in this issue imagining reality & İstanbul da Eşsİz Eserler fall 2007 & Winter 2008
fall-winter 2008 vol 9 issue 28 Table of Contents fe at ure art icle s 12 Imagining Reality 26 İstanbul da Eşsiz Eserler President s Letter 3 Community News Consulting Project Tea and Quilt Crafting Party Community News Consulting Project Tea and Quilt Crafting Party Zafer Bayramı Movie Nights Career & Leadership Panel Grassroots Networking Event İftar Dinner Schedule of Events 4 President s Letter 3 Open Book 5 Schedule of Events 4 Zafer Bayramı Open Book Movie Nights 5 Career & Leadership Panel Ramadan Bayramı Kurban Bayramı Republic Day Ball TACAM in the Media President Abdullah Gül s Visit Meeting with Hon. Ali Babacan Meeting with Mr. Rıfat Hisarcıklıoğlu Turkish Kitchen 34 Editor s Letter 35
President s Letter Have you ever moved to a new country thousands of miles away and did not know one single soul there? Did you ever spend nights and weekends where you did not have anyone to get together with? Did you ever miss to speak a word of Turkish with somebody locally aside from your connections in Turkey? i have and it was the most stressful days and years of my life. I moved here for an international job assignment from Ford of Turkey and then got a job offer to stay permanently at the age of twenty-three once all my team friends moved back to Turkey, I was faced with reality. I was young, inexperienced and alone and missed everything that was Turkish, mostly the moments I spent with my friends and family. Then I participated at a TACAM event organized for Victory Day celebration I remember clearly that it was August 29, 2004, as it was my birthday. There I met so many new people, so many friendly faces and as hours went by I was even given a cake for my birthday, which made it so special for me. From there on, it was nothing but a miracle I met friends through TACAM, who became my friends and my family people who made me enjoy my life because I no longer felt alone. It s been nine years now since I have moved to the United States, and I have a lot of friends, but most special are my friends in the Turkish-American community, in TACAM. I now have sisters, brothers and best friends right here in Michigan in writing this message, I first intended to talk about the activities conducted during calendar year 2007 to solicit new membership for the upcoming year, but I decided that s not really what matters. You can always follow our website or consult with any of our dedicated Board members for on-going activities, but what matters is the sense of Turkish community, our ties to home and the effort we put in to keep TACAM alive this is a team effort and I hope that each and every one of you can relate to what that means This organization helps us to make new friends, maintain old ones and more importantly, maintain the Turkish spirit even though we are miles away from our home country. You might have come here alone like me or with your family to begin with, but I still see that we have all crossed paths through TACAM and that s why this place should be so special for all of us. If our friendships and the TACAM umbrella that keeps us connected are not worth your membership dues, your donations and participation, what else would? i m looking forward to the New Year, where we show our presence and enthusiasm for being together as the Turkish-American community in Michigan under TACAM, so please make sure to return your membership dues and donations for the 2008 calendar year. One goal, one team, one community Dİdem Şeyhoğlu 2007-2008 TACAM PRESIDENT a n at o l i a n v o i c e
Schedule of Events 2008 January 25 Friday Movie Night February 6 Wednesday Meeting with WWJ Detroit Radio 26 Tuesday Automotive Seminar Turkey: Strongest Link in Your Supply Chain March 29 Saturday Döner Night April 6 Sunday General Assembly S c h e d u l e o f E v e n t s
visit Open book tacam.org Community News TACAM announces the birth of five beautiful children. Bora Özalp, the child of Mine and Gökhan Özalp, on November 23, 2007; Nicholas Kann-Henry Jahshan, the child of Bahar and Rany Jahshan, on December 12, 2007; Teoman Berkay Bek, the child of Seyran and Feridun Bek, on January 2, 2008; and Derin and Lara Arslan, the children of Banu and Fatih Arslan, on January 2, 2008. May they have many years of health and happiness. Ece Yaprak became a full Professor of Engineering at Wayne State. Pinar Yaprak married Chris Urban and moved to Santa Monica, CA. Attila Yaprak received the Academy of Marketing Science s Outstanding Marketing Professor Award. Mumtaz Usmen received the Gold Award of the Engineering Society of Detroit, which is the most prestigious peer recognition in the engineering and scientific community. Detroit Hour magazine reported on the 2007 Top Doctors in October. Dr Cem Akin was one of the best doctors in the Allergy & Immunology field. The physicians were selected by their peers in surveys randomly sent to doctors and health-care systems. Ceren Ege of the Clarkston Sea Wolves swim team competed with 14 cities from Oakland. She won first prize in 100 m. free and 100 m. breast stroke. Great job Ceren! Derin Arslan Lara Arslan Bora Özalp Ceren Ege Consulting Project by Gaye Özdemir Written by Dİdem Şeyhoğlu Nicholas Jahshan Teoman Berkay Bek We initiated a new project with one of our members, Gaye Özdemir, as part of her practicum for her master thesis. She worked as a consultant to TACAM at the end of 2007. She diagnosed any concerns or needs from the Turkish community and then made recommendations to the current board by improving our operating structure. As we have received her recommendations and started implementing them, this project has helped TACAM work more effectively in its event preparations and has increased the number of annual members and active participants. Tea Party & Baby Blankets for TACAM Written by GÜlay Schorr A week before the Republic Ball, the ladies of the Michigan Turkish Community came together for a little more than chatting and sipping tea. At Gülay Schorr s house, they brought along old sweaters, cut them up into small squares and then designed them into three cozy baby blankets for the Republic Ball Silent Auction. The sale of them raised $150 for TACAM. Thanks to your hands and eyes ladies, and congratulations for the wonderful work. o p e n b o o k
