Begüm

Selçuk

This article seeks to establish Teoman Madra as a pivotal figure in the history of multimedia art, both within Turkey and on the international stage, by examining his body of work created between the 1960s and the 2000s. Multimedia art, characterised by the integration of diverse media and technological innovations, has evolved significantly since its inception. Artists from various parts of the world have employed different approaches and techniques to explore the creative possibilities of combining visual, auditory, and textual elements. Within this global narrative, Teoman Madra's artistic contributions stand out not only for their ingenuity but also for their profound relevance to Turkey's cultural and artistic development during the latter half of the 20th century. Despite his important role, Madra’s legacy has remained relatively underexplored in academic and artistic discourse. This article aims to address this gap, shedding light on his work and its historical significance.At the heart of this research lies the Teoman Madra Archive, a meticulously curated collection of visual, audio, and textual materials. This archive emerged because of media archaeology and archival studies conducted by Artut in 2020. These efforts were pivotal in unearthing, preserving, and contextualising Madra's creative output, which had remained largely inaccessible to researchers and the public. The archive serves as a rich repository of knowledge and inspiration, providing a comprehensive view of Madra’s artistic journey and offering valuable insights into his creative processes, aesthetic principles, and the socio3cultural contexts that shaped his work.Madra’s artistic practice reflects a unique convergence of local and global influences. The political, social, and technological transformations of his time deeply informed his works from the 1960s to the 2000s. The 1960s, marked by the rise of experimental art movements and technological advancements, saw Madra engage with innovative practices that challenged the traditional boundaries of art. His early works exemplify a bold exploration of new media, incorporating photography, film, sound, and text in ways that were unprecedented in Turkey. Artists embraced experimentation during this period, and Madra emerged as a trailblazer in multimedia art within the Turkish art scene.As multimedia art continues to evolve globally, Madra remained at the forefront of these developments. His works in the 1970s and 1980s reflect a deep engagement with the technological possibilities of his era. His practice demon3 strated a sophisticated understanding of the interplay between traditional and contemporary art forms, positioning him as a bridge between past and future artistic paradigms.&nbsp;One of the central themes of this article is the contextualisation of Madra’s work within the broader history of multimedia art. Artists and movements across different regions have shaped multimedia art through shared criteria and approaches. However, the socio3political and cultural specificity of each context have also played a critical role in defining the trajectories of individual artists. In Turkey, the emergence of multimedia art was closely tied to the country's modernisation efforts and its complex relationship with Western cultural influences. Madra's works offer a lens through which to examine these dynamics, highlighting how he navigated and negotiated the tensions between tradition and modernity, local and global.In this study, Madra's life and artistic career are discussed in detail, and findings and evaluations are presented on the artist's position and contributions in the history of multimedia art. His works from the 1990s and 2000s illustrate a continued commitment to innovation and a willingness to engage with emerging technologies. By embracing digital media and exploring its creative potential, Madra expanded the boundaries of his practice and contributed to the broader discourse on the role of technology in art. His later works reflect a mature and nuanced approach to multimedia art, characterised by a deep integration of form and content.Through a detailed analysis of Madra’s life and career, this article seeks to articulate his unique position in the history of multimedia art. It presents findings and interpretations that underscore his contributions to the field, emphasising his role as a pioneer and innovator. By bringing Madra’s contributions to light, this article seeks to expand the narrative of multimedia art history and affirm his place as a key figure in the field. The Teoman Madra Archive serves as a testament to his enduring impact and provides a foundation for further research and exploration into his work.&nbsp;

Teoman Madra: Multimedya Sanatında Bir Öncü

Veli

This study is about the İbrahim Ağa Mosque, primary school and police station located in Koşuyolu Neighbourhood, Kadıköy District, Istanbul. From the buildings examined, only the mosque has survived to the today, preserving its integrity. Only two walls of the police station have survived to this day in a dilapidated state, while the primary school has not survived to this day. According to the publications, the mosque was built by İbrahim Ağa, one of the Babüssaade Agas of the reign of Sultan Murad III, in 988 A.H. (1580 A.D.). However, new information about the patron and construction date of the structure can be obtained from the foundation deed numbered TS. MA. d 7071 in the Topkapı Palace Archives and some documents in the Ottoman Archives. Although the summary of the foundation charter numbered TS. M.A. d 7071 in the Ottoman Archives states the date 20 Safer 970 H. (19 October 1562 A.D.), the bottom line of the foundation charter text states the date as mid6Safer 907 H. (August6September 1501 A.D.). In this foundation charter, the structure is one of the foundation buildings belonging to Karaferya Zaimi Tavaşi İbrahim Ağa in Kadı Village of Üsküdar. According to the foundation charter, the complexs was established as a zawiya with a mosque, an inn, a kitchen and three rooms. The real estate allocated for the maintenance and operation of these foundation buildings is also included in the foundation charter. Some units within the lodge (zaviye) have disappeared over time. This zawiya was built between 1493 A.D., when İbrahim Ağa purchased the land on which these buildings were built, and 1501 A.D., the date of the foundation deed. It is stated that the structure was in operation as a lodge in the late 17th century and that the masjid was converted into a mosque by adding a pulpit in the mid618th century. There is information about the repair of the monument in documents dated 1845, 1891, 1897 and 1906 A.D. in the Ottoman Archives. In its current form, the mosque is built on a vertical rectangular site in the southeast6northwest direction. The building, which has a portico in front, has a women’s gallery sitting on two supports on the northwest side of the harim section. The mihrab and minbar of the structure date back to the last quarter of the 20th century. The building is covered with a hipped roof. In 200062001, a door was opened in the northeast wall of the mosque and an annexe was built to the east of the mosque. The squat minaret of the building is approximately at the level of the portico on the southwestern facade. The base of the minaret is raised up to the main wall of the building and has a square section. The body, balcony, and honeycomb parts of the minaret are round, and the cone part is pointed. In some images from the last quarter of the 19th century and the first quarter of the 20th century, the minaret of the mosque is higher than it is today. The body, balcony and honeycomb section of this old minaret are also round in plan, and its cone is made of stone. A belt with a garland motif stands out just below the cone section. Along with the eastern addition in the early 2000s, another independent, very tall minaret was built to the northeast of the structure. It is not known when the kitchen, inn and three rooms that were in the structure when it was first built were removed. However, in 1849650 A.D., a police station was built southeast of the cemetery behind the mosque. Today, only the northeast and northwest walls of the police station remain standing. However, it is possible to get an idea about the entrance facade and cover with the old visuals. It is understood from an image taken between the last quarter of the 19th century and the first quarter of the 20th century that the police station was a structure covered with a hipped roof with a columned entrance in front. The document dated 1869 A.D. is about the construction of a primary school on the courtyard entrance of the mosque. This document includes a sketch showing the layout of the mosque, primary school and police station. The location of the mosque, primary school and police station in this sketch is parallel to the location in the maps of “Alman Mavileri”. The current borders of the mosque are different from the organisation in the sketch and map. Ayvansarayi et al. (Hadika’ül Cevami) stated that before the new primary school was built on the courtyard wall of the mosque, there was a ruined primary school and the narthex of the mosque was used for this purpose. From the sketch attached to the document, it is understood that the school was two6storey, with shops and toilets on the lower floor and a section used as a teacher’s room and classrooms on the upper floor. The southwestern facade of the primary school, which has not survived to this day, is reflected in some old images. From the images, timber framed structure covered by timber claddings. In this image, with four rectangular windows are lined up side by side on the upper floor of the hipped6roofed school, smaller toilet windows can be seen on the lower floor.&nbsp;

Yeni Belgeler Işığında Kadıköy İbrahim Ağa Zaviyesi (Camisi), Sıbyan Mektebi ve Karakolu

Nurcan

Datça, located in the southwest of Anatolia, extends as a peninsula and has a mountainous geography. The tourism sector has come to the forefront in recent years in the region where agriculture, mostly on cultivating olive and almond trees, has been practised.The most important settlement of the region, which has hosted different civilisations from ancient times to the present day, is the ancient city of Knidos. Knidos is strategically located on the Bozburun peninsula, where the Aegean and the Mediterranean Sea intersect. It was a commercially, culturally and geopolitically significant city in ancient times. Archaeological excavations and research in Knidos attracted the attention of Western researchers from the 18th century, and the first excavations were carried out by Sir Charles Newton in 1858. Today, archaeological excavations are continued by scientists.The arrival of the Turks to the region was initiated by the uç beys of the Anatolian Seljuks, and a state was established in the region by the name of the Beylik of Menteşeoğlu. The Datça Reşadiye Mosque in Muğla, which is mainly known for the works of the Beylik of Menteşe, draws attention as a significant structure from this period. The grave tradition of the Turks was continued in the vicinity of Muğla as in all geographies where they ruled. Gravestones belonging to the Beylik of Menteşe and Ottoman period in the hazîre, fenced cemeteries, of various mosques and independent cemeteries have been studied and published by different researchers.Datça and its surroundings, located in the southwest of Anatolia, have been home to different civilisations from ancient times to the present day. The region, primarily known for the ancient city of Knidos, is home to various works of Turkish culture and art from the period of the Beylik of Menteşe.The tradition of burial and funeral in Turkish culture is continued with gravestones in the cemeteries in the region. Twenty-six gravestones that we identified in the cemetery of Cumalı village of Datça district, which is the basis of our study, are examined within this framework. It was determined that these specific stones are mostly headstones. The gravestones we examined as ‘Cumalı gravestones’ are discussed in detail and evaluated within the scientific methods and techniques in the field of art history.The gravestones in Cumalı cemetery are generally made of stone and marble. The analysed graves are grouped into four different types. These are analysed as framed, high-framed, earthen graves and indeterminate ones. The graves that are generally framed are surrounded by block stones. The forms of the gravestones are vertically rectangular and horizontally cross-sectioned with serpuş, the shape and design on the top of the Ottoman headstones. Six of these graves belong to women and six to men. In addition, there are five graves determined to have missing or fallen serpuş.The inscription sections on the main frame of the gravestones were created using stone carving techniques. On the pediment part, serlevha, the heading, is usually enclosed in a cartouche, and the surface of the main body consists of requests to people, requests to God, status, profession, names and nicknames, ancestry, Fâtiha and finally, the date of death.Eleven of the headstones analysed belong to men and fifteen to women. Six of the stones belonging to men have sarık, a form of turban, carved on stone; three of them have fallen off and one of them has a triangular-shaped top and the other one has a flat top. Of the fifteen headstones belonging to women, six have serpuş carved as highcollar hotoz, a traditional headdress. Two have fallen off, four have triangular tops, two have sliced tops and one has a floral top.There are floral ornaments on the headstones and footstones of the gravestones. The motifs used are generally acanthus/thistle on the top and tree of life on the pediments of the headstones of the graves belonging to women, while cypress motifs are used on the footstones of the graves belonging to men. In addition, cypress motifs are used on the footstones of the two women’s and men’s graves. The techniques of embossing and engraving were preferred in the motif-making process.The earliest of the twenty-six samples of gravestones examined in the Cumalı cemetery belongs to Rahime kadın, dating back to the late 18th century (1794 AD). The latest is the tombstone belonging to Aişe kadın, dated to the early 20th century (1912 AD).In conclusion, the gravestones in Cumalı cemetery are historical documents that allow us to establish a connection between the past and the future, and it is our greatest wish that they are carefully preserved and maintained.In this work, the gravestones in the cemetery of Cumalı village of Datça district are examined. The stones are discussed in detail as headstones and footstones and are listed chronologically. In addition, the types of headstones were grouped as the gravestones of women and men. The inscriptions on the headstones are analysed and the owners of the tombs are disclosed. Headstones and footstones are compared according to their shapes and ornaments. The study aims to reveal how long people in the region have existed.&nbsp;

