1453dergisi 10

SAYI / ISSUE 10 EKIM - KASIM - ARALIK / OCTOBER - NOVEMBER - DECEMBER 2010 BU BIR SREL YAYINDIR / THIS IS A PERIODICAL JOURNAL
YNETM / ADMINISTRATION
stanbul Bykehir Belediyesi Kltr A.. Adna Sahibi Publisher on Behalf of stanbul Metropolitan Municipality Culture Co.
STANBULDA YAADILAR, STANBULDA ALITILAR VE STANBUL N RETTLER CONTEMPORARY ART GUESTS OF STANBUL
Beral MADRA
Ahmet SELAMET Nevzat BAYHAN
Genel Yayn Ynetmeni / Publishing Director Yayn Danma Kurulu / Publishing Advisor Board
Prof. Dr. Halil NALCIK, Prof. Dr. Semavi EYCE, Prof. Dr. lber ORTAYLI, Prof. Dr. skender PALA, Ahmet Faruk YANARDA, Do. Dr. Haluk DURSUN
Yayn Koordinatr / Administrative Coordinator
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STANBULUN YKSELEN YILDIZI GNCEL SANAT THE RISING STAR OF STANBUL ACTUAL ART
Sami SOYKAN
YAYIN / PUBLISHING
Sorumlu Yaz leri Mdr / Writing Responsible
Alper EKER
Yusuf ALAR, rfan DADELEN, Salih DOAN, hsan KABL, Mehmet MAZAK, Metin ZTRK, Hseyin SORGUN, M. Ltfi EN, mer Faruk ERFOLU, Mjdat ULUAM, Altay NALTAY, brahim Hakk YT Aydn SLEYMAN kran KUMRAL
Yayn Kurulu / Publishing Board
STANBULUN 10 RESM, 10 RESSAMI THE TEN BEST PAINTINGS AND ARTISTS FROM ISTANBUL
mer Faruk ERFOLU
Grafik Tasarm / Graphic Design Fotoraflar / Photograph
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Sanat Ynetmeni / Art Director
Alp ESN, Ali KONYALI

Reklam Koordinatr / Advertising Coordinator Rezervasyon / 0212 467 07 67 ngilizce eviri / Translation
Sedef TARHAN
DARLFNUN MUALLM OLARAK MEHMET KF MEHMET KF AS AN INSTRUCTOR AT THE STANBUL UNIVERSITY
Zeynep KANDUR Betl EREN
Halkla likiler / Public Relation e-mail:1453@1453.cc
YAPIM / PRODUCTION KLTR A..

Bask - Cilt / Printing
FSF Print House

Renk Ayrm / CTP
MUSTAFA SZER ncler daima eletirilir. MUSTAFA SZER The avant-gardes are always criticized.
Dergide yaymlanan yaz, fotoraf, izim ve planlardan yasal olarak eser sahipleri sorumludur. Yazlardan kaynak belirterek tam veya zet alnt yaplabilir. Fotoraflar izinsiz kullanlamaz. Writers are legally responsible for their articles, photographs are to be used upon permisson, drawings and plans. Articles can be quated completely or as summery by indicating references. Photographs to be used are up on permission.
Beyaz D Matbaaclk
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STANBUL BYKEHR BELEDYES KLTR A.. YAYINLARI STANBUL METROPOLITAN MUNICIPALITY CULTURE CO. PUBLICATIONS stanbul Kltr ve Sanat rnleri Tic. A.. Maltepe Mahallesi Topkap Kltr Park Osmanl Evleri 34010 Topkap - Zeytinburnu / STANBUL / TURKEY
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Sylei - Intervew by: Hseyin SORGUN
MONOSEK BELEDYE BAKANI LE SYLE INTEVIEW WITH MAYOR OF SHIMONOSEKI
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Yusuf ALAR
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Hasan IIK
BR JAPONUN GZNDEN STANBUL ZLENMLER IMPRESSIONS OF STANBUL FROM THE VIEW OF A JAPANESE
EDRNEKAPIDA MHRMH SULTAN CM THE MHRMH SULTAN MOSQUE AT EDRNEKAPI
Fransz htilal: Yeni eitim ve yeni retmen
STANBULDA RETMEN OKULLARI
TEACHER TRAINING SCHOOLS IN STANBUL French Revolution: New
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Prof. Dr. Cemil ZTRK
STANBULDAN DNYAYA DNYADAN STANBULA DOANAY DOANAY: FROM STANBUL TO THE WORLD, FROM THE WORLD TO STANBUL
OSMANLI DEVLETNDE FUARCILIK FAIR ORGANIZATION IN THE OTTOMAN EMPIRE
KTAP FUARI DEYNCE AKLA GELEN WHAT COMES TO MIND WHEN WE HEAR BOOK FAIR
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83
101
Erhan AFYONCU
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117
M. Kmil YAAROLU
VAHAN USTA MISTER VAHAN

Alper EKER
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139
Elif TUNA
AJANDA GUIDE
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145
DOUMLARININ 100. YILINDA CAHT SITKI TARANCI VE ZYA OSMAN SABA THE 100TH ANNIVERSARY OF CAHT SITKI TARANCI AND ZYA OSMAN SABA
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TRKYE DYANET VAKFI SLM ANSKLOPEDS THE ENCYCLOPEDIA OF ISLAM OF THE RELIGIOUS AFFAIRS FOUNDATION., TURKEY
STANBULUN EN GZEL EVLER THE UNIQUE HOUSES OF STANBUL

Elif ENGN
NE OLDU SANA BALIK? WHAT HAPPENED TO THE FISH?

Kadir CAN
LOCATION STANBULMEKN
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OSMANLI MPARATORLUUNUN MODERN AVRUPANIN OLUMASINDAK ROL THE ROLE OF THE OTTOMAN EMPIRE IN THE FORMATION OF MODERN EUROPE
ERKAN OUR: Mzik, ERKAN OUR: Music

was natural like bread and water. Syleen - Intervew by: Hasan IIK
ekmek ve su kadar doald.
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M. Ltfi EN
Mehmet MAZAK
Metin CELL
METN ERKSAN FLMLERNDE STANBUL STANBUL IN METN ERKSAN MOVIES

Celil CVAN
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Ayumi TAKANO
Prof. Abdullah UMAN
Education, New Teachers
TAKDM
Bizler stanbul Bykehir Belediyesi olarak kamu kaynaklarn kullanarak hizmet vermekteyiz ve bu da harcamalarmzda zel bir hassasiyeti gz nnde bulundurmamz gerektiriyor. Dolaysyla, Panorama 1453 Tarih Mzesi ya da Yerebatan Sarnc gibi, geleneksel sanatlarn zamann szgecinden geerek klasiklemi, herkes tarafndan kabul gren rneklerinin veya antik an eserlerinin sergilendii meknlarn iletmeciliini yklenmemiz toplumun tm kesimleri tarafndan olumlu karlanmaktadr. Buna karlk ada sanat konusunda koleksiyon oluturmak, mze amak gibi etkinlikler, yalnzca kendisine hesap vermek durumunda olan zel sektrn cesur giriimcilerine dmektedir. Her trl hizmet talebine cevap vermek zorunda olan bizlerin yine de gnmz sanatna kar kaytsz olduu sylenemez. Nitekim Taksim Sanat Galerisi ve Maksem gibi sergi salonlarnda bu dala ait rnlere yer ayrmaya zen gsteriyoruz. Bununla birlikte sivil toplumun son yllarda bu alana yapt yatrm da dikkatimizden kamyor. 1453 stanbul Kltr ve Sanat Dergisi olarak, ehrimizin bu konuda ulat noktay gzler nne sermek ve hem sanatlar hem de yatrmclar cesaretlendirmek adna yeni saymz stanbulda ada sanatn ykseliine ayrdk. Okuyucularmz dergi sayfalarnda yetkin kalemlere ait doyurucu yazlar okumak ve ada sanatn birbirinden ilgin rneklerini grmek frsatn bulacaklardr. Szlerime son verirken, stanbul Bykehir Belediye Bakan olarak dergimize katkda bulunan yazar ve sanatlarla, yaynda emei geen mesai arkadalarma teekkr bor bilirim.
INTRODUCTION
Here at the Istanbul Metropolitan Municipality, we provide services with public funding. For this reason we have to be sensitive about how we spend this money. Our taking on of managing the Panorama 1453 History Museum or the Basilica Cistern, classics in the traditional arts, has been well received by all sectors of society. In contrast, courageous entrepreneurs in the private sector, which is only accountable to itself, usually assume responsibility for activities like establishing a collection of contemporary art or opening a museum. However, it cannot be said that we are indifferent towards contemporary art; we have yet to meet any kind of demand for services in this area. In fact, we are doing our best to allocate more contemporary artwork to some of our exhibition halls, like the Taksim Art Gallery and Maksem. In addition, we are aware that over the past few years investments by private citizens in this area have increased. We have dedicated this issue of 1453 Istanbul Culture and Arts Magazine to the rise of contemporary art in Istanbul in order to reveal the level of art in our city and to encourage both artists and investors. In this magazine, our readers will have the opportunity to read fascinating articles by competent writers about the most interesting examples of contemporary art. To conclude, as the Mayor of the Istanbul Metropolitan Municipality I would like to thank the writers and the artists who have contributed to this magazine and all my colleagues who have been instrumental in this publication.
Sanatn yrngesinde
nsan ruhunun ifade biimidir sanat Kalp ve kafann izdivacdr sanat. Yrekten ykselen duygularn mcessem hale gelip gnllere akmasdr, gz penceresinden seyredilen lemin gzellii, ruhun gelgitlerine nedendir sanat. Bedenin uzanda yaanan bu cezbe hli, aslnda anlam ile ifade arasndaki birlikte yaamann da balangcdr. Sanat, bu paralel evrenin ortak dilidir, melodisidir deta nsan, ruh aynasna yansyan ifade etme telana girdiinde, onlar bakalar ile paylama sevdasna kapldnda Sninin tecellisine mazhar olur; sanatkr olur Eskilerin tabiriyle gzel sanatlar, bir anlamda gzelliklerin insan eliyle inasdr. Bu ina ve ibda almalarnn biim ve biemi a ve zamann algs balamnda farkllklar gsterir Dn retilenlere klasik derken bugn, gnn ilhamyla retilmi olanlara ada ya da gncel dememiz bundandr. Ezeli bir gelgitin yrngesinde, ruhun devirdiklerini bedenin yordamyla yeniden var etmesinin her a farkl bir biim var ettiini sylemek yanl olmaz. Kimi zaman sanat ile toplum ve kendisi arasnda kurulan korelasyon bu varolu srelerinin ve sonularnn bir toplu tezahrnden kaynaklanmaktadr ki insan, reten ile alglayan arasndaki sanatsal alveri ve bu ilikinin nitelik ve nicelik boyutlar her dem taze bir tartmadr. nsann sanat yoluyla kendini ifade etmesinin usul, yordam ve serveni bugn de gnceldir. Sanatn/sanatnn gn yorumlay, an alglay ve ifade esnasnda kulland malzemenin n(ic)e, lii ve merm, genel bir tanm da beraberinde getirmektedir. ada Sanat, belki btn bu tartmalarn ierisinde bu adan sanatsal tz ile ifade aralarnn orijinalliini artrmas bakmndan nemlidir. zellikle kent soylu bir var olu biiminin beraberinde grnen bu tanmn karlnda kimilerinin Sanat zaten ada olur trnden erhlerini de not etmek gerekir. Her dosyas gndem oluturan 1453 Dergisi bu saysnda, ada sanat kavram ve bu sanatn duayenlerini konuk ediyor. zellikle stanbulda Yayor, alyor projesi erevesinde Gzellikler mparatorluunun Bakentine gelen ve eser reten sanatlarn gzlemleri, alglaylar ve rnleri bu saymzda bu sanat alanyla farkndalk ilikisi kurmak bakmndan nem tayor. Kukusuz, kadim olan kadar yeni/gncel/aktel olana da yer aan stanbulun ada sanat nabzn da ancak stanbulun dergisi 1453 tutabilir(di)!.. ada sanatn fotorafn da siz deerli 1453 okurlar iin ekmeye gayret ettik. Sanrm sz adalktan almken, Erkan Ourun mzikal yolculuunda gelenek ile modern arasnda yapt kyas ve bulduu yol, yolculuun/yolculuumuzun ipularn verecek trden Metin Erksann stanbulunu da bu yolculuun grselliinde dikkatinize sunuyorum 1453 Dergisi, hemen bir sayfa sonra okumanza amade sayfalar ile sizi bekliyor nanyorum ki okurken stanbulun sokaklarnda gezdiinizi, havasn teneffs ettiinizi hissedeceksiniz yi Okumalar
Within the orbit of the art.

Art is how the human spirit expresses itself Its the matrimony of the heart and the mind. It is how the emotions that arise from the heart become solid and flow into the souls of others; it is the beauty of the universe that is observed through the window of the eyes; it is the reason behind web and flow of the spirit This mesmerized state, which is experienced outside the body, is actually the beginning of the togetherness of meaning and expressing. Art is the common language, melody of this parallel universe When one starts worrying about how to express what is reflected into the mirror of the soul, when one is being absorbed with sharing that with others, then they can achieve the manifestation of Sni; he becomes an artist In a way, the old saying fine arts means the construction of beauty by the human hand. The form and style of these works of construction and disclosure demonstrate differences with regard to the era and the perception of time This is the reason why we call the work of yesterday classic, whereas we call the work produced with todays inspiration modern or current In the orbit of an eternal tide, it would not be wrong to say that the recreation of what the soul collects with the help of the body emerges in a different form every century. Sometimes, the correlation established between art, society and self results from the mass manifestation of these periods of existence and their consequences The artistic interchange between two people, between the producer and the perceiver, and the qualitative and quantitative aspects of this relation can always be considered as a current argument. Today, the method, the way and the adventure of people expressing themselves through art is still current. The way the art/artist interprets the day, perceives the moment and the quantity, and the intention of the material is the way expressions carry a general definition. Maybe, within all these arguments, Modern Art is important because it associates with the originality of artistic view of essence and tools of expression. It is also important to note the comments of those who say; Isnt art modern anyway? when trying to find an answer that is in keeping with an urban origin way of existence. Setting the agenda with each dossier, the 1453 Magazine covers the concept of Modern Art and hosts the doyennes of this art. In particular, the observations, perceptions and products of the artists that come to the Capital of the Empire of Beauties as part of the Living and Working in Istanbul project and who produced artwork, carry great importance in forming a relation of awareness with this type of art in this issue. Without a doubt it is only possible for the magazine of Istanbul, the 1453 Magazine, to keep its finger on the pulse of modern art in Istanbul, a place that is open to the new/current/actual as much as it is to the ancient!.. We tried hard to capture modern art for you, our precious readers of the 1453 Magazine. Now, with our topic being modernity, the comparison that Erkan Our makes between tradition and modern in his musical journey and the road he has discovered provide giving you clues about the journey/our journeyI present the Istanbul of Metin Erksan to your attention, as part of the visual of this journey. The 1453 Magazine awaits you, with page following page, devoted to your reading. I strongly believe that while reading you will feel like you are wandering through the streets of Istanbul and breathing its air Enjoy Reading
STANBULDA ADA SANAT CONTEMPORARY ART IN STANBUL
STANBULDA YAADILAR, STANBULDA ALITILAR VE STANBUL N RETTLER

Beral MADRA
CONTEMPORARY ART GUESTS OF STANBUL

Beral MADRA
STANBULDA YAADILAR, STANBULDA ALITILAR VE STANBUL N RETTLER / THEY LIVED IN STANBUL, WORKED IN STANBUL AND PRODUCED FOR STANBUL
STANBULDA YAADILAR, STANBULDA ALITILAR VE STANBUL N RETTLER

Beral MADRA* AB kltr politikasnn btncl geliimine bakldnda topya gibi grnen, ama gerek olan zellikler dikkat ekicidir: Ykselen deer olan yaratc sanayinin reticileri ve sanatlar iin yksek nitelikli retim alt yaplar salanyor. Uluslararas sanat ve kltr odaklar ile ibirlii srekli pekitiriliyor. Bu etkileimin ekonomik ve turizm boyutu gelitiriliyor. Kltr sanayinin tketicisi olan sekin ve/veya geni kitlenin ada kltr asndan eitilmesi ve bilgilendirilmesi ve kltr sanayinin rettii insani deerlerden yararlanmas ngrlyor. stanbul 2010 Avrupa Kltr Bakenti olma sreci, bir bakma stanbulun ve kukusuz stanbul ile birlikte Trkiyenin- bu topya gibi grnen ama gerek olan- kltr politikasna eklemlenmesini ngren kurgulanm admdr. Bu bir ilk adm deildir, kukusuz. Bugn Trkiye olan bu topraklar stndeki btn uygarlklarn Avrupa ktasndaki btn uygarlklarla kesintisiz ve karmak kltrel ilikisi vardr ve bu her dnemde stanbul odakl bir etkileim olarak tanmlanmtr. Trkiyenin ie dnk modernist kltr yapsnn krlma dnemi olan 1980lerin sonundan gnmze stanbul sanat ve kltr ortam AB lkelerinin resmi ve zel sanat ve kltr kurumlaryla byk lde bireysel ilikilerle bir iletiim a kurmutur. Bu bireysel ve sivil iletiim a, gnmzde Trkiyenin AB lkelerinde kazand en olumlu grnty oluturur.
THEY LIVED IN STANBUL, WORKED IN STANBUL AND PRODUCED FOR STANBUL

Beral MADRA* When the culture policies of the European Union are examined as an entity there are remarkable characteristics that appear utopian, but which are in fact real: High quality infrastructures are provided for artists and creative producers of culture industry which is the raising value of global economy. Cooperation with international art and culture units are constantly being reinforced. This interaction in turn improves economic and tourism dimensions. The education and elucidation of the elite and mass public on contemporary art and culture and giving him the opportunity to benefit from the high mental values of cultural productions are being seriously envisioned. The process of Istanbul 2010 European Capital of Culture, from one aspect is a well designed step for Istanbul - and without a doubt along with Istanbul Turkey- to be integrated into this cultural policy, which seems to be a utopia, but in fact a reality. This, without a doubt, is not a first step. There is an uninterrupted and complicated cultural relationship between all the civilizations existed on this territory which is now Turkey and those of the European continent; and in every period Istanbul has been the focal point for this interaction.
Since the end of 1980s, which is the period of rupture from the introverted modernist cultural structure, Istanbul art Avrupa kltr bakenti olma sreci, bu mevcut iletiim aand culture environment has established a communicatina daha derin bir anlam kazandrrken, ayn zamanda son network with official and private art and cultural instanbul odakl kresel kltr sanayi geliimi iinde gnmtitutions of EU countries, largely on an individual ze dein bu younlukta yaanmam bir sanatsal relevel. This individual and civil communication nettimler ve kltrel etkinlikler birikimini yaratt. zelstanbulda yaamak ve almak work has formed the most positive appreciation of likle bireysel ve kurumsal projelerin kamusal kaynak zere davet edilen ada sanatlarn Turkey in EU countries today. kullanlarak gerekletirilmesinde birok proje, klizlenimleri, yorumlar ve eletirileri tr sanayinin bundan sonraki gelimeleri asndan While the process of becoming a European Capidoru ve etkili rnekler olarak gerekletirildi. proje kapsamnda rettikleri yaptlarda tal of Culture brings with it a greater depth for the grlebilecek. existing communication network, at the same time, Kresel kltr sanayinin ngrd yaratc insan amidst the Istanbul-centered development of the gcnn (yaratc bireylerin) ve kltr sanayi uzmanImpressions, opinions and criticism of global culture industry, an intense accumulation of larnn yetitirilmesi, desteklenmesi, onlar istihdam contemporary artists who are invited to live artistic productions and cultural events, never exedecek altyaplarn kurulmas veya kalkndrlmas ve and work in stanbul will emerge in their perienced until today, has been created. Many probu gcn AB lkeleri kltr sanayisindeki, eitli sekproducts. jects, in particular individual and institutional protrlerle iletiim ve ibirlii yapacak duruma gelmesi jects that make use of public sources, have been gibi sonular zaman iinde grebileceiz. Geni kitimplemented as timely and effective examples for lenin ada ve gncel sanatla ve kltrle daha bifuture developments in cultural industry. linli ve katlmc bir biimde karlamas da rnek projelerin uygulama aamalarnda gerekleti. In due course we will be able to see the outcome of this process which includes the education and training of the creative individual and cultural experts, the nemli rneklerden birisi de stanbul 2010 Avrupa Kltr Bakenti Ajans Grestablishment and improvement of the employing institutions and the emersel Sanatlar Ynetmenlii tarafndan yrtlen stanbulda Yayor ve alyor gence of this formation as a power in communication and collaboration with projesidir. stanbulda Yayor ve alyor projesi, ncelikle 1990l yllarn bavarious cultural sectors of EU culture industry. The more conscious and contndan bu yana Trkiyenin kresel kltr sanayi iinde yerini alma ve sz sahibi ributive approach of the wider audiences towards modern and current art and olma almalarnn bir uzantsdr. kinci olarak, stanbulun uluslararas sanatculture materializes during the introductory stages of these example projects. lar iin gerekten ekici bir kent ve esin kayna olup olmadnn da bire bir lde snanmasdr. nc olarak da Trkiyedeki ada sanat retim eitliOne of the most important examples are the Living and Working in Istanbul lii ve etkilerinin desteklenmesidir. project, conducted by the Istanbul 2010 European Capital of Culture Agency Visual Arts Directorate. The Living and Working in Istanbul project is first and stanbulda yaamaya ve almaya, sanatlarla karlap onlarla birlikte retforemost the extension of efforts, since the 1990s, to claim a place and a manimeye davet edilen Remo Salvadori (talya), Sophie Calle (Fransa), Victor Burfest in Turkeys global culture industry. Secondly, this is a precise measure in the gin (ngiltere), Peter Kogler (Avusturya), Danae Stratou (Yunanistan), Antoni test of whether or not Istanbul really is a source of inspiration and a city that is Muntadas (spanya-ABD) deneyimin yaanmasna neden oldular. stanbulu ve attractive to international artists. Finally, it offers support for a variety of mostanbul stnden Trkiyeyi btn gerekleriyle, gzellikleri ve elikileriyle, dern art production and events in Turkey. klielemi stanbul imgesinin, oryantalizmin ve Avrupa-merkezci bakn tesine geerek, tanm olduklarn umut ediyoruz. Onlarn izlenimleri, yorumlar ve eletirileri stanbul iin rettikleri yaptlarda grlecek. In the Living and Working in Istanbul Project, Remo Salvadori (Italy), Sophie Calle (France), Victor Burgin (England), Peter Kogler (Austria), Danae Stratou (Greece) and Antoni Muntadas (Spain-USA) were invited to meet and produce in cooperation with local artists; they have initiated different experiences . We sincerely believe that they have perceived and questioned Istanbul, going be* Art Critic and Curator. stanbul 2010 ECOC Agency Visual Arts Director
Bu sanatlar 20. yzyl son eyreinin sanat akmlar iinde ve son yln kresel sanat retim izelgesi iinde kresel ve bireysel sorunlar, insan bilimleri ile sanat arasndaki ilikiler stne etkileyici ve srarl retimler gerekletirdiler ve
* Sanat Eletirmeni ve Kratr. stanbul 2010 Avrupa Kltr Bakenti Ajans Grsel Sanatlar Ynetmeni
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kendilerinden sonraki kuaklar etkiliyorlar. Ortak bir dzlem arayacak olursak, retimlerinin zaman, mekn, insan arasndaki ayrntl bantlar irdelediini, insanlar arasndaki iletiim trlerinin yaratt zengin ayrntlar kefettiklerini, toplumsalln nemine deindiklerini, kitle iletiim ve tketim aralarn dndaki seeneklerin varlna iaret ettiklerini grrz. Bunun yannda bu sanatlarn mzeler ve koleksiyonlara girmi yapt birikimi yannda, dnsel, metinsel, eitimsel retimlerinin de nemine deinmek gerekir. Onlarn grselletirdikleri, nesnelletirdikleri, metinletirdikleri dleri ve dnceleri yaklak otuz yldr kresel entelektellii zenginletirmektedir. Bu ortak dzleme karn bu sanatlarn yaptlar birbirinden ok farkl ierikler, biimler ve estetik tar. Doduklar ve yaadklar lkelerin kltrlerinin, zel yaamlarnn ve deneyimlerinin farkllklar, aldklar eitimlerin ve temsil ettikleri akmlarn zellikleri, siyasal durularndaki ayrntlar retimlerinde izlenebilir. Remo Salvadori, kresel dzenin belleini aratryor ve bireyin bu dzende i ve d dnyas arasndaki uyumu salayacak yollar gsteriyor. Fotoraf ve videonun gzde olduu gnmzde, onun nesnel ve dokunulabilir yaptlar sanatn klasik kavramlarn, deerlerini ve etki alann koruyor. Salvadori 1980lerden gnmze, yaad corafyann ve kltrn salad olanaklarla tarihsel meknn yeniden yorumlanmas, arkeo-tipler ve geometrik ekiller temelinde oluturduu boyutlu yaptlar ve yerletirmeler retiyor. Bu bilgisini 16 Aralk 2008 6 Ocak 2009 arasnda altayna katlan sanatlar Ali brahim cal, Ayhan Mutlu, Aye Doan, Beyza Tkel, Eser Epzdemir, Hera Byktayan, Ozan Gezer, zge Enginz ve Sine Ergn ile paylat ve zellikle onlarn setikleri tarihsel ve dier meknlarda alt. 10 Eyll 2009da Salvadori Srekli, Sonsuz, imdi Var Olan (Continuous, Infinite, Present) balkl 7 metre apndaki, ek yeri olmayan elik halka, Romal ustalar tarafndan Arkeoloji Mzesi bahesinde gerekletirilen iki saatlik bir performansla retildi. Performansa stanbul 2010 Mzik Ynetmenlii ve sanat Cevdet Erek tarafndan gerekletirilen zel mzik dinletisi elik etti. Antoni Muntadas, 51. Venedik Bienalinde (2005) spanya Pavyonunda eviri stne (On Translation) balkl kitaplk/ariv/kurumsal bilgi meknlar yerletirmesini gerekletirdi ve bu dev yerletirme kresel kltr retiminin eletirisi ve etkilerini irdeliyordu. Bu dev yerletirme ayn zamanda bienalin (genel olarak gnmz sanatnn) simgeledii, gsterdii, tanmlad kltr alannn da eletirisiydi. Bu dilsel, toplumsal, siyasal eletirileri gerekletirirken, kresel entelektel retime gsterdii ilgi ve sayg, ok sayda insanla yapt video syleilerde ortaya kyor. stanbulda da bu deneyimini uygulad ve farkl disiplinlerde ne km aydnlarla yapt video ekimler ve toplumsal sorumluluu ne karan ve tecimsel olmayan Ak Radyo stne yapt aratrma, Muntadasn stanbula brakt almann altyapsn oluturuyor. Muntadas, btn toplumun youn biimde tartt birok konuyu stanbul rneinde irdeleyerek bir bakma, Trkiyenin demokratikleme yolundaki gncel geliimine bir gnderme yapt, kendisini bu kentin aktif bir bireyi konumuna getirdi. Bu syleilerde stanbulun o ok sz edilen heterojen ieriine doru yap-skmc bir yolculuk gerekleiyor. Bu DVDler ve btn almay belgeleyen bir afi, bir kutu iinde sunuluyor. Antoni Muntadas, 17 Haziran-16 Temmuz 2009 ve Temmuz 2010 tarihlerinde stanbulda yaad ve alt; onun altayna Arzu Kuaslan, Ercan Vural, Esen Gke zdamar, Eref Yldrm, Gne Oktay, Mehmet Da, zerk Ergen, Pablo Martinez Muniz ve Suat t katldlar. 20 Ocak - 14 ubat 2010 arasnda, Tophane-i Amire Kltr Merkezinde In Between-Arada-Tra balkl sergi, Muntadasn 2008 sonbaharnda Venedik Iuav niversitesi, Laboratoio di arti visive I kapsamnda Venedikte (talya), 2009 ilkbaharnda Massachusetts Institute of Technology Cambridgede (ABD) ve 2009 yaznda stanbulda Yayor ve alyor projesi kapsamnda gerekletirdii altayn sonularn bir araya getirdi. 1960lardan gnmze sanat, kuramc ve eitimci olarak alan Victor Burginin yaptlar ve metinleri imgelerin irdeliyor, bakmak ve grmek, anlamak eylemlerinin yap skmn ieriyor. Gnmzde baktmz, grdmz ve anlamaya altmz her imge baka kaynaklardaki baka imgeleri artryor ve bu artrma genellikle kitle medyalar ve popler gazetecilik bilgilerinde temelleniyor; dolaysyla bilinlenmemiz zgr deil. Burgin, bize gnmze zg tketim ve medya kltr tarafndan srekli tehir edileni bilgilenerek alglamamz balamnda, bilinci krleten tektip ve dayatmac grsel kltr saldr-
yond the stereotype image of Istanbul, the Orientalism and the Euro-centrism; it is our hope that through Istanbul, Turkey has been recognized with her all her genuineness, beauty and contrasts. Their impression, opinions and criticisms will emerge in the productions they have created for Istanbul. These artists produced effective and dedicated productions on the global and individual issues, on the relationship of contemporary art, science and humanities fields over the last quarter of the 20th century and in the last production schedule of global art; they will influence the generations to come. If we place their work into a collective platform, we can see that these artists have examined the detailed relational links between time, space and humankind, that they have discovered the rich particularities of various types of the communication between the people, that they have referred to the sociality and that they have indicated alternative ways of articulation besides the conventional mass communication and consumption. In addition to the works of these artists, works that are present in museums and private collections, we also need to deal with the importance of their intellectual, textual and educational productions. What they have visualized, objectified, put into texts, as well as their dreams and their thoughts, have all enriched global intellectuality for nearly thirty years. Regardless of this collective platform, the productions of these artists convey a vast contrast in their content, style and aesthetics. The cultures of the countries in which they were born and live, the variety of their lives and experiences, their education and the characteristics of the trends they represent, as well as their political views can be perceived and acknowledged via their work. Remo Salvadori is researching the memory of the global order and depicting a way to reveal the harmony between the inner and outer worlds of the individual within this order. In juxtaposition to the popularity of photography and video today, his three-dimensional and tactile works preserve the classical concepts, values and effects of modern and post-modern art. Since 1980 Salvadori has been producing three dimensional works and installations with the instruments based on arche-types and geometric forms provided by the geography and culture he is living in. He shared this knowledge and experience with the artists who participated in his workshop from 16 December 2008 to 6 January 2009. These artists were Ali brahim cal, Ayhan Mutlu, Aye Doan, Beyza Tkel, Eser Epzdemir, Hera Byktayan, Ozan Gezer, zge Enginz and Sine Ergn. Salvadori particularly worked in the historical sites he has visited with his participants. On 10 September 2009, a 7 meter diameter seamless steel circle was constructed; the title given to this by Salvadori was Continuous, Infinite, Present. It was built by Roman craftsmen as part of a two-hour performance in the courtyard of the Archeology Museum. The performance was accompanied by special concert music created by the musical director of Istanbul 2010 Cevdet Erek. At the 51st Venice Biennale (2005), Antoni Muntadas realized the library/archive/institutional data space called On Translation in the Spanish Pavilion. This comprehensive installation addressed the criticisms of global cultural production and its implications. At the same time, this comprehensive installation was critical of the field of culture that the Biennale (in general modern art) represented, portrayed and defined. While implementing this linguistic, social and political criticism, the artists interest and respect for intellectual production emerged through the wide range of video interviews with the public. The artist performed a similar experiment in Istanbul; the videos he made with the intellectuals who are in the forefront of various disciplines, and the non-commercial survey carried out on Open Radio which portrayed his social responsibility, were a compilation of the foundation of the research he had left behind in Istanbul. Addressing many topics which are widely discussed in the local society, and referring to the example of Istanbul - in a sense citing Turkeys current developments on the path to democratization - the artist played the role of an active individual of this city. In these conversations, a deconstructive journey towards the frequently mentioned heterogeneous theme of Istanbul took shape. These DVDs and a poster documenting the entire mission are offered in a box presentation. Antoni Muntadas worked in Istanbul from 17 June to 16 July, 2009 and in July 2010 Arzu Kuaslan, Ercan Vural, Esen Gkce zdamar, Eref Yldirim, Gne
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lar balamnda zgrleme yollar sunuyor. Sanat eitimi ve eitim sonrasndaki bilgi ve deneyimler sanatlarn var olan kresel-kitlesel tketim ve medya etkilerine kar eletirel bir bak ve direni kazanmalarn salamaldr; Burginin kuramsal retimi ve eitmenlii bu alanda da etkili olmaktadr. Victor Burgin 7 - 15 Kasm 2009 ve 27 Mart - 14 Nisan 2010 tarihlerinde stanbulda yaad. Onun altayna Ahmet Atf Akn, Can Pekdemir, Deniz Gl, Evrim Kavcar, Koray Kantarcolu, Melisa nel, Murat Germen, Nazl Eda Noyan, Serkan Taycandan oluan bir sanat grubu katld. Sanatlarn ierikte bamsz almalar ortak bir biimle sunuluyor.
Oktay, Mehmet Da, zerk Ergen, Pablo Martinez Muniz and Suat t attended the artists workshop. The exhibition entitled Inbetween-Arada-Tra was held from 20 January to14 February at the MSGSF Tophane-i Amire Cultural Center; this was combined with the success of the three workshop projects, the Laboratoio di arti visive I Venice (Italy) in autumn 2008, the Massachusetts Institute of Technology Cambridge (USA) in spring 2009, and Living and Working in Istanbul in the summer of 2009. The productions and texts of Victor Burgin, who has worked as an artist, teacher and theorist since the 1960s, not only examine images, but also contain the structural sequence of understanding the acts of looking and seeing. Every image that we look at, see or try to perceive in this day and age is associated with other images from other sources; this evocation is generally established on the mass media or popular journalism. Thus, our ability to become aware is not free. Burgin presents the means for this freedom, a way towards informative awareness for independent consumption, for freedom from continual exposure to media culture, as well as the stereotype and enforcement portrayed in the visual culture. Education in art and the knowledge and experience that are gained via this education must provide the artist with a critical perception and resistance to globalmass consumption and the effects of the media. In this field, Burgins creation of theory and coaching is effective. Victor Burgin was in Istanbul from 7- 15 November 2009 and from 27 March 14 April 2010. A group of artists, including Ahmet Atf Akn, Can Pakdemir, Deniz Gl, Evrim Kavcar, Koray Kantarcolu, Melisa nel, Nazl Eda Noyan and Serkan Taycan attended his workshop. Their independent works have been presented collectively. Since the early 1980s, Peter Kogler has worked as an artist who has transformed the iconic images of contemporary art into inciting perceptual settings by using new computer and electronic techniques; in this way he has created models of how these techniques, which may appear conventional today, can be used in contemporary art. In addition to the ant motifs he used in the early stages, over time he came to include spherical and light-bulb motifs, and recently brain motifs and architecture in his work. These icon images and architectural pieces which the artist has borrowed from the memory of art, in a sense, represent the collectivity of the structural elements of globalism, humanity, science and technology. The reflective, virtual and imaginary space that is created by the computer output or by the luminous beams of these images presents an exciting experience for our perception. After the 1970s, Kogler who practiced the time-space-object synthesis in the trends of Concept Art and Minimalism, by using the digital data and communication technology of the present age, and by recycling the LED screen and animation techniques that reside between reality and fiction, has transformed the space layout. Kogler has designed a carpet for Istanbul, and the Merinos factory is presently producing this carpet. A workshop was held at Istanbul 2010 Kadrga Art Production Center with Peter Kogler and his assistant Manuel Gorkiewicz; this was attended by Bengisu Bayrak, Canda iman, Berkay Tuncay, Sevgi Ar, Merve endil, Ahmet Albayrak, Irem Tok and zgl Arslan. At the workshop, which was held between 14 and 22 February, 2010 and 2 and 5 June, 2010, in addition to the artists presentations of his own productions, productions of modern art from Europe and the art markets were presented with the participants also discussing the works of younger artists. Danae Stratou works in two domains; geography and masses of people and the movement and influence this synthesis creates. At the base of such works, there is an approach that indicates global environmental problems and the demand for people becoming aware of these problems. Her works, formed by the interaction between nature, geography, history and social facts, can be evaluated in the context of rural art. Such works by Stratou not only continue for a few years but also constitute a model of group work. For instance, the logarithmic helix she created with crater and pyramid shaped pieces in the desert bordering on the Red Sea in Egypt in 1997 was produced along with an industrial designer and an architect; this can be seen on Google Earth (27 29 50 N, 33
PETER KOGLER / 14 22 ubat 2010, 2-5 Haziran 2010