open Book Zafer Bayramı Written by Erol Ahmed August 26, we celebrated the 84 th anniversary of the Turkish Republic. Yummy Şiş kebabs, games and music brought everyone together for a lively celebration. Movie Nights Written by Erol Ahmed Movie nights have become a new hit with the community. Our first movie night was on September 28, where we screened Yazı Tura. On November 30, the film Beynelmilel was scheduled to play. A broken furnace at the TACAM building was about to end the night. Graciously, however, Gülay and Stuart Schorr opened up their home and all problems were solved. January 25 was our latest members only night, with a Oscar-nominated screening of Takva. Looking forward to the next movie night with everyone! Career Day & Leadership Panel Written by Dİdem Şeyhoğlu TACAM and the University of Michigan Turkish Student Association hosted a career day on September 16, with five distinguished guest speakers: dr Yavuz Göktaş, prof Nejat Seyhun, prof Onur Ulgen, prof Mumtaz Usmen and prof Atilla Yaprak. The session started with a nice presentation from prof Mumtaz Usmen on Covey s Leadership Principles, followed by a panel session facilitated by Didem Şeyhoğlu and Burak Akyalcın. Grassroots Networking Event Written by Dİdem Şeyhoğlu Turkish-Americans Gaining Power through Grassroots Initiatives was the theme for the event held at the TACAM building on October 28. The Assembly of Turkish American Associations helped to organize the event, which taught our Turkish community how to communicate their voice in the spectrum of American events and issues. o p e n b o o k
İftar Dinner Written by Dİdem Şeyhoğlu Twenty-two people attended our İftar Dinner at Al- Ameer restaurant in Dearborn Heights on September 22, while we enjoyed the delicious food and the company of friends. We also had the chance to celebrate Azra Naz Schorr s sixth birthday she looked cuter than ever with her birthday make-over! open Book Ramadan Bayramı Written by Dİdem Şeyhoğlu Everyone wished each other İyi Bayramlar! on October 14, at the TACAM building. Delicious snacks and Turkish coffee rounded off the event while the children loved the little gift bags they received. Kurban Bayramı Written by Dİdem Şeyhoğlu It was a windy day, but the turnout was fantastic for the celebration on December 23. People gave time in their busy holiday schedules to keep Turkish traditions alive. Lamb, rice, börek, künefe and other delicious classics filled each person s plate. o p e n b o o k
open Book Republic Day Ball Cumhuriyet Bayramı Written by Dİdem Şeyhoğlu TACAM in the Media Written by Dİdem Şeyhoğlu TACAM celebrated the 84 th anniversary of the Turkish Republic on October 27, at Farmington Hills Manor this year. Consul General of Chicago Hon U. Kenan İpek joined us to celebrate as our guest of honor. The night s entertainment was provided by Dr İlhan Sami Özülü, Most exciting, was the raffle for free round-trip tickets to Turkey, graciously donated by Turkish Airlines. It was a most memorable night and we hope that it has helped to once again bring our community together. This year, TACAM took an initiative to broaden its reach by publishing interviews regarding TACAM activities and success stories. The first of these initiatives was an interview with Didem Şeyhoğlu, published on mezun.com. This interview mainly concentrated on life in Michigan as well as goals of TACAM and the activities geared towards achieving these goals. The second interview was conducted with Anka Ajans of TurkishNY.com to announce a TACAM success story. In December, we became aware of an essay competition organized by the Hagopian Family Foundation with the title of Armenian Genocide, which was geared towards middle and high o p e n b o o k
school students in Michigan with a cash prize offered to winning students and their teachers. This competition was also announced through WWJ Detroit radio and their web site. As a result of the letters and phone calls from the TACAM Board and community members, the radio station representatives notified us that they removed this announcement and also invited a team of TACAM members to the radio station on February 6, 2008, to get informed about Turkey. This success story was released first on TurkishNY.com and then on many national newspapers in Turkey through Anka Ajans. We also would like to take this opportunity to thank everyone involved in this project, specifically our Consul General Mr Kenan İpek, Mr Günay Evinch, Ms Nurten Ural, Dr Sumer Pek, Mrs Mickey Katz-Pek, Mr Stuart Schorr and Mrs Dilek Kirca. We are looking forward to expanding the Grassroots initiative in TACAM by growing our community and carrying our voice for many, many years to come. open Book Meeting with President Abdullah Gül Written by Dİdem Şeyhoğlu President Mr Abdullah Gül conducted an official visit to the US on January 9, 2008, and during this visit, he held a meeting with representatives of selected Turkish Associations in Washington. Ambassador Nabi Sensoy hosted the meeting at the Turkish Embassy and President Gül was accompanied by Turkey s Foreign Affairs Minister, Hon Ali Babacan. TACAM received an invitation and Didem Şeyhoğlu attended on behalf of our organization. President Gül spent an hour with representatives of the Turkish Associations nationwide he spoke about Turkish-American relations and his satisfaction from the meetings held with President Bush and other US Government officials. He then emphasized the importance of Turks working together in the US to ensure our voice is heard, and that our success in presenting Turkey is dependant on our relations with state and government representatives. President Gül asked us bring out the truth in the allegations of genocide proposed by the Armenians. Once the floor was open, Didem Şeyhoğlu had a chance to tell our President about the Armenian Genocide essay competition in Michigan and how its announcements on WWJ Detroit radio were stopped by TACAM members hard work with the Turkish Consulate in Chicago. She then asked him recommendations to Turkish Associations in being proactive on this matter in line with Turkey s foreign policy. He emphasized focusing on educating the community on the history of the issue and working closely with our Consulate. We were very excited to be a part of this meeting. Meeting with Turkey Foreign Affairs Minister, Hon Ali Babacan Written by Dİdem Şeyhoğlu Under the auspices of Hon U. Kenan İpek, Turkish Consul General