Datça-Cumalı Mezar Taşlarından Örnekler

Derya

Malzeme Okumada Bir Uğrak Olarak Tony Cragg

Zehra

Umut

Contemporary art embodies multilingual, alternative, inquisitive, and inclusive propositions, infused with cultural, scientific, and technological advancements and nurtured by diverse materials that foster interdisciplinary structures. In this context, the inclusion of objects in art production dates back to the early 1900s, marking a period when a new material aesthetic began to emerge in art pieces. During the period known as Synthetic Cubism, which developed between 1912 and 1914, the technique of collage emerged as materials like paper, newspapers, linoleum, fabric, stamps, string, leaves, and insects were pasted onto the painting surface. Max Ernst described collage as “the meeting of two distant realities on a plane foreign to both.¹” Over time, objects played prominent roles in various forms such as assemblage, montage, Marcel Duchamp’s readymades, Kurt Schwitter’s Merzbau structures, and El Lisstzky’s Proun designs.By the 1960s, the presence of objects had spread to the environment through installation art. In this production, where the fullness and emptiness of space were acutely felt, the foundations of a participatory art approach were laid. In this period, viewers shifted from passive to active roles, taking part in the formation of the artwork, initiating mutual interactions between the artwork, space, and viewer. With cultural transformations, artistic practices underwent intense change, leading to significant shifts in the structure of exhibition spaces. Artists’ efforts to explore new enviA ronments directed them to undiscovered places, making art producible in any setting and under any circumstances. In these works that emerged from experiencing space, action, process, and experimentation came to the forefront. From the postA1960 period to the present day, art has incorporated alternative movements such as conceptual art, land art, new media art, happenings, Fluxus, performance art, and process art. The primary reasons for the rapid emergence of these movements, compared to centuryAspanning movements like Cubism and Impressionism, can be summarised as the pace of scientific and technological advancements and artists’ boundless curiosity about their surroundings and desire to experiment with different things. Another concept related to installation is ‘siteAspecific’. In works created specifically for a given space, the unique characteristics of that environment are highlighted. In these productions, where the natural structure of the space is preserved but sometimes modified, works emerge that are integrated with and exist within that space.In this context, the British artist Ian Kiaer stands out for his spatial propositions, maintaining a connection with the wall surface. In addition to painting, Kiaer has long admired the utopian projects of visionary intellectuals and architects such as ClaudeANicolas Ledoux, Curzio Malaparte, Ludwig Wittgenstein, Konstantin Melnikov and Frederick John Kiesler, and this fascination has evidently become a research subject in his art practice. The scope of this study is limited to Kiaer’s Endnote: Tooth project, which he has been working on since 2005. Inspired by the architect and theorist Frederick John Kiesler’s Tooth House project, modelled after an unfinished human tooth, Endnote: Tooth serves as the visual extension of Kiaer’s longAterm research. Kiaer’s installations, shaped through architectural, philosophical, and literary studies, offer narratives that could be interpreted as either utopian or dystopian. His works frequently incorporate found objects such as inflated Korean garbage bags, styrofoam, plexiglass sheets, wrapping paper, architectural models, and trash cans, which he situates in interconnected arrangements within or outside the exhibition space. With his Tooth House project, Kiaer presents a space of oscillation where objects confront each other. According to the artist, the arrangements and reuses of objects he has gathered over the years represent a way of accepting things as they are, listening to and revisiting the material, and thus the landscape he observes.&nbsp;In this article, which adopts an interpretative method as part of qualitative research, a literature review on Ian Kiaer’s art practice was conducted; this included utilising the websites of art galleries representing the artist, interviews with the artist, and international biennial and exhibition writings. Subsequently, works produced by Kiaer within the scope of the Endnote: Tooth project, which spans a broad timeframe, were interpreted in light of the literary, architectural, and philosophical texts that nourish the artist’s creative practice.

Ian Kiaer’in Sanat Pratiğinde Üçlü Kurgusal Dil

Soner

The first known construction date of Antalya Castle traces back to the Hellenistic period. Over time, additions and repairs in the Roman, Byzantine, Seljuk, and Ottoman periods ensured the castle’s continuous preservation. The castle possessed a monumental fortification system that defended the important Mediterranean port and city of Antalya. The fortifications consisted of approximately five different walls: the outer wall, curtain wall (hisar peçe), middle wall, inner castle wall, and harbour wall. The defensive system was reinforced with two- or three-story towers, and the castle had approximately thirty gates, demonstrating a monumental and systematic architectural plan. In the 19th century, Antalya Castle underwent numerous repairs. The repair exploration registers prepared in 1815 and 1816 reveal that the castle required extensive restoration. The primary reason for these repairs was the Tekelioğlu Revolt that occurred between 1812 and 1814. During the siege of the castle during the revolt, the outer walls, curtain walls (hisar peçe), towers, gates, and staircases were heavily damaged. The exploration register prepared on April 25, 1815, by the architect Mustafa Raşid Efendi documented the necessary interventions for repairing 119 points of damage. The architect meticulously documented and calculated the expenses for the walls, towers, gates, staircases, crenellations (dendan), and parapets (harpuşta). The total repair cost amounted to 160,578 kuruş. Following the architect Mustafa Raşid Efendi, the repair activities continued under the supervision of Ahmet Ağa as the building superintendent from September 1815. In February 1816, Osman Ağa replaced Ahmet Ağa, who supervised the repairs hitherto. During the siege, the outer walls, curtain walls (hisar peçe), towers, gates, staircases, crenellations (dendan), and parapets (harpuşta) of the castle suffered significant damage. The destroyed sections were reconstructed using a combination of old and new stones from the debris. The most frequently used interventions for repairing cracks included nailing and grouting. The primary materials used in the repair and reconstruction work included stone, wood, nails, mortar, and tiles. Stones, mortar, and nails were mainly used for repairing the walls and towers. Wood was employed for constructing new gates, and tiles were used for roofing the towers. The records indicate that workers were procured on two separate occasions for the construction works. The first record, dated June 17, 1815, shows that the workers were brought from various regions. Those sent from Istanbul included only four lime workers, four stone breakers, and two masonry foremen. From nearby Antalya, 100 workers were supplied, including 25 from Konya, 10 from Karaman, 10 from Akşehir, 25 from Kütahya, and 30 from the Hamid Sanjak. It was stated that the workers’ daily wages would be paid by the building superintendent. Additional workers were sourced at the beginning of 1816, with 390 labourers obtained from the districts of Antalya according to the Antalya Sharia Registers (Şer’iyye Sicili). Almost the entirety of the outer wall, which sustained significant damage, was either repaired or partially rebuilt. The crenellations and parapets on the outer wall, most of which had collapsed, were reconstructed. The paths referred to as seğirdim mahalla on top of the walls were repaired using stone pavements. A significant portion of the curtain wall line and its crenellations also underwent repairs. Due to the damage caused by the sea waves, the repair of the southern wall located in the sea near the harbour was requested. Approximately thirty-six towers in the castle were repaired. The interventions were concentrated on the towers between the Nevbethane Tower and the Tophane area, as well as between Hıdırlık Tower and the Köşe Tower. &nbsp;The castle plan indicated thirty gates, of which eight required repairs. The plan also showed nine staircases, with five of them needing repairs. Since only a small part of the castle has survived to the present day, it is not possible to verify on-site how many of the repairs documented in the 1815 exploration register were completed. However, the second register prepared on July 19, 1816, by the architect Osman Ağa stated that the repair of the harbour wall had not been carried out and that it had deteriorated further during this period. As a result, a new repair request was documented. This study has been written due to the lack of detailed research on the repairs of the Antalya Castle. Its major objective is to present the process and interventions of the repair activities conducted in 1815 and 1816, when the most comprehensive repairs of the castle were undertaken. The study first identifies the areas requiring repair according to the exploration register. By considering the materials and technical characteristics observed in the surviving sections of the castle, some of the Ottoman-era interventions have been identified, and traces of the repair techniques mentioned in the register have been examined. It is evident that the extensive repairs planned in the 1815 register were largely carried out.

