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Copyright of Kadim is the property of Kadim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Vernacular architecture of 19th-century Macedonia have undergone significant transformations, primarily influenced by Ottoman architectural systems. In this context, "vernacular houses" refer to traditional dwellings built by local communities using indigenous materials and construction techniques. This study examines how Ottoman spatial configurations and decorative elements have been incorporated into Macedonian architecture during this period, illustrating the complex interplay between external influences and local adaptations. By examining these changes, the research reveals the evolving architectural identity of Macedonia in the 19th century. The research employs various qualitative methods, including a comprehensive review of historical texts and scholarly literature related to Macedonian vernacular architecture. In addition, field surveys, photographic documentation and interviews with local experts and residents have been conducted to observe and record architectural changes. The study concludes that 19th-century Macedonian vernacular houses have experienced significant alterations due to the incorporation of Ottoman architectural principles. These changes have been evident in the spatial organization, decorative motifs, and construction methods, which have been drawn from Ottoman traditions while preserving the distinctive characteristics of the region's vernacular architecture. This adaptive process underscores the dynamic nature of Macedonian architecture, which has evolved through a blend of local and external architectural elements. [ABSTRACT FROM AUTHOR]

This research paper examines the transition of urban spaces and architectural changes in Elbasan, Albania, from Ottoman influence to modernity. By analyzing urban development and architectural styles from both the Ottoman and contemporary periods, the paper aims to provide a comparative perspective on the architectural language between these two periods. The study explores the alterations in characteristics of city urbanism and architecture in Ottoman and post-Ottoman times, spanning from the early 19th century to the present day. It also examines the implications of these changes for urban spaces and cultural identity. Through case studies and comparative analysis, the paper highlights the dynamic evolution of Elbasan’s architectural landscape and provides insights into its future development. The data was collected using a multi-faceted methodology, including archival drawings, scholarly works, maps, field visits, and observations. The results reveal significant variability in the urban and architectural patterns of the city. The differences between 18th- 19th- century Elbasan and that of the 20th and 21st centuries are profound and distinct. However, the central area of the city, which remains the most historic part due to the survival of structures such as the castle, the clock tower, old bathhouses, and the king’s mosque, still retains traces of the Ottoman city. Keywords: Urban Transition, Ottoman Architecture, Modernity, Elbasan, Cultural Identity, Urban Development

This research paper examines the transition of urban spaces and architectural changes in Elbasan, Albania, from Ottoman influence to modernity. By analyzing urban development and architectural styles from both the Ottoman and contemporary periods, the paper aims to provide a comparative perspective on the architectural language between these two periods. The study explores the alterations in characteristics of city urbanism and architecture in Ottoman and post-Ottoman times, spanning from the early 19th century to the present day. It also examines the implications of these changes for urban spaces and cultural identity. Through case studies and comparative analysis, the paper highlights the dynamic evolution of Elbasan's architectural landscape and provides insights into its future development. The data was collected using a multi-faceted methodology, including archival drawings, scholarly works, maps, field visits, and observations. The results reveal significant variability in the urban and architectural patterns of the city. The differences between 18th-19th-century Elbasan and that of the 20th and 21st centuries are profound and distinct. However, the central area of the city, which remains the most historic part due to the survival of structures such as the castle, the clock tower, old bathhouses, and the king's mosque, still retains traces of the Ottoman city. [ABSTRACT FROM AUTHOR]

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Kemaliye Village, which is connected to Keles District of Bursa province, is located 11 km. south of the district center. Even in the oldest Ottoman chronicles, it is known that the inhabitants of the village mentioned were from Kızılkeçili nomads. The name of the village, which was known as Kızılkise until the Republican period, was changed to Kemaliye in 1922. There are ruined architectural remains from the Byzantine period in the village. The mosque in the center of the village XIX. it was built in the last quarter of the century and decorated within the framework of the art style of the period. The mosque and its decoration were last repaired by Bursa Metropolitan Municipality in 2010. There is also a mention of the existence of a dervish lodge in the village, which was told by the elderly and there is no certainty about when it was destroyed. The sanjak-ı şerîf and the beard-i şerîf, which are said to belong to the lodge, are preserved in the mosque. The mosque, which was built as a masonry and wooden skeleton system, consists of a narthex and a main aisle. The hand-drawn ornaments and woodwork that adorn the interior walls of the mosque are important in terms of bringing the artistic understanding of the period it was made to the present. [ABSTRACT FROM AUTHOR]