of Turkish Republic in Chicago, a meeting was on September 21, 2007, held with Turkey s Foreign Affairs Minister, Hon Ali Babacan, in Chicago with representatives of the Midwest Component Associations and the Chamber of Commerce. Serkan Özdemir attended this meeting on behalf of the TACAM Board. Hon Ali Babacan gave a brief speech on issues concerning the Turkish- American communities in the United States and expressed the importance of Turkey s keeping in touch with Turkish Associations. After discussion, Mr. Babacan welcomed questions and remarks from the audience. Meeting with TOBB President, Mr Rıfat Hisarcıklıoğlu Written by Dİdem Şeyhoğlu Under the auspices of Hon U. Kenan İpek, a meeting was held on September 17, 2007, with Mr Rıfat Hisarcıklıoğlu in Chicago with representatives of the Midwest Component Associations and the Chamber of Commerce. Consul General Hon U. Kenan İpek and Commercial Attaché Mr Süleyman Sözeri were also present at this meeting. Didem Şeyhoğlu attended this meeting on behalf of the TACAM Board. Upon Mr İpek s opening remarks, Mr Hisarcıklıoğlu gave a presentation that reflected the economic progress of Turkey in the last 25 years and discussed TOBB activities along with the state of commercial affairs between Turkey and United States. o p e n b o o k
t he the A rt icl e s fa l l A rt ic l e s fa l l 07 Win t e r 08 Dau ght e r of S ulta n Ab d ülh a mi d II, Séb ah & Joa l l i e r, pho to g r a phe r. Port e r, c. 1880-1900, Ab dul l a h f r è r e s, pho to g r aphe r. 11
Imaginin ea ity ImagininReality photogr raphy in ottoman İstanbul İstanbul written BY Erol Ahmed 13 F e at u r e A r t i c l e s
On October 28, 1839, photography was announced in the Takvīm-i Vakayi a new technology shaped an unfolding era F e at u r e A r t i c l e s 14
Armenians and Greeks following afterwards. As early as the 1850s, the wealthy Christian minorities, who did not have a taboo on the image like the Muslims and Jews, became the first patrons of photographs. Not until the 1900s, over sixtyyears after its introduction, did Muslims open their own independent studios. But let us not forget the fluidity of Ottoman İstanbul, the traditional Sultan Abdülhamid II actively employed Muslims, Armenians, English, Greek and French photographers to produce the plethora of propaganda during his reign. Each studio vied for this coveted position of court photographer to the Sultan, and each studio lost this title on one occasion or the other. With this volatility and competition, it is no wonder that studios and firms would close Sultans, beggars, Christian men as Muslim women, priests and paşas The news of the invention of photography arrived in İstanbul on October 28, 1839, in the trilingual newspaper Takvīm-i Vekāyi. Soon after, savvy photographers opened up the first photographic studios in the fashionable district of Péra, and travelers armed with cameras came into İstanbul. All kinds of people sultans, beggars, Christian men as Muslim women, priests and paşas became the subjects for the thousands of photographs produced from the time of photography s arrival in İstanbul in the 1840s. In between war and turmoil, change and progress the İstanbul studios gazed and grazed upon the İstanbul citizenry. It were as if a hand was coming down to pluck an image to present each time the camera shutter was released. Attitudes, identities and situations were in constant flux from the new ideas, institutions and inventions that crept into the city. Who were the people taking the photographs and who was wishing to be photographed? At the same time of the adoption of photography by the government, the élites and well-to-do of Péra society began to turn towards photography as yet another symbol of their wealth and cosmopolitan character. They crowded into today s İstiklal Caddesi, once Grand Rue de Péra and went to the eager studios. Photography studios filled nearly every corner advertising their services in Ottoman Turkish, French, Greek, Armenian and Arabic. Likewise, the first photographers in İstanbul were the French and English with the and reopen constantly until the end of the empire. Photographers in İstanbul took their studios and equipment to Egypt, Crimea, Europe, the Levant, ancient ruins and the wild. Their work encompassed travel photography, landscapes, environmental photography, social life, photojournalism, portraiture, war-photography and imperial commissions. İstanbul was not merely toying with a new technology, but becoming one of the active centers of photography, winning awards and drawing attention. The quixotic orient blended with the rational West in the minds of travelers and Ottoman citizens. We must begin to understand the reality and multiplicity of images 15 F e at u r e A r t i c l e s
page 12 Portrait of Ali Sami s wife, Refia Hanım. Ali Sami, photographer. Engin Çizgen, Photographer / Fotoğrafçı Ali Sami, 1866-1936 (Haşet Kitabevi, 1989). by first becoming familiar with the major studios: the Armenian Abdullah Frères Brothers and the multi-ethnic Sébah & Joaillier studio. The Abdullah Frères Brothers were (and are) perhaps the most well-known, respected and endorsed photographic establishment in the Ottoman Empire. The three brothers, Viçen, Hovsep and Kevork in 1856 formed their studio around Divanyolu and later moved it to Péra. Their content ranged from photographs of the Sultans, of the great monuments, studio snapshots of the locals for postcards, images of Turkish coffee houses and Turkish women and studio portraits. The high demand for images of Turkish Ladies (who themselves were forbidden to be photographed) often forced studios to use Christian men awkwardly crossing their legs and wearing a veil! English, Russian, Ottoman and French royalty were the clients of the Abdullah brothers. However, when the Abdullah brothers photographed Duke Nicholai of Russia shortly after a Russian victory against Ottoman forces in 1877, their actions were leaked to the Ottoman government and their endorsement by the Sultan was revoked. All negatives of the imperial family were destroyed. Partially recovering, the studio lingered for another 20 years until they sold their shop and negatives to the Sébah & Joaillier studio in 1899. It is important to note, that by giving the photographic treatment to an enemy of the state, the Abdullah brothers created not a mere portrait of the Duke, but to the