Saturday, January 27, 2018

TOPKAPI PALACE HAREM LIFE

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'46.9"N 28°58'59.7"E / 41.013015, 28.983248

Topkapı Palace Museum / Harem



PHOTOGRAPHS ALBUM - 1

PHOTOGRAPHS ALBUM - 2

The word harem, as meaning taboo and/or forbidden, had been used for family concept in the Islamic society. Harem is the private and prohibited place where the dynasty lived in the Ottoman Palace. Harem is a rather important complex in terms of architecture that contains examples of palace architecture styles belonging to various periods starting from 16th century to early 19th century, where hundreds of concubines and harem chiefs that consisted the families of Sultans lived together. As visitors enter the door of Topkapı Palace Harem their sense of anticipation is tangible.

Even today they envisage the possibility of meeting an odalisque, her long skirt trailing on the ground as she walks. The word harem originates from the Arabic harim, comprising the concepts of secrecy, inviolability and sacrosanctness that pervade the very walls of this place and marked life here over the centuries that it was a closed book to strangers. The harem section of Topkapı Palace was carefully situated so that it could not be seen from the state apartments and the courtyards where public affairs were conducted.

Harem Life
The secrecy associated with the royal harem and the harems of upper and middle-class Ottoman houses aroused the keen curiosity of foreign travelers and artists who visited Ottoman Turkey, but their written accounts and pictures of the harem were based for the most part on hearsay. With a few exceptions it was not until the end of the 18th century, during the reign of the enlightened reformist Sultan Selim III (1789-1807) that the architect and draughtsman and other artists were admitted to the palace harem to draw from observation instead of imagination.

The harem was home to the sultan himself, his mother, wives, daughters, sons, brothers, the high ranking female officials who managed the affairs of the household, hundreds of maidservants, and black eunuchs. In the royal harem, under the guidance of the sultan's mother or the principal officer of the harem household, a woman known as the chief treasurer, the girls were taught to read and write, play music, and the intricate rules of palace etiquette and protocol.

As an institution in Ottoman society the harem reflected the secluded privacy of family life. The cariyes or maidservants who served the women of the household were trained and educated in the skills and accomplishments thought appropriate for women at the time, and after a certain number of years in service allowed to marry.

Very few were honoured even by the privilege of waiting at the sultan's table, and still fewer became royal wives. After nine years of service the harem girls were given their manumission document, a set of diamond earrings and ring, a trousseau and some gold as their marriage portion, and suitable husbands found for them. They were renowned for their good breeding and for their discretion, never being known to reveal any intimate details about the royal family to outsiders.

The Imperial Harem (Harem-i Hümayûn) is one of the sections of the private apartments of the sultan. The harem was home to the Sultan's mother, the Valide Sultan; the concubines and wives of the Sultan; and the rest of his family, including children; and their servants. The harem consists of a series of buildings and structures, connected through hallways and courtyards. Every service team and hierarchical group residing in the harem had its own living space clustered around a courtyard.

The earliest parts of the harem quarters are the Golden Road, the sultan's private kitchen, and that section known as Eski Hasekiler. The service sections of the harem included kitchen, food cellar, baths, laundry, sick room and the dormitories of the maidservants and black eunuchs. As the population of the harem increased from the end of the 16th century onwards, mezzanines and additional buildings were constructed containing bedrooms for the serving women and self-contained apartments for the wives of the sultan.

Sultan Süleyman the Magnificent (1520-1566) took only his wife Hürrem Sultan and some women-in-waiting to this palace, the complete transferral of the harem from the Old Palace taking place during the reign of Murad III (1574-1595). On 24 July 1665, while Mehmed IV (1648-1687), his harem and household were at the palace in Edirne, a great fire broke out at Topkapı Palace, destroying the Palace of Justice, the Council of State, the Treasury, the Land Registry Office, most of the harem from the Carriage Gate to the Apartment of the Sultan's Mother, and the kitchens.

The 17th century the fire was started by a maidservant who had stolen a ring. Mehmed IV and his mother returned to Istanbul to inspect the situation, and the sultan ordered the construction of a new harem building whose interior walls were entirely decorated with tiles. This was completed in 1668, but since Mehmed IV and his successors who reigned during the second half of the 17th century lived for the most part at Edirne Palace, the harem at Topkapı did not regain its importance until the reign of Ahmed III (1703-1730), a period popularly known as the Tulip Era.

European baroque began to influence Turkish art and architecture at this time, and the Tulip Era is characterized by a new naturalistic style which is perhaps most strikingly exemplified by the painted wall decoration consisting of vases of flowers and plates of fruit in the Fruit Room of Ahmed III in the harem. The passion for garden flowers became evident everywhere, on clothing, furnishings and in architectural decoration, and extending even to the names of the harem women, who began to be given melodious Persian names that suggested they were as beautiful and graceful as flowers.

Later in the 18th century, rococo, with its delicate colour schemes and light romantic motifs, began to influence Turkish art, and the Pavilion of Osman III built on a terrace facing the Hünkar Sofası (Throne Room of the Harem) and the gracefully decorated wooden structures known as the Gözdeler Dairesi (Apartment of Favourites) above the Golden Road are typical of this later style.

Being supported by many dynasty palaces, mainly Old Palace, Topkapı Palace Harem constituted one wing of coverts kapıkulu staff in accordance with the Ottoman administration understanding. The concubines that were taken into Harem used to learn the Turkish-Islamic culture at best. Thus, a part of concubines that were raised as wifes for the Ottoman dynasty used to stay in Harem as administrative head of servants, whereas the best of them would be offered to Sultan and constitute the dynasty.

Another part of concubines used to be excluded from Harem with the condition that they would marry the chiefs at Enderûn. The hierarchy of Harem that went younger every year and spreaded the palace culture to the imperial domain depended on rules. The value of a woman in the Ottoman palace was related to her ability to give birth to a child. A concubine that is offered to Sultan would be displayed at Sultan’s Table and would be brought to Sultan’s own room if approved, upon a process that includes the preparation ceremonies at hamam.

The concubine that has relations with Sultan or gets close to him was called as Gözde. When Gözdes give birth to a child, they would be allocated a private apartment and be assigned as Prosperity or Head of Wives. The mother of heir to throne among those that do not exceed eight in every section, would be called as Haseki (Official Wife of Sultan), and had a real leverage as Sultan’s first wife even she would be listed after The Mother Of Sultan (Valide Sultan).

Harem Buildings
Harem has approximately 300 rooms, 9 hamams, 2 mosques, 1 hospital and dormitories as well as 1 laundry room. Harem that displayed a hierarchical development rather than systematic burned in 1665 on a large scale. Harem that survived today has been enlarged with the restorations after the fire and occasional expansions within time. General plan of Harem consists of dormitories that surround the entrances divided by doors one after another, rooms, pavilion and service buildings.

The number of rooms is not determined, with probably over a 100 of which only about a couple are open to the public. These apartments (Daires) were occupied respectively by the harem eunuchs, the Chief Harem Eunuch (Darüssaade Ağası), the concubines, the queen mother, the sultan's consorts, the princes and the favourites. There was no trespassing beyond the gates of the harem, except for the sultan, the queen mothers, the sultan's consorts and favourites, the princes and the concubines as well as the eunuchs guarding the harem.

The harem wing was only added at the end of the 16th century. Many of the rooms and features in the Harem were designed by Mimar Sinan. The harem section opening into the Second Courtyard (Divan Meydanı), to which the Gate of Carriages (Arabalar Kapısı) opens to, expanded over time towards the side of the Golden Horn and became a huge complex.

