İstanbul`da Eşsİz EsErlEr imagining rEality

İstanbul`da Eşsİz EsErlEr imagining rEality

in this issue
imagining reality
&
İstanbul’da Eşsİz Eserler
fall 2007 & Winter 2008
fall-winter · 2008 · vol 9 issue 28
Table of
Contents
fe at ure
•
art icle s
12 Imagining Reality
26 İstanbul’da Eşsiz Eserler
President’s Letter 3
Community News
Consulting Project
Tea and Quilt Crafting Party
Community News
Consulting Project
Tea and Quilt Crafting Party
Zafer Bayramı
Movie Nights
Career & Leadership Panel
Grassroots Networking Event
İftar Dinner
Schedule of Events 4
President’s Letter 3
Open Book 5
Schedule of Events 4
Zafer Bayramı
Open
Book Movie
Nights 5
Career & Leadership Panel
Ramadan Bayramı
Kurban Bayramı
Republic Day Ball
TACAM in the Media
President Abdullah Gül’s Visit
Meeting with Hon. Ali Babacan
Meeting with Mr. Rıfat
Hisarcıklıoğlu
Turkish Kitchen 34
Editor’s Letter 35
President’s
Letter
Have you ever moved to a new country thousands of miles away and did not know one single soul there? Did
you ever spend nights and weekends where you did not have anyone to get together with? Did
you ever miss to speak a word of Turkish with somebody locally aside from your connections in
Turkey?
I have… and it was the most stressful days and years of my life. I moved here
for an international job assignment from Ford of Turkey and then got a job offer
to stay permanently at the age of twenty-three — once all my team friends moved
back to Turkey, I was faced with reality. I was young, inexperienced and alone and
missed everything that was Turkish, mostly the moments I spent with my friends
and family.
Then I participated at a TACAM event organized for Victory Day celebration
— I remember clearly that it was August 29, 2004, as it was my birthday. There
I met so many new people, so many friendly faces and as hours went by I was
even given a cake for my birthday, which made it so special for me. From there
on, it was nothing but a miracle… I met friends through TACAM, who became my
friends and my family — people who made me enjoy my life because I no longer
felt alone. It’s been nine years now since I have moved to the United States, and I have a lot of
friends, but most special are my friends in the Turkish-American community, in TACAM. I now
have sisters, brothers and best friends right here in Michigan…
In writing this message, I first intended to talk about the activities conducted during calendar
year 2007 to solicit new membership for the upcoming year, but I decided that’s not really what
matters. You can always follow our website or consult with any of our dedicated Board members
for on-going activities, but what matters is the sense of Turkish community, our ties to “home”
and the effort we put in to keep TACAM alive — this is a team effort and I hope that each and
every one of you can relate to what that means… This organization helps us to make new friends,
maintain old ones and more importantly, maintain the Turkish spirit even though we are miles
away from our home country.
You might have come here alone like me or with your family to begin with, but I still see that
we have all crossed paths through TACAM and that’s why this place should be so special for all
of us. If our friendships and the TACAM umbrella that keeps us connected are not worth your
membership dues, your donations and participation, what else would?
I’m looking forward to the New Year, where we show our presence and enthusiasm for being
together as the Turkish-American community in Michigan under TACAM, so please make sure
to return your membership dues and donations for the 2008 calendar year.
One goal, one team, one community…
Dİdem Şeyhoğlu
2007-2008 TACAM PRESIDENT
a n at o l i a n
voice
Schedule
of Events
2008
January
25 Friday Movie Night
6 Wednesday Meeting with
WWJ Detroit Radio
February
26 Tuesday Automotive Seminar “Turkey: Strongest Link
in Your Supply Chain”
March
29 Saturday Döner Night
Schedule
of Events
April
6 Sunday General Assembly
visit
Open book
tacam.org
Community News
TACAM announces the birth of five
beautiful children. Bora Özalp, the
child of Mine and Gökhan Özalp,
on November 23, 2007; Nicholas
Kann-Henry Jahshan, the child of
Bahar and Rany Jahshan, on December 12, 2007; Teoman Berkay
Bek, the child of Seyran and Feridun Bek, on January 2, 2008; and
Derin and Lara Arslan, the children
of Banu and Fatih Arslan, on January 2, 2008. May they have many
years of health and happiness.
Ece Yaprak became a full Professor of Engineering at Wayne State.
Pinar Yaprak married Chris Urban
and moved to Santa Monica, CA.
Attila Yaprak received the Academy
of Marketing Science’s Outstanding
Marketing Professor Award.
Mumtaz Usmen received the Gold
Award of the Engineering Society
of Detroit, which is the most prestigious peer recognition in the engineering and scientific community.
Detroit Hour magazine reported on
the 2007 Top Doctors in October.
Dr Cem Akin was one of the best
doctors in the Allergy & Immunology field. The physicians were
selected by their peers in surveys
randomly sent to doctors and
health-care systems.
Derin Arslan
Bora Özalp
Lara Arslan
Ceren Ege
Nicholas Jahshan
Teoman Berkay Bek
Ceren Ege of the Clarkston Sea
Wolves swim team competed with
14 cities from Oakland. She won
first prize in 100 m. free and 100
m. breast stroke. Great job Ceren!
Consulting Project by Gaye Özdemir
Written by Dİdem Şeyhoğlu
We initiated a new project with one of our members, Gaye Özdemir, as part of her practicum for her master thesis.
She worked as a consultant to TACAM at the end of 2007. She diagnosed any concerns or needs from the Turkish
community and then made recommendations to the current board by improving our operating structure. As we
have received her recommendations and started implementing them, this project has helped TACAM work more
effectively in its event preparations and has increased the number of annual members and active participants.
Tea Party & Baby Blankets for TACAM
Written by GÜlay Schorr
A week before the Republic Ball, the ladies of the Michigan Turkish Community came together for a little more
than chatting and sipping tea. At Gülay Schorr’s house, they brought along old sweaters, cut them up into small
squares and then designed them into three cozy baby blankets for the Republic Ball Silent Auction. The sale of
them raised $150 for TACAM. Thanks to your hands and eyes ladies, and congratulations for the wonderful work.
open book
open Book
Zafer Bayramı
Written by Erol Ahmed
August 26, we celebrated the 84th anniversary of the
Turkish Republic. Yummy Şiş kebabs, games and music
brought everyone together for a lively celebration.
Movie Nights
Written by Erol Ahmed
Movie nights have become a new hit with the
community. Our first movie night was on September
28, where we screened Yazı Tura. On November 30, the
film Beynelmilel was scheduled to play. A broken furnace
at the TACAM building was about to end the night.
Graciously, however, Gülay and Stuart Schorr opened up
their home and all problems were solved. January 25 was
our latest members only night, with a Oscar-nominated
screening of Takva. Looking forward to the next movie
night with everyone!
Career Day & Leadership Panel
Written by Dİdem Şeyhoğlu
TACAM and the University of Michigan Turkish Student Association hosted a career day on September 16, with
five distinguished guest speakers: dr Yavuz Göktaş, prof Nejat Seyhun, prof Onur Ulgen, prof Mumtaz Usmen
and prof Atilla Yaprak. The session started with a nice presentation from prof Mumtaz Usmen on Covey’s Leadership Principles, followed by a panel session facilitated by Didem Şeyhoğlu and Burak Akyalcın.