climate and context of that specific time-frame, a powerful link to the strength of Russia, the dependency of the Ottoman state to Europe and the failure of the military and Western reforms by Sultan Abdülhamid II in fighting the Russians. The photograph symbolized this to those who viewed it, a reality that was anything but imaginary. Pascal Sébah, born in Syria, began his studio in 1857 and eventually worked with the Frenchman A. Laroche in 1860. After suffering a stroke, he handed over the operation of the studio to his brother. Eventually Pascal s son, Jean, took charge, and in 1888 he employed Polycarpe Joaillier. The business was sold in 1908. During this entire time, the Sébah & Joaillier Studio was quite successful. One of their largest works, commissioned by the Sultan, was images of the clothing worn by the vast peoples in the Ottoman Empire which was sent to the 1873 Vienna World s Fair. The studio produced a slew of landscapes, panoramas and scenes of major Ottoman cities and Middle Eastern regions. This studio eventually purchased the photographs of the Abdullah Frères brothers but began adding their own name to these prints to profit from the other studio s name-recognition. One of the most fascinating and neglected photographer of the later period was Ali Sami Aközer, born in Üsküdar. One of the few Muslim photographers of this period, his images are stunning and startling views into the intimate and not-yet-contrived view of the educated, Ottoman upper class. Ali Sami will receive his just attention in a future piece. pat rons, producer s, consu mer s These two studios and of course many others were the creators and recorders of a reality consumed by individuals and segments of society. F e at u r e A r t i c l e s 16
At first the photographs merely depicted what was there, but as time progressed, the photographers begin arranging compositions, choosing projects and clients, and of clients choosing them. Then, photography developed into a major, legitimate industry and producer of images. Eventually people learned of their environment and of other people through the photographs. This evolution, as unpredictable as it can be, eventually shifted how people viewed themselves. Even so, the photograph was only consumed by a minority of people. Let us turn to the groups who owned and consumed photographs. The sultans were by far the greatest proponents of photographs, likewise their commissioned photographs had one of the greatest geographic spreads. There was, for example, the nearly two-thousand image albums created by Abdülhamid II sent as gifts to America and England (which can still be viewed in the Library of Congress and British Library) in addition to the many portraits and scenes of the ceremonies and visits of foreign powers, mostly German and Iranian. The next two largest and somewhat separate Ottoman groups of patrons were the high officials and the wealthy families. These officials excluded the religious upper class, the ulema, but contained many of the paşas, viziers and military commanders. In this pool there were many Muslims, although, without further biographical research it is hard to tell if they were converted to Islam as part of their inclusion into the bureaucratic class or they were born Muslim. The wealthy families, or non-governmental élites, were a more interesting mix. Based on the photographic captions, these patrons were regularly of the minority populations in İstanbul. Excluding the Jewish people, the Greek and Armenian populations were not only the largest producers of photographs, but also one of the largest groups of patrons. These wealthy families resembled a middle class in the types of occupations the males held. This group also contained Europeans who eventually became internalized as Ottoman citizens a considerably small number. Yet the Sultans, élites and wealthy groups were only one part. The patronage of the Europeans and their travel created demand for certain types of images. Those who came with the rush of European business and industry consumed many photographs. The French, British and Germans visiting, living and working in the Empire were a large impetus to what content was produced. Indeed, the work of most Sultans were directed at foreign show, and major photographic albums were intended for international exhibitions. Even the nobility and monarchs of England and France had Ottoman photographers produce for them portraits, since Ottoman photographers were considered very adept at the craft. In terms of shaping the identity of the Ottomans, the subject matter is the most important part. The hyperrealism of the image confers a sense of truth to those who view it. Portraiture was by far the most popular format. For the Ottophotographs begin to shape identity and reality than merely recording it 17 F e at u r e A r t i c l e s
schoolchildren, officers, clerics and clerks. Elements of Western fashion permeated the new military, educational and social arenas. The surrounding photos are from the large albums commissioned by Sultan Abdülhamid II and presented to the Library of Congress. Abdullah Frères, photographer.
Abdülhamİd ii wished to create a citizen beyond religion and race. Yet he wanted to preserve certain communities to show peaceful coexistence a moved that upset these groups. Depicted around the central image are costumes from the Vienna World s Fair Album. Pascal Sébah, photographer.
Portrait of Ali Riza Paşa, George Grantham Bain Collection, Library of Congress. Ali Riza Paşa, himself a photographer, was one of the last Grand Viziers of the Ottoman Empire and was rightfully dressed in modern attire. Portrait of a Turkish lady, Library of Congress. Abdullah Frères, photographer. This elegant photograph shows the mingling of various elements: an umbrella, pearl necklace, hijab and city attire amidst a somewhat artificial studio landscape. man government, portraiture depicted examples of people that the government wished to highlight: portraits of officers, schoolchildren, institutional personnel and ethnic groups. Especially with the ethnic and racial groups, the recurrence of Arab and Islamic images reflected attempts by Abdülhamid II s policies to create solidarity and affiliation with the Arab provinces and Muslim people, who were slipping from Ottoman control. There were military men, children of the westernbased school