The buildings added to this complex from its initial date of construction in the 15th century until the early 19th century captures the stylistic development of palace design and decoration. Parts of the harem were redecorated under the sultans Mahmud I and Osman III in an Italian-inspired Ottoman Baroque style. These decorations contrast with those of the Ottoman classical age.

Topkapı Palace Harem Section, which was carefully hidden from the courtyards where the selamlık (meeting) and administration functions happened, divides the Harem residents into 4 groups through stony places stretching from the entrance of Gate of Carts to Private Room. The first section at the entrance is allocated to Black Eunuch Chiefs. After this, Harem’s Common Door follows and after that, it leads to paved courtyard that is surrounded by structures where Mother Of Sultans, sultans and princes live.

Prince Harems
The princes that were sent to Anatolia as Sancak Beyi up to the end of 16th century, used to bring their families with, including their Head of Wives who were their mothers. After that point, after the sultanate turned into old-becomes-Sultan (ekberiyet) procedure that stipulates the sultanate of the oldest dynasty man, the princes were made to live at Palace’s Harem. With this new system that enabled the brothers to become sultan as well, the sultan used to form his own harem staff with his mother, and send the rest to Old Palace.

The concubines could not marry the princes not to create rivals to dynasty, yet would be assigned. Sultan’s daughters used to marry viziers and paşas (generals) and live in hanım (wife) sultan palaces in Istanbul, and were granted with the right to divorce their husbands if they wished so.

Sultanate Of The Women
The Imperial Harem or Harem was one of the most important powers of the Ottoman court. Beginning in the 16th century and extending into the 17th, the Harem effectively controlled the Ottoman Empire (see Sultanate of the women). The harem had its own internal organization, and order of formulating policies.

The mother of a new sultan came to the harem with pomp and circumstance and assumed the title of Queen Mother (Valide Sultan) upon her son's accession. She was paramount chief and ran the Harem and ruled over the members of the dynasty. The Valide Sultan who influenced the political life of the Ottoman Empire during various periods of history had the authority to regulate the relations between the sultan and his wives and children. The Valide Sultan as a majestic symbol of the Ottoman dynasty wielded great power.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

TOPKAPI PALACE HAREM

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'46.9"N 28°58'59.7"E / 41.013015, 28.983248

Topkapı Palace Museum / Harem



PHOTOGRAPHS ALBUM - 1

PHOTOGRAPHS ALBUM - 2

The literal meaning of the word harem in Arabic language is, “a holy place that everyone is not allowed to enter”. In  Muslim societies, it is a notion which defines intimate family life. In Ottoman tradition, the word "Harem" was used in two different senses. First, "the sultan's harem" i.e. his family, and the second meaning would have referred to the space where his family lived. Besides constituting the core of the dynasty, the palace harem forming a wing of the cadre of sultan’s household officials recruited via devshirme (devşirme) - a system of recruitment of youngsters of foreign background for serving the Ottoman Empire - was also  an environment serving the purpose of creating a sound state aristocracy by wedding the concubines having received a disciplined education to the recruit-aghas (squires) who had been thoroughly educated and trained at the Palace’s Enderûn School.

The Topkapı Palace Harem was the living space of the  Sultan, the Queen Mother,  the sultan’s women, children, brothers and sisters and servants and concubines and Black Eunuchs who were the protectors of the Harem. This set of structures, which constituted the private and prohibited space of the Ottoman dynasty, underwent a constant evolution from the 16th until the beginning of the 19th century, displaying a great variety of building styles changing with each period, hence forming an extremely important and interesting complex from the point of view of architectural history. Expanded in time through the additions made by each sultan, the Topkapı Palace Harem today consists of about 300 rooms, 9 baths, 2 mosques, 1 hospital, 1 laundry, and numerous wards of different kinds.

The living spaces of  all the service groups integrated within the institutionalization system of the Harem were gathered around a common courtyard. The fact that the pebble stone walking path ends at the Fireplace Chamber constituting the entrance to the private quarters of the Sultan, highlights the sovereign’s itinerary

The Imperial Harem (Harem-i Hümayûn) occupied one of the sections of the private apartments of the sultan; it contained more than 400 rooms. The harem was home to the sultan's mother, the Valide Sultan; the concubines and wives of the sultan; and the rest of his family, including children; and their servants. The harem consists of a series of buildings and structures, connected through hallways and courtyards.

Every service team and hierarchical group residing in the harem had its own living space clustered around a courtyard. The number of rooms is not determined, with probably over 100, of which only a few are open to the public. These apartments (Daires) were occupied respectively by the harem eunuchs, the Chief Harem Eunuch (Darüssaade Ağası), the concubines, the queen mother, the sultan's consorts, the princes and the favourites. There was no trespassing beyond the gates of the harem, except for the sultan, the queen mother, the sultan's consorts and favourites, the princes and the concubines as well as the eunuchs guarding the harem.

The harem wing was only added at the end of the 16th century. Many of the rooms and features in the Harem were designed by Mimar Sinan. The harem section opens into the Second Courtyard (Divan Meydanı), which the Gate of Carriages (Arabalar Kapısı) also opens to. The structures expanded over time towards the Golden Horn side and evolved into a huge complex. The buildings added to this complex from its initial date of construction in the 15th century to the early 19th century capture the stylistic development of palace design and decoration. Parts of the harem were redecorated under the sultans Mahmud I and Osman III in an Italian-inspired Ottoman Baroque style. These decorations contrast with those of the Ottoman classical age.

Harem Construction Periods

End of 15th  to mid-16th Century
The Old Palace in Bayezit was used as a Harem following the conquest of Istanbul in 1453. However, the  Women's Palace (Saray-ı Duhteran) situated along the Golden Road is believed to have been the Harem nucleus belonging to the initial phase of the palace construction. Women brought from the Old Palace to the Topkapı Palace upon the Sultan’s demand were temporarily accommodated at this dwelling.  This apartment is today the section called the Haseki  (Sultan’s favoured wife) quarters. It was probably remodelled several times. Since women did not yet reside in the Harem at this early stage, large staffs of concubines and eunuchs  were not deemed necessary.  Another building of that first period is the tower-mansion  called the “Sultan Selim I Tower” located adjacent to the exit of the Harem’s Privy Chamber.

Period of Sultan Süleyman the Magnificent (1520-1566)
It was established that the building up of the Topkapı Palace Harem actually began following the settlement of the favoured wife of Süleyman the Magnificent, Haseki Hürrem Sultan at the Topkapı Palace. During this period, several wards were built adjacent to one another but without being interconnected for the concubines and the Black Eunuchs. The former Privy Chamber which formerly existed on the emplacement of the dwelling currently called the Privy Chamber of  Sultan Murat III,  is known to have been built by Süleyman the Magnificent.  The First Woman (Baş Haseki) apartment came to be referred to under the name of Hürrem Sultan since then.

Period of Sultan Murat III (1574-1595)
The institutionalization of the harem was completed in this period. The early construction style developed around landscape-exposed open spaces evolved, during the 10-year-long construction phase, towards structures gathered around privacy-oriented enclosed inner courtyards.   Buildings rising on pillared base structures due to the topographical circumstances of the area were endowed with rich façades in harmony with the classical architecture concept of the period. These rich façade configurations also represented the hierarchical order of the Harem. The Head Architects of the era were Mimar Sinan and Davut Ağa. The Concubine wards; the Apartments of the Queen Mother; the double baths; The Imperial Hall (Hünkâr Sofası), also known as the Imperial Sofa; the Privy Chamber of  Sultan Murat III and the Crown Prince quarters were all erected during that period.