Peter Kogler, 1980lerin bandan bu yana Modern sanatn ikonik imgelerini gnmzn bilgisayar ve elektronik tekniklerini kullanarak kkrtc alg ortamlarna dntren bir sanat; dolaysyla bugn sradan gibi grnen bu tekniklerin ada sanat iin nasl kullanlabileceinin modellerini de yaratt. lk dnemlerden bu yana kulland karncalara zaman iinde kre ve ampul motifini ve son dnemde de beyin motifini ve mimari yap grntlerini ekledi. Sanatnn sanat belleinden dn ald bu ikon-imgeler ve mimari paralar bir yandan kreselliin birletirici yapsal elerini, insan, bilimi, teknolojiyi, simgeliyor. Bu imgelerin bilgisayar kl veya kl gdmlemelerle yaratt sanal, yanlsamal ve dsel mekn ise topluma, kreselliin yaratt tekdzelik iinde heyecan verici bir alg deneyimi sunuyor. Kogler, 1970lerden sonra Konsept Sanat ve Minimalizm akmlar balamnda gerekletirilen zaman-mekn-nesne bireimlerini gnmzn dijital bilgi ve iletiim teknolojisiyle, LED ekran ve animasyon teknikleriyle yeniden ileme sokarak gerek ve kurgusal arasnda duran mekn yerletirmelerine dntrmektedir. Kogler, stanbul iin bir hal tasarlad ve Merinos Fabrikas bu haly retiyor. Peter Kogler ve asistan Manuel Gorkiewicz stanbul 2010 Kadrga Sanat retim Merkezinde Bengisu Bayrak, Canda iman, Berkay Tuncay, Sevgi Ar, Merve endil, Ahmet Albayrak, rem Tok ve zgl Arslann katlmc olarak yer aldklar bir altay gerekletirdi. altayda, sanatnn kendi retimi ve genelde Avrupada ada sanat retimi ve sanat piyasas zerine gerekletirdii sunumlarn yan sra katlmc gen sanatlarn retimleri zerine tartmalar yapld.
DANAE STRATOU / 27 Mart -18 Nisan 2010, 26-30 Mays 2010

Danae Stratou iki alanda alyor: Corafyalar ve insan kitleleri ve bu bireimin yaratt devinim ve etkiler. Bu almalarnn temelinde kresel evre sorunlarna iaret etmek ve insanlarn bu sorunlara kar bilinlenmesini istemek yaklam var. Doa, corafyalar, tarih ve toplumsal olgular arasndaki ilikilere mdahale ederek oluturduu yaptlar krsal sanat balamnda da deerlendirilebilir. Stratounun bu tr yaptlar birka yl sryor hem de bir ekip almas modeli oluturuyor. rnein 1997 ylnda Msrda Kzl Deniz eiindeki lde krater ve piramit biimli paralarla gerekletirdii logaritmik helezon bir endstri tasarmcs ve bir mimar ile birlikte retilmi ve bugn Googleda (27 29 50 N, 33 37 56 E). Bir dier gelimekte olan ii de buzullarn erimesiyle ilgili. nsan kitleleri stndeki almalarnda Stratou kitle hareketlerinin sreklilii, ritmi ve bunun evresel sonular stne odaklanyor. rnein 2007de Selanik Bienalinde sergilenen Kesik-7 Snr (Cut-7 Divided Lines) Kbrstan Meksikaya zorlu ve sakncal snrlarn iki yanndaki corafya ve insan durumlarn yanstyor. Stratou iin stanbul hem corafyas, tarihi ve byk insan kitleleriyle 5 Ktadaki dev-kentleri konu alan Yaam Meknlar (Vital Space) projesine eklemleniyor. Bu alma helikopter ekimleri ve 13 milyon insann younlat devinim meknlarndaki ekimlerden oluuyor. Ortaya kan ift grnt- kentin gkten ve yerden grnts-kentin iindeki yaayan insann alglayamayaca ama gerekte btn grkemiyle var olan bir dzeni gsteriyor. Danae Stratou, Timur Sezgin, Cemile Kaptan, Cem Gencer, Sibel Horada, Nazl Pekta ve Yasemin Nur Toksoyun katld iki hafta sren altayna, kendi retimi zelinde kulland malzeme ve kavramsal ierik zerine sunumlarla balad. Danae Stratou ve katlmclar stanbulun farkl yerlerine keif gezileri yapt. Katlmclar Orman Manzaral (Forest View) bal altnda stanbulun sosyo-ekonomik ve sosyo-kltrel bileenleri zerine bireysel ve ortak retimler gerekletirdiler.
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SOPHIE CALLE / 6-26 Nisan 2010

Sophie Calle fotoraf ve metinlerden oluan yaptlar retiyor ve ou kez yazmann kendisi iin ok nemli olduunu sylyor. Uyuyanlar (The Sleepers) (1979) ve Venedig Siti (Venitian Suite)(1979) ile balayan ve Kendine yi Bak (Take Care of Yourself) (2007) balkl Venedig Bienali iine kadar uzanan birok sanat yapt kendi kurgulad ve iinde kendisinin de yaad olaylarn fotoraf ve metinlerle belgelenmesinden oluuyor. Sophie Calle bu adan kendi yaamyla sanat yapt arasnda karmak ve gizemli bir iliki kuran bir sanatdr. Sophie Calle stanbula daha nce gelmiti; bu kez daha yakndan tanmak zere geldi. Bu yakndan tanmay, yine kendine zg gerekst bir deneyime dntrd. stanbulu, grmeyen bir insann anlattklar stnden tanmay planlad. Bu grmeyen insan dncesi de kukusuz, stanbulun bir yakasnn krler ehri (Kalkedon) olmasna gnderme yapyor ve Kariye Kilisesinin fresklerindeki gzleri zaman iinde ypranarak silinmi kadn portresi ile grsel eini buluyor. Grme engellilerle ibirlii Alt Nokta Krler Vakf ve Alt Nokta Krler Dernei stnden gerekleti. Bir grup grme engelli ona stanbulda grdkleri son grnty anlatt ve bu son grntler Callin stanbulda grdn bize anlatyor. Sophie Calle stanbul atlyesine Volkan Asan, Ani Setyan, Gzde lkin, z ztat ve Seda Hepsev katld. Sophie Calle bu srete kendi retimlerini ve zgemiini ayrntl sunumlarda katlmclarla paylat. Sophie Calle atlyesi sanatlar, bu projenin altyapsn oluturan brokratik rgy eletiren ve irdeleyen szleme temas zerinden ortak ve bireysel retimlerini yine sanat ile iletiim iinde gerekletirdiler. stanbul iin dnlm, kurgulanm, yorumlanm ve retilmi bu 54 yapt, Trkiyenin ilk kamusal ada sanat koleksiyonu olarak topluma sunulacak.
Beral Madra-Eyll 2010 Sophie Callen fotoraf ve yazn bireiminden oluan yapt, 1 Ekim - 31 Ekim tarihleri arasnda Sanat Limannda; Victor Burgin imzal Sedad Hakk Eldemin ark Kahvesini arkeolojik bir bak asyla yeniden tasarmlanmas ve 3D modellemesi 3 Ekim - 31 Ekim tarihleri arasnda stanbul Arkeoloji Mzesinde; Antoni Muntadasn stanbul filmi eviri zerinenin gala gsterimi 7 Ekim de stanbul Modernde; Remo Salvadorinin Srekli, Sonsuz, imdi Varolan isimli yapt, Peter Koglerin Adsz-stanbul Hals ve Danae Stratounun Vital Space-stanbul yapt 22 Ekim - 11 Kasm tarihleri arasnda MSGS Tophane-i Amire Kltr Merkezinde sergileniyor.
37 56 E). The melting of glaciers is another continuing work by Stratou. In her studies about masses of people, Stratou focuses on the continuity, the rhythm of crowd movements and the environmental consequences of the same. For instance, Cut-7 Divided Lines, exhibited at the Salonika Biennial in 2007, reflects the geography and human circumstances on both sides of harsh and hostile borders, ranging from Cyprus to Mexico. According to Stratou, Istanbul is connected to the Vital Space Project which is concerned about huge cities over 5 continents with their geography, history and large crowds of people. The study consists of films taking from helicopters of areas in which 13 millions are concentrated. The two videos that were produced from both the sky and on the ground demonstrate that a magnificent system exists, even though it cannot be perceived by those living in the city. From 27 March to 18 April 2010, and 26- 30 May 2010 Timur Sezgin, Cemile Kaptan, Cem Gencer, Sibel Horada, Nazl Pekta and Yasemin Nur Toksoy participated in Stratous two week workshop. She started her workshop with presentations on the materials she uses and produces herself with a conceptual content. Danae Stratou and the participants also went on excursions to different places in Istanbul. The participants made both individual and shared output about the socio-economic and socio-cultural components of Istanbul under the heading Forest View. Sophie Calle produces works that consist of photographs and texts. She frequently states that writing is something that is very important for her. She has composed many works of art, starting from The Sleepers (1979) and Venetian Suite (1979), stretching as far as the Venice Biennale, with the title Take Care of Yourself (2007); these works consist of photographs and texts that record events she has herself experienced. From this aspect, Sophie Calle is an artist who maintains a complicated and mysterious relationship between her life and her art. Sophie Calle has been to Istanbul before; however, this time she was hoping to learn more about the city. She has turned this procedure into a typical surrealistic experience, planning to describe the city using the words of a blind person. The concept of a blind person clearly is making a reference to the original name of one side of Istanbul, Chalkhedon (meaning City of the Blind). The reference finds its visual correspondence with the fresco of a woman in the Chora Church, whose eyes have been worn away over time. The cooperation with groups for the visually handicapped has been organized by Alt Nokta, the Foundation and Organization for the Blind and Beyaz Ay Association. A group of blind people described to Sophie Calle their final view of Istanbul; Calle uses these views to tell us how she has seen Istanbul. Volkan Asan, Ani Setyan, Gzde lkin, z ztat and Seda Hepsev participated in Sophie Calles workshop, which was held from 6 to 26 April, 2010, in Istanbul. During this process, she informed the participants about her works and her background with detailed presentations. The artists who participated in Sophie Calles workshop realized both shared and individual production by touching on the theme of contract, criticizing and discussing the bureaucratic network, which formed the basis of this project.
Sophie Calles photographs and textual synthesis entitled The Last Image will be exhibited from 1 October to 31 October at Sanat Liman; Victor Burgins 3D Modelling of Sedad Hakk Eldems Oriental Caf and his accompanying text will be on display from 2 October to 31 October at the Istanbul Archeological Museum. The gala of Antoni Muntadass Istanbul film On Translation: Ak Radyo will be on 7 October at Istanbul Modern; Remo Salvadoris work, entitled Continuous, Infinite, Present, and Peter Koglers work, Untitled: Istanbul Carpet, and Danae Stratous work, Vital Space: Istanbul will be exhibited between 22 October and 11 November at the MSGSF Tophane-i Amire Cultural center.
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ANTONI MUNTADAS
2008de beni stanbulda Hayatlar ve Eserler programna davet ettiklerinden beri birka kez stanbulda oldum. Bu proje dnda stanbullularla baka bir proje ve atlye almas iin de stanbulda zaman harcadm. Bunu deiik zamanlarda birka kez yaptm. Bir ehri bir gnde, bir saatte ya da be ylda tanyabilirsiniz. Onu eitli ekillerde tanyabilirsiniz. Benim projem bir ehirle bulumak, kendi fikir ve meraklarm gelitirmek iindi. Bence bir ehri renmenin en iyi yolu bir projede bulunmaktan geer. Bir proje hazrlyorsanz derhal kendinizi o ie verir ve ehrin deiik yzlerini aratrmakla vakit geirirsiniz. Bildiiniz gibi, bir ehri tanmann belli bir sresi yok. Bence dakikada tanacanz ehirler de var, hi renemeyecekleriniz de. Yaptm i benim iin ilginti, nk projem beni ehir iinde yaamak ve almaya sevkediyordu. Projelerim ok fazla balamla ilgilidir. Bunun iin kimi zaman insanlarla konuur, onlarn yazlarn okur, bylece ehrin program projesi boyunca muhayyileme girmesini tecrbe ederim. Bu projeyi gerekletirmeye davet edildim. lk ylm aratrma, okuma, dnme ile geirdim; bence ehir, tek bir projede ele alnamayacak kadar karmak, byk ve kompleks. Bu nedenle kendim ve ehir arasnda bir arayz oluturmaya altm. Sonunda evirirken adnda bir projeye karar verdim; burada Ak Radyoyu kendim ile ehir arasndaki eviri mekanizmas aldm. Bu proje Ak Radyo hakknda ve Ak Radyo kanalyla idi ki, burada sadece bir radyo sesi tasvir edilmiyordu; drt de radyo program yaptm: stanbul ve mitler zerine bir radyo program; ikincisi stanbul insan tipleri; ncs stanbul ve kltr endstrisi, ve drdncs stanbulda bilgi, dezenformasyon ve sansr zerineydi. Sanrm drdncdeydi, stdyoya konuyu tartacak misafirler ardk. Denebilir ki, onlarla bu filmi yapmak iin birlikte altm. Umarm onu TVde grmsnzdr; bylece proje tamamlanm olur. Bu bir Trk projesiydi; Kanadada ve Japonyada projeler yapmtm... Bence milliyet nemli birey deildir. Ben bir gebe olarak alyorum denebilir. Projeler ise balamn bulunduu yere aittirler. Luis Buuelin Meksikada, Fransada, spanyada filmleri vardr. spanyol ve Fransz filmlerinde de Meksika etkisi grlr. Ben bunu bir eliki gryorum. Bir rnek mi? Benim ederlerim yapld yerlere aittirler; o blge insanlarnn yaptklarndan oluurlar. Ama bu insanlarn bana memleket nere? diye sorduklar bir dizi deildir. Ben onlara ne i yaptm szlyorum; nerede yaadm ve nerede i yaptm. Bu proje iin stanbulda yayor ve alyorum. Bence ilgin olan budur.
ANTONI MUNTADAS
I have been in Istanbul several times since they invited me in 2008 for this program Lives and Works in Istanbul. Apart from this project I have spent time in Istanbul developing a project and carrying out a workshop with the people here in Istanbul. And I have done this in several periods, over different periods. You can come to know a city in one day or one hour or five years. You will know it in different ways. My project has to do with trying to confront a city and trying to develop my own opinion and curiosity. I think the best way to learn about a city is with a project. When you do a project you immediately invest yourself and you spend time exploring certain aspects of the city. There is, as you know, no particular time for knowing a city. I think there are cities you can know in three minutes and cities you can never know. The kind of work I am doing is interesting for me as it is a project that allows me to live and work in the city; my projects are very much about the context. In order to do this I sometimes need to establish dialog with people, to read about them, to experience the city that falls into my thought through the project of the program. I was invited to do this project. I spent the first year researching, reading, thinking; I think that the city is too complicated, large and complex to address in one project for the city, thus I have tried to establish an interface within myself and the city. I finally decided to carry out a project that is called On translation where I take Ak Radyo as the filter of translation between myself and the city. This project is about Ak Radyo and its also with Ak Radyo, as it not only tries to visualize the audio of a radio, the sound of the radio, but I have also produced four radio programs. There is one radio program about Istanbul and the myth; the second was about Istanbul stereotypes; the third is about Istanbul and cultural industry and the fourth is about information, disinformation and censorship in Istanbul. And I think in the fourth we invited guests to discuss these issues and broadcast. You could say that I worked with them to produce this film. I hope that you will be able to watch it on TV, thus completing the project. I could also say about the project that you should watch the radio and listen to the television. This is a Turkish project; I have done projects in Canada, in Japan I do not see nationality as something that is important. Rather I work as a nomad. And the projects are basically the places where the context exists. Luis Buuel has films in Mexico, in France, in Spain, and there are Mexican influences in the Spanish films and in French films. I take that as a paradox. But as an example? My works are from the place where they are produced and consist of that which people are doing. But this is not a series about people asking me where are you from? I tell them about what I am working on. Where I live is where I am working. For this Project I live and work in Istanbul; I think this is interesting.
Faculty of Arts and Design, Universita luav di Venezia rencileri stanbul altay, 2008/ Students of Faculty of Arts and Design, Universita luav di Venezia at stanbul Workshop, 2008 Sepetiler Kasr, Boston Massachusetts Institute of Technology rencileri stanbul altay, 2009/ Sepetiler Kiosk, students of Boston Massachusetts Institute of Technology at stanbul Workshop, 2009
Tophane-i Amire, Arada sergisi, 20 Ocak - 14 ubat 2010/In Between exhibition, Tophane-i Amire, 20 January-14 February 2010
Antoni Muntadas alrken/Antoni Muntadas while working Arada sergisi/In Between exhibition Antoni Muntadas altay/Antoni Muntadas Workshop-Kadrga, 2010
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REMO SALVADORI
stanbul ehri benim iin herzaman tarihi gelenek ve ok zel corafi pozisyon ile birlikte olagelmitir. Projenin deerini ve bu gereklikle sanatm yoluyla yzyze gelebilme imknn ok kymetli buldum. ehirle karlamam kiisel dostluklar yoluyla oldu. Bu tecrbeyi meknn yapsna derin bir bak zenginletirdi ki, kimi zaman bu ancak okumalar yoluyla mmkn oldu. Her ziyaretimle ehir bana daha tandk geldi ve burada yaadm anlaml tecrbeler sonucu onu, bir dosta dendii gibi arrivederci diyerek brakyorum. lk gezimde bana ada Sanat Sergisinde Beral Madra elik ediyor, burada stanbulda Hayatlar ve Eserler, Avrupa Kltr Bakenti 2010 sergileniyordu. Daha sonra, sanat galerilerini ve Beral Madrayla yardmclar tarafndan ehrin d blgelerinde alan ada sanat sergilerini ziyaret ettim. Grdm eserler, bir yandan kendi zgn karakteristiklerini korurken, dier yandan kalite ve ak diyalogu yanstyorlar ve bu ada aratrma diliyle uyuuyordu: Bkz. stanbul Biennali. stanbulda Hayatlar ve Eserler projesinin birinci blm iin stanbulu haftalk ziyaretimin ilk haftasnda, ehrin nemli yerlerinde gen sanatlarla bir atlye almas ya da toplantlar dzenlendi. Bylece birbirimizi ve bu yerleri daha iyi tanmak imkn bulduk: Tophane-i Amire, Sepetiler Kasr, Bykada, Sleymaniye Camii, Sultanahmet Camii, Msr Apartman, Arkeoloji Mzesi , BM Suma Modern Sanat Merkezi, Yenikap Sanat retim Merkezi. Kalan iki haftada tartmalar ve pratik altrmalar yaptk. Amacmz kiisel projeler gelitirmekti. Daha sonlar bunlar toplanacak ve katlanabilir poster haline getirilecekti. Bu almalar esnasnda kendi almam iin bir zel temay hayalimde canlandrabildim ve projem 10 Eyll 209da Arkeoloji Mzesi bahesinde seyirci nnde gerekletirildi. almamn ad Srekli Sonsuz imdi idi. Asl ama gen sanatlar davet etmek ve onlara kendilerini ve eserlerini sunmalar iin bir grup havas iinde, ama kiisel yaklamlar bozmadan frsat vermekti. Kendibana almak, birlikte almak ve proje iin almak vurguland. nanyorum ki, bu atlyede gelitirilen yntemler, zgn potansiyeli gelitirmeye yardmc olmu, bunun sonular da posterde ve birka ay sonra 2010 Sanat retim Merkezindeki grup sergisinde grlmtr.
REMO SALVADORI
The city of Istanbul has always existed for me with its historic tradition and very special geographical position. I greatly appreciated the concept of the project and the possibility of having a direct encounter with this reality through my own art. My encounter with the city was facilitated by personal friendships, the experience itself being enriched by a far greater vision of the fabric of the place, which in some ways, I had only come to know through my readings. With each visit the city has become more familiar to me and, having had meaningful experiences here, I leave it with an arrivederci salute, as if leaving a friend. On my first trip I was accompanied by Beral Madra to the Contemporary Art Fair, where the project Lives and Works in Istanbul, European Capital of Culture 2010 was being presented. Later on, I visited some exhibitions in galleries, as well as contemporary art events that had been organized in the outskirts of the city by Beral Madra and her assistants. The works that I saw, whilst maintaining their own specific characteristics, revealed a quality and an open dialogue that resonated with the languages of contemporary research: see the Istanbul Biennale. During my three-week stay in Istanbul for the first part of the project Lives and Works in Istanbul, a workshop with a group of young artists or meetings - were held every day of the first week in an important place of the city. This was a way to get to know each other and to verify the specific qualities of the places themselves: Tophane-i-Amire, Sepetiler Kasr, Bykada, Sleymaniye Mosque, Sultanahmet Mosque, Msr Apartnam, the Archeology Museum, BM Suma Modern Art Center, Yenikap Art Production Center. For the remaining two weeks we held discussions and practical exercises, the aim of which was to develop individual projects that would then be collected and offered in the form of a fold-up poster. During this experience I could already visualize a specific theme in my work that was to be realized on September 10, 2009 in the courtyard of the Archeology Museum in the presence of the invited public. The title of this work is Continuous Infinite Present. The main criterion was an invitation to young artists to present themselves and their works in a way that was to form a group meeting, but with an individual approach. The concept of working for oneself, working together and working for the project was emphasized. I believe that the paths which were developed as part of the workshop succeeded in enriching the specific potential and the results of this are visible in the poster and in the group exhibition that took place
Yenikap Sanat retim Merkezi - 2009 / Yenikap Art Production Center, 2009
Bykada, Remo Salvadori altay, 2008 / Bykada, Remo Salvadori Workshop, 2008
Remo Salvadori altay, 2009 / Remo Salvadori Workshop, 2009C
Sepetiler Kasr, Remo Salvadori altay, 2009 / Sepetiler Kiosk, Remo Salvadori Workshop, 2009 Glhane Park / Gulhane Park
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PETER KOGLER
stanbulda hayatlar ve almalar projesi iin yle bir proje gelitirmek istedim ki, bir yandan zellikle mekn ve kltr olarak stanbula ait, dier yandan benim kendi grsel hazinem ve almam asndan anlaml olsun. Bylece, aklma beyin resimli, labirent benzeri bir ekilli dev bir hal oluturmak geldi. Eserimi tarihi bir meknda sunmak istedim; birok yere baktk ve gzel, kubbeli, lleri ok uygun Tophanedeki yeri bulduk. Beral Madra ve ekibi ayrca stanbulda bilgisayar yardmyla haly retecek bir irket buldular. Hal 9 x 9 metre ebadnda imal edildi; ller mekna tam uygundu. Batan beri gen Trk sanatlarla atlye almas yapmak ve stanbul iin zgn bir proje yaratmak fikri ok houma gitti. Dardan bu ekilde insan getirmek, ehre yeni bilgi getirmek ve stanbul sanat dnyasn tantmak asndansa ok iyi bir strateji. stanbul byk ve dinamik bir metropol; ve bu birok dzeyde byle. ada sanat konusunda bir atlm atmosferi var ve bu nedenle youn bir faaliyet ve ok ilgi gzleniyor. Ayrca stanbul Biennali de bir eit ak alan salad. Yine de gen sanatlara dnyann baka yerlerinde retilen sanata dair yeterli bilgiye eriim imknn artrma gerei var. Bilgi yaratc bir ortam oluturmann temel artdr. Ben, Manuel Gorkiewicz ve stanbul 2010 ekibi gen sanat dosyalarna gz gezdirdiimizde ok ve eitli eserle karlatk. Bazlar ok naif iken dierleri ok ustaca idi. Temel hedefim, ada sanatta ne olup bittiiyle ilgili fikri ve zgn ve ilgin yaklamlar olan sanatlar kefetmek idi. Bu demekti ki, grubumuz ok heterojen bir sanat grubundan oluacak, bu da ilgin tartmalara yol aacakt. Atlye almasn srasnda belirgin bir hedef amalamadm. Zaten nden ne olacan bilemezsiniz; bu bir sretir. Eer herey iyi giderse, herkes, ben de dahil, bundan birey renir.
PETER KOGLER
For Lives and Works in Istanbul, I wanted to develop a project that on the one hand was particularly linked to Istanbul, as a place and a cultural context; this was somehow to be made sense of in terms of my own visual vocabulary and work. So I came up with this idea to create a huge carpet with the image of a brain, with a labyrinth-like structure. I wanted to display the work in a historical location, so we looked at several rooms and found this beautiful space with a cupola and exactly the right measurements in Topane. Beral Madra and her team also found a company in Istanbul that was able to produce the carpet with computer operated looms, creating a carpet that measured 9 x 9 meters, corresponding exactly with the space. From the beginning I liked the idea of having a workshop with young Turkish artists and developing a specific project for Istanbul. To get people from abroad involved in this way is a good strategy for bringing information to the city, while at the same time spreading information about the Istanbul art scene. Istanbul is now one of the most interesting and dynamic metropolises, and it is so on very different levels. In terms of contemporary art there is an atmosphere of departure, thus there is a great deal of activity and much interest; also the Istanbul Biennale helps to create some kind of open situation. Still there is a need to give young artists access to relevant information about art, which is happening now in other parts of the world. Information is the basic precondition for building a productive environment. When I, Manuel Gorkiewicz and the Istanbul 2010 Team looked through the portfolios of the young artists we were confronted with a wide range of different works. Some were very nave, while others were pretty sophisticated. My main goal was to discover the artists that seemed to have an idea about what is happening in contemporary art, while also having an individual and interesting approach. This means the group will consist of a very heterogeneous team of artists, which should provide for interesting discussions. I never really thought about a goal that I would like to reach within the workshop.You never know in advance what will happen; it is a process. If things go well everybody learns a bit, including myself.
stanbul 2010, Peter Kogler altay/ Peter Kogler Workshop
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VICTOR BURGIN / EYLL 2010)

stanbula davet edilmekten eref duydum ve asla kabulde tereddt etmedim. Tek endiem, ki bunu daha nceki kimi davetlerde de hissetmiimdir, acaba stanbulu yeterince anlamak ve eserimde aksettirebilmek iin bir yol bulabilecek miyim, olmutur. Bu izlenmesi zor bir yol: Bir yandan stanbula gelip de herhangi bir baka ehirde verebileceim trden bir eser vermek istemedim; te yandan da bir cahil gibi konumak tehlikesinin farkndaydm. Bu nedenle hazrlmn ou bilgi edinmekle geti. Bu amala yaptm ziyaretler ok faydal oldu. Bir ehirle dolaysz tecrbenin ve orada yaayan halkla sohbetin yerini hibirey tutmaz tabii ki Trk tarihi zerine kitaplar da okudum; ngilizce altyazl bulabildiim birok Trk filmi seyrettim ve ada Trk yazarlarnn eserlerini okudum. Genelde, sanrm, ngilizce konuan dnyann ou gibi okumalarma Orhan Pamukun stanbul anlaryla baladm. Trk romanlar aradmda ilk karma Asli Erdoann kitab Mucizevi Mandarin kt. Konu Cenevrede geiyordu, bu ehri iyi biliyordum. Daha sonra okuduum tm romanlardan, ki ou harikayd, sadece bu kk roman bende kald. Bir ehirde bir eser yaratrken o ehrin yeri ile ilgili kimi somut gerekleri balamnda ehrin bendeki hayalini tasvire alrm. Asli Erdoann kitab da muhayyileme yerletii iin, eserime kinayeler de ekliyorum. stanbulu yaklak be yl nce ziyaret ettim, bir konferansta konutum. Evsahiplerimce pek scak karlandm ve ziyaretimden ok memnun oldum - ama bu ksa sreydi, ehirden ok az ey grdm. Proje ile balantl imdiki ziyaretlerim ise daha uzun, ehrin ve civarnn ok daha fazla yerini grdm ve burada kendimi artk evimde hissetmeye baladm. Her ne kadar Trke konuamamak gibi byk bir dezavantajm olsa da projeden sonra kendimle gtreceim izlenim tandm ve ak olduum bir ehrin ans olacak. Umuyorum ki, geri dndnde beni tekrar barna basar. kitaplarmdan bazlarna (Some Cities - kimi ehirler 1996) balarken grdm ki, ehirlerle ilikilerimiz insanlarla ilikilerimiz gibi: Onlar seviyoruz, nefret ediyoruz, ya da onlara kaytszz. Kimse stanbula kaytsz olamaz. Eserimin balang noktas talk kahvehane ve ay bahesi; buras 194748de Sedat Hakk Eldemce dzenlenmi ve alm; 1988de Swiss tel inaat iin yklm. stanbulu tandka, bu bina ve kaderinin modern Trkiyenin bir benzeri olduunu grdm. ok gzel bir binaym, harika bir yerde ve Boaza kar; 17.yzyl Osmanl mimarisiyle 20.yzyl modernizmini birletirmi. Dahas bir ay bahesi olarak herkese de akm. Denebilir ki, o, tarihsel temellere dayanan milli bir kimliin modern ve demokratik tezahr olarak Cumhuriyet idealini temsil ediyormu. Ama bu Eldemin eserini korumaya yetmemi, ve o deyim yerindeyse Batdan esen global kapitalizm frtnasnca yerle bir edilmi. Bu ayevini ilk aratrdmda ve stanbula gelmeden nce onun bir resmini okuduum bir kitapta grdmde bana onun ykld sylendi. Geri bu tam doru deil. Bina paralanm ve bir ksm tekrar restore edilerek biraz daha farkl bir yerde turistik restoran olarak alm. ay bahesinin yeri otoparka evrilmi, artk manzaraya atdaki bir tenis kortundan baklyor. Ben bunu ok, ok hznl buldum. Bari tm yapy yksalard... Geri yokolmu saylr, etrafndaki otel binalarnca tamamen kuatlm. Benim projem bu ayevinin ilk ina olduu zamanki hali ile hatrasn ortaya karmak, stanbulda, stanbulun bende brakt izlere dayanan bir iz brakmakt. Trkiyedeki ada sanatla pek fazla tanamadm, zira zamanmn ounu projem ald ve stanbul -her ne kadar Trk olsa da!- Trkiye deil. ada sanat dnyasna gelince, bu iyi ya da kt mdr bilmem, genel yap itibariyle uluslararasdr. Byk ehirlerde hep byle oluyor. Bu anlamda stanbul, byk bir dnya kenti olarak istisna deil. stanbulda rastladm Trk sanatlarn aynlarna Londra, Paris ya da New Yorkta rastlayabilirim. stanbulda banim iin yeni, kefedecek o kadar ok ey varken, zaten bildiim eylerle vaktimi geirmek iin fazla bir istek duymadm. Yneteceim atlyeye dahil olacak gen sanatlarn ilk tur seimi ben yokken, daha stanbula gelmeden yapld. Avrupa Kltr Bakenti stanbul 2010 Ajansna ne eit sanatlarla birlikte alabileceimi anlatmtm; onlar da bana bavuranlarn eserlerinin olduu dosyalar yolladlar; ou zaman bu sanatlarn internet sitelerinin linkleri de dosyalarna iliikti. Kabaca, fotoraf ya da video kullanan ve sadece formel estetik konularyla ilgilenmeyen sanat-
VICTOR BURGIN / SEPTEMBER 2010