system, teachers, firemen, underwater engineers, Islamic clerics and members of the Ottoman dynasty such as princes, princesses and the Sultan himself. The élites mentioned earlier almost exclusively depicted themselves as portraits, often with select items and clothing to show class and status. One interesting cross-category in portraiture was pictures of locals. One may refer to these as types since they are in a portrait format but the subjects are often unidentifiable stereotypes of different classes and ethnicities. This usually takes the form of Turkish ladies, porters, coffeesellers and the working citizenry of traditional İstanbul. The people in the majority of the photographs wore dress coats, slacks and fezzes; women were in tight corsets and large-brimmed hats or in loose-fitting Muslim dresses with head-scarves; military uniforms; pantaloons and small vests of traditional Turkish dress covered the casual workers. The architecture and languages on the street signs were equally mixed. Greek, Armenian, Ottoman Turkish, French and Arabic dominate signs in buildings with neoclassical, Ottoman and Gothic architectural styles. However, these mixed scenes are most common in photographs labeled as in or near Péra or Galata the place of the cosmopolitan people, with the affluent families as well. Photographs taken close to the traditionally Muslim quarters have homes in a more traditional style and in wood. The clothing is still quite mixed. This architectural traditionalism is due more to the failed attempts at rebuilding these F e at u r e A r t i c l e s 20
A group photograph of the doctors of the Hasköy Hospital for Women, Library of Congress, part of the Abdülhamid II Albums. Abdullah Frères, photographer. Portrait of an İstanbul Porter, Library of Congress. Abdullah Frères, photographer. Typologies of İstanbul provided morsels of the people of the city for tourists and city-dwellers to remember. homes in stone and concrete, then a particular notion of maintaining separation from the Péra élites. The final viewer or owner of a photograph determined the content very significantly, or more importantly its interpretation and acceptance into the realm of identity. The consumer is often the patron as well. The Ottoman government wished to be depicted as modern and powerful, yet a large majority of travel photography produced for European consumers focuses on the static images of the Orient and famous monuments of İstanbul, some dating 300 years earlier. When the İstanbul consumers were also subjects in the images as in portraiture, there clothing is never in any traditional Ottoman dress but the Western-inspired military uniforms, suits, dresses, umbrellas and brimmed hats. Images of the city or Empire often contained the most significant architectural monuments of Ottoman classical architecture, or cityscapes that included some newly built institutional building such as barracks, schools, hospitals, shipyards or bridges. For the Ottoman élites working in the administration, the most popular format was portraiture of individuals in their class or work clothes. Wedding portraits do exist, as do infant, children and family portraits. These were rarely taken at home since lighting was too low. Many individual and intimate shots confront the viewer with the reality and uniqueness of the person depicted. The tourist industry indeed produced quite divergent subjects. One of the most interesting is the tourist portrait. A great majority of male (usually British) European travelers would dress in loosely authentic Turkish traditional dress and pose amongst pillows, rugs, water pipes and other Turco-paraphernalia. Since photography was still a professional service in a studio, travelers could not easily pose in front of famous monuments and scenes, as we do today. Therefore one could not directly prove their existence in the places they traveled. Thus, the purchasing of postcards and mailing of them with Ottoman postal 21 F e at u r e A r t i c l e s
left An Ottoman Mansion. Ali Sami Aközer, photographer. In this self-confident even pompous display of wealth, a smartlydressed woman is completely dwarfed by her new home. Ali Sami captures the humor and magnificence of this monument to wealth. Image duplicated from Engin Çizgen, Photographer / Fotoğrafçı Ali Sami, 1866-1936 (Haşet Kitabevi, 1989). stamps combined with the portraits of themselves in Turkish dress served as decent replacements. Land- and cityscapes were quite popular amongst the tourists, as were images of different common folk in their traditional garb. Mosques and Turkish cemeteries were a popular motifs as well for European travellers. What we have seen is that some of the first images produced were portraits of members and affiliates of the Imperial family. Photographs have had government backing since their arrival but the majority of photographers had no official affiliation with the government. That changed when the government began employing Muslims who were part of the military and primarily were used by the government to document the troops, weapons and other items. The creation of Court Photographer achieved similar ties to the government, but these individuals were not Turkish. Particularly important is the overlap and mixing of different groups in the world of photography. Identity was certainly not a fixed concept and people envisioned themselves in various atmospheres and modes. The photographers themselves would often dress in outrageous costumes and pose for the camera as they were the producers, consumers and patrons of photographs all wrapped in a single person. Slowly these images came together into the intricate and sometimes convoluted realm of Ottoman identity. It at first seems that there is a double-identity, but it is subtler than that. Since it was not merely one group of people who were very Western and one very traditional. Instead, it was the fact that these multiple identities could inhabit the same person. Sultan Abdülhamid II sought both Western progress and tradition amongst Muslims, which melded into a third identity, that of the cosmopolitan Ottoman. The Ottoman citizen was not an arbiter in authentic and accurate cultural experiences. They were aware where practices and beliefs were coming from but to say that those who Westernized and those who did not pursued that belief exclusively is not what the photographs reveal. What the