17th -18th Centuries
The Privy Chamber of Sultan Ahmet I , the Privy Chamber of Sultan Ahmet III, the Kiosk of Sultan Osman III, the Apartments of Sultan Selim III and the Mihrişah Sultan Quarters constructed above the Apartments of  the Queen Mother, the Twin Kiosks, the Interval (Mabeyn) and Favourites (Gözdeler) apartments were built after the 1665 fire, by applying  Baroque and Rococo style decorations onto the structures. The reason behind the proliferation of constructions during this period was the gradual changes occurred in the governing style as well as customs and tastes of the dynasty.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

KONYALI RESTAURANT

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'49.4"N 28°59'09.0"E / 41.013715, 28.985828

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

Konyalı Restaurant is located at the 4th courtyard of the Topkapı Palace Museum in Sultanahmet, Historical Peninsula and offers great Ottoman & Turkish cuisine to its visitors. Located next to the Mecidiye Kiosk is a popular and high-end restaurant started giving service in 1967. It began with the intention of introducing the Ottoman & Turkish cuisine to our guests visiting Turkey and therefore to the whole world.

The restaurant has been visited by guests such as Queen Elizabeth II of the United Kingdom, First Lady Jackie Kennedy, President Richard Nixon, and boxer Mohammed Ali, among many others. The terrace of the restaurant offers a panoramic view of the Bosphorus and the Asian side. Most tourists come here to take pictures of the sea and the city.

LOCATION SATELLITE MAP



WEB SITE : Konyalı Restaurant

MORE INFO & CONTACT
E-posta: saray@konyalilokantasi.com
Tel: 0212 513 96 96
Faks: 0212 519 04 52

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

Saturday, January 20, 2018

MECİDİYE PAVILION

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'49.6"N 28°59'08.2"E / 41.013778, 28.985611

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

The Grand Kiosk, also known as the Mecidiye Kiosk, Grand Pavilion or Kiosk of Abdül Mecid I (Mecidiye Köşkü), built in 1840, was the last significant addition to the palace, along with the neighbouring Wardrobe Chamber (Esvap Odası). Both were built on the orders of Sultan Abdül Mecid I as an imperial reception and resting place because of its splendid location, giving a panoramic view on the Sea of Marmara and the Bosphorus.

This pavilion is located at the east end of the palace. Built by Sultan Abdülmecid it, has the distinction of being the last Sultan's pavilion constructed at the Topkapı Palace, as after this Sultan moved from this palace. Built on the Empire Style this singular storied rectangular building was designed by the architect Sarkis Balyan. The external facade's ornamentation is particularly noteworthy.

It is the last sultan pavilion that was built in Topkapı Palace. The residence location of the Ottoman Dynasty during Sultan Adbülmecid was newly built Dolmabahçe Palace. It must have been built because he wanted to have a pavilion that was named after himself and where ascending-to-throne ceremonies would be held as it was being held similarly in Topkapı Palace during his ancestor’s times.

The pavilion and the room that was designed fitting to contemporary western architecture style added a mixed foreign eclecticism to traditional architecture understanding and texture of the Ottoman and palace and is in a great scale.

The sultans would stay here whenever they visited Topkapı from their seaside palaces. These constructions were erected on the vaulted basement of another kiosk dating from the 15th century. The architect Sarkis Balyan constructed it in an eclectic Europeanized style, mixed with traditional Ottoman style. Inside it is furnished in the Empire style. The two buildings were also used occasionally to accommodate foreign guests.

It was erected on the vaulted basement of the Third Place and Tent Kiosks dating from the 15th century; certain parts of the basement walls and foundations underneath date from the Byzantine period. During the late period where the Sultans had moved their permanent residence to the Dolmabahçe and Yıldız Palaces, they would visit the Topkapı Palace only for brief journeys and stay at the Mecidiye Pavilion when they would come here for their Accession to the Throne Ceremony (Cülus) or their processional visits to the Mantle of Felicity.

The wall is made of coarse sandstone. The interior is lighted through large windows. There are three entrances on the main front. The middle gate leads to a staircase descending to the basement. To the left, there is the Selamlık, Mabeyn section. The kiosk commands a panoramic view, which stretches the angle vision to comprise the Princes Islands and the Marmara Sea. It has also a wide terrace paved with marble slabs.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

SOFA PAVILION

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'50.1"N 28°59'05.3"E / 41.013917, 28.984806

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

Merzifonlu Kara Mustafa Paşa built the pavilion, which also has names such as Sofa Pavilion, Stairhead Pavilion, Mustafa Paşa Pavilion, built between 166-1683 during his viziership. This fact led the pavilion be called as Mustafa Paşa Pavilion. The pavilion that was restored during Sultan Ahmed III era was mentioned as “Sofa Pavilion” in pavilion’s inscription that dates to 1704. Pavilion has a trio plan design.

The front design was changed after a large scale repair that was conducted in 1752 in Sultan Mahmut I era. The Sofa Pavilion was built under reign of Sultan Mehmet IV (1648-1687). It is the only wooden building in the innermost part of the palace. It consists of rooms with the backside supported by columns.

The kiosk consists of the main hall called Divanhane, the prayer room (Namaz Odası or Şerbet Odası) and the Room for Sweet Fruit Beverages. From the kiosk the sultan would watch sportive events in the garden and organised entertainments. This open building with large windows was originally used as a restroom and later, during the Tulip era (1718-1730) as a lodge for guests. It is situated next to the Tulip Garden.

The rectilinear Terrace Kiosk (Sofa Köşkü / Merdiven Başı Kasrı) was a belvedere built in the second half of the 16th century. It was restored in 1704 by Sultan Ahmed III (1703-1730) and rebuilt in 1752 by Sultan Mahmud I (1730-1754) in the Rococo style. It is the only wooden building in the innermost part of the palace. It consists of rooms with the backside supported by columns.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

İFTARİYE PAVILION

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'50.5"N 28°59'03.4"E / 41.014034, 28.984275

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

It was built by Sultan İbrahim I (1640-1648) in 1640 on the part of marble terrace between Circumcision Room and Baghdad Pavilion that was enlarged towards Haliç direction during Sultan Murad IV era. The special feature of this kameriye- shaped köşk is that it is made of copper and zinc alloy. It is covered by a dome that is carried by four columns. Kameriye is separated from the marble with its projecting part, and is made facing the gardens below, the city, Haliç and Galata.

The gilded İftar Pavilion, also known as İftar Kiosk or İftar bower (İftariye Köşkü or İftariye Kameriyesi) offers a view on the Golden Horn is a magnet for tourists today for photo opportunities. Its ridged cradle vault with the gilded roof was a first in Ottoman architecture with echoes of China and India. The sultan is reported to have had the custom to break his fast under this bower during the fasting month of ramadan after sunset.

Some sources mention this resting place as the ‘’Moonlit Seat’’. Special gifts like the showering of gold coins to officials by the sultan was also sometimes held here. The marbled terrace gained its current appearance during the reign of Sultan Ibrahim (1640-48).

