Search results for: ottoman and seljuk architecture

Authors: Hatice Derya Arslan

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Religious buildings in terms of architectural features are known as the most repeated building types. Mosques representing Islam religion shows big differences in terms of architecture. In Turkey, every year many mosques are built all over the country and a majority of the mosques being built are inspired by the Ottoman and Seljuk architecture. Unfortunately, inspired by the architecture of the mosque made from traditional mosque architecture is often inadequate. In this study, first of all, the evolution of the mosque architecture in Turkey has been examined chronologically and shortly. After that, in the other part of the paper, Mekke Mosque which was built in Kutahya City Center of Turkey is discussed in terms of architectural properties. In this mosque, quasi-postmodern design was preferred. Generally preferred classical Ottoman architecture has been abandoned in this mosque. However, there exists a lot of issue in the interior and exterior design of the mosque was criticized in the conclusion part of the paper in a comparative manner.

Keywords: architectural criticism, mosque, ottoman and seljuk architecture, religious building

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Authors: Uğur Tuztaşi, Mehmet Uysal, Yavuz Arat

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The tomb (grave) structures that have influenced the architectural culture from the Seljuk times to the Ottoman throughout Anatolia are members of a continuing building tradition in terms of monumental expression and styles. This building typology which has religious and cultural permeability in view of spatial traces and structural formations follows the entire trajectory of the respect to death and the deceased from the Seljuks to the Ottomans and also the changing burial traditions epitomised in the form of mausoleums in the Turkish Republic. Although the cultural layers have the same contents with regards to the cult of monument this architectural tradition which evolved from tombs to mausoleums changed in both typological formation and structural size. In short, the tomb tradition with unique examples of architectural functions and typological formations has been encountered from 13th century onwards and continued during the Ottoman period with changes in form and has transformed to mausoleums during the 20th century. This study analyses the process of transformation from complex structures to simple structures and then to monumental graves in terms of architectural expression. Moreover, the study interrogates the architectural language of Anatolian Seljuk tombs to Ottoman tombs and monumental graves built during the republican period in terms of spatial and structural contexts.

Keywords: death and space in Turks, monumental graves, language of architectural style, morphological transformations

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Authors: Turkan Harmanbasi, Zeliha Busra Eryigit

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The Anatolian Seljuk State was established in Anatolia by the Seljuks and continued its existence between the 11th and 14th centuries. Iznik was the first capital of Anatolian Seljuks. With the conquest of Konya in 1086, this place was declared as the capital. The Anatolian Seljuk State, with its numerous cultural elements, has produced valuable and permanent works for more than two centuries. Most of the important and monumental works were built in Konya. Anatolian Seljuk Art that makes unique; the technique in his works is the difference in material and style. It has gained an important place in Islamic architecture with this feature. In this period, rich embellishment programs emerged with the use of geometrical ornaments, floral motifs and calligraphy belts. In the Anatolian Seljuks, decoration was mainly applied with façade, crown gates, doors, windows, mihrab, mimbar, cover, transition elements and minarets; built with stone, brick and wooden materials. The minarets are located adjacent to the mosques or outside, as a high place that can be reached by stairs, which is made to invite people to worship and to announce this to people. They are architectural elements that have always been important in Islamic architecture with their compositions, construction techniques and ornaments. In different countries where Islam has spread, it has gained different appearances with the influence of local traditions. In the Seljuk art, minarets have become indispensable architectural elements of mosques and masjids. Stone and brick are generally used as a material in the minarets, and in some examples it can be seen that the tile was accompanied by the material. Ornamental motifs are formed by bringing these materials side by side vertically or horizontally. The scope of this study, the decoration details of the minarets built during the Anatolian Seljuk period will be examined. As a study area, samples from various Anatolian cities, especially Konya, were selected. Aim of studying the decoration of the Anatolian Seljuk minaret can shed some light on one of the most important aspects of the Islamic architecture in Anatolia and the development of the minaret in the Islamic World.

Keywords: Anatolian Seljuk, decoration, Islamic architecture, minaret, ornament

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Authors: Yavuz Arat, Ugur Tuztasi, Mehmet Uysal

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Anatolia has been the host of many civilizations and a site where architectural structures of many cultural layers were interpreted. Most significantly the Turks who settled in Central Asia brought their architectural dynamics and cultural accumulation to Anatolia after the 12th century. The tomb structures first observed in Central Asia under the influence of Islamic faith and Turkish cultural heritage has blossomed under Great Seljuk Empire and with the Anatolian Seljuk Empire these tombs changed both in size and form with rich and beautiful samples from Ahlat to Sivas to Kayseri and Konya. This tomb tradition which started during 13th century has continued during the Ottoman Empire period with some alterations of form and evolved into the rarely observed mausoleum type tombs. The Ottoman tradition of building tombs inside mosque gardens and their forms present the clues of an important burial tradition. However this understanding was abandoned in 20th century Turkey. This tradition was abandoned with regard to legal regulations and health conditions. This study investigates the vestiges of this tradition and its spatial reflections over a sample. The present sample is representative of a tradition that started in 1970s and the case of building tombs inside mosque gardens will be illustrated over the tomb of Hacı Kemal Onsun and his wife which is located in Konya, the capital of the Anatolian Seljuks. The building process of this tomb will be evaluated with regard to burial traditions and architectural stylization.

