Turkish Kilims

1980 ◽  
Vol 30 ◽  
pp. 91-99
Author(s):  
James Mellaart
Keyword(s):  
Reliable Information ◽  
Arts And Crafts ◽  
The West ◽  
Rapid Succession ◽  
Art And Architecture ◽  
Fine Publication

In every aspect of Turkish studies, the non-Turkish scholar is at a disadvantage in trying to understand the complexities of the Turkish heritage. However hard we may try to learn and understand the language, customs, arts and crafts, through a lifetime of labour, enthusiasm and long residence, our Turkish colleagues should be able to do this better and with greater understanding. During the nineteenfifties, while living in Ankara, one used to regret the lack of interest in Seljuk art and architecture and complain about the absence of any reliable information about the flat woven rugs known as kilims that were just starting to appear in the market.Things have greatly changed in the thirty years that have since passed; and there is a healthy revival in Turkish art of the Seljuk and Ottoman periods, not only in Turkey, but at last also in the West. The interest in Turkish kilims is a modern phenomenon; we have valuable studies on the Türkmen nomads of Anatolia, which never even mention the word kilim. In Turkey also few scholars, except Yusuf Durul who has devoted his life to the study of Yörük textiles, were attracted by kilims. Samples of Old Turkish carpets and kilims, published by the Sümerbank, Istanbul, 1961 broke the ice, at least in Turkey. Then came an exhibition at the Textile Museum, Washington D.C. in 1969 and its fine publication by A. N. Landreau and W. R. Pickering entitled From the Bosporus to Samarkand. Flat woven rugs (1969), followed in rapid succession by three publications by the Akbank in Turkey: C. Kerametli and Z. Güvemli: Türk ve Islam Eserleri Müzesi (1974); Belkis Acar's Kilim ve düz dokuma yaygilar (1975) and Yusuf Duru's Yörük kilimleri (1977) all published in Istanbul. Then came a kilim exhibition in London, published by D. Black and C. Loveless in The undiscovered kilim, London 1977, followed by W. T. Ziemba, A. Akatay and S. L. Schwartz: Turkish flat weaves, London 1979, and now we have a sumptuous book by Yanni Petsopoulos: Kilims, Thames and Hudson, London 1979 (price £38.00) with not less than 278 illustrations of Anatolian kilims alone, many in colour and all old, i.e. before the introduction of chemical dyes, tentatively put at 1900, and nearly all in western collections, many private.

Comparative Analysis of Ahmet Hamdi Tanpinar’s Travels to European Countries

2017 ◽  
Vol 5 (1) ◽  
pp. 78
Author(s):  
Aysel KAMAL ◽  
Sinem ATIS
Keyword(s):  
Social History ◽  
Young Lady ◽  
The Other ◽  
European Countries ◽  
Cultural Relations ◽  
The West ◽  
Literary Works ◽  
European Culture ◽  
Turkish Literature ◽  
Art And Architecture

Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life

The reciprocity between art and architecture

2019 ◽  
Vol 6 (4) ◽  
pp. 112-116
Author(s):  
Hakan Saglam
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Contemporary Art ◽  
Modern Architecture ◽  
First Century ◽  
The Other ◽  
Arts And Crafts ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art And Architecture

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.

Shrines and Sovereigns: Life, Death, and Religion in Rural Azerbaijan

2011 ◽  
Vol 53 (3) ◽  
pp. 654-681 ◽  
Author(s):  
Bruce Grant
Keyword(s):  
Twentieth Century ◽  
Open Field ◽  
Religious Tradition ◽  
Full Scale ◽  
The Arctic ◽  
The West ◽  
Arctic Circle ◽  
Rapid Succession ◽  
The North ◽  
Land Mass

Shrines fill the Eurasian land mass. They can be found from Turkey in the west to China in the east, from the Arctic Circle in the north to Afghanistan in the south. Between town and country, they can consist of full-scale architectural complexes, or they may compose no more than an open field, a pile of stones, a tree, or a small mausoleum. They have been at the centers and peripheries of almost every major religious tradition of the region: Zoroastrianism, Judaism, Christianity, Islam, and Buddhism. Yet in the formerly socialist world, these places of pilgrimage have something even more in common: they were often cast as the last bastions of religious observance when churches, mosques, temples, and synagogues were sent crashing to the ground in rapid succession across the twentieth century.

An analysis of Ṛgvedic recitation

1959 ◽  
Vol 22 (1) ◽  
pp. 86-94
Author(s):  
J. E. B. Gray
Keyword(s):  
Reliable Information ◽  
The West ◽  
Eastern Side ◽  
The Past ◽  
Made In

Until quite recently, Western students of Veda have found it difficult to obtain reliable information on the manner of chanting practised by Rgvedic Brahmans maintaining their sacred tradition. Some studies on Vedic recitation have appeared in the past, 1 but none has given any information on the oldest of the Vedic schools, the Rgveda. During the year 1952–3, some progress was made in this respect, and recordings were taken in Rājasthān2 and in Bombay.3 At the time, the manner in which these two reciters chanted appeared to run so far counter to the generally accepted notions in the West concerning the nature of the Vedic accentual pattern that their evidence was simply‘filed ’. More recently still, in 1957 and 1958, a further opportunity presented itself of recording chants by a Rgvedic Brahman, this time from Mahārāstra.4 Nothing fully authentic is yet available from the eastern side of India, 5 but the fact that the above three Brahmans agree so closely that any divergences are scarcely worth noting makes useful.