I felt extremely honoured to be invited to Istanbul and there was never any doubt in my mind about accepting. My only concern, which I have felt in the case of certain other such invitations in the past, was would I be able to find a way of understanding enough about Istanbul to be able to speak about it in my work. It is a difficult line to tread: on the one hand I did not want to come to Istanbul and produce a work that I could equally well have made in any other city; on the other hand I was very aware of the danger of speaking out of ignorance. A good part of my work therefore has been the work of informing myself. To that end my visits here have been enormously helpful. There is no substitute for the direct experience of a city, and for conversations with the people who live there. I have, of course, also read books on Turkish history, watched as many Turkish films as I could find with English subtitles, and read a number of works by contemporary Turkish writers. In common, I imagine, with most of the English-speaking world, I began my reading with Orhan Pamuks personal memoir of Istanbul. When I went in search of Turkish novels I first came across a French translation of Asli Erdoans novella The Miraculous Mandarin (Mucizevi Mandarin). The story is set in Geneva, a city I know well. I found that across all of the other novels I subsequently read, many of them excellent, it was this short novel that stayed with me. When I make a work in a city I try to represent my imaginary of the city in relation to some material facts about the place. As Asli Erdoans story had entered my imaginary I therefore include allusions to it in my work. I had already visited Istanbul, about five years ago, to speak at a conference. I was very warmly received by my hosts and enjoyed my stay enormously but it was a short stay, and I saw very little of the city. My more recent visits in connection with the project have been for longer periods, I have seen much more of the city and its immediate surroundings and I have begun to feel quite at home here in spite of the very obvious disadvantage of not speaking Turkish. The impression I shall take away after the project is of a city I have learned to know and love, and that I hope will welcome me back whenever I am able to return. I begin one of my own books (Some Cities, 1996) by observing that our relations to cities are like our relations to people: we love them, hate them, or are indifferent to them. One cannot be indifferent to Istanbul. The starting point for my work was the Taslik coffee house and garden, designed by Sedad Hakki Eldem and built between 1947-48; this was torn down in 1988 to make way for the Swiss tel. The more I came to know Istanbul the more this building, and its fate, seemed the very allegory of modern Turkey. It was a beautiful building, on a splendid site overlooking the Bosphorus, which very successfully synthesised a 17th-century Ottoman architectural vocabulary with 20th century modernism. Moreover, as a coffee house, it was open to everyone. One might say it represented a republican ideal of the modern and democratic expression of a historically grounded national identity. But this did not protect Eldems building and garden from being quite literally buried by the storm of global capitalism blowing from the West. When I first made enquiries about the coffee house, having seen a photograph of it in a book before I came to Istanbul, I was told that the building had been destroyed. This is not strictly true. The building was dismantled and part of it re-erected in a slightly different position to be used as a tourist restaurant. The garden was turned into a car park and the view is now of a rooftop tennis court. I find this immensely sad. It would have been better if the building had simply been allowed to disappear. In effect it has disappeared, as it is now completely shrouded by the surrounding hotel buildings. My project has been to disinter the memory of the coffee house as it was at the time it was built, to leave a trace in Istanbul of one of the traces that Istanbul has left in me. I have not formed much familiarity with contemporary art in Turkey as my time in Istanbul has been largely taken up by my work, and as Istanbul although it is certainly Turkish! is not Turkey. As the contemporary art world, for better or worse, is international in structure, it tends to be much the same in all major cities. Istanbul, as a major world city, is no exception to this rule. The Turkish artists I have met in Istanbul I might equally have met in London, Paris or New York. There is so much that is new for to me to discover in Istanbul that I suppose I have not been very motivated to enlarge my acquaintance with what I feel I already know.
19
larla birlikte alabileceimi sylemitim. Atlyedeki sanatlar renciler olmaktan ok uzaktlar; her birinin oturmu mesleki kariyerleri vard. Ben onlar gen sanatlar olarak deil daha gen sanatlar olarak dndm; yani benden daha gen. Atlye sonunda sanrm baarl oldum. Atlyeye, katlmclara unlar syleyerek baladm: Her birinizin elinde bo bir A4 kd ve birbirinin ayn kalemler olduunu dnn. Kaleminizle kda istediiniz iareti yapabilir, ama kalemi ya da kd deitiremezsiniz. Sonra hepsinden buna benzer kstlar kabul etmelerini istedim. Yaptklar herey bir perdeye yanstlmak zorundayd -bir projektrden bir perdeye. Katlmclarn bu ekilde alm olduklarn sanmam, onlar iin eserlerini tekrar tasarlamak ve bu kstlara uydurmak zor oldu; zellikle son derece profesyonel bir pratik gelitirmi olanlarn da. Onlarn bu zorlamaya nasl cevap verdiklerini grmek beni etkiledi. Bu srete -ki zaten tecrbede de ama budur- birou eserlerini gelitirebilecekleri yeni ynler kefettiler. Onlara sunduum kstlar kendi eserimin de kstlaryd ve ben bunlar basite, gerektiinde kendi tecrbeme dayanarak teknik tavsiyede bulunabilmek iin semitim. Eserlerindeki fikirler tamamen kendilerine aitti; bu da sergide grlen ok eitli eserlerden anlalyordu.
The first round of the selection of the young artists who applied to join the workshop that I led was made at a distance, before I came to Istanbul. I told the Istanbul 2010 European Capital of Culture Agency which kind of artists I believed I could usefully work with, and they sent me files of the applicants work, often with links to artists Internet sites. Broadly speaking, I said I preferred to work with artists who, like me, used photography or video, and who were interested not only in formal aesthetic matters. The artists in the workshop were far from being students all of them have established careers. I thought of them not as young artists but as younger artists which is to say, younger than me! At the end of the workshop I think I succeeded. I began the workshop by saying to the participants: Imagine that you each have a blank sheet of A4 paper and you each have identically similar pencils. You can make whatever marks you wish with the pencil on the paper, but you cannot change either the pencil or the paper. I then asked them to accept an analogous set of constraints. Whatever work they made had to be projected on a screen one projector and one screen. I dont think that any of the workshop participants were already working in this way, and it was difficult for them to change direction and to rethink their work in terms of these constraints, especially in the case of those who had developed a very highly polished professional practice. I was very impressed by the way in which they responded to the challenge. In the process and of course this is the point of the exercise many of them discovered new directions in which to take their work. The constraints I gave them are the constraints of my own work, and I chose these quite simply so that I could draw on my own experience to offer technical advice when required. The ideas in their works are entirely their own, which is obvious from the very different works to be seen in their exhibition.
Sedad Hakk Eldem, Talk Kahvesi Sedad Hakk Eldem, Talk Coffee House
istanbul Arkeoloji Mzesi Victor Burgin: a place to read / okuma yeri, Victor Burgin, 2010
Victor Burgin altay, 2009/Victor Burgin Workshop, 2009
Victor Burgin, 2009
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DANAE STRATOU
Hayat alan - stanbul bir video enstalasyonu olup, aslnda iki ayr adan stanbula bakan filmi ierir. Biri kubak bir grnt ile dzen ve karmaay, merkez ve evreyi, sekinlik ve yoksulluu, formel ve informeli birbirine balayan deiik yollar alr. kinci film yerden bakla bir insan denizini gsterir. nsanlar srayla ehrin deiik yerlerinde (otobs duraklar, feribot terminali, kalabalk sokaklar) kameraya doru gelmektedir. Hayat alan-stanbul serbest duran byk bir duvara yanstlacak (7.00mx4.00m). Her iki gsterim duvarn kart yzlerinin tamamn kapsayacaktr. Seyirci, her iki filmi birden izleyemeyecektir. Duvarn te yanna geerek dierini ya da ilkini izleyebilir. lk film seyirciye srekli bir gei hareketi sunar; kamera bir helikoptere takldr; ilerleyen grnt seyirciyi merkezden da, ehrin eitli blmlerine gtrr. Buna karn yerden ekilmi film deiik bir dinamizm ierir, nk burada kamera sabittir; insanlar kameraya gelmektedir. Davet edildiime ok memnunum; zellikle de son stanbul Biennalini ziyaretten ve ondan ok etkilendikten sonra. stanbula dnerek burada bir sanat grubunun yesi olmak ve stanbul 2010a katkda bulunmak heyecan verici idi. stanbulu hep byk bir ehir olarak dnmmdr: ki mteakip imparatorluun merkezi ve iki ktay balayan canl bir faaliyet merkezi. Bu beni hep ok ekti. stanbula her ziyaretim yreime bir duygu seli ve zihnime esin veren fikirler aktt. stanbul 2010un sanat etkinliklerine katlmak bu duygular ancak artrd; zellikle de gen sanatlar eliinde ehri dolama, derinliklerine dalma ve ehrin ritmine girme imkn veren atlye faaliyeti. ok gl bir ba ile bu ehirden ayrlyorum; artk ona benim de ehrim diyebilirim. stanbulda yaarken ve alrken grdm sanat camiasnn dinamizmi ve gen sanatlarn birbirine ball beni ok memnun etti ve etkiledi. Kararm bana sunulan seeneklere gre verdim ve buradan eserleri benimkilere ruhen ve aklen yakn olanlar setim. Atlyemiz herkesin stanbuldaki hayatn, almasn, sanata bakn zenginletirdi ve aramzda kuvvetli balar oluturdu.
Danae Stratou 2010
DANAE STRATOU
Vital Space Istanbul is a video installation comprising two films depicting two different aspects of Istanbul. One film offers a bird eyes view of different paths connecting order and disorder, centre and suburb, privilege and dispossession, formal and informal. The second film captures from ground level a sea of people coming toward the camera in sequences filmed in different city locations (e.g. bus station, ferry boat terminal, busy streets). Vital Space Istanbul will be projected on a large freestanding wall (7.00mx4.00m). Both projections will cover the entire surface of the wall on each side. The viewer will, therefore, not be able to watch both movies at once. She/he will have to walk around the free standing wall to catch glimpses (or watch extensive parts) of the two films separately. On the one side (Side A) of the wall the birds eye view film will be projected. The other side (Side B) will feature the ground level projection. The former will offer the viewer a constant outward movement, as the camera mounted at the front of the helicopter relates a constant flow of images taking the viewer seamlessly across the city, from the centre outwards. In contrast the ground level film offers a different dynamic since the camera is static and the constant flow of humanity is coming toward the viewer. I was delighted to receive the invitation, especially in view of the fact that I had recently visited the Istanbul Biennale, which had impressed me greatly. The prospect of returning to Istanbul to be part of the artistic community there, and to contribute to Istanbul 2010 was quite thrilling. I have always thought of Istanbul as a majestic city. A capital of two successive Empires and a vibrant hub of activity, straddling two continents, it has always attracted me greatly. Every visit to Istanbul has brought a stream of emotions to my heart and a sequence of inspiring thoughts to my mind. My participation in the artistic events of Istanbul 2010 only served to heighten these feelings. Especially in the context of the workshop that allowed me to walk the city in the company of young local artists, explore its underbelly and become immersed in the rhythm of the city. I leave with a strong, powerful attachment to a great city which I can now also consider as partly mine. I was pleasantly surprised by the dynamism of the art community and the integrity of the young artists that I met while working and living in Istanbul. I based my decision on the portfolios that were presented to me and I selected artists whose work was closer in spirit to my own work and mindset. The workshop enriched everyones perspective on art and on living and working in Istanbul and, additionally, created strong bonds between us.
Peter Kogler altay/Peter Kogler Workshop 2010
Vital Space Projesi- Danae Stratou, Uur
bak, Stelios Apostolids-Vital Space Project
Danae Stratou altay/Danae Stratou Workshop 2010
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SOPHIE CALLE
SON RESM stanbul. Krlerle karlatm. 9 erkek ve 4 kadn. ou gzlerini aniden kaybetmiti, kaza nedeniyle Dierleri grlerini yava yava kaybetmiti Onlara en son neye baktklarn ve son ne grdklerini sordum. Bana grdklerini anlatmalarn syledim. Son grdkleri. Resimlerini ektim. Son grdklerini yakalamaya altm - bu bazen oldu. Onlarn gznden stanbula baktm.
SOPHIE CALLE
THE FINAL VIEW Istanbul. I met with the blind. 9 men and 4 women. Most of them lost their sight suddenly, due to an accident The others lost their sight gradually I asked them what they looked at and saw the final time. I wanted them to describe to me what they had seen. Their final views. I took their photographs. I tried to reproduce or create this final view in some cases this was possible. I looked at Istanbul from their point of view.
Sophie Callen Krlk konulu almasndan kareler/Views from Sophie Calles work on blindness
Sophie Calle altay/Sophie Calle Workshop 2010
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STANBULUN YKSELEN YILDIZI GNCEL SANAT

Sami SOYKAN
THE RISING STAR OF STANBUL ACTUAL ART

Sami SOYKAN
STANBULUN YKSELEN YILDIZI GNCEL SANAT / THE RISING STAR OF STANBUL ACTUAL ART
STANBULUN YKSELEN YILDIZI GNCEL SANAT

Sami SOYKAN* Avrupa Kltr Bakentliinin sonuna yaklatmz u gnlerde, stanbul rekor dzeyde sanat etkinliine ev sahiplii yapyor. On yl ncesine kadar, her yln sonunda bu yln en iyi sanat etkinlikleri dkmn yaparken 5-10 bal ne kardmz ve 1-2 etkinlii de gerekten grm olmaktan dolay mutluluumuzu dile getirdiimizi hatrlyorum. Son yllarda bu liste giderek kalabalklamaya balad. Birka yldr benzeri bir listeyi aylk olarak karmak mmkn neredeyse... stanbulun nfusuyla orantlandnda ok yksek deil belki ama artk neredeyse her gn karlmamal diyeceimiz bir etkinlik var...
THE RISING STAR OF STANBUL ACTUAL ART

Sami SOYKAN* As we approach the end of Istanbuls reign as a European Capital of Culture, the city has been hosting an unprecedented number of art events. Until ten years ago, a list of the best art events of the year included only number five or ten and we were happy to have attended one or two of the events. Recently, however, this list has grown longer. Now it is possible to compile a similar list about once a month. Perhaps the number of events is not that high when the population of Istanbul is taken into consideration, but at least theres an event that shouldnt missed almost everyday.
Even municipalities have become entrepreneurs of art, competing with the IsBaz ile belediyelerinin bile stanbul Bykehir Belediyesi ile yarr bir satanbul Metropolitan Municipality. Although there are some problems in terms nat giriimcisi roln stlendikleri grlyor. Bazlar temel standartlar aof standards, almost every district has opened its own cultural center thanks sndan sorunlu da olsa, belediyelerin yatrmlaryla hemen her ile bir (bazlato the support of the municipalities. Art acr birka) kltr merkezine kavumu durumtivities in Istanbul are no longer solely foda. stanbuldaki sanat etkinliklerinin younluu Sanat ortamndaki bu hareketlilik yeni aktrleri de und on the ili-Beyolu-Kadky axis. Owing ili - Beyolu - Kadky ekseninin dna oktan to Istanbuls status as a European Capital tam durumda. Son bir yldr yaanan Avruparalelinde yetitirdi. stanbul Bykehir Belediyesi of Culture during the past year, art has bepa Kltr Bakenti sreci ise bu yaygnl zirveKltr leri Daire Bakanl ve Kltr A.., her geen come more prevalent throughout the city. ye tad. stanbul 2010 Avrupa Kltr Bakenti yl stanbulun sanat ortamndaki etkin rollerini The Istanbul 2010 European Capital of CulAjans, sanatn her dalndan etkinlikleri ileden pekitirmenin yansra ehrin snrlarn zorlayan bir ture Agency has carried out activities related Bykekmeceye, Adalardan Beyoluna tayaygnla ulam durumda. to every form of art with thousands of natim durumda. Bu etkinliklerde yerli-yabanc binonal and international artists from ile and lerce sanat, izleyici ile bulutu. stanbul 2010 The buzz over the art world has also created some new Beyolu to Bykekmece and Adalar. AltAvrupa Kltr Bakenti Ajansnn etkinlikleri actors in this area. The Istanbul Metropolitan Municipality hough Istanbuls reign as the 2010 Europeyl sonunda bitecek olsa da, stanbulun kltrDirectorship of Cultural Affairs Department and Culture an Capital of Culture concludes at the end sanat ortam iletme ve btesiyle dev bir enCo. Inc. have become popular for consolidating the role of of this year, culture and arts in Istanbul has dstri koluna dnm durumda. Bu oluum, the city in art, but also for pushing the limits of Istanbuls been transformed into a massive area of bumevcut aktrlere yenileri eklenerek srekli bart scene. siness. This pattern will continue as new acymeye devam edecektir. tors enter the field. stanbul Kltr ve Sanat Vakfnn 1970lerin baSince the early 1970s, the Istanbul Foundation of Culture and Arts has organindan itibaren dzenledii, giderek kurumsallaan ve kalabalklaan festivaller zed the Istanbul Biennial. The Istanbul Biennial is becoming increasingly popuzinciri iinde en zayf halkalardan biri olan stanbul Bienali gzle grlr bir grlar and attracts numerous foreign visitors. In addition, Istanbul has seen an inckeme kavumann yansra, ciddi sayda yabanc izleyiciyi stanbula eker oldu. rease in the number of the private museums as well as fresh exhibition techniquBu arada zel mzelerimiz de giderek oalyor; Sadberk Hanm Mzesi, Sabanes and displays from the Sadberk Hanm Museum, Sabanc Museum, Pera Muc Mzesi, Pera Mzesi, Rahmi Ko Mzesi, Santral stanbul ile mzecilik ve serseum, Rahmi Ko Museum, and Santral Istanbul. Realizing the popularity of such gileme yntemlerinde yeni sunum teknikleriyle tantk. Bunu gren devlet mexhibitions, some state museums, such as Topkap Palace, Dolmabahe Palace, zelerimiz; Topkap Saray, Dolmabahe Saray, Trk ve slam Eserleri Mzesinde and the Turkish and Islamic Arts Museum, have started to modernize their dispbile kprdanmalar var. Uluslararas sergilere evsahiplii yapmaya baladlar. Bu lays and now host international exhibitions. srete, koleksiyonunu dn vermek dnda hibir varlk gsteremeyen bir Along these lines, the Museum of Painting and Sculpture, which does little more Resim ve Heykel Mzesi var. Bu anlalmaz sessizliin sebebi hl gizemini kothan lend out its collection, should make an effort to become more active. The ruyor... Mimar Sinan Gzel Sanatlar niversitesine bal olan bu mze, nivermuseum, which is affiliated with the Mimar Sinan Fine Arts University, should site ynetiminin insafna braklmamal. Mzeye, zellikle de koleksiyonuna bnot be left to the mercy of the university management. Individuals and institutn kii ve kurumlarn sahip kmas gerekiyor. stanbulun yz ellli yllk sanat tions should be come involved with this museum, particularly since its collectihafzas burada yatyor. Bu arada Resim Heykel Mzesi koleksiyonundan nemon contains of 150 years of Istanbuls art history. In the meantime, this collectili eserleri misafir eden stanbul Modern, tam adyla stanbul Modern Sanatlar on has at least partially been exhibited thanks to the Istanbul Modern Arts MuMzesi, Sabanc Mzesi, Pera Mzesi ve Santral stanbulun at kapsaml serseum, Sabanc Museum, Pera Museum and Santral Istanbul which have displagilerle koleksiyon ksmen de olsa izleyici ile buluur oldu. yed noteworthy pieces from the collection. Mzecilikteki bu hareketlilik galerilere ve mzayedelere de yansd. Fiyat skaThe transformation of museum studies is evident in the galleries and auctionelasnda Trk resminin eski klasik ustalarna ulaan yaayan ustalar da yeralmaers. The modern painters have started to sell their paintings in the same price ya balad. Trk sanatseverin modern sanata yatrm yaptn gren uluslarararange as the paintings done by the old classical masters. International auction s mzayede firmalar Trk sanatyla ilgilenirken, stanbul Bat sanatnn nemhouses who observe that Turkish art lovers invest in the modern arts, are getli isimlerini arlamaya balad. ting interested in the Turkish art whereas Istanbul began to host remarkable naBat sanat ve uluslararas sanat piyasasyla giderek younlaan iliki baz kavmes of the Western art. Trk sanatseverin modern sanata yatrm yaptn gram kargaalarn da beraberinde getirdi. Henz, sanatn modern, ada ve ren uluslararas mzayede firmalar Trk sanatyla ilgilenirken, stanbul Bat sagncel olann nasl ayracamz bilemiyoruz. Modern sanat nerede balayp natnn nemli isimlerini arlamaya balad. nerede bitiyor, ada veya gncel sanat birbirinden nasl ayryoruz?... NiteThe relationship between Western art and the international art market, which kim son yllarda alan nemli sanat kurumlarnn isimlerine baktmzda ayn continues to intensify, has created some conceptual confusion. It is not yet karmaa ve kafa karklnn devam ettiini gryoruz; stanbul Modern Sanatknown how to distinguish between modern, contemporary and current art. lar Mzesi, Proje 4L/Elgiz ada Sanat Mzesi, Platform Garanti Gncel SanatWhere does the modern art start and end? How do we differentiate between lar Merkezi, Arter Sanat in Alan...
* Sanat Eletirmeni. * Critic of Fine Arts.
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Trkiyede Gncel Sanat kavram 1990larn ortalarndan bu yana gndemde. Bu kavram, bir sanat trne mi, bir sanat eilimine mi iaret ediyor? Yoksa, dnemsel bir anlam m var? Bu konuda grler farkl. Tartmalar bir kavram karmaas eklinde sryor. Hatta yle ki, bazlarnn neye niin arka kt veya kar durduu bile anlalmyor. Bu kavram karmaas ncelikle eviri kaynakl olduu gzleniyor. Malum, ynmz Batya evirdiimizden beri, sanata ilikin kavramlar da Batdan alp, ya okunduklar haliyle kabul etmi ya da dilimize evirmiiz. Gncel sanat denen kavram da yle. Daha nce dilimize yerleen modern sanat ve ada sanat kavramlar gibi... nce bu kavramlar arasndaki ilikiyi gzden geirmekte yarar var. 1980lere kadar, modern sanat ve ada sanat kavramlar arasnda bir anlam fark varsa bile grmezden geliniyordu. ada sanat, Franszca lart moderne (ngilizce modern art) kavramnn Trke karlyd. Bire bir Trkeletirmek isteyenler ada sanat, dil konusunda daha esnek olanlar modern sanat demeyi tercih ediyorlard. 20. yzyln sonlarna kadar modern art kavram Trkeye ada sanat diye evrildi. Bugne ait olan belirtmek zere, modern szcnn yan sra, ngilizcede contemporary (Fr. contemporain) diye ayr bir szck daha var. imdilerde contemporary art da ada sanat diye eviriyoruz ve haliyle bir karkla yol ayor. Szlklerde contemporary kavramnn anlam ada, ayn zaman diliminden olan, yat eklinde veriliyor. Modern szcne verilen anlamlar ise yeni, acl, ada, ilerlemeden yana olan. Aralarndaki temel fark, moderne yklenen yeni ve ilerleme vurgusu.
contemporary and current art? Indeed, in recent years, this confusion be in seen in the names of recently opened art museums: Istanbul Modern Arts Museum; Proje 4L/Elgiz Contemporary Art Museum: Platform Garanti Current Arts Center; Arter-Space for Art. In Turkey, the concept of current art has been popular since the mid-1990s. Does this concept refer to a type of art or a trend in art? Or, is it related to the time period? There are differing opinions on this issue and there is much conceptual confusion. This conceptual confusion stems from the issue of how to translate the terminology. Since the start of westernization in Turkey, terminology relating to Western art has either been accepted as is or translated into Turkish. The concept of current art is an example of this, just as the modern art and contemporary art were translated into Turkish. Until the 1980s, even if there was a difference in meaning between modern art and contemporary art, this was ignored. Contemporary art was the translation of the French concept lart moderne (modern art in English). Those who wanted to use Turkish terms preferred contemporary art while the others used modern art. Until the end of the 20th century, modern art was translated as contemporary art in Turkish. Today, apart from the concept of modern, there is also contemporary in English (contemporaon in French). Contemporary art is translated as contemporary art (ada sanat) and this leads to confusion. The dictionary definition of contemporary is of the same age or coeval. The definition of modern is new, up to date, contemporary, and one who is for progress. The main difference between these two concepts is the emphasis on new and progress in the definition of modern.
Son yllardaki modern sanat ve ada sanat ayrm, Batdaki, daha dorusu ngilizcedeki modern art ve contemporary art ifadeleri arasndaki ayrmn yansmasndan baka bir The distinction between modern and ey deil aslnda. 1980lerdeki yaklacontemporary art is actually no more mn aksine, modern art modern sathan a reflection of the separation of nat, contemporary art da ada the terms modern art and contemposanat olarak evirebiliriz, ama kafalar rary art in the West, or in other words, hl kark, birimizin modern dediine, in English. In contrast to the approach in br ada diyebiliyor... Peki gncel the 1980s, now modern art is translasanat neyin evirisidir? 2000lerin bated as modern sanat and contemponda gncel sanat kavram contemrary art as ada sanat. But this still porary artn karl olarak nerilmileaves some confusion as what one calls ti. Contemporary artn Trke karlmodern another calls contemporary. olarak nerilmi ve farkl evrelerde This begs the question of how current benimsenmi iki kavram var yrrlkart (gncel sanat) should be translate, ada sanat ve gncel sanat. ted? In the early 2000s, gncel sanat Her ikisinin de taraftarlar var. rnein, was used as the translation for conArter Vasf Kortun ada kavramnn devtemporary art. Different circles preferletilik, elitizm ve zoraki bir laiklik koktuunu, ayrca, ngilizcedeki contemred one concept over the other; each had their own advocates. For example, Vasf Kortun explains that the term ada implies statism, elitism and an enforporary kavramn karlamadn ve gncel sanat demeyi tercih ettiini beced secularism; moreover, it is not the exact translation of contemporary so he lirtiyor. prefers to use current art. Gncel sanat/ada sanat ikilemini amak iin kavramn ngilizcedeki ieriiIf we look at the English context of this in attempt to solve the dilemma betne bakacak olursak; contemporary art ifadesi, bir sanat eilimi, anlay ya da ween current art and contemporary art, the expression contemporary art is trnden ziyade, zamansal bir anlama sahiptir ki bu zaman da gn veya aylar not just an art trend or type, but has a temporal meaning that implies not days deil, on yllarla ifade edilen bir zamandr. Elinize Contemporary Art adnda bir or months but decades. Any book entitled Contemporary Art, which consists kitap alrsanz, Marcel Duchampn mutlaka adnn getiini, aa be yukaof the current and emerging trends since the 1960s, will certainly have Marcel r 1960lardan bu yana ortaya kan akm ve eilimleri kapsadn grrsnz. Duchamps name in it. This term covers a very wide range including the pop art Andy Warholun popler imgeleri basarak oluturduu tuvallerinden John de canvases of Andy Warhol featuring celebrities and iconic products, the excessiAndreann ar gereki heykellerine, Joseph Beuysun eylemlerinden Anselm vely realist sculptures of John de Andrea, the performance art of Joseph Beuys, Kieferin farkl malzemelerle gerekletirdii tuval ve yerletirmelerine ve aythe multimedia paintings and sculptures of Anselm Kiefer as well as pieces from rca Bat d kltrlere uzanan olduka geni bir yelpazedir bu. Byle bir kitab non-Western cultures. Trkeye hangi adla evireceiz; ada Sanat m diyeceiz, Gncel Sanat m!? Gncel Sanat kavram balangta bir eviri tercihi olsa bile sonradan anlam How would the title of such a book be translated into Turkish? As ada Sanat kaymasna uram durumdadr. Contemporary artn karl olarak nerilen or Gncel Sanat? Even if Current Art (Gncel Sanat) seems at first more appGncel Sanat zamansal anlamndan ziyade, Trkiyede artk bir sanat anlayropriate a translation, there is a loss in meaning. Translating Contemporary nn genel ad haline gelmi gibi duruyor. Neyse, bu kavramsal tartma daha Art into Current Art (Gncel Sanat) in Turkish seems to imply a generic meabir sre devam edecee benziyor... ning and fails to catch the temporal significance. All in all, this conceptual debate will likely continue for some time. Trkiyede gncel sanat diye gsterilen ilerin byk bir ksm video, fotoraf ya da bunlarn bilgisayar ortamnda retilmi varyasyonlarndan, eMuch of the works of art categorized as current art in Turkey are digitally proitlemelerinden oluuyor. Bu ilerde, resim ve heykel geleneinde grmeduced such as videos or photographs. In this type of artwork, rather than the
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ye altmz plastik deerlerden ziyade bir espri, ilginlik ve mizah n planda. Benim de kullandm gibi bunlara eser ya da yapt deil i deniyor artk! Gncel sanatlar bazen mizah, yergi veya eletiri yapyorlar, bazen de sadece vay be, ilgin! dedirtecek, bulular sergiliyorlar ilerinde. Bienaller ya da bunlarn yansmalar olan kratrl ve kavraml sergiler ncelikle bu tip ilere ev sahiplii yapyor. Ortada bir sanat eseri veya yapt gremeyen izleyiciden ve baz evrelerden de tepkiler ykseliyor doal olarak. Trkiyede gncel sanata kar kanlarn bir ksm da eletirilerini kresellik balamnda ina ediyorlar ki duyulan rahatszl anlamak mmkndr. Nedir kresellik? okuluslu burjuva (zellikle Bat) sermayesinin ulusal snrlar aarak yerkrenin her tarafna yaylmas ve yerkrenin tamamnn byk bir maazaya dntrlmesi manevrasnn ideolojik addr kresellik. Yani, dnyann btn proleterleri birleememitir ama dnyann btn paralar hzla birlemektedir... Ge kapitalizm, her trl iletiim kanal araclyla pompalamaktadr bu ideolojiyi. Gnmzde sanat, burjuvazinin egemen olduu ada kent kltr retmektedir artk ve dolaysyla sanatlar da burjuvazi tarafndan yaratlan ortama gbeklerinden baldr...
typical values found in painting and sculpture, humor, quaintness and whimsicality are prioritized. These works of arts are not referred to as pieces or works of art but as work. Current artists sometimes use humor, satire or criticism in their work or something that may surprise or interest people in their work. This type of work can usually be found at biennials or conceptual exhibitions. Those who are not familiar with art or are from certain circles may naturally have more of a response to such pieces. It is possible to understand the criticism of those opposed to current art in Turkey from the context of globalization. What is globalization? It is the term used to describe the spread of capital and culture, particularly that of the West, to every corner of the world without concern for national boundaries transforming the world into a massive store. In other words, while the proletariat of the world couldnt manage to unite, the worlds capital has united very rapidly. Capitalism is spreading this ideology through all channels of communication. Today, art is produced in a contemporary city culture dominated by the bourgeoisie and thus, artists are firmly connected this environment created by the bourgeoisie. Moving back to the lighter issue of current art, when classical artwork is compared with todays art work, it is not possible to feel a sense of frivolousness or
Arter
Gncel sanatn hafiflii konusuna geri dnecek olursak. Gerekten de klasiklemi eserler ile zamanmzn ilerini karlatrdmzda, bu hafiflik/arlk duygusuna kaplmamak mmkn deil. Mze gezen herkesin aina olduu, doal bir duygudur bu; eserler, bugnden tarihin karanlklarna doru yaklatka, bizden uzaklar, en byleyici, en arpc sanat eserleri tarih ncesinde yaplanlardr!... Ancak yine de genelleme ve indirgeme yaparken dikkatli olmamz gerekiyor. Tarihin her dneminde, hafif ya da ar eserler retilmitir. Dn hafif, nemsiz, yzeysel diye yerilirken sonradan arlaan, nemli hale gelen ilerle doludur sanat tarihi. Dahas, bu hafiflik/arlk meselesi biraz da grecelidir. rnein, Picassonun Avignonlu Kzlar, Duchampn emesi, Beuysun eylemleri ilk nerildiklerinde, r ac nemleri fark edilmemiken, sonradan 20. yzyl sanatnn ikonalar olmulardr.
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seriousness. This is a feeling which museum goers are familiar with; as the work moves closer to the darkness of todays history, they move away from the people and become as fascinating and striking as prehistoric art. Nevertheless, we must be careful in generalizing and degrading. In every period of history frivolous and serious pieces have been produced. Art history is full of pieces which were once criticized for being frivolous, insignificant, superficial, but later were viewed as serious and significant. Moreover, this issue of frivolousness/seriousness is rather relative. For example, when The Young Ladies of Avignon by Picasso, Fountain by Duchamp, or the performance art of Beuys were first exhibited, they were not groundbreaking but later became icons of 20th century art.
ada sanat, gncel sanat tartmalar srerken Vehbi Ko Vakf tarafndan yeni bir sanat mekn ald Beyolunda. Arter bir mze olarak deil, Trkiyenin sanatsal retimini destekleyecek bir tr sanat merkezi olarak tasarlanm. Gerek sergileyip, grnr olmalarn salayarak, gerektiinde de retim srecine katkda bulunarak yeni retimleri desteklemeyi amalyor. Arter, tam da ada/gncel tartmalarna cevap niteliinde bir sloganla kyor yola: Sanat in Alan. Danmanlarndan Melih Fereli, vakfn ada sanata ynelmesinde mer Koun nclnn etkili olduunu, Ko ailesinin de bunu desteklediini vurguluyor. Uluslararas bir dili ve farkl disiplinlerle ibirlii olanaklar olduu iin Ko grubunca da yeniliklere ve gelecee ak bir vizyon imkn sunan ada sanatn desteklenmesine 2005 ylnda karar verilmi. Yap Kredi Kazm Takent Galerisindeki stikll Serveni balkl sergiler, Ko Holdingin on yllna stanbul Bienaline sponsor olmas, hep bu karar kapsamnda atlm admlar. En nemli admlardan biri de 2007de atlm ve Vehbi Ko Vakf, koleksiyon oluturmaya balanm. Koleksiyonda imdi, kimileri sanat tarihine gemi byk isimlerin imzasn tayan 400 eser var. Bunlardan 87 sanatya ait 160 kadar, Starter adyla Arterin ilk sergisini oluturmu.
While the debates on contemporary art/current art continue, a new space for art has been set up in Beyolu by the Vehbi Ko Foundation. Arter was not designed to be a museum, but rather a kind of art center to support Turkeys artistic production while contributing to the production process as necessary through exhibitions. Arters slogan, Space for Art, is a response to the debate on contemporary and current art. One of the foundations consultants, Melih Fereli, explains that mer Ko, with the support of the Ko family, directed the foundation towards contemporary art. The decision to support to contemporary art was made in 2005 with the goal of cooperation between different languages and disciplines as well as innovation and a clear vision of the future. The stiklal Serveni (The Adventure of Independence) exhibition at the Yap Kredi Kazm Takent Gallery and Ko Holdings ten-year sponsorship of the Istanbul Biennial influenced this decision. In addition, the art collection started by the Vehbi Ko Foundation in 2007 also helped the Ko familys decision to become more involved with art. The collection, which now consists of 400 works of art including some pieces by the masters, lent approximately 160 pieces by 87 artists to Arters first exhibition Starter.
Arter
Sanat ada m, gncel mi? Beral Madra (Kratr): ngilizceden gelen Comtemporary artn bizde tam szck karl hemzaman. Bu durumda hemzaman sanat dememiz gerekiyor. Bunun yerine gncel ve ada kullanld. Bu, anlam kaymasna neden oluyor. Hemzaman dediimizde, bizim yaadmz zaman iinde tank oldumuz sanat anlamna geliyor. Gnmzdeki dnceyle birlikte giden sanat. Fakat gncel sanat gnmze ait demek ve iinde geicilik arm var. Bugn var, yarn yok. ada deyince iin snrlar geniliyor. 21. yzyla girdiimizde bu yln sanat m, yoksa 20. yzyln sanat m? Bizde elikili bir terim kullanm var. Keke hemzaman sanat yerlemi olsayd.
Is Art contemporary or current? Beral Madra (Curator): The exact Turkish translation of the English term contemporary art is hemzaman sanat. In place of this, current and contemporary have been used. This has caused a semantic shift. The word hemzaman signifies art that has been created in the time period that we live in. It is the art that co-exists with todays ideas. However, current art is related to present time and it refers to the notion of temporariness. It exists today, but not tomorrow. When you use the word contemporary, the boundaries are widened. As we are now in the 21st century, does it refer to art from the 21st century or the 20th century? There is a contradiction here. I wish that the hemzaman art issue was settled.
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Levent alkolu (Kratr): Gncel sanat, imdi, u an, kendi zamanna dokunan, hzl tepkiler veren, kendi zamannn sosyo-politik problemlerini ak bir anlatm ve temsiliyet olarak grnr klan ve tepkisel bir tavrdan g alan her trl alternatif ifade tarz olarak ilev gryor. ada sanat ise, modernizm ve ge modernizme ait sorunlar zerine dnen, sanatn tekrar eden imaj deil, dntrlen bir imge olduuna inanan bir sanat izlenimi douruyor. Ya da bizde kullanld ekliyle byle bir ayrm ngrlyor. Ben bu ayrmn kolayc ve klieleri oaltmak isteyen bir baktan kaynaklandn dnyorum. Gncel sanat zellikle politik olduunu ve slup sorununa odaklanmadan dnya sorunlar hakknda konumaya kalktn sylese de, pek ok ada sanatnn iinde ayn problemler mevcut. Her iki duruma uygun iler ve sanatlar mevcut olsa da bu tip bir ayrmn, hiyerarileri belirginletirmek, ada kmseyip gnceli vmek adna istismar edildiini dnyorum. imdinin kolaycl ve ben yaptm olduculuu skc olabildii gibi, ada sanatn srf kendine gnderimli sanat anlay da bugnn dnyasnda inanlmaz anlamsz kaabiliyor. Dolaysyla bu tip bir ayrm bence sadece pratik bir ihtiyatan kaynaklanyor, yoksa iyi sanat ve sanaty zaten bu iki kelimenin snrlarna hapsetmek olanaksz. mer Ulu (Sanat): Trnakiilemi ve nesnellemi olarak Gncel Sanat diye bir eyi hi duymadm. Dardaki dostlarma sordum, onlar da bilmiyorlar. Ne iyi, nerelere gelmisiniz diyorlar. Bence bu kavram Trkiyede, bizde imal edildi. Diyelim ki Franszcada la mode actuelle, ngilizcede art today denebilir. Bunlar gncel sanatn dayatmac iddiasn tamayan, gndelik kullanmda olan terimler. Contemporary, Contemporainn karl ise ada... Gncel dendiinde son kullanma tarihini sormak gerekiyor. nk bakarsnz kullanlmaz bir hale gelmitir. Bu arada ne video, ne enstalasyon, ne resim, ne u ne bu, hibirine kar deilim. Ne de bir estetik ideolouyum... Bunlarn hepsinde pek ok, pek ok kt iler yapld. Ancak ne yazk ki kltrler piramitler gibidir. Gerekten nemli iler piramidin tepesine doru giderek azalr. Gnmz de kt adalklarla dolu... Bence burada kltrel globallemenin etkisi byk. Dertleri herkesi ayn kalba, hizaya sokmak, dzenlemek... Ayrca ben ada diye, maara, Msr, Afrika, Uzakdou, Dou, Gotik vs. vs. sanatlara, iinde n koruyan, radyum diyeceim o zel koruyan ilere diyorum. Bence bu k, bu radyum yalnzca sanatta deil, doann derinliklerinde de var. Bu gittike grlecek. Yeryznn mucizesi de budur. Mehmet Gleryz (Sanat): Bu iki tabir ucu ba belirsiz bir hal ald. Gncel sanatla, ada sanat i ie kavramlar. Gncel sanat zenle ayrma yaklamnda balang noktalar son derece kaba kesimlerle ayrlyor. Ben bu ayrmn salkl olduu kansnda deilim. yle bir snflandrma yaplyor: Gncel sanat en nde ve en avangard sorular soran bir yaklam gibi gsteriliyor. Ama birazck da yer edinme sorunu. Gncel sanat u anlamda kendini ayryor: Bugn gncel sanatn btn dayanaklar bence daha geride kald. Bu farklar kesin ayrmak imkn yok.
Kaynaka: Azra Tznolu, Dersimiz Gncel Sanat, stanbul, 2009. Mehmet Ylmaz, Gncel Sanat, ada Sanatn teki Addr, (www.my.opera.com) Mjde Yazc, Sanat ada m, gncel mi?, Radikal, 21 Ekim 2007.
Levent alkolu (Curator): Current art serves as a kind of alternative expression which is nurtured by a reactionary attitude making the socio-political problems of the day visible through explicit expression. As for contemporary art, this is a type of art which contemplates the issues of modernism and late modernism and believes that art is not an recurring image but an image that can be transformed. I think this distinction has arisen from stereotypes and simplistic thinking. Even though current art is particularly political as it focuses on world issues without regard for style, the same problems are valid for the pieces of many contemporary artists. Although both concepts are appropriate for some pieces and artists, I think this kind of a separation is being misused in order to make the distinctions and hierarchies clearer and to praise the current by disdaining the contemporary. As todays shortcuts and attitude of I did it, so it is can be tiresome, the self-reference in todays contemporary art can be extremely meaningless. Thus, such kind of a separation is derived only from a practical need, otherwise it would be impossible to confine the good art and artists within the limits of these two words. mer Ulu (Artist): Neither I nor my friends have never heard of anything like Current Art. I think this concept was created in Turkey. It can be called la mode actuelle in French and art today in English. These are concepts used in daily language without any claims to be current art. Contemporary is translated as ada. When current is used, we have to ask when this period ends. Because this term may suddenly become unusable. By the way, Im not against any videos, installations, or paintings or anything else as art. Nor am I an aesthetic ideologue. Very bad pieces in all these fields have been created. But unfortunately cultures are like pyramids. The significant pieces decrease as you approach the top of the pyramid. There are many bad modernists today. I think the influence of cultural globalization is important. What they want is to put everyone into the same mould, to put everyone in a straight line and organize them. Moreover, what I define as contemporary are the works of art in the caves in Egypt, Africa, the Far East, the East, etc. These works of art protect the light within. I think this light doesnt only exist in art, but also in the depths of nature. This will be increasingly seen. This is the miracle of the earth. Mehmet Gleryz (Artist): These two expressions have become more and more ambiguous. Current art and contemporary art are concepts that are intertwined with each other. You are trying to carefully separate current art into very rough pieces. I dont think that this kind of separation is very healthy. Theres a distinction: current art is innovative and asks avant-garde questions. The intention is rather occupying the same place. Current art singles itself out in this respect. Today, the whole basis for current art has been left behind. I dont think it is possible to precisely separate these differences.
Sources: Azra Tznolu, Dersimiz Gncel Sanat, stanbul, 2009. Mehmet Ylmaz, Gncel Sanat, ada Sanatn teki Addr, (www.my.opera.com) Mjde Yazc, Sanat ada m, gncel mi?, Radikal, 21 Ekim 2007.
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STANBULUN 10 RESM, 10 RESSAMI

