Friday, June 30, 2017

GREAT PALACE MOSAICS MUSEUM

Sultanahmet, Fatih - İstanbul - Turkey

GPS : 41°00'15.2"N 28°58'38.8"E / 41.004231, 28.977445

Great Palace Mosaic Museum photo mosaic_museum105.jpg

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The Museum of Great Palace Mosaics is located in Arasta Bazaar within the Sultanahmet Mosque compound. The museum constituted in such a way that containing the mosaic pavement partially intact in the northeast section of the arcaded yard of the Great Palace of East-Roman period is an organizational unit of Hagia Sophia Museum.

Mosaics exhibited in the Museum of Great Palace Mosaics which have been dated to AD 450-550 are magnificent in terms of both art and wealth of portrayal scenes. Only a part of 180 m2 of the mosaic area which had been prepared by numerous master artists led by the prominent masters of the day is revealed. The average dimension of mosaic stones is 5 mm and they consist of limestone, earthenware and colored stones.

Portrayals are "Opus vermiculatum" and placed in between marble pieces. As for the white marble sections on the background, "fish scale technique" has been applied. In addition, the surroundings of the portrayals forming the mosaic are bordered by contours.

There are no religious themes in mosaics. Instead, daily life, nature and mythology are examined. Some of these scenes are lizard eating gryphon, elephant and lion fight, lactation of mare, goose herding children, goat milking man, a child feeding his donkey, a young girl carrying a pot, apple eating bears, and fight of hunter and tiger. The Museum of Great Palace Mosaics had been bonded to Archeology Museums of İstanbul in 1953, while it has been is an organizational unit of the directorate of Hagia Sophia Museum.

The Mosaic Museum of Istanbul hosts a collection of archeological discovers at the Great Palace of Constantinople. The mosaics were first  discovered in 1933, during some excavations that took place on a site identified as the floor of a peristyle courtyard of the Great Palace. (under what is now the Arasta Bazaar). Later in the 1950's other mosaics were found and the museum was built near the site.

The museum hosts the mosaics used to decorate the pavement of a peristyle court, dating possibly to the reign of Byzantine emperor Justinian I (r. 527-565). It was uncovered by British archaeologists from the University of St Andrews in Scotland during extensive excavations at the Arasta Bazaar in Sultan Ahmet Square in 1935-1938 and 1951-1954. The museum has informative panels documenting the floor's history, rescue and renovation.

The area formed part of the south-western Great Palace, and the excavations discovered a large peristyle courtyard, with a surface of 1872 m2, entirely decorated with mosaics. It was at this point that the Austrian Academy of Sciences, supervised by Prof. Dr. Werner Jobst, undertook to study and preserve the famous palace mosaic and to carry out additional archeological examinations (1983-1997) within the scope of a cooperative project with the Directorate General of Monuments and Museums in Turkey.

When archaeologists from the University of Ankara and the University of St Andrews (Scotland) excavated around the Arasta Bazaar at the rear of the Blue Mosque in the 1930s and 1950s, they uncovered a stunning mosaic pavement featuring hunting and mythological scenes. Dating from early Byzantine times, it was restored from 1983 to 1997 and is now preserved in this museum. Thought to have been added by Justinian to the Great Palace of Byzantium, the pavement is estimated to have measured from 3500 to 4000 sq m in its original form.

The 250 sq m that is preserved here is the largest discovered remnant - the rest has been destroyed or remains buried underneath the Blue Mosque and surrounding shops and hotels. The pavement is filled with bucolic imagery and has a gorgeous ribbon border with heart-shaped leaves. In the westernmost room is the most colourful and dramatic picture, that of two men in leggings carrying spears and holding off a raging tiger.

This museum is situated just off Sultanahmet Square and houses the mosaics uncovered from the remains of the Great Palace of Constantinople, which was originally built in 328 as a counterpart for the Palatine Palace in Rome and re-done during the reign of Byzantine emperor Justinian I in around 550 (just before the incredible achievement that was the building of the Hagia Sophia). The museum is situated near the palace itself, and the mosaics, which formed the peristyle courtyard, were unearthed beside the Arasta Bazaar in the 1930s and 1950s.

The mosaics are reproduced in the museum in the form that they would have appeared in the courtyard. They are made up of an estimated 80 million tesserae of colored glass, brick, limestone, and semi-precious stone. The pictures depicted on the mosaics are mostly of everyday Byzantine life (hunters spearing a tiger, monkeys catching birds, children herding ducks, and a man milking a goat, among other things).

Most interestingly, there is a scene depicting children playing with a hoop, wearing green and blue colors that are thought to evoke the famous “Greens and Blues” of the racing chariot teams at the Hippodrome. Eastern Roman mosaics dating back a millennium-and-a-half are set to get their first touch-up in almost three decades at the Istanbul Restoration and Conservation Laboratory to give them a more modern look.

“As part of a new project, there are plans for a new display at the [Great Palace Mosaic] Museum. As such, the mosaics should be restored again because the former restoration was carried out with the methods of the 1950s,” said Istanbul Restoration and Conservation Laboratory Director Ali Osman Avşar. The mosaics were unearthed from the ground of the Great Palace in 1932. Hayrullah Cengiz, director of the Hagia Sophia Museum, which is affiliated with the Great Palace Mosaics Museum, said the palace mosaics were the only artifacts that had been unearthed from the area and taken under protection.

“As the years have passed, we see that the museum building has become old. We have prepared a building survey and restoration project for the museum. It has been approved by the relevant institutes. When the project is finished, it will be a better museum than its current situation,” Cengiz said. Every year, nearly 100,000 tourists visit the museum, which was opened in 1987, Cengiz said, noting that the facility would be closed to visits during the restoration process.

Avşar said the mosaics were unearthed during excavations in 1930s and moved to the museum for protection in the 1950s. Later on, in accordance with a protocol signed with the Austrian Sciences Academy, the mosaics were restored, Avşar added.

He said meticulous work was very important in the mosaic restoration. “One of the problems we will have here is that cement mortar was used in the restoration of the mosaics in the 1950s. Today, cement is a material that we don’t want to use because it contains soluble salts that damage tesserae. We will analyze the soluble salts to see if cement mortar damaged the tesserae or not. Then we will decide on the conservation method. But most probably, these salts have gone over the many years. Later on, we will work on aesthetic interventions.”

Avşar said they would also clean the mosaic panels and that the mosaic pieces would be examined one by one after cleaning work, with teams set to reinforce damaged pieces. Avşar said another important stage of the project was documentation. Noting that the purpose of conservation was to protect the artifacts, the laboratory director said: “Conservation neither changes an artifact’s historical identity nor its aesthetics. The museum is home to over 100 mosaic pieces. This is why the conservation work may take 1.5-2 years.”