6. Out of Egypt

2014 ◽  
Author(s):  
Christina Riggs
Keyword(s):  
Roman Empire ◽  
West Africa ◽  
Arab World ◽  
Ancient Egypt ◽  
The West ◽  
Colonial Era ◽  
Greek Culture ◽  
Ancient Egyptian ◽  
Art And Architecture

‘Out of Egypt’ considers how other cultures have engaged with ancient Egyptian art and architecture from the incorporation of Egypt in the Roman empire to the colonial era of Napoleon and beyond. Egyptian art became part of the classical heritage, but was also seen as strange and different. Did ancient Egypt deserve admiration or condemnation? Was it the source of Greek culture, as writers like Herodotus suggested, or was it part of darkest Africa or the exotic Orient (as later European thinking went) and thus nothing to do with ‘us’ at all? The legacy of ancient Egyptian art and architecture continues to shape contemporary relationships between the West, Africa, and the Arab world.

Sīstān in British Indian frontier policy

1986 ◽  
Vol 49 (1) ◽  
pp. 90-102 ◽  
Author(s):  
Ross L. Greaves
Keyword(s):  
Reliable Information ◽  
The South ◽  
The West ◽  
The North ◽  
Napoleonic Era

Sīstān (Sijistān or Sāgistān) came within the scope of British Indian frontier defence during the Napoleonic era. Lord Minto sent out missions to the Punjab, Sind, Baluchistan, Afghanistan and Persia in order to acquire reliable information about the borderlands. Captain Charles Christie and Lieutenant Eldred Pottinger in 1810 explored the route westward into Persia from Baluchistan. Christie separated from the others at Nushki and travelled to Herat via Sīstān before joining Pottinger in Iṣfahān. According to Christie: Seistan is a very small province on the banks of the Helmind, comprising not more than five hundred square miles, bounded on the north and northeast by Khorasan, on the west by Persia, and on the south and south-east it is separated from Mukran by an uninhabited desert.

Yeats, Jack Butler (1871-1957)

2018 ◽  
Author(s):  
Fionna Barber
Keyword(s):  
Cultural Identity ◽  
Significant Contribution ◽  
Arts And Crafts ◽  
The West ◽  
Irish Family ◽  
The Arts ◽  
West Of Ireland

Jack B. Yeats was born into a remarkably creative Irish family; his father—John Butler Yeats—was a painter and his brother was the poet W.B. Yeats. His sisters Elizabeth and Lily helped to establish the Arts and Crafts studio Dun Emer (1902) and Elizabeth subsequently founded the Cuala Press (1908). Jack Yeats’s early illustrative style depicted rural subjects from around his boyhood home in Sligo, making a significant contribution to the developing imagery of the West of Ireland important in the development of an independent Irish cultural identity.

Japanese Export Art of the Edo Period and its Influence on European Art

1984 ◽  
Vol 18 (4) ◽  
pp. 685-697 ◽  
Author(s):  
Oliver Impey
Keyword(s):  
The Other ◽  
Arts And Crafts ◽  
Edo Period ◽  
The West ◽  
Western Art ◽  
Artistic Production ◽  
The Arts ◽  
The Subject ◽  
Opening Up ◽  
Japanese Export

The opening up of Japan to the west and the consequent influences of the west and of Japan upon each other are remarkable for many reasons, not least of which is the interchange of styles and techniques of the arts and crafts one to the other. The export of Japanese works of art, and the influence upon European artistic production during the Meiji period (though often of works produced during the Edo period) have all but obscured the remarkable effects Japanese export art had upon the west during the period of self-imposed semi-isolation. Of course Japan was also greatly influenced by western art; that is not the subject of this paper, but it is a subject of great interest, worthy of considerable attention.

A Roof at Delphi

1954 ◽  
Vol 49 ◽  
pp. 202-214
Author(s):  
A. Trevor Hodge
Keyword(s):  
The West ◽  
Reliable Evidence ◽  
Inside Face ◽  
Art And Architecture

Because of its dating on the borderline of archaic and classical, and its excellent state of preservation, the Treasury of the Athenians at Delphi has for long been a monument of great interest to scholars working in many fields of ancient art and architecture. It is my belief that it offers valuable and surprising evidence in the perplexing problem of how the ancients roofed their buildings; and to set forth the grounds for that belief is the aim of this paper.The roof over the pronaos was substantially different from the roof over the cella. Among other things, the pronaos had a stone instead of a wooden ceiling, which was, moreover, at a higher level. We are here concerned with the roof over the cella, for which alone there seems to be reliable evidence (mostly on the inside face of the west pediment). The French publication, otherwise extremely full, says little more than that the rather slender ridge beam and purlins were supported by props from the five massive crossbeams spanning the building, and that these carried a ceiling of boards fixed to their underside (FdD II 48). An examination of the stonework seems to suggest different conclusions.

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