This kameriye is thought that the Sultan waited for the breaking of the Ramadan fast here during Ramadan Months. Therefore, it is supposed to be called as İftariye (the place where one breaks the Ramadan fast). It is understood from the sources that the Sultan had been accepting the holiday congratulations of those from Enderun and watching the sport shows down in the festival ceremonies during the periods that overlapped with summer months.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

Thursday, January 18, 2018

BAGHDAD PAVILION

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'51.4"N 28°59'04.2"E / 41.014276, 28.984507

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

The Baghdad Kiosk (Bağdad Köşkü) is situated on the right section of the Marble Terrace. The Baghdad Kiosk (Bağdad Köşkü) is situated on the right side of the terrace with a fountain. It was built to commemorate the Baghdad Campaign of Murad IV (1623 – 1640) after 1638.

Located in the fourth courtyard of the palace. This pavilion is sited to allow uninterrupted views of the golden Horn, Galata and the Sea of Marmara. Built in 1639 on the orders of Sultan Murat IV, it is one of the best examples of Turkish art and architecture. Standing today in its original from the exterior is decorated with tiles and internally these are very rare decorations of arabesque painted on leather.

Built by the architect Koca Kasım, this pavilion is also eight sided, and Surrounded by marble columns supporting a broad overhanging roof line, in a circular portico. Like the Revan, the lower walls are of marble and the upper walls of tiles. The mother - of pearl and tortoise shell inlay work in the doors, window frames, and closets in the interior are excellent examples of Turkish workmanship.

This construction which is one of the most beautiful köşks, not only among those in Imperial Sofa, but also among those of palace that survived today was built in 1693 to commemorate the conquest of Baghdad by Murad IV. The wall spaces throughout are totally covered in tile. From the heavily decorated dome hangs a golf - leafed sphere. Seating divans line the wall insets covered in velvet fabrics. The solid bronze fireplace blends with the massive tile bird figures on either side.

It closely resembles the Revan Kiosk. The three doors to the porch are located between the sofas. The façade is covered with marble, strips of porphyry and verd antique. The marble panelling of the portico is executed in Cairene Mamluk style. The interior is an example of an ideal Ottoman room.

The recessed shelves and cupboards are decorated with early 16th century green, yellow and blue tiles. The blue-and-white tiles on the walls are copies of the tiles of the Circumcision Room, right across the terrace. With its tiles dating to the 17th century, mother-of-pearl, tortoise-shell decorated cupboard and window panels, this pavilion is one of the last examples of the classical palace architecture.

The doors have very fine inlay work. On the right side of the entrance is a fireplace with a gilded hood. In the middle of the room is a silver mangal (charcoal stove), a present of King Louis XIV of France. From the mid-18th century onwards, the building was used as the library of the Privy Chamber. The small room behind the mansion was used as coffee kitchen.

The köşk that was built for the memory of Baghdad victory was built on that place where a tower existed before at the end of terrace. In order to build the köşk, terrace required to be widened further towards Haliç direction. This köşk that has been one of the most successful, best protected examples was used as the library of Private Room along with Revan Pavilion starting from the mid- 18th century. The palace in the books in Baghdad Pavilion was turned over to Palace Library Collection.

The Koran verses inscribed on the cincture wrapping the building all around were written in white Celî Sülüs (a style of Arabic script with large letters used in writing inscriptions) characters on a blue background by Tophaneli Enderûnî Mahmut Çelebi, a famous palace calligrapher of the era. The couplet in Persian language inscribed above the gate to the pavilion includes the Kelime-i Tevhid (The Word of Unity: Islamic declaration of faith in the oneness of God).

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

IV COURTYARD PAVILIONS

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'49.6"N 28°59'05.9"E / 41.013793, 28.984965

Topkapı Palace Museum / Fourth Courtyard Pavilions

The Fourth Courtyard (IV. Avlu), also known as the Imperial Sofa (Sofa-ı Hümâyûn), was more of an innermost private sanctuary of the sultan and his family, and consists of a number of pavilions, kiosks (köşk), gardens and terraces. It was originally a part of the Third Courtyard but recent scholars have identified it as more separate to better distinguish it.

REVAN PAVILION

GPS : 41°00'49.8"N 28°59'05.0"E / 41.013833, 28.984722



PHOTOGRAPHS ALBUM

The Revan Pavilion was built in 1635 under Sultan Murat IV (1623-1640) to the memory of the conquest of Yerevan (Revan), on a piece of land gained by reducing the size of the pond that existed on the Sofa-i Hümâyûn since the time of Sultan Mehmet the Conqueror (1451-1481). The pavilion believed to have been conceived by the Head Architect of the period, Koca Kasım Ağa, with an octagonal floor plan has three iwans.

The ceiling of the gazebo situated between the two iwans on the east flank overlooking the Tulip Garden is inscribed with some of the verses of the Kaside-i Bürde (a sacred poem). On an octagonal layout, it is a single room, whose walls to the window edge are marble, and above are tile work. There is a double line of windows decorated in mother -of -pearl and tortoise shell. The central brazier was a gift of the French King Louis XV, to Sultan Mahmut I, made by Duplesisa, a famous worker in bronze of the time.

In 1733, during the reign of Sultan Mahmut I (1730-1754) a foundation library consisting of extremely valuable books, mainly of history, destined to the use of the Imperial Pages (Has Odalılar), was established in the wood cabinets of the pavilion. The library which was further developed by Sultan Osman III (1754-57) and Sultan Mustafa III (1757-1774), has been included in the collection of the Palace Museum Library when the palace was converted into a museum.

On our way to the Baghdad Pavilion, the heavily tiled outer wall of the Circumcision Room is seen, and next the lovely gilt - bronze baldachin of Sultan İbrahim dating from 1640. It was here that the sultan broke his daily fasting at sunset during the Month of Fasting (Ramazan). Like the sultan himself, let us break our tour here, and enjoy the same lovely overlook of the city which this position affords us. From here, we ill then proceed to the Baghdad Pavilion.

The köşk that was built for commemoration of conquest of Revan by Sultan Murad IV was constructed on the terrace in an area that was obtained upon shrinking and reshaping of the pool that existed in Imperial Sofa since Sultan Mehmed II. Köşk has a octagonal shape and has three balconies. The Revan Kiosk (Revan Köşkü) served as a religious retreat of forty days. It is a rather small pavilion with a central dome and three apses for sofas. The fourth wall contains the door and a fireplace. The wall facing the colonnade is set with marble, the other walls with low-cost İznik blue-and-white tiles, patterned after those of a century earlier.

The fact that Revan Pavilion is mentioned as "Turban Room (Sarık Odası)" in some of the Ottoman sources is related to the fact that the turbans that represented the Ottoman Sultan were safeguarded here by Cheesecloth Servant (Tülbent Gulamı). Also, Holy Relic Section (Hırka-i Saadet) and other sacred articles used to be transferred to Revan Pavilion during the cleaning of Private Room every year in Ramadan month.

Sultan Mahmut I created an utmost valuable predominantly history books-library in this köşk for those in Private Room. The library that was further enlarged by Sultan Osman III and Sultan Mustafa III had been returned to Palace Library Collection when the palace was transformed into museum. Köşk is open to visits.

The Revan Pavilion is also called sarık odası (turban room) by some sources with reference to the fact that the sacred relics were kept there during the Chamber of the Holy Mantle’s traditional cleaning ceremony attended by the sultans.

The Revan Kiosk is one of the finest examples of the classical Ottoman mansion style. It is a relatively small pavilion with a central dome and three apses. The projecting eaves decorated with Iznik tiles, central dome and delicate woodwork in recessed cupboards and doors are worth seeing.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

IMPERIAL SOFA GARDENS

GPS : 41°00'49.7"N 28°59'05.9"E / 41.013793, 28.984965

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

It is surrounded by a marble terrace that is also surrounded by a wall in front of Sultan’s flat called as Castlecover (Hisarpeçe) and a lower level garden of flowers on three other sides. The stone throne in the part of this garden that is below the Sofa Pavilion and marble terrace in which some sultans or converts played games such as cirit (javelin), shooting arrow and wrestling in front of Head of Doctors Tower is the place where the Sultans sat and watched these activities.