Keywords: tomb, language of architectural form, Anatolian Seljuk tombs, Ottoman tombs

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Authors: Farzaneh Farrokhfar, Mohammad Khazaie

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The 16th and 17th centuries coincide with the classical age of Ottoman art history. Simultaneously with this age and in the eastern neighborhood of the Ottoman state, the Safavid Shiite state emerged, which, despite political and religious differences with the Ottomans, played an important role in cultural and artistic exchanges with Anatolia. The harmony of arts, including architecture, is one of the most important manifestations of cultural exchange between the two regions, which shows the intellectual commonalities of the two regions. In parallel with the production of works of art, the registration of information and identities of Ottoman and Safavid artists and craftsmen has been done by many historians and biographers, some of whom, fortunately, are available to us today and can be evaluated. This research first intends to read historical documents and reports related to the architects of the two Ottoman states in Anatolia and Safavid states in Iran in the 16th and 17th centuries and then examines the status of architects' information records and their location in the two regions. The results reveal the names and identities of some Ottoman and Safavid architects in the 16th and 17th centuries and show the method of recording information in the documents of the two regions. This research is done in a comparative historical method, and the method of collecting its resources is a documentary library.

Keywords: classical era, Ottoman architecture, Safavid architecture, Central Asian historical documents

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Authors: Şebnem Ertaş

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“Architecture” is one component of sustainable cultural tourism. The sustainability of architecture is possible through preservation and restoration activities. In Turkey, which has an important place in the world’s cultural heritage, several studies focused on the sustainability of the cultural heritage were done in terms of the principles of “preserve-use-sustain”. Within the scope of this study, a methodology will be proposed in order to obtain the development of different scenarios supporting sustainable tourism. Sille is an ancient village located on the Spice Road and Silk Road dating back to the Ottoman and Seljuk eras. However, in recent years it is protected as an archeological site. In the “Alternative Project Phase”, the streets and buildings which bring dynamism to trade are determined; among these, 10 major buildings in Hacı Ali Ağa Street are studied.

Keywords: cultural tourism, interior design, sustainability of architecture, Sille

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Authors: Iassen Vanev

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The two objectives of the research are to enlighten the significant role of Venice as an agent of “transporting” the features of the Italian Renaissance in Cyprus, as well as to assess the countercheck that the Cypriots might have exercised in opposition to the Venetian influence and to what extent they left they own mark on the Serenissima and influenced the Venetian Renaissance. This will be achieved in the backdrop of Venice’s interaction and dichotomy with the Ottoman Empire during the Venetian rule over the island (1474-1571). The research is carried out within the interdisciplinary domains of architecture, visual arts, and literature. Such studies have already been carried out extensively for other ex-Byzantine centers and consecutively Venetian possessions, like, for example Crete. Cyprus, however, has largely been left on the periphery of scholarly interest, and the author will strive to fill this gap as much as possible. The nature of much of the Venetian Renaissance Architecture on Cyprus was dictated by the Ottoman threat to the island. On the other hand, the vast majority of the Cypriot Renaissance literary production was done in Italy, a little before and after the Ottoman conquest of Cyprus in 1571. This conquest was an enormous crisis for both Venetians and Cypriots, and it led to migrations, mutual Venetian-Cypriot interaction in arts and literature, the formation of cultural landscapes, the shaping of Cypriot identity/ies, dialect and diasporas in Italy, etc., which makes the current research very important.

Keywords: architecture, arts, Cyprus, gender, identity, linguistics, Ottoman Empire, Venice

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Authors: Merve Kurt

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How women should behave in public spaces and how they should be dressed was a loaded issues in the Ottoman Empire. They pointed to what kind of state the Ottoman State was. One of such public space was Mesires, promenades. Women's visibility and invisibility, their morals were reflected and linked to the society as a whole. How the public space and private space is defined, what were the lines that separates them, how much blurred these lines were discussed in this paper. Moreover, all these points were strengthened by the primary sources from archives dating to the end of the 19th century.

Keywords: Mesire, Ottoman Empire, Ottoman women, public spaces

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Authors: Mehmet Uysal, Yavuz Arat, Uğur Tuztaşı

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As man constructed the spaces that he lived in he also designed spaces where their dead will stay according to their belief systems. These spaces are sometimes monumentalized by the means of a stone on the top of a mountain, sometimes signed by totems and sometimes became structures to protect graves and symbolize the person or make him unforgettable. Various grave monuments have been constructed from the earliest primitive societies to developed societies. Every belief system built structures for itself; Pyramids for pharaohs, grave monuments for kings and emperors, temples and tombs for important men of religion. These spaces are also architectural works like a school or a dwelling and have importance in history of architecture. After Turks embraced Islamism, examples of very beautiful tombs are built in Middle Asia during the Seljuk Period. By the time Seljuks came to Anatolia they built important tombs having peerless architectural characteristics firstly around Ahlat. After Anatolia Seljuks made Konya the capital city and Konya became administrative, cultural and scientific center, very important tombs were built in Konya. Different from the local tomb architecture, the architecture of tombs with half-open “eyvan/Iwan” is significant. Although iwan buildings is vastly used in Anatolian civil architecture and monumental buildings its best exmaples are observed in 13th century Medrese buildings. The iwan tomb tradition which was observed during the time period when this building typology was shaped and departed from the resident tradition in the form of iwan tombs are rarely represented. However, similar tombs were build in resemblance to this tradition. This study provides information on samples of iwan tombs (Gömeç Hatun Tomb, Emir Yavaştagel Tomb, and Beşparmak Tomb) and evaluates the departures from iwan building complexes in view of architectural language. This paper also gives information about iwan tombs among tombs having importance in Islamic Architectural Heritage.

