Ottoman Art and Architecture

Possessors and Possessed analyzes how and why museums--characteristically Western institutions--emerged in the late-nineteenth-century Ottoman Empire. Shaw argues that, rather than directly emulating post-Enlightenment museums of Western Europe, Ottoman elites produced categories of collection and modes of display appropriate to framing a new identity for the empire in the modern era. In contrast to late-nineteenth-century Euro-American museums, which utilized organizational schema based on positivist notions of progress to organize exhibits of fine arts, Ottoman museums featured military spoils and antiquities long before they turned to the "Islamic" collections with which they might have been more readily associated. The development of these various modes of collection reflected shifting moments in Ottoman identity production. Shaw shows how Ottoman museums were able to use collection and exhibition as devices with which to weave counter-colonial narratives of identity for the Ottoman Empire. Impressive for both the scope and the depth of its research, Possessors and Possessed lays the groundwork for future inquiries into the development of museums outside of the Euro-American milieu.

Sanat ve arkeoloji dostlarının sergiyi gezerken, bu iki eserin Osmanlı-Amerikan arkeolojik işbirliğinde oynadığı rolü görerek, sanatın uluslararası ilişkilerdeki önemini düşünme ve değerlendirme fırsatı bulacakları görüşündeyiz.

Osman Hamdi Bey''i, Osmanlı ve batı dünyasını dengeleyen önemli bir sanatçı, bürokrat ve çok yönlü bir kültür insanı olarak farklı yönleriyle tanımamıza imkan veren bu serginin ülkemiz kültür ve sanat çevrelerinde de hak ettiği ilgiyi göreceğine inanıyoruz.

Konumuz olan Osmanlı İmparatorluğu ve Türkiye Cumhuriyeti çağlarında Türk kazı tarihi de bu toprakları kapsadığı, araştırma ve incelemelerin de Avrupalılar tarafından yüz yıllar öncesinden başlatılması nedeniyle öncelikle Avrupa'nın, yani Batı'nın Orta Doğu'ya bakış açısını incelememiz, öğrenmemiz ve bilmemiz, ileride vereceğimiz hükümlerin doğruluğuna doğrudan etki edecektir. Bu etüdlerimizin Irak, Suriye, Lübnan, Filistin, İsrail, Tunus, Kıbrıs, 12 Adalar, Selânik, Balkanlar'daki araştırıcılara da ışık tutacağını ummaktayız.

When, at the turn of the nineteenth century, Lord Elgin stripped the Parthenon of its sculptures and carried them to England, he saw himself as both preserving classical art for posterity and claiming the rightful heritage of the west. And when, soon after, the French government purchased an armless statue of Aphrodite on the island of Melos and displayed it triumphantly in the Louvre, it too identified France as the natural heir of antiquity. The Austrians and Germans, for their part, unearthed and brought home vast quantities of sculpture and architecture from throughout the Near East. Beginning in the mid-eighteenth century, European scholars and amateurs poured into Greece, Turkey, Egypt, Syria, Lebanon, and Mesopotamia to explore, dig, catalogue, and cart home the material remains of the ancient world. The collections they amassed became celebrated museums; the scholarly techniques they developed formed the foundation of modern, scientific archaeology. But at the time, the lands they traversed and the antiquities they found belonged neither to the empires of Europe nor to local states; rather, the entire territory was the possession of the Ottoman Empire. What did the Ottomans think of the European passion for the past? What was their own view of the ancient world and its heritage?

Eski eserlerin sahibi kimdir? Günümüzde uluslararası anlaşmazlıklarda canlı bir yer tutan bu alışılmış sorudan yola çıkan Asar-ı Atika, eski eserler üzerinden geçmişi sahiplenme olgusunu siyasi ve kültürel boyutlarıyla ele alıyor. Arkeolojinin akademik bir disiplin haline geldiği 19. yüzyıl sonu ve 20. yüzyıl başında, arkeoloji ve ulus kurma pratikleri arasındaki ilişkiye disiplinlerarası bir bakış açısıyla yaklaşıyor. Hükümetlerin, müzelerin, arkeologların ve kazı işçilerinin eski eserler üzerindeki hak iddialarını inceleyerek arkeolojinin kültürlerarası ilişkiler ve iktidar mücadelelerinde oynadığı rolü ortaya koyuyor. Zeynep Çelik, Osmanlı İmparatorluğu sınırları içindeki eski eserlere dair uluslararası söylemi açığa çıkarırken, Avrupa müzelerine nazaran yeni oluşan iki müzenin kuruluş ve büyüme süreçlerini de karşılaştırıyor: İstanbul'daki Müze-i Hümayun ve New York'taki Metropolitan Museum of Art. Çalışmasında kurumların ötesine uzanarak Batılılar, Osmanlı memurları ve işçiler arasındaki etkileşimi çözümleyen Çelik, kazı işçilerinin sesi gibi arkeoloji tarihinde geri planda kalmış bakış açılarını da gündeme getiriyor. İngilizce aslıyla aynı anda Türkçede.

