Vesile

Assoc. Prof. Dr.

Özgü

Prof. Dr.

Serap

Assoc. Prof.

Uşun

Tarcan

Prof.

CALL FOR PAPERS-2024

Fatma

The current study aims to deepen how special kinds of relations are fictionalised in the common world perspective in classical poetry and architecture considered in the Ottoman arts with an inspiration of Heidegger, who thought that building and dwelling are basically poetical practises. It is because it was not actually a modern human experience to dwell in the world that Heidegger inhabits in relation, he mentions meaningful poetically. According to Heidegger, the measurement of spaces could be taken by means of algebra as an example; however, when something becomes a measure of another thing on the basis of human experiences, space attains the identity of a place in the positive relation of human being with his environment. This qualification attributed by Heidegger to the so-called measurement approach reminds us that Ottoman artists exhibit their criticisms directly through works of art instead of linear reasoning. If works of art in the Ottoman Empire are regarded as the existence of a common world of mind both in poetry and architecture, they become critical dialogues within the relation of all these fields of production. These dialogues were not only a way of artistic criticism but also a way of showing respect to masters. In Tanpınar’s words, these dialogues developed through various techniques turn art production into collective “atelier work” beyond timely limits. At this stage, it was pointed out in the study that the creations of Ottoman artists could be regarded as the measurement and therefore criticism of each other with an indication of the dialogues within the tradition. The idea that the experiences comprising the existence in the Ottoman episteme are coupled and integrated required the admittance of the existence of a common design thought around these arts. If we look at architectural practises in terms of the common ground of poetry and building on the basis of the Ottoman episteme, notably the situation is no different. It can be said that the socially sanctioned structures that represent the transcendental knowledge of architects in the Ottoman Empire have the quality of a "source text" for the structures that follow them, and therefore architects "rewrite" such structures in a new language and in a new context. As a matter of fact, Ottoman art, as in the Western tradition, is not shaped by the individual will of the subjects and it does not have its pushing power from different seeking of reality by the artists. Walter G. Andrews mentioned that it&nbsp;was believed that life in the Ottoman Empire was in an ideal unity. Nevertheless, works of art proceeded according to the determined rules of unity within tradition and by feeding from a limited symbolic repertoire or present materials. This tight aesthetic control order was a possibility for forming dialog chains beyond the times between artists by creating a cultural pattern. For that reason, depending on the idea of a faith and culture attributed to a static selfimagination of a case, some reservations were made for the explanations given with the idea that these institutions are the part determining the artistic practises on behalf of reciprocity in the study. It was also indicated that artistic practises can shape the traditional cultural pattern in the setting of a dialog. In addition, it was emphasised that the relation between poetry and architecture cannot be perceived with modern analysis techniques such as interdisciplinarity by highlighting the unmeritedness of this togetherness. As for its evidence, it was sought in the nazir (simile) traditions in both poetry and architecture. Interaction styles such as “terbi’” (tetralogy) and “tahmis” (quintet) in the close distance “musammats” (a poetry style) between mental construction and physical and linguistic construction were also discussed. It was made clear that techniques such as “terbi’” and “tahmis” both in poetry and architecture when a homology is set make the productions inconstant, turning it into a virtual and dynamic activity field. In this way, the discussion universe of classical poetry and architecture in the Ottoman Empire was investigated with its common bases depending on the ways of sight and the world of mind.

Poetry and Architecture: Cultural Patterns in Ottoman Art

Elif

İlkay Canan

Originating in the early 1910s through the spontaneous actions of Futurists in Italy and Dadaists in France, performance art became a significant production of 20th-century art by challenging traditional art forms and questioning art-market dynamics, institutional aspects, and spatial concepts. While discussing the modern history of performance art, the article also discusses Wagner’s Gesamtkunstwerk [total work of art] proposal and reveals the contributions of avant-garde movements to performance art. However, the history of performance is much longer compared to the relatively shorter history of performance art. Performance, which is the basis of performance art, is connected to a wide range of disciplines beyond visual art productions and therefore emerges as a controversial situation in terms of the definition and history of art. Particularly with regard to performance art having been explained by theatre theory and ritual studies having determined the character of this art. This article aims to define performance art, which has been one of the most influential fields of production in contemporary art since the 1960s, by examining its ritual roots as well as by revealing its differences from other performance arts that are fed by those roots, especially theatre. Therefore, this article attempts to define performance art by investigating its ancient ritual origins. Being able to make this definition is important for two reasons. One is that many artists who practice performance art have constructed this art as a ritual, and the second is that the number of performance examples being implemented as neo-shamanic rituals is increasing. This article aims to define performance art in line with its origins by utilizing ritual studies, thus locating performance art theoretically as a mode of production in contemporary art. As articulated by Thomas McEvilley, ritual-based performance studies trace their connections among neolithic fertility rituals, paleolithic shamanic practices, and the performances of the 1960s-1970s.* These performances exemplify a dynamic interplay between shamanic elements and the pursuit of transformative experiences. Shamanism as a term prompts exploration due to its ambiguous nature; it reveals shared beliefs in a spirit world, trance-inducing rituals, and the shaman’s pivotal role in addressing community challenges. Performance art that resembles neo-shamanic rituals transforms not only the creator but also the audience into participants in a sensory experience. Amidst the confinement of modernist high aesthetics within the artistic space, performance art can be interpreted as an intervention into human life, one that reconnects life with art. Rooted in action derived from life, a naturalistic approach underlies performance art. When examining examples specifically linked to shamanic rituals, both practitioners and viewers are seen to experience a neo-shamanic revival. The longing to reconnect with nature in the modern world has led to a rapid increase in performances treated not just as rituals. Therefore the article analyzes such artists as Joseph Beuys, Anna Halprin, Kim Kum-Hwa, and Linda Montano, who know shamanism and consider themselves as shamans (neo-shaman). The article also examines Marina Abramović, who has researched not shamanism specifically but rather pagan religions, emphasizing how she has applied her research to her performance practices. The article also analyzes artists such as Hermann Nitsch, Kim Jones, and Paul McCarthy, who make use of these ancient belief rituals and techniques in their performance practices, even if they make no mention of shamanism or pagan religions in their own development. This article claims that the performances produced by artists who work with a transcendentalist motivation by performing such actions as sacrifice ceremonies, experiencing pain, aiming for healing/ catharsis, lighting fire, disguising as animals, and beating drums reveal the characteristics of shamanic rituals. The article also underlines the transformative effect of performance art that resembles neo-shamanic rituals and claims that the connection to its ritual roots that had been broken in the modern period has been re-established. As a result, the article’s originality lies in its claim that performance art and its neo-shamanic characteristics are not limited to the art world but have emerged as a transformative force that spreads its influence to various aspects of life.&nbsp;