Keywords: Seljuk Building Complex, Eyvan/Iwan, Anatolia, Islamic Architectural Heritage, tomb

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Authors: Mehmet Nuri Parmaksız

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Ottoman poetry and Ottoman music have been inseparable art branches for centuries. The best examples of music and poems created in the same periods have been the most prominent proof of this. These periods without doubt have been 17th and 18th centuries. Since the poems written in these periods were better than those in the other periods, composers composed many of the poems of these periods and still keep composing. Music composers did not discriminate the poets of the poems they would compose, and composed the poems coherent with the meaning and form.

Keywords: music, 17th ottoman divan poetry, ottoman poets, poems

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Authors: Zeynep Tanrıverdi

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The Bosphorus is an international waterway in Istanbul city of Turkey connecting the Sea of Marmara and the Black Sea. The Bosphorus, which has formed an important part of the silhouette of Istanbul throughout history, has also influenced the design of the coastal structures built around it. The waterfront mansions, which are located on both sides of the Bosphorus by the sea, and can be generally of two or three storeys, are called “yalı”. The yalı buildings with their architectural characteristics of the traditional Turkish House are the most grandiose examples of Ottoman residential architecture. However, the classical Ottoman yalı architecture of the 18th century can only be seen in engravings, and today only the modest and smaller yalı examples from the 19th century can be seen because of their disappearance over time. The study aims to reveal the architectural conservation and restoration problems of waterfront mansions and propose solutions for them. Firstly, the development of the waterfront mansion architecture in Bosphorus was evaluated in its historical process. Secondly, the waterfront mansions and their architectural features were explained. Thirdly, the architectural conservation and restoration problems that caused the disappearance of waterfront mansions were discussed. These problems include disruptions in legal regulations and practices about the Bosphorus, dramatic changes in Turkey’s socio-cultural life from the Ottoman Empire to the present, inadequacies in economic resources, negative environmental effects, and errors in restoration works. Finally, solution suggestions were proposed for the problems that threaten the protection of waterfront mansions. In the study, literature on waterfront mansions was reviewed using historical reports, photographs, maps, and drawings in archival documents. It is hoped that this study will contribute the conservation of the “Yalı” waterfront mansions, which occupy a particular role in the cultural heritage of Turkey, and to their transmission with their authentic values to the next generation.

Keywords: bosphorus architecture, conservation, heritage, Istanbul, waterfront mansions (yalı)

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Authors: Selcen Özyurt Ulutaş

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March as a musical form in Ottoman Music has started after Sultan II. Mahmud. Owing to the modernization process on Ottoman Empire, marches had accepted and embraced by the sultanate in a short period of time. The reasons behind sultans favor against marches that is actually a European Music form is closely related to attribute meanings to marches. After Sultan II. Mahmud, marches became a symbol of westernization and became a symbol of sultanate. After that period besides sultans also princes started to compose marches. The presentation includes the demonstration of the marches classification in achieves to be able to give information on the composers of those marches. Through that process, this study aims to show attributed meanings to those marches and what those marches represent.

Keywords: Ottoman marches, music, Europe, European musicians

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Authors: Feyza Daloglu

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This paper scrutinizes the Ottoman years of Wasif Jawharriyeh’s memoir, The Storyteller of Jerusalem, within the framework of citadinite, employed by the Open Jerusalem Project. Open Jerusalem Project uses the term citadinite to describe “the dynamic identity relationship city dwellers have with each other and their urban environment.” While Jerusalem and Jerusalemite identity have usually been analyzed within religious, national, or colonial frameworks, citadinite offers a fresh perspective by turning its lens to the urban identity of its citizens in the 19th and 20th centuries to overcome the shortcomings of usual frameworks. Wasif Jawharriyeh is a proud Jerusalemite and a Greek Orthodox Arab, who spent his childhood and teenage years under the Ottoman Empire. His memoir reveals a great deal of urbanity and a strong sense of Jerusalemite identity which appears to be favored over other forms of identities - Arab, Christian - in the late empire years. Through citadinite, this paper aims to discuss aspects of Jerusalemite identity and key points of urban life in the late Ottoman holy city with the guidance of a very lively and social Ottoman citizen and at that time a young musician, Wasif Jawharriyeh.