photographs depict are the places and activities, looks and characters of the multiple identities that cohesively functioned in İstanbul. Each image makes into memory that which each producer of these images wished to have memorialized. These discrete moments and personal attachments to each images (even the mass-produced tourist images) is something that is hard to understand. For instance, the photograph of the Péra skyline with its Europeanstyled buildings fore-grounded by military ships and bustling merchant activity that intermingled with the architectural masterpieces of the previous epochs of Ottoman rule represented the realities, memories and aspirations of a great amount of people in İstanbul of the people who wished to modernize the urban fabric, of the Sultan who pushed for greater military strength to maintain sovereignty, of the élites and citizens believing that they, too, deserved the finest and newest amenities in their neighborhoods. Had not the Ottoman Empire represented centuries of success to these citizens? Were these photographs optimistic images of a newer era to build upon the long history of this Empire and capital city? That mental excitement and attachment is perhaps impossible for us to feel but only describe when we look at the images. Indeed, Ottoman photog- 23 F e at u r e A r t i c l e s
left Exterior view of the Süleymaniye Mosque, Library of Congress. Sébah & Joaillier, photographer. The sixteenth century buildings of Sinan, modern military barracks and vessels, schools and a growing urban skyline resonated to the people who once viewed it. raphers may even have enjoyed stereotypes of the Orient to an extent, and reveled in the mixed bag of clientele, since this multitude of identities was what set them apart from competing photographic studios in Europe and elsewhere. The viewing of the photograph produced turned the photographs from images into postcards, propaganda, heirlooms and social emblems that presented worldly, affluent, deprived, Western, educated, nationalistic, religious and concerned individuals and groups. And so, by the time of the greatest production of European Orientalist painting in the late nineteenth century, İstanbul began to take on a very different air, the European Orientalists were centuries behind reality. It is admirable to see the quantity of photographs that depicted citizens that have embraced somewhat haphazardly and hesitatingly the new forms of dress, living and entertainment, of education, governance and reform. Why not? They must have thought. We would be mistaken, however, to think that this small minority of consumers represented an entire Empire, but it does reveal the ease with which one could imagine new, old and transformed identities. I have utilized photographs to see how Ottomans were represented as much as they needed to represent themselves to others to confirm their identity. Photography certainly was not the only media that defined identity or help spread it to others, but it was one of the most popular. Even though the universal Ottoman citizen appears in these images, the photographs definitely excluded people. Being in a portrait and owning a photograph marked one as a particular class and of an intellectual and cultural status. Did Ottoman élites avoid images of common scenes of traditional dress and activity because it was not the new role they wished to own or because they also detested what they once were? It is difficult to know how homes were decorated with photographs to see how often people remember and learned from their images. Most photographs were in albums, shut like books when not viewed. Some homes, like Ali Sami s, were decorated freely with photographs since they could be important signs of status to visitors, as in the popular visiting card format where photographs were handed to guests like a business card. Even so, this identity that often superseded religion and ethnicity would not fare well in the changes arriving for the final decade of the Empire. The political and geographic landscape of the Ottoman Empire was changing rapidly, and by the early 1900s, the Ottoman élites were dealing with serious issues within and without the Empire. Photographs symbolically tried to offset real power and reality with an image to be held, owned and consumed. It carried a quality of representing so much in such a small, portable, reproducible space. Soon nationalism, great wars and new political systems would create sweeping changes in identity and reality across the globe severely shattering older realities. The ever flexible photograph developed as the perfect compliment to the new era unfolding in Turkey and the rest of the globe that even today continues, where the Republic of Turkey attempts to re-shape its role and place in the globe. F e at u r e A r t i c l e s 24
the Articles 25 F e at u r e A r t i c l e s
topic two in a series of three İstanbul da Roma-Bİzans Devrİne Bİlİnmeyen Ait Eserler Eşsİz fatih sultan mehmed İn özel koleksiyonundan written BY Garo Lacin F e at u r e A r t i c l e s 26
Arabalar Sfendone olum virajını dönerken, ortada Spina, orta uçta Metae tası, sağ tepede Kathisma (İmparator Locası). AraBacı Porphyrius m.s. 6.ci yüzyil İstanbul Ben-Hur filmini seyredenler Hipodromdaki Quadriga 1 yarışları hakkında az çok bir malumat sahibidirler. Yalnız filmde görülen bıçaklı arabalar sadece gladyatör dövüşleri esnasında kullanılırdı. M.S. üçüncü yüzyılda gladyatör dövüşleri demode olmuş, yerini araba yarışları almıştı. Bunlar bıçaksız normal yarış arabalarıydı. İmparator Septimus Severus (M.S. 193-211) İstanbul u kurduğunda, Roma dakinin ayni büyüklüğünde bir Hipodrom yaptırmıştı, bunu Büyük Konstantinus I (307-337) ve Büyük Theodosius I (379-395) zamanla daha da geliştirdiler. Eserin önemini takdir etmek için önce eski İstanbul un en büyük eğlence merkezi olan Quadriga; dört at koşulu araba. 100.000 kişilik 40 sıra Hipodromu kısa olarak tanıyalım. 500 metre uzunluğunda ve 117 metre genişliğinde olan Hipodrom, uzunca bir at nalına benzerdi. Her iki ucunda Metae denen uc taşları olan ve ustu sanat eseri ile dolu olan Spina (omurga) denen orta tas, yarış alanını uzunlamaşına ikiye bölerdi. Arabalar defalarca cilginca bir suratle Spina boyunca koşarlar ve Sfendone denen, çoğu zaman ölümle sonuçlanan Ölüm Sfendone; Hipodromun yarım ay şeklindeki viraji, bugün sadece iç duvarinin bir kısmı mevcut olup, geri kalan kısmı Ticari ve İktisadi İlimler Akademisinin temelleri altında kalmiştir. Şu anda asma bir kilitle kapatılmış olan kapıdan girildiği takdirde, Akademinin altında kalan ve bir sarnicla nihayetlenen, üstünde bir zamanlar quadrigalarin kostugu Sfendone nin altindaki yarim ay seklindeki dehlize ulasilir. 27 F e at u r e A r t i c l e s
