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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.)

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]

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]

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.)

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.)

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 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]

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.

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 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 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 Electronic Turkish Studies is the property of Electronic Turkish 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.)

Architectural narratives on building processes are admittedly rare in premodern histories. Accounts of visitors who observed and reacted to architecture in the making are even more exceptional. Moreover early modern audiences’ perceptions of music and architecture have been rarely explored in relation to building processes and synesthetic experiences. This article presents a critical reading of Caʿfer Efendi’s Risāle-i Miʿmāriyye [Book on Architecture] of 1614 by focusing on its chapter on the Sultan Ahmed mosque (1609–17) in Istanbul. Caʿfer associates sounds in the construction site with Sufi musical practices and the science of music. A conversation with a Sufi at the site reveals how twelve types of marbles, four types of strikes, and seven types of foremen were associated with Ottoman music theory. The article also explores how the shared geometrical foundations of architectural tools and musical instruments were linked to harmonious sounds and forms. This union of spatial, visual, and aural experiences of the mosque in the making produced various forms of knowledge for the visitors. Architecture’s mediating role for sensuous, spiritual, and scientific knowledge further illuminates the relation between theory and practice in Ottoman architecture.

The cult of Saint George, which evolved in the Christian era over an almost 2000 years old tumulus in Edirne, historically known as Adrianople, turned with the Ottoman sovereignty into another cult, which took shape around the Khizr-Elijah belief. This hillock was named the Maqam of Khizr/Hıdırlık due to the belief that Khizr appeared and worshipped on top of it, which later witnessed various miracles with associated motifs. In course of time there emerged many and varied fantastic rumors about the origins of the cult. The rumors circulating from person to person and the historical sources indicate that the intense construction activity of the Ottomans at the Hıdırlık cult centre realized especially in the first part of the 15th century. It is clear that the cult centre, which kept growing in the 16th century, contained various dervish lodges, many mausoleums, annexes and a dense population of Bektashi dervishes. The sources of the period reveal that the Hıdırlık cult centre incurred two subsequent demolition attempts in the 17th century. First demolition occurred following a complaint about the sins committed here in 1642 in the period of Sultan Ibrahim I and the second in 1660s in the period of Sultan Mehmet IV after the decision of a new pavilion construction on top of this spacious and partially idle hillock. On the first and obviously partial demolition, most of the inhabitant dervishes left Hıdırlık and the cult centre lost its old density. On the second demolition, the standing mausoleums and graves were razed and a pavilion with a large garden was built instead, which subsisted until the 19th century. After the construction of the pavilion in Hıdırlık there were only one dervish lodge and two mausoleums left standing. As the construction of the pavilion put the cult centre under state supervision, the last standing dervish lodge in the centre was also demolished in the first half of the 18th century. At the end of the 19th century after the construction of one of the biggest bastions to defense Edirne there was no trace left of the cult centre besides the Hıdır Dede Mausoleum, which was also destroyed in Balkan Wars by the Greek inhabitants of Edirne, causing only the grave of the Hızır Dede to reach to the present day. The destruction of the cult centre was related to the Kadızâdeliler movement, which was utterly against the sufistic approaches and had from the first half of the 17th century onwards many fans in the palace and administrative circles. The Kadızâdeliler movement was a religious movement which requested the demolition of the dervish lodges and the prohibition of grave and mausoleum visits, which led to the destruction of various lodges and mausoleums indeed. One of the fundamental issues, which became a conflict between The Kadızâdeliler movement and the sufis was the nature of Khizr. Whereas the Kadızâdeliler supported the idea that Khizr was dead, sufis believed he was alive. Hıdırlık, which came into existence around the cult of Khizr, was a settlement which was totally against the ideas of the Kadızâdeliler both theorically in terms of the belief that Khizr is not dead and also practically in terms of dervish lodge rituals and mausoleum visits. The reason of the demolition attempts occurred in Hıdırlık in the 17th century and led in time to the utter destruction of the cult centre, was obviously the preaches and pressures of the Kadızâdeliler. This paper aims a historical analysis about the embodiment of Hıdırlık as one of the four holy places in Edirne, where it is believed that the prayers are answered and the gradual annihilation of it. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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 Ottoman Legacy Studies (OMAD) / Osmanlı Mirası Araştırmaları Dergisi is the property of Journal of Ottoman Legacy 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.)