mer Faruk ERFOLU
THE TEN BEST PAINTINGS AND ARTISTS FROM ISTANBUL

mer Faruk ERFOLU
STANBULUN 10 RESM, 10 RESSAMI / THE TEN BEST PAINTINGS AND ARTISTS FROM ISTANBUL
STANBULUN 10 RESM, 10 RESSAMI

mer Faruk ERFOLU*
THE TEN BEST PAINTINGS AND ARTISTS FROM ISTANBUL

mer Faruk ERFOLU*
1- Van Mour, Sultanahmet Camii ve Atmeydan (18. Yzyl ba), 1 - Von Maur, Blue Mosque and the Hippodrome [First quarter of the eight eenth century], Rijksmuseum, Amsterdam Rijksmuseum, Amsterdam 2 - Count Amedeo Preziosi, A Stroll in Camlica [1853] 2- Kont Amedeo Preziosi, amlcada Gezinti (1853), Mimar Sinan Fine Arts University, Istanbul Art and Sculpture Museum MSGS stanbul Resim ve Heykel Mzesi 3 - Alberto Pasini, Turkish Fountain [1873], 3- Alberto Pasini, Trk emesi (1873), dArte Fondazi one Cassa di Risparmio, Parma dArte Fondazione Cassa di Risparmio, Parma mer Faruk erifolu, lmeden 4 - Ivan Konstantinovich Ayvazovski, Sarayburnu [1874], 4- Ivan Konstantinovi Ayvazovski, Sarayburnu (1874), nce mutlaka grmeniz National Palaces Art Collection, Istanbul Milli Saraylar Resim Koleksiyonu, stanbul gereken 10 stanbul resmini 5- Carlo Bossoli, Istanbul Harbour [1884], Galleria Civica 5- Carlo Bossoli, stanbul Liman (1884), Galleria Civica okurlarmz iin seti. Bu mze dArte Moderna e Con temporanea, Torino dArte Moderna e Contemporanea, Torino denemesini yazarmz sizlere 6- Hoca Ali Riza, Snow in Uskudar [26 January 1893] 6- Hoca Ali Rza, skdarda Kar (26 Ocak 1893), resamlarn yaam yklerinin The Taviloglu Collection, Istanbul Tavilolu Koleksiyonu, stanbul eliinde sunuyor. 7 - Fausto Zonaro, Ertugrul Suvari Alayinin Galata 7- Fausto Zonaro, Erturul Svari Alaynn mer Faruk erifolu has Koprusunden Gecisi [1901] Galata Kprsnden Geii (1901), chosen the 10 paintings of National Palaces Art Collection, Istanbul Milli Saraylar Resim Koleksiyonu, stanbul stanbul which you should 8 - Halil Pasha, Fenerbahcede Cinaraltinda [1904] 8- Halil Paa, Fenerbahede naraltnda (1904), see before you die. The writer Ahu-Can Has Collection, Istanbul Ahu-Can Has Koleksiyonu, stanbul is presenting this attempt of 9 - Sevket Dag, Hagia Sofia Inner Mosque [1909] 9- evket Da, Ayasofya Camii i (1909), museum with the biographies National Palaces Art Collection, Istanbul Milli Saraylar Resim Koleksiyonu, stanbul of the painters. 10 - Leonardo de Mango, Fishermen In Front of the 10- Leonardo de Mango, Kzkulesi nnde Balklar Maiden Tower [1912], Erol Makzume Collection, (1912), Erol Makzume Koleksiyonu, stanbul Istanbul
Van Mour, Sultanahmet Camii ve Atmeydan (18. yzyl ba), Rijksmuseum, Amsterdam / Von Maur, Blue Mosque and the Hippodrome [First quarter of the eighteenth century], Rijksmuseum, Amsterdam * Sanat Eletirmeni. * Critic of Fine Arts.
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Kuruluundan bugne her dnemde yzlerce sanatya ilham kayna, binlerce esere konu olmu ok az ehir vardr yeryznde. Bizanstan gnmze retilen stanbul betimlemeleri ciddi bir klliyat oluturacak kadar oktur. Bu kltrler bakentinin her bir ayrntsnn kaydedildii/yorumland binlerce eser vardr; stanbulun kimliini oluturan, onu esiz ve byleyici klan elerden her biri bir baka esere konu olmutur. stanbul betimlemelerinden oluacak bir mze yapmak gnmzde ne kadar zor olsa da bunlar bir dijital arive dntrmek mmkndr. Dolaysyla hemen herkesin bir stanbul imajlar arivi ktphanesinde veya bilgisayarnda deilse, zihninin bir kesinde vardr. Ben de zihnimde oluturduum ve sizlerle paylatm bu sekide olduka zorlandm itiraf etmeliyim. Yzyl nceki stanbulun (bence) en gzel 10 resmini ve bu eserlerin sanatlarn takdim ederim. 1- Jean-Baptiste VAN MOUR (Valenciennes-Flandre, 9 Ocak 1671 stanbul, 22 Ocak 1737) Jacques-Albert Gerinden resim dersleri ald sanlmaktadr. Pariste Comte de Ferrioln dikkatini ekerek, onun himayesine girmitir. Comte de Ferriol, 1699da stanbul eliliine atannca onunla birlikte stanbula gelir. Ferriol tarafndan geleneksel giysileri iinde eitli Osmanl tiplerini izmekle grevlendirilir. Elinin siyasal yaantsn konu alan eserlerin yansra arlkl olarak stanbulla ilgili eserler gerekletirir. Bu tablolarda peyzajlar, stanbul halknn yaants, Osmanl saray ile ilgili sahneler ve kabul trenleri yer alr. Elinin dnnde gtrd bu tablolardan gerekletirilen 100 paralk gravr koleksiyonu 1712de Fransada Recueil de cent estampes reprsentant diffrentes nations du Levant adyla baslr ve byk ilgiyle karlanr. Le Hay adl mhendis tarafndan baslan eserin, eitli dillere evrilerek bir ok basks yaplr. Bu albm, 18 ve 19. yzyllarda Osmanl dnyas ile ilgilenen pek ok sanatya esin kayna olmutur.
There are many cities in the world that have been a source of inspiration to hundreds of artists and for thousands of works of art. From the time of the Byzantines until today, a great number of masterpieces depicting Istanbul have been painted, capturing every unique and enchanting detail of the city. While creating a museum that consists of descriptions of present day Istanbul is not easy, it is possible to transform these descriptions into a digital archive. Almost eaveryone in Istanbul has an archive of images in their mind, if not in their home or on their computer. It was quite difficult for me to compose such an anthology in my mind. However, here is my top ten list of Istanbuls best paintings and the artists who painted them. 1 - Jean-Baptiste VAN MOUR (Valenciennes, Flandre, January 9, 1671Istanbul, January 22, 1737) It is thought that Jean-Baptiste Van Mour took lessons from Jacques-Albert Gerin. He attracted the attention of Comte de Ferriol, who took him under his patronage. When Comte de Ferriol was appointed to the Istanbul Embassy in 1699, Van Mour came with him to Istanbul. He was assigned by Ferriol to draw the Ottomans in their traditional costumes. Van Mour captured the ambassadors political life in his work, mostly painting landscapes, scenes of Istanbul society, and reception ceremonies from the Ottoman Palace. When the ambassador returned to France in 1712 with these paintings, they were shown in a hundred piece collection of etchings called Recueil de cent estampes representant differentes nations du Levant which was received with great enthusiasm. The etchings were published by Le Hay, an engineer, and translated into different languages. In the 18th and 19th century this collection was a source of inspiration to artists who were interested in the Ottoman world.
Kont Amedeo Preziosi, amlcada Gezinti (1853), MSGS stanbul Resim ve Heykel Mzesi / Count Amedeo Preziosi, A Stroll in Camlica [1853] Mimar Sinan Fine Arts University, Istanbul Art and Sculpture Museum
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Alberto Pasini, Trk emesi (1873), dArte Fondazione Cassa di Risparmio, Parma / Alberto Pasini, Turkish Fountain [1873], dArte Fondazi one Cassa di Risparmio, Parma
Eli Comte de Ferrioln Parise dnmesi zerine stanbuldaki dier Fransz elilerinin maiyetinde bulunarak yaamnn sonuna kadar burada kalmtr. Bu arada baka lkelerin elilerinin portre ve kabul treni gibi resmi siparilerini de deerlendirmitir. Venedik balyoslarnn kabul trenlerini gsteren tablolarn bir blm halen Beyolundaki talyan Bakonsolosluunda bulunmaktadr. 1727de stanbula gelen Hollanda elisi Cornelis Calkoen, eserlerine byk ilgi gstermi ve toplad eserler daha sonra koleksiyon olarak Amsterdam mzelerine intikal etmitir. 1725te bir Fransz sanatsna ilk kez verilen Kraln Doudaki Srekli Ressam (Peintre Ordinaire du Roy en Levant) unvanyla onurlandrlan sanat Galatada vefat etmi ve Saint Benoit Kilisesine defnedilmitir. Eserleri, stanbulda ilk kez 1978de topluca sergilenmi, 2003te ise ada nakka Levninin eserleriyle birlikte Lale Devri stanbuluna ki zgn Bak Van Mour ve Levn adyla Topkap Sarayndan sergilenmitir. 2- Amadeo PREZOS (Malta, 1816 - stanbul, 1882) Resme olan merak ocukluk yalarnda balar. Babasnn hukuku olmas ynndeki basklarna ramen renimini terk eder ve Maltann nl ressamlarndan Giuseppe Hyzlerin rencisi olur. 1840larda Paris Gzel Sanatlar Akademisine devam eder. 1942de dounun cazibesine kaplan birok sanat gibi stanbula gelir ve 40 yl yaad bu kentte vefat eder. Bir Rum kzyla evlenir ve 4 ocuu olur. Malta Adasnn ngiliz hakimiyetinde olmas nedeniyle, ngiliz pasaportu tamaktadr. Peradaki Levanten sosyete ve ngiliz asll ailelerle de ok yakn dostluklar kurar. zellikle ngiliz diplomasi evresinde tannan bir isim olur ve eserleri ngiliz Sarayna kadar ular. 1869da stanbula gelen Wales Prensi Albert Edward ve nianls Prenses Alexandra Christina stanbulda kaldklar gnlerde Beyolunda ngiliz Sefareti karsnda, Hammalba Sokakta bulunan atlyesini ziyaret eder. Resimlerinin byk ilgi grmesi nedeniyle, stanbul konulu eserlerinin tabasklarndan oluan iki albm hazrlar. 26 Eyll 1882 gn Yeilky civarnda avlanrken elinden drd tfein patlamas sonucu vefat eder ve orada San Stefano Katolik Mezarlna gmlr. Boaziine sevdal nl Oryantalist ressamlardan biri olarak tannr. stanbula olan sevgisi birbirinden renkli ve canl tablolarna ayr bir ruh katmtr. Boazii, Hali kylar, mesire yerleri, mezarlklar, Kapalar ve sokaklar, en ok alt konulardr. En nemli zelliklerinden biri de Osmanl topraklarnda yaayan insan tiplemelerine gsterdii ilgidir. 3- Alberto PASN (Busseto-Parma/talya, 1826 - Cavoretto-Turin/talya, 1899)
After Comte de Ferriol returned to Paris, Van Mour remained in Istanbul, accompanying other French ambassadors until the end of his life. He also worked for other countries ambassadors, working on official orders for portraits and paintings of reception ceremonies. Some of his pieces show the Venetian ambassadors reception ceremonies at the Consulate General of Italy in Beyolu. The Dutch ambassador, Cornelis Calkoen, who came to Istanbul in 1727, showed great interest in Van Mours work. The paintings that he collected were later transferred as a collection to museums in Amsterdam. In 1725, Van Mour was selected as the Kings Permanent Artist in the East (Peintre Ordinaire du Roy en Levant), a first for a French artist. Van Mour died in Galata and was buried in the cemetery of the Saint Benoit Church. In 1978, all of his work was exhibited for the first time in Istanbul. Van Mours paintings were exhibited at Topkapi Palace in 2003, together with the muralist Levnis pieces in an exhibition entitled, Two Unique Approaches to the Tulip Era Istanbul-Van Mour and Levni. 2 - Amadeo PREZIOSI (Malta, c. 1816 Istanbul, c. 1882) Preziosis interest in painting started when he was a child. Despite his fathers insistence that he become a lawyer, he quit school and became a student of Giuseppe Hyzler, one of Maltas famous artists. In the 1840s, he attended the Academy of Fine Arts in Paris. Like most artists of his time, he was drawn to the charm of the East and came to Istanbul in 1842. He lived in the city for forty years until he passed away. He married a Levantine girl and had four children. Because Malta was ruled by England, he carried a British passport. Preziosi established a close friendship with the Levantine society and the English families living in Pera. He became a well-known figure, especially in the English diplomatic circles, and his paintings were sent to Buckingham Palace in England. When the Prince of
Parmada eitimini tamamladktan sonra 1851de Parise yerleir. Eugne Fromentin ve Barbizon sanatlarnn eserlerinden etkilenir. Thodore Chassriau tarafndan rana gidecek diplomatik misyona davet edilir. Bylelikle 1855-56da Trkiye, Msr, Suriye ve Arap yarmadasna yolculuk eder. Grd yerlerde giyilen kostmleri, mimari ve manzaralar keskin bir gzlemci olarak saptar. 1860l yllardan itibaren stanbula kez gelir, 1868de Sultan Abdlazizin zel sipariIvan Konstantinovi Ayvazovski, Sarayburnu (1874), Milli Saraylar Resim Koleksiyonu, stanbul / Ivan Konstantinovich Ayvazovski, i ile kendi konular dnda ve bugn DolmaSarayburnu [1874], National Palaces Art Collection, Istanbul bahe Saraynda bulunan, Trk-Yunan Sava konulu drt tablo yapar. 1876da Trkiyeye drdnc kez kara yoluyla gelWales, Albert Edward, and his fiance, Princess Alexandra Christina, came to mek zere yola kar, Viyanaya vardnda Sultan Abdlazizin lmnden kayIstanbul, they visited Preziosi in his studio in Beyoglu, which was across from the naklanan siyasi karklklar renerek geri dner. stanbulda tuvale aktard, English embassy. Because of the attention his paintings received, he prepared gnlk yaamn yansmalar dolu hareketli arlar, dumanl ve mis kokulu sotwo lithographic albums of Istanbul. He accidentally shot himself on September kaklarn, Gksu Deresinde sandal gezintilerini, renk renk giysileri ile yaamn 26, 1882, while hunting near Yesilkoy. He was buried in the San Stefano Catholic rengini kuanm, konuan iekler diye adlandrd Trk kadnlarn, bir daha Cemetery. He is known as an Orientalist artist who loved the Bosphorus. His love gremeyecektir. for Istanbul added a different vitality to each of his colourful and lively paint33
Oryantalist akmn byk bir ustalarndan biri olarak kendini kabul ettirmitir. Yer yer fantastik tablolarnda romantik/natralist bir etki hkimdir. 4- van Konstantinovi AYVAZOVSK (Feodosya, 29 Temmuz 1817- 5 Mays 1900) Krmda bir Karadeniz liman ehri olan Feodosyada Ayvazyan soyadn tayan yoksul bir Ermeni ailesinin ocuudur. Simferopol Lisesinde iken resim yetenei farkedilerek, ar I. Nikolayn emriyle 16 yanda St. Petersburg Akademisine alnd. 1836da Akademiden mezun olduktan sonra devlet tarafndan Avrupaya gnderildi. Yllar sren seyahatleri srasnda birok lkede sergiler ald, ann en yetenekli Rus ressam olarak nlendi. 1844te Rusyaya dnnde Rus Donanmasnn resmi ressaml grevine atand. Bu grevi dolaysyla yaam boyunca ok sayda deniz ve gemi resmi yapt. 1845te ilk kez geldii stanbulda Sultan Abdlmecid tarafndan Beylerbeyi Saraynda kabul edildi. 1845-1890 arasnda stanbula drt ziyaret yapt. 1858deki ikinci yolculuunda, Sultan Abdlmecide bir tablosunu sundu ve drdnc derece Nin- l ile dllendirildi. 1874teki ziyaretinde Mimarba Sarkis Balyann Kurueme Adas zerindeki ikametghnda bir ay kadar misafir olarak kalm ve Sultan Abdlazizin sipari ettii tablolar hazrlamtr. Sultann bir portresinin de aralarnda bulunduu, otuzdan fazla sipariin ancak alt tanesini stanbulda tamamlayabildi. Sultan Abdlaziz tarafndan ikinci rtbeden Osman Nin ile onurlandrlan ressam, br almalarn, 1875te Teodosiaya dndkten sonra tamamlayabildi. Halen Dolmabahe Saraynda bulunan, 1874 tarihli Sarayburnu, 1874 tarihli Ay Inda Eyp ve 1875 tarihli raan Saray nnde Osmanl Donanmas tablolar bunlar arasndadr. 1890 ylnda, stanbula son geliinde Sultan II. Abdlhamidin huzuruna kabul edilerek, kendisine sunduu iki tablosunu beenen Sultan tarafndan Mecid Nin ile dllendirildi ve padiahn halen Berlinde zel bir koleksiyonda yer alan bir portresini yapt. Bebinin zerinde eseri olan Aivazovskinin tablolarnn byk bir ksm St. Petersburg, Moskova ve Erivan devlet mzelerinde sergilenmektedir. Trkiyede
ings. Most of his pieces depict the Bosphorus, the coasts of the Golden Horn, the promenade grounds, cemeteries, the Grand Bazaar and the streets of Istanbul. His paintings are distinctive due to the special attention he paid to the portrayal of Ottoman characters. 3 - Alberto PASINI (Busseto, Parma, Italy, c. 1826 - Cavoretto, Turin, Italy, c. 1899) After completing his education in Parma, Pasini moved to Paris in 1851. He was influenced by the work of Eugene Fromentin and the Barbizon artists. He was invited on a diplomatic mission to Persia by Theodore Chasseriau. On his way there he travelled through Turkey, Egypt, Syria and the Arabian Peninsula. A close observer, he observed the costumes, architecture and scenery. After 1860, he visited Istanbul three times. In 1868, at the request of Sultan Abdulaziz, he painted four paintings about the Turkish-Greek War, which are now on display in Dolmabahce Palace. He was en route to Turkey for the fourth time in 1876, when he had to turn back in Vienna due to the political uprising caused by the death of Sultan Abdulaziz. He would not again see the Istanbul that he had memorialized on canvas, with its bustling bazaars, foggy and fragrant streets, boat rides on the Gks creek, and the radiant Turkish ladies that he had nicknamed talking flowers because of their colourful garments. Pasini is accepted as one of the connoisseurs of the Orientalist movement. From time to time in his fantastical paintings the romantic and naturalistic effect is dominant. 4 - Ivan Konstantinovich AYVAZOVSKI (Feodosya, July 29, 1817 - May 5, 1900) Avyazovski was born to a poor Armenian family named Ayvazyan in Crimea, in the coastal town of Feodosya in the Black Sea region. His talent for painting was noticed when he was a student at Simferepol High School. On the order of Tsar Nikolai I, he was accepted by the St. Petersburg Academy at the age of 16. After
Carlo Bossoli, stanbul Liman (1884), Galleria Civica dArte Moderna e Contemporanea, Torino / Carlo Bossoli, Istanbul Harbour [1884], Galleria Civica dArte Moderna e Con temporanea, Torino
Hoca Ali Rza
Hoca Ali Rza, skdarda Kar (26 Ocak 1893), Tavilolu Koleksiyonu, stanbul / Hoca Ali Riza, Snow in Uskudar [26 January 1893] The Taviloglu Collection, Istanbul
ise Dolmabahe Saray, Deniz Mzesi, Askeri Mze, Fener Rum Patrikhanesi ve Kumkap Ermeni Patrikhanesinde ok sayda eseri bulunmaktadr. 5- Carlo BOSSOLI (Davesco, 1815 Torino, 1884) talyan bir ailenin ocuudur. 1820de ailesiyle birlikte Odessaya yerleir. Bir antikac ve kitapnn yannda rak olarak almaya balar. Burada grd gravr ve resim sanatna ynelmitir. Bir ressamla birlikte tiyatro dekorlar yaparken, Odessa valisinin ei tarafndan kefedilir. 1836 ylnda babasnn lmnden sonra ailesini geindirmek iin resim yapp satmaya balar. Rusya, spanya ve sve gibi lkeleri ziyaret ederek ok sayda peyzaj yapar. 1839da stanbula gelmi ve Trkiye konulu tablolar yapmaya balamtr. 1850 ylnda Londra Royal Akademisinde tablolarn sergileyen sanat, bu sergi sayesinde kralie Victoria ve evresiyle tanm, birok sipari almtr. Kralie Victoriann ressamdan alm olduu Boazdaki Tekneler adl suluboya tablosu halen Isle of Whightda bulunan Osborne Housedadr. Trkiyede bulunduu sre ierisinde ok sayda karakalem ve suluboya eskizler yapan Bossolinin
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he graduated from the academy in 1836, the state sent him to Europe. Throughout his travels, he exhibited his work in multiple countries. He was renowned as the most talented Russian artist of his time. Upon his return to Russia in 1844, he was appointed as the official artist of the Russian navy. Due to this mission, he composed many paintings of boats and the sea. He went to Istanbul for the first time in 1845, where he was received by Sultan Abdulmecid at Beylerbeyi Palace. Between 1845 and 1890, he visited Istanbul four times. On his second trip to Istanbul in 1858, he presented Sultan Abdulmecid with one of his paintings and was awarded with the Nin- l, a medal of the fourth degree. He was a guest of head architect Sarkis Balyan for a month at his residence on the island of Kurueme, where he composed the paintings that Sultan Abdulaziz had ordered. He had about sixty orders, including the Sultans portrait; however, he could only complete six of them in Istanbul. Sultan Abdulaziz awarded Avyazovski with the second degree Medal of Osmani. He completed his other work after returning to Teodosia in 1875. His paintings Sarayburnu (1874), Eyup at Moonlight (1874), and The Ottoman Armada in front
pastel almalar olaanst gzelliktedir. Daha sonra talyaya dnen ve Torinoya yerleen sanat, dnemin br talyan ressam Alberto Pasini ile birlikte oryantalist resmin nde gelen adlarndan biridir. Milanoda bulunan Galerie dArte Moderne mzesindeki Sultan Gemiye Binerken, Torinoda bulunan Civica dArte Moderna e Contemporaneadaki stanbul Liman ve 1854te ngiltere Kraliesi Victoriann 1854te satn ald Boaz Sularnda Demirlemi Gemiler nemli eserlerindendir. 6- HOCA AL RIZA (stanbul, 1858 - 1930) skdar Rtiyesinde balayan resim merak, Kuleli Asker dadisi ve Mekteb-i Harbiye-i hnede tutkuya dnr. Burada Osman Nuri Paa, Sleyman Seyyid ve Msy Gus gibi hocalardan eitim alr. 1884te Harbiyeden mlzm- sani (temen) rtbesiyle mezun olur ve resim muallim muavini greviyle, Osman Nuri Paann yardmclna atanr. II. Merutiyetin ilanndan sonra Osmanl Ressamlar Cemiyetinin kurucularndan olur ve bir sre bakanln da stlenir. 1911de emekli olduktan sonra, Darafaka, nas Sanayi-i Nefise gibi okullarda retmenlik yapar. 47 yl boyunca retmenlik yapan sanat ok sayda renci yetitirir, mtevaz, sabrl ve hogrl kiilii ile dneminde resimle ilgilenen herkesin Hocas olur. Peyzaj, natrmort, hayali elvah (hayalden manzara) gibi alanda, karakalem, fzen, pastel, suluboya, yalboya gibi birok tarzda retimde bulunur. Karakalem ve suluboya tekniindeki yetkinlii, hzl alma temposuyla, -be bin gibi bir sayya ulaan- ok sayda stanbul peyzaj betimleyen Hoca Ali Rza, kentin mahallerini, skdardan Bebeke, Arnavutkyden Burgazadaya kadar semt yaantlarn, kahvehaneleri, deniz kylarn yorumlamtr. Btn yaam skdarda gemi ve nemli grd yaptlarna tarih atmay ihmal etmemitir. Bu bakmdan ayn zamanda belge deeri tayan stanbul grnmleri arasnda, skdara ait olanlar hayli fazladr.
of the Ciragan Palace (1875 ) are currently on display at Dolmabahe Palace. The last time he visited Istanbul in 1890 he was received by Sultan Abdulhamid II, who, admiring both the paintings Avyazovski had presented to him, awarded him with the Mecidi Nisan. He painted the sultans portrait which is still on display in a private collection in Berlin. Ayvazovski has over five thousand paintings on display, mainly in the St. Petersburg, Moscow and Erivan state museums. A wide range of his paintings can be seen at Dolmabahce Palace, the Marine Museum, the Military Museum, the Fener Rum Patriarchate and the Kumkapi Armenian Patriarchate. 5 - Carlo BOSSOLI (Davesco, c. 1815 - c. Torino, 1884) Bossoli was born into an Italian family which settled in Odessa in 1820. He began to work as an apprentice antique dealer and in a bookshop, and was influenced by the engravings and paintings he saw there. As he was designing theatre backdrops with an artist, his talent was noticed by the wife of the governor of Odessa. To support his family after his fathers death in 1836, he started to sell his paintings. Since he had visited many countries, including Russia, Spain and Sweden, he painted many landscapes. He came to Istanbul in 1839 and worked on paintings about Turkey. Queen Victoria and her companions, whom Bossoli met at an exhibition of his paintings at the London Royal Academy in 1850, commissioned many paintings from him. Boats on the Bosphorus, the painting that Queen Victoria bought from the Bossoli, is still hanging in the Osborne House on the Isle of Wight. During Bossolinis stay in Turkey, he composed many charcoal and watercolour sketches and exceptionally beautiful pastel paintings. He later returned to Italy and settled in Torino. Next to Alberto Pasini, another well-known Italian artist, he was one of the leading Orientalists of his time. His most significant paintings are The Sultan Boarding a Boat, which is at the Galerie dArte Moderne in Milan, Istanbul Port, which is on display at the Civica dArte Moderna e Contemporanea in Torino, and Ships Anchored on the Bosphorus, which was brought by Queen Victoria in 1854. 6 - HODJA ALI RIZA (Istanbul, c. 1858 c. 1930) Hodja Ali Rizas interest in painting, which started at Uskudar Middle School, turned into a passion while he was at Kuleli Military High School and in the Military Academy. There, he took lessons from Osman Nuri Pasha, Suleyman Seyyid and Monsieur Gues. He graduated from the Military Academy as lieutenant mulazim ath-thani. He was assigned to help Osman Nuri Pasha as an assistant art teacher. He became one of the founders of the Ottoman Painters Society and for a while was its chairman. He was a teacher at Darafaka and the Inas Fine Arts School after he retired in 1911. During his forty-seven year tenure as a teacher, Ali Riza tutored many students. With his modest, patient and tolerant personality, he was know as the Hodja of his time and one that was interested in painting. He painted landscapes, still lives and imaginary sceneries which he composed using charcoal, pastels, watercolours and oil paints. With his talent for charcoal and watercolour paintings and his ability to work quickly, he was able to depict numerous approximately five thousand paintings of Istanbul landscapes. Hodja Ali Riza painted the districts of Istanbul, from the neighborhoods of skdar to Bebek to Arnavutky and up to Burgazada, including the coffee houses and the coasts. He lived in skdar his entire life and did not neglect to depict the monuments he thought important. In this respect, his paintings of Istanbul are like documents. They mostly depict skdar; he was like a saint who could not paint enough of his beloved skdar. 7 - Fausto ZONARO (Masi, Padova, Italy, c. 1854 - San Remo, c. 1929) While he was developing his talent in his youth, he had to perform his military service. After returning from the army, he went to Venice where he tried to sell tourist paintings. Zonaro went to Napoli in 1878 intending to find a better living and working environment. He travelled to Turin, Rome, Milan and Naples, trying to find a good environment to work in until 1887. In the meantime, he met Elisa Pante, to whom he gave art lessons. These art lessons led to the pursuit of a better lifestyle for the both of them. They passionately dreamed of the Istanbul they had read about in Edmondo de Amiciss Constantinopoli. They arrived in Istanbul when Sultan Abdulhamid IIs accession to the throne was being celebrated with magnificent ceremonies. Zonaro quickly became a well-known
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Fausto Zonaro, Erturul Svari Alaynn Galata Kprsnden Geii (1901), Milli Saraylar Resim Koleksiyonu, stanbul / Fausto Zonaro, The Ertugrul Cavallary regiment crossing the Galata [1901] National Palaces Art Collection, Istanbul
7- Fausto ZONARO (Masi-Padova/talya, 1854 San Remo, 1929) Yeteneini gelitirdii genlik yllarnda askere gitmek zorunda kalr. Askerlik sonras, Venedike giderek turistik resimler yapp satmaya alr. 1878de, daha iyi bir yaam ve meslek ortam bulabilecei inancyla, Napoliye geer. 1887ye kadar, Torino, Roma, Milano ve Napoliyi gezer. Sanatn icra edebilecei bir evre bulmaya alr. Bu sralarda kendisinden resim dersleri almak isteyen Elisa Pante ile tanr. Resim dersleri, birlikte daha gzel bir yaam arayna kadar ilerler. Edmondo de Amicisin Constantinopoli kitabndan tandklar stanbul, ksa srede ikisi iin de tutkulu bir de dnr. 1891de Sultan II. Abdlhamidin tahta k yldnmnn grkemli trenlerle kutland gnlerde stanbula gelir. Ksa srede, bata diplomatik evreler olmak zere, stanbulun sosyal yaamnda tannan bir isim haline gelir. Ressamlnn yan sra resim dersleri verir. Osmanl brokrasisinden yabanc misyonlara kadar pek ok evreden sekin rencileri olur. Sonraki yllarda rencileri arasna Celal Esad Arseven, Hoca Ali Rza, ehzade Abdlmecid, Mihri Mfik ve Celile Hanm gibi isimler de katlacaktr. stanbuldaki ilk almalarn ounlukla ak havada, kendi atlyesinde hazrlad ahap panolar zerinde yapar. 1894-1905
aras en verimli olduu dnem olur. 1896da Erturul Svari Alaynn Galata Kprsnden Geii konulu tablosunu Sultan II. Abdlhamide gstermeyi baarr. Mecidi nian ile dllendirilmenin yan sra Ressam- Hazret-i ehriyari sfatyla Saray Ressam tayin edilir. ki yl sonra da padiahn siparii olan Dmeke Sava tablosunu yapar ve Osmani nian ile dllendirilmenin yan sra talep ettii Akaretlerdeki 50 numaral konak kendisine tahsis edilir. Bu yllarda, stanbulun hemen hemen en kuytu kelerine kadar ular, kent yaam ve insanlar hakknda, ok yeni konular gzlemler. II. Merutiyetin ilan ve Sultan II. Abdlhamidin tahttan indirilmesiyle balayan skntl srete saraydaki grevine son verilir ve 1910da talyaya dner. Son yllarn San Remoda, byk lde stanbul konulu tablolarn yeniden alarak geirir. 8- HALL PAA (stanbul, 1852 - 1939) Mekteb-i Harbiyenin kurucularndan Ferik Selim Paann oludur. Mhendishane-i Berri-i Hmayundan mezun olduktan sonra, 1873te sarayda yaveran snfnda grevlendirilir. 1880 - 1888 yllar arasnda Pariste Grome ve Courtoisin atlyelerinde eitim grr. Harbiye Mektebinde resim dersleri verir. Mze-i Hmayunda mdr yardmcl yapar. II. Merutiyetin ilanndan sonra 1908de emekli olur. 1914te Sanayi-i Nefise Mektebi Mdrlne atanr. Fransadan yeni dnen ressamlar okula alp, yeni an-
figure in Istanbul, especially in diplomatic circles. He painted and gave art lessons at the same time. His students included members of the Ottoman bureaucracy and the foreign missions. In the following years, Celal Esad Arseven, Hodja Ali Riza, Prince Abdulmecid, Mihri Musfik and Celile Hanim took lessons from him. He first painted on wooden panels that he prepared in his own workshop. His most productive years were between 1894 and 1905. In 1896, he presented his painting Procession of the Ertugrul Suvari Troops over the Galata Bridge to Sultan Abdulhamid II. In addition to having been awarded the Mecidi Medal, he was also appointed as the Imperial Painter, or Ressam-i Hazreti Sehriyari. Upon an order from the Sultan two years later he painted The Battle of Domeke and was awarded the Osmani Medal. In addition, the mansion that he had requested in the Akaretler district was also allocated to him. He went to Istanbuls most secluded corners and observed new themes related to the people and city life. 8 - HALL PASHA (Istanbul, c. 1852 c. 1939) Pasha was the son of Ferik Selim Pasha, one of the founders of the Military Academy. After he graduated from Muhendishane-i Berr-i Humayun, he was appointed as a yaveran (aide). He studied in the studios of Gerome and Courtois between 1880 and 1888. He gave art lessons at the Military Academy and was the assistant manager at the Imperial Museum. He retired in 1908 after the declaration of the Second Constitutional Monarchy. He was appointed to the School of Fine Arts as an administrator. He hired artists that had recently returned from France and allowed them to work using a new approach. Pashas painting Madam Xs Portrait, which he composed in Paris, won a bronze medal at an international exhibition in Vienna and his Still life in Copper won a gold medal. Toward the end of his life, Pasha painted in Egypt with Abbas Hilmi Pasha. Although Pasha, who was born and raised in engelky, Istanbul, painted various subjects, he was known for the special Halil Paa landscaping technique used in his paintings of engelky. In his landscapes of Istanbul and Egypt he blended light and colour, which became an example for the next generation. He is the most important link between 19th century and 20th century Turkish painting. Though he painted figures for many years, he found his calling with his landscapes, depicting the villages that line the Bosphorus. The painting Cinaralti (1904), painted when the artist was 52 years old, based on its theme, expression and balanced proportion is considered to be one of his best paintings.
9- evket DA (Istanbul, c. 1876-c. 1944)