Biggest landscape portraits that still survive. The mosaics, which date back to 450-550 A.D. and are on display at the Arasta Bazaar in the Sultanahmet Mosque complex, are very important in terms of the richness of their artistic scenes.

The mosaics, which were created by leading masters of the time for the ground of the Great Palace, were unearthed during excavations between 1932 and 1935. The mosaics depict daily life, nature and mythology. The mosaics at the Great Palace Mosaics Museum have 90 different themes depicting 150 human and animal figures. On a field of 250 square meters, the mosaics are believed to be the biggest ones to survive since Late Antiquity.

The Great Palace Mosaics Museum opened in 1953 as a unit affiliated with the Istanbul Archaeology Museum. Since 1979, the museum has operated under the auspices of the Hagia Sophia Museum. As part of a contract between the General Directorate of Monuments and Museums and the Austrian Sciences Academy, restoration and conservation works were also conducted on the mosaics in the 1980s.

In ancient times, the palatial hill from the Sea of Marmara to the Hippodrome. The palatial district extended from Hagia Sophia and the Hippodrome to the cost line, where the sea wall acted as a mighty boundary of great military value. Its basic layout, first determined by Emperor Constantine, soon housed a collection of state buildings with courtvards, throne rooms and auidience rooms, churces and chappels gardens and fountains, libraries, assembly buildings, thermal baths and stadiums.

Throughout the centuries palaces decayed due to fires, earthquakes, and other reasons. Finally, whatever remained was covered by earth. British scientists from the University of St. Andrews in Edinburg made extensive excavations at the Arasta Bazaar in Sultan Ahmet square (1935-38) and (1951-54). This partly opened up one of the south-western buildings, so called “Great Palace”. The Great Palace had got a big courtyart with perisyle (1872 m2).

It was decorated with mosaics. It was at this point that the Austrian Academy of Sciences undertook to rescue, (Supervised by Prof. Dr. Werner Jobst) study and preserve the famous palace mosaic and to carry out additional archaeological examinations (1983-1997) within the scape of a cooperation project with the Directorate General of Monuments and Museums in Turkey. When the peristylle of The Great Palace was redone under Justinian I. (527-565), The Great Palace mosaic was the largest and the most beautiful landscape in antiqity (the 6th century A.D).

No where in the world of late antiquity can we find a building with a tessellated pavement of similar size and perfection of workmanship. It was probably made by an imperial workshop that surely has employed the best craftmen gathered from all corners of the Empire, guided by a master artist. It is this circumstance which makes it difficult to compare the piece with creations, and thus to date it by means of typological and stilistic methods.Composing the tessalated pavement, with its many coloured lime, terracotta and glass cubes of 5 mm.

One square metre of floor space consumed about 40.000 cubes, which makes for 80.000.000 tesserae for entire area. The mosaic was brought to light only in fragments and sections, which together make-up about one seventieth of the original expance, but these suffice to convice us that it is one of the most magnificent compositions known to us from antique mosaic art.

In The Great Palace Mosaic the main field of the composition was 6 metres in width. On either side of its edge it is accompained by an exquisitely arranged border of folliage each 1.50 metres wide, sufficient to cover the entire hall 9 metres deep with a tesselleted pavement. The frame is dominated by a highly naturalistic acantus scroll. Acantus are filled with masked heads, exotic fruit and animals.The frame which symbolize a garden of eden. After frame when looking at the scenes we find a movement from left to right in the notheastern hall.

The pictures describe open-air scenes, the life of herdsmen the labour of peasants and the prowess of huntsmen. Scenes of children playing with Wilde beast and grazing animals alternate with mythological motifs animal fables and fabulous creatures from exotic countries, animals, hunting, games, bucolic scenes nature and myths are the leading themes in the succession of pictures. On surviving parts of the mosaic we still count 90 different themes populated by some 150 human and animal figures.

LOCATION SATELLITE MAP



WEB SITE : The Museum of Great Palace Mosaics

MORE INFO & CONTACT
E-Mail : ayasofyamuzesi@kultur.gov.tr
Phone : +90 212 518 1205
Fax : +90 212 512 5474

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YILDIZ TILE AND PORCELAIN IMPERIAL FACTORY MUSEUM

Yıldız, Beşiktaş - Istanbul - Turkey

GPS : 41°02'54.6"N 29°01'05.5"E / 41.048508, 29.018190

Yildiz Tile And Porcelain Imperial Factory Museum photo yildiz_porcelain102jpg.jpg

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Hand decoration and also technical decoration is used overwhelmingly in the garnishes of the porcelains produced in Yıldız Porcelain Factory. For hand decorated products, productions are made according to the domestic orders and orders from abroad.

The facility inside the historical Yıldız Park is totally 10500 square meters, inside this area there is Managing Building, Administrative Building, a building containing Hand Decorated-Sieve Press and Boiler Room, Transformer and Generator Building, Granary Building, Store and Nizamiye (military control station). And the total closed area is 5200 square meters.

In the facility hard porcelain heated at 1380° C, is produced. 85 % of these productions are dishes and 15 % are Hand Decorated porcelains. While Hand Decorated porcelains are all decorated with hand, primary goal is to keep alive and enrich the Turkish Decoration Art and by carrying this culture and tradition from past to future to make it live for generations.

Besides, the stickers produced with press technique in the facility, are used in decorating dishes. And in the facility tile production is also continued. Tile tradition is maintained by single colored and poly-colored, under glazed and upper glazed tiles.

Yıldız Tile Factory or with its name at that period Çini Fabrika-i Hümayünu, which was established by Sultan Abdülhamid II (1876-1909) in 1890 at the suggestion of the French Ambassador M. Paul Cambon, was indeed the result of the palace decoration needs in the 19. Century. At this period, there was a high demand for porcelain especially in the Court and its surrounding. As a result of this demand, large amounts of porcelain were imported at high prices from European countries. This must have been an important factor in the establishment of the factory.

Çini Fabrika-i Hümayünu, was built on a flat area in the garden of Yıldız Palace with the initiative of the dynasty itself. Special personnel from the factories of Sevres and Limoges in France assisted in setting up the factory and the latest European technology including tile moulds were also imported. Nevertheless, after two years from the construction of the building, the factory making test productions suffered damages in the Istanbul earthquake in 1894. The same year it was repaired by famous Italian architect Raimondo d’Aronco and opened to service again.