Detecting the Limitations of Performance: Performance Art as a Neo-Shamanistic Ritual

Ülkü

Architecture in the period of Mustafa III included a great deal of repair and reconstruction activities, especially due to the heavy destruction caused by the 1766 Istanbul earthquake. Following the construction of the Ayazma and Laleli social complexes, the Fatih Mosque, which was a redesign-production structure after the earthquake, was built. These three large mosques joined the Istanbul skyline during this important period of construction and reconstruction. From the image of the city to the decorative detail of the sultan’s lodge, there is a style that imperial mosques have and exhibit. This study also examines the designs, preferences, and reasons for these preferences by considering the Nuruosmaniye Mosque, which was the pioneer of the three mosques of the period and is a frequent comparison element in the literature over its decorations.During the imperial period, an imperial mosque had two distinct main users. The first of these was the public who experienced the mosque from its courtyard (if the building had one) or from its exterior facades to the prayer hall, where worship takes place indoors, and to the mihrab, which is part of this praying hall. Another user group was the Sultan and state dignitaries. The sultan, who was much superior in position, had the authority to use every area of the structure while the state dignitaries were allowed in the areas to the extent permitted by the Sultan. This situation created two different routes of use in the mosques. In this study, an attempt was made to understand the style of the period by examining all columns, semicolumns, and pilasters on these two usage routes. When defining the columns, first the pedestals, then the column body, and finally the column capitals were described based on the construction sequence.The columns located on the route used by the public, where they experience the mosque both with its facades and interior space, differ from the columns followed on the route used by the Sultan. The column capitals on the public route are those with more intense ornaments and more craftsmanship. Exhibiting and presenting the “newest”, “most distinctive” and “most different” in the areas used by “the others”, people other than the Sultan, can be considered a way of expressing the empire itself in the process of change. In all of the mosques examined, more “modest” and plain capitals were preferred in the areas used by the Sultan compared with the other areas. It has been determined that the “corner leaf” column capitals, which represent the differentiation in the architectural style of the period, were not used on the Sultan’s route. So much so that the preferred pedestals here are also unadorned. The pedestals, which are like a prism without a profile, seem to have been specifically applied in the sultan’s ramp and pavilions.This study, in which the columns’ design of the Mustafa III Period mosques are compared in detail with the pioneer Nuruosmaniye Mosque, and in which the reasons for application of these decorations are examined, aims to look at the architectural style and decor elements of the period from a different angle. Comparing the buildings has enabled us to form a new interpretation of design preferences and representations. This study, in which designs were reinterpreted according to patrons, the people for whom the mosques were built, and the users, questions the existence of design codes in 18th century Ottoman Architecture. The study also paves the way for more comprehensive studies that can be conducted on other decor elements by seeking answers to this question through analysing columns.&nbsp;

A Comparative Look at the Columns in 18th Century Mosques:  Display and Impression from the Courtyard to the Lodge

