands as war booty and spolia during conflicts with neighboring polities, which resulted in a rich afterlife for many of these objects. Join Ashley Dimmig in The Wild Field in her exploration of Ottoman tents.
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Visions of the Nation
Modernity, Art, and Politics
|Ecevit, Art, and Politics in 1950s Turkey popular post|
Contributors: Sarah-Neel Smith, Nicholas Danforth
Episode No. 243
Release Date: 30 April 2016
Location: Georgetown University
Although artistic production occurs in a political context, art and politics are often studied as separate fields of historical inquiry. Our guest in this episode, Dr. Sarah-Neel Smith, offers a reflection on the close relationship between art and politics in Turkey through a discussion of her research on the figure of Bülent Ecevit. As a politician, Ecevit is remembered for his four stints as Prime Minister of Turkey and his prominent positions in the Republican People's Party (CHP) and later in the Democratic Left Party (DSP). Yet during the early years of his career, Ecevit was also extremely active in intellectual pursuits as a writer and art critic. In this episode, Dr. Smith explores the intellectual life of Bülent Ecevit and the link between debates about art and culture and the development of democratic politics in Turkey during the 1950s.
|Painting the Peasant in Modern Turkey editor's pick|
Contributors: Seçil Yılmaz, Chris Gratien, Sam Dolbee
Episode No. 114
Release Date: 19 July 2013
Location: Kurtuluş, Istanbul
During the interwar period, nationalist and socialist movements throughout the world looked to the peasant as both the source and object of state programs wherein establishing a link between the center and the provinces was a critical part of fostering the sense of nation devised by elite intellectuals. In Turkey, the ideas of Ziya Gökalp regarding the importance of the Anatolian villager in the development of Turkish national culture are a prominent example of how interwar nationalists saw the peasant as the stuff of the nation. Within this context, various programs designed to link the center and the periphery both economically and culturally emerged, and in this episode, Seçil Yılmaz discusses one such project, which sent professionally-trained Turkish painters into the Anatolian countryside over the period of 1938 to 1943 to create artistic depictions of the Turkish nation.
|Child and Nation in Early Republican Turkey|
Contributors: Yasemin Gencer, Emily Neumeier, Chris Gratien
Episode No. 102
Release Date: 19 April 2013
Location: Kurtuluş, Istanbul
Following the World War I period, the founders of a new Turkish Republic sought to define and legitimize the new order as a break with the Ottoman past. In this episode, Yasemin Gencer explains the ways in which notions such as childhood were used to construct the image of a renewed Turkish society in the nationalist press during the early years of the Republican period.
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Branding and Image Power
The Politics of Visual Representation
|Neo-Ottoman Architecture and the Transnational Mosque|
Contributors: Kishwar Rizvi, Chris Gratien
Episode No. 244
Release Date: 2 July 2016
Location: Yale University
As spaces fundamental to Muslim religious and communal life, mosques have historically served as sites of not just architectural but also ideological construction. As our guest Kishwar Rizvi argues in her latest book entitled The Transnational Mosque (UNC Press 2015), states operating in transnational contexts have taken a leading role in the building of mosques and in doing so, they forge political, economic, and architectural networks that span the globe. In this episode, we discuss the architectural exports of the four states covered in Prof. Rizvi's monograph: Saudi Arabia, Turkey, Iran, and the United Arab Emirates. In addition to situating and comparing transnational mosques of different states, we give special attention to the rise of Neo-Ottoman architecture in modern Turkey and its role in re-branding Turkey's image on the global stage.
|Cultural Policy and Branding in Turkey|
Contributors: Aslı Iğsız, Chris Gratien, Nicholas Danforth
Episode No. 189
Release Date: 3 April 2015
Location: New York University
Countries, much like companies, must seek to present a certain image to the outside world in order to achieve political and economic goals. As our guest, Aslı Iğsız, demonstrates, this self-presentation can take the form of full-fledged marketing campaigns. In this episode, we explore the marketing policies and strategies adopted in Turkey and the broader Middle East during the past two decades and reflect on how they various match, contradict, and intersect with politics in practice.