What did everyday domestic life in towns and villages in the Cyclades in medieval and post-medieval Greece look like? Using primary archaeological data gathered by the Cyclades Research Project, the author identifies, amongst other things, settlement layout--which included fortified settlements and undefended nucleated villages; domestic buildings, such as housing of urban character, peasant housing, and farmsteads; ceramics, specifically locally produced and imported glazed tableware; built structures and mobile fittings; and clothing.  

This book concentrates on the sometimes Greek but largely Roman survivals many travellers set out to see and perhaps possess throughout the immense Ottoman Empire, on what were eastward and southward extensions of the Grand Tour. Europeans were curious about the Empire, Christianity's great rival for centuries, and plenty of information on its antiquities was available, offered here via lengthy quotations. Most accounts of the history of collecting and museums concentrate on the European end. Plundered Empire details how and where antiquities were sought, uncovered, bartered, paid for or stolen, and any tribulations in getting them home. The book provides evidence for the continuing debate about the ethics of museum collections, with 19th century international competition the spur to spectacular acquisitions.

John Garstang's Footsteps Across Anatolia aims to highlight the international contributions of John Garstang towards the study of archaeology in Turkey and the Near East. He was one of the first advocates of using photography as a means of documenting procedures and findings of archaeological excavations. In Turkey, Garstang was accompanied on his Anatolia Survey (1907) and Sakcagozu excavations (1908-1911) by his German assistant, Horst Schliephack. The result of over five years of research by The University of Liverpool, this book presents a series of short discursive articles about Garstang's work in Turkey and the Near East and a catalogue of newly digitised glass plate negatives from his 1907 journey across Anatolia. Garstang's photographs are an irreplaceable record of the archaeological sites, landscapes and peoples of Turkey and north Syria in the period of the late Ottoman Empire.

Margarita Diaz-Andreu offers an innovative history of archaeology during the nineteenth century, encompassing all its fields from the origins of humanity to the medieval period, and all areas of the world. The development of archaeology is placed within the framework of contemporary politicalevents, with a particular focus upon the ideologies of nationalism and imperialism. Diaz-Andreu examines a wide range of issues, including the creation of institutions, the conversion of the study of antiquities into a profession, public memory, changes in archaeological thought and practice, andthe effect on archaeology of racism, religion, the belief in progress, hegemony, and resistance.

Ortadoğu'nun yakın geçmişine yönelen arkeolojik ilginin zayıflığı maddi kalıntıların yokluğundan değil, bir arkeolojik geçmişi oluşturan öğelere ve onların bağlantılarının ne olabileceğine ideolojik gözlüklerle bakılmasından kaynaklanır. Osmanlı dönemini, araştırmaya değer bir altın çağ olarak gören arkeologların sayısı günümüzde çok azdır. Ama artık giderek artan sayıda arkeolog, sanat tarihçisi ve tarihçi son 20 yılda Osmanlı arkeolojisinin geliştirilmesine eğilmeye başladı. Bu kitabın, Osmanlı coğrafyasının yakın geçmişinin anlaşılması için, arkeolojik araştırmaların taşıdığı potansiyeli ortaya koyacağına ve daha geniş kesimlere Osmanlı İmparatorluğu arkelojisini tanıtacağına inanıyoruz. (Arka kapaktan)

The relentlessly self-promoting amateur archaeologist Heinrich Schliemann took full credit for discovering Homer's Troy over one hundred years ago, and since then generations have thrilled to the tale of his ambitions and achievements. But Schliemann gained this status as an archaeological hero partly by deliberately eclipsing the man who had launched his career. Now, at long last, Susan Heuck Allen puts the record straight in this fascinating archaeological adventure that restores the British expatriate Frank Calvert to his rightful place in the story of the identification and excavation of Hisarl#65533;k, the site now thought to be Troy as described in the Iliad. Frank Calvert had lived in the Troad--in the northwest corner of Asia Minor--excavating there for fifteen years before Schliemann arrived and learning the local topography well. He was the first archaeologist to test the hypothesis that Hisarl#65533;k was the Troy of Hector and Helen. So that he would have unrestricted access to the site, he purchased part of the mound and was the first archaeologist to conduct excavations there. Running out of funds, he later interested Schliemann in the site. The thankless Schliemann stole Calvert's ideas, exploited his knowledge and advice, and finally stole Calvert's glory, in part by slandering him and denigrating his work. Allen corrects the record and does justice to a man who was a victim of his own integrity while giving a balanced treatment of Schliemann's true accomplishments. This meticulously researched book tells the story of Frank Calvert's development as an archaeologist, his adventures and discoveries. It focuses on the twists and turns of his turbulent relationship with the perfidious Schliemann, the resulting gains for archaeology, and the successful conclusion of their common quest. Allen has brought together a wide range of relevant published material as well as unpublished sources from archives, diaries, letters, and personal interviews to tell this gripping story.

Tasarımı Ersu Pekin, fotoğrafları Erdal Aksoy'un imzasını taşıyan eser, ressam, arkeolog, Güzel Sanatlar Akademisi ve İstanbul Arkeoloji Müzesi kurucusu olarak çok zengin kişiliğiyle Türk sanat tarihinde yeniliğe ve ileriye atılan bir adımın simgesi olan Osman Hamdi'nin ulusal ve uluslararası düzeyde daha yakından tanınmasını amaçlıyor.