Arif

In the Ottomans, one of the most important architectural cultures in the Mediterranean, the theory of ratio-proportion is a subject that has not been elucidated due to the lack of historical sources for the theoretical explanation of the art of architecture and the scarcity of academic studies in terms of quantity. The persistence of this problem leaves many questions unanswered, such as the Ottomans’ idea of art and architecture, their understanding of beauty, and the theoretical principles by which they created a work of art. This study aims to identify the main principle of architectural theory, the system of proportions, by using the theoretical sources of the period and the method by which it was applied.This research is limited in many ways because of the detailed and broad scope of the subject. Therefore, we focus on a theoretical analysis of the monumental Ottoman mosque architecture and the influence of the Edirne Selimiye Mosque (1574), one of the most important buildings designed by Mimar Sinan, on the Ottoman mosques built after him. Since an important aspect of the study is to examine the design approach of the mosques built after Mimar Sinan, the most competent work of Mimar Sinan, which is considered to have a similar approach in terms of method among the buildings he built, was preferred. In this respect, the mosques of (Istanbul) Çarşamba Mehmed Ağa (1585), (Istanbul) Zeynep Sultan (1769), and (Bursa) Emir Sultan (1804-5), which were built in different periods and have different dimensional characteristics but similar structural formations, were also analysed. In addition, because this study focuses on theoretical analysis, the Safranbolu Köprülü Mehmed Pasha (1661) and Şebsefa Hatun (1788) mosques, which were built in different periods and have different structural systems, were also included in the analysis.First, the research assumes that the structural principles in the spatial design of the mosques under study are determined vertically and that the formal qualities of the covering and structural elements are used as a form of aesthetic expression. In addition, the integrity of the form is considered to have been created with a rational understanding of beauty. Based on this context, an attempt is made to develop a new method that answers the questions that arise in the analysis of ratio-proportion theory for Ottoman architecture using an interdisciplinary approach. Taking into account the practical construction techniques and scientific studies of the period, this method reveals how Ottoman artists applied ratio and the system of proportion.Due to the limitations of the research, only the part-to-whole relationship was analysed. For this reason, the heights of the architectural elements were proportioned to the total height of the interior, and these ratios were shown as 0-1.00 to facilitate the narrative. Two-dimensional&nbsp;analysis was obtained by proportioning the same height measurements to the width of the interior. After the ratio research, the results were briefly evaluated and discussed. This evaluation and discussion section guides the second phase of the study. This section focuses on answering data such as the ratio values determined in one and two dimensions, the use of rational and irrational numbers, and the differences in the form and size of architectural elements on a theoretical basis. Therefore, theoretical sources that nourish the art of architecture have been used. This situation made it necessary to act within the framework of the sources in the inventory, especially the Ottoman Palace Library, which historically influenced the Mimar Sinan period, and the historical origins of these sources. Moreover, due to the context of the identified sources, it was necessary to follow the traditions of thought (theoretical methods) in the Islamic world to identify the theory of ratio and proportion in Ottoman mosques. However, limiting the scope of the study, in order to analyse the design theory and the study of form of Ottoman mosques, we first focus on the tradition of geometry (hendesiyyun), where the mathematical form of the object is represented by a continuous quantity (megethos/magnitude). Second, to solve the problems encountered during the research, we focus on the tradition of calculation (hisâb: arithmetic-algebra-applied geometry), which was used in many fields in the Islamic world until the Ottoman period. Indeed, a new (mental, algebraic) conception of quantity with unknowns, in other words the possibility of solving a mesāha (applied geometry) problem with algebra, enabled Ottoman architects to construct the integrity of spatial design in accordance with theory and practise (despite all variable conditions). The presence of this scientific knowledge in Ottoman libraries, especially in the inventory of the Ottoman Palace Library, can be confirmed by the identified works (in the fields of calculus, algebra, hendese and mesāha). Thus, for the first time, it has been understood how beauty was created in Ottoman architectural art using the theory of ratio-proportion, and an important contribution has been made to studies in this field.

“Proportioning Also is Ancient Turkish”: The Principle of  (Geometric) Ratio-Proportion in Ottoman Mosque Architecture

Ö. Eren

This study provides a comprehensive overview of the development of “authentic” American modern painting while, specifically situating Barnett Newman and his painting Onement I within this context to elucidate its distinctive contribution to expanding the boundaries of authentic American modern art.The path towards establishing a unique American artistic identity, spanning various historical periods and art movements from the late 18th century to the 20th century, is first explored by the study. It is noted that, while a unique American artistic identity was aimed for by these movements, influences from European art were also carried, albeit with a distinctive American nuance. The evolution of American modern painting is discussed within this context, referring to key events like Paul Durand-Ruel’s introduction of American Impressionism and the 1913 International Exhibition of Modern Art (Armoury Show). These moments, while important, also showcased the ongoing American interpretation of European artistic styles.The examination of American Abstract Expressionism, which represented a pivotal development signifying the creation of authentic American modern art, is undertaken in the subsequent section. Within this analysis, the movement is placed in the context of the postWorld War II period, allowing for the reflection of the unique political and psychological atmosphere of that period.Characterised by an abstract approach, American Abstract Expressionism is noted for its emphasis on American freedom and the free-market economy, with a core focus on personal freedom, autonomy and the addressing of anxieties stemming from post-war trauma and a possible nuclear war. Within this narrative, the approaches and guidance for shaping American Abstract Expressionism by art critics Harold Rosenberg and Clement Greenberg are also highlighted as key points. Rosenberg argues that painting becomes an act, transforming the painter’s approach to the canvas while distinguishing it from modern European art. A focus on visual form rather than the visible world is emphasised by Greenberg, and it is approached from a formalist standpoint. These perspectives collectively contribute to the definition of American Abstract Expressionism as a movement that effectively combines abstraction and action. At this point, problematics in the Turkish terminology of the field are also addressed. The section continues by elaborating on the development of American modern painting through a Greenberg-based approach, which views it as an abstract art form that accentuates the physical impact of paint. This approach underscores the application of paint on the canvas and its physical effects, and Greenberg coined the term “Painterly Abstraction” to describe this phase. Over time, this approach evolved into “Post-Painterly Abstraction”, marked by a deliberate departure from the painterly trace of the artist in abstract painting.In the next section, the focus is directed towards Barnett Newman’s art, with a particular emphasis on his work, Onement I and its connexion to Clement Greenberg’s concept of “Colour Field Painting” within American Abstract Expressionism. Newman’s art is steeped in a mystical approach aimed at evoking the sublime, transcendence, and infinity, challenging traditional aesthetic notions of beauty in European art and underscoring the uniqueness of American modern art: Newman’s belief that the physical world inhibits the representation of the sublime leads him to adopt an abstract, non-representational style that emphasises the physicality of painting and the effect of paint. The “Onement” series epitomises this approach with its expansive colour fields and minimal gestures, creating a meditative experience through the expressive use of colour.What makes Newman’s Onement I unique is that he highlights that the painting aims to provide viewers with a momentary visual experience rather than exploring the artist’s inner world or external realities. This approach aligns with the notion of an immediate visual effect that triggers the viewer’s own nature of experience, akin to a metaphysical confrontation, parallel to Maurice Merleau-Ponty’s theory of perception.In conclusion, this study outlines the transition from artist-centred modern painting to viewer-focussed art, with Barnett Newman’s Onement I serving as a significant turning point. It prioritises the viewer’s experience over the artist’s perspective, departing from traditional painterly techniques and aligning with the Post-Painterly Abstraction movement, which emphasises the physicality of paint and its impact on the viewer’s experience. This represents a significant shift in modern art and establishes Onement I as a central and pivotal element in the maturation of authentic American modern painting.&nbsp;