|Turkish Knockoff Toothpaste and Racist Marketing in the 1920s US|
Contributors: Chris Gratien, Nicholas Danforth
Episode No. 39
Release Date: 27 December 2011
Location: Georgetown University
For at least two centuries, Western countries have used international criminal, civil, and commercial law as a means of influencing the Ottoman and Turkish governments, leading some to speak of a phenomenon called legal imperialism, and while these efforts have impacted policies in Turkey, they have not always achieved their intended effect. In this episode, Chris Gratien discusses an interesting case of would-be trademark infringement in early Republican Turkey, as the Kolynos toothpaste company sought to protect its commercial rights against an alleged act of Turkish piracy. However, in the case file, we also learn some other things about American sensibilities at the turn of the twentieth century, particularly with regards to racism in marketing, allowing us to make some observations about the peculiar legal foundations of global capitalism.
|Arabs Through Turkish Eyes|
Contributors: Nicholas Danforth, Chris Gratien
Episode No. 136
Release Date: 26 December 2014
Location: Georgetown University
When are policies driven by prejudice, and when do policies give rise to prejudiced representations? In this episode, Nicholas Danforth explores depictions of Middle East politics in the Turkish satirical periodical Akbaba from the 1930s onward in an attempt to understand the politics of representation, and offers some comparisons regarding the role of such prejudices and discourses within contemporary politics in the US and elsewhere.
Contributors: Daniel Pontillo, Chris Gratien
Episode No. 40
Release Date: 31 December 2011
Location: Rochester, NY
Human beings live their lives under a state of constant observation that is both perceived and real. Widespread folk traditions such as the notion of the "evil eye" (Turkish: nazar) reflect a belief in the profound power of the mere act of looking, which psychoanalysts such as Lacan have developed into theories of gaze (French: le regard) and the gaze effect that have gained resonance within the humanities and the social sciences. In this episode, Dan Pontillo joins us to discuss the gaze from the perspectives of psychoanalysis, the social sciences, and the scientific approaches of vision study and eye tracking.
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This reading list about art, architecture, and the city in the Ottoman world was created by OHP librarian Heather Hughes and Lydia Harrington, doctoral student in History of Art and Architecture at Boston University.
Akcan, Esra. Architecture in Translation: Germany, Turkey, and the Modern House. Durham: Duke University Press, 2012.
AlSayyad, Nezar. Cairo: Histories of a City. Cambridge, Mass: Belknap Press of Harvard University Press, 2011.
Arnaud, Jean-Luc. Le Caire: Mise En Place D'une Ville Moderne, 1867-1907 : Des Intérêts Du Prince Aux Sociétés Privées. Arles: Sindbad, 1998.
Arnaud, Jean-Luc. Damas: Urbanisme Et Architecture, 1860-1925 : Essai. Arles: Actes Sud-Sindbad, 2005.
Barillari, Diana and Godoli, Ezio. Istanbul 1900: Art Nouveau Architecture and Interiors.
New York: Rizzoli, 1996.
Behrens-Abouseif, Doris. Egypt's Adjustment to Ottoman Rule: Institutions, Waqf and Architecture in Cairo, 16th and 17th Centuries. Leiden: E.J. Brill, 1994.
Behrens-Abouseif, Doris, Nicholas Warner, and Bernard O'Kane. The Minarets of Cairo: Islamic Architecture from the Arab Conquest to the End of the Ottoman Empire. London: I.B. Tauris, 2010.
Bernhardsson, Magnus T. Reclaiming a Plundered Past: Archaeology and Nation Building in Modern Iraq. Austin: University of Texas Press, 2005.
Bertram, Carel. Imagining the Turkish House: Collective Visions of Home. Austin: University of Texas Press, 2008.
Blair, Sheila, Jonathan Bloom, and Richard Ettinghausen. The Art and Architecture of Islam 1250-1800. New Haven [Conn.: Yale University Press, 1994.
Bozdoğan, Sibel. Modernism and Nation Building: Turkish Architectural Culture in the Early Republic. Seattle: University of Washington Press, 2001.
Çelik, Zeynep. Empire, Architecture, and the City: French-ottoman Encounters, 1830-1914. Seattle: University of Washington Press, 2008
Çelik, Zeynep. The Remaking of Istanbul: Portrait of an Ottoman City in the Nineteenth Century. Seattle: University of Washington Press, 1986
Crinson, Mark. Empire Building: Orientalism and Victorian Architecture. London: Routledge, 1996.
Cross and Leiser, Cross, Toni M. and Leiser, Gary. A Brief History of Ankara. Indian Ford Press: Vacaville, California, 2000.
Eastmond, Antony. Art and Identity in Thirteenth-Century Byzantium: Hagia Sophia and the Empire of Trebizond. Aldershot [etc.: Ashgate, 2004.
Fetvacı, Emine. Picturing History at the Ottoman Court. Bloomington & Indianapolis: Indiana University Press, 2013.