Copyright of Selçuk University Journal of Faculty of Letters is the property of Selcuk Universitesi Edebiyat Fakultesi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mimarbaşı Lole, one of the most significant figures in Mardin's historical heritage, played an active role in the construction and repair of many major monuments between the 19th and early 20th centuries. The study aims to provide a detailed documentation of the buildings of a craftsman who has taken a place in the historical heritage of Mardin. A four-stage method was used to identify the built or repaired buildings and to reveal his construction practice. First, the monuments associated with him were determined in line with the data obtained from the literature. Second, a map was prepared to determine the relationship between these monuments and their surroundings in the city. Third, they were categorized and presented in a table according to their features. In the last, the monuments and their qualities were analyzed in a sequential approach and also evaluations on how the construction practice evolved over time were included. It was observed that Lole had an active role, including mansions, churches, educational and administrative buildings in different areas of the city. It was concluded that a specific architectural and cultural formation already exists in the region, and that the construction by Lole is not an exception to this formation. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Historical sources often do not extensively feature architects, builders, and construction workers. In particular, written texts that focus on a structure itself and the patron who commissioned it either make no mention of the builder at all or content themselves with referring to these builders with generic professional titles such as architect, master, or apprentice. Architects’ names are rarely mentioned, and even for legendary and productive architects such as Mimar Sinan, information is quite limited. In fact, Sinan stated that he had dictated his autobiographies over time to ensure he would not be forgotten. Meanwhile, oral tradition revolves around architects’ and construction builders’ daily lives, achievements, and professional challenges, even their relationships with religious-mythological elements, which are aspects often overlooked in historical sources. Fictional narratives passed down through oral tradition often draw from real events rarely reflected in written sources, deriving stories from both well-known architects and anonymous builders, characterizing a semi-fictional architect or master. In a way, oral tradition, where the structures themselves and even the narratives serve as direct sources, complements the gaps in the history of architects and builders that do not appear in historical sources. This text focuses on compiling, classifying, and researching origins through written sources, as well as comparing the narratives of architects, craftsmen, and builders that are reflected in the oral tradition within Turkish culture and that are primarily shaped around 14 different motifs. The study aims to draw a fictionalized portrait of the history of Turkish architecture. [ABSTRACT FROM AUTHOR]

The beginning of the 18th century is known as the "Westernization Period" in Ottoman architecture. It was in this period that Western-born architectural movements found their way into the Ottoman Empire. This was also a time in which new types of structures emerged in Ottoman architecture as the Western influence continued to permeate both religious and civil architecture. This impact also affected the Ottoman culture of housing, leading to important changes in residential structures. The new cultural elements arriving from the West began to be apparent in the plans, facades, interiors, and decorative components of the homes of the affluent, most of which were built by Western architects. This was a time in which lifestyles were changing, and especially in the capital of Istanbul, a rich assortment of residential architecture was expressed in styles that included the Neo-Baroque, Neo-Gothic, Orientalism, Art Nouveau, Eclecticism, Swiss Châlet, and Late Victorian. One of the new types of structures that appeared in this period was the summerhouse. While these houses belonged to the wealthy Ottoman elite and reflected the traditional Ottoman residential fabric in their plans and styles, a large number carried the architectural characteristics of the summerhouses and mansions of the West. The aim of this article is to describe an authentic example of the group of wooden summerhouses that were outstanding products of Ottoman residential architecture in the 19th century, at a time when the Empire's cultural norms were turning toward the West. The characteristics of the plans of these buildings, the configuration of their facades and decorative elements will be presented, as will other information on the wooden summerhouses of the period. [ABSTRACT FROM AUTHOR]

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Academic Social Science Studies is the property of Journal of Academic Social Science Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Ottoman architectural change, which occurred between the Tulip Era and the Tanzimat period (1718–1839) and was shaped by both conventional and novel styles attempting to follow Western influence, reflects the country's shifting political and cultural landscape. The change in the Ottomans’ perception of social and intellectual taste caused the architectural understanding to move away from the classical building styles. Although the Ottomans tried to train their own architects to implement the new building styles, attempts to meet the current need were made by foreign architects who received architectural education in Europe. The main figures of the new process, in which other foreign architects also took part, are the Fossati brothers. For the first time in the Ottoman Empire, after the Tanzimat, a team of foreign architects had the opportunity to undertake uninterrupted and successful works, leading to the subsequent employment of other foreign architects. This tradition, which started with the Fossati brothers in the Ottoman Empire, continued for about a century until the 1930s. In the study, an explanation of both the contributions of the Fossati brothers to the history of Ottoman architecture and the reason why they were the first representatives of a new era is proposed. In this regard, the history of the Ottoman architecture, deviating from the classical understanding and turning to a Western style, will be briefly mentioned. In addition, the buildings they constructed in Istanbul will be surveyed and their contribution to the architectural face of the city will be expressed.