“Authentic” Modern American Painting and a Pioneering Painting During the Transition to Postmodern Art: Barnett Newman’s Onement I

Türker

Nuri Bilge Ceylan’s Frames as a Pastiche: Caspar David Friedrich and Ilya Glazunov

Mehmet

The subject of this study is a group of unglazed ceramic pots found in the Amorium excavations. Amorium, which is a mediaeval city settled by many civilisations such as Hittites, Phrygians, Romans, Byzantines, Seljuks, Beyliks, and Ottomans since 2000 BC, is located in Hisarkoy, which is approximately 12 km east of Emirdag, Afyonkarahisar. Unglazed ceramics, which were unearthed in the Amorium excavations and used to cook, heat, or store various foods, are important archaeological data in terms of reflecting daily life in Amorium and especially the cuisine culture. Although there are few studies on unglazed ceramic finds, this type of find is extensively found in many centres. A total of 55 unglazed ceramic finds were found in the Inner Wall excavations in the Upper City region of the city. Unglazed ceramics exhibiting two different clay structures consist of cookware finds and covers and bottom pieces. In general, these finds are mostly in similar form regardless of region or date range. The common need to cook, heat, store, or serve various foods likely led to the emergence of similar cookware forms. In fact, similar samples discovered in Amorium, Karacahisar Castle, Smyrna Excavation, Komana Excavation, Savsat Castle, Bitlis Castle, Taskun Castle, Kemah Castle, Tille Mound Excavation, Bayburt Castle, and Harran Excavation in Anatolia are dated to different periods. In addition to these centres, it is possible to discover many samples with a similar form dated to a wide geographical distribution and time interval. Therefore, it would be more useful to focus on the areas where Amorium cookware finds are discovered in the dating suggestion of the finds and to make an evaluation through the find-space relationship. Amorium cookware was discovered in the Inner Wall area where excavations started in 2014. In the works continuing until today, the Inner Walls and tower structures dating back to the Byzantine Period have been unearthed with all their lines. With the end of the Byzantine presence in the city following the 11th century, the Inner Wall may have been preferred as a sheltered living space for the settlers of the Turkish-Islamic Period in the 13th-15th centuries. In fact, many hearthstone-niched spaces were found in the area. In these spaces, where these new settlers of the city met their daily shelter needs, glazed ceramic pots dating back to the periods of Seljuks, Beyliks, and Early Ottomans, glazed brick samples, tools, horseshoe finds, bronze weights, and door fittings were discovered in addition to cookware. Moreover, the burn &nbsp;marks on the cookware and quarries uncovered in these spaces clearly reveal the relationship between the cookware finds and the hearthstones.It is not possible to express what kind of foods were cooked and prepared with Amorium cookware finds dating back to the 13th-15th centuries. Nevertheless, at this point, an evaluation can be made on the basis of the table culture of the period. Food and soup varieties made from meat and cereal products in the Seljuk, Beyliks, and Ottoman Periods were consumed daily. It is possible to mention the habit of similar consumption of Amorium during the Turkish Islamic period. In fact, various agricultural activities were carried out in the city based on the agricultural tools found in the excavations of the Inner Wall and narrations by Ebul Fida. Furthermore, cattle horseshoes and animal bones found in the Inner Wall area provide clues regarding the animal husbandry activities of the settlers. Based on these data, it is possible to claim that meat and various cereal products may have been prepared for consumption with the Amorium cookware in accordance with the nutritional habits of the period.

Turkish-Islamic Period (13th-15th Centuries) Unglazed Ceramics  Found in Amorium Inner Wall Excavations: Cookware Finds

Mustafa Özer

Our aim in this study is not to discuss the establishment, functioning, and types of foundation institutions in detail. Our main aim is to emphasise the effects of the complexes, which are a collection of buildings and structures with different functions built within the foundation system in the Ottoman Period, on the construction, settlement, and therefore the physical development of cities and towns.With the zoning and construction activities carried out on cities, towns, and roads within the foundation institution, the needs of society in the fields of religion, education, trade, social, cultural, etc. were met. In addition, a significant part of the infrastructure (roads, bridges, water systems, etc.) works on cities, towns, and roads were carried out within the foundation system.While preparing this article, previous research and publications on this subject and our field studies based on many years have been utilised. The sources and publications used in the study are provided at the end of the article.In the establishment and development of Ottoman cities, social complexes and religious and social building communities were established in different parts of the cities and directed the formation of crowded districts.In Turkish-Islamic cities, complexes were generally designed and built within the framework of a plan and programme. Within the complexes, there are structures with different functions that meet the needs of the people of the city and town. These complexes can be found in almost all Ottoman cities and towns, especially in capitals such as Bursa, Edirne, and Istanbul. They also appear as benzil social complexes built on the main roads connecting these cities and towns.&nbsp;&nbsp;In this way, in addition to the physical shaping and development of cities and towns, the needs of their inhabitants were also met.&nbsp;New neighbourhoods bearing the same name as the social complexes emerged around these complexes built within the foundations, and thus, the new population coming to the city settled in these neighbourhoods.In addition to the three capitals of the Ottoman Empire (Bursa, Edirne, Istanbul), we can often see this situation in Balkan cities such as Skopje, Ishtip, Tetovo, Salonica, Sarajevo, Mostar, Banja Luka, Dimetoka, Elbasan, Berat, Prizren, Plovdiv, Rhodes, Crete, Zigetvar, and Peç; Anatolian cities such as Konya, Kayseri, Manisa, Amasya, Trabzon, and Diyarbakr; and cities in countries such as Morocco, Tunisia, Algeria, Egypt, Iraq, and Crimea.These cities, which were within the borders of the Eastern Roman Empire before they came under Ottoman rule, gained the character of Ottoman cities in a short period of time with the rapid reconstruction and settlement activities initiated after their conquest.In these and other Ottoman cities and towns, the zoning and settlement policies explained in detail above were implemented. Thanks to the foundations established in this direction, complexes, almshouses, mosques and masjids, and tekkes and dervish lodges were built, each of which was the centre of the neighbourhood or district they were named after. To cover the maintenance and repair costs of these buildings, the salaries of the staff, and other expenses, commercial buildings (shops, bazaars, inns, mills, etc.) called “akar” were built in the commercial and production areas of the city. Thus, both the development of trade and production areas and the establishment of new districts and neighbourhoods where the population migrating to the city would reside were ensured. Undoubtedly, those who pioneered and contributed to the physical, commercial, economic, cultural, and social development of cities and towns (as in the cases of Bursa, Edirne and Istanbul) were state rulers and their families, senior administrators, Muslim judges, scholars, merchants, sheikhs, etc. through the foundations they established.In addition, the benzil social complexes, which were built on the roads connecting the cities and towns, at a distance from dawn to dusk, and whose centre of gravity was composed of inns and caravanserais for trade and accommodation purposes, enabled the places where they were located to flourish and turn into towns and cities over time.In the reconstruction and settlement policy implemented by the Ottoman Empire in the cities and towns included within its borders, those who came to the forefront through the foundations they established were members of the dynasty, high-level administrators and soldiers, Muslim judges, scholars, merchants, sheikhs, and people with status in society.Newly captured cities were rapidly Turkified and Islamised through a conscious reconstruction and settlement policy pursued through the foundation system.The foundation institution, whose founders, functioning, purpose of establishment, zoning, and construction activities to meet the needs of the people living in cities and towns in the Ottoman period were explained above, continues its existence and activities in a diversified and enriched manner today.