In Çini Fabrika-i Hümayünu which was in fact a palace work-shop, beginning from 1894, in addition to decorative works like vases, wall plates also lavmana, desk sets, card plates, lidded bowls, cooking pans, aşure jugs, watermelon shaped sugar bowls, tea and cup sets began to be produced. The main subjects of these works were portraits of sultans, panoramas of Istanbul, figures of women and children, mythological-allegorical scenes, Rumi motifs and country views in rococo style.

On some of them, on corner or under the artifact, name of the craftsman presents. Under or in one corner of some artifacts, there are emblem of the Ottoman, initials of sultan’s name and his tugra (ımperial seal of the sultan). The porcelains manufactured at the Yıldız Tile Imperial Factory, which is an Imperial factory like Hereke Factory, have been used primarily for decorations of palaces, kiosks and pavilions of the late Ottoman Empire and presented as gifts to foreign royalties.

The decorators included many important painters like Hazret-i Şehriyari Ali Ragıp, Enderuni Abdurahman, Ömer Adil, A. Nicot, E. Narcice, L’Avergne, Tharet. Consequently Çini Fabrika-i Hümayünu whose primary aim was to produce decorative porcelains for the palace and Court circles played a significant role in the development of Turkish painting art.

Many native and foreign craftsmen worked at the Factory. Halid Naci, one of the most important craftsmen among them, was sent to Sèvres Porcelain Factory in order to be trained. Naci, who learned tile painting there, was appointed as the head painter of the Yıldız Tile Factory. He managed painting and ornamentation works of the factory through long years and put his signature under many artifacts. The artifacts, created during the first years of the factory, were under influence of French porcelains in terms of shape and ornament.

Manufacturing at Yıldız Tile Imperial Factory was suspended with dethronement of Sultan Abdulhamid II in 1909. The factory reopened with the efforts of its former managers, began to produce kaolin insulators for linking telegram lines. Osman Hamdi Bey, who was the manager of Imperial Museum, made an attempt for restarting manufacturing at the factory which was attached to the Imperial Museum Directorate in this period. Upon death of Osman Hamdi Bey in 1910, Halil Edhem Bey started preparations for reoperating Yıldız Tile Imperial Factory and manufacturing has commenced in 1911 once more.

After the new decision to close it 1920, it was liquidated by National Real Estate (Ulusal Emlak) in 1936 and as a result of the meetings to reopen it was transferred to Sümerbank. At this factory, porcelain cups, required for telephone and telgraph insulators, needed by the country during the First World War (1914-1918) were produced. The factory which continued manufacturing under the roof of Sümerbank during Turkish Republic Period, was attached to National Palaces Head of Department in 1944.

Since 1995 Yıldız Tile Factory is operating under the Department of National Palaces as a “museum-factory”. Today in the factory as well as porcelains designed with traditional patterns, reproduction of the original artifacts in the “National Palaces Porcelain Collection” are also made in limited numbers.

Yıldız Porcelain Factory, which today has a special position as a museum-factory among its kind, continues manufacturing of porcelain items appealing to taste of today’s individual on one hand, and on the other hand, by manufacturing replicas of the products manufactured during foundation years, develops projects to ensure the esthetic of the period to reach large masses. These products are offered to the interested persons at the shops within the body of National Palaces.

Brand Registration Of Yıldız Tile And Porcelain
Application to Turkish Patent Institute for renewal of the factory’s emblem and obtaining brand protection right, was accepted and brand registration was made for 10 years beginning from August 28, 2009.

LOCATION SATELLITE MAP



WEB SITE : Yıldız Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : yildizsarayimuzesi@kultur.gov.tr
Phone : +90 212 258 3080 / +90 212 260 8060
Fax : +90 212 258 3085

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HÜSEYİN RAHMİ GÜRPINAR HOUSE MUSEUM

Heybeliada, Adalar - Istanbul - Turkey

GPS : 40°52'37.5"N 29°05'32.1"E / 40.877083, 29.092250

Huseyin Rahmi Gurpinar Museum photo hrgurpinar_museum110.jpg

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Open daily between 10:00 - 16:00, except on Mondays.

The writer Hüseyin Rahmi Gürpınar lived and wrote on Burgaz and his house has now been turned into a museum. Rahmi Gürpinar was one of the early Republic period writers of Turkey. His house on Heybeli Island, where he lived between 1912-1944, has been rennovated and converted into a museum by the Ministry of Culture and volunteered school theachers in 1999.

The house is located on a high hillside of the island, where one can visit his personal objects, books, and some handcrafts made by the writer.

If you climb the stairs opposite the Halki Palace Hotel you reach a track. When you walk between the fine trees and climb the upper road you come across Hüseyin Rahmi Gürpınar's house, one of the most famous Turkish writers.

LOCATION SATELLITE MAP



WEB SITE : Hüseyin Rahmi Gürpınar Museum

MORE INFO & CONTACT
E-Mail : kutuphanemuzeler@ibb.gov.tr
Phone : +90 216 351 0925 / +90 212 249 9565

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Tuesday, June 27, 2017

TURKISH CALLIGRAPHIC ARTS MUSEUM

Beyazit, Fatih - Istanbul - Turkey

GPS : 41°00'36.4"N 28°57'47.3"E / 41.010111, 28.963139

Turkish Calligraphic Arts Museum photo calligraphy_museum110.jpg

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Turkish Calligraphic Arts Museum, once a medrese of Beyazit Mosque in Beyazit Square, is the only museum of its kind. It contains a beautiful collection of calligraphy and illumination. There are also examples of calligraphy on stone and glass as well as the tools used in calligraphy. Now, calligraphy works of many famous calligraphers and calligrapher sultans, sheets, sultan monograms and Korans arranged according to type are on display.

The Beyazid Medresse, which was used as the municipality library since 1945 was evacuated, restored and reorganized as the Turkish Calligraphic Arts Museum. It has interesting and valuable examples of the Turkish art of the pen, Korans, imperial seals, diplomas, Hilye-i serif (descriptions of the Prophet), equipment and apparatus for calligraphic writing, samples of bookbinding, holy relics and miniatures, especially from Ottoman and Seljuk periods.

The Museum of Turkish Calligraphic Art is the first and only calligraphy museum in Turkey. The Museum was first opened in the madrasah of Sultan Selim located on Vatan Street in 1968. After the Bayezid Madrasah was restored by the Directorate of Religious Endowments, it was moved there and opened to visitors on October 28, 1984.

Restored in 2009, the museum is now located in what was originally the medrese (religious school) of the sixteenth century Beyazıt Mosque.  Exhibits are housed in what were once the hücres, or cells, of the medrese. These hücres surround a peaceful courtyard featuring stone-carved calligraphy.  The Dar'ül-Kurra, the section of the medrese where the reading of the Quran is taught, located in the courtyard, is accessible to visitors during the museum’s opening hours. It contains holy relics of the prophet Muhammad.