Various pavilions and buildings are located in this garden starting from the 15th century in the part that faces Marmara Sea and the scenery. In this part of garden, there used to be gates that provided passage to III. courtyard and big gardens of palace where the dormitories of convert existed. Today, Sofa Mosque that was built in 19th century and Grand (Mecidiye) Pavilion being built in 1859 by Sultan Abdülmecid and a connected small construction called as Dressing Room exist there.

Before that, it is known that there used to be a pavilion which Fatih Sultan Mehmed made built and a construction called as Tent Pavilion (Çadır Köşk) over the gate that provided passage to lower gardens there.

Sofa dormitory that is considered to be constructed in 18th century and belonged to employees who were in charge of cleaning Silahtarağa Pavilion, the third courtyard of Enderun, and Imperial Sofa used to exist there. These structures could not survive until today, because they were destroyed since they were ruined during 19th century.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

Monday, January 15, 2018

SOFA MOSQUE

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'48.3"N 28°59'07.9"E / 41.013417, 28.985528

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

The Terrace Mosque, also called Sofa Mosque (Sofa Camii), was constructed under Sultan Mahmud II in the Empire style for the use of the corps called Sofa Ocaği in the 19th century. The Kiosk of the Swordbearer (Silahdar Köşkü) used to stand in its place. The inscription at the gate of the mosque indicated that it was restored under Sultan Abdülmecid I in 1858.

The Tent Kiosk and the Kiosk of the Swordbearer (Silahdarağa Köşkü) succeeded one another on the site where originally Sultan Mehmet the Conqueror had the Third Place Pavilion built at the time when the Topkapı Palace was first established. Sources mention that the original Sofa Mosque (Sofa Camii) was first erected along with the foundation of the corps called Sofa Ocağı during the period of Sultan Süleyman the Magnificent.

Sultan Mahmut II had the Kiosk of the Swordbearer torn down in 1809 because of it being the place where the dethroning plot of Sultan Selim II had been planned, and had the Sofa Mescit (small mosque) built in its place.

In 1859, in parallel to the construction of the Mecidiye Pavilion and Wardrobe Chamber, Sultan Abdülmecit had the mescit demolished and built the present Terrace (Sofa) Mosque. From its epigraph written by Safvet, we understand that the mosque was built for the Treasury Superintendence and Treasury Ward officials to perform their prayers.

Sofalılar Ocağı, the Order of the Terrace Keepers, after which the mosque was named was an old palace organization. Their wards were located below the Tent Pavilion. The Terrace Keepers can be considered as part of the Palace Guards; they served as the guardians of the Fourth and Fifth places, and took care of the cleaning of the Chamber of the Holy Mantle.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

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E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

WARDROBE CHAMBER (ESVAP ODASI)

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'48.7"N 28°59'07.3"E / 41.013528, 28.985361

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

The small building next to the kiosk is the Wardrobe Chamber (Esvap Odası) that was built during the same period. The Wardrobe Chamber held the ceremonial clothes and jewels of the Sultans. The Wardrobe Chamber situated near the Mecidiye Pavilion is the only building bearing that name known to us today at the Topkapı Palace.

Wardrobe Chambers where the clothes and jewels of Sultans were kept existed in the Palace ever since the time of Fatih Sultan Mehmet. The task of appropriate conservation of the imperial wearing apparel was assumed in the early period by the Dülbent Ağası (Muslin Master). In later periods, the function was fulfilled by the Esvabcıbaşı (Head of the Garments’ Custodians) and his crew.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

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E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

STONE THRONE

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'49.6"N 28°59'05.9"E / 41.013793, 28.984965

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

A stone throne (Taş Taht) was made for Sultan Murad IV to watch the sports activities of pages. The inscription on the throne states that in 1636 Sultan Murad IV, who was an accomplished sportsman himself, threw an oak cudgel 120 meters.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

Sunday, January 14, 2018

TOWER OF THE HEAD TUDOR

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'49.5"N 28°59'06.7"E / 41.013750, 28.985194

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

The square Tower of the Head Tutor (Başlala Kulesi), also known as the Chamber of the Chief Physician and court drugstore (Hekimbaşı Odası ve ilk eczane), dates from the 15th century, and is the oldest building in the Fourth Courtyard. It was built as a watch tower, probably during the time of Sultan Mehmed II. It has few windows, and its walls are almost two metres thick. The physician had his private chamber at the top, while below was a store for drugs and medicine.

The first court pharmacy was established during the reign of Sultan Mehmed II. There were also other pharmacies and infirmaries at the palace besides this particular one. According to a legend, Enderunlu Tayyar Efendi, who was the Chief Tutor (Baş Lala) during the reign of Sultan Selim III, saw from the upper floor of this tower the rebels coming to the palace to assassinate the sultan and alarmed the sultan's loyalists. The historian Afa writes that the tower was more than two floors higher than today but today it only has two storeys left.

The Chief Physician (Hekim Başı) and the Chief Tutor shared this place as their residence. The Chief Physician was responsible for the health of the sultan and the imperial family and used to prepare the medicines here. Under his supervision and those of the chief tutor the palace drugs were prepared, mixed and sealed in bottles, jars, boxes or bowls and given to the patients. The mixtures and drugs to be administered to the patients were prepared by health workers under the authority of the Chief Physician and in particular, the pages of the Pantry Ward.

The Sultan in particular and all the members of the Harem and Enderûn were medically treated by a group of physicians, eye doctors and surgeons headed by the Chief Physician. The Chamber of the Chief Physician was a sort of court pharmacy named after the chief of the court physicians, ophthalmologists and surgeons whose number was ranging from 60 to 70, and who belonged to the Ottoman government structure called the “Bîrûn”.  In addition to the Chamber of the Chief Physician there were two more pharmacies and five hospitals in the court, including one on the Harem premises.

The Chief Physician was also a companion of the sultan outside the palace, accompanying him even on battles. The office of the chief physician was traditionally held by Jews. After the 17th century, there were increasingly Muslim physicians along with Jewish and European physicians.

The last Chief Physician was Abdülhak Molla, who lived during the reign of Sultan Abdülmecid I. After the sultan moved away from Topkapı, the tower was used as a music conservatory and later used for the cleaning of palace arms. It was restored in 1911 and houses the medical and pharmaceutical objects collection.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

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E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

CIRCUMCISION ROOM

CIRCUMCISION ROOM

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'49.1"N 28°59'02.5"E / 41.013628, 28.984028

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

It is located in the part of Imperial Sofa that faces Haliç. Even thought the exact date of construction of the pavilion, it has been considered built most probably during the first half of 16th century in Sultan Süleyman era.

The Circumcision Room (Sünnet Odası) is thought to have been built during the reign of Kanunî Sultan Süleyman - Sultan Süleyman the Magnificent. It is located on the palace grounds’ most spectacular segment facing the Galata district. This pavilion initially planned as the Sultan's summer kiosk (Yazlık Oda) is referred to as Circumcision Room, due to the fact that it was the venue used for the circumcision – a religious tradition in Islam for cleanliness and purity - ceremony of the princes-sons of Sultan Ahmet III (1703 -1730).