Goodwin, Godfrey. A History of Ottoman Architecture. Baltimore: Johns Hopkins Press, 1971.
Grabar, Oleg. Islamic Visual Culture, 1100-1800. Aldershot, Hampshire, Eng: Ashgate, 2006.
Gül, Murat. The Emergence of Modern Istanbul: Transformation and Modernisation of a City. London: Tauris Academic Studies, 2009.
Hamadeh, Shirine. The City's Pleasures: Istanbul in the Eighteenth Century. Seattle: University of Washington Press, 2008.
Howard, Deborah. Venice & the East: The Impact of the Islamic World on Venetian Architecture, 1100-1500. New Haven: Yale University Press, 2000.
Kafescioğlu, Çiğdem. Constantinopolis/istanbul: Cultural Encounter, Imperial Vision, and the Construction of the Ottoman Capital. University Park, Pa: Pennsylvania State University Press, 2009.
Kuban, Doğan. Sinan's Art and Selimiye. Beşiktaş, İstanbul: Economic and Social History Foundation, 1997.
Kuran, Aptullah. Sinan: The Grand Old Master of Ottoman Architecture. Washington, D.C: Institute of Turkish Studies, 1987.
Leeuwen, Richard . Waqfs and Urban Structures: The Case of Ottoman Damascus. Leiden: Brill, 1999. Print.
Lifchez, Raymond. The Dervish Lodge: Architecture, Art, and Sufism in Ottoman Turkey. Berkeley: University of California Press, 1992.
Matthews, Henry. Mosques of Istanbul: Including the Mosques of Bursa and Edirne. Istanbul: Scala, 2010.
Meinecke, Michael. Patterns of Stylistic Changes in Islamic Architecture: Local Traditions Versus Migrating Artists. New York: New York University Press, 1996.
Milstein, Rachel. Miniature Painting in Ottoman Baghdad. Costa Mesa, CA: Mazdâ, 1990.
Necipoğlu, Gülru. The Age of Sinan: Architectural Culture in the Ottoman Empire. Princeton: Princeton University Press, 2005.
Necipoğlu, Gülru. Architecture, Ceremonial, and Power: The Topkapi Palace in the Fifteenth and Sixteenth Centuries. New York, N.Y: Architectural History Foundation, 1991.
Raymond, André. Arab Cities in the Ottoman Period: Cairo, Syria, and the Maghreb. Aldershot, Hampshire, Great Britain: Ashgate/Variorum, 2002.
Sanders, Paula. Creating Medieval Cairo: Empire, Religion, and Architectural Preservation in Nineteenth-Century Egypt. Cairo: American University in Cairo Press, 2008.
Shaw, Wendy M. K. Ottoman Painting: Reflections of Western Art from the Ottoman Empire to the Turkish Republic. London: I.B. Tauris, 2011.
Shaw, Wendy M. K. Possessors and Possessed: Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire. Berkeley: University of California Press, 2003.
Thys-Şenocak, Lucienne. Ottoman Women Builders: The Architectural Patronage of Hadice Turhan Sultan. Aldershot, England: Ashgate, 2006.
Totah, Faedah M. Preserving the Old City of Damascus. Syracuse, NY : Syracuse University Press, , 2014.
Watenpaugh, Heghnar Z. The Image of an Ottoman City: Imperial Architecture and Urban Experience in Aleppo in the 16th and 17th Centuries. Leiden: Brill, 2004.
Weber, Stefan. Damascus: Ottoman Modernity and Urban Transformation (1808-1918). Aarhus University Press: 2009.
Yeomans, Richard. The Art and Architecture of Ottoman Istanbul. Reading, Berkshire [England: Garnet Publishing, 2012.
Yürekli, Zeynep. Architecture and Hagiography in the Ottoman Empire: The Politics of Bektashi Shrines in the Classical Age. Farnham, Surrey, England: Ashgate, 2012.
Żygulski, Zdzisław. Ottoman Art in the Service of the Empire. New York: New York University Press, 1992.
AlSayyad, Nezar. Hybrid Urbanism: On the Identity Discourse and the Built Environment. Westport, Conn: Praeger, 2001.
AlSayyad, Nezar, Irene A. Bierman, and Nasser O. Rabbat. Making Cairo Medieval. Lanham [Md.: Lexington Books, 2005.
Bahrani, Zainab, Zeynep Çelik, and Edhem Eldem. Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914. Istanbul: SALT, 2011.
Behrens-Abouseif, Doris and Stephen Vernoit. Islamic Art in the 19th Century. Brill, 2015.