After he graduated from the Teachers College, evket Da became a student of Osman Hamdi Bey and Valery at the Fine Arts School from which he graduated at the top of his class in 1897. He started to work at the Waqf Administration and later became an art teacher at Galatasaray College under Halil Paa, Fenerbahede naraltnda (1904), Ahu-Can Has Koleksiyonu, stanbul / Halil Pasha, Fenerbahcede Cinaraltinda headmaster Tevfik Fikret. He set up a drawing studio [1904] Ahu-Can Has Collection, Istanbul or resimhane at the Istanbul Teachers College where layla resim yaplmasn salar. 1936da Viyanada alan uluslararas bir serhe was influential in helping his students learn to work from nature. He was one of the founders of the Ottoman Painters Association in 1909. He won a gide, Pariste iken yapt Madam Xin Portresi adl eseriyle bronz madalgold medal in the 1904 and 1909 Munich exhibitions and a silver medal in the ya , Bakrl Natrmort adl eseriyle de altn madalya kazanr. Hayatnn son 1910 Sofia and Brussels exhibitions. After the proclamation of the Republic, he yllarn Msrda Abbas Hilmi Paann yannda resim yaparak geirir. stanbecame a member of parliament of Konya in the 5th term and in Siirt in the 6th bul, engelkyde doup-byyen sanat ok eitli konularda resim yapand 7th terms. makla birlikte, engelky peyzajlar ile zel bir tarz yakalamtr. stanbul ve Msr peyzajlarnda, izlenimci k ve renk zmleri ile pitoresk resimler yapThough he was an academic and a classical artist, unlike other classical artists he is known for painting freely with bold strokes. His most significant paintings m, sonraki kuak sanatlara rnek oluturmutur. Trk resminde 19. yzare of the interiors of historical monuments, particularly his detailed paintings yl 20. yzyla balayan zincirin en nemli halkasdr. Uzun yllar figr alof Haghia Sofia with its meticulous workmanship and dim interior which give it masna karlk asl sanat kiiliini Boazii kylarn betimledii peyzajlarna mysterious atmosphere. da bulmutur.
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evket Da, Ayasofya Camii ii (1909), Milli Saraylar Resim Koleksiyonu, stanbul / Sevket Dag, Hagia Sofia Inner Mosque [1909] National Palaces Art Collection, Istanbul
evket Da
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9- evket DA (stanbul, 1876 - 1944) stanbul Darlmuallimini (retmen Okulu) tamamladktan sonra girdii Sanayi-i Nefise Mektebinde Osman Hamdi Bey ile Valerinin rencisi olur ve 1897de birincilikle bitirir. alma hayatna Vakflar daresinde balar. Tevfik Fikretin mdrl srasnda, Galatasaray Lisesinde resim retmenlii yapar. stanbul retmen Okulunda (Darlmuallimin) resimhane ad verilen atlyeyi kurar ve rencilere doadan alma alkanl kazandrmada etkili olur. 1909da Osmanl Ressamlar Cemiyetinin kurucular arasnda yer alr. 1904 Atina ve 1909 Mnih sergilerinde altn, 1910 Sofya ve Brksel sergilerinde gm madalya kazanr. Cumhuriyet ilanndan sonra 5. dnem Konya, 6 ve 7. dnem Siirtten milletvekili seilir. Akademik-klasist bir ressam olmakla birlikte, Klasist ressamlarn tersine kaln fra vurular ile serbest bir teknii vardr. Ancak asl karakteristik resimleri, tarihi eserlerin i meknlarnda alt enteriyrleridir. zellikle Ayasofyada meydana getirdii resimlerini detaya inen, titiz, titiz olduu kadar da dikkatli
10 - Leonardo de MANGO (Bisceglie, Italy, c. 1843 - Istanbul, c. 1930) De Mango, the eldest of twenty-one siblings, was talented and self taught until the age of 19 because of financial problems. In 1862, with the help of a noblefamily from Bair, he was accepted into the Fine Arts Academy in Naples. There he had the opportunity to work with some of the most famous artists of his time. In 1874, he went to Syria, then a province of the Ottoman Empire, and then to Beirut where he stayed for nine years. He gave art lessons at the Jesuit College in Beirut. In 1883, he settled in Istanbul and worked with different Italian artists in Istanbul such as Zonaro, Valery and Bello. He is known as one of the Orientalist artists who spent the most time in Istanbul. He created surreal images in his paintings of Fenerbahe and skdar, villages located on the curving coast of the Bosphorus. In many of his paintings of the Bosphorus you can immediately feel the magic emanating from Istanbuls sea and silhouette. He spent his final years in poverty and was buried in the homeless section of the Latin Catholic Cemetery. In 2006, thanks to extensive exhibitions at Dolmabahce Palace and in Bari, Italy, his grave was restored.
Leonardo de Mango
bir iilikle meydana getirmi, camii iinin lo ve sessiz atmosferini betimledii resimlerinde gizemli bir grsellii ne karmtr. 10- Leonardo de MANGO (Bisceglie / talya, 1843 - stanbul, 1930) Yirmi bir kardein en by olan De Mango, maddi imknszlklar sebebiyle 19 yana kadar zel yeteneiyle kendisini yetitirir. 1862de Barili soylu bir ailenin katklar ile Napolide Gzel Sanatlar Akademisinde girer. Sekiz yllk renimi srasnda dnemin tannm ressamlar ile alma frsat bulur. 1874te bir Osmanl vilayeti olan Suriyeye daha sonra da Beyruta geerek, dokuz yl burada kalr. Beyrutta Cizvit Kolejinde resim dersleri verir. 1883te stanbula yerleir. Zonaro, Valeri ve Bell gibi Leonardo de Mango, Kzkulesi nnde Balklar (1912), Erol Makzume Koleksiyonu, stanbul/ Leonardo de Mango, Fishermen In Front of Tower [1912], Erol Makzume Collection, Istanbul stanbuldaki dier talyan sanatlarla alr. 1911de Osmanl-talyan sava srasnda ksa bir sre zorunlu ayrlk dnda terk etmedii stanbulda en uzun sre kalm Oryantalist ressamlardan biri olarak bilinir. stanbulun kvrml kylarnda yer alan Fenerbahe ve skdar resmettii tablolarnda dsel grnmler oluturmutur. Birok Boazii almasnn arkasndaki stanbul silueti ve denizinin bys hemen hissedilir. Son yllarn yoksulluk iinde geirir ve Ferikydeki Latin Katolik Mezarlnda kimsesizler ksmna gmlr. 2006da Dolmabahe Saray ve Bari/talyada alan kapsaml sergiler vesilesiyle mezar da yaplmtr.
the Maiden
Hocalar / Instructors.
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DARLFNUN MUALLM OLARAK MEHMET KF

Yusuf ALAR
MEHMET KF AS AN INSTRUCTOR AT THE STANBUL UNIVERSITY

Yusuf ALAR
DARLFNUN MUALLM OLARAK MEHMET KF / MEHMET KF AS AN INSTRUCTOR AT THE STANBUL UNIVERSITY
DARLFNUN MUALLM OLARAK MEHMET KF

Yusuf ALAR* 27 Aralk 1936da vefat eden Mehmet kif (Ersoy) 74 yldr aramzda yok. Onu ok sevdiimiz ve abide bir ahsiyet olarak ba tac yaptmz halde; Safahatn, anakkale Destann ve nihayet stiklal Marn bu millete armaan eden airin hayatna dair bilmediimiz pek ok husus var. Mehmet kif hakknda kaleme alnan biyografilerin neredeyse tamam hatralardan yola klarak hazrlanm almalar. Eref Edibin, Mithat Cemalin, Hasan Basrinin, Mahir zin eserleriyle tandmz Mehmet kif isminin edebiyat alannda alan akademisyenler iin cazibesini koruyan ve gnmze kadar sakl kalan pek ok yan var. Hi phesiz bu sakl hazinenin kapan araladmzda ilk greceimiz eylerden biri de Mehmet kifin Darlfnunda verdii edebiyat dersleri ve muallimlik mesleine olan byk vukufiyeti olacaktr. Btn cazibesine ramen Darlfnun muallimlii hakknda biyografilerde verilen malumat bir paragraf gemez: II. Merutiyetin ilnnn hemen akabinde kmaya balayan, nerede ise hayat ve eserleriyle aynileecek Srat- Mstakim- Sebilrread mecmuasna fikir babal yapp, bayazarln stlendi (27 Austos 1908. Mecmuann sahipleri Ebulula Mardin ve Eref Edibtir). Ayn yl Darlfnun Edebiyat-u Umumiye Mderrisliine tayin edildi. ttihat ve Terakki Cemiyeti ehzadeba Kulbnde Muallakat ve Arap Edebiyat dersleri okuttu. Balkan Sava yllarnda gizli bir teekkl olan Mdafa-i Milliye Cemiyetinin tenvir ve irad faaliyetlerine katld. Haksz bir tasarrufa kar kmak iin 11 Mays 1913te Ziraat Nezaretindeki grevinden, ayn yln sonlarnda hkmetle fikri ayrl sebebiyle Darlfnun hocalndan istifa etti. Mehmet kifin 1908de vazife ald Darlfnun edebiyat muallimlii hakknda bilgi aktaran en nemli belge ise Devlet Arivleri Genel Mdrl Osmanl Arivi Daire Bakanlnn Maarif Nezareti Evrak iinde yer alyor:
MEHMET KF ERSOY AS AN INSTRUCTOR AT THE STANBUL UNIVERSTY

Yusuf ALAR* Mehmet kif (Ersoy) died on 27 December, 1936, which means that he has not been among us now for 74 years. Although he was the greatly loved and monumental personality who wrote Safahats anakkale Legend, a major Turkish work, and the words of the National Anthem, there is very little known about the life of the poet who bequeathed these to this nation. Almost all of the biographies of Mehmet kif have been written from memoirs. Eref Edib, Mithat Cemal, Hasan Basri, Mahir z all of these works still manage to maintain their attraction for academics who work in the field of the literature of Mehmet kif, although many aspects of his life still remain hidden. Without a doubt, when we open the door to this hidden treasury one of the first things we see is the lessons that Mehmet kif gave in literature at the Darlfnun and his great skill in teaching. However, although this is a fascinating aspect of his life, the information provided about his teaching at the Darlfnun consists of no more than one paragraph:
Starting immediately after the proclamation of the Second Constitutional Monarchy, Mehmet kif took on the position of head-writer and inspiration for the journal Srat- Mstakim Sebilrread, something that became almost the equivalent of his life work (27 August, 1908. The owners of the journal were Ebulula Mardin and Eref Edib). In the same year he was appointed as professor of general literature at the Darlfnun. He taught lessons in muallakat (Arabic poetry) and Arabic literature at the ttihat ve Terakki Cemiyeti ehzadeba Club. During the Balkan Wars he joined the tenvir ve irad (enlightenment and guidance) activities of the secret organization Mdafa-i Milliye Cemiyeti. In opposition to an unjust confiscation he resigned from his post at the Ministry Mehmet Akif Ersoyun Darlfnun muallimlii of Agriculture on 11 May, 1913; at the end of the same year he resigned from his teaching ok az bilinen bir konudur. post at the Darlfnun for the same reason.
Nezaret-i Maarif-i Umumiye

Tanin Gazetesi sahib-i imtiyaz Tevfik Fikret Beyin vuk- istifasna mebni Darlfnun Edebiyat ubesinin birinci, ikinci, nc seneler edebiyat- Osmaniye derslerinden birinci senenin Mehmed kif, ikinci senenin Hseyin Cahid ve nc senenin Doktor Rza Tevfik beylere tefvizini Daire-i lmiyenin 8 Terinisani 324 [21 Kasm 1908] tarih ve drt yz on bir numaral karar mucibince emr-i li-i cenb- nezretpenhiye iktiraz eylemi olmakla Sicil ubesince grldkten sonra keyfiyetin dr- mezkr mdiriyetine teblii zmmnda ibu mzekkere Mektb Kalemine tevdi klnd. 26 Terinisani 324 [9 Aralk 1908] Mhr: Maarif-i Umumiye Nezareti Sicil Mdiriyeti. Mehmet kifin 1909da Darlfnun edebiyat muallimi olarak girdii ilk dersi, talebesi Reat Nuri (Gntekin) Tan Gazetesinin, 2 Knunusani 1939 tarihli nshasnda u satrlarla aktaryor bizlere: Sahne mehur Zeynep Hanm Konanda byk salon Zaman Merutiyetin ikinci senesi
* Yazar
So less is known about Mehmet Akif Ersoy as an instructor at the stanbul University
The most important document that provides information about Mehmet kif as a teacher of literature at the Darlfnun in 1908 can be found among the Ministry of Education Documents at the Office of the Head of the Ottoman Archives, State Archives General Directorate:
Nezaret-i Maarif-i Umumiye

Tanin Gazetesi sahib-i imtiyaz Tevfik Fikret Beyin vuk- istifasna mebni Darlfnun Edebiyat ubesinin birinci, ikinci, nc seneler edebiyat- Osmaniye derslerinden birinci senenin Mehmed kif, ikinci senenin Hseyin Cahid ve nc senenin Doktor Rza Tevfik beylere tefvizini Daire-i lmiyenin 8 Terinisani 324 [21 Kasm 1908] tarih ve drt yz on bir numaral karar mucibince emr-i li-i cenb- nezretpenhiye iktiraz eylemi olmakla Sicil ubesince grldkten sonra keyfiyetin dr- mezkr mdiriyetine teblii zmmnda ibu mzekkere Mektb Kalemine tevdi klnd. 26 Terinisani 324 [9 Aralk 1908]
Mhr: Maarif-i Umumiye Nezareti Sicil Mdiriyeti.

(Ministry of Public Education)
Mehmet Akif Ersoy
As the owner of the newspaper Tanin, Tevfik Fikret Bey, has resigned, in keeping with deci* Writer
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Maarif nezareti: Mehmet kifin 1908de Darlfnun Edebiyat Muallimliine baladn gsteren belge. Document of ministry of education informing that Mehmet Akif started working as an istructor at the stanbul University.
Grnte buras yediden demiyelim de on yediden yetmie kadar her yata ve her snfta insann topland herhangi bir itima salonu, bir tiyatro veya mahkemedir. Fakat hakikatte Darlfnun Edebiyat ubesinin birinci snfndayz. n sralarda idadilerden gelmi tysz ocuklar, kenarlarda sarkl sakall medreseliler, arkada smler denen kalabalk bir grup Merutiyet inklb hapishane kaplarndan sonra Darlfnun kaplarn amtr. Antre serbest ve meccanidir. Yalnz elinde tahsil vesikas olmayanlar sm adyla ieriye girerler ve sene sonunda o seneki derslerden imtihan vererek asl talebe hakkn kazanrlar. (Adamcazn belki klk kyafetine baklarak uydurulmu bir yalandr. Fakat sm talebeden birinin srk arabaclndan geldiine dair dahi bir rivayet vard.)
sion No. 411 of the Office of Education, dated 21 November, 1908, on the order of the Asylum of the Ministry Records Department, and after having been approved by the Records Department, it is ordered that the first, second, and third years of Ottoman literature will be taught by the following: Mehmed kif for the first year, Hseyin Cahid for the second year and Dr. Rza Tevfik for the third year; this report has been sent to the Directorate of the Correspondence Office so that the directorate is informed of the aforementioned contract. 9 December, 1908 Stamped: Ministry of National Education Records Directorate) The first lesson that Mehmet kif entered as an instructor of literature at Darlfnun has been reported to us by his student Reat Nuri (Gntekin); this appeared in an article in the Tan Gazetesi, dated 2 Knunusani 1939: The stage - the famous grand hall of Zeynep Hanm Manor.
Mehmet Akif, Darlfnun Edebiyat ubesinden mezun olan talebeler ve muallimlerle bir arada. (ehbal, 28 Haziran 911, say: 55) Mehmet Akif with instructors and grads of the stanbul University Faculty of Literature.
Derken kap alyor; ieriye orta boylu kara top sakall kalender bir zat giriyor: emsiyesiyle lstiklerini kapnn arkasna braktktan sonra talebe sralarna gidecei yerde muallim krssne doruluyor. O zaman yanmdaki arkadatan reniyorum ki bu zat bizim edebiyat muallimimiz air Mehmet kifdir. Hi unutmam kif o gn bize Muallim Nacinin bir tevhidini yazdrd ve ders sonuna kadar bunun izah ile urat. Koskoca bir Darlfnunda bize manzume yazdrlsn! Bu muamele fena halde haysiyetimizi krmt. Benim gibi ukallktan buram buram ten birka ocuk bu eski kafal hocay protestoya karar verdik ve dediimizi yaptk. kifin son gnlerde hasta yatanda ekilmi resmine bilmem dikkat ettiniz mi? Harabe halindeki ehrenin gzlerinde o kadar harikulde bir ate ve nur gzellii vard ki insana deta airin ruhun ebedilii hakkndaki kanaatini kabul ettirecek gibi olur. Hocamz ite o ayn gzlerle bizi dinledikten sonra: - Bakalm grrz, dedi ve ertesi derste bize Namk Kemalden, Ekremden, hatta Fikretten baz msralar okutarak manalarn istedi. Tabi hepimiz fena halde rezil olduk.
The time the second year of the Constitutional Monarchy This place seems to be any regular meeting hall, theater or court where people, from, not say 7 -70, but rather 17 to 70, that is, people of every age and class, have gathered. But in fact this is the first year of the Darfnun literature section. In the front row are the young boys who have come from the preparatory schools, on the edges sit the students from the madrasas with their turbans and beards, and at the back is a crowded group known as the sm After opening the doors of the revolutionary prison, the Constitutional Monarchy opened the doors to the Darlfunun. Entrance was for all and free of charge. However, the sm were students who did not have an education certificate; they could enter and at the end of the year they would be examined in the lessons and gain the right to be real students. (This is a story that the author has perhaps arrived at by looking at how the people were dressed. However, there is a rumor that one of the sm students had earlier pushed a handcart.) Just then, the door opens; in walks a bohemian type, of medium height, with a goatee: After leaving his umbrella and overshoes by the door, rather than heading towards to join the students, he walks towards the lectern. Then I learn from my friends that this person is our literature professor, Mehmet kif.
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O zaman: - ocuklar, bu halle siz nazariyeyi ne yapacaksnz? dedi. Ben zaten nazariyeci herif deilim (kelime kendisinindir). Siz bugn Sahaflar arsndan yzer paraya bir Terkib-i Bend ile bir Terc-i Bend alp getirin de onu size okutaym. Btn senemiz edebiyatmzn, eski ve yeni iirlerini okumak, manalarn anlamakla geti. Aradan gemi bunca seneden sonra anlyorum ki kif o zaman bizim iin yaplabilecek eylerin en iyisini yapmtr. Onun salam mant, samim ve pratik zeks rk temel zerine kurulacak nazariyelerin boluunu anlam, bir hoca iin en iyi usuln -pln, program bir yana brakarak- talebeyi hangi seviyede bulursa oradan alp yrtmek olduunu gayet iyi takdir etmitir. Otuz senedenberi mekteplerimizde birok hayrl deiiklikler meydana gelmi olmasna ramen kifin cesur ve realist usulnden bugn de ok istifade edebileceimiz kanaatindeyim. Reat Nuri gibi Falih Rfk (Atay) da Mehmet kifin talebelerinden. Vefatndan bir sene sonra Yedign mecmuasnn 20 kinciknun 1937 tarihli nshasnda kaleme ald air Mehmet kif maklesinde u hatray naklediyor okurlarna: air Mehmet kifi, ilk defa, 1911de Zeynep Hanm Konandaki Darlfnun Edebiyat ubesinde tandm. Eskilerin babayani dedikleri tavrlar gzmn nne geliyor. Sar, cbbesi ve alvar olsayd, phesiz bu tavrlar ona daha fazla yakacakt. Hi yapmac yoktu. Fecri-tinin idad genleri arasnda itibar kazand gnlerde idi. kif hakknda bu edebiyat Mektebinin hrmetsizlik hislerinin tesiri altnda bulunuyordum. Derste bir aralk yenilerden bahsetti. Gen airleri manasz olmakla itham etti. Sramdan doruldum: - Fakat bu iirler de manaldrlar.. Kaytsz ve kkseyen hali ile sordu: - Ya yle mi? Bir tanesini tahtaya yaznz da manasn bana anlatnz. Ahmet Haimi seviyordum. Onun bir ktas aklma geldi: syan- mevc-i zhire ettinse vakf- g arparken ufk-u sahile Tahtaya yazdm ve anlatmaya altm. Galiba Ruen Eref de snfta idi. Bu iiri yazan Ahmet Haimi mi, yoksa onu anlamak iddiasnda bulunan beni mi daha saptkan bulduunu bilmiyorum. Benim kendisi hakknda verdiim hkm ise hi sormaynz.
I will never forget that kif made us write a tevhid (gazel or qaside on religious subjects) by Muallim Naci and attempted to explain it to us by the end of the lesson. There, in the great Darlfnun, he had us writing poetry! This treatment greatly offended our amour propre. I and a couple of other uppity students, decided to make a great fuss and protest against this hidebound teacher; we did just as we had planned. Have you ever looked closely at the photograph of kif in the final days of his illness? There is such a beautiful fire and light in those eyes, sunk in the ruins of the face; it is as if the soul of the poet is content with the prospect of eternity.Our professor, after listening to us, looked at us with those same eyes, said: Lets see; in the next lesson he had us read some couplets from Namk Kemal, Ekrem, even Fikret, and then wanted us to interpret them. Of course, we all looked like total fools. Then he said Boys, in this condition, what use is theory? Im not a chap of theory (his own words) Go and bring me a Terkib-i Bend or a Terc-i Bend (types of poems), each one worth one hundred coins, from the Sahaflar Market, and I will read them to you. Our whole year in literature was spent reading old and new poems and trying to understand their meaning. After so many years have passed I now understand that kif did the best thing he could possibly do for us at that time. His sound logic, sincere and practical intelligence perceived the rotten vacuum on which the theories were to be placed; he also understood that the best method for an instructor was to put to one side his plans and program and take the student from whichever level they were located and lead them forward. Despite the fact that a great number of changes have occurred to our school in the last thirty years, I am of the opinion that we can gain much from kifs brave and realistic manner. Like Reat Nuri, Falih Rfk (Atay) was one of kif students. One year after his death, in the copy of the periodical Yedign, dated 20 kinciknun 1937, we can read the following memoir in the article The Poet Mehmet Akif I first met the poet Mehmet kif in 1911 at the Zeynep Hanm Manor in the literature section of the Darlfnun. I see him now with the air of those our forefathers who were called babayani (unpretentious and authentic). If he had had a turban, robe and shalwar, without a doubt this would have been more in keeping with his demeanor. There was no pretense about him. These were the days when the Fecri-ti preparatory school had gained a reputation among young people. I was under the influence of this schools disrespectful attitude to kif. In a break during the lesson he talked about these new movements. He imputed that these young poets wrote meaningless poetry. I rose from my desk: But these poems are meaningful
kifi okuduum vakit, Namk Kemalin mehur kasidesini, Tevfik Fikretin Balklarn veya Hasann Gazasn, Muallim Nacinin Bedir Gazvesini, yahut Bir Muhacir ocuunun Feryadn hatrlarm. kif, hakikatte, Naci gibi lisanc, Fikret gibi nzmc ve Namk Kemal gibi, eski tbiri ile hmas idi. Fakat medresenin airi idi.
kifin Ispartal Hakkya yazd Darlfnunla ilgili mektubu. / Letter which Akif wrote to Ispartal Hakk about the University of stanbul
He asked with a nonchalant and disparaging air: Is that so? Write one on the board and explain the meaning to me. I loved the poems of Ahmet Haim. I recalled a couplet by him: syan- mevc-i zhire ettinse vakf- g arparken ufk-u sahile I wrote it on the board and tried to explain it. I think Ruen Eref was also in this class.
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Mehmet kifin 1908den 1913e kadar devam eden Darlfnun edebiyat muallimlii hakknda bilinen en arpc belgelerden biri de 1911 ylna ait Darlfnun mezunlarn gsteren hatra-i cemiyet fotoraf. Fotoraf dnemin mehur mecmualarndan ehbalin 28 Haziran 1911 tarihli nshasnda yaymlanyor. Fotorafn n srasnda Mehmet kifle birlikte yer alan muallimler ayn
zamanda dnemin fikir ve edebiyat hayatna tesirleri olmu mehur simalar: ehbenderzde (Filibeli Ahmed) Hilmi, Hseyin Dni (Pedram), Namk Kemal Beyzade Ali Ekrem (Bolayr), Ahmet Hikmet (Mftolu), Darlfnun Edebiyat ubesi mdr (zmirli) smail Hakk, Ahmed Midhat Efendi, (Babanzde Ahmed) Nim Bey Mehmet kifin 1912de Ispartal Hakkya yazd bir mektubun muhtevas da bizleri Darlfnun muallimlii hakknda ipularna ulatryor: ki gzm Hakk, Dn sabah Darlfnuna gittim. smail Hakk Beyden ii anladm: Benim dediim gibi imi. Mnhal olan muallimlik benim geen sene okuttuum derstir ki ona iki hafta evveli bizim Ferid [Kam] beyi intihab etmi idik. Ancak henz Nezaretce tevcih olunmam. Bu Pazar gn Encmen-i Muallimn tekrar toplanacak. Tabiidir ki karar- sbknda srar ile yine Feridi intihab edecek. Artk nasip deilmi diyerek baka bir ie bakmalyz. Hem ben senin mebus olacan kavi surette tahmin ediyorum. Olmasan bile senin iin i oktur: Zift gibi maln olsun Erzincandan kel eker!! Sana dokuz tane krs gnderiyorum. On idi, birini bizim Nezaret muavini ald. Bunlar erbabna ver. be tane daha hediye ederim. Bki dua kenncmi f eshr. Sebilrreadn hem mfessir hem airbas Mehmed Akif, 6 Eyll [1]328 Krslerin biri senindir. Takdimesini 8 yazdm. Son sz yerine belgeler ve hatralar nda Mehmet kifin Darlfnun edebiyat muallimliine dair aktardmz bilgileri nazar- dikkatinize arz ediyor ve sizleri Mehmet kifin 20 Nisan 1316 [3 Mays 1900] tarihinde Ispartal Hakkya gnderdii ve hibir yerde yaymlanmam bir iiriyle ba baa brakyoruz: Feyz-i rebiye bak Zmrde dnm trab Bulmu o tesir ile Khne cihan b tb Bizde neden var fakat Yok yere bir ztrab? Zulmet-i t ise Ruha veren p tb Ah ne mdhi hata Ah ne yanl hesab! Mbhem olan n in Doru mu ekmek azab Sen demiyor muydun ey Yr- belul-hitab! Hz ganimet umr Fursat- ahd-i ebb Tekye ber-eyym nst T diger yed behr
I do not know if the problem was due to Ahmet Haim, the author of this poem, or to me, who was trying to prove a point. Dont ask me about what I thought about him. I remember Namk Kemals famous qaside, Tevfik Fikrets Balklar or Hasans Gaza, Muallim Nacis Bedir Gazvesi, or Bir Muhacir ocuunun Feryad when kif read them to us. In truth kif was a linguist like Naci, a versifier like Fikret and like Namk Kemal, in the old expression, an author of epics. One of the most striking documents known to exist about Mehmet kif as a professor of literature at the Darfnun, where he continued from 1908 until 1913, is the hatra-i cemiyet (commemorative photograph) of the graduates of the Darlfnun, dated 1911. The photograph was published in the famous journal of the day ehbal, in the edition dated 28 June, 1911. In the front row of the photograph we can see famous faces who had an effect on the philosophical and literary life of the era, people who were teachers along with Mehmet kif: ehbenderzde (Filibeli Ahmed) Hilmi, Hseyin Dni (Pedram), Namk Kemal Beyzade Ali Ekrem (Bolayr), Ahmet Hikmet (Mftolu), the director of the Darlfnun Literary Section (zmirli) smail Hakk, Ahmed Midhat Efendi and (Babanzde Ahmed) Nim Bey The contents of a letter that Mehmet kif wrote to Ispartal Hakk in 1912 also give us some clues about his time as an instructor at the Darlfnun: My dearest Hakk, Yesterday I went to the Darlfnun. smail Hakk Bey told me what the situation was; it was as I had thought. The vacant post Ispartal Hakk Bey. for instructor of the lessons I taught last year has been given to Ferid [Kam] Bey; he was selected two weeks ago. However, this has not yet been confirmed by the Ministry. This Sunday the Encmen-i Muallimin (Teachers Council) will convene again. Of course, they will insist on this earlier decision and Ferid will be Mehmed kifin Sebilrread ba muharrirliini appointed. I guess it is not to be gsteren kartviziti/ Mehmed Akifs card as the editor and we should look for another in chief of Sebilrread job. I strongly believe that you will become a member of parliament, even if you dont, there is plenty of work for you to do If something is useful, customers will come even from Erzincan! I am sending you nine reading stands. There were ten, but one was taken by the assistant minister. Give them to those who are competent ones. I will send three or four more. My everlasting prayers, like the stars before dawn The literary interpreter and head poet of Sebilrread, Mehmed Akif, 6 September [1]328 P.S. One of the reading stands is yours. I have written 8 on that one. Finally, let me leave you with the above information, gleaned from documents and memoirs, about Mehmet kifs period as instructor at the Darlfnun, and present you with the unpublished poem that was sent to Isparal Hakk on 20 Nisan, 1316 (3 May, 1900).
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Feyz-i rebiye bak Zmrde dnm trab Bulmu o tesir ile Khne cihan b tb Bizde neden var fakat Yok yere bir ztrab? Zulmet-i t ise Ruha veren p tb Ah ne mdhi hata Ah ne yanl hesab! Mbhem olan n in Doru mu ekmek azab Sen demiyor muydun ey Yr- belul-hitab! Hz ganimet umr Fursat- ahd-i ebb Tekye ber-eyym nst T diger yed behr
Mehmet kifin Ispartal Hakkya gnderdii ve hibir yerde yaymlanmam bir iiri. Mehmed Akifs unpublished poem which he posted to Ispartal Hakk
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ncler daima eletirilir.

Sylei: Hseyin SORGUN
MUSTAFA SZER
The avant-gardes are always criticized.

Intervew by: Hseyin SORGUN
MUSTAFA SZER
Mustafa SZER; stanbulu ilk grdmde bylendim / Mustafa SZER; I was mesmerized when I saw stanbul for the first time.
stanbulu ilk grdmde bylendim

Syleen: Hseyin SORGUN* Yolu Taksime denler, yle hafiften balarn yukar doru kaldrdklarnda mutlaka grrler, camlarnda gkyzn yanstan binay Tarlabandan Taksim ynne giderken, boynunu uzatm, szer gelenleri Bu binann tam kalbinde Szer Grubu yer alyor ve Szer Grubunun ardnda ise Gaziantepte balayan ve stanbula kadar uzanan 50 yl akn bir yk yayor. Tabii ki Mustafa Szer bu yknn bakahraman. Merakmz mucibince, uzunca bir sredir kimseye mlakat vermeyen Mustafa Szerden randevu aldk. Boaz ve stanbul, bu syleiye tanklk etti; sorular sorduk Arada bir gzlerimiz manzarann gzellie kaymad deil Mustafa Szer, itenlikle sorularmz 1453 Dergisi iin cevaplad. stanbulun son yarm asrna gz gezdiren bu syleiye siz 1453 Dergisi okurlar da tanklk edeceksiniz. Szer ailesini sizin anlatmnzla biraz tanyabilir miyiz? Babam Malatya annem Elaz doumlu Onlar Malatyada tanp, evlenip Antepe yerlemiler. Antep imdi olduu gibi o zaman da i merkeziydi Ben Antepte dodum ve ilkokulu Gaziantepte bitirdim. 1960 senesinde ilk kez stanbula geldim. Babam beni stanbulda okutmak istiyordu. SirkeciEminn blgesi babamn mal ald yerlerdi. Orada genelde gayrimslim iadamlaryla alyorduk. Babam onlardan aklna gvendii birisine, Ben olumu burada okutmak istiyorum, hangi okulu tavsiye edersiniz, dedi. Musevi iadam, Benim o* Yazar
Mustafa SZER;
I was mesmerized when I saw stanbul for the first time.