1815 ve 1816 Yılları Tamirat Keşif Defterlerine Göre Antalya  Kalesi’nde Onarım Faaliyetleri

Aygen

The purpose of this article is to trace the exhibitions organised at the French Consulate in Istanbul during the occupation of Camille Bergeaud (1900-1973), who served as the Cultural Attaché from 1949 to 1955. With the light of the results obtained, this article aims to discuss the consulate’s role as an exhibition space before the opening of the first art galleries.The first part of the study briefly deals with the exhibition activities in Istanbul and Ankara, where Western-style painting and sculpture gained prominence in Turkey. During the late Ottoman Period, the establishment of the Sanayii Nefise Mektebi (Academy of Fine Arts) in Istanbul in 1882 was a substantial step for the institutionalisation for the education of the fine arts. However, as the school graduates more students, it has become a problem that these young artists cannot find a place to exhibit their works. Beginning in 1916, Galatasaray Exhibits held in Galatasaray High School (former Mekteb-i Sultani) became the first long term artistic organisations of the Ottoman Empire, and these exhibitions lasted until 1951. After the declaration of the Republic in 1923, during the Early Republican period, art was considered a tool to spread the ideology to the public and artists produced for the purposes of the state. After Ankara became the capital of the Republic, exhibition activities were mostly held in the new capital instead of Istanbul in such places like Ankara Exhibition House and the Ankara People’s House. Despite this activity in Ankara, the centre of the artistic production was still Istanbul. However the lack of exhibition halls besides the State Academy of Fine Arts and the Istanbul Painting and Sculpture Museum in Istanbul has become a problem for young artists. The People Houses established in 1932 was a temporary solution for this problem. After World War II, artists began to seek solutions for their own problems. At the end of the 1940s, the French Consulate became new exhibition venue for Turkish artists.In the second part, the research explores the transformation process of the French Consulate in Beyoğlu into a gallery where modern Turkish artists could exhibit their works starting from the late 1940s. The consulate building, which was and is still located in Beyoğlu became popular among local artists because until this time, artists were exhibiting their works at places such as empty magazines, bars and restaurants around Beyoğlu district. When Camille Bergeaud was charged as the Cultural Attaché of France in Istanbul, French Consulate galleries became gradually more popular among the artists, especially the young ones.The third part narrates the life of Camille Bergeaud, who provided essential support to Turkish artists during his occupation as a cultural attaché. A bright example of the French higher education system (after all, he was alumnus of École Normale Supérieure, one of the most prestigious schools in France) Bergeaud was a highly trained man in classical languages, such as Greek and Latin; yet, his solid interest in the Orient and its culture resulted in a dissertation about the image of the Orient in medieval French chansons. Moreover, he had the purpose of promoting French culture overseas. All these aspects made him an important figure in the late 1940s and early 1950s art circles of Istanbul. He was both a well-known and respected intellectual whose main goals were to create a new space for Turkish art and to have some connections among Turkish artists. While he left Turkey in the mid 1950s, he could easily be deemed successful.The fourth part examines the exhibitions held at the consulate during Bergeaud’s occupation, by focusing on art publications of the time. Under Bergeaud’s direction, the consulate became an important exhibition space that allowed modern Turkish artists to show themselves and their Works in, a way that was unprecedented and unparalleled in the history of the Republican era of Turkey. A significant portion of the 1940s art criticism directly evolved from those exhibitions at the French consulate, but nevertheless, the exact quality and quantity of all the exhibitions held in the consulate were still poorly researched. However, this period is an important phase of Turkish art—it shows its weaknessses as well as its strengths. This part is completed with a list of all detected exhibitions of the French consulate, from the late 1940s to the mid-1950s.&nbsp;

Camille Bergeaud’nun Fransa Kültür Ataşeliği Döneminde Türk Sanatına Katkıları ve Dönemin Başlıca Sergi Mekânı Olarak İstanbul Fransız Konsolosluğu

Halil

The library building, the construction of which was undertaken by Serkiz Balyan and completed in 1881, is the first independent library of Yıldız Palace. In period sources, the location of the building is described as Şale Pavilion, and later the building was taken inside the Harem courtyard walls and converted into the Harem's Department, one of the Harem structures. The study revealed the architect/contractor and the original identity of the building, and emphasised the importance of primary sources in determining the spatial changes of Yıldız Palace. At the same time, the settlement imitation established with Topkapı Palace was one of the images created to refresh the will and image of the state, which was showing weakness in many points. The library building, designed as an independent unit within the palace, is also a reflection of this image. Indeed, the transfer of the book collections in other palaces and mansions to the new administrative centre and their preservation by Abdulhamid II was an important attempt to establish the image of an enlightened and wise administrator. In accordance with this design, both the location selection and spatial arrangement of the library building left the structure between public and private. On the other hand, the map on the ceiling of the hall of the building refers to both the library being a place of knowledge and the idea of Ottomanism that the Ottomans made a state policy. The change in the function of the library by connecting it to the harem apartments is an issue that should be emphasised. Although the date of this change cannot be determined clearly, it can be estimated that the building continued its existence until 1893-4. In fact, the furnishing book coded Y.PRK.HH., 26/94 (29 Dhul-Hicce 1310 [14 July 1893]) mentions the furnishings of the two-story building adjacent to the library building in the imperial harem. The two-story building includes a bathhouse, two halls and more than one room. This situation indicates that the library was included in the harem courtyard but continued its existence. In fact, the two-story building adjacent to the library building examined (in conjunction) is the Concubine Department. The library was designed as a two floor building towards the end of the 1890s and must have been combined with other nearby harem buildings. The fact that the palace’s first independent library is located between the harem courtyard, which is the first construction area of Yıldız Palace, and the outer courtyard is related to the building’s private and public identities. While its proximity to Abdülhamid II’s “private” spaces highlights the building’s personal character, its distance from Şale Pavilion is a sign of an image construction. According to the second cost estimate book, the library cost 473.408 kuruş 10 para. This cost includes 10% "trans portation, porterage and other expenses". The total cost foreseen in the first cost estimate was 251.890 kuruş 25 para. The furnishing cost of the building, the furnishing of which was undertaken by Leon Rosenthal, was 44.433 kuruş 20 para. The most effective factor in the difference between the first and second cost estimates regarding the construction is that the decorative details of the structure were almost never mentioned in the first cost estimate book. In the second cost estimate, the ornamentation details (inscriptions and mouldings) and their costs were written. This directly caused the cost difference. In general, the library was built at a cost higher than the figures determined in the first cost estimate. It is seen that the iron roof and grid foundation system specified in the first cost estimate were not applied. Apart from this, iron doors made for Şale Pavilion but not installed were installed in the structure and the parquets were brought from the Yıldız Palace Büyük Mabeyn Pavilion. The types of decoration described in the second cost estimate book of the structure as “Indian-ornaments (hindkari), strip, rope-shaped twist, corded, star-shaped flake, shaded, scattered and plaster cast” were observed and compared with period sources. Thus, the decoration terminology was determined from primary sources. It can be seen that many buildings and spaces throughout Yıldız Palace have undergone functional changes. Indeed, the structure, which was built as a library building and later allocated to the use of the harem and defined as the Kadınefendiler apartment, owes its functional change to design flexibility.The costs posed a problem regarding the interior furnishing of the space and some disagreements arose between the parties. The most important reason for this is that the palace furnisher Leon Rosenthal opposed the inspection of the estimated cost by the “head of the tiltmaker and the head of the carpet-making room”. Rosenthal wanted the inspection of the estimate to be made by “our own respected tradesmen”. This situation shows that there were trust problems between the market and the palace.

Yıldız Sarayı’nın İlk Kütüphane Binasının İnşa Süreci

It is an indisputable historical fact that our country, which has hosted many civilisations throughout history, also has numerous immovable cultural assets belonging to these periods. The restoration works carried out for the preservation of the buildings in question, whether they belong to the Turkish era or previous periods, can sometimes lead to the loss of much data that could provide insights into the changes these structures have undergone from their construction date to the present day, and the reasons behind these changes. In this context, the data identified during the restoration work initiated by the General Directorate of Foundations at the Kurşunlu (Kasım Pasha) Mosque, located to the west of the Paşam Sultan Tomb in the Paşam Sultan District, Kütahya city centre, indicate that a reevaluation of both the construction date and the changes and transformations in the architectural structure of the building is necessary.The three-line Arabic inscription on the building, which has survived to the present day, states that it was constructed by the order of Sheikh Alaaddin, an important Ahi sheikh, in Kütahya, in H. 779 / A.D. 1377/1378. The building, which has a square plan with a domed harim section and a three-eyed narthex in front, shows irregularities in its plan. In addition, walls with plastered surfaces were uncovered below the ground code at the southwestern corner of the harim section because of the drilling work carried out by the General Directorate of Foundations. These findings indicate that the existing mosque was rebuilt using the walls of another building (perhaps another mosque) once located in this area.The restoration work reveals that the interior of the building was gradually filled up over time, and as a result of the rising ground code, there were some changes in the facade, doors, windows and the mihrab. The most significant of the changes that have occurred in the building was detected at the entrance door of the harim. From the arch stones found during the work, the original door had a flat arch made of grey marble. In later periods, it was raised and gained a brick arch form. A similar transformation process is also evident in the mihrab section of the building. The mihrab, which had remained low due to the rising ground code, was raised with bricks, similar to the modifications made to the door. The two rectangular windows on the eastern facade of the building, which from the existing traces appear to have originally featured a pointed arch pediment structure, were raised as part of these processes. This transformation resulted in damage to the arches forming the pediment.With its single-domed harim section and the three-sectioned plan to the north with the last congregation section closed on both sides, the building shows similarities with the plans of the masjids dated to the 14th and 15th centuries, especially in Bursa. In addition, the brick decorations on the north façade, which were found as a result of the plaster scraping, are similar to the façade decoration of the single-domed masjids built in the Late Byzantine architecture and the Ottoman period, especially in Bursa and its surroundings.&nbsp;This article offers a re-evaluation of the building’s historical period by analysing its surviving plan, materials, and technical elements. The detailed examination of the distinctive brick decorations on the northern facade and the walls visible below the floor code provides evidence that shifts the understanding of this structure. Contrary to the long-held belief that the mosque dates from the Germiyanid period due to its inscription, these findings establish it as a 16th-century Ottoman period structure, thereby making a significant contribution to the existing scholarship.&nbsp;