Within the collection of the Museum of Turkish Calligraphic Art, are Qur’ans written in of muhakkak, nesih, and küfi scripts. There are also handwritten manuscripts written in Indian and Moraccan scripts, as well as sheets, sultans’ signatures, symertic (aynali) manuscripts, madrasa diplomas, hilye-i sherifs "the attributes of the Prophet Muhammed(s.a.w.s)", and miniatures.

In the Holy Relics Section of the Museum, there are a Ka’bah cloth, the Prophet's (s.a.w.s.) beard (sakal-i sherif), a bottle in which some soil brought from the grave of the Prophet (s.a.w.s.), as well as miniatures depicting scenes from the cities of Madina, Mina, Muzdelife. Miscellaneous documents belonging to various religious orders, family trees, reedpens, which are historically and spiritually important works, enrich the collection of the museum.

Also on exhibit are examples of calligraphy by Sultan Abdülmecid (1823-1861), Ahmed III (1673-1736), and Mahmut II (1785-1839). There is a reading desk (rahle) made of rosewood and a walnut-tree, on which the Qur’an was read, owned by Sultan Abdulhamid II (1842-1918) which still continues to attract the attention of both foreign and domestic visitors. As such, the museum is one of the many historical places on the peninsula of Istanbul.

Calligraphy has always been recognized as a noble art, especially because it serves as a means of beautifying the text of the Quran. The Türk Vakıf Hat Sanatları Müzesi showcases the different types of calligraphy used during Ottoman times, with items like rare manuscripts and bookbindings on display.  The museum also features beautiful tile art with a number of brilliantly illuminated Qurans that date back to the thirteenth century.

LOCATION SATELLITE MAP



WEB SITE : Türk Vakıf Hat Sanatları Müzesi

MORE INFO & CONTACT
E-Mail : istanbul@vgm.gov.tr
Phone : +90 212. 243 64 59
Fax : +90 212 243 64 59

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

ISTANBUL PRESS AND MEDIA MUSEUM

Çemberlitaş, Fatih - Istanbul - Turkey

GPS : 41°00'29.6"N 28°58'27.3"E / 41.008222, 28.974250

Press Museum photo press_museum134.jpg

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Open daily between 10:00 - 18:00 except Sundays

The museum is also known as the original building of Darulfünun (University) which was opened in 1871. A building on the Yeniçeri (Janissary) Street in Çemberlitaş neighborhood, originally built as a university by Safvet Pasha and having served different purposes from then on, now houses the Press Museum. The building was restored in 1988 and transformed into Press Museum.

Its architect is believed to be Fossati. The Fossati brothers and grand vizier Saffed Paşa respectively designed and built the nineteenth-century stone mansion in which the museum is currently located. Besides a wealth of artifacts, the museum also houses a café and gift shop on the ground floor.

The Basın Müzesi offers the enlightening opportunity to explore the world of the Turkish press, which dates back to the sixteenth century. The museum features information and materials on Turkish press from İbrahim Müteferrika, founder of Turkish publication history till today. The museum displays documents on the history of the Turkish press and old printing machinery.

Exhibited pieces include a giant lithograph machine from 1870, an equally old German offset printing machine, and cameras that once belonged to famous journalists.  The museum also possesses copies of newspapers from the early Republican era, including one from 1928 that is published in both Arabic and Roman scripts – prior to Atatürk’s banning of Arabic as part of his modernization program.

LOCATION SATELLITE MAP



WEB SITE : Press Museum

MORE INFO & CONTACT
E-Mail : bm@tgc.org.tr
Phone : +90 212 513 8458
Fax : +90 212 513 8457

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ADAM MICKIEWICZ MUSEUM

Tarlabaşı, Beyoğlu - Istanbul - Turkey

GPS : 41°02'19.9"N 28°58'37.8"E / 41.038850, 28.977159

Adama Mickiewicza Museum photo mickiewicz_museum112.jpg

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Adam Mickiewicz Museum (Polish: Muzeum Adama Mickiewicza, Turkish: Adam Mickiewicz Müzesi) is a historic house museum dedicated to the life of Adam Bernard Mickiewicz, renowned Polish poet. It is located in the district of Beyoğlu, on the European side of Istanbul where Adam Mickiewicz lived and died.

Mickiewicz came to Turkey in September 1855 to help organize Polish forces under the Ottoman Army. He befriended Michał Czajkowski (Sadık Paşa) who commanded the Polish forces there. The museum today is administered by the Turkish and Islamic Arts Museum.

The house was renovated after a fire in 1870. His house in Tarlabaşı neighborhood near Beyoğlu was converted into a museum in 1955 to commemorate 100th year of his death with the help of the Museum of Literature in Warsaw. He died during a cholera epidemic in Istanbul in 1885. The crypt where Mickiewicz was temporarily buried for the period of one month is located in the basement. After being temporarily buried in a crypt under his apartment in Constantinople (now Istanbul), his remains were transported to France and buried at Montmorency.

The museum divided into three halls, the museum is devoted to the life and works of this poet. The first hall displays an exhibition of the history and traditions of Poland, as well as Mickiewicz's literary works and personal belongings from Poland. The second hall is dedicated to Mickiewicz's efforts in the Polish national movement, and the third hall contains documents, photographs and engravings from the years he spent in the Ottoman Empire.

In 1890 they were disinterred, moved to Poland, and entombed in the crypts of Kraków's Wawel Cathedral, which is shared with many of those who are considered important to Poland's political and cultural history.

Inside the museum, there are many documents and information about the poet and his works, manuscripts of Adam Mickiewicz, historical documents and paintings, photographs of Constantinople of that time, and documents of Polish Liberation struggle. There is also a symbolic grave of the poet in the basement of the building.

Adam Bernard Mickiewicz, Polish romantic poet and playwright, was born in Zaosie in 1798. He was arrested by the Russian police in 1823 because of taking part in a semisecret group which protested Russian control of Poland, he was jailed and then exiled to Russia. After his release, he spent the rest of his life in Western Europe and in Turkey where he continued to write his poems.

In 1855 Mickiewicz's wife Celina died. On the outbreak of the Crimean War, he left his under-age children in Paris and went to Constantinople, the Ottoman Empire, where he arrived 22 September 1855, to organize Polish forces to be used in the war against Russia.