Grassroots Networking Event
Written by Dİdem Şeyhoğlu
“Turkish-Americans Gaining Power through Grassroots
Initiatives” was the theme for the event held at the
TACAM building on October 28. The Assembly of Turkish American Associations helped to organize the event,
which taught our Turkish community how to communicate their voice in the spectrum of American events
and issues.
open book
open Book
İftar Dinner
Written by Dİdem Şeyhoğlu
Twenty-two people attended our İftar Dinner at AlAmeer restaurant in Dearborn Heights on September
22, while we enjoyed the delicious food and the company of friends. We also had the chance to celebrate
Azra Naz Schorr’s sixth birthday — she looked cuter
than ever with her birthday make-over!
Ramadan Bayramı
Written by Dİdem Şeyhoğlu
Everyone wished each other İyi Bayramlar! on October
14, at the TACAM building. Delicious snacks and
Turkish coffee rounded off the event while the children
loved the little gift bags they received.
Kurban Bayramı
Written by Dİdem Şeyhoğlu
It was a windy day, but the turnout was fantastic for
the celebration on December 23. People gave time in
their busy holiday schedules to keep Turkish traditions
alive. Lamb, rice, börek, künefe and other delicious
classics filled each person’s plate.
open book
open Book
Republic Day Ball
Cumhuriyet Bayramı
Written by Dİdem Şeyhoğlu
TACAM celebrated the 84th anniversary of the Turkish
Republic on October 27, at Farmington Hills Manor
this year.
Consul General of Chicago Hon U. Kenan İpek
joined us to celebrate as our guest of honor. The night’s
entertainment was provided by Dr İlhan Sami Özülü,
Most exciting, was the raffle for free round-trip tickets
to Turkey, graciously donated by Turkish Airlines. It
was a most memorable night and we hope that it has
helped to once again bring our community together.
TACAM in the Media
Written by Dİdem Şeyhoğlu
This year, TACAM took an initiative to broaden its reach by publishing interviews regarding TACAM
activities and success stories. The first of these initiatives was an interview with Didem Şeyhoğlu,
published on mezun.com. This interview mainly concentrated on life in Michigan as well as goals of
TACAM and the activities geared towards achieving these goals.
The second interview was conducted with Anka Ajans of TurkishNY.com to announce a TACAM
success story. In December, we became aware of an essay competition organized by the Hagopian
Family Foundation with the title of “Armenian Genocide,” which was geared towards middle and high
open book
open Book
school students in Michigan with a cash prize offered to winning students and their teachers. This competition
was also announced through WWJ Detroit radio and their web site. As a result of the letters and phone calls from
the TACAM Board and community members, the radio station representatives notified us that they removed
this announcement and also invited a team of TACAM members to the radio station on February 6, 2008, to
get informed about Turkey. This success story was released first on TurkishNY.com and then on many national
newspapers in Turkey through Anka Ajans.
We also would like to take this opportunity to thank everyone involved in this project, specifically our Consul
General Mr Kenan İpek, Mr Günay Evinch, Ms Nurten Ural, Dr Sumer Pek, Mrs Mickey Katz-Pek, Mr Stuart
Schorr and Mrs Dilek Kirca. We are looking forward to expanding the Grassroots initiative in TACAM by growing
our community and carrying our voice for many, many years to come.
Meeting with President Abdullah Gül
Written by Dİdem Şeyhoğlu
President Mr Abdullah Gül conducted an official visit to the US on January 9, 2008, and during this visit, he held a
meeting with representatives of selected Turkish Associations in Washington. Ambassador Nabi Sensoy hosted the
meeting at the Turkish Embassy and President Gül was accompanied by Turkey’s Foreign Affairs Minister, Hon Ali
Babacan. TACAM received an invitation and Didem Şeyhoğlu attended on behalf of our organization.
President Gül spent an hour with representatives of the Turkish Associations nationwide — he spoke about
Turkish-American relations and his satisfaction from the meetings held with President Bush and other US
Government officials. He then emphasized the importance of Turks working together in the US to ensure our
voice is heard, and that our success in presenting Turkey is dependant on our relations with state and government
representatives. President Gül asked us bring out the truth in the allegations of genocide proposed by the
Armenians. Once the floor was open, Didem Şeyhoğlu had a chance to tell our President about the “Armenian
Genocide” essay competition in Michigan and how its announcements on WWJ Detroit radio were stopped by
TACAM members’ hard work with the Turkish Consulate in Chicago. She then asked him recommendations to
Turkish Associations in being proactive on this matter in line with Turkey’s foreign policy. He emphasized focusing
on educating the community on the history of the issue and working closely with our Consulate. We were very
excited to be a part of this meeting.
Meeting with Turkey
Foreign Affairs Minister,
Hon Ali Babacan
Meeting with TOBB
President, Mr Rıfat
Hisarcıklıoğlu
Written by Dİdem Şeyhoğlu
Written by Dİdem Şeyhoğlu
Under the auspices of Hon U. Kenan İpek, Turkish
Consul General of Turkish Republic in Chicago,
a meeting was on September 21, 2007, held with
Turkey’s Foreign Affairs Minister, Hon Ali Babacan,
in Chicago with representatives of the Midwest
Component Associations and the Chamber of
Commerce. Serkan Özdemir attended this meeting
on behalf of the TACAM Board. Hon Ali Babacan
gave a brief speech on issues concerning the TurkishAmerican communities in the United States and
expressed the importance of Turkey’s keeping in
touch with Turkish Associations. After discussion, Mr.
Babacan welcomed questions and remarks from the
audience.
Under the auspices of Hon U. Kenan İpek, a meeting
was held on September 17, 2007, with Mr Rıfat
Hisarcıklıoğlu in Chicago with representatives of the
Midwest Component Associations and the Chamber of
Commerce.
Consul General Hon U. Kenan İpek and Commercial
Attaché Mr Süleyman Sözeri were also present at this
meeting. Didem Şeyhoğlu attended this meeting on
behalf of the TACAM Board. Upon Mr İpek’s opening
remarks, Mr Hisarcıklıoğlu gave a presentation that
reflected the economic progress of Turkey in the last
25 years and discussed TOBB activities along with the
state of commercial affairs between Turkey and United
States.
open book
t he
the
A rt icl e s fa l l
A rt ic l e s
fa l l 07
Win t e r 08
Dau ght e r of S ulta n Ab d ülh a mİ d II,
Séb ah & Joa l l i e r , pho to g r a phe r .
Port e r , c. 1880-1900, Ab dul l a h f r è r e s , pho to g r aphe r .
11
Imaginin ea ity
ImagininReality
photogR
graphy in
ottoman
İstanbul
l
İstanbul
written BY Erol Ahmed
13
F e at u r e
Articles
O
On October 28, 1839,
photography was announced
in the Takvīm-i Vakayi‘ –
a new technology shaped an unfolding era
F e at u r e
Articles
14
O
The news of the invention of photography arrived
in İstanbul on October 28, 1839, in the trilingual
newspaper Takvīm-i Vekāyi‘. Soon after, savvy
photographers opened up the first photographic
studios in the fashionable district of Péra, and
travelers armed with cameras came into İstanbul.