Yeni Veriler Işığında Kütahya Kurşunlu Camii

Tümay

Ampullae are popular objects of worship, a type of travelling art often associated with pilgrimage and cult sites in Anatolia, Egypt and the Holy Land. Although they reached the top of their production and prevalence between the 6th and 7th centuries AD, it is known that metal ones continued to be used until the 13th and 15th centuries AD. These vials may be filled with holy water or sacred oil that has been in contact with a relic from a particular sacred site. In some cases, holy land or dust from a saint’s cult site may replace holy water or sacred oil. The ampullae were often decorated with images of saints, evangelists, crosses, or Bible stories. However, examples with inscriptions and without ornaments are also seen. In Christian art, ampullae are not simply objects made of metal, glass or terracotta. The fact that ampullae are containers filled with substances such as water, oil or powder that can be taken and carried from the pilgrimage sites is a detail that emphasises their mystical aspect. In this sense, the ampullae are vessels associated with the pilgrimage phenomenon in Christianity.&nbsp;The term eulogia generally means eulogy, that is, blessing. Eulogia are gifts blessed by a cleric or monk. They are natural products, such as the consecrated bread distributed by the clerics after the conclusion of the eucharist. Although the eulogia emerged from the Jewish tradition, the attribution of healing powers to the ampullae is specific to Christianity. The basis of this idea is the displacement of sacred activity, that is, the assumption that relics can transfer their power and healing to one substance and appear in another place. Eulogia also refers to a sacred and revered object, such as a piece of the holy cross on which Jesus was crucified, or a product in contact, such as oil and water. Eulogia was another method that did not require taking the original relics from the pilgrimage sites. These are man=made pilgrim souvenirs called tertiary relics. These objects are produced on a large scale using moulds and many copies of them can be made quickly. Examples include medallions, censers, jugs, small bottles and various types of jewellery. Regardless of the material of manufacture, ampullae form a special group within this category because they combine a mass=produced object with a eulogia. What makes ampullae special is not only the substances they contain but also the iconographic depictions they bear. Most researchers accept ampullae as eulogia. Indeed, Hanfmann insists that ampullae are eulogia made for the transportation of holy water, holy land or sacred oil to holy lands and through contact with holy objects or relics.Terracotta ampullae are vessels mentioned together with the Menas bottles associated with the Abu Mena cross centre in Egypt. Thus, ampullae are generally divided into two groups: the Menas type and the Anatolian or Asia Minor type. The Anatolian=type ampullae are also divided into two types. The easiest way to distinguish between the Anatolian=type and the Menas (Egyptian) type ampullae is to look at their necks. While the Egyptian examples have handles similar to the Greek amphoras, the Anatolian types are characterised by two holes on each side of their necks. Terracotta ampullae thought to be produced in Western Anatolia have smaller oval=shaped bodies. As for the decoration, various figures, cross motifs and architectural depictions are more common. Both Anatolian and Egyptian type ampullae were produced by moulding technique. It is assumed that the moulds of the vials, which are generally considered to have cheap and crude workmanship, were also made of clay material. The moulds are produced separately in pairs. Similarly, the front and back faces of the ampullae are made separately and then joined together.&nbsp;Terracotta ampullae in Anatolia are found among excavation findings, museum artefacts and private collections. There are 8 terracotta ampullae among the Manisa Museum artefacts. All of them are Anatolian=type ampullae produced with the moulding technique. Among the ampullae in the Manisa Museum, the second group of small bottles, which are mostly of the Anatolian type, are seen. The first group in the museum is represented by two examples. One of the striking details is that there is no ampulla decorated with human figures among the museum artefacts. Since the ampullae were brought to the museum through purchase, their place of origin is uncertain. Therefore, dating suggestions are made according to parallel examples. Therefore, it is predicted that the ampullae of the Manisa Museum are objects belonging to the 5th and 7th centuries AD.

Bizans’ta Eulogia Olgusuna Manisa Müzesi Pişmiş Toprak Ampullalarıyla Bir Bakış

Vildan

Çağdaş Sanatta Politik İkonografi

Sevinç

Şakir

Lemye

Yeşil Mosque/Zaviye, one of the most popular works of its period, is of great importance not only for its architectural foundation and ornaments but also for being a building symbolising the rebirth of the Ottoman Empire. It is also a structure of gratitude to the Ahis and Abdals who supported Mehmed I’s ascension to the throne. The building, which is frequently mentioned by historical sources and the subject of researchers’ investigations, is still in need of research in many ways. Within the scope of our study, the magnificent stone decorations of the building were examined and it was determined that the incomplete parts of the decorations on the north façade were more than known. In the publications, it is generally mentioned that there are incompletions, but their scope and characteristics are not mentioned. The incomplete parts are only on the north façade, and the incompletions have different qualities. Examples include those that were not executed at all, those that were left raw with only the contours of the motifs indicated, and those that lacked depth and detail.Researchers have produced various arguments about the missing parts, stating that some of the ornaments were processed on the building, some were processed in workshops and added to the building as cladding in the last stage. In line with our investigations, the stonemasons processed the ornaments in a certain order and that the incomplete motifs are present in the slabs. This conclusively proves that the stone ornaments were carved not on the building but on the ground, in workshops and added to the building at the last stage.In our study, we also discussed the idea that the ornaments may have been changed during the repairs carried out at various times. Our investigations revealed that there were some renovations on the north façade of the building, but these new parts were quite few and did not extend to the entire façade. Since the decorations are worked on the slabs, it is seen that the finished parts and the unfinished parts are on the same slab. This shows that the parts could not have been replaced during the repairs, that is, they were left unfinished. As a matter of fact, as we have mentioned before, there are many examples in which the details could not be worked out and the depth of the engraving could not be given.Within the scope of our research, it was also understood that there are various letters in the round medallions in the windows. When these letters were compared, traces were found that the letters "elif, lam-elif and beautiful he" were repeated or planned. When these letters are combined, it is predicted that the word "Allah" was intended to be repeated five times reasonably. This assertion is based on traces and information. A different feature of the unfinished ornaments was also identified. When it became necessary to place these ornaments, which were processed in line with a general plan, in the building before they were completed, it is understood that care was taken to end the missing motifs with rounded lines in a relatively unobtrusive way, as if they were not missing.&nbsp;We have also made important observations regarding the distribution of the incomplete ornaments. The incomple? tions on the outer mihrabs, which are completely similar in terms of size and ornamentation, have been distributed so as not to attract too much attention. The deficiencies in the corners of the conch are located in different areas in both outer mihrabs. A similar process was applied to the rectangular panels forming the mihrab niches. The presence of unfinished ornaments on the upper part of both mihrab niches and the presence of incomplete fine incised contours support this view.&nbsp;In addition to identifying the unfinished ornaments, answering the question of why they could not be completed is among the main objectives of our study. Researchers conducting studies on the Green Mosque and similar unfinished buildings generally attribute this situation to political and economic reasons. However, when the subject is analysed in the specific case of the Green Mosque, it is seen that neither political nor economic reasons sufficiently answer the question of why the decorations could not be completed. We believe that the failure to complete the decorations of such an important building in this period, when the Ottoman Empire was revitalised, a relatively peaceful period was experienced, and no economic problems were recorded, was based on different reasons. As a matter of fact, when Ottoman chronicles and historical sources are analysed, it is understood that there is no resource problem regarding the construction of the building. Historians such as Âşık Paşazade, while providing information about the reign of Mehmed I, stated that he built an imaret in Bursa and asked for a few heathen villages to endow this structure, and that the villages of Gebze, Hereke and Darıca came under the sultan's sultanate.&nbsp;The construction of the building was completed while Mehmed I was still alive. In this case, the argument that the decorations were left unfinished due to the sultan’s death does not seem appropriate. It can also be argued that the rough construction of the building was completed, Mehmed I died before the decorations were finished, and after his death the stone decorations were left unfinished. However, this is not a very realistic explanation. As a matter of fact, the magnificent rich tile decorations of the building were completed in 1424. This is clear evidence that the interest in the building did not end after the death of Mehmed I, and that his son (Murad II) or his wife (Emine Hatun) made the necessary efforts to finish the building. In the context of these explanations, we think that Mehmed I's deteriorating health was the reason why the stone decorations of the building were left unfinished. Ottoman chronicles, historiographers and researchers are unanimous, albeit with different accounts, that Mehmed I suffered from an illness. This suggests that the reason why the decorations were not finished was the sultan's illness. As a matter of fact, it is understood that there was a danger that Mehmed I would not be able to see and worship in the Green Mosque, which was a structure of gratitude to the Ahi and Abdals, and which was made a great effort to be the most beautiful work of its era, due to his illness. Considering that diseases such as epilepsy and stroke were especially emphasised and that his illness was worsening, we believe that the building was hastily placed in its place before the decorations on the north façade were completed and that Sultan Mehmed I opened and used the building during his relatively healthy days.