With his friend Armand Levy, he set about organizing a Jewish legion, the Hussars of Israel, comprising Russian and Palestinian Jews. He returned ill to his apartment from a trip to a military camp and died on 26 November in his apartment on the Yenişehir street in Istanbul). He had most probably contracted cholera.

LOCATION SATELLITE MAP



WEB SITE : Adam Mickiewicz Museum

MORE INFO & CONTACT
E-Mail : tiem@tiem.gov.tr
Phone : +90 212 518 1805
Fax : +90 212 518 1807

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Sunday, June 25, 2017

HAGIA IRENE MONUMENT

Topkapı Palace, Fatih - Istanbul - Turkey

GPS : 41°00'34.5"N 28°58'52.0"E / 41.009583, 28.981111

Hagia Irene Monument photo hagiairene117.jpg

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Hagia Irene or Hagia Eirene ("Holy Peace", Turkish: Aya İrini), often erroneously rendered in English as St Irene, is a former Eastern Orthodox church located in the outer courtyard of Topkapı Palace in Istanbul. It is open as a museum every day except Monday but requires special permission for admission.

History
Hagia Irene Monument is the only extant church from Byzantine with an atrium. The structure consists of an atrium, a narthex with three naves and an abscissa. Since Hagia Irene Church had not been transformed into a mosque after the conquest (1453), there had not been any modifications made in and out of the structure. The first Ottoman Museum had been established in Hagia Irene Church in 1846, which had been used as Military store with the pieces collected by Damat Ferit Pasha, one of the Armory marshals.

The pieces collected had been organized under two sections, namely the Collection of Ancient Pieces (Mecmua-i Asar-ı Atika) and the Collection of Armament (Mecmua-i Esliha-i Atika); and denominated as Imperial Museum (Müze-i Hümayun). The museum was moved to Tiled Pavilion (Çinili Köşk) in 1875 due to insufficient physical space. The church had been converted into storage and used as a military museum for a while in 1908. After an idle period, the building has become an organizational unit of Hagia Sophia museum.

Church
The building reputedly stands on the site of a pre-Christian temple. It ranks, in fact, as the first church built in Constantinople. Roman emperor Constantine I commissioned the first Hagia Irene church in the 4th century. From May to July 381 the First Council of Constantinople took place in the church. It was burned down during the Nika revolt in 532. Emperor Justinian I had the church restored in 548. It served as the church of the Patriarchate before Hagia Sophia was completed in 537.

Heavily damaged by an earthquake in the 8th century, it dates in its present form largely from the repairs made at that time. The Emperor Constantine V ordered the restorations and had its interior decorated with mosaics and frescoes.

Hagia Irene is the only example of a Byzantine church in the city which retains its original atrium. A great cross in the half-dome above the main narthex, where the image of the Pantocrator or Theotokos was usually placed in Byzantine tradition, is a unique vestige of the Iconoclastic art; presumably it replaced earlier decoration.

The church was enlarged during the 11th and 12th centuries. The church measures 100 m × 32 m. It has the typical form of a Roman basilica, consisting of a nave and two aisles, divided by columns and pillars. It comprises a main space, a narthex, galleries and an atrium. The dome is 15 m wide and 35 m high and has twenty windows.

Entering the church, one descends along a stone ramp to the level of the interior. At the end of the ramp, there is the rear of the church which gives the idea of a basilica, but an unusual type. The eastern dome is supported by four great arches. In this church, the plan is the transition of a pure domed basilica into a Greek-cross plan church.

The apse is a semicircular semidomed above and there are seats for the clergy. In the semidome, there is an ancient mosaic of a simple cross in a black border.  At the west, a Turkish wooden staircase leads to the galleries. The galleries and the church was used as an arsenal during the Ottoman Era.

Arsenal
Ottoman helmet, with markings of Saint-Irene arsenal, Constantinople, circa 1520. Musée de l'Armée. After the conquest of Constantinople in 1453 by Mehmed II, the church was enclosed inside the walls of the Topkapı palace. The Janissaries used the church as an armoury. It was also used as a warehouse for war booty.

During the reign of Sultan Ahmet III (1703-1730) it was converted into a weapons museum. It was repaired by Field Marshal Ahmed Fethi Pasha in 1846 and became the first Turkish museum. It was used as the Military Museum from 1908 until 1978 when it was turned over to the Turkish Ministry of Culture.

Concert hall
Today, the museum serves mainly as a concert hall for classical music performances, due to its extraordinary acoustic characteristics and impressive atmosphere. Most of the concerts of the Istanbul International Music Festival have been held here every summer since 1980.

Today, Hagia Eirene hosts Istanbul Art, Cultural and Music Festivals and Istanbul Biennials. Many of the concerts of the Istanbul International Music Festival have been held here every summer since 1980. It is open to public only in festival, concert and biennal times.

LOCATION SATELLITE MAP



WEB SITE : Hagia Sophia Museum Administration

MORE INFO & CONTACT
E-Mail : ayasofyamuzesi@kultur.gov.tr
Phone : +90 212 522 1750 / Tel: +90 212 522 0989
Fax : +90 212 512 5474

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DEDE EFENDİ HOUSE MUSEUM

Kumkapı, Fatih - İstanbul - Turkey

GPS : 41°00'11.3"N 28°58'47.0"E / 41.003139, 28.979722

Hamamizade Ismail Dede Efendi Museum photo dedeefendi_museum111.jpg

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Hammamizade İsmail Dede Efendi (1778-1846) was born in Istanbul, lived in Eyüp and studied the "ney", a type of flute. He wrote hundreds of songs and composed music for the Mevlevi dervishes and is considered one of Turkey’s best composers of classical music. Sultan Selim III was very fond of his work and had Dede perform for him on many occasions. Whilst on a pilgrimage to Saudi Arabia in 1846 he unfortunately caught Cholera and died and was buried at Mecca.

Some of his songs still remain popular today. Dede Efendi ​​is one of the biggest names in classical Turkish music. Influence of his works today as fresh as the first day. Inspired by the climate of the Mevlevi nice to hear his compositions, is not that difficult at all. Dede Efendi, one of the greatest representatives of Turkish classical music, in 1846 passed away.

Hammamizade İsmail Dede Efendi was a composer of Turkish classical music. He was born on 9 January 1778, in İstanbul, Şehzadebaşı. He started studying music with Mehmed Emin Efendi, at the age of eight. He attended rituals at Yenikapı Mevlevihanesi, a place of Mevlevi gathering. He studied with Ali Nutki Dede and learned to play ney, in Yenikapı Mevlevihanesi. He became "Dede" in 1799.