All kinds of people — sultans, beggars, Christian
men as Muslim women, priests and paşas — became the subjects for the thousands of photographs produced from the time of photography’s
arrival in İstanbul in the 1840s. In between war
and turmoil, change and progress the İstanbul
studios gazed and grazed upon the İstanbul citizenry. It were as if a hand was coming down to
pluck an image to present each time the camera
shutter was released. Attitudes, identities and sit-
Armenians and Greeks following afterwards. As
early as the 1850s, the wealthy Christian minorities, who did not have a taboo on the image like
the Muslims and Jews, became the first patrons
of photographs. Not until the 1900s, over sixtyyears after its introduction, did Muslims open
their own independent studios. But let us not
forget the fluidity of Ottoman İstanbul, the traditional Sultan Abdülhamid II actively employed
Muslims, Armenians, English, Greek and French
photographers to produce the plethora of propaganda during his reign. Each studio vied for this
coveted position of court photographer to the Sultan, and each studio lost this title on one occasion
or the other. With this volatility and competition,
it is no wonder that studios and firms would close
Sultans, beggars, Christian men as Muslim women, priests and paşas
uations were in constant flux from the new ideas,
institutions and inventions that crept into the
city. Who were the people taking the photographs
and who was wishing to be photographed?
At the same time of the adoption of photography by the government, the élites and well-to-do
of Péra society began to turn towards photography as yet another symbol of their wealth and
cosmopolitan character. They crowded into today’s İstiklal Caddesi, once Grand Rue de Péra and
went to the eager studios. Photography studios
filled nearly every corner advertising their services in Ottoman Turkish, French, Greek, Armenian and Arabic. Likewise, the first photographers
in İstanbul were the French and English with the
and reopen constantly until the end of the empire.
Photographers in İstanbul took their studios
and equipment to Egypt, Crimea, Europe, the
Levant, ancient ruins and the wild. Their work
encompassed travel photography, landscapes,
environmental photography, social life, photojournalism, portraiture, war-photography and
imperial commissions. İstanbul was not merely
toying with a new technology, but becoming one
of the active centers of photography, winning
awards and drawing attention. The quixotic orient
blended with the rational West in the minds of
travelers and Ottoman citizens. We must begin to
understand the reality and multiplicity of images
15
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page 12 Portrait of Ali Sami’s wife, Refia Hanım. Ali Sami, photographer. Engin Çizgen, Photographer / Fotoğrafçı Ali Sami, 1866-1936
(Haşet Kitabevi, 1989).
by first becoming familiar with the major studios:
the Armenian Abdullah Frères Brothers and the
multi-ethnic Sébah & Joaillier studio.
The Abdullah Frères Brothers were (and are)
perhaps the most well-known, respected and endorsed photographic establishment in the Ottoman Empire. The three brothers, Viçen, Hovsep
and Kevork in 1856 formed their studio around
Divanyolu and later moved it to Péra. Their content ranged from photographs of the Sultans, of
the great monuments, studio “snapshots” of the
“locals” for postcards, images of Turkish coffee
houses and Turkish women and studio portraits.
The high demand for images of Turkish Ladies
(who themselves were forbidden to be photographed) often forced studios to use Christian
men awkwardly crossing their legs and wearing
a veil! English, Russian, Ottoman and French
royalty were the clients of the Abdullah brothers. However, when the Abdullah brothers photographed Duke Nicholai of Russia shortly after a
Russian victory against Ottoman forces in 1877,
their actions were leaked to the Ottoman government and their endorsement by the Sultan
was revoked. All negatives of the imperial family
were destroyed. Partially recovering, the studio
lingered for another 20 years until they sold their
shop and negatives to the Sébah & Joaillier studio
in 1899. It is important to note, that by giving
the “photographic treatment” to an enemy of the
state, the Abdullah brothers created not a mere
portrait of the Duke, but to the climate and context of that specific time-frame, a powerful link
to the strength of Russia, the dependency of the
Ottoman state to Europe and the failure of the
military and Western reforms by Sultan Abdülha-
F e at u r e
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16
mid II in fighting the Russians. The photograph
symbolized this to those who viewed it, a reality
that was anything but imaginary.
Pascal Sébah, born in Syria, began his studio
in 1857 and eventually worked with the Frenchman A. Laroche in 1860. After suffering a stroke,
he handed over the operation of the studio to
his brother. Eventually Pascal’s son, Jean, took
charge, and in 1888 he employed Polycarpe Joaillier. The business was sold in 1908. During this
entire time, the Sébah & Joaillier Studio was
quite successful. One of their largest works, commissioned by the Sultan, was images of the clothing worn by the vast peoples in the Ottoman Empire which was sent to the 1873 Vienna World’s
Fair. The studio produced a slew of landscapes,
panoramas and scenes of major Ottoman cities
and Middle Eastern regions. This studio eventually purchased the photographs of the Abdullah
Frères brothers but began adding their own name
to these prints to profit from the other studio’s
name-recognition.
One of the most fascinating and neglected
photographer of the later period was Ali Sami
Aközer, born in Üsküdar. One of the few Muslim
photographers of this period, his images are stunning and startling views into the intimate and
not-yet-contrived view of the educated, Ottoman
upper class. Ali Sami will receive his just attention in a future piece.
pat rons, produc e r s, cons u m e r s
These two studios — and of course many others — were the creators and recorders of a reality
consumed by individuals and segments of society.
At first the photographs merely depicted what
was there, but as time progressed, the photographers begin arranging compositions, choosing
projects and clients, and of clients choosing them.
Then, photography developed into a major, legitimate industry and producer of images. Eventually
people learned of their environment and of other
people through the photographs. This evolution, as
unpredictable as it can be, eventually shifted how
people viewed themselves. Even so, the photograph was only consumed by a minority of people.
Let us turn to the groups who owned and consumed photographs.
The sultans were by far the greatest proponents of photographs, likewise their commissioned photographs had one of the greatest
geographic spreads. There was, for example, the
nearly two-thousand image albums created by Abdülhamid II sent as gifts to America and England
(which can still be viewed in the Library of Congress and British Library) in addition to the many
portraits and scenes of the ceremonies and visits
of foreign powers, mostly German and Iranian.
The next two largest and somewhat separate
Ottoman groups of patrons were the high officials
and the wealthy families. These officials excluded
the religious upper class, the ulema, but contained
many of the paşas, viziers and military commanders. In this pool there were many Muslims,
although, without further biographical research
it is hard to tell if they were converted to Islam as
part of their inclusion into the bureaucratic class
or they were born Muslim.
The wealthy families, or non-governmental
élites, were a more interesting mix. Based on the
photographic captions, these patrons were regu-
larly of the minority populations in İstanbul.
Excluding the Jewish people, the Greek and Armenian populations were not only the largest producers of photographs, but also one of the largest
groups of patrons. These wealthy families resembled a middle class in the types of occupations the
males held.
This group also
contained Euphotographs begin to
ropeans who
eventually beshape
and
came internalthan merely recording it
ized as Ottoman citizens
— a considerably small number.
Yet the Sultans, élites and wealthy groups were
only one part. The patronage of the Europeans
and their travel created demand for certain types
of images. Those who came with the rush of European business and industry consumed many photographs. The French, British and Germans visiting, living and working in the Empire were a large
impetus to what content was produced. Indeed,
the work of most Sultans were directed at foreign show, and major photographic albums were
intended for international exhibitions. Even the
nobility and monarchs of England and France had
Ottoman photographers produce for them portraits, since Ottoman photographers were considered very adept at the craft.