Later on, it went through some modifications and took its contemporary shape during Sultan İbrahim I era. The pavilion was called later as Circumcision Room. This room was used during the circumcision of the princes of Ahmed III. and therefore the pavilion was called as Circumcision Room. It is open to visits.

In 1640 Sultan Ibrahim I added the Circumcision Room (Sünnet Odası), a summer kiosk (Yazlık Oda) dedicated to the circumcision of young princes, which is a primary rite of passage in Islam. Its interior and exterior are decorated with a mixed collection of rare recycled tiles such as the blue tiles with flower motifs at the exterior. The most important of these are the blue and white tiles panels influenced by far-eastern ceramics on the chamber facade dated 1529.

These once embellished ceremonial buildings of Sultan Süleyman I, such as the building of the Council Hall and the Inner Treasury (both in the Second Courtyard) and the Throne Room (in the Third Courtyard). They were moved here out of nostalgia and reverence for the golden age of his reign. These tiles then served as prototypes for the decoration of the Revan and Baghdad kiosks.

The room itself is symmetrically proportioned and relatively spacious for the palace, with windows, each with a small fountain. The windows above contain some stained-glass panels. On the right side of the entrance stands a fireplace with a gilded hood. Sultan Ibrahim also built the arcaded roof around the Chamber of the Holy Mantle and the upper terrace between this room and the Baghdad kiosk.

The quasi-square-shaped single-hall pavilion has a small kitchen in the rear. The blue-and-white colour tiles made ​​in thatch style covering the façade of the building were the work of the famous 16th century muralist Shah Kulu. The building was renovated in 1640 by Sultan Ibrahim (1640-1648) as part of the redevelopment of the terrace.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

IMPERIAL SOFA (SOFA-I HÜMAYUN)

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'49.6"N 28°59'05.9"E / 41.013793, 28.984965

Topkapı Palace Museum / Fourth Courtyard



PHOTOGRAPHS ALBUM

The Fourth Courtyard (IV. Avlu), also known as the Imperial Sofa (Sofa-ı Hümayun), was more of an innermost private sanctuary of the sultan and his family, and consists of a number of pavilions, kiosks (köşk), gardens and terraces. It was originally a part of the Third Courtyard but recent scholars have identified it as more separate to better distinguish it.

The Fourth Place consists of the Tulip Garden and the terrace called Imperial Hall (Sofa-i Hümayun). The Pond Terrace also called Marble Hall was extended in the direction facing the Golden Horn with the addition of new pavilions in the first half of the 17th century under Sultan Murat IV (1623-1640) and Sultan Ibrahim (1640-1648). The arcades of the Marble Sofa took their current form in 1916.

The wooden Hall Kiosk used as privy chamber by the sultans and the Stone Pavilion / Hekimbaşı (Chief Physician) Tower located in the Lale (Tulip) Garden below the Pond Terrace have survived up until our present-day. There were various vineyards and fruit trees including orange and lemon trees in addition to the multitude of flower beds adorned with a variety of roses, tulips, hyacinths, carnations and jasmine flowers in the Tulip Garden.

On the Tulip Garden wing facing the Sea of Marmara is located the Grand Kiosk, also known as the Mecidiye Kiosk, Grand Pavilion or Kiosk of Sultan Abdülmecit I (Mecidiye Köşkü), built in Empire style in 1840, which was the last significant addition to the palace, along with the neighbouring Wardrobe Chamber (Esvap Odası) and the Hall Mosque (Sofa Camii), built on the orders of Sultan Abdülmecit I. The Tulip Garden is connected to the current public leisure ground Gülhane Park, the old imperial rose garden, through the towered Mabeyn (Interval) Gate.

The royal architect Hasan Ağa under Sultan Murat IV constructed during 1635-1636 the two Revan Kiosk (Revan Köşkü) and in 1638-1639 the Baghdad Kiosk (Bağdat Köşkü) to celebrate the Ottoman victories at Revan and Baghdad. Both have projecting eaves, a central dome and interior with recessed cupboards and woodwork with inlaid nacre tesserae. Both are based on the classical four-iwan plan with sofas filling the rectangular bays.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

Thursday, January 11, 2018

TOPKAPI PALACE MUSEUM / MINIATURE COLLECTION

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'48.2"N 28°59'03.5"E / 41.013389, 28.984314

Third Courtyard

DORMITORY OF THE ROYAL PAGES



PHOTOGRAPHS ALBUM - 1

PHOTOGRAPHS ALBUM - 2

Adjacent to the north of the Imperial Treasury lie the pages dormitory, which have been turned into the Miniature and Portrait Gallery Museum. On the lower floor is a collection of important calligraphies and miniatures. In the displays one can see old and very precious Korans (12th-17th c.), hand-painted and hand-written in Kufic and also a bible from the 4th century, written in Arabic.

The following items represent museum's outstanding group of Islamic miniature paintings, found in illustrated copies of classic works and as surviving fragments pasted or bound into albums in the former royal libraries. The first examples of the Ottoman miniature paintings were produced under the patronage of Fatih Sultan Mehmet (Mehmet the Conqueror ) in mid 15th century. An important feature of the Ottoman miniatures is the realistic portrayal of actual events while adhering to the traditional rules of Islamic art.

Topkapı's priceless collection encompasses not only Ottoman works but also those of many different dynasties and regions within the Islamic world, including Baghdad and Mosul in Mesopotamia (13th century); Il-Khanid Tabriz and Muzaffarid Shiraz (14th century); and Akkoyunlu Shiraz and Tabriz, Timurid Herat, and Safavid Shiraz and Tabriz (15th century). Included are scientific works such as Dioscorides' Materia Medica; romances such as the fables of Khalila and Dimna; the Khamsa of Nizami, the Shahname of Firdawsi; and later Ottoman works such as the Süleymanname and the Selimname, in praise of the exploits of individual sultans.

Although the extent to which the early Islamic dynasties depend upon their pre-Islamic past was limited, this was much less true for the natural sciences like physics, mathematics, medicine, astronomy, botany, and chemistry. There are records of the Umayyad Caliphs' attempts to obtain scientific manuscripts of Byzantium, Iran or India.

Under the Abbasids in Baghdad, this movement gained strength (800's). Persian, Egyptian, North African, Spanish and Central Asian (Samanid library) manuscripts were the results of the learnings of the dispersed Abbasid Court. The following illustrations are mostly from these scientific books. There are also illustrations of Kalila wa Dimna and some Persian fables of the same era.

There are very few secular illustrated texts which survive from late Antiquity or Byzantium. The rise of illustrated secular works under Islam occur in the late 12th and 13th centuries. Kalila wa Dimna were the examples of these works that illustrate the appearance of an immensely rich merchant class in the Near East with means and pretensions to ape the rulers. Meanwhile, the Persian paintings were mostly about the pride of the kings and rulers. There were also religious Persian paintings which represent the Persian interpretations of Islam.

Between 1218 and 1220, the Mongols under Jenghis Khan swept into Western Asia. Though their invasion was neither as complete nor as immediate as is often believed, by the late 13th century Mongol states ruled all the way from Mesopotamia to China. In the field of painting the Mongol invasions had important consequences. In Mamluk Syria and Egypt, the Mesopotamian tradition of manuscript illustration was concentrated.