Bursa Yeşil Cami’nin Yarım Kalan Taş Süslemeleri Hakkında Bir Değerlendirme

Serhan

In this study, within the scope of the criticism of racism in art, the impact of the deaths of people who have been subjected to racism within the scope of social movements is discussed. In particular, the study evaluates three events. Events such as Aylan Kurdi, George Floyd and Black Lives Matter, which caused wide reactions in the social sphere, were analysed. These events not only caused social reactions but also received the reactions of many artists in the art world. Artists who reacted to these deaths expressed them in their works. While these reactions found a place in the art world, they also attracted considerable attention on social media. For example, the critical works of artists such as Banksy on Aylan Kurdi and George Floyd have received a great deal of interaction in the world. Again, the Black Lives Matter movement has been a movement that has made as much noise around the world as it has in the USA. This study examines in depth how art responds to social events and the impact of these responses on antiracist movements. Aylan Kurdi, George Floyd and the Black Lives Matter movement were not only individual tragedies, but also symbols of a global demand for change. The reverberations of these events in the art world have emerged through artists’ responses to such painful events.While the tragic death of Aylan Kurdi revealed the human face of the refugee crisis, artists have addressed this event in different ways. Banksy’s mural reminding us that Steve Jobs was Syrian in the memory of Aylan Kurdi is a striking example to emphasise the importance of this issue. In the eyes of the viewers, this work was more than just a work of art; it functioned as a social questioning and sensitisation. This power of art has become even more visible with the rapid spread of posts on social media. Instagram, Twitter and other platforms have allowed artists to share their works with large audiences and increased the visibility of social movements. When artworks are shared on these platforms, they create empathy in the audience and provide an opportunity to think more deeply about social issues. In particular, when artists share artworks directly related to social issues, it raises awareness of these issues and can mobilise audiences.George Floyd’s death marked a turning point in the struggle against systematic racism in the United States. Floyd’s death mobilised many artists. By referencing these events in their works, the artists conveyed strong messages of social justice, equality and human rights. For example, the works produced by African-American artists during this period are a call for social change.The impact of the Black Lives Matter movement was not limited to the United States; it led to the emergence of similar protests and art events in many countries around the world. Artists have taken a stance against racism by producing works in solidarity with this global movement. Social media platforms enabled these artworks to reach wider audiences, strengthening the role of art in social movements. The virilization of the artworks both raised awareness among the audience and added an artistic dimension to the social struggle.&nbsp;In conclusion, events such as Aylan Kurdi, George Floyd and Black Lives Matter show how important a tool art can be in the struggle for social justice and equality. By drawing attention to social issues through these events, artists have created a strong impact both in the art world and on social media. Such artistic responses are not only a reaction in the struggle against racism, but also a call for change. Events such as Aylan Kurdi, George Floyd and the Black Lives Matter movement have caused us to rethink the role of art in social change. As art is shaped by reactions to such traumatic events, it becomes a reflection of social consciousness and the search for justice. This process gives artists not only a means of expression, but, also the opportunity to become active participants in social transformation. Art thus becomes not only an aesthetic experience but also a powerful tool for social change.

Sanatta Irkçılık Eleştirileri: Ölümler Sonrası Irkçılığa Karşı Güçlü Çıkışlar

Şerife

In the research, 29 talisman seals belonging to the Ottoman Period, selected from the museums in the cities whose names are announced in the catalogue studied in Anatolia, are examined. The talisman seals, 27 of which were scientifically introduced for the first time in the study, except for 2 of them, belong to the Ottoman period and are all handcrafted original pieces. Only seven of the talisman seals examined have inscriptions, and the first of the dated seals is dated to the end of the 17th century, the other four to the first and second half of the 19th century, and in a single example to the first half of the 20th century. Other examples are undated. Two of the talisman seals are double= faced, and the other seals are single=sided and have a fixed table. Typologically, the seals are shaped according to their tables, nineteen circles, one bow, the other three square, one rectangular, one oval, one polygonal (octagonal) forms, one hand and one Zulfiqar motif. The contents of the talisman seals are mainly created in a framework woven with religious contents such as verses from suras, various prayers, names of religious elders, square endowments, seven seal symbols, and the Seal of Suleiman motif. In the texts of the talisman seals, there are also prayers such as the Jaljalutiya Prayer, the Prayer of the Veiler (of Sins), the Call to Ali, Blessed Salutations, the Word of Oneness made to Allah after the surahs and the Most Beautiful Names of Allah. When the prayers written on the seals are recited, Allah’s help is expected to remove troubles, to seek remedies, to find healing and to meet various requests. In the study, the purpose of making is not stated on any of the original talisman seals, all of which are handcrafted. On the other hand, in Work Numbered 2, it was made as a love/(love) talisman, and the talisman was prepared by hiding the names of the suitor and the desired. In this talisman of love prepared with Surah Taha 39, letters containing the initials of the names “Talib” and “Matlubun” in two parts of the verses, thus “ع ve ث “were crafted in each line, hidden in different squares. This example, unlike other talisman seals, stands apart due to the fact that the front side is personalized. In WorkNumbered 23, the letters that make up the Arabic letter were written one by one without connecting with each other. The purpose of its creation in this way is to think that prayers are important for better or talismans or healing for a faster effect. Works Numbered 14 and 15 show fish figures considered as a pair. Fish is a symbol that represents sexuality, fertility, life and continuity in ancient times. As a pair of seals, it is seen that fish figures have human=like facial features such as eyebrows and eyes. It is also clearly understood that the figures stylised with the inscription “zodiac sign” between the two fish in the talisman seal No. 14 are a pair of fish in the Zodiac belt. It is thought that the figures of fish as a couple were probably made in the seals for the solution of a problem in sexuality, reproductive infertility or a problem in marriage between couples. Talisman seals at that time were equipped with content that gives strength and strength to those who believe in people and use them against their spiritual problems or worldly desires, protects them from evil eyes and provides psychological support to people. The works they produce by trying to benefit from their positive effects or to meet the expectations they write, draw or actually hide from others are works that contain extremely valuable knowledge and cultural accumulation in terms of reflecting the tradition of the period, the economic power of the society, the materials used, the quality of the workmanship and the content of the texts written on them, a rich unity in terms of art, literature and sociology. Ottoman talisman seals are richer and at the same time more mysterious than objects such as healing bowls and talisman shirts. There is also the possibility that the seals may have been produced for negative content, as the content written in endowments is more esoteric. Due to the fact that the Ottoman talisman seals have different texts and examples that do not specify the reason for their construction, the issues of what the desire or expectation is in the seals are many and varied, and there are still unknowns in this regard.&nbsp;

Anadolu Müzelerinden Bazı Örneklerle Osmanlı Tılsım Mühürleri

Settar

Emine

The city of Ephesos was a prominent religious and administrative centre in the Roman province of Asia. From the 6th century onwards, the city began to lose its commercial potential. This resulted in the destabilisation of Ephesos’ political authority, which in turn altered the regional power dynamics. The Sassanid and Arab raids that Anatolia was exposed to starting in the 7th century also resulted in significant population displacement within the region. A significant proportion of the population of the province of Asia was compelled to relocate to more secure locations. The destructive factors previously outlined resulted in a significant loss of power for the Metropolitanate of Ephesos, accompanied by substantial damage to the administrative structure of the centre. The decline of the ecclesiastical administrative centre of the region facilitated the religious and administrative ascendance of Smyrna, another significant city and episcopal centre of Asia. As Smyrna acquired the designation of metropolitanate akin to Ephesos, it also gained its own administrative boundaries. Some bishopric cities of Ephesos were relocated to Smyrna. Conversely, new episcopal centres were established and linked to Smyrna.The establishment of the new metropolitan centre of the Province of Asia resulted in a rebalancing of the regional power dynamics. While the predominantly southern parts of the province remained under the metropolitan authority of Ephesos, the northern part of the province, extending from the Hermos (Gediz) Valley towards Phokaia, came under the administration of Smyrna. Furthermore, the cities of Klazomenai, Phokaia and Magnesia (Aneliou/Sipylou), which had previously been under Ephesos, were also transferred to Smyrna. Furthermore, new episcopal centres, Arkhangelos, Petra and Sosandra, were established and linked to the Metropolis of Smyrna. Because of its long standing religious organisation and hierarchy since early Christianity, Smyrna thus assumed an important position as a religious and political centre, situated alongside Ephesos.The earliest extant record of the Metropolitanate of Smyrna’s position and significance within the ecclesiastical hierarchy is Notitiae No. 7, as set forth in the lists compiled by Darrouzès. The document is preceded by a speech delivered by Nicholas I Mystikos, who served as the Patriarch of Constantinople from 901 to 907. From this introduction, it can be surmised that the lists reflect the circumstances prevailing in the early 10th century. The Metropolitanate of Smyrna, which is ranked 43rd in the list, is associated with six episcopal centres. These centres are Phokaia, Magnesia (Aneliou/Sipylou), Klazomenai, Arkhangelos, Petra and Sosandra. There is little debate regarding the location of the cities transferred from Ephesos to Smyrna. However, there is controversy surrounding the question of whether the newly established centres were transformed from an old settlement or established in a new location. As a result, there is considerable debate about the location of the bishoprics of Arkhangelos, Petra and Sosandra.In the initial phase of this study, a boundary was delineated for the geographical area within which the bishopric of Arkhangelos was to be searched. In consideration of the data presented in the ecclesiastical records and primary sources, it can be reasonably inferred that the northern regions of Smyrna fall within the defined scope of this study. As evidenced by the historian Doukas in his Historia Byzantina, the Hermos (Gediz) Valley and its environs constituted a significant region with regard to the religious boundaries associated with Smyrna. A detailed examination of the period between the 10th and 13th centuries, which marks the end of the Middle Byzantine period, is essential from a chronological perspective. In accordance with the aforementioned information, significant regions in terms of&nbsp;road networks and that can provide adequate security for a religious centre have been identified. In these areas, settlements reflecting the architectural style and surface finds of the Middle Byzantine period were concentrated. The reasons for the prominent location of settlements such as Temnos and Neonteikhos, previously identified by other researchers, were evaluated and a new hypothesis was proposed, which was considered more suitable for the bishopric of Arkhangelos.