Iconographic materials and written evidence are the main source for studying the architectonics of the building of the XVI century, lost in 1833–1834. Their substantive consideration allows us to remove some delusions that are common in scientific circulation and to get important conclusions: supporting arches were not used in the construction of the main dome; the courtyard of the mosque had a roof; images of minarets in the drawing by Ch. G. Geisler, belonging to two different buildings, are combined – Mufti Jami (left) and Biyuk Jami (right). It was also established that the hammam first appeared on the market square, after it the construction of the mosque was started. This is indicated by the broken configuration of the side wall of the Biyuk Jami outer haram from the side of the bath-house, which was formed as a result of the forced fitting of buildings. The doming of the central part of the mosque prayer hall had an original volumetric composition and a well thought-out design, which could well have belonged to the hand of the capital's master, who supervised the construction work at the Crimean structures of Mimar Sinan.

Copyright of Codrul Cosminului is the property of Codrul Cosminului and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Mosque of Şehzade Mehmet had been built between 1543 and 1548 at an important location within the Historical Peninsula of Istanbul. The complex within which the mosque is built was located on the road which lies between the Aqueduct of Valens (Bozdoğan) and the Fatih Complex. This area constituted the city center and had an impact over the silhouette of the city in the sixteenth century as it does today. The mosque was located at the center of the complex. The Mosque of Şehzade Mehmet was the first sultans mosque designed and built by Mimar Sinan. Even though Sinan himself considers the mosque as his apprenticeship work, researchers disagree. They instead identify the mosque as Sinan’s mastership work. There is a plethora of research on the works of Mimar Sinan. In some of these, the existence of modular and/or proportional architecture is discussed. These researches have been conducted within the context of approaches which accept either Western proportion systems, traditional measurement systems, or dome unit as the module. In this article too, the Mosque of Şehzade Mehmet will be analytically studied in order to find out which modular system inspired the design. However, what differs this study from other works is the existence of an extensive survey which is conducted through the use of modern technology. Thus, through this survey, the topic is thoroughly studied with an approach which takes the dome unit as the module. The results are presented by various technical drawings.

In press coverage of the 1927 earthquake in Palestine, frequent mention is made of the deaths of three women at the Winter Palace Hotel in Jericho. That the three were from British-occupied India apparently rendered them unusual enough to be noted by a journalist, whose observation was reproduced around the world. This article draws on newspapers, official documents, and secondary literature on the hajj, tourism, and the British Empire to consider the history of South Asian travelers to Palestine and relationships between colonialism and travel in the interwar period. One of the three women was Lady Abdul Rauf, the wife of a retired high court judge and veteran Indian Muslim nationalist campaigner, Sir Syed Abdul Rauf. The couple had departed Bombay in April 1927 for the hajj to Mecca and Medina but extended their trip to include Jericho. This was not unusual; the Indian Hospice in the Old City of Jerusalem in fact attests to a long history of Indian visitors to Palestine. This paper, however, locates the illfated presence of Lady Abdul Rauf and her companions in the changing nature of Indian travel in the region, as religious pilgrimage to Jerusalem combined with politics and tourism, and as changing infrastructures of capitalism and colonialism shifted how Indian visitors experienced Palestine. [ABSTRACT FROM AUTHOR]