Bierman, Irene A, Rifaʻat A. Abou-El-Haj, and Donald Preziosi. The Ottoman City and Its Parts: Urban Structure and Social Order. New Rochelle, N.Y: A.D. Caratzas, 1991.
Bozdoğan, Sibel, Julia Bailey, and Gülru Necipoğlu. History and Ideology: Architectural Heritage of the "lands of Rum". Leiden: Brill, 2007.
Cinar, Alev, and Thomas Bender. Urban Imaginaries: Locating the Modern City. Minneapolis: University of Minnesota Press, 2007.
Foster, Sabiha. Islam + Architecture. Chichester: Wiley-Academy, 2004.
Frishman, Martin, Hasan-Uddin Khan, and Mohammad Al-Asad. The Mosque: History, Architectural Development & Regional Diversity. New York: Thames and Hudson, 1994.
Gharipour, Mohammad. The Bazaar in the Islamic City: Design, Culture, and History. Cairo: American University in Cairo Press, 2012.
Hanssen, Jens, Thomas Philipp, and Stefan Weber. The Empire in the City: Arab Provincial Capitals in the Late Ottoman Empire. Würzburg: Ergon in Kommission, 2002.
Isenstadt, Sandy, and Kishwar Rizvi. Modernism and the Middle East: Architecture and Politics in the Twentieth Century. Seattle: University of Washington Press, 2008.
Kennedy, Hugh. Muslim Military Architecture in Greater Syria: From the Coming of Islam to the Ottoman Period. Leiden: Brill, 2006
Reina Lewis, Mary Roberts and Zeynep İnankur (eds), The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism (Seattle and Istanbul: Pera Museum and University of Washington Press, 2011)
Sluglett, Peter. The Urban Social History of the Middle East: 1750-1950. Syracuse University Press, 2008.
Thys-Şenocak, Lucienne, Çiğdem Kafescioğlu, and Günhan Danışman. Aptullah Kuran Için Yazılar: Essays in Honor of Aptullah Kuran / Editors, Çiğdem Kafescioğlu, Lucienne Thys-Şenocak ; Consulting Editor, Günhan Danışman. İstanbul: YKY, 1999.
Chapters in Books
Artan, Tülay and Irvin Cemil Schick, “Ottomanizing Pornotopia: Changing Visual Codes in Eighteenth-Century Ottoman Erotic Miniatures,” in Francesca Leoni and Mika Natif, eds. Eros and Sexuality in Islamic Art (Surrey, England and Burlington, VT: Ashgate, 2013), pp. 157-207.
Bozdoğan, Sibel. “Turkish architecture between Ottomanism and modernism (1873-1931).” Ways to Modernity in Greece and Turkey: Encounters with Europe, 1850-1950. Eds. Phrankoudakē, Anna, and Çağlar Keyder. London: I.B. Tauris, 2007.
Denny, W.B.. “The palace, power and the arts,” Palace of Gold & Light: Treasures from the Topkapi, Istanbul. (Palace Arts Foundation, 2000), 16-25.
Kafesçioǧlu, Çiğdem. “Heavenly and Unblessed, Splendid and Artless: The Mosque Complex of Mehmed II in Istanbul in the Eyes of Its Contemporaries,” in Essays in Honor of Aptullah Kuran, edited by Çiǧdem Kafesçioǧlu and Lucienne Thys-Şenocak (Istanbul: Yapı Kredi Publications, 1999): 211-22.
Kolluoğlu, Biray. “Cityscapes and modernity: Smyrna Morphing into İzmir.” Ways to Modernity in Greece and Turkey: Encounters with Europe, 1850-1950. Eds. Phrankoudakē, Anna, and Çağlar Keyder. London: I.B. Tauris, 2007.
Kostof, Spiro. “An Urban Contrast: Cairo and Florence,”A History of Architecture: Settings and
Rituals, 2nd ed. (Oxford, 1995), 363-73
Kostof, Spiro. “Istanbul and Venice,” A History of Architecture: Settings and Rituals, 2nd ed.
(Oxford, 1995), 453-83
Necipoǧlu, Gülru. “The suburban landscape of sixteenth-century Istanbul as a mirror of classical Ottoman garden culture.” Gardens in the Time of the Great Muslim Empires: Theory and Design. Ed. Petruccioli, Attilio. Leiden: E.J. Brill, 1997.