Interview by: Hseyin SORGUN* If people passing through Taksim lifted their heads a little, they would be able to see the building which reflects the sky in its windows. The Suzer Group is located in the heart of this building, and this Group has a history which dates back more than fifty years, starting in Gaziantep and continuing in Istanbul. It is not a surprise that Mustafa Suzer is the main character in this story. Curious to find out more, we made an appointment with Mustafa Suzer, who hasnt given any interviews recently. With the beautiful views of the Bosporus and Istanbul in the background, Mustafa Suzer answered our questions for 1453 Magazine. The interview also provides a glimpse into the last half century in Istanbul. Could you share a little information about the Suzer family?
Mustafa SZER;
My father was born in Malatya and my mother is from Elaz. They met in Malatya, where they married. They moved to Antep, which was a business center back then just like iir yazmadm ama aklma kazdm it is now. I was born in Antep and completed primary school there. stanbulu, on bir yamda geldim ve
bylenmi gibi oldum.
I didnt write poems but Istanbul stayed in my mind. I was eleven when I came here and I was mesmerized.
* Writer
I came to Istanbul for the first time in 1960 since my father wanted me to continue school here. The Sirkeci Eminn region was where my father bought his merchandise. We generally worked with the non-Muslims in that area. My father asked one of them, whose opinion he trusted, where I should
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lum Saint Benoitda okuyor istersen sen de oraya gnder, dedi. Olunu yanmza katp bizi okula yollad. Karakyde Saint Benoitdan bize kaytlarn kapandn imtihanlarn yapldn sylediler. Fakat orada bizi bir rahip grd, okulun mdrym, odasna davet etti. Bize birer gazoz smarlad ve ne iin geldiimizi sordu, biraz da sorguya ekti. Neler sordu size? Gncel eyler sordu, futbol takmlarn sordu, Demokrat Partiyi sordu, Halk Partisini sordu. Sonra benden ald cevaplar houna gitmi olacak ki, Kaytlar kapand ama benim kontenjanmdan seni okula alacam, dedi. Fakat babam hi sevinmiyor, yz hi glmyordu. Babam bu konumadan sonra kayt yaptrmamak iin beni elimden tutup dar kard. Dier ocuu geri yolladk. Ne oldu baba? dedim. Sen daha kksn, dedi. Yok, baba burada okumak istiyorum dedim. Olum, buras ok khne bir yer, rutubetli bir bina ben burada okuman istemiyorum, dedi. Tekrar Antepe dndk. Bu stanbula ilk geliiniz oldu!.. Tabi bir kere stanbulu grdn m bir daha geri dn olmuyor. Ortaokul birinci ve ikinci snf Antepte okudum. Sonra tutturdum tekrar gideceim diye. Neyse stanbula tekrar gittik. imdiki Emirganda Polis Evinin olduu yer o sene okul olarak almt; Boazii Akgn Koleji. Binas gzel, etraf gzel... Oraya kaydettirdi beni. lk stanbulda okuma maceram 1962de orada balad. niversite de stanbulda devam ediyor. O zaman nasld niversite ortam? niversite iin Hukuk Fakltesini tercih ettim. Hukuk Fakltesinde tam 196768 dnemi. Birinci snftan ikiye getim, ikinci snfta okulda her gn kavga dv. Dnem arkadalarm Deniz Gezmi, Celal Doan, Cavit Kavakt. Byle aktif bir dnemdi. O zaman da Antepte bir inaat firmas kurmutum; Ben zaten iadam olacam. Her gn kavga dvn iinde ne iim var? diye dndm. Getiim snfn derslerini aktardm ve ilide zel bir okul olan ktisadi ve Ticari limlere devam ettim. niversitede okurken ayn zamanda i hayatna da girdiim iin devam mecburiyetinin olmamas ie de uygundu. lerimin bir ksm Antepte bir ksm burada olduundan gidip gelerek ilerimi yrtmeye baladm. Bu gelgitte stanbulda karar klmanz ne zamana denk geliyor? Sonra, stanbula yerlemeyi istedim. niversiteyi bitirince bir de ortaklk kurmak istedim. Babam raz olmad, Sen daha acemisin, gensin, orada sana sermaye vermem dedi. Antepe istedi beni. Orada baladk i hayatna ama stanbul zlemi balad. 10 sene kadar Antepte altktan sonra tekrar, bu sefer kendi sermayemle kendi imknlarmla stanbula geldim. Karakyde ilk iyerimi Necatibey Caddesinde atm. Ne zerine atnz? lk iyerim makine takm tezghlar, inaat malzemeleri zerineydi. Ayrca, hal mobilya, kilim gibi Antepte retilen eylerin de satn buradan yapyorduk. Sonrasnda Teknik niversite karsnda Gmsuyundaki binaya tandm. Orann drt katn tuttum. Bodrum depo gibi, giri kat perakende, onun st katnda toptan sat ksmn kurdum. almaya baladk. Bu arada ben Gaziantepte ihracata baladm. Suriyeye Fasa falan ufak tefek eyler sattm. Biraz perde, biraz bakliyat, hatta patates sattk. Her iadamnda ansn dnd bir an vardr; sizin ansnz ne zaman dnd? Sanyorum 1983 senesiydi. Bir gn sabah ie gittiimde, arkadalarn bir ahs odamda arladklarn grdm. Ne oluyor dedim. Bir Arap geldi bir eyler soruyor, biz anlamyoruz senin ngilizcen var gel konu dediler. Gittim konutum, adam Libyal. Kaddafi Trkiye ile ticareti gelitirin demi ve be milyar dolarlk mal alacaksnz diye btn satnalma irketlerinin mdrlerini, genel mdrlerini buraya yollam. Adam diyor ki Ben ne alacam bilmiyorum. Bize emir geldi, bir eyler almak zorundaym. Vitrinde elektrikli frnlar, hallar grdm. Onlardan almak istiyorum. dedi. Biz toptancyz, bunlar size ucuz fiyattan veririz dedik. Peki dedi ve 50 bin frn, 5.000 tane para kasas, ok yksek miktarda bir hal siparii verdi, srf kotay doldurmak iin. Siparileri ok ksa zamanda yolladk ve baardk bu ii. Bunun zerine bir daha geldiler. Bu sefer et irketinin mdrn de getirmiti, et almak istiyorlard. Sen et verebilir misin dediler. Aslnda ben koyunla keiyi ayrt edecek bir adam deilim. Antepte, ehirde bydm. Veririz dedik. Ondan sonra 40.000 tonluk byk bir sipari aldk. Ama yle donmu et falan deil, donmu eti gndermek daha kolay. Alyorsun, donduruyorsun depoya atyorsun istediin zaman gnderiyorsun. Adamn istedii soutulmu taze et. Onun ok ksa zamanda kesilip askda belli bir sda 10 saat kalp sonra paketlenip uakla gitmesi lazm bozulmasn diye, yani byk bir yar ii bu. Allahn izniyle hallettik, yolladk.
go to school. The Jewish businessman replied, My son studies at Saint Benoit. If you wish, you can send your son there as well. My father sent me to school with the businessmans son. At Saint Benoit in Karakoy, they told us that the registration period had already closed. However, while we were there, a priest, who was also the principal of the school, invited us to his office. He offered us soda and asked why we were there. Actually, he interrogated us a bit. What did he ask you? He asked about current issues - about football teams, the Democratic Party, the Republican Peoples Party. Afterwards, probably because he liked the answers we gave, he said, Registration is closed, but I can find a place for you. But my father wasnt pleased; he wasnt smiling. My father grabbed my hand and pulled me out of the office. I asked my father what was wrong. He said, You are too young. I told him I wanted to study there. However, he said, This is a run-down place my son, it is musty, and I dont want you to study here. Then, we went back to Antep. That was your first visit to Istanbul! Of course, once you see Istanbul, there is no turning back. I completed the first two years of secondary school in Antep. Then I insisted on returning to Istanbul. A new school called Bogazici Akgun College had opened that year in Emirgan, where the Police House is now. Both the school and the surrounding area were nice. My father enrolled me in that school. My adventure studying in Istanbul began there in 1962. You also attended university in Istanbul. How was the university atmosphere back then? I chose to study law at university. In 1967-68, during my sophomore year, debates and fights took place every day at the university. My friends were Deniz Gezmis, Celal Dogan and Cavit Kavak. It was such an active period. At that time, I set up a construction company in Antep. I thought to myself, If am going to be a businessman anyway, what am I doing in the middle of all these fights every day? So, I transferred to a private school called Economic and Commercial Sciences in ili. I ran my business and studied at the same time, so not being required to attend classes was convenient for my business. Because my work was divided between Istanbul and Antep, I travelled back and forth between the two cities. When did you make the decision to settle in Istanbul? I wanted to settle down in Istanbul. After I finished university, I wanted to form a partnership with my father but he didnt accept. He said, You are too young and nave, I wont give you capital for a business there. He wanted me to return to Antep. Thus, I started my business life there but after a while I started to miss Istanbul. After working in Antep for 10 years, I returned to Istanbul with my own capital and my own means. I opened my first business on Necatibey Street in Karakoy. What kind of business did you start? I sold tools and building materials. In addition, we sold rugs, carpets, and furniture from Antep. Then I moved to a building in Gmsuyu, right in the front of the Technical University. I rented four floors. The basement was for storage, the ground floor was for retail and the upper floor was for wholesale. We started working. In the meantime, I started to export from Antep. I sold small things to countries like Syria and Morocco. We also sold some curtains, legumes and even potatoes. Every businessman has a stroke of luck in his life, when was it for you? I guess it was in 1983. When I went to work one day, I saw my friends talking to someone in my office. I asked them what was going on. They told me that an Arab was asking for something. They asked me to speak to him since they couldnt speak English. He was from Libya. Gaddafi had told them to enhance trade with Turkey and sent the purchasing managers from all companies to Turkey to buy $5 million worth of products. The man said, I dont know what to buy. We were ordered to buy something. I saw electric ovens and rugs in the shop window; I want to buy those. I told him that I was a wholesaler and would sell them to him at a cheaper price. He ordered 50,000 electric ovens, 5,000 safes, and a large number of rugs just to meet the quota. We were able to fill the orders at short notice. A short while later he returned with the manager of a meat company who asked if I could supply them with meat. In reality, I am not a man who can tell a sheep from a goat. I grew up in the center of Antep. But I told them that we could supply the meat. But we received a massive order for 40,000 tons. But
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Libya uurlu geldi size Evet, Libya bizi ihracatta bytt. Rahmetli zal da o srada bizi ihracata girin diye sktryordu. hracat irketler kuruyordu Japonya ve Koredeki gibi. Biz de ihracat sermaye irketi olduk, ve daha ok d ticarete odaklandk. O zaman ben Saba ve Siemens televizyonlarnn Trkiyedeki genel toptancln yapyordum. Onlar azalttk ihracata yklendik. hracatta ok baarl sonular aldk. Trkiye ihracatlarnn bakan seildim, yedi-sekiz sene kadar bakanlk yaptm. Rahmetli zalla ilk ihracata baladmz zaman Trkiyenin tahmin ediyorum 2 milyar 800 milyon ihracat vard, ama ben ihracatlarn bakanln braktmda 45 milyar dolara kadar kmt. ok byk apta bir art olmutu. Bunun yan sra ihracat kltr ve gelenei de olutu. Artk Anadoludan kan bir insan da rahata gidiyor maln satabiliyordu. Geenlerde ben Sayn Cumhurbakanmzla Kenya ve Tanzanyaya gittim. Her tarafta Trk iadam bulunuyor artk. Gitmiler yerlemiler. Her yerde Trkler var. Benim her zaman syle-
the order was not for frozen meat which would have been easy to ship. You just buy it, freeze it, put it in storage and send it whenever you want. What the man wanted was refrigerated fresh meat. That kind of meat needs to be butchered at a short notice and then hung for ten hours at a certain temperature. Then it should be packaged and shipped by plane so that it wont spoil. It is a huge race against time actually. With Gods will, we figured it out and shipped the meat. So Libya brought you good luck then Yes, Libya made our exports grow. In the meantime, the former Prime Minister Ozal was encouraging us to export. He set up export-oriented companies like the ones in Japan and Korea. We became a firm whose capital came from exports and we focused on foreign trade. Back then, I was the general wholesaler for Saba and Siemens televisions in Turkey. We cut back in this area and focused on exporting. We were very successful in exporting. I was elected as the head
Szer Plaza / Suzer Residence
diim bir sz var. Diyorum ki bir lkenin en byk varl ne petrol, ne madeni ne usu ne busu En nemli varl insan varl. nsanlar iyi yetimise, mteebbisse, cesursa, namusluysa o lkenin baarl olmamas mmkn deil. Bugn Japonya kk adalar topluluu, nemli bir tabii kayna yok ama insanlarna yllk fert bana 40 bin dolar kaynak salyor. niversite dnemleriniz ile gnmz kyasladnzda nasl bir tablo kyor ortaya? imdi yle syleyeyim. O dnemde Trkiyede sac ve solculara anarist diyorlard ama o zaman anarist denilen kiilerin hepsinin niyeti iyiydi. Hepsi Trkiyeyi nasl kalkndrrz, nasl iyi bir lke yaparz diye rpnyorlard. Herkesin yolu farklyd ve nedense bunun demokratik yollarla olmayacana inanmlard. Herkes bir ekilde kendinin daha hakl olduunu Trkiyeyi daha iyi kalkndracan Trkiyeyi daha ileriye gtreceini dnerek mcadele veriyordu. Bizim dnemimizde, o yllarda zaten anarist denilen kiilerin adam ldrd falan da yoktu. Kavga vard dv vard ama daha tesi deil. Biraz da bu iyi niyetin gaza gelir, galeyana gelir taraf var m? Tabi genlikte gaza gelmek kolay, birileri bunlar kullanm da olabilir, birileri bir ekilde bunlar ynlendirmi de olabilir. Tabi ben onlarn ok ilerinde deildim ama ynlendirme hadisesini hissedecek kadar farkndaydm.
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of Turkish exporters and held the position for 7-8 years. When we first started exporting under Ozal, I believe the value of Turkeys exports was $2.8 billion; by the time i resigned as the head of the Turkish exporters, the value had increased to $45 billion, a significant increase. In addition, a culture and tradition of exporting developed. Now people from Anatolia can sell their merchandise without difficultly. Recently I went to Kenya and Tanzania with the president. Turkish businessmen are everywhere today; they have settled around the world. I always say the greatest asset of a country is neither its petroleum nor its mines nor anything else. People are a countrys greatest asset. If the people are entrepreneurs, well-educated, brave and honorable then it is not possible for that country to fail. Today, Japan is composed of a small group of islands without any significant natural resources, but it provides $40,000 dollars per head annually for its people. When you compare your university days and today, what kind of a picture do you see? Let me put it this way. At that time both the people supporting the left and the right were called anarchists, but they all had good intentions. All were struggling for the betterment of Turkey, but everyone had a different path and believed this goal couldnt be achieved using democratic methods. One way or another, everybody thought that they were right and was struggling with the idea of a prospering Turkey and a better future. During that time, the people called anarchists did not kill anyone. There fought each other, but nothing more.
Sizin ticaretle urayor olmanz, o dnemin genlii dnldnde dnem olaylarna katlmamanz iin bir neden oldu mu? Benim ailem i hayatndan gelmeseydi, babam tccar olmasayd, dedem esnaf olmasayd belki ben de o gnlerde o atmosferin iine girerdim. Biraz daha temkinli olmaya beni iten aile gelenekleri olabilir o dnemde. Mesela sabahlara kadar tartrlard; ben yle toplantlarna falan pek katlmazdm. Bir gn bir solcu arkada atyor tutuyor Rusyada insanlar byle yayor yle yayor diye Hi Rusyay grdn m? dedim; grmedim dedi. Gr de yle gel bakalm insanlar gerekten mutlu mu? Yani siz burada zengine atyorsunuz, st seviyedeki insanlarn bir ekilde nn kapattn dnyorsunuz; ama ben Rusyada da o zaman komnist partisi yelerinin iyi yaadn tahmin ediyorum. Yarn orada sol ortadan kalksa komnist partinin yeleri en iyi tccar olurlar, dedim. Bu laf 1968lerde syledim. Gerekten Rusyada sonradan Glasnost oldu ve baktk komnist parti yelerinin her biri byk iadam oldular. Yani bir adamn zeks
Can people with good intentions get carried away? Sure, it is easy to get carried away when you are young; some might have used or manipulated these people. I wasnt too involved too, but I was aware that some people were being manipulated. Did you not get involved with the incidents in that period due to your involvement in business? If my family hadnt been involved in the business world, if my father wasnt a merchant and if my grandfather hadnt been an artisan, perhaps I would have been involved with the events of those days. The influence of my family might have kept me from participating. For instance, my family argued until dawn, but I did not usually get involved. One day, my leftist friend was raving about how people were living in Russia. I asked him whether he had ever been to Russia, he had not. Then I said, First, go and see if the people there are really happy. Here
Szer Plaza / Suzer Residence
cesareti onu yukarya itiyorsa, abas iinde ille yukarya gidecek demektir. Ayn eyi hangi rejim olursa olsun gsteriyor adam. O yzden insanlarn ben geri kaldm o ileri gitti demesinde ok hakllk yok, biraz o insanlarn abasyla ilgili, almasyla ilgili, biraz da genleriyle ilgili. Aile eskiden beri ticaretle mi urayor? Dedem bile esnaft benim. Aslnda iftiydi Malatyada ama Antepe geldiinde esnafla balad. Ondan sonra babam irketlerini kurdu. Sonrasnda ben geldim. imdi de ocuklar alyor. Drdnc nesil benim ocuklarm. Pekiyi aile ne zaman geldi stanbula, babanz ne zaman geldi? Biz yaklak olarak 1977-78 senesinde hep beraber geldik. Babamla aslnda ok almadm ama tesadfen yle oldu. Babam Pera Palas ald o zaman. Ben de ie Karakyde bir maazayla baladm stanbul servenine. Yani tam bir aile irketi deil miydi o zaman? Benim ustam babamdr. Babamla beraber altmz gnler de oldu. Kardelerimle birlikte altm. Ama ben babamdan ayr balamtm. Kardelerimden askerliini bitirenler yanma geldiler. Baktm ki iyi yrmyor iler. Bizim profesyonellerimizin aile ile beraber almasnda bazen sorunlar oluyordu. Onlarn her birine birer sermaye birer i vererek eitli blmlere ayrdm ve herkes
you are against the rich, you believe that the elites are blocking your way; but Im sure the members of the communist party in Russia are living the good life. If the left is one day destroyed in Russia, then the members of the communist party will become the best merchants. I said this in 1968. Sure enough, Glasnost occurred in Russia shortly afterwards and the next thing we knew, every member of the communist party became an important businessman. If the intelligence and courage of a person push him forward, it means he moves forward because of his efforts. The same thing is possible in every regime. Therefore, it is not fair for people to say, I fell behind while the others advanced; this is about the efforts of people, their hard work, and a little about their genes. Has your family always been involved in trade? Even my grandfather was an artisan. Actually, he was a farmer in Malatya but after he arrived in Antep, he became an artisan. Afterwards, my father started his businesses. Then I came. Now my children are working. They are the fourth generation. When did your family come to Istanbul? When did your father come? We came to Istanbul together in 1977-1978. In fact, I didnt work with my father that much; it happened by chance. My father bought the old Pera Palace and I opened my first store in Karakoy.
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kendisi alsn dedim. nk ben biraz prensip sahibiyim. Ailenin hepsi iadam tccar falan, kimimiz orta kimimiz byk hepimiz i hayatnn iindeyiz. Yalnz oullarmla beraberim u anda. Pera Palas serveni tam olarak nasl balad? Babam orann hisselerini toplad. Ve bir ekilde o hisseleri topladktan sonra bana geti. Oras farelerin cirit att kt bir yer haline gelmiti. O zamana kadar otelcilik yoktu. Niye Pera Palas, neden otelcilik? Babam orada kalm ve beenmi. O sralar demek ki stanbula da gelmek istiyormu; satldn renince ilerini tasfiye edip orann bana geti. Ben Antepteki ilerimi tasfiye etmedim bir sre daha devam ettirdim. nk benim Antepte ilerim baya bymt. naat yapyordum, inaat malzemeleri, makine-motor takm tezghlar, blgeye toptan ev aletleri, televizyon satyordum. Dolaysyla benim Antepteki ilerimi kapatmam be alt sene srd. Buraya tandktan sonra da birlikte almadk babamla. Bir yar var myd babanzla aranzda? Antepte tatl bir yar oluyordu zaman zaman aramzda. Benzer iler yapyorduk. Ama stanbulda tamamen ayr konularda altk. Babanzn vefatna kadar Pera Palas Szer Grubunda kalm. Peki, hi dndnz m ya da istediniz mi babanzdan kalan o bayra tamay veya o ii devam ettirmeyi. Aslnda stanbulun tarihi kimlii asndan ok nemli bir yer. Eer ben alsaydm oray dier kardelerim, Aabeyimiz bizim elimizden ald oray gibi dnebilirlerdi. Oysa ben babamn mirasndan hibir ey almadm, kz kardelerime braktm her eyi. Anneme de aldrtmadm, Anne sen alma kardelerim alsn dedim. Onlar da sata kardlar ve deerli dostumuz hsan Kalkavan satn ald. Ben almay uygun grmedim. hsan Bey de eminim Pera Palas gerektii gibi renove eder ve altrr. Rahmetli Hasan Bey oray satn aldktan sonra epey bir eyler yapm, almalar yapm Atatrkn kald oday mze haline getirmi. ok enteresan bir serven var orada deil mi? ok emei, almalar var orada. ok seviyordu oray. Oray ilk aldnda bina dklyordu. Btn dnya basn da haberler yapt, Pera Palas tekrardan canland, her taraf yenilendi ok gzel bir hale geldi diye. Fakat yine de kendi vefat ettiinde tamamen yenilenmesi gerekiyordu otelin. Sanrm kardelerim de onun iin arzu etmediler. Kltr sanata yatrmlarnz var m, zellikle yre kltryle ilgili? Gaziantepte bir mzemiz var babamn adn tayan, Hasan Szer Etnografya Mzesi. Eski bir Antep evini alp mze haline getirdik. ok gzel evler var orada. Burada da kltr sanatla ilgili olarak bizim Szer Sanat Merkezi var. Orada kltre destek veriyoruz. nci Aksoy ynetiminde EKAV Art Galleryyi setik. Onlar srekli ok gzel almalar yapyorlar, biz de her trl destei veriyoruz. Sergiler alyor, ok da houmuza gidiyor. Ayrca bir de tiyatro var. Tiyatro MAAN. 100 kiilik bir salon. Hem kendi oyunlarn sahneye koyuyorlar, hem de sahnelerini baka tiyatro gruplaryla paylayorlar. Sene iinde gerekten ok keyifli ve nemli oyunlar sergileniyor, izleniyor. idem Simavi Hanmefendi de zaman zaman ok gzel etkinlikler yaparak zenginletiriyor Szer Sanat Merkezimizi. zel bir koleksiyonunuz var m? Ben koleksiyoner deilim. Ama evimde gzel eserler var. Sadece evime ve iyerime lzumlu olan paralar alyorum. Daha fazlasna gitmiyorum yani bir koleksiyon merakm bu yaa kadar olmad. Zamannda olmad, belki bundan sonra olur ama gzel bir para bulduum zaman alrm. Evimin ve i yerimin tk tk olmasn istemiyorum. Her yerin bir sanat eseri olduu bir evde de yaamak istemiyorum. Ama Bebekte bizim bir kkmz var. Annem ve babam senelerce orada yaadlar. 1982de satn aldm ben o kk. 120 senelik ok gzel bir kk. Manolyal Kk olarak Bebekte biliniyor. Oray alr almaz korumak iin ok aba sarf ettik. nk herkes eski kkleri yakp yerine apartman dikerken biz her tarafa yangn sndrme cihazlar kurduk ve iki kii devaml ierde yatrarak kkn korunmasn saladk. ok gzel bir ekilde dekore ettik, iinde annemle babam uzun sre yaad. Babam ldkten sonra geen sene annem bu ev bana ok byk ben burada yapamyorum dedi. 1200-1500 metrekare arasnda 4 katl bir yer. Ahaplar falan ta o zaman sveten getirtilmi, 1880lerde. imdi bir finans irketinin ofisi olarak kiraya verdik. Onlar da iyi bakyorlar binaya ve Manolya aacna.
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So at that time it was not exactly a family business? My father is my mentor. There were days when we worked together. I also worked with my brother. But, I started independently from my father. After my brothers completed their military service they came to work with me. However, I saw that the business was not working. Sometimes problems occurred when the professionals in our company worked with members of my family. I gave each of them capital and something to focus on; I delegated them to different divisions. I told everyone to work individually. All of the members of my family are either businessmen or merchants, some of us have mid-sized business, others are largescale, but we are all in business. Right now, I only work with my sons. How did your family become involved with the Pera Palace? My father owned shares in the hotel, and after accumulating more and more shares, he became the primary shareholder. It was an awful place, swarming with mice. Until then, your family wasnt in the hotel business. Why the hotel business, why the Pera Palace? My father had stayed there and liked it. He had wanted to move to Istanbul around that time. When he found out that the hotel was for sale, he liquidated his business in Antep and took over the hotel. I didnt liquidate my business in Antep immediately; I continued working there for a while as my business in Antep had expanded a lot. I was doing construction and selling construction materials, machines and motorized tools, household appliances and televisions. Thus, it took five to six years for me to close my business in Antep. Finally, I moved to Istanbul but I didnt work with my father. Was there competition between you and your father? In Antep, there was friendly competition between us from time to time. We had similar businesses. However in Istanbul, we worked in totally different sectors. Until your fathers death, the Pera Palace belonged to the Suzer Group. Have you ever considered or did you ever consider continuing your fathers business? In fact, the Pera Palace has historical significance in Istanbul. If I had taken over, my other brothers might have thought that I had taken it from them. In fact, I didnt take anything from the inheritance I received from my father; I left it all to my sisters. I didnt even let my mother take it; I told her to let my sisters take it. Then, my sisters put it up for sale and our dear friend Ihsan Kalkavan bought it. I didnt think buying it myself was appropriate. I am sure that Ihsan will renovate and run the hotel well. After buying the place, your father made a lot of changes there. For instance, he turned the room Ataturk stayed in into a museum. He had many interesting experiences there, didnt he? He really put a lot of effort and hard work in there. He loved that place a lot. When he first bought it, the building was falling apart. The international press reported on how the Pera Palace had been reborn and had been renovated from head to toe into a beautiful place. However, after my fathers death, it needed another total renovation. I guess that is why my brothers werent interested in keeping it. Are you involved in culture and art, specifically in your local culture? We opened a museum at Gaziantep that was named after my father, the Hasan Suzer Ethnography Museum. We took an old Antep house and transformed it to a museum. There are many beautiful houses in Antep. We also opened a center of culture and art called the Suzer Art Center. We support culture in Antep. We have chosen the EKAV Art Gallery, managed by Inci Aksoy, to support. They have many different beautiful exhibitions which we enjoy. In addition, we have a one hundred-person theater called Theater MAAN. They put on their own plays there as well as share the theater with other groups. Throughout the year, the theater organizes entertaining and important plays. From time to time, Cigdem Simavi also appears at the Suzer Art Center. Do you have a special art collection? I am not an art collector, but I have beautiful artwork in my house. I just buy pieces that I need for my home and office. I didnt have an interest in collecting until this age. I didnt have the time for it either, but maybe now I will. But, I only buy something when I find a beautiful piece. I dont want my home and office to be too crowded with artwork. However, we have a 120-year old mansion in Bebek, which I bought in 1982, where my parents lived for years. It is known in Bebek as the Mansion with Magnolias. We put a lot of effort into preserving it after we
Neler okuyorsunuz? Ben her eyi okuyorum. Frsat bulduka tarih okuyorum. nemli insanlarn yaamlarn, biyografilerini, okuyorum. Ayrca dinlerle ilgili kitaplar ve polisiye romanlar okuyorum. stanbul nasl bir ehir sizin iin neyi ifade ediyor? nk ok gzel bir yerden de bakyorsunuz stanbula. Bizim oturduumuz ev de, ofisimiz de Boazda. Allahn ansl kuluyuz bize bunu bahetti. stanbulun en byk zellii bir kere dnyadaki konumu, yeri ok gzel... kincisi gzel, ok eitli insanlar var. Eskiden tabi gayrimslimler daha fazlayd. imdi biraz daha az ama onlar da stanbulun tad tuzu. stanbul eskiden ok daha gzeldi daha iyiydi diye sylyorlar ama ben inanmyorum, stanbul imdi gzel. Ben 1960da stanbula geldiimde boyal ev yoktu. Yol yoktu, ara yoktu, evler ok dklyordu, gzel bina yoktu. stanbulun gzel binalar 1800-1900l yllarn banda yaplan tarihi eserler var, ondan sonra 1980lere kadar gzel ev yaplmad stanbulda. 1960-70lerde st ste ylm 5 katl evler bence stanbulun en kt manzarasdr. imdi yaplan binalar mthi, ok gzel binalar yaplyor. Her taraf yeillendiriliyor. Boazda yaplan o vil-
bought it; we also decorated it nicely. While everyone else was tearing down old mansions and building new apartment buildings, we installed sprinklers everywhere and made sure that at least two people were in the mansion at all times to ensure its protection. After my father died, my mother said that the house was too big for her to live in alone. It has four floors and is approximately 1200-1500 square meters. All the wood used in the house was brought from Sweden in the 1880s. We currently rent it as office space to a finance firm. They take very good care of the Magnolia tree. What kind of books do you read? I read everything. When I have time I read history and biographies of important people. I also read detective novels and books about religion. What does Istanbul represent for you, what kind of a city is it? Since you look at Istanbul from a beautiful viewpoint Both the place where we live and our office are on the Bosphorus. We are lucky that God has blessed us with this. The best thing about Istanbul is its beautiful location. Second of all, it has a variety of good people. In the past, there were
lalar Boaz ok gzelletirdi, herkes evine ok iyi bakyor, bahesine ok gzel bakyor. Ben Bebekte bir korunun iinde oturuyorum, her aacmz numaraldr. Her sene iki kez ormanclar gelir kontrol ederler. Boaza bir kn imdi tekne ile dolan dklen ev kalmad, her taraf boyand prl prl oldu. u anda stanbul harika Artk mthi bir ehir oldu stanbul, gzelleiyor. Doulu geliyor bat kltrn grp seviyor, batl geliyor dou kltrn grp seviyor. Bizim zelliimiz de o ikisini bir araya getiriyoruz. Karakterimizde de bu var, yaantmzda da. Aslnda Trkiyede yaanan iyi eylerin bir yansmas deil mi bunlar? Tabii ki. Fethiyeye bakyorsunuz, benim yirmi senedir Fethiyede bir evim var yazlar orada oturuyorum, gelimelere, inanlmaz gzel eyler oluyor. ehir bir Cannes gibi, Nice gibi oldu her ynyle ok gzelleti. Yine stanbula dnecek olursak dou ile batnn bir arada olmas byk bir nimet. yle bir karm var ki u anda stanbulda istediini buluyorsun. Her iki taraf da gryorsun, ikisini de grmek houna gidiyor. Bunu bizim zmsememiz sevmemiz lazm. Doulu da geliyor burada kendinden bir eyler buluyor, Batl da geliyor kendinden bir eyler buluyor, isteyen ibadet ediyor, isteyen gidip boazda ikisini iiyor, herkese hitap eden bir yer oldu. Allah nazardan, kt niyetten korusun.
more non-Muslims, of course. Right now, there are fewer, but they still contribute to the charm of Istanbul. People say that Istanbul was better and more beautiful back then, but I dont believe it - Istanbul still is beautiful now. When I came to Istanbul in the 1960s, there were no painted houses. There were no roads, no vehicles, no beautiful buildings; the houses were falling apart. The beautiful buildings built at the beginning of the 1800s and the 1900s are historic, but after that nothing nice was built again until the 1980s. I think the five-story apartment buildings that were built right next to each other in the 1960s-70s are the ugliest part of Istanbul. Today, the buildings being constructed are splendid. Trees and greenery are being planted everywhere. The villas built on the shores of the Bosphorus make the Bosphorus even more beautiful since the owners of these villas take good care of their houses and gardens. I live in a wooded area in Bebek and all of our trees are numbered. Twice a year woodsmen come and check on them. Go on a Bosphorus tour and you will see that there are no more dilapidated houses; everything has been painted and is sparkling. Right now, Istanbul is magnificent. Istanbul is a splendid city and it is getting prettier every day. People from the east come and enjoy the western culture while the western people admire the eastern culture. Istanbul is special in that it brings both of these cultures together. It exists both in our character and in our way of life.
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Gaziantepten ilk geldiinizde tekrar gidiyorsunuz ya o duygunuz nedir? iir yazmadm ama aklma kazdm buray, on bir yamda geldim ve bylenmi gibi oldum. Kprnn yannda ekmek ii balk yedim. Babam beni Emirgandaki naraltna gtrd. lk dneri yedim orada, mthi lezzetli gelmiti. Tabii ilk seneler Antep yemekleri bulamadm iin sknt ektim burada ama imdi her aradnz buluyorsunuz, stanbulda ne ararsanz var. Dnyann fzyon kenti oldu buras. Dnyann birok lkesini hem ticari balamda gidiyorsunuz o anlamda nasl bir Trkiye profili var gelecee dnk? Biz, 1980li yllarda ilk yurtdna ktmzda mal satmak iin, niye geldiniz buraya, Trk msnz ne satacaksnz ki ne var sizde satacak, diyorlard. Bugn ise kaliteli mallar ihra eden bir lke konumundayz. Siyasetimizle dnyada sz sahibiyiz, ekonomimizle sz sahibiyiz. Bunlar bize gurur veriyor. Trkiyenin bana bir kaza gelmezse ok byk bir ekonomik g oluruz 15-20 yl sonra. Bu gcmz iyiye kullanmamz lazm. Bizim bu dnemi kazasz belasz atlatmamz gerekiyor. O zaman gerekten ok byk bir ekonomik g oluruz. Buras (Szer Plaza) ok eletirildi zellikle stanbul siletini bozduu ynnde Siz de az nce kardaki o irkin yaplardan bahsettiniz buradaki duygularnz nedir, ne dnyorsunuz? imdi benim kanaatim u, biz stanbulda bu gkdelen iinin ncs olduk. ncler daima eletirilir. Blge olarak buras esasnda tam bir turizm blgesi, oteller blgesi Biz de bunun iine gzel bir otel yaptk. Bu sene banda da dnya-
In fact, this is a reflection of the good things happening in Turkey, right? Sure. For instance, take Fethiye. I have had a summer house in Fethiye for 20 years now and incredibly beautiful developments are happening there. The city is like Cannes or Nice; it has been beautified in every way. In Istanbul, it is a blessing to have the east and the west together. They exist with such harmony that you can find almost anything you want in Istanbul. You can see both sides, and you enjoy seeing them both. We should embrace it and love it. Both the eastern people and the western people can find something for themselves here; some go and pray, while others drink alcohol next to the Bosporus. It has become a place that appeals to all. You came to Istanbul from Gaziantep for the first time and then you returned. What did it feel like? I didnt write poems but Istanbul stayed in my mind. I was eleven when I came here and I was mesmerized. I ate a grilled fish sandwich by the bridge and my father took me to Cinaralti in Emirgan where I ate my first doner kebab which was delicious. Of course, I had some difficulties when I first arrived in Istanbul because I couldnt find any food from Antep, but now you can find everything you are looking for in Istanbul; everything is available here. It is the worlds fusion city. You travel around the world on business. What does Turkeys future look like in this area? When we first went abroad in the 1980s to sell merchandise, people were asking what we were doing there. Since we were Turkish, they assumed that we couldnt possibly have anything to sell. However, today we are a country that exports high quality products. We have a voice in the world politically and economically. This makes us very proud. If nothing bad happens to Turkey, we will become a massive economic power in 15 to 20 years. We need to use this power positively. We have to get through this period without any trouble. Then, we really can become a strong economy. This building (Suzer Plaza) has been criticized a lot, especially for ruining the silhouette of Istanbul. You just mentioned the ugly buildings across the street. What do you think about this place? In my opinion, we started the skyscraper business. The avante-gardes are always criticized. This part of Istanbul is popular for tourism and has many hotels. Thus, we built a nice hotel in this area. At the beginning of this year, it was selected as the best city hotel in the world. We are proud of the building. We were reviled by some people from the beginning. However, when the Eiffel Tower was made I checked the history the same things were said about it. Now, it is the symbol of Paris. Our building is a beautiful building as well, but some people are easily influenced by the press. They read some articles about the building, but never even bother to see for themselves if it is beautiful or ugly. Good things have been written about our building too, but somehow the negative ones are given more importance. We did make some minor mistakes, but we built this building in the early 1980s so this should be considered. Now we are in 2010, so this is a building with a 30 year old history. Your businesses are quite diversified: construction, tourism, food, finance, energy. You have passed most of these on to your children. Do you have more free time? Do you have the opportunity to go to the cinema, theater, or museums? Yes, I do have time now. I work a lot less and wander a lot more. I go to the cinema and theater, visit museums, and go to auctions. I can do a lot of things now that I couldnt do back then. Also, I was sick in 2003 which brought me back to my senses. I live my life a little slower and spend more time on the things I enjoy. I am working on projects that are going to be beneficial for my country. We established a new Suzer Foundation which oversees all our social responsibility and community service projects. Among these, we consider the Association of the Food Banks to be the most important. The mission of this foundation is to fight hunger and poverty. Donations of food will be distributed to needy people through food banks and similar organizations. I get enough sleep and feel a lot better than before. I love my country, city, family, friends and colleagues. I wish them all long, happy and successful lives.
nn en iyi oteli seildi. Dnyann en iyi ehir oteli seildi. Biz yaptmz binayla iftihar ediyoruz. Baz kiiler bir kere balangtan itibaren ktlediler. Pariste Eiffel Kulesi yaplrken, ki tarihine bir baktm, ayn bize sylenen eyler Eiffele de sylenmi. imdi Parisin simgesi Bizim binamz da gerekten ok gzel bina ama insanlarmz biraz da medya akll. Medyadan birka kiiden okudular kimse kafasn kaldrp bakmyor bina gzel mi irkin mi diye. Binamz iin ok olumlu yazlar yazld ve szler sylendi ama olumsuz olanlar hep daha fazla n planda oluyor nedense. Bizim de baz ufak tefek hatalarmz oldu ama biz 1980li yllarn banda yaptk bu binay onu dnmek lazm. Projesi o zaman yapld. imdi 2010 senesindeyiz, 30 yllk bir gemii var bu binann. kolu olduka geni; inaat, turizm, gda, finans, enerji Bunlarn da ounu ocuklarnza devretmi durumdasnz. Bu devir sonrasnda sizin biraz daha hareket zgrlnz oldu mu mesela sinema, tiyatro, mze gezme ansnz var m, bunlar yakalayabiliyor musunuz? Evet ok oldu, ben imdi daha az alyorum, daha ok geziyorum. Sinemalara gidiyorum dediiniz gibi tiyatroya gidiyorum. Sanat eserlerini geziyorum. Mezatlara gidiyorum. Eskiden yapamadm birok eyi u anda yapabiliyorum. Bir de ben 2003 senesinde nemli bir rahatszlk geirdim. O da biraz beni akllandrd. Biraz daha yaantm rlantiye alp daha zevkli ilere zaman ayryorum. lkeme yararl olacak projelerle urayorum. Yeni bir Szer Vakf kurduk. Tm sosyal sorumluluk projelerimizi ve toplumsal hizmetlerimizi bu vakfn ats altnda topluyoruz. Bunlardan en nem verdiklerimizden bir Gda Bankalar Dernei. Bu dernein misyonu alk ve yoksullukla mcadele etmek. Toplanan gda balar, gda bankalar ve benzeri kurulular aracl ile ihtiya sahiplerine ulatrlacak. Uykuma zaman ayryorum, eskisine gre kendimi daha iyi hissediyorum. lkemi, ehrimi, ailemi, dostlarm ve i arkadalarm ok seviyorum. Hepsine uzun mrler, mutluluklar ve baarlar diliyorum.
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Trklerin Uzak Dounun renkli lkesi Japonyaya ilgisi, Rus-Japon harbi ile balamtr. ki lkenin ilikileri ise trajik bir kaza olan Erturul Frkateyni facias ile son derece salam balarla kurulmuutur. Japonyann en kkl ehirlerinden biri olan imonosekinin Belediye Bakan Tomoaki Nakao, kendisine ynelttiimiz sorular 1453 stanbul Kltr ve Sanat Dergisi iin yantlama nezaketini gsterdi. Bylece stanbul ile karde ehir olan imonoseki hakknda ayrntl bilgi edinme frsat bulduk. Sizleri bu ilgi ekici sylei ile babaa brakyoruz.
Interest of Turks to Japan -which is the colorful country of Far East-, has began with the Russo-Japanese War. Besides, the strong relations of these two countries began with the tragic accident of Erturul Frigate. Tomoaki Nakao, who is the mayor of Shimonoseki -which is one of the long standing cities of Japan-, kindly accepted realizing an interview with us for the readers of 1453 Journal of stanbuls Culture and Art. And so we have a chance to get some information about Shimonoseki which is the sister city of stanbul. We present you this interesting interview.
MONOSEK BELEDYE BAKANI LE SYLE / INTERVIEW WITH MAYOR OF SHIMONOSEKI
Sayn Tomoaki Nakao, imonosekinin tarihi hakknda bize biraz bilgi verebilir misiniz? imonoseki, Japonyann tarihindeki ok nemli olaylara sahne olmu tarihi bir ehirdir. 1185 ylnda, dnemin en gl iki samurai klan olan Genji ve Heike arasndaki savan (Genpei Sava) en son cephesi imonosekinin Dannoura kylar olmutur. Bu savata Heike yenilmi, takip eden yllarda imparatorluk gcn yitirmi ve Japonya samurai klanlarnn yonetimi altna girmitir. imonoseki o dnemde, yenilen Heike klan tarafnda olduu iin, bugn de her yl Mays aynda savata hayatn kaybeneden askerlerin ansna festivaller dzenlenmekte ve imonoseki halk onlar sayg ve sevgiyle anmaktadr. 1612 ylnda yine imonosekinin Ganryujima Adasnda Japonyann en byk iki kl ustas Miyamoto Musai ve Sasaki Kojiro kar karya gelmi, ve imonoseki tarihi bir delloya sahne olmutur. Bu delloda Sasaki Kojiro yenilmi ve hayatn kaybetmitir. imonoseki halk, bir kez daha yenik denin tarafnda olmu, getiimiz 400 yl boyunca Kojiroyu bir kahraman olarak anmtr. Yenilen ve ezilenlere kar duyulan sempati, hogr ve sayg imonoseki halknn bir zellii haline gelmitir. Az nce aktardm, 1185 ylnda imonosekide balayan Japonyann samurai dnemi, 1868 ylnda yine imonosekide sona ermitir. 1868 ylndaki Meiji Devriminin (1868 Modern Japonyann Douu) liderlerinden biri imonosekili Takasugi insakudur. Sonraki dnemlerde de imonoseki, Japonya tarihindeki nemli deiikliklere ev sahiplii yapm, ve bu deiikliklerin temel talarndan biri olmaya devam etmitir. imonosekinin ekici bir balk ehri imaj var. Bunun dnda ehrinizin dier gizli gzellikleri ve zellikleri nelerdir? imonoseki, deniz rnleri asndan Japonyann nde gelen ehirlerinden biri olmakla beraber, hem az nce de ifade ettiim gibi, tarihi bir ehirdir, hem de ylda yaklak 6 milyon turistin ziyaret ettii turistik bir ehirdir. Turizm bugn imonosekinin en nemli gelir kaynaklarndan biri haline gelmitir.
Can you inform us on Shimonosekis history? Shimonoseki is a historical place, where important events in the history of japan happened In 1185, Genji and Heike, the then most powerful samurai clans, fought the last battle of the Genpei Wars at the coasts of Dannoura near Shimonoseki. Heike was defeated in this war, the empire lost its power in the following years, and Japan was subject to the rule of many samurai clans. Shimonoseki was at the side of the defeated Heikes, so we have been organizing festivals every may in honor of the fallen soldiers in that war, until today. The Shimonoseki people remembers them with respect and compassion In 1612, this time at the Ganryujima island near Shimonoseki Miyamoto Musashi and Sasaki Kojiro, the then greatest masters of sword fight met, so Shimonoseki witnessed a historical duel. Sasaki Kojiro lost the fight and was killed. Shimonoseki people, once again siding with the fallen hero, commemorated him for 400 years. Respect for the downtrodden and the oppressed has become a characteristic of the Shimonoseki people. The Samurai rule started 1185 ended 1968 with the Meiji reformation. A leader of the Meiji era 1868 (the birth of modern japan) was Takasugi Shinsaku from Shimonoseki. In later times Shimonoseki was home of important events in japans history, serving as a cornerstone of these important changes. Shimonoseki has got the image of an attractive fishing town. What other hidden beauties and features have your city got? Shimonoseki is a leading town in marine products in japan. It is also a historical site as I mentioned before, and a touristic site with 6 million visitors annually. Tourism today is the leading sector in Shimonosekis economy. Shimonoseki is also a junction of important routes, highways, railroads also serving as one of the countrys important ports with Asia in a vivid internal and external sea trade. In 1972 Shimonoseki introduced Sea & Rail integrating domestic rail transport with international sea routes. This system allows 365 days a year a friction free
stanbul Bykehir Belediye Bakan Kadir Topba ile imonoseki Belediye Bakan Tomoaki Nakao. / Mayor of stanbul, Kadir Topbas and Mayor of Shimonoseki, Tomoaki Nakao.
Ayrca Japonyann otoban yolu, demiryollar ve dier nemli ulam yollarnn bulutuu yer olan imonoseki, Japonyann Asyaya alan nemli kaplarndan biri olmu, lkenin sayl i ve d ticaret limanlarndan biri haline gelmitir. 1972 ylnda, yurt ii demiryolu tamacl ile uluslararas deniz tamacln birletiren Sea & Rail sistemini ilk kez Japonyaya getiren de imonoseki olmutur. Bu sistem sayesinde, ylda 365 gn gmrk ilemleri aksamakszn yaplabilmekte, hava tamaclyla rekabet edecek bir hzda ancak hava tamaclnda ok daha ucuz tamaclk yaplabilmektedir. Bu sistem bugn hem yurt iinden hem de yurt dndan byk vgler almaktadr. imonoseknin ekonomisinde hangi sektrler bata gelir? Hizmet sektr ve Bankaclk, Sigorta, Gayrmenkul sektr toplam %22.4 ile bata gelir. Daha sonra srasyla %20.1 ile imalat, %14.6 ile toptan/perakende sat sektrleri gelmektedir. Grld zere ncl sanayiler %72.7 ile ba ekmekte, ikincil sanayiler %26.3 ve birincil sanayiler %0.9u oluturmaktadr.
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customs system without delays, so as to enable a transport as fast as one by air, but at much cheaper expenses. This system gets much applause Japanese as well as foreign. Which economic sectors take the lead in Shimonoseki? Services, banking, insurances, real estate add up to some 24% as the leading ones. Then comes manufacture (20.1%), wholesale/retail marketing (14,6%). as one may see, tertiary industries take the lead with 72,7%, secondary industries are 26,3%, and primary ones are 0,9%. Can you tell about cultural and touristic features of Shimonoseki? Shimonoseki at the extreme western edge of Honshu, the island of mainland japan, is a city with natural riches, with sea at 3 edges, with an old history, so making use of land and sea resources at the same time. Having been an external port of japan for centuries, foreign examples of architecture are also built in the city, which are still preserved today. A magnificent
imonosekinin kltrel ve turistik zelliklerini bize ksaca anlatabilir misiniz? Japonyann ana adas Honunun en bats ucunda yer alan imonoseki, zengin doal gzellikleri ve derin bir tarihi olan, taraf denizlerle evrili, hem denizin hem de topran nimetlerinden faydalanlabilen bir ehirdir. Eskiden beri, Japonyann darya alan bir liman olmasndan dolay, tarihi yabanc mimari rnekleri, bugn de korunmaktadr. Muteem doas, mehur kaplcalar, saysz tarihi miraslar, birbirinden gzel drt mevsiminin yan sra, imonosekide her yl birbirinden gzel festivaller de dzenlenmektedir. Deniz rnlerinin toptan satnn yapld Karato Balk Halinde, sadece toptan sat deil, perakende sat da yaplmakta, halk hem taze hem de ucuz balk satn alma frsat bulabilmektedir. Ayrca balk halindeki bfelerde de balk yenilebilmekte, hal hergn festival yeri gibi dolup tamaktadr. 2007 ylnda stanbul Bykehir Belediyesi tarafndan hediye edilen 50 bin adet ile 2009 ylnda stanbul Boazndan esinlerek dizayn ediyen Trk Lale Bahesi, Lale mevsiminde ok sayda ziyareti ekmi, aldndan bu yana 2 yl bile gememesine ramen imonosekinin en nemli turistik noktalarndan biri olmutur. Belediye olarak, ehir halkna sunduunuz normal hizmetler dnda ne gibi almalarnz var? Japonya yasalaryla belirlenen belediye grevlerinin dnda, belediye olarak yaptmz almalarn says ok fazla, ancak bunlardan biri olan Kanmon Doa ve evre Yasas n sizlere tantmak isterim. Eskiden beri yakn ve derin ilikiler iinde olduumuz kar kydaki Kitakyuu ehri ile aramzda, yzyllardr paylalan Kanmon Boaz bulunmaktadr. ki ehrin arasndaki ilikilerde ok byk rol oynam bu boaz ilelebet korumak, gelitirmek ve bozulmam halde gelecek nesillere aktarmak amacyla, imonoseki ehri(Yamagui Eyaleti) ile Kitakyuu ehri(Fukuoka Eyaleti) arasnda 2001 ylnn Ekim aynda Kanmon Doa ve evre Yasas imzalanm ve o tarihten itibaren yre koyulmutur. ki eyaletin birlikte dzenledii bu yasa, Japonyadaki ilk rnektir. imonosekinin gelecee ynelik planlar ve hedefleri nelerdir? Belediye olarak anahtar szcklerimizi Canl, Yapc, imonoseki olarak belirledik. Din, salkl ve eylem gc olan yapc bir ehir halk ile birlikte, srekli gelien ve yenilenen, ama ayn zamanda doasna, tarihine ve kltrne de sahip kan, gelecee umutla bakan bir imonoseki her zaman hedefimiz olmutur.
nature, famous spas, countless historical riches, and beautiful 4 seasons are joined with many festivals every year in Shimonoseki the Karato fish market is a place where wholesale and retail sales are made, so people have a chance to have cheap and fresh seafood. There are also buffets in the fish market, where you can have fish, and that way the fish market is full of people like a festival place every day. In 2007 the greater city municipality of Istanbul gave us a present of 50.000 tulip onions. In 2009 we designed a Turkish garden inspired by the Bosphorus at the tulip blossoming season this garden attracted many visitors, thus becoming one of Shimonosekis leading touristic points within 2 years after its opening. Besides conventional city services what other services do you perform for your people? Besides city services prescribed by Japanese law, we have many other services as a municipality. lets mention one of them: the Kanmon nature and environment act. Since long ago we have been in close contact with the city of Kitakyushu at the opposite coast of the Kanmon straits, which is our common property with that city. To preserve the straits for the future, develop it and hand it to future generations in its genuine nature, we as the city of Shimonoseki ( the Yamaguchi province) and the city of Kitakyushu (the Fukuoka province) signed the Kanmon
stanbul Bykehir Belediye Bakan Kadir Topba ile imonoseki Belediye Bakan Tomoaki Nakao. / Mayor of stanbul Kadir Topbas and Mayor of Shimonoseki Tomoaki Nakao.
Ayrca imonoseki, en uzak ve an kk yerleim yerlerine kadar hizmetlerin eksiksiz ulatrlmasn salayan, yerel halkla omuz omuza yrtlen kalknma ve gelitirme programlarnda da nclk etmi bir ehirdir. imonoseki, stanbulun karde ehri. imdiye kadar birlikte ne gibi projelere ve etkinliklere imza attlar? Gelecekteki planlar nelerdir? 1972 ylnn 16 Maysnda karde ehirlik anlamasna imza atan iki ehir arasndaki dostluk 38 yldr srmektedir. imonosekinin en yksek da olan Hinoyamadann zirvesinde yer alan Seto Ulusal Parkndan bakldnda, Kanmon Boaz ve Kanmon Kprsnn stanbul Boaz ve Boaz Kprsne ok benzedii sylenir. Karde ehirliin 30. yldnm olan 2002 ylnda belediye tarafndan ina edilen konaklama tesisi Kanmon View Shimonoseki nin yapm srasnda karde ehirlerimiz de dnlm, tesis iindeki btn tabelalar ve aklamalar bata Trke olmak zere ngilizce, ince ve Korece olarak hazrlanmtr. Giri katndaki duvar ssleyen byk mermer blok da Trk mermeridir.
nature and environment act in October 2001. this is the first example in japan in terms of an act signed by two provinces. What are Shimonosekis plans for future? As the city we have our slogan as live, productive, Shimonoseki. With a healthy, dynamic and productive population we aim a steadily developing renewing Shimonoseki, which also preserves its nature, heritage and culture, and thus looks forward at future with hope. Shimonoseki is also a city which forwards its services perfectly even to its remotest residential areas by contribution and cooperation of its citizens in development projects. Shimonoseki is a sister city of Istanbul what common projects did the two cities realize? What are the common future plans? The two cities signing a sister city act in 1972 have had a friendship over 38 years. You climb up our tallest mount Hinoyama and get to the Seto national
57
MONOSEK BELEDYE BAKANI LE SYLE / INTERVIEW WITH MAYOR OF SHIMONOSEKI
Ayrca lobideki duvar ssleyen byk resimde stanbul Boaz ve Ayasofya ve stanbulun dier tarihi ve doal gzellikleri resmedilmektedir. Bu resim, imonosekili grafik sanats Sayn Hidei Fujimoto tarafndan yaplm, ve 30. yldnm hatras olarak belediyemize hediye edilmitir. 2007 ylnda, karde ehirliin 35. yldnmnde stanbul Bykehir Belediyesi Park ve Baheler Mdrl tarafndan 50 bin adet lale soan imonosekiye hediye edilmi, buna 15 bin adet meneke ilave edilerek 2009 ylnn Nisan aynda Trkiye Cumhuriyeti Bykelisi Ekselanslar Sayn Selim Sermet Atacanlnn da katlmlaryla Hinoyama Trk Lale Bahesi nin al gerekletirilmitir. Yine bu yln 20 Mart tarihinde Lale Bahesi alm, gerek yerel gerekse ehir dndan ok sayda ziyaretiyi arlamtr. 2005 ylnda imonoseki Belediyesi ve bahe mimarlarnn katklaryla tamamlanan Baltaliman Japon Bahesindeki ay evinin onarm ve bakm dolaysyla imonosekiden teknik bir heyet almalara katlmtr. Ben de bu yl, Trkiyedeki Japonya Yl etkinliklerine katlmak zere stanbulu ziyaret edeceim. Gelecekte de stanbul ile olan ilikilerimizin daha da glenip ve derinleeceine hi phem yoktur.
park at its peak; then you look from there at the Kanmon straits and the Kanmon Bridge, the sight very much resembles the Bosphorus at the 30th anniversary of the sister city act in 2002, the city administration built the hostel Kanmon View Shimonoseki. also remembering our sister cities, we had all the signboards written in Turkish, then English, Chinese and Korean. The Marble massif at the entrance is also from Turkey. Besides, a big picture at the lobby shows the Bosphorus, Hagia Sophia and other natural and historic beauties of Istanbul this picture is the work of Mr. Hideshi Fujimoto, a graphic artist from Shimonoseki, who made a present of him to our city for the occasion of the 30th anniversary. In 2007, at the 35th anniversary of sister cities, 50.000 tulip onions were sent as present to Shimonoseki by the parks and gardens dept., the Istanbul municipality. We added 15.000 violet flowers to it, and so we opened up the Hinoyama Turkish tulip garden in April 2009. his excellency Mr Selim Sermet Atacanl, the Turkish ambassador also joined and honored that event. In 2005, the Japanese garden at Baltalimani, Istanbul was opened by the joint work of garden architects from Shimonoseki. The Japanese tea house in the garden was renovated by the aid of a technical team from Shimonoseki. I will visit Istanbul this year and join the Japanese year events in turkey. I have no doubt, that in future our links and friendship with Istanbul will further flourish.
58
BR JAPONUN GZNDEN STANBUL ZLENMLER

