HISTOIRE DE L'ART / ART HISTORY
Organisation du 10e CONGRES INTERNATIONAL D'ART TURC

The integration of administrative, juridical, military, educational, and other institutions rooted in western concepts in the XVIIIth century has also brought along western architectural plan organizations in Ottoman society and urban life. These dwellings which were different from traditional architecture norms have found place first of all in Istanbul; later they diffused all over the country. In the first stage, military edifices, then governmental buildings were constructed. In parallel with changes in the administrative structure of the government, modern educational buildings and other official buildings followed them in almost every Anatolian city and settlement.

 

Kastamonu

K. K. Eyüpgiller. Kastamonu, prison built in 1888


Kastamonu, a city which was conquered by Ottomans in 1461 and existed as a medium size city since then, was inevitably influenced by these changes. From the beginning of the XIXth century, construction activities gradually increased with the economic growth. This period was influenced and determined by the efforts of integration of the western institutions into Ottoman city's structure.
The first building in Kastamonu was the casern built for the Ottoman military forces. Afterwards dwellings as the penitentiary, schools, prison, bank offices, hospital, town hall, etc., took place in Kastamonu. The difference between the architectural styles of these buildings and traditional Ottoman architectural concepts contributed to the modern aspect of Kastamonu's panorama. Most of those edifices are disappearing witnesses of the social, cultural, economical and technological constitution of their period of construction.

HISTOIRE DE L'ART / ART HISTORY
Organisation du 10e CONGRES INTERNATIONAL D'ART TURC

It is generally accepted that there is an architectural relationship between the Anatolian Seljuk caravanserais and the Central Asian ribats (the term Central Asia is used here only for Turkmenistan).
The ribat caravanserais on the trade routes of Central Asia and the caravanserais on the trade routes of Anatolia had the same function during the Middle Ages. Furthermore the antiquity of their relationship with the Central Asian ribats is shown by the fact that some of the Seljuk caravanserais in Anatolia used the term ribat in their inscriptions.
In this paper, the Anatolian Seljuk caravanserais and the Central Asian caravanserais are compared and contrasted with reference to the materials used in their constructions, external appearances and plans.

HISTOIRE DE L'ART / ART HISTORY
Organisation du 10e CONGRES INTERNATIONAL D'ART TURC

In this paper I have attempted to show how the domestic architecture and urbanism of the Sarouja quarter reflected the increasing power, influence and mobility of the Damascene notables in the 18th and 19th centuries. A recent field work has brought to light the fact that 15 beautiful houses with qa'as (ceremonial rooms) richly decorated with wood paintings were built by this rising class of notables during the 19th century. In addition, based on fieldwork and archival research, I tried to shed light on the structure and composition of Damascene houses. Some indicators of the notable families' social and economic importance at the time include the sheer surface area of the houses, as well as the utilization of expensive building materials such as marble and the incorporation of elements such as a qa'a, and a bath.
I showed how powerful families or individuals of the late Ottoman period contributed to and shaped the process of Damascene neighborhood urbanization.

HISTOIRE DE L'ART / ART HISTORY
Organisation du 10e CONGRES INTERNATIONAL D'ART TURC

The subject of the paper is a series of Ottoman Sultan's portraits and a number of paintings depicting prophets kept in the Topkapi Palace Museum Library.
Evliya Çelebi, the famous Ottoman traveller of the 17th century, mentions in his work a group of artisans named as "Esnaf-i Falciyan-i Musavvir" living in Istanbul. These artisans were hanging in their shop paintings produced by former masters which depicted Sultans, Prophets, land and sea battles and scenes from literary works like Yusuf Zulaykha, Layla Majnun, Farhad Shirin or Warka Gulshah. Evliya says the clients looking at these paintings and choosing one of them were informed about their fortune by "Esnaf-i Falciyan-i Musavvir" who recited a poem which was inspired by the theme of the painting. Actually this group of artisans were performing picture recitations.
Can the single images of prophets and Ottoman Sultans kept in the Topkapi Palace Museum Library be the works used by this group of artisans who were performing picture recitations ? Can they be a gift presented to a 17th century Ottoman Sultan ?
The paper tries to answer these questions and deals with the style, technique and iconography of the paintings depicting Ottoman Sultans and scenes with Prophets.

HISTOIRE DE L'ART / ART HISTORY
Organisation du 10e CONGRES INTERNATIONAL D'ART TURC

In the Kemalist era, modern architecture mirrored the reform movement. Two periods can be distinguished in the architectural movement: the artificial construction of a modern architecture by little known architects like Ernst Egli, and the moderate modernity by Clemens Holzmeister who developed a new architecture for political representation, as in the governmental quarter of the new capital, Ankara. During a second wave, after 1933, architects from the avant-garde movement of Central Europe went into exile to Turkey. These persons like Martin Wagner and Bruno Taut started a revision of modernity under the influence of the Turkish traditional architecture and of the rich Ottoman tradition. At the end of the thirties Taut created a new form of representative architecture as chief architect of the Ministry of Education. A similar transformation happened in Palestine with Erich Mendelsohn's buildings.
The comparison between the architectural structures and forms in Holzmeister's government quarter and Taut's university buildings illustrates their different idea of representation and political iconography.