Role of Foundations in the Reconstruction of Ottoman Cities and Towns

Mustafa

Azure painting with gilded stars was implemented on the ceilings of numerous monumental buildings built during different periods, initially from ancient Egyptian architecture to ancient Roman, Byzantine, gothic, and Renaissance architecture. Prominent examples include XIX. Dynasty tombs in Thebes, Galla Placidia Mausoleum and San Vitale Church in Ravenna, San Marco Church in Venice, Sistine Chapel in Vatican, and Sainte-Chapelle in Paris. Apparently, it moved from Egypt to Roman territories, including the capital city of Constantinople, and spread to Europe in the Middle Ages through mutual cultural interaction with the Byzantine Empire. Through the revivalist architectural styles dominant in the 19th century, azure painting with gilded stars became a substantial component of neoclassical architecture and especially neogothic architecture in Western culture.&nbsp;British architect and architectural historian William Richard Lethaby provides in-depth information about these ceilings’ origin and appearance in different periods in the chapter “Ceilings Like The Sky” of his book “Architecture, Myth and Mysticism” published in 1892. In the chapter, Lethaby addresses the ceilings painted with an azure background, a blue resembling the sky and gilded yellow stars dispersed on top of it.&nbsp;Lethaby explains that the decoration’s first appearance was in the Ancient Egyptian period on the ceilings of temples and tombs. In ancient Egyptian architecture, there are numerous examples of paintings with azure colour and dispersed gilded stars, especially on the ceilings of temples such as Esna, Dendara, Erment and tombs of the 19th Dynasty.According to Lethaby, later in the late antique period, the decoration of azure paintings with gilded stars was associated with Byzantine architecture and the capital Constantinople. One of the earliest examples of Roman architecture was the dome of Galla Placidia Mausoleum in Ravenna from the 5th century AD. Lethaby also asserts that the dome of Hagia Sophia in Constantinople originally had a similar decoration on its inner surface.&nbsp;&nbsp;The decoration became an Eastern-origin component of gothic architecture, as its use became widespread in gothic churches in European states in contact with the Byzantine Empire. In particular, Sainte Chapelle in Paris was one of the prominent examples of this decoration. In the 19th century, when the neogothic style emerged, it pervaded again in Europe and the United States. Not only neogothic architecture but also other revivalist styles, such as neoclassicism, adopted it in the same period. The pioneer of neogothic architecture, Augustus W. N. Pugin impacted the proliferation of decoration.The 19th century was in the same way the period of revivalism and eclecticism in the westernised Ottoman architecture as in Europe and the United States. Many churches built in the 19th century in Istanbul, especially Greek Orthodox and Latin Catholic examples, contain the mentioned ceiling decoration. Among those there are St. Peter and St. Paul Church, St. Benoit Church, Santa Maria Draperis Church, and Aya Triada Church, all in the Galata and Pera region.&nbsp;Yet in the period of Sultan II. Abdülhamid (1876-1909) the same decoration was also used in mosques and synagogues in Istanbul. Among the mosques, the Yıldız Hamidiye Mosque, Osman Reis Mosque, and Darülaceze Mosque are prominent examples. In particular, Yıldız Hamidiye, as an imperial mosque, seemed to have a strong influence on the sanctuaries not only in the capital but also in the close vicinity of the city, such as the Grand Synagogue of Edirne and the Mevlevi lodge in Gallipoli. Galata Ashkenazi Synagogue and Zülfaris Synagogue, having the same ceiling decoration, indicate that azure painting with gilded stars came into fashion among all abrahamic religions in the Ottoman capital city at the end of the 19th century and the beginning of the 20th century.&nbsp;&nbsp;

Fashionable Ceiling Decoration Found at Places of Worship in  Istanbul during the Sultan II. Abdülhamid Period: Azure Painting  with Gilded Stars