Keywords: arab memoir, cityscape, jerusalem identity, ottoman city, urban life

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Authors: Meliha Nur Cercinli

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In the last period of the Ottoman Empire, foreign officers played important role in the political area. Behind their political activities, their wives had a considerable influence on Ottoman social life. Despite the difficult conditions, these women involved in educating girls, encouraging Ottoman women to take part in the production area. For this purpose, they opened many schools and workplaces in various regions of the capital-Istanbul. One of these women was Lady Alice Lowther, who was known as the wife of British ambassador Gerard Agustus Lowther. She arranged various organizations in order to create necessary resources to help families of martyrs. Also, she chaired the Committee for Aid to Ottoman Military Families (Asker Ailelerine Yardım Komitesi), made an effort to establish the Society for Protection Animals in Istanbul (Istanbul Himaye-i Hayvanat Cemiyeti) with the supports of The Royal Society For Prevention Cruelty For Animals. Apart from these, she was also a good observer and writer as a traveller. She wrote and published her memories with the name of Down The Old Road (1921), When It Was June (1923) Land Of Gold Mohur (1932), Moments In Portugal Or Land Of The Laurel (1939). This paper aims to analyze Lady Alice Lowther’s activities in Istanbul based on Ottoman Archive documents. In addition, her books will also be examined as they will present a different perspective regarding her experiences.

Keywords: Lady Lowther, Ottoman Empire, women history, social life

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Authors: Esra Ceren Kara, Ufuk Seri̇n

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The Byzantine Empire, which persisted from the 4th to 15th centuries, covered a significant period in history and bequeathed a significant cultural heritage throughout its territories, including Turkey. However, despite its historical and cultural importance, the approach of the political authorities, which emphasizes the Seljuk and Ottoman heritage, to Byzantium in Turkey is reluctant and problematic. Byzantine history and culture have long been neglected and attained negative connotations. This has led to a lack of awareness and understanding of Byzantine heritage among the public and inadequate conservation efforts. This research aims to address this problem by proposing a reinterpretation and presentation of Byzantine heritage in Turkey that emphasizes its cultural value and presents it to the public as a part of a common cultural heritage in order to accomplish effective conservation, raise awareness and provide a better understanding of the Byzantium. In this article, the ways to interpret, present and integrate the Medieval Byzantine heritage into today’s world are analyzed through the selected case study of Trebizond (Trabzon) with a holistic approach by putting emphasis on the Byzantine religious edifices, churches, chapels and monasteries. Although the vestiges of this period are still intact and in use today, their past is unknown to many of their users. This situation is even more evident in the case of the converted churches, which are now used as mosques or mosque-museums. In the city center of Trebizond, 9 out of 12 religious edifices that are still in use were built during the Medieval Byzantine period and converted into mosques under Ottoman and Turkish rule. Currently, these monuments serve as mosques and mosque-museums. However, with the exception of Hagia Sophia and Girls Monastery, their Byzantine past is obscure to many locals. Thus, the promotion of local awareness and conservation of the Medieval Byzantine heritage in the city is required. With this premise, this research will investigate the values and opportunities offered by the Byzantine cultural heritage in Trebizond and the threats to its conservation, and it will offer proposals for a more effective interpretation and presentation so as to foster local awareness and integration of the Medieval Byzantine heritage.

Keywords: Byzantium/Byzantine, Trebizond, cultural heritage, interpretation and presentation, conservation, religious architecture, converted churches interpretation and presentation

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Authors: U. Demir

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18th century which is the period of 'change' in the Ottoman Empire, affects the architecture as well, where the Classical period is left behind, architecture is differentiated in the form language. This change is especially noticeable in monumental buildings and thus manifested itself in the mosques. But, is it possible to talk about the structural context of the 'change' which has been occurred in decoration? The aim of this study is to investigate the changes and classical relations of the 18th century mosques through plan schedules and structure systems. This study focuses on the monumental mosques constructed during the reign of the three sultans who ruled in the second half of the century (Mustafa the 3rd 1757-1774, Abdülhamid the 1st 1774-1789 and Selim the 3rd). According to their construction years these are 'Ayazma, Laleli, Zeyneb Sultan, Fatih, Beylerbeyi, Şebsefa Kadın, Eyüb Sultan, Mihrişah Valide Sultan and Üsküdar-Selimiye' mosques. As a plan scheme, four mosques have a square or close to a rectangular square scheme, while the others have a rectangle scheme and showing the longitudinal development of the mihrab axis. This situation is widespread throughout the period. In addition to the longitudinal development plan, which is the general characteristic of the 18th century mosques, the use of the classical plan schemes continued in the same direction. Spatialization of the mihrab area was applied to the five mosques while other mosques were applied as niches on the wall surface. This situation is widespread in the period of the second half of the century. In the classical period, the lodges may be located at the back of the mosques interior, not interfering with the main worship area. In the period, the lodges were withdrawn from the main worship area. They are separated from the main interior with their own structural and covering systems. The plans seem to be formed as a result of the addition of lodge parts to the northern part of the Classical period mosques. The 18th century mosques are the constructions where the change of the architectural language and style can be observed easily. This change and the break from the classical period manifest themselves quickly in the structural elements, wall surface decorations, pencil work designs, small scale decor elements, motifs. The speed and intensity of change in the decor does not occur the same as in structural context. The mosque construction rules from the traditional and classical era still continues in the century. While some mosque structures have a plan which is inherited from the classical successor, some of were constructed with the same classical period rules. Nonetheless, the location and transformation of the lodges, which are affecting the interior design, are noteworthy. They provide a significant transition on the way to the new language of the mosque design that will be experienced in the next century. It is intended to draw attention to the structural evolution of the 18th century Ottoman architecture through the royal mosques within the scope of this conference.