This paper focuses on the study the education system of the ottoman medrese considering mainly the waqfiyehs and the extant ottoman medreses –either partially or entirely– in Greece. Waqfiyehs of the educational institutions in Greece provide a wealth of information concerning the scholastic system, staff, students, salaries, duties, and process of working of these institutes, and in sometimes a brief data regarding their architectural shape. This study proposes new publishing of early 15th century Ottoman waqfiyehs. These waqfiyehs were written in Arabic; and gives aAnalysing the data in these waqf documents in addition to an important layout about the ottoman society then. Among these waqfiyehs are those of Haci Omar Bey Turhan in Trikala, Mehmed Bey bin Yaqob in Veroia, Faeiq Pasha in Arta. Also, this paper analyses the content of two later Ottoman waqfiyehs: the one of Veli Pasha in Ioannina and Mehmed Ali Pasha in Kavala. The latter was issued in Egypt. This paper deciphers some existing foundation inscriptions of the extant ottoman medreses in Greece for first time. Among which are the foundation inscriptions of Osman Efendi medrese in Athens and Haci Mehmed Bey in Mytilene. These waqfiyehs, foundation inscriptions and the extant ottoman structures picture the life of the ottoman medrese in Greece from many aspects. There are ten extant structures of the traditional ottoman medrese in Greece. This paper publishes these buildings in terms of the history of architecture along with the linked archival material, drawings, and inscriptions. The paper concludes with a recommendation emphasizes the necessity of preserving and maintenance these extant distinctive architectural models, and to invest these buildings in tourism with a civilizational suitable reuse.

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 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.)

Architectural narratives on building processes are admittedly rare in premodern histories. Accounts of visitors who observed and reacted to architecture in the making are even more exceptional. Moreover early modern audiences' perceptions of music and architecture have been rarely explored in relation to building processes and synesthetic experiences. This article presents a critical reading of Ca' fer Efendi' s Risaāle-i Mi'maāriyye [Book on Architecture] of 1614 by focusing on its chapter about the Sultan Ahmed mosque (1609-17) in Istanbul. Ca' fer associates sounds in the construction site with Sufi musical practices and the science of music. A conversation with a Sufi at the site reveals how twelve types of marbles, four types of strikes, and seven types of foremen were associated with Ottoman music theory. The article also explores how the shared geometrical foundations of architectural tools and musical instruments were linked to harmonious sounds and forms. This union of spatial, visual, and aural experiences of the mosque in the making produced various forms of knowledge for visitors. Architecture's mediating role for sensuous, spiritual, and scientific knowledge further illuminates the relationship between theory and practice in Ottoman architecture. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish 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.)

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.)

Despite the fact that during the sixteenth century, the so-called golden age of classical Ottoman architecture, thousands of significant buildings were constructed, the methods of designing in the classical Ottoman period still raises several unanswered questions. The present paper surveys some features of classical Ottoman designs, the types of drawing documents used by the craftsmen, and the operation of the architectural institutions. By outlining the dimensions of a specific group of commemorative buildings, the mausolea or türbes erected in Ottoman Hungary, this article aims at providing historical contributions to the evaluation and construction methods of the remaining examples of this building type in Hungary. For this reason, the dimensions of the Türbe of Gül Baba and the Türbe of Idris Baba, the two Shrines in Hungary that still stand, will be investigated.

Bu makalede, Tunceli ili, Hozat ilçe merkezinde bulunan Osmanlı Dönemi’ne ait mimari eserler ele alınmıştır. Tunceli ili, Arkeoloji ve Sanat Tarihi araştırmaları yönüyle eksik çalışılmış bir yerdir. Bölgedeki çalışmalar, 1970 yıllarında Keban Barajı Kurtarma Kazıları kapsamında yoğunluk kazanmıştır. Sanat Tarihi yönüyle ele alındığında ise özellikle anıtsal mimari ve birkaç ilçe merkezi (Çemişgezek, Pertek ve Mazgirt) ile sınırlı kalmıştır. Çalışmaların belli bir süre sonra kesintiye uğradığı anlaşılmaktadır. Son yıllarda az da olsa konuyla ilgili bilimsel faaliyetlerin yapıldığı söylenebilir. Hozat ilçe merkezinde yapılan çalışmada Osmanlı Dönemi’ne ait 1 cami, 1 hamam, 5 çeşme, 1 köprü, sokak dokusu ve sivil konut örnekleri tespit edilmiştir. Bu makaleyle birlikte, arşiv belgeleri ışığında Hozat ilçe merkezinin Osmanlı Dönemi’ndeki kuruluşu hakkında bilgi verilmiş ve ilçe merkezinde bulunan Osmanlı Dönemi’ne ait tarihi eserlerin ilk defa bilim dünyasına tanıtılması, Sanat Tarihi içerisindeki yeri ve önemi vurgulanmaya çalışılmıştır.