In terms of shaping the identity of the Ottomans, the subject matter is the most important
part. The hyperrealism of the image confers a
sense of truth to those who view it. Portraiture
was by far the most popular format. For the Otto-
identity
reality
17
F e at u r e
Articles
schoolchildren, officers,
clerics and clerks.
Elements of Western fashion
permeated the new military,
educational and social arenas.
The surrounding photos
are from the large albums
commissioned by Sultan
Abdülhamid II and presented
to the Library of Congress.
Abdullah Frères, photographer.
Abdülhamİd ii wished to
create a citizen beyond
religion and race.
Yet he wanted to preserve
certain communities to show
peaceful coexistence — a
moved that upset these groups.
Depicted around the central
image are “costumes” from the
Vienna World’s Fair Album.
Pascal Sébah, photographer.
F e at u r e
Articles
Portrait of Ali Riza Paşa, George Grantham Bain Collection, Library
of Congress. Ali Riza Paşa, himself a photographer, was one of the
last Grand Viziers of the Ottoman Empire and was rightfully dressed
in modern attire.
Portrait of a Turkish lady, Library of Congress. Abdullah Frères, photographer. This elegant photograph shows the mingling of various
elements: an umbrella, pearl necklace, hijab and city attire amidst a
somewhat artificial studio landscape.
man government, portraiture depicted examples
of people that the government wished to highlight: portraits of officers, schoolchildren, institutional personnel and ethnic groups. Especially
with the ethnic and racial groups, the recurrence
of Arab and Islamic images reflected attempts by
Abdülhamid II’s policies to create solidarity and
affiliation with the Arab provinces and Muslim
people, who were slipping from Ottoman control.
There were military men, children of the westernbased school system, teachers, firemen, underwater engineers, Islamic clerics and members of
the Ottoman dynasty such as princes, princesses and the Sultan himself. The élites mentioned
earlier almost exclusively depicted themselves as
portraits, often with select items and clothing to
show class and status.
One interesting cross-category in portraiture
was pictures of “locals.” One may refer to these
as “types” since they are in a portrait format but
the subjects are often unidentifiable stereotypes
of different classes and ethnicities. This usually
takes the form of “Turkish ladies,” porters, coffeesellers and the working citizenry of traditional
İstanbul.
The people in the majority of the photographs
wore dress coats, slacks and fezzes; women were
in tight corsets and large-brimmed hats or in
loose-fitting Muslim dresses with head-scarves;
military uniforms; pantaloons and small vests of
traditional Turkish dress covered the casual workers. The architecture and languages on the street
signs were equally mixed. Greek, Armenian,
Ottoman Turkish, French and Arabic dominate
signs in buildings with neoclassical, Ottoman and
Gothic architectural styles. However, these mixed
scenes are most common in photographs labeled
as in or near Péra or Galata — the place of the
cosmopolitan people, with the affluent families
as well. Photographs taken close to the traditionally Muslim quarters have homes in a more traditional style and in wood. The clothing is still quite
mixed. This architectural traditionalism is due
more to the failed attempts at rebuilding these
20
A group photograph of the doctors of the Hasköy Hospital for
Women, Library of Congress, part of the Abdülhamid II Albums.
Abdullah Frères, photographer.
Portrait of an İstanbul Porter, Library of Congress. Abdullah Frères,
photographer. “Typologies” of İstanbul provided morsels of the
people of the city for tourists and city-dwellers to remember.
homes in stone and concrete, then a particular
notion of maintaining separation from the Péra
élites.
The final viewer or owner of a photograph determined the content very significantly, or more
importantly its interpretation and acceptance
into the realm of identity. The consumer is often
the patron as well. The Ottoman government
wished to be depicted as modern and powerful,
yet a large majority of travel photography produced for European consumers focuses on the
static images of the Orient and famous monuments of İstanbul, some dating 300 years earlier.
When the İstanbul consumers were also subjects in the images as in portraiture, there clothing is never in any traditional Ottoman dress but
the Western-inspired military uniforms, suits,
dresses, umbrellas and brimmed hats. Images of
the city or Empire often contained the most significant architectural monuments of Ottoman
classical architecture, or cityscapes that included
some newly built institutional building such as
barracks, schools, hospitals, shipyards or bridges.
For the Ottoman élites working in the administration, the most popular format was portraiture
of individuals in their class or work clothes. Wedding portraits do exist, as do infant, children and
family portraits. These were rarely taken at home
since lighting was too low. Many individual and
intimate shots confront the viewer with the reality and uniqueness of the person depicted.
The tourist industry indeed produced quite
divergent subjects. One of the most interesting
is the tourist portrait. A great majority of male
(usually British) European travelers would dress
in loosely authentic “Turkish” traditional dress
and pose amongst pillows, rugs, water pipes and
other Turco-paraphernalia. Since photography
was still a professional service in a studio, travelers could not easily pose in front of famous monuments and scenes, as we do today. Therefore one
could not directly prove their existence in the
places they traveled. Thus, the purchasing of postcards and mailing of them with Ottoman postal
21
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left An Ottoman Mansion. Ali Sami Aközer, photographer. In this
self-confident — even pompous — display of wealth, a smartlydressed woman is completely dwarfed by her new home. Ali Sami
captures the humor and magnificence of this monument to wealth.
Image duplicated from Engin Çizgen, Photographer / Fotoğrafçı Ali
Sami, 1866-1936 (Haşet Kitabevi, 1989).
stamps combined with the portraits of themselves in Turkish dress served as decent replacements. Land- and cityscapes were quite popular
amongst the tourists, as were images of different
“common folk” in their traditional garb. Mosques
and “Turkish” cemeteries were a popular motifs
as well for European travellers.
What we have seen is that some of the first
images produced were portraits of members and
affiliates of the Imperial family. Photographs
have had government backing since their arrival
but the majority of photographers had no official
affiliation with the government. That changed
when the government began employing Muslims
who were part of the military and primarily were
used by the government to document the troops,
weapons and other items. The creation of Court
Photographer achieved similar ties to the government, but these individuals were not Turkish.
Particularly important is the overlap and mixing
of different groups in the world of photography.
Identity was certainly not a fixed concept and
people envisioned themselves in various atmospheres and modes. The photographers themselves would often dress in outrageous costumes
and pose for the camera as they were the producers, consumers and patrons of photographs all
wrapped in a single person. Slowly these images
came together into the intricate and sometimes
convoluted realm of Ottoman identity.
It at first seems that there is a double-identity,
but it is subtler than that. Since it was not merely
one group of people who were very Western and
one very traditional. Instead, it was the fact that
these multiple identities could inhabit the same
person. Sultan Abdülhamid II sought both West-
ern progress and tradition amongst Muslims,
which melded into a third identity, that of the
cosmopolitan Ottoman. The Ottoman citizen was
not an arbiter in authentic and accurate cultural
experiences. They were aware where practices and
beliefs were coming from but to say that those
who Westernized and those who did not pursued
that belief exclusively is not what the photographs reveal. What the photographs depict are
the places and activities, looks and characters of
the multiple identities that cohesively functioned
in İstanbul. Each image makes into memory that
which each producer of these images wished to
have memorialized. These discrete moments and
personal attachments to each images (even the
“mass-produced” tourist images) is something
that is hard to understand. For instance, the photograph of the Péra skyline with its Europeanstyled buildings fore-grounded by military ships
and bustling merchant activity that intermingled
with the architectural masterpieces of the previous epochs of Ottoman rule represented the realities, memories and aspirations of a great amount
of people in İstanbul — of the people who wished
to modernize the urban fabric, of the Sultan who
pushed for greater military strength to maintain
sovereignty, of the élites and citizens believing
that they, too, deserved the finest and newest
amenities in their neighborhoods. Had not the
Ottoman Empire represented centuries of success
to these citizens? Were these photographs optimistic images of a newer era to build upon the
long history of this Empire and capital city? That
mental excitement and attachment is perhaps
impossible for us to feel but only describe when
we look at the images. Indeed, Ottoman photog-
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left Exterior view of the Süleymaniye Mosque, Library of Congress.