Smyrna Metropolitliğinde Tartışmalı Bir Merkez: Arkhangelos  Piskoposluğu Üzerine Yeni Bulgular

Muhammet

The district of Guroymak, which is located in the area known as Çukur Plain and forms a part of the wide plain between the cities of Bitlis and Muş, is an important town of Islamic art with its works and especially gravestones. In addition to the Karanday Aka Tomb, which is located in the district centre and dates back to the last quarter of the 13th century, three tombs that are understood to have a different architectural plan were evaluated within the scope of this study in order to be evaluated within the discipline of art history. In this study, three structures in the Güroymak district that can be evaluated within the Ayyubid, Aq Qoyunlu and Ottoman religious architecture were examined within the discipline of art history in terms of their architectural features.The Şeyhan Tomb, which has a foundation record from the first half of the 13th century, the Kanireş Tomb, which has an inscription dated 1470 and the Mışkan Tomb, which does not have any inscription or foundation record, were examined in the context of their architectural features and historical processes, and these three were compared with similar structures in Muş and Siirt. The rectangular plan of the structures and the repetition of the mihrab niche arrangement in the interior spaces in Muş and Siirt reveal the existence of a regional style. The Hacı Ali Tomb in Çatbaşı in Muş; the Sheikh Selman Tomb in Çalıdüzü and Şeyh Hüseyin and Murad Han Tombs in Beykent in Kurtalan-Siirt; Şeyh Ali Tomb in Çevrimtepe and another tomb in Adakale in Baykan-Siirt have similarities with the Guroymak tombs.Among the structures, the earliest one is probably a unit of a zawiya in Şeyhan Village, which was dedicated to Şeyh Ali Mirce by Nureddin Kutlumuş, one of the local amirs during the Ayyubid rule in the 13th century. On the other hand, the foundation record of Şeyhan Tomb reveals the Ayyubid domination in the region at the time of Mongols raids even if there is such a thought that Nureddin Kutlumuş is a Dilmaçoglu Prince. Although they have not survived to the present day, structures in the endowed village by Nureddin Kutlumuş prove the existence of an zawiya of Sheikh Ali Mirce for whom the foundation was established.&nbsp;The Kanireş Tomb with its inscription dated 1470 was built by Emir Hüseyin bin Emir Şah Ali, who was appointed to the region during the period when the Aq Qoyunlu rule was established. Because of this study, the reason for the conflicts between the Pazuki Tribe and the Bitlis Emirate in the 15th and 16th centuries has been better understood, especially based on the Kanireş Tomb inscription. Indeed, there was no evidence that the Pazuki forces were very close to the city of Bitlis before. Again, although there is not enough information about Emir Hüseyin and his father Emir Şah Ali in the inscription, the fact that they are recorded very briefly in the Şerefname suggests that they did not have any administrative qualifications. However, the expressions "Emiru'l Kebir" and "Emiru'l Azam" (both meaning great emir) in the inscription reveal that they were people who held important positions under the Aq Qoyunlu rule. Although it has a similar plan and construction technique with Şeyhan Tomb shows that the tomb in Mişkan Village cannot be dated to a period earlier than the 17th century, it was probably a structure built in the 19th-century.&nbsp;As a result, it was understood that this rectangular plan with a mihrab niche on one side, reminiscent of the 15thcentury masjids in Bitlis and the 17th-century and later tombs in Muş and Siirt, was included in a different group from the other polygonal tombs in the region. It is essential that these three works, which are understood to belong to the emirs who ruled the region during the Ayyubid, Aq Qoyunlu and Ottoman periods and the institutions they endowed, and whose historical background and architectural features are explained in detail within the discipline of art history, should be considered among the cultural assets that need to be protected and should be protected in this sense.

Güroymak’ta Eyyubi, Akkoyunlu ve Osmanlı Dönemlerinden Üç Türbe

Ercan

Due to the lack of archaeological excavations and art historical research, Düzce is less known than other regions of our country in terms of Medieval-Byzantine history, architecture, and art. Due to the scarcity of research in this region and the forested terrain, a comprehensive inventory list of the Medieval and Byzantine settlements and buildings in Düzce has not been fully compiled. Therefore, the defensive network and buildings of Düzce during the Medieval period are not well-known. The reason for choosing Akçakoca Castle and Beyköy Castle as the subjects of this article is to fill the existing gaps in these topics, at least to some extent. The aim of this article is to partially shed light on the Medieval history, defensive network, and buildings of the region by examining, introducing, and interpreting the details of the castles mentioned in the study and to contribute to the literature in this field. There is no comprehensive scientific publication containing detailed information and up-to-date data on Akçakoca Castle and Beyköy Castle. Several publications and theses have been written about Akçakoca Castle, providing brief and general information. However, none of them have described the castle’s plan in detail or provided drawings, nor have they explained topics such as wall technique in detail. Furthermore, the restoration work began in 2018, and the excavation studies conducted for this restoration have not been the subject of any scientific research. Until recently, the location of the castle’s main gate was unknown, but recent excavations have revealed it. This development shows how important it is to have up-to-date data in order to understand and introduce the castle. The same considerations that were mentioned for Akçakoca Castle are also valid for Beyköy Castle. Due to its location on a forested hill in the inland of Düzce, Beyköy Castle has been the subject of a few travelogues and publications. Therefore, this castle has not been introduced to the scientific world in detail. Akçakoca (Dia) Castle, which is located in the coastal region, is on the sea route that passes through the Black Sea coast and is one of the important stations on this route. Beyköy (Embolos) Castle, located inland of Düzce, was established at the intersection of the Nikomedia-Amaseia and the Dia-Modrene roads. The exact dates of the first construction of both castles, which are the subject of this study, are unknown. The findings from the surveys, the architectural features of the fortresses, and the analogy of the masonry techniques indicate that the two fortresses were built and repaired in the Medieval period, most probably during the Komnenos period. These castles did not have a regular plan, and they were shaped by the topography of the land on which they were built. Although both castles are mostly in ruins, Akçakoca Castle has undergone partial restoration recently. The Akçakoca Castle covers an area of 3812 square metres and is surrounded by a wall that is 260 metres long. The castle, which can be entered through a single gate located in the southwestern, is fortified with four towers along the length of its walls. Beyköy Castle, which is surrounded by a 380-meter-long wall and built on an area of 5,585 square metres. The castle, which can only be entered through a single gate located in the southwest, is fortified with five towers along its walls. In consideration of the scarcity of archaeological excavations and the intensity of the damage, it is not feasible to provide detailed information about the various sections of the castles and the buildings within them. This study aims to provide a detailed description of the walls, bastions, gates, and cisterns of the two castles under discussion in this article, as well as a cistern found within the Akçakoca Castle.&nbsp;

Düzce’den İki Orta Çağ Kalesi: Akçakoca (Dia) ve Beyköy (Embolos) Kaleleri

Vesile

Assoc. Prof. Dr.

Özgü

Prof. Dr.

MAKALE ÇAĞRISI-2024

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Jale Özlem

Assist. Prof.

HAZAR DÖNEMİ SARKEL ŞEHRİ, KALESİ VE BİR KISIM ARKEOLOJİK BULUNTU ÖRNEKLERİ (ORTA VE İÇ ASYA TÜRK SANATI BAĞLANTILARI)

Nesrin Çiçek

MİMAR SİNAN CAMİLERİNDE SEMBOLİZM ÜZERİNE BİR DEĞERLENDİRME

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Okan

Res. Assist.

GNOSTİSİZM, GÜL-HAÇ VE TEOZOFİ*  IŞIĞINDA İKİ KARE ÖRNEĞİ: “KOYU KARANLIKLAR” (ROBERT FLUDD) VE “SİYAH KARE” (KAZIMIR MALEVİÇ)

Bahman

17. YÜZYIL’DA AVRUPA GÖRSEL SANAT ESERLERİNİN İRAN’IN GELENEKSEL RESMİNE ETKİSİ

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Sanat Tarihi Yıllığı – Journal of Art History, 1964-65 yılında İstanbul Üniversitesi Sanat Tarihi Enstitüsü’nün yayın organı olarak Oktay Aslanapa, Şerare Yetkin ve Metin Sözen tarafından yayına hazırlanan ilk sayı ile yayın hayatına başlamıştır. İstanbul Üniversitesi, Edebiyat Fakültesi’ne bağlı Sanat Tarihi Bölümü’nün bilimsel, hakemli, açık erişimli süreli yayını olarak yılda bir kere yayınlanır. Yayın dili Türkçe ve  İngilizce ’dir. 2024 itibariyle basılı versiyon durdurulmuştur. Dergi sadece online olarak yayınlanmaktadır.

Sanat Tarihi Yıllığı, sanat tarihi disiplininin tüm alanlarında yüksek kalitede bilimsel içeriğe sahip özgün makaleler yayınlayarak bilim dünyasına katkıda bulunmayı amaçlamaktadır.

Sanat Tarihi Yıllığı, Bizans sanatı, Türk-İslam sanatları, Batı sanatı ve çağdaş sanat alanları başta olmak üzere sanat tarihi disiplini çerçevesinde üretilmiş özgün makaleler için yayın olanağı sağlamaktadır. Bu kapsamda Sanat Tarihi Yıllığı’na gönderilen makaleler başka bir yerde yayınlanmamış, özgün çalışmalar olmalıdır.

Scopus

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

Gale Cengage

Ulrichsweb

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@METRIC_ISSUES

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@METRIC_OPENACCESS

Sanat Tarihi Yıllığı

Journal of Art History- Sanat Tarihi Yıllığı, began its publication in 1964-65 with the first issue prepared by Oktay Aslanapa, Şerare Yetkin and Metin Sözen, as a periodical of Istanbul University, Institute of Art History. Today, it is the scientific, peer-reviewed, open access journal of Istanbul University, Faculty of Letters, Department of Art History. It is published annually and publication language of the journal are Turkish and English. As of 2024, the print version has been stopped. The journal has become an online-only publication.

Journal of Art History aims to contribute to the world of science by publishing original articles with high quality scientific content in all fields of art history discipline.

Journal of Art History publishes original articles within the scope of art history discipline, especially in the fields of Byzantine art, Turkish-Islamic arts, Western art and contemporary art. In this context, the articles submitted to the Journal of Art History must be original works that have not been published elsewhere.