In Anatolia, Mongol over lordship after 1243 stifled architectural and artistic patronage. Most of the states in Anatolia and Central Asia were not fruitful in terms of manuscripts during that time, therefore it was Iran and Mesopotamia that major artistic developments occurred, on a scale which far surpassed anything of earlier centuries. The schools of Tabriz and Shiraz are presented in this page. Most of the depicted illustrations are from Shah-nama's (book of kings) of different rulers and important personalities including Zal, Simurgh, Iskandar, Isfandiyar, Munichir and Bahram Gur.

The Muzaffarid era which ruled and dominated the Shiraz art was brought to an end by Tamerlane (Timur). Timur had established himself at Samarkand in 1370 and for the next 35 years campaigned all over Asia, Iran, Mesopotamia, Syria, North India and Anatolia (after the Ottomans were defeated at the battle of Ankara in 1402). The effects of Timur (Timur was a Turk) were different than the Mongolian invasion effect in terms of art, economics and social systems. The paintings can be categorized as secular art. Paintings from Kalila wa Dimna and Khamsa are depicted in this page as well as some illustrations showing various entertainments.

The Chinese dynasties had a dominant effect on Mongol and East Turkestan painting. The effect was brought to Western Asia by Mongols and Persians. During the time of Timur, the relations between Turcomans and the Ming Court were concrete. Under Shah Rukh relations with China became more cordial, however the Ming returned to neo Confucian practice and the traditional tributary relations and the gift exchange with the hope of making a good Muslim out of Ming stopped.

In any case, the overland trade between China and Central Asia stayed steady. The effects of the Chinese and Central Asian artistic style became dominant in early 1400s. The miniatures depicted in this page are attributed to Mehmed Siyah Qalem and other Siyah Qalem school painters.

The Uzbek occupation of Herat in 1506-7 under Muhammad Shaybani inaugurated a period of instability in Khurasan. Herat did not, however, lose its pre-eminence in the arts of the book, but the principal Herati painters gradually dispersed towards Tashkent, Bukhara and Tabriz. Much Bukhara painting of the mid-sixteenth century is in the style of Bihzad school, albeit with simplification of architectural detail, a narrower range of brilliant colours and, ultimately, figure painting lacking in realism and vivacity.

The Safavids occupied Tabriz in 1501 and their leader Ismail had himself crowned Shah of Iran. Their art was inspired by nationalistic sentiments as well as Turcoman painters of the Akkoyunlu studio. The successor of Ismail, Shah Tahmasp worked on a great illuminated Khamsa of Nizami, written by calligrapher Shah Mahmud al-Naysaburi. The other fine manuscript, Shahname, had dispersed after it was presented to the Ottoman Sultan Selim II in 1567. The depicted illustrations are from Khamsa of Nizami.

After the defeat at the Battle of Ankara against Timur, the Ottomans began their expansion in Anatolia by annexation. When the Balkan expansion started, they had already established a strong state in Anatolia. By capturing Constantinople in 1453, Mehmed acquired the sobriquet of "the Conqueror". There followed the subjection of Genoese colonies on the Black Sea, and the capture of Tirebizond; the invasion of the Morea, northern Albania and Bosnia.

Central to Mehmed's view of the Ottoman state was the conviction that by the conquest of Constantinople the Ottomans had made themselves the heirs of Byzantium and of the Caesars. In this way, his attitude towards European art and literature was influenced. In this page, the portraits of Mehmed and pictures from early Ottoman translations of Persian fables are depicted.

The conquest of Yavuz Sultan Selim I had brought to the Ottomans the tradition of the Abbasid Caliphate, and their status had suddenly grown to that of a world power. Under Süleyman the Magnificent, the expansion was even faster and the Ottoman empire more or less became the world power. The long term age was a fruitful period in terms of arts.

Many artists from Central Asia, Balkans, North Africa and Mesopotamia were gathered in Istanbul, and so were their schools. Many paintings, scripts and topographical prints were produced at that time. The illustrations in this page are depicted from Süleymanname, Hünername, Sahansahname, Surname and other individual scripts of heroic deeds of Sultans.

The Ottoman studio not only dealt with the splendors of everyday life and glories of the blood and State, self-satisfiedly accepting their position as the pivot on which the destinies of Europe and Asia turned, but with Koran illuminations, prayer books, mystical works and poems, history, law, theology, education and mosques as well. The works of Nakkaş Osman and other Siyer-i Nebi illustrations are presented here.

The western artistic effects were influential on the Ottoman artistic style after the seventeenth century, until which the incessant wars and military campaigns together with the religious effects were the main elements of art. The change in taste or fashion was towards more intimate figure studies and scenes from daily life. Surname's of Sultan's show many scenes from festivities. There are other individual scientific and artistic paintings which reflect western styles of idea and art.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

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E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

TOPKAPI PALACE MUSEUM / PAINTINGS COLLECTION

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'48.2"N 28°59'03.5"E / 41.013389, 28.984314

Third Courtyard

DORMITORY OF THE ROYAL PAGES



PHOTOGRAPHS ALBUM

Hasoda which was built as the sultans’ private department in Fatih Sultan Mehmed period, is double - storied and has four places. The place in entrance was named Şadırvanlı Sofa due to the marble fountain under Kubbe Altı. The other two parts of the four places was designed as two rooms with dome which are connected to one another and the hall by the doors. The domed chamber is supported by pillars, some of Byzantine origin since a cross is engraved on one of them.

The Dormitory of the Royal Pages (Hasoda Koğuşu) houses the Imperial Portraits Collection (Padişah Portreleri Sergi Salonu) is located in the, which were part of the Sultan's chambers. The painted portraits depict all the Ottoman sultans and some rare photographs of the later ones, the latter being kept in glass cases. The room is air-conditioned and the temperature regulated and monitored to protect the paintings.

Since the sultans rarely showed themselves in public and in order to respect Islamic sensitivities surrounding the artistic depictions of humans, the earlier portraits of them are actually only an idealisation, they do not reflect the reality. Only starting with the rule of the moderniser Sultan Mahmud II and his modern reforms were realistic portraits of the rulers made. An interesting feature is a large painted family tree of the Ottoman rulers.

Adjacent to the north of the Imperial Treasury lays the pages dormitory, which has been turned into the Miniature and Portrait Gallery. On the lower floor is a collection of important calligraphies and miniatures. In the displays, one can see old and very precious Qur'ans (12th to 17th centuries), hand-painted and hand-written in Kufic, and also a Bible from the 4th century, written in Arabic.

The room is air-conditioned and the temperature regulated and monitored to protect the paintings. Since the sultans rarely appeared in public, and to respect Islamic sensitivity to artistic depictions of people, the earlier portraits are idealisations. Only since the reforms of the moderniser Sultan Mahmud II have realistic portraits of the rulers been made. An interesting feature is a large painted family tree of the Ottoman rulers.

After the second half of the 18th century, the miniature technique lost favor in the Ottoman court, and was eventua1Iy superceded by European artistic techniques.There are a total of 37 portraits of the Ottoman Sultans in the Palace, executed by Western and local artists in European portrait style. Some of these portraits have remained in the Palace since their execution, while others were acquired later by purchase. The artists are only known in relatively few cases.

Portraits of the Ottoman sultans comprise a part of the painting collection of the Topkapı Palace Museum. This collection is extremely valuable owing to its portraits of the sultans, containing a variety of portraits of the 36 different ruling sultans beginning with the foundation of the Ottoman state in 1299. These portraits are done in many different styles, among them engravings, oil paintings, watercolors, and paintings on ivory.

No Ottoman sultan commissioned a portrait prior to Sultan Mehmed II (r. 1441–46, 1451–81); for this reason, portraits of the six sultans who ruled before this time were done either according to descriptions of the sultans found in historical texts, or were entirely imagined. Most of the sultans who assumed the throne after Sultan Mehmed II commissioned portraits of themselves.