Necipoğlu, Gülrü. "A Kanun for the State, a Canon for the Arts: Conceptualizing the Classical Synthesis of Ottoman Art and Architecture," in Soliman le magnifique et son temps, pp. 195-216.
Pallini, Christina. “Geographic theatres, port landscapes and architecture in the Eastern Mediterranean : Salonica, Alexandria, İzmir.” Cities of the Mediterranean: From the Ottomans to the Present Day. Eds. Kolluoğlu, Biray, and Meltem Toksözö. London: I.B. Tauris, 2010.
Rabbat, Nasser. The formation of the neo-mamluk style in modern Egypt. Anderson, Stanford, and Martha D. Pollak. The Education of the Architect: Historiography, Urbanism, and the Growth of Architectural Knowledge : Essays Presented to Stanford Anderson. Cambridge, Mass: MIT Press, 1997.
Yerolympos, Alexandra. “New patterns of urban development in the Aegean Islands, 1850-1920s .” Ways to Modernity in Greece and Turkey: Encounters with Europe, 1850-1950. Eds. Phrankoudakē, Anna, and Çağlar Keyder. London: I.B. Tauris, 2007.
Hafız, Hüseyin A, and Howard Crane. The Garden of the Mosques: Hafiz Hüseyin Al-Ayvansarayî's Guide to the Muslim Monuments of Ottoman Istanbul. Leiden: Brill, 2000.
Sinan, Mimar, Howard Crane, Esra Akin, and Gülru Necipoğlu. Sinan's Autobiographies: Five Sixteenth-Century Texts. Leiden: Brill, 2006.
Abu-Lughod, Janet. “The Islamic City--Historic Myth, Islamic Essence, and Contemporary Relevance.” International Journal of Middle East Studies, 19. 2 ( 1987), pp. 155-176
Avicioğlu, N.. “Istanbul: The palimpsest city in search of its architect,” Res 53/54 (2008): 190-
Aygen, Zeynep. "A Ship Sailing East With Its Voyagers Travelling West: Architectural Saints, City Fathers And Design Patrons In The Late Ottoman Empire." Journal Of Design History 20.2 (2007): 93-108.
Bagci, Serpil. “Portrayals of the Sultans in Illustrated Histories of the Ottoman Dynasty,” Islamic Art VI (2009): 113-127
Baydar, Gülsüm. "Teaching Architectural History In Turkey And Greece: The Burden Of The Mosque And The Temple." Journal Of The Society Of Architectural Historians 62.1 (2003): 84-91.
Behrens-Abouseif, Doris. "The Complex of Sultan Mahmud I in Cairo." Muqarnas: an Annual on the Visual Cultures of the Islamic World. 28 (2011): 195-219.
Buyukmihci, Gonca1, Zuhal Ozcan, and Hale1 Kozlu. "Three Greek Orthodox Churches From Kayseri, Turkey, And The Ethnic Composition Of Ottoman Society." Transactions Of The Ancient Monuments Society 51.(2007): 31-51.
Cerasi, Maurice. “The Urban and Architectural Evolution of the Istanbul Divanyolu: Urban Aesthetics and Ideology in Ottoman Town Building,” Muqarnas 22 (2005):189-232.
Carroll, Lynda, Adam Fenner, and Øystein S. LaBianca. "The Ottoman Qasr At Hisban: Architecture, Reform, And New Social Relations." Near Eastern Archaeology 69.3/4 (2006): 138-145.
Çelik, Zeynep. “New Approaches to the "Non-Western" City.”Journal of the Society of Architectural Historians 58.3 (1999): 374-381.
Deǧirmenci, Tülün. “An Illustrated Mecmua: The Commoner’s Voice and the Iconography of the Court in Seventeenth-Century Ottoman Painting.” Ars Orientalis 41 (2011):
Ergin, Nina. "The Soundscape Of Sixteenth-Century Istanbul Mosques: Architecture And Qur'an Recital." Journal Of The Society Of Architectural Historians 67.2 (2008): 204-221.
Ersoy, Ersoy. A” Sartorial Tribute to Late Tanzimat Ottomanism: The Elbise-i 'Osmaniyye Album,” Muqarnas 29 (2003): 187-208.
Fetvaci, Emine. "From Print To Trace: An Ottoman Imperial Portrait Book And Its Western European Models." Art Bulletin95.2 (2013): 243-268.
Hamadeh, Shirine. "Ottoman Expressions Of Early Modernity And The “Inevitable” Question Of Westernization." Journal Of The Society Of Architectural Historians 63.1 (2004): 32-51.