Dede Efendi gave lessons in Turkish music to Hamparsum Limonciyan who developed the Hamparsum notation, the dominant notation for Turkish music. One of the greatest Turkish composers, he has created masterpieces in all forms and modes of Turkish music. He has also developed the composite musical modes of "sultanî yegâh", "nev-eser", "saba-buselik", "hicaz-buselik" and "araban kürdî". His greatest works are the seven Mevlevi pieces for Samah. More than two hundred of his compositions are available today.

Dede Efendi Museum is in a lovely old wooden mansion that was once Dede’s home and after he died, for a time it was used as a local police station, after which it fell into total disrepair.  It became a small museum for musical instruments after being fully restored in the 1980s. When visiting here you are given a glimpse of what the neighbouring houses once looked like that have now, unfortunately, been left to rot away.

There are occasional concert’s held at the museum and located next to it is an ornate fountain dating from 1734 and was commissioned by the mother of the Grand Vizier Hekimoğlu Ali Paşa. His house and music salon in the Istanbul neighborhood of Kumkapı has been preserved and is now a museum.

LOCATION SATELLITE MAP



WEB SITE : Türkiye Tarihi Evleri Koruma Derneği 

MORE INFO & CONTACT
E-Mail : info@turk-ev.org.tr
Phone : +90 212 516 4314
Fax : +90 212 516 4314

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

MUSEUM FOR HISTORY OF SCIENCE AND TECHNOLOGY IN ISLAM

Gülhane Park, Fatih - Istanbul - Turkey

GPS : 41°00'47.8"N 28°58'44.2"E / 41.013278, 28.978944

Museum For History Of Science And Technology In Islam photo islamscience_museum116.jpg

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The Museum, which was opened in May 24, 2008, is located in the Gülhane Park (Rose Garden), in one of the most beautiful areas of Istanbul. It extends over 3500 square meters along the old palace wall, on the former stables of the Sultan's Has Ahırlar.

In front of the entrance, the visitor encounters a large globe, which is a reconstruction of one of the most important achievements of the Islamic scientific tradition. The map on the globe was constructed by order of Caliph al-Ma'mun (who reigned from 198-218 H./813-833 CE.). Using a globular projection, the map displays, with surprising accuracy. the geography of the part of the world which was known at that time.

The discovery, historical reconstruction and presentation of the Ma'mun globe, as well as the other artefacts displayed in the museum, are the work of Professor Fuat Sezgin, who in 1982 founded the Institute for the History of Arabic-Islamic Science at the Johann Wolfgang Goethe University in Frankfurt/ Main.

Decades of intensive research in the history of Arabic-Islamic manuscripts were necessary as a preparation for the creation of the wealth of objects in the museum. Visitors to the museum can obtain a unique insight in the Islamic scientific tradition by looking at the details of the exact replicas of the scientific and technical achievements from the ninth through the seventeenth centuries. The Istanbul museum is unique in the world, because it enables the visitor to see with his own eyes the evolution of the different scientific branches in Islamic civilization.

The systematic presentation of objects from astronomy, geography, nautics, time measurement, geometry, optics, medicine, chemistry, mineralogy, physics, technics, architecture and military techniques, shows how crucial discoveries were made in Islamic civilization and were transmitted in different ways to Europe, where they were adopted, assimilated, and altered. Thus the history of science appears to the visitor as a continuous flow. This is especially clear where Arabic-Islamic innovations are displayed side by side with medieval and later European adaptations.

The most important achievements of Islamic civilization are visualized and elucidated by accompanying explanatory texts in different languages. Fortunately, the Istanbul Museum for History of Science and Technology in Islam does not follow the modern tendency to explain complicated displays by only a few lines of text. On the contrary, the visitor is invited to take time, in order to fathom the multi-faceted panorama of the history of the different sciences.

After a visit to the museum, the visitor will be motivated to deepen his study of the fascinating world of science and technology in Islamic civilization. For this purpose, a detailed catalogue of the museum in five well-illustrated volumes, has been composed by Professor Sezgin. The volumes are available in German and French and since 2007 also in Turkish.

The Istanbul Museum for the History of Science and Technology in Islam is especially attractive because of its aesthetics, the didactics of its scientific expositions, and the synergy between the visual experience and the learning process on the part of the visitor. Thus, Istanbul has been enriched by another bridge between East and West, which concerns the deep historical relationships of the scientific traditions in Eastern and Western cultures. Istanbul, European Capital of Cultures in 2010, extends a warm welcome to all visitors.

The Museum is a product of decades of intensive research, discovery, reconstruction and presentation of artefacts recorded in Arabic-Islamic manuscripts by the renowned science historian Professor Fuat Sezgin. The Museum houses a wealth of objects and exact replicas recording scientific and technical achievements from the ninth through the seventeenth centuries in astronomy, geography, navigation, time measurement, geometry, optics, medicine, chemistry, minerology, physics, architecture and military techniques.

The collection in the Museum is unique in the world enabling visitors to experience the evolution of different scientific disciplines in retrospect through the systematic presentation of objects, and showing crucial discoveries invented in Islamic civilization and transmitted in different ways to Europe, where they were adopted, assimilated, and altered. Thus the history of science appears to the visitor as a continuous flow, especially where Arabic-Islamic innovations are displayed side by side with medieval and later European adaptations.

The Istanbul Museum of the History of Science and Technology in Islam is especially attractive because of its aesthetics, the didactics of its scientific exhibits, and the synergy between the visual experience and the learning process on the part of the visitor. Thus, Istanbul has been enriched by another bridge between East and West, which concerns the deep historical relationships of the scientific traditions in Eastern and Western cultures.

LOCATION SATELLITE MAP



WEB SITE : Istanbul Museum for History of Science and Technology in Islam

MORE INFO & CONTACT
E-Mail : bilimveteknolojimuz@kulturturizm.gov.tr
Phone : +90 212 528 8065
Fax : +90 212 528 3999

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

Saturday, June 24, 2017

THE HAGIA SOPHIA IMARET / CARPET MUSEUM

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'31.6"N 28°58'51.5"E / 41.008778, 28.980972

Hagi Sophia Imaret / Carpet Museum photo ayasofyascarpet_museum119.jpg

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The imaret is a charitable institution built to meet the daily food needs of medrasah students, travelers and guests. The Hagia Sophia Imaret was built in Hegira 1152 (1742-1743) by Sultan Mahmut I on the northeastern side of Hagia Sophia. On the eastern side of the Imaret is the Bab-ı Hümâyun (Imperial Gate) of Topkapı Palace and on the southeastern side is the  Sultan Ahmet II Fountain. The building stretches adjacently to the northern façade of the Hagia Sophie mosque.