Those portraits done according to the style of the miniatures tradition by artists working in the miniatures workshop of the organization of palace craftsmen (ehl-i hıref)—an organization of which all palace craftsmen were members—reflect the physical characteristics of each sultan in a highly realistic manner. The most important factor in this realism was the fact that the artists who did these portraits—most of which were commissioned by the sultans themselves—had the opportunity to see the sultan up close and personal.

Apart from Ottoman artists, there are also numerous sultans’ portraits done by European painters; these Western painters would do their portraits based either on miniatures or early engravings, or on their own imaginations, depicting the sultans in a manner suitable to the European image of the Ottomans.

There were, however, some painters who came as part of the retinue of travelers or ambassadors to the Ottoman lands, and these painters had the opportunity to see the sultans at close range—whether during the ceremony of paying the trimonthly stipend to the sultan’s household soldiers, the Friday service, or various other ceremonies such as holiday festivities—which allowed them to paint more realistic portraits of the sultans.

The portrait of Sultan Mehmet II was painted by the Italian painter G. Bellini in the 15th century, and is in the National Gallery of London. The portrait on display is a copy made by the palace painter Zonaro in the early 1900's. The portrait of Sultan Murat IV is attributed to the Russian court painter Aiwazowski (19th century), while the portrait of Sultan Abdülaziz (19th century) is attributed to the Polish painter Chalabovsky.

Moreover there are many more portraits of other Sultans to see including one of Sultan Selim III by Constantin Kapıdağlı. The same artist produced a series of sultan portraits on royal request, of which those of Sultan Süleyman II, Ahmet II, and Mustafa II. Sultan Mehmet V (Reşat) was portrayed by an Austrian artist, the Viennese painter w. Krausz, while the last sultan, Sultan Vahdettin, is represented in a portrait copied from a miniature ivory by the local artist Yaşar Çallı. The other paintings in the collection are anonymous.

A priceless item of this collection is the first world map by the Turkish admiral Piri Reis (1513). The map shows parts of the western coasts of Europe and North Africa with reasonable accuracy, and the coast of Brazil is also easily recognizable.

The upper part of the gallery contains 37 portraits of different sultans, most of which are copies since the original paintings are too delicate to be publicly shown. The portrait of Sultan Mehmed II was painted by the Venetian painter Gentile Bellini. Other precious Ottoman miniature paintings that are either kept in this gallery, the palace library or in other parts are the Hünername, Sahansahname, the Sarayı Albums, Siyer-ı Nebi, Surname-ı Hümayun, Surname-ı Vehbi, and the Süleymanname among many others.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

TOPKAPI PALACE MUSEUM / HOLLY BANNER

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'49.0"N 28°59'04.3"E / 41.013617, 28.984535

Third Courtyard



PHOTOGRAPHS ALBUM

The second most important relic was the Holy Banner, also known as the Sacred Standard of the Prophet (Sancağ-ı Şerif, literally the Noble Banner). It is said to the banner of the Prophet Muhammad himself or at least originates from his time. The origins of how the Ottomans acquired it remain subject to dispute. The banner was first used in a battle against the Austrian Habsburgs in 1593 and again for a war in Hungary in 1594. The banner came into Topkapı by 1595. After Sultan Mehmed III took the banner and won the Siege of Eger in 1596, the banner became a victory symbol for the Ottoman forces.

The banner was sometimes carried to battles to encourage the troops and ensure victory. It would be taken out from its box by the sultan and affixed to a staff. He would carry it from the Chamber of the Holy Relics to the Throne Room while officials called out “Allah Akbar!” (God is great). After this, the banner was carried from the Throne Room to the Gate of Felicity and placed there. As sultans went less to battle and left it to their grand viziers, the grand vizier would receive the banner from the sultan in a ceremony in the Throne Room.

While grand vizier and the şeyhülislam stood in attendance, the sultan would kiss the Holy Banner and entrust it to his grand vizier with the words: "I entrust the Sacred Standard to you and you to God. May He be your helper!". After a battle, the banner would be returned the same way with the sultan carrying it back to the chamber and putting it into its box, while Koranic chants were read aloud and incense burned. The banner was also taken out when mutinies by Janissaries erupted in 1651 and the last time in 1826, to help qualm the situation.

This section of the palace is filled with the relics of the Prophet Mohammed brought here by Yavuz Sultan Selim I, upon the conquest of Egypt in 1517. The complex consist of a group of domed rooms. The walls of the double domed entry room are decorated with 16th century Iznik tiles. In addition to the tiles, the wood work of the doors and the display windows, and the central wishing pool give the area a special charm. This section’s central case exhibits the Prophet’s bamboo bow, and swords of the first four Caliphs and other religious leaders.

Directly opposite is the Door of Forgiveness brought to Istanbul by Murad III, during the reconstruction of the Kaaba in the courtyard of the Great Mosque in Mecca. Quotations from the Prophet, framed in gold attract the attention of the visitor. From here we enter to the left room. The dome of the room is in electric style, and the walls are decorated in 16th century tiles and further quotations of the Prophet. In the central case is what is reputed to be the oldest existing Koran, written on deer skin, and several cases in which have been kept the mantle of the prophet.

In addition, several locks from the entrance to the Kaaba are displayed. The golden cover displayed was once the cover of the Hacer-ül Esved stone, the black stone which "fell from heaven" within the Kaaba. Hanging from the ceiling are rain gutters belonging as well to the Kaaba.

As we leave this room, on the right we enter the first room. It is domed, tiled, and decorated with quotations from the Koran. In the central display case the personal holy effects of the Prophet Mohammed are exhibited. These effects include a letter in a gold case, soil from his grave, and several hairs from his beard, his footprint and some of his extracted teeth.

Turning to the left, we come upon the most holy section of the museum, the Pavilion of the Holy Mantle. The room is closed in behind wire screening. In its original use, this was the office of the sultans, used for daily affairs, and was converted to its present use with the move of the residence to the Dolmabahçe Palace.

Directly in from of the visitor is a Sterling Silver chest which has been the reposit of the holy effects for centuries, the chest itself a work of the father of the great Turkish traveler of ancient times, Evliya Çelebi. Beneath this, are two chests, one within the other, containing the mantle itself, made in the tile of Abdülaziz. Along side this are two swords belonging to the Prophet decorated in precious stones. Also in the room is the holy Standard of Mohammed, taken into battle on each occasion when the Ottoman armies took out on campaigns. After so much use, it is now kept, thread-bare, in a chest.

From here, passing through a door, we reach an open terrace surrounding a reflecting pool, alongside which stand the Revan Pavilion and the Baghdad Pavilion, both of which carry a distinctly Eastern Islamic architectural influence reflecting their having been built to celebrate the conquests of Persia (Revan) and Iraq (Baghdad).

Chests containing the Holy Mantle of Prophet Muhammad and the banner (Sancak-ı Şerif)
The gold chest containing the Holy Mantle
Swords belonging to the Prophet Muhammad
Letter of the Prophet Muhammad (Name-i Saadet)
Some hairs from the beard of the Prophet Muhammad (Lihye-i Saadet)
Casket containing the soil, from the tomb of the Prophet Muhammad
Reliquary containing the tooth of Prophet Muhammad (Dendan-i Saadet)
Lock of Kaaba
Casket containing soil from Kaaba
The footprint of the Prophet Muhammad

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.