@INFO_TAB_ABOUT

Editor in Chief

Section Editor

Ethics Editor

Editorial Assistant

Editorial Board Member

@INFO_TAB_BOARDS

Journal of Art History aims to contribute to the world of science by publishing original articles with high quality scientific content in all fields of art history discipline.Journal of Art History publishes original articles within the scope of art history discipline, especially in the fields of Byzantine art, Turkish-Islamic arts, Western art and contemporary art. In this context, the articles submitted to the Journal of Art History must be original works that have not been published elsewhere. Articles can be in Turkish and English.

Aim and Scope

Web of Science Core Collection - Emerging Sources Citation Index (ESCI)SCOPUSTÜBİTAK ULAKBİM TR DizinDOAJ (Directory of Open Access Journals)ERIH PLUSEBSCO Central &amp; Eastern European Academic SourceGale CengageSOBIAD<a href="https://about.proquest.com/en/products-services/Ulrichsweb/" target="_blank" style="font-size: 14.6667px;">Ulrichsweb&#65279;</a>

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. Plagiarism Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 15 or 20%. Double Blind Peer-Review After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Policies

The journal is an open access journal and all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the <a href="https://www.budapestopenaccessinitiative.org/read" target="_blank">BOAI</a> definition of open access.The open access articles in the journal are licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">CC BY-NC 4.0</a>) license.

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles.

Authors publishing with the journal retain the copyright to their work licensed under the Creative Commons Attribution-NonCommercial 4.0 International license (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/</a>  ) and grant the Publisher non-exclusive commercial right to publish the work. CC BY-NC 4.0 license permits unrestricted, non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.RetractionJournal follows <a href="https://publicationethics.org/sites/default/files/retraction-guidelines-cope.pdf" target="_blank">COPE’s Retraction Guidelines</a> in case of retraction. The editor has the right to retract an article if: <ul><li>There is clear evidence that the findings are unreliable; either as a result of a major error (e.g. miscalculation or experimental error), or as a result of fabrication (e.g. of data) or falsification (e.g. image manipulation).</li><li>It contains plagiarised content. </li><li>It has been published elsewhere without proper attribution. </li><li>It contains material or data without authorisation for use.</li><li>There is copyright infringement or there is some other serious legal issue.</li><li>It reports unethical research. </li><li>There is evidence that the peer-review process is compromised or manipulated.</li><li>The author(s) failed to disclose a significant competing interest (also known as a conflict of interest) that, in the opinion of the editor, would have unduly influenced the interpretation of the work or the recommendations of the editors and peer reviewers.</li></ul>In case of retraction the following steps are followed:<ul><li>Retraction notice including article title is published in a subsequent issue of the journal. The retraction notice is paginated and listed in the table of contents. </li><li>A link is provided between the retraction notice and the original article in the electronic version. </li><li>The online article is preceded by a page containing the retraction notice; the reader can then proceed to the article itself.</li><li>The original article remains unchanged, except for a watermark on the .pdf on each page stating that it has been &#34;retracted”.</li></ul>Article Removal for Legal ReasonsIn the following circumstances, except the metadata (title and authors), the text of the article is removed and a page informing that the article has been removed for legal reasons replaces the article. <ul><li>The article is found to be defamatory or to infringe the legal rights of others, and retraction is not deemed to be an adequate solution.</li><li>The article has been, or is reasonably likely to be the subject of a court order.</li><li>There is a significant risk to public health. </li></ul>

To guarantee that all papers published in the journal are maintained and permanently accessible, articles are stored in Dergipark which serves as a  national archival web site and at the same time permits LOCKSS to  collect, preserve, and serve the content.Additionally, authors are encouraged to self-archive the final PDF version of their articles in open electronic archives with  that conform to standards of Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>). Authors should provide a link from the deposited version to the URL of IUPress journal website.

The Artificial Intelligence Policy, prepared in light of developments in artificial intelligence (AI) and practices in scholarly publishing, sets out the editorial and ethical principles that authors, reviewers, and editors should follow when using such technologies. The following sources have been considered in the preparation of the AI policy:Committee on Publication Ethics <a href="https://publicationethics.org/guidance/cope-position/authorship-and-ai-tools" target="_blank">(COPE) - Authorship and AI tools</a>; International Committee of Medical Journal Editors <a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four" target="_blank">(ICMJE) - Artificial Intelligence (AI)-Assisted Technology; World Association of Medical Editors  (WAME) Chatbots, Generative AI, and Scholarly Manuscripts</a><a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four"></a>AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) can develop and produce a wide variety of content, including text, images, audio, and synthetic data. When used ethically and safely, these capabilities can increase productivity and foster innovation, but when used without human guidance, they pose risks such as inaccurate and biased results, omissions and errors in citations, deficiencies in protecting privacy and intellectual property rights, and potential violations of authors' and publishers' rights. IUPress adopts the following core principles to avoid these risks in the use of AI:  <ul><li>Details of any AI used in the production of content (including but not limited to text, figures, images, and code) must be declared and clearly explained in the appropriate section of the paper (as an acknowledgement and/or in the methods section). </li><li>No AI tool may be listed as an author in any scientific paper. </li><li>Authors are responsible for the accuracy, completeness, and originality of their work, even if AI is used in any way; they are responsible for the proper referencing and attribution of others' ideas, data, words, or other materials. </li><li>Reviewers and editors must not upload submitted work, in whole or in part, to any generative AI application.</li></ul>In the editorial processes of IUPress publications, tools are available to assist editors in identifying AI-generated content. On the other hand, it is common to use AI tools that provide suggestions for improving and enhancing readability, language, and grammar, and such AI tools can be used in IUPress publications under the supervision of editors and authors.

Artificial Intelligence Policy

<ul><li>Authors are required to declare if they have used AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) in the creation of their submitted work. </li><li>Authors should explain, both in the cover letter and in the appropriate section of the submitted paper (as a footnote and/or in the methods section), which AI tool and which version of it they have used and for what purpose. </li><li>Authors should also indicate how they used the AI tool and how they assessed the validity of the results obtained using this technology, and what aspects of the paper, manuscript content, data or supporting files were influenced by the use of the AI tool or were generated by AI.</li><li>It is the authors' responsibility to ensure the accuracy, validity and appropriateness of content and citations generated by AI-assisted technologies and to eliminate potential errors, inconsistencies and biased results. </li><li>Authors should always check the original sources to eliminate possible plagiarism, recognising that there is a potential for plagiarism in texts produced with AI-assisted technologies. They should confirm that they have checked and that the sources are original.  </li><li>AI-assisted tools (such as ChatGPT) cannot be listed as authors because they cannot be responsible for the accuracy, integrity, and originality of the work, and these responsibilities are essential to authorship. Therefore, authors are responsible for all material involving the use of AI-assisted technologies. Authors should ensure that all statements in the article that state the hypotheses, interpretations, conclusions, limitations, and implications of the study represent their own opinions.  </li><li>Studies created by authors using AI tools in the following ways, which substitute for the basic researcher's and author's responsibilities, violate the principles of scientific publishing and publication ethics, and such studies are not eligible for inclusion in publications: </li></ul><ul><ul><li>Generation of text or code without rigorous review, </li><li>Generation of synthetic data to replace missing data without a robust methodology, </li><li>Creation of any inaccurate, synthetic content, including abstracts or supplementary materials, </li><li>Creation and manipulation of images and figures (pictures, graphs, data tables, medical images, image snippets, computer codes and formulae) or original research data (enhancing, hiding, moving, removing or adding a particular feature within an image or figure) using AI.</li></ul></ul>

It is essential to maintain confidentiality in the peer review process and not to share or use the reviewed work in this process. <a href="https://publicationethics.org/sites/default/files/ethical-guidelines-peer-reviewers-cope.pdf" target="_blank">(COPE – Ethical Guidelines for Peer Reviewers</a>)<ul><li>Reviewers should not upload a manuscript or part of a manuscript submitted to them for review to generative AI tools or large language models to assist in the review, evaluation or decision-making process, as uploading content to such AI tools by reviewers violates the authors' privacy and property rights.  </li><li>Reviewing a scientific paper is a responsibility that can only be undertaken by human beings. The critical thinking and original evaluation required for peer review is beyond the scope of this technology, and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the paper. The peer review report and decision letters should reflect the personal assessment of the reviewers and editors of the submitted content. The reviewer is responsible and accountable for the content of his/her report. </li><li>AI tools may be used in a limited way to improve the quality of the language of the peer review report (for translation or language editing) in the context of peer review. If such use is made, the reviewer must declare the use when submitting the report. </li><li>Reviewers who suspect inappropriate or undisclosed use of generative AI in a submission should report their concerns to the editor.</li></ul>

Editors are obliged to ensure that the confidentiality of the manuscripts submitted to the journal is maintained during the evaluation process, and it is essential that the peer-reviewed work is not shared or used outside the parties involved in that process. (COPE - Code of Conduct and Best Practice Guidelines for Journal Editors) <a href="https://publicationethics.org/files/Code_of_conduct_for_journal_editors_Mar11.pdf" target="_blank">(COPE – Code of Conduct and Best Practice Guidelines for Journal Editors)</a>.<ul><li>Editors should not upload a submitted article, or any part of it, to generative Artificial Intelligence tools or Big Language Models to assist in the review, evaluation or decision-making process, as this may violate authors' privacy and property rights. </li><li>Managing the editorial review of a scientific article implies responsibilities that can only be attributed to humans. Generative AI or AI-assisted technologies should not be used by editors to assist in the evaluation or decision-making process of an article, as the critical thinking and original evaluation required for this task is beyond the scope of this technology and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the article. The editor is responsible and accountable for the editorial process, the final decision and its communication to the authors.</li><li>Editors should not use generative AI tools to compose decision letters or abstracts of unpublished research. </li><li>Editors may use generative AI tools to help find appropriate reviewers.</li><li>If editors suspect the use of generative AI in a submitted manuscript or a submitted referee report, they should conduct an editorial review of the matter and consider the policy.</li></ul>

<div style="text-align: left;">Journal of Art History - Sanat Tarihi Yıllığı is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, to access the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a></div>All parties involved in the publishing process (Editors, Reviewers, Authors and Publisher) are expected to agree on the following ethical principles.All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Each manuscript is reviewed by one of the editors and at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unnethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. In accordance with the code of conduct we will report any cases of suspected plagiarism or duplicate publishing.