The Imaret consists of three sections - the dining hall (me’kel), the kitchen (aşhane) and the bakery (fodlahane). Its walls were built using alternating stone and brick. The long, narrow area extending westwards is the dining hall; the other two areas that follow are the kitchen and the bakery. The entrance is through doors that open out into the courtyard.

The completely detached three-story building has two gates - one at the front and another at the back. The most spectacular of these gates is the large monumental gate that faces the Ahmet III Fountain. The gate is one of the most beautiful examples of Baroque style in Istanbul.

Decorations under the eaves were replaced during a renovation. The sulus-style inscriptions on the gates of the imaret were made by Beşir Ağa a.k.a ‘Morali,’ who is referred to by his titles, Chief Harem Eunuch or Treasurer, and the poems were written by one of the poets of the era Nimetullah Effendi.

Standing between the imaret’s courtyard and Hagia Sophie is the Byzantine-constructed Skeuophylakion - the Treasury building. The İmaret building was restored in 1777, 1871, 1884 and 1893. After 1920, it served as the archive of the General Directorate of Foundations. A comprehensive restoration was carried out in 2006 and 2007, while museum merchandising work was conducted in 2010.

CARPET MUSEUM

Driven by its mission to make works of art that are Turkish cultural assets available to future generations, the Turkish Directorate General of Foundations opened the Carpet Museum on April 13, 1979 in the Sultan’s Pavilion of the Sultanahmet Mosque.

As part of the project of the General Directorate of Foundations to reorganize museums, it was decided to transform the Hagia Sophia Imaret into the Carpet Museum. Undergoing thorough renovation in 2006-2007, the museum was fitted with a state-of-the-art Museum Display System in 2010, and was reopened in 2013 as the Directorate of Foundations Carpet Museum.

Designed to preserve the works at the museum and make them accessible to future generations, the museum was equipped with a number of features. Wall-type modular display cabinets with laminated safety glass, UV and humidity control, and electronic doors that can be opened only with passwords, museum-compatible lighting, and humidity-control systems, air-conditioning and heating systems, and touch-screen interactive kiosks were installed.

Hagia Sophia Imaret was renovated in 1777, 1871, 1884 and in 1893 and after 1920, was first used as the archives of the Istanbul Directorate General of Foundations and then as a lead workshop.

The General Directorate of Foundations Carpet Museum, one, one of the richest carpet collections in the world, includes carpets having great historical and artistic value that were donated to mosques and mescids as part of old Islamic tradition. Carpets and rugs were donated to allow the donors or the deceased to acquire merit in the afterlife; therefore, such carpets and rugs, along with their refinement and aesthetic and artistic qualities are of special importance.

Carpets and prayer rugs woven with unique regional patterns between the 14th and 20th centuries in many weaving centers of Anatolia, as well as those from Iran and Caucasia, are in the carpet museum collection. The carpets selected from the rarest pieces in the museum collection are exhibited in the three galleries of the museum in chronological order and according to design group.

FIRST GALLERY: Carpets from the Beylikler/Principalities, and Early and Classical Ottoman eras.
SECOND GALLERY: Ottoman-era Central and Eastern Anatolian carpets and prayer rugs.
THIRD GALLERY: Ottoman-era large-sized Uşak (Ushak) carpets and pure prayer rugs.

LOCATION SATELLITE MAP



WEB SITE : Carpet Museum

MORE INFO & CONTACT
E-Mail : info@halimuzesi.com
Phone : +90 216 512 6993

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

AYNALIKAVAK PAVILION AND MUSIC MUSEUM

Hasköy, Beyoğlu - Istanbul - Turkey

GPS : 41°02'17.0"N 28°57'19.1"E / 41.038051, 28.955318

Aynalikavak Pavilion And Music Museum photo aynalikavak_pavilion146.jpg

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The Aynalıkavak Pavilion is located in the Hasköy neighborhood in Kasımpaşa, Istanbul. It is not exactly known as to when it was built, but Evliya Çelebi, the famous 17th century Ottoman traveler and writer, states that it was built during the period of Sultan Mehmed II. Another source says that the pavilion was been built by Admiral Halil Paşa in 1613.

After the Turkish conquest of Istanbul this attractive stretch of countryside stretching inland from the shores of the Golden Horn became an imperial park known as the Tersane Hasbahçe after the naval arsenal at nearby Kasımpaşa. The earliest known building here dates from the reign of Sultan Ahmed I (1603-1617), and his successors added new country lodges over the centuries, until the entire complex became so large that it was referred to as Tersane or Aynalıkavak Palace.

HISTORY

The building, which has been decorating the coast of the Golden Horn since 17th century and which is today known as Aynalikavak Pavilion, is the only remaining sample from the group of buildings known as “Aynalıkavak Palace” or “Tersane Palace” during the Ottoman Period. The historical references reveals that the territory was also a resting place belonging to emperors during the Byzantine period.

This big coppice, which attracted the interests of Ottoman sultans after the conquest of İstanbul by Fatih Sultan Mehmed (1444-1481), was started to be named as “Tersane Hasbahçe” owing to the Ottoman Shipyard constructed at the territory. The earliest buildings on the territory date back to the reign of Fatih Sultan Mehmed and the first pavilion, which is certainly known to be constructed, dates to the reign of Sultan Ahmed I (1603-1617). This group of buildings, which has developed with the pavilions constructed by sultans in the course of historical process and which was also called as “Tersane Palace”; has been named as “Aynalıkavak Palace” beginning from the 17th century.

Aynalıkavak Pavilion, which takes place within the body of palace and which is estimated to be constructed during the reign of Sultan Ahmed III (1703-1730) underwent an extensive restoration process during the reign of Sultan Selim III (1789-1807) and was rearranged and gained its today’s appearance. Aynalıkavak Pavilion, the only remaining building from the earlier periods among the National Palaces which mainly consist of palaces, kiosks and pavilions of 19th century is extremely privileged with its traditional architecture and decoration features.

Aynalıkavak Pavilion is one of these buildings, thought to date originally from the reign of Sultan Ahmed III (1703-1730), although extensive alterations under Sultan Selim III (1789-1807) transformed its appearance radically. The principal rooms are a reception room known as the Divanhane and the smaller Music Room. Bands of exquisite calligraphic decoration around the windows of these two rooms consist of verses by two famous poets, Şeyh Galib and Enderuni Fazıl, in praise of the pavilion and Sultan Selim III. These italic inscriptions were designed by the calligrapher Yesari.