Sébah & Joaillier, photographer. The sixteenth century buildings of
Sinan, modern military barracks and vessels, schools and a growing
urban skyline resonated to the people who once viewed it.
raphers may even have enjoyed stereotypes of the
Orient to an extent, and reveled in the mixed bag
of clientele, since this multitude of identities was
what set them apart from competing photographic studios in Europe and elsewhere. The viewing of
the photograph produced turned the photographs
from images into postcards, propaganda, heirlooms and social emblems that presented worldly,
affluent, deprived, Western, educated, nationalistic, religious and concerned individuals and
groups.
And so, by the time of the greatest production of European Orientalist painting in the late
nineteenth century, İstanbul began to take on a
very different air, the European Orientalists were
centuries behind reality. It is admirable to see the
quantity of photographs that depicted citizens
that have embraced — somewhat haphazardly
and hesitatingly — the new forms of dress, living
and entertainment, of education, governance and
reform. Why not? They must have thought. We
would be mistaken, however, to think that this
small minority of consumers represented an entire Empire, but it does reveal the ease with which
one could imagine new, old and transformed identities. I have utilized photographs to see how Ottomans were represented as much as they needed
to represent themselves to others to confirm their
identity. Photography certainly was not the only
media that defined identity or help spread it to
others, but it was one of the most popular.
Even though the universal “Ottoman citizen”
appears in these images, the photographs definitely excluded people. Being in a portrait and
owning a photograph marked one as a particular class and of an intellectual and cultural sta-
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24
tus. Did Ottoman élites avoid images of common
scenes of traditional dress and activity because
it was not the new role they wished to own or
because they also detested what they once were?
It is difficult to know how homes were decorated
with photographs to see how often people remember and “learned” from their images. Most photographs were in albums, shut like books when not
viewed. Some homes, like Ali Sami’s, were decorated freely with photographs since they could
be important signs of status to visitors, as in the
popular “visiting card” format where photographs
were handed to guests like a business card.
Even so, this identity that often superseded
religion and ethnicity would not fare well in the
changes arriving for the final decade of the Empire. The political and geographic landscape of
the Ottoman Empire was changing rapidly, and
by the early 1900s, the Ottoman élites were dealing with serious issues within and without the
Empire. Photographs symbolically tried to offset
real power and reality with an image to be held,
owned and consumed. It carried a quality of representing so much in such a small, portable, reproducible space. Soon nationalism, great wars
and new political systems would create sweeping
changes in identity and reality across the globe —
severely shattering older realities. The ever flexible photograph developed as the perfect compliment to the new era unfolding in Turkey and the
rest of the globe that even today continues, where
the Republic of Turkey attempts to re-shape its
role and place in the globe.
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topic two in a series of three
tanbul’da
s
İ
Roma-Bİzans
Devrİne
Ait
Bİlİnmeyen
Eşsİz
r
e
l
r
e
s
E
fatİh sult
an
mehmed’İn
özel kole
ksİyonund
an
written BY Garo Lacin
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26
Arabalar Sfendone olum virajını dönerken, ortada Spina, orta uçta Metae tası, sağ tepede Kathisma (İmparator Locası).
AraBacı Porphyrius
m.s. 6.ci yüzyil İstanbul
Ben-Hur filmini seyredenler Hipodromdaki
Quadriga yarışları hakkında az çok bir malumat sahibidirler. Yalnız filmde görülen bıçaklı
arabalar sadece gladyatör dövüşleri esnasında
kullanılırdı. M.S. üçüncü yüzyılda gladyatör
dövüşleri demode olmuş, yerini araba yarışları
almıştı. Bunlar bıçaksız normal yarış arabalarıydı. İmparator Septimus Severus (M.S. 193211) İstanbul’u kurduğunda, Roma’dakinin
ayni büyüklüğünde bir Hipodrom yaptırmıştı,
bunu Büyük Konstantinus I (307-337) ve Büyük
Theodosius I (379-395) zamanla daha da geliştirdiler. Eserin önemini takdir etmek için önce
eski İstanbul’un en büyük eğlence merkezi olan
Quadriga; dört at koşulu araba.
100.000 kişilik 40 sıra Hipodromu kısa olarak
tanıyalım. 500 metre uzunluğunda ve 117 metre
genişliğinde olan Hipodrom, uzunca bir at nalına
benzerdi. Her iki ucunda Metae denen uc taşları olan ve ustu sanat eseri ile dolu olan Spina
(omurga) denen orta tas, yarış alanını uzunlamaşına ikiye bölerdi. Arabalar defalarca cilginca
bir suratle Spina boyunca koşarlar ve Sfendone
denen, çoğu zaman ölümle sonuçlanan “Ölüm
Sfendone; Hipodromun yarım ay şeklindeki viraji, bugün
sadece iç duvarinin bir kısmı mevcut olup, geri kalan kısmı
Ticari ve İktisadi İlimler Akademisinin temelleri altında
kalmiştir. Şu anda asma bir kilitle kapatılmış olan kapıdan
girildiği takdirde, Akademinin altında kalan ve bir sarnicla
nihayetlenen, üstünde bir zamanlar quadrigalarin kostugu
Sfendone’nin altindaki yarim ay seklindeki dehlize ulasilir.
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Virajını” dönerek, yine Spina boyunca opozit yöne
doğru koşarlardı. Yarışçılar, tüm ustaliklarini bu
virajı dönerken gösterirlerdi (ustteki resim).
Roma’da olduğu gibi Bizans’da da 4 takım ve
taraftarları mevcuttu, Veneti (Mavi takım) ve taraftarları Veneton (Maviler), Prasini (Yeşil takım)
ve taraftarları Prasinon (Yeşiller), Rusiu (Kırmızı
takım) ve taraftarları Rusion (Kırmızılar), Levki
(Beyaz takım) ve taraftarları Levkon (Beyazlar).
Taraftarların tribünü Hipodromun sağ tarafında,
bugünkü Tapu dairesinin hizasındaydı.
Mavilerin tribünü, Alman Çeşmesi ile Mısır
Dikilitaşının arasında, Beyazlar, Dikilitaşın tam
karşısında, Kırmızılar, Orme Dikilitaşın tam karşısında, Yeşiller ise Orme Dikilitaş ile Sphendone
arasındaydı. Zamanla Beyaz Yeşille, Kırmızı da
Maviyle birleşip sadece iki takım kaldı, Maviler
ve Yeşiller.
Yıllarca koşup defalarca şampiyon olan veya
inanılmaz bir rekor kiran yarışçının heykeli,
bazen hayatta iken, bazen emekli olunca, bazen
de öldükten sonra Spinanin üzerine dikilirdi.