This article looks at Ashkenazi-operated hotels in Tiberias, Beirut, Jerusalem, Jaffa, Cairo, Alexandria, and elsewhere, in the late Ottoman period and under British rule, to consider the confusing ambiguities that these stories reveal. Ashkenazi presence in Palestine is typically understood in terms of either the pious, zealot pilgrims, or the nationalist settlers. And yet the story of the hotel owners and operators could also fit into a different category, that of migrants, who sought to integrate within existing social, economic, and political structures. The tourism and hospitality industry, which relied on flows of people across borders and on a diverse customer-base, was to some degree at odds with the segregation associated with Zionist Yishuv. Such stories, which have been forgotten and erased by the history of Palestine in the twentieth century, prompt us to rethink our understanding of Ashkenazi history in the region. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Academic Studies of Turkish-Islamic Civilization / Türk Islam Medeniyeti Akademik Arastirmalar Dergisi (Timad) is the property of Necmettin Erbakan University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper deals with Muslim places of worship and their evolution during the 164 years of Ottoman rule in Timișoara (1552–1716). The analysis was carried out on the basis of written historical documentation and archaeological results. It is about religious structures such as mosques (câmii) and other places of worship (mescid), but also about monastic centres of dervishes (tekke, zâviye and türbe). The archaeological research that took place in the last decade in Timișoara offered the chance to bring to light the foundations of three mosques: Ali Bey, Cimcime and Sultan Süleyman. The results of these researches are valuable, especially since no building in Timișoara dating from the Ottoman Period has survived. From an archaeological point of view, it was found that only two of the mosques share similar characteristics. Although at all three of them wooden posts were found at the bottom of the foundation ditch, beaten into the ground, the differences were in the techniques of the foundation construction. At two of the foundation walls, was discovered a reinforcement of wooden beams, fixed with iron nails, over which a mixture of mortar with stone and broken brick was placed. At the third foundation wall, a similar mixture was framed by a row of bricks laid on the edge of the foundation ditch. Moreover, two of the mosques were built according to a rectangular plan, and in the third plan the north side was closed with an apse. Archaeological research also indicated a possible minaret, mihrab , but also parts of the floor of one of the mosques. [ABSTRACT FROM AUTHOR]

Veli Pasha Mosque, located outside the walls of Réthymnon, Crete, Greece, was built around 1651 as the focal point of a Kadiri dervish convent, almost immediately after the capture of the town in 1646 by the Ottomans. It was practically and symbolically inscribed in a network of mosques and pious foundations that functioned as prime signifiers of the urban Ottomanization of the town. The survey and analysis of the building, which belongs to the multi-cell type, detected the use of a 22 × 24 grid, with a 1 × 1 ell module. It is highly possible that the 734 mm value of the Ottoman ell was employed in the design of the mosque, which despite its modest scale retains a remarkable structural, typological, proportional and decorative clarity. [ABSTRACT FROM AUTHOR]

The conceptualization of Western architecture became a prominent force in Ottoman architecture with the advent of the period of westernization that started at the beginning of the eighteenth century during the Tulip Era [1718-17301 The most Important cultural dynamic that changed the course of Ottoman architecture was the Imported architectural styles that originated In Europe. Welcoming the western influence became a state policy that persevered throughout the nineteenth century. In this century, the western-based architectural perspective of the Armenian-Ottoman Balyan Family came to the forefront. The Balyan Family of architects created an original architectural language by blending the elements of western and traditional architecture, justifiably Imprinting their stamp on the Ottoman architecture of the nineteenth century. While predominantly producing civil and official buildings, the Balyan Family's mosques also stood out In this period with their new design features. This article seeks to present and analyze the arrangements and elements of the facades of eight mosques built by the Balyan Family In the 19th century, namely the Büyük Mecldiye Mosque, Kügük Mecldiye Mosque, Dolmabahçe Mosque, Nusretlye Mosque, Yildiz Hamldiye Mosque, Pertevnlyal Valide Sultan Mosque, Te vlkiye Mosque, and Sadabad Mosque. [ABSTRACT FROM AUTHOR]

Islamic religion spreading was influenced by the different local traditions among which Sufism, a religious mysticism (tasavvuf) organized under the institutions of tariqa emerged. This was followed by the emergence of as a place where divisions (orders) members were gathered known under names of tekke, zaviye, hankâh, ribat and a dervish lodge. This study elaborates several tekkes established by the Ottomans in the Balkans. Building style of the tekkes varied according to the procedures as well as manners of the order. Tekkes, which have a simple appearance, generally consist of a mosque, semahane, cellar, kitchen, cells, çilehane, selâmlık and harem. However, most of the buildings within the tekke are constructed over a large span of time. The aim of this study is to better understand the spatial setup of this organizational structure, which directly contributed to the conquest in the Balkans through the janissary corps and to the futuwwa (a set of religious and moral vocational norms) through the ahis (religious and moral vocational chamber). For this purpose, the locations of the tekkes and their architectural features, which were established successively one after the other with the conquests, have been analyzed. In final, the architectural typological of the tekkes is obtained according to the belief tradition, positioning, foundation schemes and special plans of the early period structures set within the tekke.

Introduction: Throughout the years, numerous factors have contributed to the formation of city identity, urban fabric, and architecture. These factors include inspirations from various civilizations and religious influences. Architecture is also determined by such physical constraints as climate, geography, and the availability of specific materials. This article in particular addresses Turkey, a vast country with significant culture, and its architecture shaped by the strong identity of the nation. Methods: The article explores the influence of diverse aspects and intangible factors on Turkish residential and sacral architecture. For that purpose, the history of the Ottoman Empire is analyzed, and the evolution of the Turkish Hayat house is examined, which is the basis of various housing styles in Turkey. Results and discussion: Political will and ambition as well as the glorification of victories in battles were the key elements behind many landmarked mosques. As for the Hayat house, it is closely associated with the lifestyle of the Turks who founded the Ottoman Empire.