Emre

Münteha

Grenades were formed with the development of "Greek Fire" by various civilizations in the arms race that emerged as a result of humanity's efforts to destroy each other. In particular, it is known that Greek Fire started to be used during the Byzantine period and that this invention, the content of which is not yet known for certain, was placed in terracotta or glass containers and used as a destructive weapon power. It is seen that the Muslim Arabs and Crusaders took this grenade from the Byzantines and developed it, and that this instrument of war continued to be used by the army (land and naval) during the Ottoman period. The greatest technological or chemical advance in the development of the grenade launcher began in the 7th century AD with the invention of the so-called "Greek Fire", and this discovery was best known for stopping the Muslim Arabs advancing towards the Byzantine Empire. The discovery and use of Greek Fire by the Byzantines was an important development in the technology of warfare. Especially during the Arab sieges of Constantinople in 678 and 717-718, the Byzantines used a liquid containing some components such as petroleum and sulfur in siphons as well as grenades, possibly placed in terracotta or glass containers, to defend the city. Shortly after its introduction in Europe, Ottoman glass art made great progress. Istanbul was the glass production center of the Ottoman Empire. In addition to the use of glass in various fields over thousands of years, the first use of glass in the Ottoman Empire Period was as a gunpowder in the battlefields during the siege of Rhodos in 1522. During this period, which coincided with the reign of Kanuni Sultan Süleyman (1520-1566), mortars made of glass were used. Fragments of glass mortars were also found in various excavations in Rhodos. The glass furnaces and craftsmen in the Ottoman artilleries are proof of the use of glass as a war material. In the 17th century, it was understood that Kağıthane mud suitable for casting glass humbara was secretly smuggled to Europe at night by English, Genoese, French and Dutch merchants, which was later banned by the administration. The Demirköy/Kırklareli Enterprise, known as the Fatih Foundry, supplied the Ottoman Army and Navy with cannonballs, rounds (humbara) and cannonballs, referred to as grains. It is estimated that the humbaraci class, which belonged to the pedestrian section of the Kapıkulu Quarries, was established between the 15th and 16th centuries. According to Mustafa Nuri Pasha, the humbara was invented during the reign of Fatih Sultan Mehmet and used in the 1475 Siege of Iskodra.&nbsp;As stated in the text, the use of glass as a humbara came after the terracotta examples. With the transformation of the Greek Fire into the humbara with pyrotechnic developments and the change in the materials used in the humbara, it took its place in the army as an effective&nbsp;weapon for many years. The Ottoman Empire, with its expanding borders, used this weapon effectively in its army. Although written sources indicate that the Ottomans started to use glass grenades during the reign of Kanuni Sultan Süleyman, it is likely that they first saw glass grenades during the reign of Fatih Sultan Mehmet (1451-1481) when they were used against them in the conquest of the island of Lesbos, because during the reign of Fatih Sultan Mehmet, although it is not known whether glass was used as a material, the humbaracı quarry was established and these were used in the Siege of Iskodra. In addition, it is known from written sources that glass craftsmen from Tabriz were brought to Istanbul with the emphasis on eastern campaigns during the reign of Yavuz Sultan Selim (1512-1520) before the reign of Kanuni Sultan Süleyman, which suggests that the Ottoman army may have used glass grenades earlier than known.&nbsp;&nbsp;In the light of the current archaeological data, it is possible to conclude that the Çanakkale glass grenade was used between the 15th and 16th centuries AD based on datable analogies. Unfortunately, although they are one of the rarest examples compared to other forms of glass, they are included in the inventories of museums and private collections, but the different definitions for the name of the form make it difficult for researchers to access these forms. In the future, there will be an increase in the number of publications on glass humbaras, especially those with a known findspot, and analysis on this subject.

The Most Dangerous State of Glass: A Humbara from the Çanakkale Museum

Gülsen

Esra

Taraklı is a quiet district 65 km from Adapazarı in Sakarya, in the southeast of the Marmara Region. Due to its location, Taraklı, which was in the Bithynia region in ancient times, was important as a small castle town that was connected to Bursa province during the Byzantine period. It was also significant during the Ottoman period as a district of the Hüdavendigar Province of the Sanjak of Kocaeli, which developed and grew rapidly because of its location on important roads. Its geographical features also helped preserve its historical and cultural texture. The Yunus Pasha Mosque, Yunus Pasha Bath, Rüştiye School, Hacı Atıf Inn, and examples of such civil architecture within the district from the Ottoman era indicate that construction activities continued at every stage of the classical and westernisation period in terms of cultural heritage.Despite not being clearly stated in the sources by whom or when the Yunus Pasha Mosque was built, it is believed to have been built by Yunus Pasha, the vizier of Yavuz Sultan Selim, between 1516 and 1517, on his way to the Sultan’s Ridaniye Expedition. It does not have an inscription or a waqf certificate charter. The mosque features a square layout and was built in the architectural style of classical single-domed Ottoman mosques. It is covered with a large dome and has a three-domed last congregation area adjoining it. The exterior walls and minaret of the building are made of light-yellow hewn stone.&nbsp;As a consequence of the restoration effort undertaken by the General Directorate of Foundations in 2023, the original patterns of the hand-drawn decorations before the restoration of 1993 were revealed through a mechanical scraping process made in the harim. In this research, the old and new versions of these hand-drawn decorations have been studied comparatively and evaluated on the basis of their style and compositional features. In addition, the place where these decorations stood in the decorative programme of the Ottoman Westernisation Period was discussed. Although some of the hand-drawn decorations have failed to remain intact until the present day because of faulty repairs in the building, it is evident that the decorative programme, which began to gain popularity in the 18th century, was repeated here.In the building, the dome, the dome skirt, the trumpets, which are the transition elements to the dome, flower bouquets tied from the stems on the walls of the harim, curtain motifs, writing, geometric decoration, inscribed medallions, decorations of these medallions that give the impression of being attached to a nail with a rope in the shape of ribbon, oil lamp motifs, and chain patterns are hand-drawn. At the same time, the depiction of medallions with their nails as a painting on the wall, which is not found in other examples of religious architecture, reveals how rich a decorative programme was applied and that it was made by an artist or artists with a strong imagination. What we usually see in religious architecture in Anatolia, such as the depictions of Mecca, Medina, and mosque on the mihrab wall, and still life and landscape depictions, have been replaced by floral and geometric decoration in this mosque. Black, yellow, brick colour, blue and red were mainly used to colour these decorations. When the decorations, which are believed to be the work of local artists, are examined on the basis of their style and composition, it is seen that two different periods stand out. These periods, dated to the latter half of the 19th century and the early 20th century, are also significant in terms of revealing varied elements in the decorative programme.

