The small sabil-kuttab (a charitable foundation particular to Cairo that combines a public water dispensary with a Quranic school) built in 1760 opposite the venerated Sayyida Zeinab Mosque is almost unique in Cairo: it is one of only two dedicated by a reigning Ottoman sultan, and--astonishingly--it is decorated inside with blue-and-white tiles from Amsterdam depicting happy scenes from the Dutch countryside. Why did the sultan, Mustafa III, cloistered in his Istanbul palace, decide to build a sabil in Cairo? Why did he choose this site for it? How did it come to be adorned with Dutch tiles? What were the connections between Cairo, Istanbul, and Amsterdam in the middle of the eighteenth century? The authors answer these questions and many more in this entertaining and beautifully illustrated history of an extraordinary building, describing also the recent conservation efforts to preserve it for posterity.
A new approach to late Ottoman visual culture and its place in the world With its idiosyncratic yet unmistakable adaptation of European Baroque models, the eighteenth-century architecture of Istanbul has frequently been dismissed by modern observers as inauthentic and derivative, a view reflecting broader unease with notions of Western influence on Islamic cultures. In Ottoman Baroque—the first English-language book on the topic—Ünver Rüstem provides a compelling reassessment of this building style and shows how between 1740 and 1800 the Ottomans consciously coopted European forms to craft a new, politically charged, and globally resonant image for their empire’s capital. Rüstem reclaims the label “Ottoman Baroque” as a productive framework for exploring the connectedness of Istanbul’s eighteenth-century buildings to other traditions of the period. Using a wealth of primary sources, he demonstrates that this architecture was in its own day lauded by Ottomans and foreigners alike for its fresh, cosmopolitan effect. Purposefully and creatively assimilated, the style’s cross-cultural borrowings were combined with Byzantine references that asserted the Ottomans’ entitlement to the Classical artistic heritage of Europe. Such aesthetic rebranding was part of a larger endeavor to reaffirm the empire’s power at a time of intensified East-West contact, taking its boldest shape in a series of imperial mosques built across the city as landmarks of a state-sponsored idiom. Copiously illustrated and drawing on previously unpublished documents, Ottoman Baroque breaks new ground in our understanding of Islamic visual culture in the modern era and offers a persuasive counterpoint to Eurocentric accounts of global art history.
The City's Pleasures is the first historical investigation of the tremendous changes that affected the fabric and architecture of Istanbul in the century that followed the decisive return of the Ottoman court to the capital in 1703. These were spectacular times that witnessed the most extraordinary urban expansion and building explosion in the history of the city. Showing how architecture and urban form became involved in the representation and construction of a changing social order, Shirine Hamadeh reassesses the dominance of the paradigm of Westernization in interpretations of this period and challenges the suggestion that change in the eighteenth century could only occur by turning toward a now superior West. Drawing on a genre of Ottoman poetry written in celebration of the built environment and on a vast array of related textual and visual sources, Hamadeh demonstrates that architectural change was the result of a dynamic synthesis between internal and external factors, and closely mirrored the process of décloisonnement of the city's social landscape. Examining novel forms, spaces, and decorative vocabularies; changing patterns of patronage; and new patterns of architectural perception; The City's Pleasures shows how these exposed and reinforced the internal dynamics that were played out between a society in flux and a state anxious to recreate an ideal system of social hierarchies. Profoundly hybrid in nature, the new architectural idiom reflected a growing permeability between elite and middle-class sensibilities, an unprecedented degree of receptivity to Western and Eastern foreign traditions, and a clear departure from the parameters of the classical canon. Innovation became the new operative doctrine. As the built environment was experienced, perceived, and appreciated by contemporary observers, it increasingly revealed itself as a perpetual source of sensory pleasures.
Eva Baer, The Illustrations for an Early Manuscript of Ibn Butlan's "Da'wat al-A?ibb?' in the L.A. Mayer Memorial in Jerusalem Anthony Welch, Hussein Keshani, and Alexandra Bain, Epigraphs, Scripture, and Architecture in the Early Sultanate of Delhi David J. Roxburgh, Persian Drawing, ca. 1400-1450: Materials and Creative Procedures R.D. McChesney, Architecture and Narrative: The Khwaja Abu Nasr Parsa Shrine. Part 2: Representing the Complex in Word and Image, 1696-1998 Machiel Kiel, The Quatrefoil Plan in Ottoman Architecture Reconsidered in the Light of the "Fethiye Mosque" of Athens Shirine Hamadeh, Splash and Spectacle: The Obsession with Fountains in Eighteenth-Century Istanbul Willem Floor, The Talar-i Tavila or Hall of Stables, a Forgotten Safavid Palace Brian L. McLaren, The Italian Colonial Appropriation of Indigenous North African Vernacular Architecture in the 1930's Jeffrey B. Spurr, Person and Place: The Construction of Ronald Graham's Persian Photo Album
This text is focused on the history of the extant buildings in the Republic of Turkey. The book begins with a brief history of the Ottoman Empire and develops by outlining the mains features of Ottoman architecture and discusses the biography of the great Ottoman architect Sinan.
The Chief Black Eunuch, appointed personally by the Sultan, had both the ear of the leader of a vast Islamic Empire and held power over a network of spies and informers, including eunuchs and slaves throughout Constantinople and beyond. The story of these remarkable individuals, who rose from difficult beginnings to become amongst the most powerful people in the Ottoman Empire, is rarely told. George Junne places their stories in the context of the wider history of African slavery, and places them at the centre of Ottoman history. The Black Eunuchs of the Ottoman Empire marks a new direction in the study of courtly politics and power in Constantinople.
The traveller gets exactly what he needs, and in a handy format. THE TIMES The author seems to have covered every road in the country, and has something of interest to say about virtually every site. COUNTRY LIFE Istanbul is the only city in the world that stands astride two continents, spreading across from Europe into Asia at the southern end of the Bosphorus, the incomparably beautiful strait linking the Black Sea with the Sea of Marmara in northwestern Turkey. This Companion Guide to Istanbul goes as far as the region around Marmara from the Bosphorus to the Dardanelles, which flows into the Aegean past the historic ruins of Troy on its Asian shore.Revised and updated for this new edition, the book is a guide to the Byzantine and Ottoman monuments and to the many other places of great historic interest around the Marmara, including Edirne, Bursa and Iznik, ancient Nicaea, as well as the renowned archaeological site of Homeric Troy. It is also an introduction to Turkey itself and to its people and their way of life, which they are more than willing to share with the traveller who takes the time to become acquainted with them. JOHN FREELY has lived and worked on America's east coast, in Britain, and around the Mediterranean, but is long-time Professor of Physics at the University of the Bosphorus, Istanbul, and has been resident for many years in Turkey. His understanding of the land and its people has made him a respected interpreter of Turkey ancient and modern.