Ayumi TAKANO
IMPRESSIONS OF STANBUL FROM THE VIEW OF A JAPANESE

Ayumi TAKANO
BR JAPONUN GZNDEN STANBUL ZLENMLER / IMPRESSIONS OF STANBUL FROM THE VIEW OF A JAPANESE
BR JAPONUN GZNDEN STANBUL ZLENMLER

Ayumi TAKANO* Tm dnyann bildii gibi biz Japonlar seyahat etmeyi seviyoruz. Fakat sahilde dinlenmek veya gece kulplerinde elenmek bizlerin pek amalad eyler deil. Bunlarn yerine Japonyada gremeyeceimiz yerler grmeyi, yaamayacamz eyleri yaamay arzu ederiz. 2007de Japon devleti, uluslararas iletiimi gelitirmek iin yurt dna seyahat eden Japonlarn saysn 20 milyon kiiye karmay hedefledi. Bu hedefe tam ulalamasa da, 2009da 15 milyon 450 bin Japon lke dna seyahat etti. Japonyadaki bir seyahat acentasnn 2008de yapt ankete gre, Japonlarn yurtd seyahatlerinin amalar unlar: gzel yemekleri yemek %47.2 rahatlamak %46.7 duygular hareketlendirmek %42.3 rutin dna kmak%39.0 gzel eylerle gzlerini elendirmek%37.3 Ucuz-yakn-kolay ulam yerleri, yani Dou Asya lkeleri ilk tercih olsa da, Japonlarn bir sonraki seyahatlerinde gitmek istedikleri yer her zaman Avrupa lkeleridir. Yukardaki anketten , Trkiyenin Japonlarn ziyaret etmekte ncelikli tercih edebilecekleri lkelerden biri olduu sonucunu karabiliriz.
OBSERVATIONS ON STANBUL THROUG A JAPANESE EYE

Ayumi TAKANO* As the whole world is aware, we, the Japanese, like to travel. However, relaxing on a beach or partying at a night club isnt quite what we aim for during our vacations. Instead we chose to see places we cannot see and experiences things we cannot experience in Japan. In 2007, in an effort to increase international communication, the Japanese government aimed to increase the number of citizens traveling abroad to 20 million. Even though this number couldnt be attained, in 2009 alone, 15,450,000 Japanese citizens traveled abroad. According to a 2008 survey conducted by a travel agency in Japan, the purposes of Japanese visits abroad were as follows: In order to eat good food 47.2 percent relax 46.7 percent engage emotions 42.3 percent step outside of ones routine 39 percent visual entertainment 37.3 percent Even though cheap and easy to reach destinations are the first choice for Far-East Asian countries, the next desired location for the Japanese is always European countries. From the survey above, we can ascertain that Turkey is located in the upper part of the list of countries the Japanese would like to visit.
Japonlar kltr seyahatini sevmelerinin yannda, hikyesi olan kentlere dkndr. nl Japon yazar Nanami iononun ok okunan stanbulun D romannda anlatlan II. Mehmet ve XI. Konstantinin dram, Trkiyeyi ziyaret eden Japonlarn bu lkeyi tercih etmesinin nemli nedenlerindendir. Japanese, loving culture trips, are attracted to cities with stories. The bestseller Istanbuls Fall written by Nanami Shiono, a famous Japanese writer tells the drama of the two rulers Mehmed II. and Constantine XI. This is, why so many Japanese tourists prefer to visit Turkey.
Kltr seyahatini seven Japonlar seyahatten nce bilgi toplar. Hatta n bilgi olmadan bir yere gitmediklerini syleyebiliriz. Trkiye maalesef bu konuda biraz geride kalmtr. Japonyada Roma, Paris, Londra gibi ehirleri anlatan birok kitap bulunurken Trkiye ya da stanbul konulu kitaplarn says ok azdr. Bu alanda kaleme alnm edebi eserler zaten yok denecek kadardr, rehberse bulunamamaktadr. Bu yzden Trkiyenin payna den Japon turist says azdr. Japonlar kltr seyahatini sevmelerinin yannda, hikyesi olan kentlere dkndr. nl Japon yazar Nanami iononun ok okunan stanbulun D romannda anlatlan II. Mehmet ve XI. Konstantinin dram, Trkiyeyi ziyaret eden Japonlarn bu lkeyi tercih etmesinin nemli nedenlerindendir. Bir romandan, bir sinema filminden, bir resimden etkilenerek seyahat edecei yere karar verebilen romantik insanlardr Japonlar. Ve, orada grdkleri hereyin arkasndaki hikyeleri renmek isterler. Bir Japon hediyelik eya dkknnda eline ald ufak nazar boncuu ile ilgili bilgileri almak ister, Topkap Saraynn dev mutfanda neler pitiini renmek ister, Dolmabahe Saraynn o grkemli merdivenlerinden kimlerin inip ktn hayal etmek ister Oysa bu kent yle hikyelerle dolu ki!
* Sanat, 2010 Trkiyede Japonya yl dostluk elisi 60
The Japanese who love cultural tours gather information prior to travelling. Actually, it could be said that they dont visit a place until they have prior knowledge regarding the location. Unfortunately, Turkey somewhat lags behind in this regard; while there can be many books that provide information about the cities of Japan, Rome, Paris and London, the number of books featuring Turkey or Istanbul are very few. Although the literary books penned to this end are very few in number, while guidebooks cannot be found. This is why the portion of Japanese tourists that Turkey receives is very few in number. In addition to loving cultural tours, the Japanese are keen on towns that have a story to tell. In famous Japanese writer Nanami Shionos widely read novel The Fall of Constantinople, the tragic tale of Mehmet II and Constantine XI, is one of the most important motivators for the Japanese to visit Turkey. The Japanese are romantic people who decide where they would like to visit based on a novel, a movie or a painting. And they wish to learn the story behind each object or scene they lay their eyes on. A Japanese person wishes to receive information regarding the tiniest nazar boncuk (blue bead thought to ward off the evil eye) that he or she picks up at a souvenir shop; to learn what was cooked
* The artist is the goodwill ambassador of the Japan Year 2010, in Turkey.
Bana kalrsa Japonlarn Istanbula hcm etmesi gerekirdi ama maalesef imdiye kadar bilgi azlndan byle bir durum olumad. imdi internetin yaygnlamas, Japonlarn Trkiye ile ilgili bilgilere ulamasn kolaylatrld. Dolaysyla insanlarn Istanbula seyahat etme hevesi de artt.Japon turist says artnca da yaynevleri artk daha ok stanbul konulu kitap basabiliyor. Bunlarn yannda televizyonlarda da Trkiye konulu programlar daha ok grnr oldu. 2009 ylnda yaptm Trkiye tantm programlarndan biri, seyirciden ald gzel tepkiler zerine iki kere tekrar yaynland. Hatta nc tekrarnda sadece stanbul ksmn toplayarak yeni bir blm yaptlar. Istanbulun, 2010 Avrupa Kltr Bakenti ilan edilmesi ile birlikte Avrupaya ynelik birok tantm yaplyor. Avrupallar bu adan Japonlardan daha ansl. stanbulun Japonlara tantm konusunda eksikliklerin yannda nemli gelimeler de yok deil. Tokyo-Istanbul, Osaka-Istanbul direkt seferi turizm iin nemli bir avantaj oldu. Eskiden Trkiye, Japonlar iin kolay seyahat edilebilecek bir lke olarak grlmyordu. Oysa imdi Istanbul, Japonlarn Bir dahaki sefer nereye gidelim? sorularnn ncelikli yant oldu. Istanbulda uzun sredir yaayan, Trkiyeyi seven biri olarak, Istanbulun gzelliini her zaman dile getirmeye alyorum. Bu gzel kentin, Japonlarn seyahatte istedikleri gzel yemekleri, deiik kltrleri, gz zevkini okayacak mimarileri ve hikyeleri ile beklentileri fazlasyla karlayacana inanyorum ki lkenin, zellikle Japonyanin bir lkeye yaknlamas iin karlkl kltrel faaliyetin olmas ok ama ok nemlidir. stanbulun 2010 Avrupa Kltr Bakenti olarak dnyaya kendisini tantrken, Asyann br ucundan, Japonyadan gelen merakllar da tatmin edeceine eminim.
in the massive kitchens of Topkap Palace and imagine themselves climbing up and down the magnificent stairs of Dolmabahe Palace. This city is so infused with stories! If it were up to me, the Japanese would take Istanbul by storm; however, this hasnt occurred until now due to lack of adequate information. Now with the popularity of the Internet, accessing information regarding Turkey has become easier for the Japanese. Thus, peoples desire to visit Istanbul has received a boost as well. And, as the number of Japanese tourists increases, publication houses are able to print more books that are based on Istanbul. In addition to these, programs on television that are based on Turkey have increased in number. One of the publicity programs I produced in 2009 was aired two more times due to the positive feedback it received from viewers. Istanbuls status as the 2010 European Capital of Culture has resulted in a surge of publicity geared towards Europe. Europeans are luckier than the Japanese in this regard. It isnt as though there has been no publicity of Istanbul geared towards Japanese, despite the existent inadequacies. The direct flights between Tokyo-Istanbul, Osaka-Istanbul are important developments in terms of tourism between the two countries. Previously, Turkey didnt appear to be a country that was easy to travel to for the Japanese. However, nowadays for the Japanese, Istanbul has become the leading answer to the question: Where should we go next? As someone who has been living in Istanbul for a long time and someone who loves Turkey, I always try to underscore the beauty of Istanbul. I believe that this beautiful city will more than meet the demands of the Japanese when they
Bunlarn yannda Trk-Japon dostluu asndan yeni bir dnem balatacak bir projenin heyecann yayorum. Bu amala Trkiye ve Japonya arasndaki en byk hikyeyi anlatmak zere yola ktk. 2010 ylnn Trkiyede Japonya yl olmasnn nedeni, Erturul Frkateyni olaynn 120. yldnm olmasdr. Bu etkileyici hikyeyi bir sinema filmi yapmak iin Japonyann en nemli ynetmeni ve senaristleri almalara balad. Japonlara yeniden anlatlacak bu hikye, Avrupa Kltr Bakenti stanbula ok yakacaktr..
travel: great food; a different culture, architecture that is pleasing to the eye and a story that is interesting to tell. It is very important that two countries engage in cultural activities in order to strengthen relations, and this is particularly the case for Japan. While Istanbul introduces herself to the world as the 2010 European Cultural Capital, I am sure that she will be able to satisfy the curiosity of those who come from the edge of Asia: Japan. In addition to this development, I am excited about a project which will kick off a new period in Turkish-Japanese friendship. To this end, we set out to narrate the greatest story told between Turkey and Japan. The reason why 2010 was Japan Year in Turkey is due to this year commemorating the 120th anniversary of the Erturul Frigate incident. Japans most influential director and screen-writers have begun works in order to capture this captivating story on the silver screen. This story, which will be re-told to the Japanese will be most befitting for Istanbul, the European Capital of Culture
61
EDRNEKAPIDA MHRMH SULTAN CM

Abdullah UMAN
THE MHRMH SULTAN MOSQUE AT EDRNEKAPI

Abdullah UMAN
EDRNEKAPIDA MHRMH SULTAN CM / THE MHRMH SULTAN MOSQUE AT EDRNEKAPI
EDRNEKAPIDA MHRMH SULTAN CM

Prof. Dr. Abdullah UMAN* HARB MABED Vardm eiine yzm srdm, Etrafn btn dikenler alm, Ulu mihrbnda yazlar grdm, Kim bilir ne mutlu zamandan kalm?.. Batan gnelerin lgn nigh Karartp brakm o kblegh; Mazlm bir mmetin baht- siyh Viran kubbesine glgeler salm. slmn bahtiyr bir zamannda, b- hayt varm adrvannda, imdi harb olan syebnnda Dem eken kularn mr azalm! yt- hikmet var kitbesinde, Bir ders-i ibret var hitbesinde; Ba- cennet olan harbesinde Tekbr sadlar artk bunalm. Hey Rza secdeye ba koy da inle! Talar dile gelsin senin derdinle! Efsne syleyim; ala, hem dinle, O erefli mz meer masalm! Rza Tevfik
THE MHRMH SULTAN MOSQUE AT EDRNEKAPI