A Hidden Treasure in Sakarya from the Westernisation Period: Hand-Drawn Decorations in Taraklı Yunus Pasha Mosque

Abdül

Born as one of the three sons of Ghiyath al-Din Kay-Khusraw I, Ala ad-Din Kay-Qubad I became the Malik of Tokat in 601 (1205 A.D.) after his father had become sultan, and was declared ruler in 616 (1220 A.D.) upon the death of his brother Izz al-Din Kay-Qawus I. After ascending to the throne, he endeavoured to take measures against the Mongol danger and organised expeditions against some principalities to ensure Anatolian Turkish unity. Ala ad-Din Kay-Qubad I, who attached importance to commercial relations in addition to his successful politics, reinforced commercial moves with the caravanserais he built in Anatolia.&nbsp;In this study, coins belonging to the sultanate period of Ala ad-Din Kay-Qubad I, now registered in the inventory of the Bursa Archaeology Museum, were analysed within the scope of our study. In the inventory, 220 coins were identified, 72 of which were introduced by excluding repetitive ones from the catalogue. Most of the works, all of which were produced using the forging technique, are in good condition today. The earliest works are 616 AH (1219-1220 AD), while the latest are dated 633 AH (1235-1236 AD). Most of the examples dated 617 AH (1220-1221 AD) have reached the present day. The names of the caliphs of the period, most notably en-Nâsır-Lidînillâh, ez-Zahir-Biamrillah, and al-Mustansir-Billah, are mentioned in the lines of the inscription. Silver and copper materials were used in the coins, all of which were produced using the forging technique. The average diameter of the silver coins is 23,28 mm and the average weight is 2,89 g. The average diameter of the copper coins is 22,56 mm and the average weight is 3,25 g. Sivas, Konya, Kayseri, Bilveran, and Kayseri were the centres of minting. Of these, most coins were minted in Sivas.Floral and geometric ornaments are seen on the coins. The rumi, the only element of floral ornamentation seen on the artefacts, is a motif that originated in Central Asia and developed under the influence of the animal style. The motif took on a style closer to stylised animal figures with the Anatolian Seljuks. Its widespread use in coins and other works of Turkish art is also seen in Anatolian Seljuk art. The motif appears in three different types in the studies we examined. Some examples of the group we named the third type appear as a stylised interpretation of the dragon motif. These examples, reminiscent of a dragon with a curved body and an open mouth at the top, show the origin of the motif and the change it underwent towards a stylised animal figure with the Anatolian Seljuks. Geometric ornamental elements constitute the most preferred group of elements in the works. Among these, the pearl string kerb is the most frequently used. Other geometric ornamentation elements include knots, three spots, stars, circles, pearl strings and kerbs with flat surfaces.Seljuk thuluth and kufic calligraphy were mostly used in the inscription lines. While Seljuk thuluth is seen in a several dates, it is noteworthy that the use of kufic calligraphy began after 1226 AD (623 AH) with Caliph al-Mustansir-Billah. In the arrangement of the inscriptions, horizontal main text in the centre on both sides and a peripheral text around it.&nbsp;The coins minted by Ala ad-Din Kay-Qubad I, one of the most important sultans of the Anatolian Seljuk State, are remarkable for their rich ornamental elements and for providing information about the history and economy of the period. Among these that bear direct traces of the Central Asian animal style, the widespread use of the rumi motif is important. In addition, the use of ornamental elements such as three spots, stars, string of pearls, and knots seen in these works is important in terms of containing the elements that were widely preferred in the decorative arts of the period. The coins of the period of Alaaddin I not only bear direct traces of the artistic understanding that preceded it but also stand out as an important group in terms of their influence on the process that continued after them.