A monument constructed in the dynastic beginnings of the Ottoman Empire, the 14th-Century Yeşil Camii (Green Mosque), was one of the first buildings sponsored after the conquest of the Byzantine city Nicaea (İznik). Commissioned by Çandarlı Kara Halil Hayreddin Pasha (1364-1387), the mosque became a landmark of a burgeoning Ottoman government that soon reigned over three continents. With the proclamation of the Republic of Turkey in 1923, the centuries-old Ottoman Empire, with all its institutions, was abolished. The Türk Tarih Tezi (Turkish History Thesis) became the propaganda of the nation-state, denoting a national spirit among Turks in all periods of history. In this historicist reading, the Green Mosque became a beacon signifying the zeitgeist of pure national building forms for the Turks. In the late 1930s, the secular appraisal of this thesis began to wane in favor of a religious-ethnic reading. Imperial monuments with an Islamic past came to befit the locus of Turkish identity. Nevertheless, the ideological transformation of the Green Mosque transcended any objectifying vision. The nationalist lens shifted, emphasizing Muslim-Turks over the Turkish race and iterating a formal revelation of the Green Mosque that has perpetuated the long-standing understanding of the building. This essay presents the Green Mosque in view of the texts written by prominent architects and historians, against the backdrop of crossing boundaries between architectural historiography and nationhood of space, from early beginnings to late 1980s.

this paper proposes that early modern Ottoman intellectuals familiar with a medieval cosmographic theory of wonder formed a large emotional community whose members valued and practiced this emotion towards imperial Ottoman mosques. To achieve this objective, I draw upon a variety of sources from the early modern period, including chronicles, treatises on architecture, and travelogues, created by individuals who belonged to this emotional community. Sources such as these contain words, symbols, and gestures, that aided the whole group in recognizing this desirable emotion in the context of imperial architecture. Through their writing, these individuals sought to instill cosmographic wonder among their readers, while at the same time conveying the message that imperial mosques represent the creation of God. Such a narrative was employed by the Ottomans as long as cosmographies were in demand. From the beginning of the seventeenth century, when updated studies on geography gradually replaced cosmographies, there were those within this emotional community who underwent an epistemological change. From this point on, wonder at Ottoman architecture was generated by different stimuli which were not necessarily related to the cosmographic theory of wonder. [ABSTRACT FROM AUTHOR]

Copyright of GRID - Architecture, Planning & Design Journal is the property of GRID - Architecture, Planning & Design Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A monument constructed in the dynastic beginnings of the Ottoman Empire, the 14th-century Yeşil Camii (Green Mosque) was one of the first buildings sponsored after the conquest of the Byzantine city Nicaea (İznik). Commissioned by C, andarlı Kara Halil Hayreddin Pasha (1364-1387), the mosque became a landmark of a burgeoning Ottoman government that soon reigned over three continents. With the proclamation of the Republic of Turkey in 1923, the centuries-old Ottoman Empire, with all its institutions, was abolished. The Türk Tarih Tezi (Turkish History Thesis) became the propaganda of the nation-state, denoting a national spirit among Turks in all periods of history. In this historicist reading, the Green Mosque became a beacon signifying the zeitgeist of pure national building forms for the Turks. In the late 1930s, the secular appraisal of this thesis began to wane in favor of a religiousethnic reading. Imperial monuments with an Islamic past came to befit the locus of Turkish identity. Nevertheless, the ideological transformation of the Green Mosque transcended any objectifying vision. The nationalist lens shifted, emphasizing Muslim-Turks over the Turkish race and iterating a formal revelation of the Green Mosque that has perpetuated the long-standing understanding of the building. This essay presents the Green Mosque in view of the texts written by prominent architects and historians, against the backdrop of crossing boundaries between architectural historiography and nationhood of space, from early beginnings to the 1980s. [ABSTRACT FROM AUTHOR]

Copyright of METU Journal of the Faculty of Architecture / Mimarlık Fakültesi Dergisi is the property of METU Journal of the Faculty of Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zbornik radova Fakulteta islamskih nauka u Sarajevu is the property of Zbornik radova Fakulteta islamskih nauka u Sarajevu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Erdem is the property of Ataturk Kultur Merkezi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Fall Reviews 2022

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)