Virajını dönerek, yine Spina boyunca opozit yöne doğru koşarlardı. Yarışçılar, tüm ustaliklarini bu virajı dönerken gösterirlerdi (ustteki resim). Roma da olduğu gibi Bizans da da 4 takım ve taraftarları mevcuttu, Veneti (Mavi takım) ve taraftarları Veneton (Maviler), Prasini (Yeşil takım) ve taraftarları Prasinon (Yeşiller), Rusiu (Kırmızı takım) ve taraftarları Rusion (Kırmızılar), Levki (Beyaz takım) ve taraftarları Levkon (Beyazlar). Taraftarların tribünü Hipodromun sağ tarafında, bugünkü Tapu dairesinin hizasındaydı. Mavilerin tribünü, Alman Çeşmesi ile Mısır Dikilitaşının arasında, Beyazlar, Dikilitaşın tam karşısında, Kırmızılar, Orme Dikilitaşın tam karşısında, Yeşiller ise Orme Dikilitaş ile Sphendone arasındaydı. Zamanla Beyaz Yeşille, Kırmızı da Maviyle birleşip sadece iki takım kaldı, Maviler ve Yeşiller. Yıllarca koşup defalarca şampiyon olan veya inanılmaz bir rekor kiran yarışçının heykeli, bazen hayatta iken, bazen emekli olunca, bazen de öldükten sonra Spinanin üzerine dikilirdi. Spinanin üzerindeki başlıca eserler; Uzun olduğu için ikiye bolunup dikilen Tutmosis III e ait Mısır dikilitaşı, başları üzerinde Delphi den getirilen altın kaseyi taşıyan birbirine sarılmış 3 yılan, şeytanı temsil ettiği için dokuzuncu yüzyılda İstanbul Patriki tarafından başlar kopartılmıştır. Başlardan birisi, Evdoxia kaidesi ile beraber ayni yerde bulunmuş ve İstanbul Arkeoloji Müzesine nakledilerek, üst katta camekan içine konmuştur. İkinci baş İngiltere de British Müzesinde olup, üçüncüsü ise tamamen kayıptır. Spinadaki ikinci dikilitaş, kaidesindeki kitabeden anlasidigina göre Constantinus VII ve oğlu Romanos II (945-959) tarafından Rodos daki kolisse ile İstanbul dan Venedik e goturulen Lysippus un meshur at heykelleri rekabet maksadıyla dikilen Orme dikilitaşdir. Hipodromun en onemli eserleri arasinda en basta gelen, bugun Sultan Ahmet camisinin yerinde olan Kathisma nin (Imparator Locasi) ustundeki, M.O. 3.cu yuzyilda Sakizli (Chios) Lysippus tarafindan yapilmis olan sanat saheseri, altin yaldizli 4 bronz at heykelleriydi. IV.cu Hacli seferi, M.S. 1204 de Anadolu ya acilmadan evvel silah ve yiyecek ikmali icin Istanbul da konaklamis (sur disinda, Yirolimni Kapisi ve Blacherna Kapisi arasinda Ayvansaray da surun Halicte kose teskil ettigi yerde), sonradan sehre saldirip ele gecirerek 1261 yilina kadar 57 yil suren Latin Imparatorlugunu kurmuslardi. 57 yil icinde saraylardaki ve kiliselerdeki kiymetli esya talan edilip, sehirdeki sanat eserleriyle birlikte Venedik e tasinmis, saraylar tahrip edilmis, dikilitaslardaki askeri zaferleri anlatan guzellikte emsalsiz bronz kabartmalar sokulup (Arkadius ve Constantinus VII sutunlari, bugun kabatmalari tutan metal cubuklarin yerleri hala mevcuttur) diger bronz heykelelerle birlikte para bastirilmak maksadiyla eritilmistir. Boylece zenginligi ve sanat eserleriyle batinin gozlerini kamastiran muhtesem Istanbul, talan edilerek sanat alaninda bir daha kalkinmamak uzere enkaz halinde 1261 de tekrar Bizanslilara gecti. Hipodromda, Kathisma nin ustundeki Lysippus un 4 bronz at heykelleri de sokulerek Venedik e goturulerek Ba- F e at u r e A r t i c l e s 28
1847da bullumus olan Porphyrius un eski kaidesi (Mavilerden) silikanin terasina konmustur. Zamanla altin yaldız asininca terasa atlarin taklitleri konmustur. Orijinal atlar ise Basilikada, atriumun ustunde teshir edilmektedir. Bugun Venedik te San Marco meydanindaki (guvercinlerle dolu meydan) Basilica San Marco ya cepheden bakilinca, kilisenin ana girisinin ustunde, kubbenin onundeki terasda, bir zamanlar Istanbul dan goturulen bu muhtesem atlarin taklitleri gorulur. Basilikanin icinde ise saray ve kiliselerden yagma edilen gumus ve altin tum esyalar ve 7.ci -13.cu asirlar arasinda yapilmis, Byzantine school harika iconalar cam vitrinler icinde teshir edilmektedir. Hipodromdaki buyukce sabit eserlerin yanisira baslica muhim eserler, araba yarisi sampiyonlarinin heykelleriydi. Roma da ve Istanbul daki yariscilarin heykellerinden bugun hicbiri mevcut degilken, iki tanesi bir sans eseri olarak Istanbul da meydana cikti. M.S. 480 ile 540 yillari arasinda, yani Anastasius I (491-518), Justinus I (518-527) ve Justinianus I (527-565) devirlerinde yasamis olan ve bir zamanlar Spina uzerinde heykelleri olan sampiyonlar sirasiyla sunlardir: İstanbullu Faustinus, Faustinus un oglu Istanbullu Constantinus, Tyre li Julianus, Nicaea li (Iznik) Uranius ve nihayet 40 yil boyunca araba surerek 100.000 kisinin Istanbul semalarini yirtan NIKA (Zafer) cigliklari altinda, butun bu sampiyonlari yenerek, suruculugu boyunca 7 heykel alan, arabacilik tarihinde ilk defa elli yarisin hepsini kazanip sampiyonlar sampiyonu olan, emekli olup yine surmesi icin taraftarlari tarafindan yalvarilan ve en sevdigi takimi Mavileri kirmayip geri gelerek 60 yasini geckin olarak surup yine sampiyon olan ve adi suruculuk tarihinde altin harflerle yazilmis olan meshur arabaci porphyrius. Asil adi Calliopas olup, Kuzey Afrika da (Livii) doğmuş ve İstanbul da büyümüstür. İstanbul a geldikten sonra Latin adi alıp, adini Porphyrius a cevirmistir. Zaman zaman transfer olup takım değiştiren Porphyrius, ilk heykelini araba yarışları tari- J. Ebersolt, A.A. Vasilev ve A. Cameron un Porphyrius kaideleri calismalari. 29 F e at u r e A r t i c l e s