Sultanate Period Coins of Ala ad-Din Kay-Qubad I in Bursa  Archaeological Museum

This research article presents an interesting section about the reconstruction works of the large provinces and the modernisation of these cities during the period of the Union and Progress government of the Ottoman Empire (1908-1918) within the scope of Turkish-German relations. This research was conducted with three-month scholarship support from the German Academic Exchange Service (DAAD). Most of the information and documents used in the research were obtained through research conducted in the German Federal Archives (Bundesarchiv) and Foreign Affairs Archives (Politisches Archiv des Auswärtiges Amts) and the Presidential Ottoman Archives of the Republic of Turkey (BOA) at the end of 2010 and the beginning of 2011. This information and documents have not been previously researched or published.To turn the research into a scientific text, hundreds of pages of original documents obtained from the archives of both countries were scanned, transliterated, and translated by us and used in this publication. As it is understood from the documents obtained within the scope of this research, the Ottoman Empire’s Union and Progress Government (1908-1918) initiated a large-scale development move, especially towards the Anatolian provinces, and in 1910, a decree was issued by the Ministry of Trade and Public Works. With this decree, it was stated that the railway, highway (road) and harbour and irrigation of the lands, drying of the swamps, construction of dams, and hydroelectric power plants were foreseen in the Anatolian Provinces. Within the framework of this idea, the Union and Progress Government also aimed to modernise and rebuild some provincial centres in Anatolia. In these cities, it was aimed to equip the neighbourhoods and streets, which were built very narrow according to the Eastern lifestyle, with wide roads and ornate boulevards as in Europe. Within the framework of this zoning policy, the Ottoman Minister of Commerce and Public Works, Bedros Hallaçyan, wrote a two-page French letter to the German Embassy in Istanbul on April 14, 1910.&nbsp;In this letter, he requested from the German Government to recruit foreign engineers and architects to the Turkish service to perform the duty of road and bridge construction inspector in his ministry. Later, in the announcements made for this purpose throughout Germany, it was required that the foreigners to be assigned in the road and bridge construction works of the Turkish Public Works Ministry must first speak French and have professional experience in the field of road construction, due to the use of French in foreign relations. Among the German citizens who applied in the first stage to switch to Turkish service to work in the specified fields, there were names like: Bauingenieur/Civil Engineer Georg Neuendorf, Ingenieur/Engineer R. Huber, Kaiserlicher Kreisinspektor-Wege- and Brückenbauingenieur/Imperial District Inspector, Road and Bridge Engineer Meyer, Oberingenieur/Chief Engineer H. R. Pohesel (?), Regierungsbaumeister/Government Architect Lasomann, Regierungsbaumeister/Government Architect Gottlob Nast, Ingenieur/Engineer Teodor Julians Jakel, Ingenieur/Engineer Hugo Frenz, Ingenieur/Engineer Heinrich Schultz, 19- Architekt/Architect Sepp Spannmacher and Ingenieur u. Baumeister/Engineer and Architect Hubert von Graeve. However, some of them were eliminated because of their lack of knowledge of French, and some of them because they did not meet the other requirements. After the preliminary evaluation made by the German Government after the applications were received, the final list of names was delivered to the Turkish Ministry of Public Works at the end of August 1910 through the German Embassy in Istanbul.In line with the criteria previously announced by the Ministry of Public Works, only four of them were selected and invited to Istanbul to sign the contract. Those people were; From Zerbst, Dr. Engineer Köhler, city construction consultant Beutner from Landau, Greifenberg district architect Weisse, and the Bremen regional Architect Buch. A contract (Annexe 04) was signed with these four German engineers and architects, who were called to Istanbul, according to the copy prepared by the Ottoman Council of Ministers in accordance with the Tezkerei-Sami dated 5 August 1326 (18 August 1910) and numbered 307. The authority in this regard has been given to the Ministry of Public Works by the Council of Ministers. These four engineers and architects, who came to Istanbul at different times, were sent to the provinces where they would work after signing the contracts. Of these people, Dr. Engineer Köhler was assigned to Istanbul, construction consultant Beutner was assigned to Hüdavendigar (city of Bursa), and regional architect Weisse was assigned to Erzurum province.This research aims to find out how many or which of the projects prepared by German engineers or architects, who were put into Turkish service within the framework of the renovation and modernisation programme that the Union and Progress Government (1908-1918) tried to carry out in four different province centres and the roads connected to them, by the Ministry of Public Works. however, how many or which ones have occurred, except for a few examples that are tried to be explained in the text, is not fully understood. However, from a military and strategic point of view, in the preparation and construction of important structures, it has also been understood that the desired results could not be achieved. for example; It has been understood that the projects of the Kop Mountain pass and some bridges were prepared and tried to be built, but the desired results could not be achieved due to the economic difficulties and war conditions of the country (Balkan, Çanakkale and World War I).&nbsp;Another important result of this research is that; as in the political and military fields, it has been understood that the two great powers of the period, France and Germany, were in a war of hegemony in the Ottoman Empire in the construction and administration of construction works, the employment of foreign experts, and the purchase of materials. This issue is understood from correspondence and reports prepared for the protection of German interests.This situation is also important in terms of showing the German foreign policy of the period.

Road and Bridge Construction Initiated by the Ottoman Empire in Anatolian Provinces during the Early 20th Century (1908-1918) and Works of German Architects and Engineers

Ayça

Mehmet İnsan (İhsan Hoca) Tunay

@JOURNAL_BOX_CURRENT

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.

Critiques of Racism in Art: Strong Reactions Against Racism after Death

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: A Pioneer in Multimedia Art

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.

The Repair Activities in Antalya Castle According to the Repair Exploration Registers  [Tamirat Keşif Defterleri] of 1815 and 1816

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’s Contributions to Turkish Art During His Occupation as the Cultural Attaché of France and the French Consulate in Istanbul as a Leading Exhibition Space of the Period

Settar

Emine

&nbsp;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.

A Controversial Centre in Metropolitanate of Smyrna: New evidence on Bishopric of  Arkhangelos

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.

A Look at the Phenomeon of Eulogia in Byzantine with the Terracota Ampullae from Manisa Museum

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.

The Tripartite Constructive Language in Ian Kiaer’s Art Practice

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;

Two Medieval Castles from Düzce: Akçakoca (Dia) and Beyköy (Embolos) Castles

Vildan

Political Iconography in Contemporary Art

Derya

Tony Cragg as a Moment in Material Reading

@JOURNAL_BOX_EARLYVIEW

Jale Özlem

Assist. Prof.

KHAZAR PERIOD SARKEL ANCIENT CITY, FORTRESS AND SOME EXAMPLES OF ITS ARCHAEOLOGICAL FINDINGS (THEIR INTERACTIONS WITH CENTRAL AND INNER ASIAN TURKISH ART)

Nesrin Çiçek

AN EVALUATION ON SYMBOLISM IN MIMAR SINAN’S MOSQUES

@JOURNAL_BOX_FEATURED

Okan

Res. Assist.

TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH)

Bahman

THE INFLUENCE OF EUROPEAN VISUAL ARTS PRODUCTS ON THE PERSIAN PAINTING IN 17TH CENTURY

@JOURNAL_BOX_MOSTREAD

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.

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Ulrichsweb

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Journal of Art History

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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

Journal of Art History

ISSUE 33, 2024

METRICS