Keywords: mosque structure, Ottoman architecture, structural evolution, 18th century architecture

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Authors: Margareta Simina Stanc, Aurel Mototolea, Tiberiu Potarniche

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The city of Constanta (former Köstence) is located in the Dobrogea region, on the west shore of the Black Sea. Between 1420-1878, Dobrogea was a possession of the Ottoman Empire. Archaeological researches starting with the second half of the 20th century revealed various traces of the Ottoman period in this region. Between 2016-2018, preventive archaeological research conducted in the perimeter of the old Ottoman city of Köstence led to the discovery of structures of habitation as well as of numerous artifacts of the Ottoman period (pottery, coins, buckles, etc.). This study uses the analysis of these new discoveries to complete the picture of daily life in the Ottoman period. In 2017, in the peninsular area of Constanta, preventive archaeological research began at a point in the former Ottoman area. In the range between the current ironing level and the -1.5m depth, the Ottoman period materials appeared constantly. It is worth noting the structure of a large building that has been repaired at least once but could not be fully investigated. In parallel to this wall, there was arranged a transversally arranged brick-lined drainage channel. The drainage channel is poured into a tank (hazna), filled with various vintage materials, but mainly gilded ceramics and iron objects. This type of hazna is commonly found in Constanta for the pre-modern and modern period due to the lack of a sewage system in the peninsular area. A similar structure, probably fountain, was discovered in 2016 in another part of the old city. An interesting piece is that of a cup (probably) Persians and a bowl belonging to Kütahya style, both of the 17th century, proof of commercial routes passing through Constanta during that period and indirectly confirming the documentary testimonies of the time. Also, can be mentioned the discovery, in the year 2016, on the occasion of underwater research carried out by specialists of the department of the Constanta Museum, at a depth of 15 meters, a Turkish oil lamp (17th - the beginning of the 18th century), among other objects of a sunken ship. The archaeological pieces, in a fragmentary or integral state, found in research campaigns 2016-2018, are undergoing processing or restoration, leaving out all the available information, and establishing exact analogies. These discoveries bring new data to the knowledge of daily life during the Ottoman administration in the former Köstence, a locality on the periphery of the Islamic world.

Keywords: habitation, material culture, Ottoman administration, Ottoman archaeology, periphery

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Authors: Aysen Muderrisoglu Esiner

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As an intellectual, scholar, bureaucrat, and statesman, Ahmed Cevdet Pasha (1822-1895) was the prominent figure of “Tanzimat” (reorganization) reforms of the Ottoman State while his daughter Fatma Aliye (1862-1936) was a novelist, columnist, essayist, and women’s rights activist. His father had numerous books on law, grammar, linguistics, logic, and astronomy, moreover, Aliye accepted as the first female novelist in the Turkish literature and the Islamic world. Even if she was better known as a novelist, she also published some works on philosophy, Islam, poetry. In addition, Aliye who was one of the pioneers of the Ottoman women’s movement, also wrote historical works. Her historical works which titled as Tarih-i Osmaninin Bir Devre-i Mühimmesi Kosova Zaferi-Ankara Hezimeti (An Important Era of the Ottoman History: Kosova Victory-Ankara Defeat), and Ahmed Cevdet Paşa ve Zamanı (Ahmed Cevdet Pasha and His Time) have been generally ignored in the literature. However, Aliye’s works in history field are worth being studied in terms of her methodological approach to the Ottoman historiography. On the other hand, written by Ahmed Cevdet Pasha, such as Tarih-i Cevdet (History of Cevdet), Tezâkir (Memoir), Mâruzat (Reports, the events that took place between 1839-1876, 1890), Kısas-ı Enbiya ve Tevârîh-i Hulefa (Retaliation of the Prophets and the History of Calips), Kırım ve Kafkas Tarihçesi (Crimean and Caucasian History) are the most important works in terms of historiography in the 19th century. In contrast to the traditional methodology, Cevdet Pasha brought a new understanding to the Ottoman historiography by making a synthesis between the traditional and modern methods. In this research, the historical works of these two prominent figures of the Ottoman State will be analyzed in terms of their approaches to the Ottoman historiography while evaluating the following questions: to what extent that their use of local and foreign historical sources and their handling of the historical events differ, or if it is possible to talk about a methodological similarities in terms of historiography.

Keywords: Ahmed Cevdet Pasha, Fatma Aliye, historiography, methodology

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Authors: Tamer Mokhtar Mohamed Ahmed

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Throughout the ages the Caliphs, Sultans and rulers have paid great care to tomb covers and in particular to the cover of the tomb of the Prophet Muhammad as well as other prophets. For that purpose they established waqfs and ensured that the covers appeared in the most magnificent manner to befit their purpose, as we can see in the beautiful examples in museums across the world. In fact tomb covers are some of the most beautiful examples of Islamic art in their detail of craftsmanship which have made them great works of art. It became the custom that the Kiswa or the tomb covers were made of silk or satin with gold and silver threads. Museums across the word preserve examples of the highest craftsmanship of tomb covers produced in the capital of the Ottomans and other capital cities, all differing in their designs or colors reflecting the work of the individual cities like Cairo, Istanbul or Bursa. Other than the cover for the tomb of the Prophet, many other tomb covers were produced for the tombs of other prophets and their wives in Hebron. In addition tomb covers were made for the sufi saints as well as for the Ottoman sultans and for their wives and children. In this paper I will Study the Kiswa or the tomb covers in Ottoman period.