ARCHITECTURE and INTERIOR DESING

The name, Aynalıkavak Pavilion, comes from the mirrors which were a gift to Sultan Ahmed III after the Treaty of Passarowitz was signed and during which the Republic of Venice was left the Mora Peninsula to the Turks. The pavillion was built on a slope and its garden was decorated with different kinds of trees. One enters the pavillon through the porch and then passes into a wide hall. There are couches covered with silk located at the three corners of the wide hall, and a poem written by Sultan Selim III in gold print is located on the blue painted wall.

On a frieze around the top of the windows of Divanhane and of Composition Room, the verses of the famous poets of the term, Şeyh Galib and Enderûni Fâzıl, praising the Pavilion and Sultan Selim III, were inscribed by the calligrapher Mehmed Esad El Yesari in talik script. The pavilion which is one of the last and outstanding buildings of classical Ottoman Structure with its two storey body, facing the sea and one storey body facing the land, also reflects the taste of its age in terms of decoration and it incorporates many elements of the culture of the period of the composer Sultan Selim III.

In terms of its architecture and decoration Aynalıkavak Pavilion is a rare and outstanding example of classical Ottoman architecture. This small building is only one storey, with a basement under the section facing the sea. The pavilion is of additional interest because of its strong associations with Sultan Selim III, a respected composer. The traditional fitted seats or sedir along the walls and settees resembling sedir, braziers, lamps and other contemporary furnishings reflect a way of life which has disappeared entirely today.

The land façade sits on two floors and the sea-side façade on three. The pavilion has a divan room and an audience hall (Arz Odası) decorated with several works of calligraphy, nice windows, and mirrors. Its ceiling is covered by a dome. As characteristics of the period, Its top windows covered with revzens, its roofs with large eaves, fitted sedirs within the interior decoration, braziers which were the traditional way of heating, all demonstrate appearances of a past lifestyle which has disappeared today.

In the beginning of the 19th century, the Aynalıkavak Pavilion was called the Has Bahçe. During the rule of Sultan Mahmut II it was restored by the architect Kirkor Balyan. It took its present shape during the Reign of Sultan Selim III. During the Tulip Era, (or Lâle Devri in Turkish), the pavilion hosted many entertainment venues. In addition, it hosted the Aynalıkavak Agreement signed by Sultan Abdülhamid I on January 9, 1784 between the Ottoman Empire and Russia.

MUSEUM

The ground floor of Aynalılavak Pavilion, which was opened to visit on November 5th, 2010 upon completion of restoration and furnishing works, was refurnished as a museum in which historical Turkish musical instruments are exhibited in accordance with the artistic and musical personality of Sultan Selim III.

The late Gevheri Osmanoğlu who was one of the grand-chidren of Sultan Abdülhamid II (1876-1909) and his hairs, in 1984 donated their collections containg saz (musical instrument), musical note and stone gramophone records to Aynalıkavak Summer Palace to get them exhibited. Consequently, as Aynalıkavak Summer Palace was a place where Sultan Selim III: (1789-1807) lived and composed, a project about making a Turkish Musiki (music) center was established.

Following, some other collectioners and traditional turkish musicians (sazende) donated various instruments. Besides, as the musical instruments belonging to Istanbul Municipality Collection were added to the Aynalıkavak Summer Palace Collection, the general foundation of Aynalıkavak Sazları was formed, that will grow larger in the future The museum collection contains 65 musical instrument, over 200 stone record, many musical note and the press.

The gardens and cafeteria attract many visitors, as do the Aynalıkavak Concerts of classical Turkish art music. Private receptions can be held in the gardens.

LOCATION SATELLITE MAP



WEB SITE : Department of National Palaces / Aynalıkavak Pavillion

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 259 3292

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

AŞİYAN MUSEUM

Aşiyan, Bebek - Istanbul, Turkey

GPS : 41°04'57.7"N 29°03'13.8"E / 41.082705, 29.053837

Asiyan Museum photo asiyan_museum111.jpg

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The Aşiyan Museum is a three storey house previously owned by Tevfik Fikret (1867-1915), a famous Turkish poet who lived there between 1906-1915. On the initiative of Lütfi Kırdar, both the mayor and governer of Istanbul during that period, it was  purchased from his widow, Nazime Hanım, and publicised by the city in 1940 and began its services as a museum under the name Edebiyat-ı Cedide Museum in 1945.

In 1961, the Museum (Edebiyat-ı Cedide Museum) was renamed as the Aşiyan Museum and is one of the museums operated by Istanbul Metropolitan Municipality. It is also one an important place to be visited for lovers of literature.

This museum is the former residence of famous Turkish poet Tevfik Fikret (1867-1915) who constructed the building himself. In addition to an exhibit of the personal belongings of Fikret, there is a room devoted to the poet Nigar Hanım and displaying some of the belongings of Abdülhak Hamit. It's located in Aşiyan neighborhood on the Bosphorus.

Tevfik Fikret (1867 - 1915), one of Turkey's leading poets, was born in 1867 in Istanbul. He was educated in the famous Mekteb-i Sultani (Galatasaray High School) and he took several educational positions in the Mekteb-i Sultani (1894-1895).

Aşiyan Museum is the former home of the famous Turkish poet Tevfik Fikret. The wooden mansion overlooking Bosphorus was built by the poet himself. On show are the poet's several possessions and the painting Sis ( Fog ) made by Sultan Abdülmecid who was inspired by Tevfik Fikret's poem of that name.

He was the most important poet of the Servet-i Fünun literary movement (1896-1901) and his poetry marked a revolutionary beginning for modern Turkish literature. His efforts to "Westernize" Turkish poetry and his poems with their didactic and patriotic tone, inspired the enlightenment and secularism movements in Turkey. This explains why Tevfik Fikret was one of Mustafa Kemal Atatürk's favorite poets.

The ground floor of the museum is used for administrative affairs. On the above floor, there is a room dedicated to the poet, Nigar Hanım, where her personal belongings, such as photos and paintings are on exhibit. There is a room called the “Edebiyat-ı Cedide Room,” in which the personal belongings and documents that belonged to the authors of Edebiyat-ı Cedide.

It is also the Hall of Abdülhak Hamit, and his belongings and documents are displayed there. Abdülhak Hamit is also famous for his poem, Makber, meaning The Grave. As for the next floor, there is a bedroom in which his personal belongings and the bed on which he passed away are found. Next to his seat and worktable, there is a work hall, in which he wrote poems and other writings and in which are found his personal affairs and paintings.

LOCATION SATELLITE MAP



WEB SITE : Aşiyan Museum

MORE INFO & CONTACT
E-Mail : asiyanmuzesi@ibb.gov.tr / kutuphanemuzeler@ibb.gov.tr
Phone : +90 212 263 6986

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.