1962de bullunan Porphyrius un yeni kaidesi (Mavi ve Yesillerden). Kaidenin soldan birinci ve ikinci yuzu M.S. 532de, Nika ihtilalinindeki yanginin izlerini tasimaktadir hinde ilk defa olarak, daha yarışırken emekli olmadan 20 yaşlarındayken Mavilerden almıştır. Planudes in not aldığı epigramlardan anlaşıldığına göre toplam yedi heykeli olan Porphyrius a, dördünü Maviler vermiş, diğer ikisini Yeşiller ve bir tanesini de takdirname olarak Mavi ve Yeşil takımlar müştereken vermişlerdir. Mavilerden aldığı 4 heykel, Alman Çeşmesi ile Mısır Dikilitaşinin arasında, Mavi tribünlerinin önündeydi. Diğer 3 heykel, Orme Sutun ile Sphendone arasında, Yeşil tribünlerinin önündeydi. Porphyrius un şampiyon olarak aldığı heykeller sırasıyla şunlardır: İlk 3 heykel Mavilerden 20 ile 27 yaşları arasındayken almıştır M.S. 500-507 ve arabacılık tarihinde ilk defa olarak birinci devredeki ve Diversium daki yarışların hepsini kazandığından kendisine araba yarışçılarına ait en büyük unvan verilir Apo Factionarion-Takim Kaptani. Bir heykel Yeşillerden ve Mavilerden; arabacılık tarihinde her iki takım tarafından mustereken heykeli dikilen yegane arabacı. İki Heykel Yeşillerden M.S. 515-520 yılları arasında. Son bir heykel Mavilerden, 60 yaşını geçmişken taraftarların devamlı israrı üzerine emekliyken geri gelir Diversium: yarışın ikinci devresi ve bu devrede, basarili yarışçının kendi iç takımını ve istediği atları değiştirmesi. Turnuvada, birinci devrede 25 yarış, Diversium da (ikinci devre) da 25 yarış olmak üzere total 50 yarış yapılır, bazen günlerce sürerdi. F e at u r e A r t i c l e s 30
formayı kendisi seçsin [şayet İmparator vermese, yeşil formayı seçsin]. 2 Yiğit yiğite, bilgin bilgine karşı, dahili takımı değiştirerek [Diversium], verdığı takımdan ve aldığı takımdan kazandığı iki zaferden şeref duyduğu için, Zafer in [Tanrica Nike] oğulları Maviler, Zafer in oğlu Porphyrius için bu heykeli diktiler. 3 Yarışmayı Yeşiller için kazanıp dedin ki: Bu muhteşem oyun bir spordu. Ey Porphyrius! Zaten Maviler mağlubiyeti seni görür görmez kabul etmişlerdi. Porphyrius un yeni kaidesinden bir ayrıntı (Mavi ve yeşillerden) ve yine yarışır. M.S. 1327 de Bizanslı bilgin rahip Maximus (Manuel) Planudes, İstanbul ve tasrasındakı tüm eserlerdeki epigram ve epigrafları not alıp, Anthologiae Palatinae de 5 toplanmış olduğu için bugün eser mevcut olmasa bile en azından üzerindeki epigraflari bilmekteyiz. Porphyrius un kaidesindeki İyonik Yunanca ile yazılı epigramlardan bazıları: Yeşil taraftarları (arzuları) 1 Olsun veya olmasın [Kazansın veya kazanmasın] benim için farketmez, [Sadece] Porphyrius u bize verin. Porphyrius Maviler için kazanarak onları mutlu etti, Yeşiller için de kazanıp onları mutlu etsin, şayet olmasa W.R. Paton tarafından Anthologiae daki epigramların tercümesi, The Greek Anthology, W.R. Paton. 1918. A Kimsin sen ey saygideger genc delikanli, cenenin sivriligi sakal ile cizilmis? B Yabanci, ben Porphyrius um. A Memleketin? B Libii [Kuzey Africa sahilleri, Libya olmasi mumkun]. A Seni kim sereflendirdi? B Imparator, araba surusumden. A Buna kim taniklik etti? B Mavi Takim. A Porphyrius! Sen Lysippus u almaliydin, en usta heykeltras, senin zaferlerine ancak o taniklik edebilir. Bati eserlerine karsi sonsuz bir hayranligi olan Fatih Sultan Mehmed II, dördüncü Hacli Seferi yagma ve tahribinden hemen hemen hic bir sey kalmamis olan bu sehirdeki bulabildigi tum eserleri, bilhassa Hipodromdaki eserleri toplayarak bunlarla Topkapi Sarayinin bahcesini Yeşillerin, İmparatora Porphyrius u Mavilerden alıp kendilerine vermesi için Benetiler (Mavi) aristokrat takımıydı, çoğu İmparatorlar Mavileri tutardı. 31 F e at u r e A r t i c l e s
İstanbul Arkeoloji Müzesinde bullunan Porphyrius un yeni (solda) ve eski (sağda) kaideleri. suslemis ve bunlari bugunku nesle kazandirmistir. Topladigi eserlerin icinde, bugun Arkeoloji Muzesinin onunde duran, IV ve V asira ait profir imparator lahitleri ve Imparator Heraclius a ait oldugu tahmin edilen beyaz alabastradan yapilmis Sarcophagus ile Porphyriusun iki kaideleri ve daha bilinmeyen eserler vardi. Fatihten sonraki devirlerde bunlar tahrip edilmeyerek sarayin bahcesinde gomulmus ve zamanla orada unutulmustur. Dort asir sonra, 1847 de bahceyi guzellestirmek amaciyla mevcut olan yikik duvar ve bazi agaclarin cikartilmasi esnasinda tesadufen rastlanan Imparator lahitleri ve Porphyrius un bir kaidesi, o devirde Arkeoloji muzesi mevcut olmadigi icin buluntular Aya Irini kilisesinde depolanmis, sonradan 1891 de insa edilen Arkeoloji muzesine nakledilmistir. 115 yil sonra, eski kaidenin bulundugu yerde 1962 deki kazilarda cinar agacinin cikartilmasi esnasinda, agacin koklerinin kucakladigi ikinci Porphyrius kaidesi, bir porfir lahit kapagi ve Imparator Heraklius a ait (610-641) oldugu tahmin edilen, dort kosesinde bordurlu hac kabartmasi bulunan, alabastra tasindan yapilmis sarcophagus bulunmustur. 8 Yeni kaidenin bulunmasi, diger ulkelerdeki tum Bizantinologlarin dikkatini Istanbul a cekmis ve bu kaideler hakkinda incelemeler baslamisti. 1847 de bulunan ilk kaide, M.S. 500 lerdeki Sampiyonluk yarisinda Mavilerden almis oldugu heykeldir. Bu kaidenin ozelligi, tum yarisma boyunca kullandigi atlarin adlainin yazili olmasidir. Birinci kosuda kullandigi atlar: Aristidis (Mukemmel), Palestiniarhis (Filistin Hukumda- 1962 yili Arkeoloji kazi raporlarindan. F e at u r e A r t i c l e s 32
the Articles 1429 dan bir gravür (Buondelmonti). Ortada Misir obeliski, hemen sağinda Porphyrius un üç kaidesi. Obeliskin solunda, dikiltaşlar arasında Porphyrius un üç kaidesi daha görülmektedir. ri), Pirros (Kizil), Evtinikos (Dosdogru Kazanan). Diversiumdaki atlari: Nikopolemos (Savas Galibi), Radiatos (Parlayan), Pirros (Kizil), Evtinikos (Dosdogru Kazanan). Final kosusundaki atlari: Alievs (Balikci), Antipatos (Baskonsolos), Kinagos (Avci), Pelorios (Muthis). Yeni bulunan kaide ise, Yesil ve Mavi takimlarin mustereken, sampiyonlar sampiyonu Porphyrius a sukranlarini sunmak maksadiyla verdikleri heykeldir. Ust dort kosesinde Victoria lar (Zafer Tanricasi) Kariatid pozisyonunda (yapilari basinda tasiyan tanrica), elleriyle kaidenin ustundeki Porphyrius u (bronz heykelini) tasiyor vaziyette, ortada Porphyrius dort at kosulu Quadrigasinda, elinde celenkle seref turu atarken, basinin ustunde Constaninopolis Tyche si (Talih Tanricasi) tarafindan zaferinin bedeli olarak taclanirken. M.S. 532 deki Nika ihtilalinde kaidenin yanan iki yuzu, ihtilalin yangin izlerini tasiyan canli sahitlerinden biridir. 1429 da Buodelmonte nin cizdigi gravürde Porphyrius ve diger yariscilarin kaideleri acik olarak gorulmektedir. Fatih in Hipodromdan topladigi Porphyrius un iki kaidesi Topkapi Sarayinin bahcesinde gomulu olarak bulunduguna gore tahminimce bilinen diger kaideler ve daha bilinmeyen nice eserler hala sarayin bahcesinde gomuludur. Istanbul Arkeoloji Muzesindeki Bizans eserlerinin en degerlisi olan ve Roma ve Bizans daki araba yariscilarinin heykellerinden yegane mevcut olan bu iki muhtesem emsalsiz dev eser, bugun onunde sadece Arabaci Porfirius, VI. yy. Istanbul yazisindan baska hic bir bilgi verilmemis olup, muzenin los isikli No 20 salonunda kesfedilmeyi beklemektedirler. 33 F e at u r e A r t i c l e s