Keywords: kiswa, ottoman period, textiles, silk, tomb of the Prophet Muhammad

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Authors: Semra Çörekçi̇

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In this study, a new source on Ottoman Self-narratives, Kulakzâde Mahmud Paşa’s Düşname (Dreambook), will be introduced to illustrate how dreams can provide a ground for historical analysis. The manuscript looks like a private notebook of an Ottoman official, Mahmud Pasha, who lived and operated in Rumelia in the early eighteenth century. It provides insight into the ordinary and daily concerns of a bureaucrat who had the knowledge and tools to record them in writing. On the one side of the notebook, Mahmud Pasha recorded his travels and appointments in 1730-1731. He wrote places that he reached and stayed every day. On the reverse side, the same author kept a record of his dreams and named that part of his notebook, Düşname. He recorded his dreams on a daily basis in writing and therefore they were well-preserved in a dream diary. This study aims at drawing the social, cultural and psychic life of an early modern Ottoman bureaucrat. It will uncover the ways and means whereby he interpreted his environment, as well as how he made meaning of his dreams considering the social milieu and historical context within which he lived. The first part will focus on 'official dreams' uncovering how his official life and ambitions coincide with his spiritual life. Related to this, connection between anxiety and dream narratives will be evaluated as dreams in which the mundane concerns of securing a post occupied the most central place in the construction of his narrative. A further point will be made by questioning Mahmud Pasha’s possible Sufi connections and his familiarity with the tradition of dream interpretation. Also, considering Mahmud Pasha’s inclusion of other’s dreams in his Düşnâme, the issue of dream-telling will be questioned in order to reveal how dreams were interconnected and how they created a space for social gathering.

Keywords: Ottoman self-narratives, dreams, diary, Ottoman cultural history

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Authors: Tianqi Yin

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The sharia had been the legislative basis in the Ottoman Empire since its emergence. The authority of sharia was superlative in the Islamic society compared to the power of the sulta, the nominal ruler of the nation, regulating essentially every aspect of people’s lives according to an ethical code. In modernity, however, as European sovereignty employed forces to re-engineer the Islamic world to make it more like their own, a society ruled by a state, the Ottoman legislation system encountered a great challenge of adopting codified laws to replace sharia with the formulation of the Mecelle being a prominent case. Interpretations of this transformation have been contentious, with the key debate revolving around whether these codified laws are authentic representations of sharia or alien legal formulations authorized by the modern nation-state under heavy European colonial influence. Because of the difference in methodology of the diverse theories, challenges toward having a universal conclusion on this issue remain. This paper argues that the formulation of the Mecelle and other codified laws is a discontinuity of sharia due to European modernity’s influence and that the emphasis on elements of Islamic laws is a tactic employed to promote this process. These codified laws signals a complete social transformation from the Islamic society ruled by the sharia to a replication of the European society that is ruled by a comprehensive ruling system of the modern state. In addition to advancing the discussion on the characterization of the codification movement in the Ottoman Empire in modernity, the research also promotes the determination of the nature of the modern codification movement globally.

Keywords: codification, mecelle, modernity, sharia, ottoman empire

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Authors: Hilmi Yazici

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Just after Ottoman period, new more homogenic republic was struggling to form a national identity and dealing with the cultural and historical background of the nation. This new republic had an aim of modernization and westernization which started in the late ottoman period. In this process, the culture was an important basis to form a new nation and it clearly put forward that the new citizens of the new national republic are to have a modern and national culture. The result of this aimed change was to find the Turkish culture suppressed among the common people of the Anatolia and to take the western modernization and breed this with national culture. So in this context, we can say that this approach separated the people from ottoman culture and its roots to empower the national identity. Repeatedly, it may be said that Turkish folkloric music was an important basis for the new revolution, on the other hand classical Turkish music was alienated with the idea that it didn’t belong to Turkish culture. So the aim of this study is to determine how these efforts to nationalize a new identity and culture was successful and conscious intervention to folkloric Turkish music became efficient.