Howard, D. “Venice between east and west: Marc'Antonio Barbaro and Palladio's church of the
Redentore.” Journal of the Society of Architectural Historians, 62 (2003) 306-325
Kezer, Zeynep. "Contesting Urban Space in Early Republican Ankara." Journal of Architectural Education. 52.1 (1998): 11-19.
Mathews, Annie-Christine Daskalakis. "Mamluk Elements In The Damascene Decorative System Of The Eighteenth And Nineteenth Centuries." Artibus Asiae 66.2 (2006): 69-96.
Maksudyan, Nazan. “Orphans, Cities, and the State: Vocational Orphanages (Islâhhanes) and Reform in the Late Ottoman Urban Space.” Int. J. Middle East Stud. 43 (2011), 493–511.
Necipoğlu, Gülrü. “Framing the Gaze in Ottoman, Safavid and Mughal Palaces,” Ars Orientalis 23 (1993), pp. 303-12
Necipoǧlu, Gülrü. “Visual Cosmopolitanism and Creative Translation: Artistic Conversations with Renaissance Italy in Mehmed II’s Constantinople,” Muqarnas 29 (2012): 1-82
Ojalvo, Roysi. "Showcasing Istanbul's Jewish Past." Future Anterior: Journal Of Historic Preservation History Theory & Criticism 11.2 (2014): 48-63.
Overton, Keelan. "A History Of Ottoman Art History Through The Private Database Of Edwin Binney, 3rd." Journal Of Art Historiography 6 (2012): 1-19.
SAKR, YASIR MOHAMMAD1. "Sinan's Ambivalence: The Triangular Design Of The Süleymaniye Schools Complex In Istanbul." Journal Of The Society Of Architectural Historians 73.3 (2014): 398-416.
Tekinalp, Pelin Şahin. "Links Between Painting And Photography In Nineteenth- Century Turkey." History Of Photography 34.3 (2010): 291-299.
Töker, Umut and Töker, Zeynep. “Family Structure and Spatial Configuration in Turkish House Form in Anatolia from Late Nineteenth Century to Late Twentieth Century.” In Proceedings of the Fourth International Space Syntax Symposium. London, UK, 2003.
Upton, Dell. "Starting From Baalbek: Noah, Solomon, Saladin, And The Fluidity Of Architectural History." Journal Of The Society Of Architectural Historians 68.4 (2009): 457-465.
Sinclair, Susan, C H. Bleaney, and Suárez P. García. Bibliography of Art and Architecture in the Islamic World: Volume 1. Leiden: BRILL, 2012.
Sinclair, Susan. Bibliography of Art and Architecture in the Islamic World (2 Vol. Set). Leiden: BRILL, 2012.
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Emily Neumeier is a doctoral candidate in the Department of Art History at University of Pennsylvania. Her research concerns the art and architecture of the Ottoman Empire and Turkish Republic. She is currently preparing a thesis on the architectural patronage of provincial notables in Ottoman Greece and Albania. Emily is also editor of stambouline, a site where travel and the Ottoman world meet.
Ünver Rüstem is Assistant Professor of Islamic Art and Architecture at Johns Hopkins University. His research centers on the Ottoman Empire in its later centuries and on questions of cross-cultural exchange and interaction.
|Chris Gratien holds a Ph.D. from Georgetown University's Department of History. His research focuses on the social and environmental history of the Ottoman Empire and the modern Middle East. He is currently preparing a monograph about the environmental history of the Cilicia region from the 1850s until the 1950s.|
Hosts & Co-Hosts
Chris Gratien, Emily Neumeier, Nir Shafir, Nicholas Danforth, Emrah Safa Gürkan, Michael Połczyński, Serkan Şavk, Zoe Griffith, Taylan Güngör, Huma Gupta, Samuel Dolbee, Sotirios Dimitriadis, Seçil Yılmaz
Palmira Brummett, Gwendolyn Collaço, Özde Çeliktemel-Thomen, Nicholas Danforth, Ashley Dimmig, Tülün Değirmenci, Edhem Eldem, Nezih Erdoğan, Nina Ergin, Emine Fetvacı, Yasemin Gencer, Paolo Girardelli, Chris Gratien, Aslı Iğsız, Lorenz Korn, Armen T. Marsoobian, Sato Moughalian, Emily Neumeier, Nilay Özlü, Karen Pinto, Daniel Pontillo, Kishwar Rizvi, İrvin Cemil Schick, Sarah-Neel Smith, Heghnar Watenpaugh, Seçil Yılmaz
Chris Gratien, Onur Engin
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