Spinanin üzerindeki başlıca eserler; Uzun olduğu
için ikiye bolunup dikilen Tutmosis III’e ait Mısır
dikilitaşı, başları üzerinde Delphi’den getirilen
altın kaseyi taşıyan birbirine sarılmış 3 yılan,
şeytanı temsil ettiği için dokuzuncu yüzyılda
İstanbul Patriki tarafından başlar kopartılmıştır.
Başlardan birisi, Evdoxia kaidesi ile beraber ayni yerde bulunmuş ve İstanbul Arkeoloji
Müzesine nakledilerek, üst katta camekan içine
konmuştur. İkinci baş İngiltere’de British Müzesinde olup, üçüncüsü ise tamamen kayıptır.
Spinadaki ikinci dikilitaş, kaidesindeki kitabeden
anlasidigina göre Constantinus VII ve oğlu Romanos II (945-959) tarafından Rodos’daki kolisse ile
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İstanbul’dan Venedik’e goturulen Lysippus’un meshur at heykelleri
rekabet maksadıyla dikilen Orme dikilitaşdir.
Hipodromun en onemli eserleri arasinda
en basta gelen, bugun Sultan Ahmet camisinin
yerinde olan Kathisma’nin (Imparator Locasi)
ustundeki, M.O. 3.cu yuzyilda Sakizli (Chios)
Lysippus tarafindan yapilmis olan sanat saheseri, altin yaldizli 4 bronz at heykelleriydi. IV.cu
Hacli seferi, M.S. 1204 de Anadolu’ya acilmadan
evvel silah ve yiyecek ikmali icin Istanbul’da
konaklamis (sur disinda, Yirolimni Kapisi ve
Blacherna Kapisi arasinda Ayvansaray’da surun
Halicte kose teskil ettigi yerde), sonradan sehre
saldirip ele gecirerek 1261 yilina kadar 57 yil
suren Latin Imparatorlugunu kurmuslardi. 57 yil
icinde saraylardaki ve kiliselerdeki kiymetli esya
talan edilip, sehirdeki sanat eserleriyle birlikte Venedik’e tasinmis, saraylar tahrip edilmis,
dikilitaslardaki askeri zaferleri anlatan guzellikte
emsalsiz bronz kabartmalar sokulup (Arkadius ve
Constantinus VII sutunlari, bugun kabatmalari
tutan metal cubuklarin yerleri hala mevcuttur)
diger bronz heykelelerle birlikte para bastirilmak
maksadiyla eritilmistir. Boylece zenginligi ve
sanat eserleriyle batinin gozlerini kamastiran
muhtesem Istanbul, talan edilerek sanat alaninda bir daha kalkinmamak uzere enkaz halinde
1261 de tekrar Bizanslilara gecti. Hipodromda,
Kathisma’nin ustundeki Lysippus’un 4 bronz at
heykelleri de sokulerek Venedik’e goturulerek Ba-
1847da bullumus olan Porphyrius’un eski kaidesi (Mavilerden)
silikanin terasina konmustur. Zamanla altin yaldız asininca terasa atlarin taklitleri konmustur.
Orijinal atlar ise Basilikada, atriumun ustunde
teshir edilmektedir. Bugun Venedik’te San Marco
meydanindaki (guvercinlerle dolu meydan)
Basilica San Marco’ya cepheden bakilinca, kilisenin ana girisinin ustunde, kubbenin onundeki
terasda, bir zamanlar Istanbul’dan goturulen bu
muhtesem atlarin taklitleri gorulur. Basilikanin
icinde ise saray ve kiliselerden yagma edilen gumus ve altin tum esyalar ve 7.ci -13.cu asirlar arasinda yapilmis, Byzantine school harika iconalar
cam vitrinler icinde teshir edilmektedir. Hipodromdaki buyukce sabit eserlerin yanisira baslica
muhim eserler, araba yarisi sampiyonlarinin heykelleriydi. Roma’da ve Istanbul’daki yariscilarin
heykellerinden bugun hicbiri mevcut degilken, iki
tanesi bir sans eseri olarak Istanbul’da meydana
cikti.
M.S. 480 ile 540 yillari arasinda, yani Anastasius I (491-518), Justinus I (518-527) ve Justinianus I (527-565) devirlerinde yasamis olan
ve bir zamanlar Spina uzerinde heykelleri olan
sampiyonlar sirasiyla sunlardir: İstanbullu
Faustinus, Faustinus’un oglu Istanbullu Constantinus, Tyre’li Julianus, Nicaea’li (Iznik) Uranius
ve nihayet 40 yil boyunca araba surerek 100.000
kisinin Istanbul semalarini yirtan “NIKA” (Zafer)
cigliklari altinda, butun bu sampiyonlari yenerek,
suruculugu boyunca 7 heykel alan, arabacilik
tarihinde ilk defa elli yarisin hepsini kazanip
sampiyonlar sampiyonu olan, emekli olup yine
surmesi icin taraftarlari tarafindan yalvarilan ve
en sevdigi takimi Mavileri kirmayip geri gelerek
60 yasini geckin olarak surup yine sampiyon olan
ve adi suruculuk tarihinde altin harflerle yazilmis olan meshur arabaci porphyrius. Asil adi
Calliopas olup, Kuzey Afrika’da (Livii) doğmuş
ve İstanbul’da büyümüstür. İstanbul’a geldikten
sonra Latin adi alıp, adini Porphyrius’a cevirmistir.
Zaman zaman transfer olup takım değiştiren
Porphyrius, ilk heykelini araba yarışları tari
J. Ebersolt, A.A. Vasilev ve A. Cameron’un Porphyrius
kaideleri calismalari.
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1962de bullunan Porphyrius’un yeni kaidesi (Mavi ve Yesillerden). Kaidenin soldan birinci ve ikinci yuzu M.S. 532de, Nika
ihtilalinindeki yanginin izlerini tasimaktadir
hinde ilk defa olarak, daha yarışırken emekli
olmadan 20 yaşlarındayken Mavilerden almıştır.
Planudes’in not aldığı epigramlardan anlaşıldığına göre toplam yedi heykeli olan Porphyrius’a,
dördünü Maviler vermiş, diğer ikisini Yeşiller ve
bir tanesini de takdirname olarak Mavi ve Yeşil
takımlar müştereken vermişlerdir. Mavilerden
aldığı 4 heykel, Alman Çeşmesi ile Mısır Dikilitaşinin arasında, Mavi tribünlerinin önündeydi. Diğer 3 heykel, Orme Sutun ile Sphendone arasında, Yeşil tribünlerinin önündeydi.
Porphyrius’un şampiyon olarak aldığı heykeller
sırasıyla şunlardır:
İlk 3 heykel Mavilerden 20 ile 27 yaşları
arasındayken almıştır M.S. 500-507 ve arabacı-
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lık tarihinde ilk defa olarak birinci devredeki ve
Diversium’daki yarışların hepsini kazandığından kendisine araba yarışçılarına ait en büyük
unvan verilir — “Apo Factionarion-Takim Kaptani”.