Keywords: opera, nationalism in music, Turkish music

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Authors: Nuray Ocakli

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19th century was the era of changes and transformations for the Ottoman Empire. The first sultan of this century, Mahmud II (1808-1839), was the architect of Ottoman modernization and fundamental changes. The most radical of these was abolishing the Janissary corps and the traditional Ottoman military band, Mehteran. Mahmud II introduced modernized military corps as well as western style royal and military music. Mahmut II invited the Italian composer Giuseppe Donizetti to establish a modern military band for the new army and to compose the Sultan’s royal anthem. In 1828, Donizetti composed the first western-style Ottoman anthem, Mahmudiyye anthem. During the 19th and early 20th century, four other western style Ottoman anthems (Aziziyye, Mecidiyye, Hamidiyye, and Resadiyye) were composed but the last anthem adopted in the reign of Mehmet VI (r. 1918-1922) was again Mahmudiyye anthem. This paper aims to analyze the Mahmudiyye anthem composed as royal anthem in 1828 but adopted as national anthem in 1918. Research questions of this paper are as follows: What were the characteristics of the Mahmudiyye anthem making it the best choice of the last sultan for the last national anthem? Are there specific reasons of the last sultan to adopt Mahmudiyye anthem or not to adopt any of the other four anthems? The musical characteristics of the anthem are analyzed based on the Cerulo’s empirical research. Cerulo examined the musical structures of 124 western style anthems from 150 countries in the 1580-1976 period. Cerulo’s research categorizes musical codes of the anthems as basic and embellished related with the level of sociopolitical control. Musical analysis of the anthem indicates that the basic musical code of the anthem implies a high level of socio-political control during the reign of both Mahmut II and Mehmet VI. Historical analysis of each sultans’ reign shows that both sultans were autocratic. Mahmut II designed authoritarian government policies to suppress possible reactions against his reforms. On the other hand, authoritarian policies of Mehmet VI are related with the domestic and international political conditions following the World War I. Historical analysis of the research questions show that compared to the other western style Ottoman anthems, Mahmudiyye anthem remained the only neutral anthem symbolizing modernization and westernization of the empire. Other anthems were all the symbols of failed ideologies such as Ottomanism, pan-Islamism, and pan-Turkism. In the early 20th century, there were a few common things remained among the diverse communities of the Ottoman Empire: The land they shared as homeland and the idea of modernization to save the homeland. For this reason, the last sultan Mehmet VI adopted Mahmudiyye anthem as the memory of a unified empire under the rule of a powerful and modernist sultan. The last sultan’s reign lasted just for four years, and the Ottoman Empire disintegrated in 1922, but his adaptation of the Mahmudiyye anthem indicates his unifying policies, his attitudes to save the empire and the caliphate.

Keywords: Mahmudiyye anthem, musical code, national anthem, Ottoman Empire, royal anthem

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Authors: Sundus Ayyaz, Saad Rehman, Usman Qamar

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Software Architecture is the basic structure of software that states the development and advancement of a software system. Software architecture is also considered as a significant tool for the construction of high quality software systems. A clean design leads to the control, value and beauty of software resulting in its longer life while a bad design is the cause of architectural erosion where a software evolution completely fails. This paper discusses the occurrence of software architecture erosion and presents a set of methods for the detection, declaration and prevention of architecture erosion. The causes and symptoms of architecture erosion are observed with the examples of prescriptive and descriptive architectures and the practices used to stop this erosion are also discussed by considering different types of software erosion and their affects. Consequently finding and devising the most suitable approach for fighting software architecture erosion and in some way reducing its affect is evaluated and tested on different scenarios.

Keywords: software architecture, architecture erosion, prescriptive architecture, descriptive architecture

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Authors: Sokol Gojnik, Zorana; Gojnik, Igor

Abstract:

Light is the central theme of sacred architecture of all religions and so of Christianity. The aim of this paper is to emphasize the inner sense of light and its constitutive role in Christian sacred architecture. The theme of light in Christian sacred architecture is fundamentally connected to its meaning and symbolism of light in Christian theology and liturgy. This fundamental connection is opening the space to the symbolic and theological comprehending of light which was present throughout the history of Christianity and which is lacking in contemporary sacred architecture.

Keywords: light, sacred architecture, religious architecture, phenomenology of architecture

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Authors: Feby Zaki Raouf Fawzy

Abstract:

Nowadays, design and architecture are being affected and undergoing change with the rapid advancements in technology, economics, politics, society, and culture. Architecture has been transforming with the latest developments after the inclusion of computers in design. Integration of design into the computational environment has revolutionized architecture and unique perspectives in architecture have been gained. The history of architecture shows the various technological developments and changes in which architecture has transformed with time. Therefore, the analysis of integration between technology and the history of the architectural process makes it possible to build a consensus on the idea of how architecture is to proceed. In this study, each period that occurs with the integration of technology into architecture is addressed within the historical process. At the same time, changes in architecture via technology are identified as important milestones and predictions with regards to the future of architecture have been determined. Developments and changes in technology and the use of technology in architecture within years are analyzed in charts and graphs comparatively. The historical process of architecture and its transformation via technology is supported by a detailed literature review, and they are consolidated with the examination of focal points of 20th-century architecture under the titles parametric design, genetic architecture, simulation, and biomimicry. It is concluded that with the historical research between past and present, the developments in architecture cannot keep up with the advancements in technology, and recent developments in technology overshadow architecture; even technology decides the direction of architecture. As a result, a scenario is presented with regard to the reach of technology in the future of architecture and the role of the architect.

Keywords: design and development the information technology architecture, enterprise architecture, enterprise architecture design result, TOGAF architecture development method (ADM)

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Authors: Serap Durmus

Abstract:

The aim of this paper is to exemplify the relation of architecture and philosophy over the Japanese architect Toyo Ito’s conceptual architecture. The study is practiced in ‘Architecture and Philosophy Readings’ elective course with 22 sophomore architecture students in Karadeniz Technical University Department of Architecture. It is planned as a workshop, which discusses the design philosophy of Toyo Ito’s buildings and the reflections of concept in his intellectual architecture. So, the paper contains Toyo Ito’s philosophy, his discourses and buildings and also thinking similarities with philosopher Gilles Deleuze. Thus, the workshop of course is about architecture and philosophy relationship. With this aspect, a holistic graphic representation is aimed for Toyo Ito who thinks that everything composes a whole. As a result, it can be said that architect and philosopher interaction in architecture and philosophy relation supports creative thinking. Conceptual architecture of Toyo Ito has philosophical roots and his philosophy can be read over his buildings and can be represent totally via a holistic pattern.