1361 yılında Sultan I. Murad tarafından fethedilen Edirne, İstanbul’un fethine kadar Osmanlı Devleti’ne başkentlik yapmıştır. Başkent olduktan sonra kentin imarına önem verilmiş ve kentte pek çok eser inşa edilmiştir. Bünyesinde barındırdığı şaheserlerle Osmanlı Devleti tarihindeki yerini alan Edirne ve yöresi, anıtsal mimarisi ile dikkat çeken bir yerleşim yeri olmuştur. Bu mimarinin içinde su yapıları ayrı bir yer tutmaktadır. Türklerin temizliğe verdiği önem ve İslam dini hükümleri çerçevesinde kent merkezinde ve çevresinde pek çok su yapısı inşa edilmiştir. Bu yapılar içinde hamamlar kent tarihi ve kent dokusunun gelişmesinde bizlere önemli bilgiler vermektedir.Edirne kentinin güneyinde ve aynı zamanda Çanakkale Boğazı güzergâhında yer alan Keşan, günümüze ulaşan iki önemli hamam yapısıyla dikkat çeker. Bu hamamlardan her ikisi de bugün ilçe merkezindedir. Hamamlardan daha büyük boyutlu olan ve asıl konumuzu oluşturan Eski Hamam, daha önce yazılı belgelerle yayınlanmamış olup ilk kez bu çalışma ile bilim dünyasına tanıtılacaktır.Bu çalışmada Edirne’nin Keşan ilçesinde bulunan ve daha önce arşiv belgelerinde de adına rastlamadığımız bir hamam yapısını malzeme, plan, mimari ve süsleme özellikleri açısından değerlendirerek Türk hamam mimarisi içindeki yerini belirlemeye çalışacağız. Ayrıca yapının tarihlendirilmesine üzerine kısa bir değerlendirme yapılacaktır.

This study aims to investigate three architectural projects proposed for constructing a central prison inside the Yedikule Fortress in Istanbul during the end of the 19th c. Ottoman State assigned the famous architects of the era for this mission such as August Jasmund, Alexandre Vallaury, and Kemaleddin. The narration on the projects shows that there was a strong intention for constructing a central prison in the capital of Ottoman Empire as a sign of success for the overall penalty and prison reform that was one of the main goals for Ottoman Sultan Abdülhamid II (r. 1876-1909). The interpretation of these distinctive projects is significant since this interpretation helps us both to understand the transformation of the criminal justice spaces of the Ottoman Empire and to provide a new perspective for reading 19th c. Ottoman architecture.

Usually, of most studies on the Ottoman architecture in the Balkans are done by comparing between the numbers of buildings then and now. This paper discusses such method with regard to its comparative advantage and maximising its use in understanding Ottoman architecture. With Greece as a case study, the present paper identifies change in the quantity of Ottoman buildings considering the archetypal, functional, chronological, and geographical evidence, in the changing context of the nature of the Ottoman rule over centuries.The scholar provides new statistics presenting the numbers of Ottoman buildings in Greece over centuries, with special reference to three periods: the second half of the 17th century (time of EvliyâÇelebi), the late period of the Ottoman rule in Greece (based on Iyverdi’s statistics, the Ottoman slanames, and Kamûs-ülÂ'lâm of Şemseddin), and the existing architectural heritage in light of the recent publications and fieldworks’ results. Through statistical methods, this research identifies quantitative change of several types of buildings, proper to each region or in Greece as a whole.It observes the growth or decay of the pace of construction on the basis of three main factors: type of building, period, and region. The most significant results come from the comparison between the numbers of the Ottoman buildings in Greece dating to Evliyâ’s time at the end of the 17th century and the last decades of the Ottoman rule.The statistic table and the two charts with function and region indexes clarify to what extent the change in the number of buildings according to their function and region summarises the different phases of the Ottoman rule and the nature of each phase. The paper shows that the change in the numbers of buildings according to their function summarizes the alteration in nature of the Ottoman policy over the centuries, and the numbers of extant buildings strongly relate to the history and site of the corresponding regions. The paper clarifies that the reasons beyond the demolition of ottoman buildings in Greece include both human and natural factors, and concludes with a recommendation of preserving and reuse of extant ottoman structures.

Copyright of Journal of Ottoman Legacy Studies (OMAD) / Osmanlı Mirası Araştırmaları Dergisi is the property of Journal of Ottoman Legacy 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.)

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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 International Social Research is the property of Journal of International Social Research 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 class phenomenon is a social case that exists in every society, despite that all the theories tries to deny it. It is an old phenomenon which refers to the beginning of the life of human beings. Previous researchs refer this phenomenon to a number of factors, such as: econnmical basis, professional basis, lifestyle and cultural prevailing of that time, and according to that, sociologists classified these differences within social classes. They affect the social status, behavior, values and lifestyle of people, as well as their place of residence and design. Accordingly, this paper has been designed to expalin the influence of social classes on the design of residential buildings through a historical and analytical approach that illustrates and confirms the research idea. This research assumes that the social phenomenon has a role in creating differences between the designs of traditional residential buildings. In order to prove this, the Erbil Citadel has been chosen as a model of this practical study, because it has clear divisions that consist of three different regions (Saray, Takiya and Topkhana), these divisions are taken from the class divisions of the Ottoman Empire, because the Citadel was a part of the Ottoman Empire until 1918. The research has been divided into two main sections. In the first section, the theoretical aspects of the study have been identified. The concept of layers and the reasons for their appearance have been examined, as the Erbil Citadel has been studied historically. In the second section, the most important analysis of the impact of social classes on the design of residential buildings heritage in the Erbil Citadel have been examined through the outcomes that are drawn from the first part. Finally, the findings of the study have been discussed and tested.