Bir heykel Yeşillerden ve Mavilerden; arabacılık tarihinde her iki takım tarafından mustereken heykeli dikilen yegane arabacı. İki Heykel
Yeşillerden M.S. 515-520 yılları arasında. Son bir
heykel Mavilerden, 60 yaşını geçmişken taraftarların devamlı israrı üzerine emekliyken geri gelir
Diversium: yarışın ikinci devresi ve bu devrede, basarili yarışçının kendi iç takımını ve istediği atları değiştirmesi. Turnuvada, birinci devrede 25 yarış, Diversium’da (ikinci devre) da 25
yarış olmak üzere total 50 yarış yapılır, bazen günlerce sürerdi.
formayı kendisi seçsin [şayet İmparator vermese,
yeşil formayı seçsin].”
2 “Yiğit yiğite, bilgin bilgine karşı, dahili takımı
değiştirerek [Diversium], verdığı takımdan ve
aldığı takımdan kazandığı iki zaferden şeref
duyduğu için, Zafer’in [Tanrica Nike] oğulları
Maviler, Zafer’in oğlu Porphyrius için bu heykeli
diktiler.”
3 “Yarışmayı Yeşiller için kazanıp dedin ki: Bu
muhteşem oyun bir spordu. Ey Porphyrius! Zaten
Maviler mağlubiyeti seni görür görmez kabul
etmişlerdi.”
Porphyrius’un yeni kaidesinden bir ayrıntı (Mavi ve yeşillerden)
ve yine yarışır.
M.S. 1327 de Bizanslı bilgin rahip Maximus
(Manuel) Planudes, İstanbul ve tasrasındakı
tüm eserlerdeki epigram ve epigrafları not alıp,
Anthologiae Palatinae’de toplanmış olduğu için
bugün eser mevcut olmasa bile en azından üzerindeki epigraflari bilmekteyiz.
Porphyrius’un kaidesindeki İyonik Yunanca ile
yazılı epigramlardan bazıları:
“Yeşil taraftarları” (arzuları)
1 “Olsun veya olmasın [Kazansın veya kazanmasın]… benim için farketmez, [Sadece]
Porphyrius’u bize verin. Porphyrius Maviler
için kazanarak onları mutlu etti, Yeşiller için
de kazanıp onları mutlu etsin, şayet olmasa …
W.R. Paton tarafından Anthologiae’daki epigramların tercümesi, The Greek Anthology, W.R. Paton. 1918.
Yeşillerin, İmparatora Porphyrius’u Mavilerden alıp kendilerine vermesi için
A Kimsin sen ey saygideger genc delikanli, cenenin
sivriligi sakal ile cizilmis ?
B Yabanci, ben Porphyrius’um.
A Memleketin ?
B Libii [Kuzey Africa sahilleri, Libya olmasi mumkun].
A Seni kim sereflendirdi?
B Imparator, araba surusumden.
A Buna kim taniklik etti?
B Mavi Takim.
A Porphyrius! Sen Lysippus’u almaliydin, en usta
heykeltras, senin zaferlerine ancak o taniklik
edebilir.”
Bati eserlerine karsi sonsuz bir hayranligi olan
Fatih Sultan Mehmed II, dördüncü Hacli Seferi yagma ve tahribinden hemen hemen hic bir
sey kalmamis olan bu sehirdeki bulabildigi tum
eserleri, bilhassa Hipodromdaki eserleri toplayarak bunlarla Topkapi Sarayinin bahcesini
Benetiler (Mavi) aristokrat takımıydı, çoğu İmparatorlar Mavileri tutardı.
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İstanbul Arkeoloji Müzesinde bullunan Porphyrius’un yeni (solda) ve eski (sağda) kaideleri.
suslemis ve bunlari bugunku nesle kazandirmistir. Topladigi eserlerin icinde, bugun Arkeoloji
Muzesinin onunde duran, IV ve V asira ait profir
imparator lahitleri ve Imparator Heraclius’a ait
oldugu tahmin edilen beyaz alabastradan yapilmis Sarcophagus ile Porphyriusun iki kaideleri ve
daha bilinmeyen eserler vardi. Fatihten sonraki
devirlerde bunlar tahrip edilmeyerek sarayin
bahcesinde gomulmus ve zamanla orada unutulmustur.
Dort asir sonra, 1847 de bahceyi guzellestirmek amaciyla mevcut olan yikik duvar ve bazi
agaclarin cikartilmasi esnasinda tesadufen rastlanan Imparator lahitleri ve Porphyrius’un bir kaidesi, o devirde Arkeoloji muzesi mevcut olmadigi
icin buluntular Aya Irini kilisesinde depolanmis,
sonradan 1891 de insa edilen Arkeoloji muzesine
nakledilmistir. 115 yil sonra, eski kaidenin bu-
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lundugu yerde 1962 deki kazilarda cinar agacinin
cikartilmasi esnasinda, agacin koklerinin kucakladigi ikinci Porphyrius kaidesi, bir porfir lahit
kapagi ve Imparator Heraklius’a ait (610-641) oldugu tahmin edilen , dort kosesinde bordurlu hac
kabartmasi bulunan, alabastra tasindan yapilmis
sarcophagus bulunmustur. Yeni kaidenin bulunmasi, diger ulkelerdeki tum Bizantinologlarin
dikkatini Istanbul’a cekmis ve bu kaideler hakkinda incelemeler baslamisti. 1847 de bulunan
ilk kaide, M.S. 500 lerdeki Sampiyonluk yarisinda
Mavilerden almis oldugu heykeldir. Bu kaidenin
ozelligi, tum yarisma boyunca kullandigi atlarin
adlainin yazili olmasidir.
Birinci kosuda kullandigi atlar: Aristidis
(Mukemmel), Palestiniarhis (Filistin Hukumda
1962 yili Arkeoloji kazi raporlarindan.
the Articles
1429 dan bir gravür (Buondelmonti). Ortada Misir obeliski, hemen sağinda Porphyrius’un üç kaidesi. Obeliskin solunda, dikiltaşlar arasında
Porphyrius’un üç kaidesi daha görülmektedir.
ri), Pirros (Kizil), Evtinikos (Dosdogru Kazanan).
Diversiumdaki atlari: Nikopolemos (Savas Galibi),
Radiatos (Parlayan), Pirros (Kizil), Evtinikos
(Dosdogru Kazanan). Final kosusundaki atlari:
Alievs (Balikci), Antipatos (Baskonsolos), Kinagos
(Avci), Pelorios (Muthis).
Yeni bulunan kaide ise, Yesil ve Mavi takimlarin mustereken, sampiyonlar sampiyonu
Porphyrius’a sukranlarini sunmak maksadiyla verdikleri heykeldir. Ust dort kosesinde
Victoria’lar (Zafer Tanricasi) Kariatid pozisyonunda (yapilari basinda tasiyan tanrica), elleriyle
kaidenin ustundeki Porphyrius’u (bronz heykelini) tasiyor vaziyette, ortada Porphyrius dort
at kosulu Quadrigasinda, elinde celenkle seref
turu atarken, basinin ustunde Constaninopolis
Tyche’si (Talih Tanricasi) tarafindan zaferinin
bedeli olarak taclanirken. M.S. 532 deki Nika
ihtilalinde kaidenin yanan iki yuzu, ihtilalin
yangin izlerini tasiyan canli sahitlerinden biridir.
1429 da Buodelmonte’nin cizdigi gravürde
Porphyrius ve diger yariscilarin kaideleri acik
olarak gorulmektedir. Fatih’in Hipodromdan
topladigi Porphyrius’un iki kaidesi Topkapi Sarayinin bahcesinde gomulu olarak bulunduguna
gore tahminimce bilinen diger kaideler ve daha
bilinmeyen nice eserler hala sarayin bahcesinde
gomuludur.