Keywords: architecture, conceptual architecture, Gilles Deleuze, philosophy, Toyo Ito

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Authors: Abanoub Rady Shaker Saleb

Abstract:

Nowadays, design and architecture are being affected and underwent change with the rapid advancements in technology, economics, politics, society and culture. Architecture has been transforming with the latest developments after the inclusion of computers into design. Integration of design into the computational environment has revolutionized the architecture and new perspectives in architecture have been gained. The history of architecture shows the various technological developments and changes in which the architecture has transformed with time. Therefore, the analysis of integration between technology and the history of the architectural process makes it possible to build a consensus on the idea of how architecture is to proceed. In this study, each period that occurs with the integration of technology into architecture is addressed within historical process. At the same time, changes in architecture via technology are identified as important milestones and predictions with regards to the future of architecture have been determined. Developments and changes in technology and the use of technology in architecture within years are analyzed in charts and graphs comparatively. The historical process of architecture and its transformation via technology are supported with detailed literature review and they are consolidated with the examination of focal points of 20th-century architecture under the titles; parametric design, genetic architecture, simulation, and biomimicry. It is concluded that with the historical research between past and present; the developments in architecture cannot keep up with the advancements in technology and recent developments in technology overshadow the architecture, even the technology decides the direction of architecture. As a result, a scenario is presented with regards to the reach of technology in the future of architecture and the role of the architect.

Keywords: design and development the information technology architecture, enterprise architecture, enterprise architecture design result, TOGAF architecture development method (ADM)

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Authors: Mohammad Torabiyan, Kazem Mosawi Nejad

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Today architecture has become as a powerful media for introducing cultures to the world, which in turn brings about a change in the global insight, power gaining, investment and development. Islamic architecture is based on the language of Koran and shows the depth and richness of Islam through spiritual soul. This is in a way that belief in monotheism and faith in Islamic teachings are manifested as Islam's aesthetic thought in Islamic architecture. Unfortunately, Islamic architecture has been damaged a lot due to lack of necessary information and also successive wars which have overtaken the Muslims as well as the dominance of colonizing counties. Islamic architecture is rooted in the history, culture and civilization of Muslims but its deficiencies and shortcomings should be removed through systematizing the Islamic architecture researchers. Islamic countries should act in a way that the art of Islamic architecture shows its true place in different architecture eras and makes everybody aware that Islamic architecture has a historical root and is connected eternally to the genuineness, religious art and culture of Muslims and civilization.

Keywords: art, culture, civilization, Islamic architecture, Muslims

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Authors: Fahimeh Ghorbani, Alam Saleh

Abstract:

Ideology, politics and art have always been omnipresent patterns of Islam since its early age. The Islamic empire, expanded from China to Andalusia, has instrumentalized art and architecture to enhance political legitimacy of different dynasties or states throughout its history. Quranic verses utilized to convey ideological messages in the major mosques and mausoleums. Iranians had already been employing art and architecture to propagate their political legitimacy prior to Islam. The land of Iran and its art with strong civilizational pre-Islamic history has been profoundly politicized since the rise of Islam in the region. Early Islamic period in Iran has witnessed introduction of a new architectural language, new formulas for spatial configuration in built spaces, as well as new system of architectural decoration. Studying Iran’s Early Islamic architecture helps in better understanding the process of socio-political identity making of Iranian-Islamic culture, and thus art and architecture. This period also set the stage for formation of glorious architectural movements through Persianate world in later periods. During the Early Islamic period in Iran, the innovative combination of Islamic ideology and Iranian Architecture created formidable ideological tools in politicizing art in the region and beyond. As such, this paper aims to investigate the political history and architectural legacy from late Sassanid to Early Islamic period, delves into the ways in which Early Islamic architecture played role in transforming Persian concepts of kingship, administration, and social organization. In so doing, the study focuses on the Perso-Islamic architectural synthesis under the Samanids and Seljuk dynasty as case studies. The paper also explores how the newly introduced Islamic architecture has been employed to address the question of political legitimacy and to propagate states’ political agenda in early Islamic Iran (650-1250). As for the existing literature, despite its uniqueness and significance, Early Islamic architecture of Iran has received little scholarly attention. However, there exists a sizeable body of scholarship on socio-historic condition of the land of Iran during Early Islamic period which provide a solid base for the project. Methodologically speaking, the authors look into the subject through various lenses. They will conduct historic and archival research in libraries, private collections, and archives in Iran and the related neighbouring countries in Persian, Arabic and English. The methods of visual and formal analysis are applied to examine architectural features of the period. There are also a high number of intriguing, yet poorly examined, published and unpublished documents, old plans, drawings and photos of monuments preserved in Cultural Heritage of Iran Organization which will be consulted.

Keywords: Iran, Islamic architecture, early Islamic Iran, early Islamic architecture, politicized art, political legitimacy, propaganda, aesthetics

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