Ethics

Journal of Art History - Sanat Tarihi Yıllığı adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules.<ul><li>Principles of integrity, quality and transparency should be sustained in designing the research, reviewing the design and conducting the research.</li><li>The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.</li><li>The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.</li><li>Research participants should participate in the research voluntarily, not under any coercion.</li><li>Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.</li><li>The independence of research must be clear; and any conflict of interest must be disclosed.</li><li>In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.</li><li>If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.</li><li>In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.</li></ul>

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/37CCCB7EDE7142A183F2D21C542D9DD8" target="_blank">Copyright Agreement Form.</a> The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment.When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor to provide retractions or corrections of mistakes.

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the journal.Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.The editor hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Peer Review

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by Editor-in-Chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international external referees for evaluation and publication decision is given by Editor-in-Chief upon modification by the authors in accordance with the referees’ claims.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review.- Does the manuscript contain new and significant information?- Does the abstract clearly and accurately describe the content of the manuscript?- Is the problem significant and concisely stated?- Are the methods described comprehensively?- Are the interpretations and consclusions justified by the results?- Is adequate references made to other Works in the field?- Is the language acceptable?Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

The subjects covered in the manuscripts submitted to the journal for publication must be in accordance with the aim and scope of the journal. The journal gives priority to original research papers submitted for publication.Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal are accepted for evaluation.The Journal of Art History supports the idea that the papers presented at another conferrence should be published in the original conferrence book. Therefore the journal is not fond of the idea  to receiving such papers for submission. Starting with 2025, in the case of submitting an article with a similar situation, the author must obtain an official letter from the Symposium Publication Board stating that the paper is not, or will not be, included in the symposium proceedings. This letter should be uploaded to the Dergipark system along with the article. If the Editorial Board concludes that the topic is original and important, the article may be considered for the evaluation process, provided that the official letter and documentation mentioned above are submitted. After passing these stages and the peer review process, at the publication stage, it is essential to state on the first page of the article where and when the paper was previously presented. It should also be confirmed that the research has not been published elsewhere.Articles written in accordance with the submission guidelines for The Journal of Art History are subject to preliminary evaluation by the Editorial Board after the final submission deadline announced on the journal's website. Articles that pass the preliminary evaluation (Their originality, methodology, the significance of the topic addressed in the article, and their relevance to the scope of the journal, as well as the iThenticate similarity (plagiarism) rate) are included in the peer review process. The final decision regarding these articles is made after the peer review process.The articles that passed the preliminary evaluation are scanned with the iThenticate similarity (plagiarism) program. The rate must be under %10 in the case of the scan including only the article except for the footnotes and bibliography. It must be under %20 in the case of the scan including article and footnotes except for the bibliography. Articles that do not comply with these rates and have a similarity rate higher than the specified upper limit are not accepted and are returned to the author.After similarity (plagiarism) check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.The editor hands over the papers matching the formal rules to at least two (usually three referees are preffered) national/international referees for evaluation and makes last decision for publication upon modification by the authors in accordance with the referees’ claims.Changing the name of an author (omission, addition or order) in papers submitted to the journal requires written permission of all declared authors.Special attention is given to the &#34;diversity of authors and institutions&#34; for the articles to be published in The Journal of Art History. In this context, an author whose article has been published in The Journal of Art History will not be accepted for article submission in the two consecutive issues following the year of publication. As an example, an author whose article was published in 2023 can submit an other article to the journal again in 2026. In the same context, the journal does not publish articles by the Editor-in-Chief and Assistant Editors. In order to provide diversity of institutions and authors, the journal makes a concerted effort to publish articles from outside the institution whenever possible.In recent years, , with the decisions made within the universities’ graduate (Master’s and Doctoral) education regulations, scientific articles are being produced from the theses. Especially before finishing their theses, many universities have imposed a requirement on doctoral students to publish an article in a peer-reviewed journal. For this reason, instead of restricting articles derived from graduate theses, particularly doctoral theses, a quota has been established, ensuring that their proportion among the total accepted articles does not exceed 10%. Priority will be given to articles derived from doctoral theses within this quota.After preparing the article according to the submission guide of  The Journal of Art History, care should be taken that the article, including visuals (except for the bibliography), does not exceed 30 pages if possible.If the articles submitted to The Journal of Art History are not formatted according to the submission guidelines (footnotes, billiography, page layout, font type and size, word limit for abstracts, ethcal issues, sources of the visuals, etc.) specified on the journal's website, they will be returned to the author without being evaluated.Author’s Responsibilities It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. The copyright laws and agreements in practice should be observed. Copyrighted materials (tables, figures ot large quotations) should be used with the necessary permissions and acknowledgments. In studies conducted with permission, especially in museums or other similar institutions, the official permission letter obtained from the institution must be uploaded to the Dergipark system along with the article. In the case of research involving excavation materials, if the author is not the excavation director or assistant, the permission letter obtained from the excavation director must also be uploaded with the article. In addition, the contrubutions of other authors, contributors and informations of the sources should be appropriately acknowledged and cited in the references.

Author Guidelines

All correspondence will be sent to the first-named author unless otherwise specified. Manuscpript is to be submitted online via <a href="http://dergipark.gov.tr/login" target="_blank">http://dergipark.gov.tr/login</a> that can be accessed at <a href="https://dergipark.org.tr/tr/pub/iusty" target="_blank">https://dergipark.org.tr/tr/pub/iusty</a> and it must be accompanied by a <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8DC38C00FA484D4FAB19DB07D2E453D0" target="_blank">Title Page</a> specifying the article category (i.e. research article, review etc.) and including information about the manuscript (see the Submission Checklist). Manuscripts should be prepared in Microsoft Word 2003 and upper versions. In addition, <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/37CCCB7EDE7142A183F2D21C542D9DD8" target="_blank">Copyright Agreement Form</a> that has to be signed by all authors must be submitted.1. The manuscripts should be in A4 paper standards: having 2.5 cm margins from right, left, bottom and top, Times New Roman font style in 10 font size and line spacing of 1.5. Due to double blind peer review, the main manuscript document must not include any author information.2. A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D309744786794830A4037753E0F31EB9" target="_blank">title page</a> including author information must be submitted together with the manuscript. The title page is to include fully descriptive title of the manuscript and, affiliation, title, e-mail address, postal address and phone number of the author(s) (see The Submission Checklist).3. Before the introduction part, there should be an abstract between 180 and 200 words in Turkish and English, an extended abstract in English between 600-800 words summarizing the scope, the purpose, the results of the study and the methodology used. Underneath the abstracts, five keywords that inform the reader about the content of the study should be specified in Turkish and in English. Extended abstract in English is required only for non-English manuscripts.4. The manuscripts should contain mainly these components: title, abstract and keywords; extended abstract in English, sections, end notes and references.5. Research article sections are ordered as follows: “INTRODUCTION”, “AIM AND METHODOLOGY”, “FINDINGS”, “DISCUSSION AND CONCLUSION”, “ENDNOTES” and “REFERENCES” and “TABLES AND FIGURES”. For review and commentary articles, the article should start with the “INTRODUCTION” section where the purpose and the method is mentioned, go on with the other sections; and it should be finished with “DISCUSSION AND CONCLUSION” section followed by “ENDNOTES”, “REFERENCES” and “TABLES AND FIGURES”.6. Tables, graphs and figures can be given with a number and a defining title.7. References should be prepared in accordance with the reference style of the journal.8. Authors are responsible for all statements made in their work submitted to the Journal for publication.

<ul><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/37CCCB7EDE7142A183F2D21C542D9DD8" target="_blank">Copyright Agreement Form</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8DC38C00FA484D4FAB19DB07D2E453D0" target="_blank">Title Page</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D589C5BC8FE645268E3233A5A926EF19" target="_blank">Author Form</a></li></ul>

Ensure that the following items are present:<ul><li>Confirm that the category of the manuscript is specifed.</li><li>Confirm that “the paper is not under consideration for publication in another journal”.</li><li>Confirm that  disclosure of any commercial or financial involvement is provided.</li><li>Confirm that last control for fluent English was done.</li><li>Confirm that the references cited in the text and listed in the references section are in line with the bibliography edition adopted by the journal.</li><li>Confirm that journal policies detailed in Information for Authors have been reviewed.</li></ul>●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/37CCCB7EDE7142A183F2D21C542D9DD8" target="_blank">Copyright Agreement Form</a>●    Permission of previous published material if used in the present manuscript●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8DC38C00FA484D4FAB19DB07D2E453D0" target="_blank">Title page</a><ul><li>The category of the manuscript</li><li>The title of the manuscript both in the language of the article and in English</li><li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li><li>Corresponding author’s email address, full postal address, telephone and fax number</li><li>ORCIDs of all authors.</li><li>Grant support (if exists)</li><li>Conflict of interest (if exists) </li><li>Acknowledgement (if exists)</li></ul>●    Main Manuscript Document<ul><li>Important: Please avoid mentioning the author (s) names in the manuscript</li><li>The title of the manuscript both in the language of the article and in English</li><li>Abstract (180-200 words)</li><li>Key words: 5 words</li><li>Extended Abstract (600-800 words) in English</li><li>Body text sections</li><li>References</li><li>All tables, illustrations (figures) (including title, explanation, captions)</li></ul>

Issue Type	Regular
Editor(s)	Vesile Belgin Demirsar Arlı, Özgü Çömezoğlu Uzbek
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Journal of Art History

ISSUE 34, 2025