Istanbul Arkeoloji Muzesindeki Bizans eserlerinin en degerlisi olan ve Roma ve Bizans’daki
araba yariscilarinin heykellerinden yegane
mevcut olan bu iki muhtesem emsalsiz dev eser,
bugun onunde sadece “Arabaci Porfirius, VI. yy.
Istanbul” yazisindan baska hic bir bilgi verilmemis olup, muzenin los isikli No 20 salonunda
kesfedilmeyi beklemektedirler.
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the Turkish Kitchen
Aşure
wheat pudding
Ingredients (10 servings)
Dövme (dehusked wheat)
Chickpeas
Dry white beans
Rice
Water
Dried apricots
Dried figs
Raisins (seedless)
Orange
Sugar
Rose water
Walnuts (not crushed)
Pomegranate
1 cup
1/3 cup
1/3 cup
2 tablespoons
12 ½ cups
10 pieces
5 pieces
1/2 cup
1 small size
1 2/3 cups
2 tablespoons
2/3 cup
1/2 small size
(180 grams)
60 grams
60 grams
15 grams
2.5 kg
60 grams
125 grams
50 grams
120 grams
300 grams
20 grams
65 grams
50 grams
Wash the wheat, chickpeas and dried beans. Soak them
separately overnight with the beans and chickpeas in 1 cup of
water, and the dövme and rice mixture in 2 cups of water. The
next day, add 3 cups of water to the dövme and 2 cups of water each to chickpeas and beans and place them individually
on the burner. Cook the dövme until the grains are dissolved
and the starch comes out. If necessary boil the chickpeas in a
pressure cooker until soft.
Wash the dry fruit and soak them for 2 hours in 1 ½ cups of
water. Mix the cooked ingredients and the dry fruit in a pan
and cook for 15 minutes. Peel the orange and cut the rind, including the white inner part into 3-4 cm long and 1 cm wide
strips. Divide the orange slices into 4-5 pieces. Add them all
together to the mixture and cook for another 5 minutes. Add
the sugar and cook for 1-2 minutes and turn off the heat. Add
the rosewater and stir.
Pour the mix into dessert cups. Garnish it with walnuts and
pomegranate pits.
Afiyet olsun!
sourced by LEYLâ AHMED
a n at o l i a n
voice
34
History & Notes. Aşure is one of the oldest and most traditional desserts of the Turkish cuisine. The month following
the Feast of Sacrifice (Kurban Bayramı) is known as the Âşûre
günü. Plenty of aşure is cooked in every household during
which it is both served to the guests and distributed to the
neighbors and relatives. The legend regarding the origins of
aşure states that “when the Flood finally subsided and Noah’s
Arc settled on Mount Ararat in Agri, those on the vessel
wanted to hold a celebration as an expression of the gratitude
they felt towards God. But alas, the food storages of the ship
were practically empty and so they made a soup with all the
remaining ingredients they could find and thus ended up
with aşure.”
Following the legend, aşure is today prepared by cooking together 15 or more ingredients. In some regions a piece
of the sacrificial meat is saved and added to the pot while
aşure is being cooked. Rice can also be substituted for wheat
or it can be used in combination with it. The pudding can be
enriched with almonds, hazelnuts and currants. In addition
to dried white beans and chickpeas, dried broad beans and
dried black-eyed beans can also be added. In some regions
molasses replaces sugar. To the later version, which is known
in the Çorum region as “Pekmezli Hedik,” anise is added in
Gaziantep. In other regions raisin gum is added.
If a pressure cooker is to be used, the chick peas, beans
and the wheat can be cooked together. In normal, non-pressure pots the cooking time can vary between 1 - 2 hours
depending on the type and quality of the ingredients used.
Due to the difference in cooking times and ways of the ingredients, cooking them separately would be more appropriate.
Editor’s Letter
L
Last year, from August until December, I was living, interning and studying in Washington, DC.
Next to İstanbul, it is perhaps one of the most
pleasant cities with clean, well-planned streets,
beautiful architecture and plenty to do. However,
what brought me to the city was research.
When I began visiting the magnificent Library of Congress, I had only the foggiest idea
what I should research. Of course the Ottoman
Empire was the general topic, but that is a period
of roughly 700 years! It was serendipity to find
out that the Library of Congress has thousands
of photographs of the Ottoman Empire, and so I
found my sources, now what?
Ultimately, my three-month research culminated in the article Imagining Reality. But why remove
myself 150 years into the past? As a person raised
in a Turkish and American household, I felt an
affinity with the people depicted in these photographs. They too were dealing with multiple identities and realities — Ottoman, Western, modern,
traditional, public and private. You could see melancholy in their eyes or joyful energy, especially in
the works of Ali Sami Aközer. I wondered, did they
feel the same push and pull of having a changing
notion of one’s self?
I finally realized that it is harmful to think
that there is a fixed notion of self. It must change
and adapt. Whether that adaptation is in response
to a crumbling Empire or to the shock of leaving one country and coming to another. It is this
adaptation that helps us survive in creating new
relationships and social connections. We cannot
simply categorize the people of the past nor can we
do the same for ourselves.
Erol Ahmed
G ove r ning B oa r d
2007-2008
E x e c u t i v e B oa r d of Di r e c tor s
p re s i de n t Didem Şeyhoğlu
v ice - p re s i de n t Serkan Özdemir
s e cre ta ry Elif Cila
t re a s u re r Ferid Ahmed
pa s t - p re s i de n t Mehtap Aksoy
B oa r d of Di r e ctor s 2 0 0 7 - 2 0 0 8
Burak Akyalcın
Leylâ Ahmed
Gülay Schorr
Cihangir Taşdemir
Murat Ulasır
B oa r d of T ru s t e e s
İlhan Berberoğlu 2009
Verda Gürol 2009
Mine Özalp 2009
Beyza Sarıoğlu 2009
Ali Kayaalp 2008
Evelyn Sonbay 2008
Au di t C om m i t t e e
Mehpare Gençyüz 2009
Güner Sarıoğlu 2009
Yesim Kayaalp 2008
Halide Koçak 2008
Anatol i a n Voice 2007-2008
volume 9 i ssue 2 8
E DITOR- I n - C h i e f
Erol Ahmed
C on t r i bu tor s
Didem Şeyhoğlu, Gülay Schorr, Garo Lacın, Erol Ahmed
Published by
The Turkish American Cultural Association of Michigan
P.O. Box 3552, Farmington Hills, MI 48333
p 248.438.8580 f 248.626.8279
e [email protected]
A d v e rt i s i n g r at e s pe r i s s u e
Back cover page 175 usd
Full page 125 usd
Half page 50 usd
Quarter page 25 usd
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2005 - 2008 TACAM Editor-in-Chief
35
a n at o l i a n
voice
fall-winter · 2008 · vol 9 issue 28
TACAM
Turkish American
Cultural Association
of Michigan
the
anatolian voice
is a
quarterly publication
Turkish American Cultural Association
of the
of
Michigan
on the cover The
straits of İstanbul
are filled with vessels
and buildings ranging
from traditional, to
modern, beautiful and
utilitarian. A view of
Galata is taken by the
photographer Pascal
Sébah, c. 1890.