Prof. Abdullah UMAN* HARB MABED Vardm eiine yzm srdm, Etrafn btn dikenler alm, Ulu mihrbnda yazlar grdm, Kim bilir ne mutlu zamandan kalm?.. Batan gnelerin lgn nigh Karartp brakm o kblegh; Mazlm bir mmetin baht- siyh Viran kubbesine glgeler salm. slmn bahtiyr bir zamannda, b- hayt varm adrvannda, imdi harb olan syebnnda Dem eken kularn mr azalm! yt- hikmet var kitbesinde, Bir ders-i ibret var hitbesinde; Ba- cennet olan harbesinde Tekbr sadlar artk bunalm. Hey Rza secdeye ba koy da inle! Talar dile gelsin senin derdinle! Efsne syleyim; ala, hem dinle, O erefli mz meer masalm! Rza Tevfik
Rza Tevfikin, restorasyonu tamamlanan ve yeniden ibadete alan, Edirnekapdaki Mihrmh Sultan Cmii iin kaleme ald Harb Mabed adl iiri, Osmanl mparatorluunun Balkan Savandan sonra byk bir felketle sonulanan I. Dnya Savana girdii srada yazlr ve savan memlekette am olduu yaralarn, yapm olduu tahribtn btn izlerini tar. The poem that Rza Tevfik wrote for the Mihrmh Sultan Mosque in Edirnekap -which has been recently restorated- entitled Harb Mabed was written at a time when the Ottoman Empire had come out of the Balkan Wars and was entering the First World War - which was to end in disaster - and it carries all the traces of the devastation and the wounds that had been opened in the nation.
1915 ylnda yaymlanan ve Harb Mabedler1 muharriresi Halide Edibe (Advar) ithaf edilen bu iir, Rza Tevfikin Trk halk edebiyat nazm ekillerinden divan tarznda yazd ve dier bir ksm iirleri gibi devrinde byk ilgi gren, rnek olarak zaman zaman eitli antolojilere de alnm lirik iirlerinden biridir.2 Bilindii gibi her airin kendine mahsus bir iir yaz tarz vardr. Mesel, Trk edebiyatnn ir-i zm Abdlhak Hmid: ir odur ki guna sesler gelir mdm, Bir perde-dr- mutribe-i cilve-szdan diyerek iirin dorudan doruya ilhama bal olduunu ifade ederken; Msra benim haysiyetimdir! diyen Yahya Kemal ise, iirin ta stne ta konulmak suretiyle ina edilen mimar eser gibi uzun ve ileli bir zaman sresi iinde ortaya kabilecei grndedir. Yahya Kemalin talebesi olan Ahmet Hamdi Tanpnar da iir, sylemekten ziyade bir susma iidir! derken, iirin az kelimeyle ok ey sylemek olduunu ve dolaysyla yarnlara kalabilecek nitelikteki mkemmel iirlerin yle ilhamla bir hamlede kolayca yazlamayacan ifade eder. Ama edebiyat tarihlerine baktmzda otobste veya tramvayda, ayak st bir sigara paketinin arkasna msralar karalayanlar olduu gibi, bir heykeltran bir mermer blou gnlerce, belki aylarca yontmak suretiyle onu bir sanat eserine dntrmesi gibi, bir iir zerinde aylarca, hatt yllarca uraanlar da vardr.3 Rza Tevfik ise iirleri ve iir anlay zerine kaleme ald bir mektubunda, genel olarak hangi artlar altnda ve nasl iir yazdn u cmlelerle aklar:
1 Harb Mabedler, Halide Edibin 1911 ylnda yaymlanan ve eitli gazete ve dergi sayfalarnda kalm hikyeleriyle mensur iirlerinden meydana gelen eseridir (bk. nci Enginn, Halide Edib Advarn Eserlerinde Dou ve Bat Meselesi, stanbul 1978, s. 380-381). 2 Harb Mabed nce Trk Yurdunda (C. VII, nr. 2, 25 Knun- evvel 1330/8 Aralk 1915, s. 413414) yaymlanm, daha sonra Rza Tevfikin btn iirlerini bir araya getirdii Serb- mrmn 1934 ve 1949 yllarnda yaplan her iki basksnda da yer almtr (bk. Serb- mrm ve Dier iirleri, stanbul 2005, s. 27-28). 3 Mesel Yahya Kemal Sleymaniyede Bayram Sabah iirini yirmi be ylda; Ak Denizi ise on be ylda yazm; Ahmet Hamdi Tanpnar da 1930larda yazmaa balad Eik iirine, zerinde yllarca urat halde bir trl son eklini verememitir. * Mimar Sinan niversitesi Gzel Sanatlar Fakltesi, Trk Dili ve Edebiyat Blm Bakan
This poem, published in 1915, was dedicated to Halide Edib (Advar), the author of Harb Mabedler1; it was written in the divan style of the nazm form of Turkish folk literature by Rza Tevfik and like some of poems of the era, received great interest; it is one of the lyric poems that has been included in a number of anthologies from time to time.2 Every poet has their own particular style of writing poetry. For example, the ir-i zm (great puet) of Turkish literature Abdlhak Hmid says: ir odur ki guna sesler gelir mdm, Bir perde-dr- mutribe-i cilve-szdan By expressing that poetry is directly connected to inspiration, even though Yahya Kemal said Poetry is my honor! he also stated that poetry was like an architectural work, requiring a great deal of time and strenuous labor, with each stone being placed individually before the final work of art could appeared. When Ahmet Hamdi Tanpnar, Yahya Kemals student, stated that: Poetry is more a matter of remaining quiet than speech!, he was expressing the idea that poetry is something that consists of saying a few words, and thus beautiful poems which will remain with us until tomorrow are not things that can be easily written with a stroke of inspiration. Indeed, when we examine our literary history, we see that alongside those who scribble lines on the back of a cigarette pack on the bus or tram, there are those who work like sculptors, taking days, perhaps even months to chip away at the marble block to transform it into a work of art; they can work on a poem for months, perhaps even years.3
1 Harb Mabedler, is the work of Halide Edib, which that came about from published poems and stories from the pages of a number of newspapers and magazines in 1911 (see: nci Enginn, Halide Edib Advarn Eserlerinde Dou ve Bat Meselesi, Istanbul 1978, pp. 380-381). 2 Harb Mabed was first published in Trk Yurdu (vol. VII, no. 2, 25 Knun- evvel 1330/8 December 1915, pp. 413-414), later it was published in Serb- mrm, a compilation of Rza Tevfik works, in 1934 and 1949 (see: Serb- mrm ve Dier iirleri, Istanbul 2005, pp. 27-28). 3 For example Yahya Kemal wrote Sleymaniyede Bayram Sabah in twenty-five years and Ak Deniz in fifteen years, while Ahmet Hamdi Tanpnar started to write Eik in the 1930s, but despite working on it for many years, was never able to finish it. * Mimar Sinan Fine Arts Universty, Head of Turkish Language and Literature.
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iir yazabilmekliim iin daima tabmn bir vesile-i cemleye ihtiyac vardr. O olmazsa iimde alkalanan hissiyta, hfzamda trl renklerle cilve eden canl htrta, muhayyilemde bir sinema filmi gibi daima mteharrik ve deta seyyal olarak akp giden haylta ve rhumda -benliimin ara sra emil-i marfesini deitiren- mbhemta hibir vzh ve muayyen ekl-i ifade veremem. Halbuki byle teessrt, hissiyt ve haylt ve htrt ile dim doluyum ve kendi lemimde onlarla yaarm ve yine onun iindir ki mz ile rhumun pek kav ve pek derin ve pek byk bir alkas vardr ve hal o alkay bana unutturmamak ve kaybettirmemek iin ancak bir ip ucudur. Ve yine o sebepledir ki mzye pek samimi ve pek sarsc bir hasret duyarm, btn o lemi vicdanmn snesinde yaatrm ve ufk- mersinde aynen grrm. (...) Gariptir ki, mhud vesilenin -hadd-i ztnda- ehemmiyetli bir ey olup olmamasnn hi kymeti yoktur. Bir kuru aa, bir ykk trbe, bir kaya, bir sahil, bir manzara, hatt bir el yazs bile vesle-i ilhm olabilir; elverir ki, benim, gnler getike iimde toplanp kalan ve stne ylan takm takm htrt ve teessrtmdan bir takmn dalgalandrarak ona nefh-i rh ile ihy edebilsin.4
In a letter that Rza Tevfik wrote about poems and the concept of poetry he explains lines in general under what conditions and how a poem should be written: My temperament requires a beautiful muse. If it were not for this I could not possibly create a concrete or a lucid frame to the statements of billowing feelings that appear inside, or to the lively memories that flit about in all the colors in my memory, or to the fluid and continuously moving dreams, which are like a feature film, or to the ambiguity in my soul, which, from time to time, changes that which is familiar in my ego. Indeed, I am full of such sorrow, feeling, dreams and memories, and I live with these in my own world; again because of this, my soul has a deep and powerful connection with the past and the state is only a cue so that I do not forget or lose that connection. And again, for the same reason, I feel a very close and a compelling longing for the past; I keep all of this world alive within the breast of my conscience and can clearly see it in its visible horizons... Strangely, there is no importance if this all too familiar motive is itself of any significance or not. A bare tree, a collapsed tomb, a rock, a shore,
Thomas Allomun izgileriyle Karasurlar ve Mihrimah Sultan Camii/City Walls and Mihrimah Sultan Mosque drawn by Thomas Allom
Mihrimah Sultan Camii, Gouffier gravr / Mihrimah Sultan Mosque, engraving by Gouffier
Genlik yllarnda bir inan buhran geirecek kadar uzun sre pozitivizm ve materyalizmin etkisi altnda kalan Rza Tevfik, bir taraftan ahs merak ve ilgisi, biraz da devrin baz hkim temaylleri dolaysyla, II. Merutiyetten sonraki yllarda deta bir nevi din deitirir gibi, tasavvuf halk edebiyatn kefeder ve bu vadide nefesler yazmaa balar.5 XX. yzylda Avrupada spiritalist anlayn ilk ve en nemli temsilcisi kabul edilen Henri Bergsonu Trk okuyucusuna ilk defa tantanlardan biri olan Rza Tevfik6, bir yandan Bat dnyasnda maddecilie kar ahlk ve mnev deerleri savunan mistik hviyetteki Bergsonizme, dier yandan Trk halk ve tekke edebiyatna gitmek suretiyle iki eyi bir araya getirir: 1914 ylndan balayarak yaymlad nefeslerle hem ar Bat taklidi ve kozmopolit Servet-i Fnun edebiyatnn arkasndan Trk iirinin gelenek izgisinde yeni bir anlay benimsemesinde rol oynar, hem de bir bakma unutulmaya yz tutan tekke ve halk edebiyatn yeniden gndeme getirir.7 * Surlarn Edirnekapsndan ehre girilen menfezin hemen yannda ina edilen Mihrmh Sultan Cmii ve etrafndaki klliye, 1565te Kanun Sultan Sleymann kz ve Vezirizam Rstem Paann haremi Mihrmh Sultan (1527-1578) tarafndan Mimar Sinana ina ettirilmitir. Cminin etrafndaki klliye ise, medrese, sbyan mektebi, hamam, Gzel Ahmed Paaya ait trbe, eme ve caddeye bakan bir sra dkkndan meydana gelmektedir. Yedikuleden balayp Topkap-Edirnekap-Ayvansaray istikametine doru uzanan Bizans surlarnn ehir iindeki en yksek noktasnda ina edildii iin birok yerden rahata grlebilen Mihrmh Sultan Cmii, tek kubbeli ve tek minareli bir yapdr. Yerden 37 metre ykseklikte ve 18 metre apndaki merkezdeki ana kubbenin rtt mekn, onun te biri apnda ayr kubbe ile geniletilmitir. Toplam 204 pencere ile aydnlatld ifade edilen cmi, bu zelliiyle, sanat tarihileri tarafndan, klasik dnem cmilerinin en aydnlk ve en ziyade profan ifadelisi olarak deerlendirilmitir.8
4 5 6 7 8 iiri ve Sanat Anlay zerine Rza Tevfikten Ali lm Fnye Bir Mektup, stanbul 1996, s. 70-72. Rza Tevfik, Biraz da Ben Konuaym, stanbul 1993, s. 358-364. Hilmi Ziya lken, Trkiyede ada Dnce Tarihi, Konya 1966, s. 416. Rza Tevfik, Filolojide Usl-i Tahkik, Peym- Edeb, nr. 32, 10 Nisan 1330/23 Nisan 1914. Ayrca bk. Semavi Eyice, Edirnekap Cmii ve Klliyesi, Trkiye Diyanet Vakf slm Ansiklopedisi,
scenery or even a manuscript can all be an inspirational muse; it is enough if it creates an embarkation from the many memories and feelings that have been building up inside and piling up by the day so that they are given life with a breath of soul. 4 Rza Tefvik, who experienced a loss of faith when he was young, remained under the effect of positivism and materialism for a long time, partly due to personal interest and curiosity and partly due to the reigning trend of the period; at the end of the years of the 2nd Constitutional Monarchy, he discovered Sufi folk literature and almost like a conversion, started to write with the air from this valley. 5 Rza Tefvik6 was one of the first to introduce Henri Bergson, a man who is accepted as the first and most important representative of the spiritualist approach in Europe in the 20th century, to Turkish readers. Tefvik combined a mysticism that defended moral and spiritual values against the materialism of the Western world - referred to as Bergsonism - and Turkish folk and tekke literature. With nefes (a kind of poetic form in folk literature) that were published from 1914, he played a role in the adoption of new concepts in the traditional line of Turkish poetry, breaking away from the cosmopolitan Servet-i Fnun literature that imitated the West to an extreme, and bringing the tekke and folk literature that had begun to be forgotten once more onto the agenda.7 The Mihrmh Sultan Mosque and the surrounding complex, which had been built immediately next to the aqueducts that entered the city walls via Edirnekaps, was constructed by Koca Sinan for Mihrmh Sultan (1527-1578), the daughter of Sultan Sleyman the Magnificent and the wife of the grand vizier Rstem Pasha. The complex that surrounded the mosque consisted of a madrasa, a primary school, a public baths, the mausoleum of Gzel Ahmed Pasha and a row of shops that looked onto the street. Mihrmh Sultan Mosque was built on the highest point within the Byzantine city walls that stretch from Yedikule
4 5 6 7 iiri ve Sanat Anlay zerine Rza Tevfikten Ali lm Fnye Bir Mektup, Istanbul 1996, pp. 70-72. Rza Tevfik, Biraz da Ben Konuaym, Istanbul 1993, pp. 358-364. Hilmi Ziya lken, Trkiyede ada Dnce Tarihi, Konya 1966, pp. 416. Rza Tevfik, Filolojide Usl-i Tahkik, Peym- Edeb, no. 32, 10 April 1330/23 April, 1914.
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Trk edebiyatnda tarih olaylarn ve tarih ahsiyetlerin dorudan doruya mstakil bir tema eklinde iire girmesi Tanzimattan sonraki yllarda balar. Bu erevede II. Merutiyete kadar tarih temas snrl ve belirli bir tarih bak iinde kalm, bu devre ait iirlerde tarih duygusu genellikle Osmanl Devletinin genileme ve istil devirlerinin eitli olay ve ahsiyetleri etrafnda olumutur.9 Rza Tevfikin, dorudan doruya Edirnekapdaki Mihrmh Sultan Cmii iin kaleme ald Harb Mabed adl iiri, Osmanl mparatorluunun Balkan Savandan sonra byk bir felketle sonulanan I. Dnya Savana girdii srada yazlr ve savan memlekette am olduu yaralarn, yapm olduu tahribtn btn izlerini tar. iirde deta bir harbe hline gelmi bulunun Mihrmh Sultan Cmiini dorudan doruya bir hareket noktas yapan ve bir sembol olarak alan air, sava yllarnda Trk milletinin urad korkun felketi ve bu felketle birlikte koskoca bir lkenin, muazzam bir mzisi olan Trk-slm medeniyetinin yok oluunu iir yoluyla ifade etmeye alr. iir, byk lde mzi ile hl-i hzr arasndaki tezada dayanmaktadr. iirin daha ilk ktasnda eskiden mmur olan mabedin hl-i hzrda harb oluuyla baht kara bir mmetin ayn kader izgisi zerinde karlamasndan hareket eden air, burada mzide kalan gzelliklerle iinde yaanan zamann irkinlikleri zerinde durur. Aslnda iirin btnyle, yaanan zamann irkinlii ve perianl karsnda, Trk edebiyatnda Namk Kemalden beri grlen, mzinin gzelliklerini ve ihtiamn yceltme arzusundan doduu da sylenebilir. iirin ikinci ktasnda ise, deta insan rperten bir tasvirle karlarz: Daha ziC. X, stanbul 1994, s. 446-448. 9 Bu konuda daha geni bilgi iin bk. mer Faruk Akn, Abdlhak Hmidin Merkad-i Ftihi Ziyaret Manzumesi ve indeki Grler, Trk Dili ve Edebiyat Dergisi, C. VII, stanbul 1956, s. 61-104).
and stretching towards Topkap-Edirnekap-Ayvansaray, and is a structure with one dome and one minaret. It stands 37 meters high and the area in the center, covered by the 18-meter diameter dome, is extended by three separate domes that have diameters measuring one-third that of the larger dome. The mosque, thanks to the 204 windows that illuminate it, is recognized by art historians as being the best illuminated mosque and the one with that has been most profanely expressed.8 The entrance of historical events and personalities as direct independent themes into Turkish poetry started in the years after the Tanzimat. In this context, the theme of history remained within a limited and definite historical view until the 2nd Constitutional Monarchy; the historical sentiments in poems belonging to this era were generally formed around a variety of events and personalities from the era of the expansion and spread of the Ottoman state.9 The poem that Rza Tevfik wrote for the Mihrmh Sultan Mosque in Edirnekap, entitled Harb Mabed was written at a time when the Ottoman Empire had come out of the Balkan Wars and was entering the First World War - which was to end in disaster - and it carries all the traces of the devastation and the wounds that had been opened in the nation.
8 For more information, see: Semavi Eyice, Edirnekap Cmii ve Klliyesi, Trkiye Diyanet Vakf slm Ansiklopedisi, vol. X, Istanbul 1994, pp. 446-448. 9 For further information on this matter, see: mer Faruk Akn, Abdlhak Hmidin Merkad-i Ftihi Ziyaret Manzumesi ve indeki Grler, Trk Dili ve Edebiyat Dergisi, vol. VII, Istanbul 1956, pp. 61-104).
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yade siyah renklerin hkim olduu bir tabloya benzeyen bu ktada batan gnelerin lgn nigh, harb mabedin kblesini, yani bir bakma en nemli ksmn karartmtr. Kble karanlkta kalnca her ey biter. Daha sonra gelen msralarda ise, grenle grlen arasnda madd olduu kadar mnev bir iliki balar. Bu defa, tarih boyunca zulme uram Mslman-Trk milletinin kara baht, cminin kubbesindeki glgeleri oluturur. nc ktada yine gren-grlen ilikisi devam eder ve harb mabedin ardrvan, syebn gibi baz ksmlar tarihin ak iinde deerlendirilir. Drdnc ktada ise, cminin eitli blmleri tasvir edilir ve kitbesinde hikmetli yetler yazl olduundan, harbesinin bile cennet ban andrdndan sz edilir. Ktann son iki msranda, harb olmu, ykk cminin avlusunda haylen mziye doru yolculua kan air, son derece arpc bir ifade ile o gnleri yaayan insanlarn knt psikolojisini yanstan muhteem bir ykl tablosu izer: Ba- cennet olan harbesinde Tekbr sadlar artk bunalm! Bu msralarda dikkati eken husus, soyut bir kavram olan Tekbr sadlarnn, yine soyut bir anlam tayan bunalmak fiiliyle nitelendirilmesidir.
The poet uses the Mihrmah Sultan Mosque, which was in ruins, as a point of departure and, taking this as a symbol, the poet tries to express the terrible disaster which had been inflicted on the Turkish during the war years; with this disaster an enormous country and the Turkish-Islamic civilization, which had had a magnificent past, were destroyed. The poem, to a large extent, is based on the theme of the contrast of the past and the present. In the first stanza of the poem, the temple, which used to be mmur (thriving), has now been transformed to harb (ruins); the poet, acting from a comparison of the fate shared by the baht kara bir mmet (ill-fated nation), emphasizes the ugliness of the time in which they were living with the beauty that remains in the past. In fact, it can be said that the entire poem desires to exalt the beauty and glory of the past in contrast with the ugliness and disorder of the contemporary period; this is something that has occurred in Turkish literature since Namk Kemal. In the second stanza of the poem we encounter a horrifying description; In this stanza, which is more like a dark, somber painting, the batan gnelerin lgn nigh (the withered glance of the setting suns) on the qiblah of the harb mabed (ruined temple) is described. Thus, from one aspect, the most important section of the mosque is described as being bleak. If the qiblah is in the dark, then there is no hope. In later stanzas a physical connection as well as a spiritual connection is established between the observer and the observed. This time, the kara baht (black fate) of the Muslim-Turkish nation, which has been oppressed throughout history, forms in the shadows of the mosques dome. In the third stanza the relationship between the observed and the observer continues and some sections of the harb mabed, for example, the fountain and canopy, are evaluated in the historical context.
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Bunalmay, lgat karl olan Rhen sklmak, daralmak anlamnda alrsak, artk Tekbr sadlarnn harbeler arasnda ykselmemesini tabi karlamakla beraber, bu bunalmay u ekilde de yorumlayabiliriz: Artk, iirin yazld tarihten yaklak be asr nce (462 yl) Kostantinopol il-y kelimetullah uruna Tekbr sadlar arasnda fetheden Trk askerlerinin ne kendisi, ne de o fetih rhu ve heyecan kalmtr. Tekbr sadlarnn bunalp kald yerde, ilh ve ulv evk ve gayret de yok olmu, deta donup kalm ve hayatiyetini kaybetmitir. Buradaki bunalan Tekbr sadlar imaj, olduka yeni ve orijinal bir imajdr. Msralardaki mziye ait soyut bir kavram, yaanan zamanda bunalmak sfatyla nitelenmek suretiyle yepyeni bir ekilde karmza kmtr. Bursada Zaman iirinde Tanpnar nasl, asrlar tesinden Yeil Trbenin duvarlarnda inilere sinmi Kurn sesini duymusa, burada da Rza Tevfik, asrlar ncesinden gelen, ama cminin harbesinde donup kalm Tekbr sadlarn deta asrlar sonra hissetmektedir. Son derece derin bir anlam tayan son ktada ise air, kendi ahsnda btn Trk milletine seslenerek, gemite kalan erefli mzinin artk masaldan baka bir ey olmadn deta kendi kendisine itiraf eder.
In the fourth stanza, different sections of the mosque are described, and as there are hikmetli yetler (wise verses) written in the inscription, the poet tells us that even as a ruin this area reminds one of the gardens of Paradise. In the last two lines of the stanza the poet imagines setting out on the road to the past via the courtyard of the ruined, destroyed mosque and draws a magnificent portrait of destruction that reflects the collapse of the psychology of the people living in those days: Ba- cennet olan harbesinde Tekbr sadlar artk bunalm! What is interesting in these lines is the abstract concept of Tekbr sadlar (echoes of the tekbir) being qualified by the verb bunalmak, which also has an abstract meaning. If we accept the dictionary definition of bunalmak, that is, depression, suffocation, then not only does this mean that the echoes of the tekbir are no longer rising from amongst the ruins, but we can also interpret this line in the following way: Neither the spirit nor the excitement of those Turkish soldiers who gave cry to the tekbir when conquering Constantinople in the name of Allah, roughly five hundred years before the poem was written (1462), exist anymore. The echoes of the tekbir have been suffocated and remain trapped, and there is no divine or sublime passion or effort; it is as if these cries have been frozen and have lost their animation. Here the image of the bunalan Tekbr sadlar is new and original. An abstract concept belonging to the past appears before us in a brand new form as an attribute to qualify the bunalmak that is being experienced at this time.
iirin tamamn gz nne alrsak, Trk vatannn o gnk iler acs manzaras karsnda kahrolan airin, asrlarla ifade edilen uzun tarihi boyunca an ve erefle yaam bir milletin ocuklarnn perian durumu karsnda, Osmanl Devletinin mutlu gnlerinden kalan harb bir mabedi, yani Mihrmh Sultan Cmiini vesile yaparak daha fazla zldn, deta gzya dktn hissederiz. Deyim yerinMuch as Tanpnar, in the poem Bursada Zaman (Time in Rza Tevfik deyse, airin bir tr mzi ryas grd bu iirde gemiBursa), hears the inilere sinmi Kuran sesi (the sounds of the e ve tarihe ait unsurlar genellikle gemii yceltici ifadelerle ortaya konulurQuran cowering in the tiles), here Rza Tefvik is aware of the Tekbr sadlar that ken, yaanan zamanla ilgili unsurlar ise keder ve hzn verici isim ve sfatlarwere uttered centuries before, but which have been donup kalm (frozen) in the rula nitelenmitir. ins of the mosque. Rza Tevfik bu iirinde, bir anlamda sembolik olarak, ktaya hkim muazzam Trk-slm medeniyetinin kn, kendi ifadesiyle izmihllini dile getirmektedir. Yukarda zikrettiimiz iir anlayn ifade ettii paragrafta da syledii gibi, iinde yaad birtakm gnlk olaylarn iddetle tesiri altnda kaleme ald baz iirlerinde ferd duygularyla sosyal olaylar birletiren airin, bu iirinde, asrlar nce Endls medeniyetinin yklna mersiye syleyen Eblbek Salih Endls gibi, Trk-slm medeniyetinin yava yava yklna gzya dkt anlalmaktadr. fade ettii gerek anlam yannda sembolik bir anlam da tayan Harb Mabed iirini, ayn zamanda bir medeniyetin arkasndan sylenmi bir mersiye gibi de okuyabiliriz. * 16 Mart 1920 gn stanbulun ngiliz ve Fransz askerleri tarafndan igali zerine yazd Kara Bir Gn makalesi dolaysyla daha baka Trk aydnlaryla beraber srgne gnderildii Maltadan Dssla gibi muhteem iirler kaleme alan Sleyman Nazif, bir yazsnda Rza Tevfikin Harb Mabed iirini nasl bir ruh hli iinde kaleme aldn u satrlarla aklamaktadr: Bir gn, Endlsteki izmihll-i slma alayan bir iki Arapa kaside okumu. Bundan fevkalde mteessir olan air, ervh- ecdat ile hasbihl etmek iin Eyp taraflarna gitmi, dolam ve dolatka hzn artm. Nihayet, shib-krn- ark u garb Sleymn- Kanunnin pek ziyade sevdii kermesi Mihrmh Sultann harb olan cmii nne gelmi; sabahtan beri vicdann trmalayan hzn alata alata dindirecek kuvveti bu mabed-i vrnn manzar- pernnda bularak derhal u nede-i samimiyeyi gnlnden kt stne dkm.10 Bu iirle ilgili olarak deiik adan baka bir deerlendirme de airin bizzat kendisinden gelmektedir. Rza Tevfik, 1934 ylnda 150liklerden olmas dolaysyla bir nevi srgn hayat yaad Lbnann Cnye kasabasndan Kbrsa yapt bir ziyaret srasnda, smail Hikmet (Ertaylan) gibi baz dostlarnn srar ile i10 ran Edebiyatnn Edebiyatmza Tesiri, Edebiyat- Umumiye Mecmuas, nr. 62-31, 6 Nisan 1918, s. 581.
In the final stanza, which is very meaningful, the poet, in his own persona, calls to the entire Turkish nation, admitting to himself that the erefli mzi (honored past) is nothing more than a masal (fairy tale). If we examine the poem as a whole, the poet is distressed by the aspect of the Turkish nation, which was writhing in the throes of agony at that time; he is faced by the distressed situation of the children of a nation that had once lived in honor and glory throughout centuries of history. Thus he uses the ruins of a temple from the happier days of the Ottoman State, that is, the Mihrmh Sultan Mosque, to make us aware of his great sorrow, in fact, his weeping. It could be said that the poet has had a dream of the past and that while expressing images that exalt the past with traditional components from the past and history, the components that he uses to qualify the time he is living in are the attributes of sorrow and sadness. In one sense in this poem Rza Tefvik symbolically expresses the, in his own words, izmihll (destruction) of the collapse of the great Turkish-Islamic civilization which ruled over three continents. As stated above in the paragraph that discusses of the concept of the poem, we can understand that poets combine personal feelings with social events in poems that are written under the powerful influence of daily events, like Abul baka Salih Andulusi, who uttered an elegy about the collapse of the Andalusian civilizations centuries before or weeping tears at the slow destruction of the Turkish-Islamic civilization. The poem of Harb Mabed, which carries symbolic meanings alongside its literal meanings, can also be read as an elegy that is recited for a civilization that no longer exists. * Sleyman Nazif, the author of magnificent poems like the Dssla, was exiled to Malta along with other Turkish intellectuals for writing Kara Bir Gn (A Black Day) to mark the invasion of Istanbul by British and French troops on 16 March, 1920. From here he describes the spiritual state of Rza Tevfik when writing Harb Mabed.
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irlerini Serb- mrm adyla Lefkoada yaymlar. Rza Tevfikin, bizzat kendisinin tashih ettii ve imzalayarak stanbulda bnlemin Mahmud Kemal nala gnderdii hususi nshaya, bu iirin yer ald sayfalarn altndaki bo ksma u satrlar yazm olduunu gryoruz: Rhumuzda mnis olan medeniyet-i slmiyenin en gzel sr ve onlarn slp itibariyle en ulv timsli olan cevmi-i erfenin mrif-i harb olduklarndan dolay teessrm beyn iin yazlmt. Ve Mihrmh Sultan Cmiinin vran adrvannda yazlmt. O zaman Meclis-i Mebusnda birok kiiler benim bu derin ve muhik teessrme itirak ettiler ve o esnda hakikaten harb olan ve bize en satvetli devletimizden ydigr kalan o gzel cmi-i erfi -o zaman Evkaf Nzr bulunan- merhum Hayri Beye tamir ettirdilerdi. Bu emr-i hayr iin birka bin lira sarf edilmi olduunu syleyip beni taltif ettilerdi.11
One day he read a couple of Arabic couplets that lamented the collapse of Islam in Andalusia. The poet was greatly affected by this and in order to commune with the spirits of the past went to Eyp; as he wandered around this area he became even sadder. Finally, he came in front of the ruins of the mosque of Mihrmh Sultan, the beloved daughter of Sleyman the Magnificent, the supreme ruler of East and West; finding this temple, which had the power to relieve the sorrow that had been accumulating in his heart from the morning, he immediately poured out what he felt among the ruins onto paper.10 Another evaluation of this poem which approaches it from a different perspective comes from the poet himself. During a visit made to Cyprus in 1934 from the town of Junya in Lebanon, where he was living in a form of exile due to being one of the 150s, on the insistence of some friends like smail Hikmet (Ertaylan) Rza Tevfik published his poems in Serb- nrm in Nikosia. In the perso-
Neyzen Tevfik ve Rza Tevfik / Neyzen Tevfik and Rza Tevfik
Rza Tevfik
Bu ifadelerden de anlalabilecei gibi iir sadece bir anlk heyecanla deil, belli bir hazrlk devresinden sonra, yani air kendisini rh itibariyle bir sre hazrladktan sonra domutur. Mimar Sinan tarafndan surii stanbuluna hkim tepelerinden birinde ina edilen Mihrmh Sultan Cmii o tarihten bu yana eitli zamanlarda deprem, yangn, ilgisizlik vb. tahribat karsnda hasar grm ve her seferinde onarlarak bugnlere gelmitir. 17 Austos 1999 Marmara Depreminde de byk bir hasar gren Mihrmh Sultan Cmii, aa yukar on yla yakn bir sredir tamir edilmee allyor. Bu sre iinde hasar gren eitli ksmlar onarlrken bir yandan da kaideye kadar minaresi sklerek yeniden rld; ancak cadde tarafndaki iskeleler hl durduuna gre tamirtn devam ettii anlalyor. Mihrmh Sultan ile Mimar Sinann bizlere bir ydigr olarak gnmze ulaan bu muhteem eser, sadece tamiratla deil, ayn zamanda nndeki gayr nizmi ve kaak yaplarn yklp temizlenmesinden sonra asl hviyetiyle ortaya kabilecek gibi grnmektedir.
nal copy that Rza Tevfik edited and signed, which was sent to bnlemin Mahmud Kemal nal, we can find the following lines in the margin of this poem: This was written to declare the sorrow felt at the derelict state of the sacred mosques, the most magnificent monument and most sublime symbol of the civilization of Islam. And this was written in the ruins of the adrvan (fountain) of the Mihrmh Sultan Mosque. At that time many people in the Parliament shared my deep and justified sorrow for that beautiful holy mosque, a reminder from our most glorious state to us, which at that time was in true ruins - and they had Hayri Bey, who was at that time the Minister of Waqfs - repair it. By telling me that a few thousand lira had been expended on this sacred duty they rewarded me.11 As we can understand from these expressions, the poem was not just the result of a momentary inspiration, but rather had perhaps come to life after a preparatory period, that is after the poet had prepared his soul towards this aim. The Mihrmh Sultan Mosque, built by Koca Sinan on a hill that dominates Istanbul within the ramparts, has been ravaged from the time it was built until the present day by earthquakes, fires, neglect and other such factors; each time it has been repaired and thus has reached us today. For a period of nearly ten years repairs have been carried out on the Mihrmh Sultan Mosque, which suffered great damage in the Marmara earthquake of 17 August, 1999. Within this period, while the various parts that suffered damage were being repaired, the minaret on the side was removed, down to the base and rebuilt; however, it can be understood that repairs continue, as the scaffolding is still on the street side of the building. Renovation is not enough if this magnificent work which reminds us of Mihrmh Sultan and Koca Sinan is to regain its former glory; at the same time the illegal structures that have been built up around it need to be removed for the actual identity to emerge.
10 ran Edebiyatnn Edebiyatmza Tesiri, Edebiyat- Umumiye Mecmuas, no. 62-31, 6 April 1918, p. 581. 11 This signed copy can be found in Istanbul University Central Library, in the Rare Works Section, among the books of bnlemin Mahmud Kemal nal (no. 672, p. 9).
11 Bu imzal nsha stanbul niversitesi Merkez Ktphanesi, Nadir Eserler Ksmndaki bnlemin Mahmud Kemal nal Kitaplar arasnda bulunmaktadr (nr. 672, s. 9).
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Fransz htilali: yeni eitim ve yeni retmen
Prof. Dr. Cemil ZTRK
TEACHER TRAINING SCHOOLS IN STANBUL

French Revolution: New Education, New Teachers
Prof. Cemil ZTRK
STANBULDA RETMEN OKULLARI Fransz htilali: yeni eitim ve yeni retmen / TEACHER TRAINING SCHOOLS IN ISTANBUL French Revolution: New Education, New Teachers

Fransz htilali: yeni eitim ve yeni retmen
Prof. Dr. Cemil ZTRK* Fransz htilaline kadar btn toplumlarda eitim din idi. Buna paralel olarak, okullar mabetle yan yana, i ie idi. rnein Bat Avrupann prototip kampuslarnda eitim kurumlar, bir kilisenin etrafnda toplanmt; retmenler de genellikle din adamlar veya arlkl olarak din eitim alm kimselerdi. Osmanl eitim ve bilim merkezleri olan klliyelerde, ana yap mabetti; dier meknlar onun etrafnda evrelenmiti. retmen/bilim adam ilevini gren mderrisler de byk lde dinsel ierikli bir programa tabi olarak renim grm insanlard. Epistemolojik ynden bilgi, yzyllar boyunca apriori yani tartmasz kabul edilmesi gereken bir eydi. Eitimin en nemli grevi, mevcut din, sosyal, kltrel vs.- kltr gelecek kuaklara aktarmakt. Dolaysyla, eitim bir deiim deil, statko aracyd. Bu nitelii, Batda Ortaan izlerini tayan eitimin sonunu hazrlayacakt.
TEACHER TRAINING SCHOOLS IN ISTANBUL

French Revolution: New Education, New Teachers
Prof. Cemil ZTRK Until the French Revolution, education in all communities meant religious education. Parallel to this, schools were located next to places of worship; they were intertwined. For instance, the first educational institutions in Western Europe were centered around churches, and the teachers were all religious clerics or people who had received religious education. At the Islamic-Ottoman Social Complexes (Klliye), which were the center of education and science in the Ottoman Empire, the main building was the mosque and the other buildings were built adjacent to it. The teachers (mderris) were mainly educated in programs with religious content. For centuries, knowledge was accepted a priori as epistemological, meaning it was something that was unquestionable. The most important task of education was to transfer the current culture - religious, social, cultural, etc. - to the future generations. Thus, education was not a tool for change; rather, it was a tool to maintain the status quo. This characteristic would bring about the end of an education system carrying traces of the Middle Ages in the West.
Fransz htilali ideolojik olarak, mevcut siyasal, sosyal ve kltrel yapnn deiimini amalamt. yle ki Fransz Cumhuriyeti, feodal, teokratik ve monarik dzeni ykm, onun yerine cumhuriyeti, laik deerlere dayal yeni bir dzen kurIdeologically, the French revolution aimed to change the current political, socimutu. Yeni dzenin bekas, ona inanan yeni nesillerin yetitirilmesine balyd. al and cultural structure. So much that the French Republic demolished the feBunun iin ise, yeni bir eitim sisteminin teekkl ve udal, theocratic and monarchic regimes and estabcumhuriyeti retmenler yetitirmek gerekiyordu. lished a new regime that was based on republican Modern sivil eitimin douu da nemli lBu gereklilik, ihtilalcileri insanlk tarihinin ilk mstaand secular values. The continuity of this new regide pragmatik bir yaklamn sonucuydu: kil retmen yetitiren kurumunu amaya gtrd. me depended on raising new generations that beliYeni kurulan Bat tipi brokrasinin ada eved in it. For that, the creation of a new education Fransz htilali sonrasnda alan retmen okulu, eitim grm, Bat dili bilen memur ihtiyasystem and the training of republican teachers were hem cumhuriyetiler hem de kralclar tarafndan idecn karlamak iin yeni okullar amak. necessary. This necessity led the revolutionaries to olojik bir s olarak grlmt. Bu okuldan mezun open the first private teacher training institution in olanlar, ou zaman kendilerini kralc cumhuriyetThe birth of modern civil education also was the history of mankind. i kavgasnn ortasnda bulacaklard. yle ki, kralclar a result of a pragmatical approach: Open up ynetimi ele geirdiklerinde ilk olarak bu retmenThe teacher training school opened after the French schools to meet the newly established Wesleri tasfiye etmilerdi. Baka lkelerde de retmen Revolution was seen as an ideological base for both tern style bureaucracys need for officials, okullar kilise ve/veya eski siyasal dzenin savunucuthe republicans and the supporters of the king. The who are modernly educated and speaking graduates of this school mostly found themselves in larnn basksna maruz kalmt. rnein ngilterede foreign languages. the middle of the fight between the republicans and Tanzimat arifesinde alan ilk retmen okulu, kilisethe supporters of the king. In fact, these teachers nin tepkisi yznden on yla yakn bir sre kalc hale were the first to be discharged when the supporters of the king came to power. gelememiti. Belikada laik eitimi sembolize eden retmen okulu, ordunun The teacher training schools in other countries were exposed to a lot of pressudestei ile ayakta durabilmiti. Oysa Osmanl lkesinde ilk retmen okulu, pedare from the church and/or the supporters of former political regimes. For instangojik bir ihtiyatan doacakt. ce, in Britain, the first teacher training school opened on the eve of reforms did not become permanent for almost ten years due to the reaction of the church. Osmanl eitiminde modernleme ve Drlmuallimn: Hocadan In Belgium, the teacher training school, which symbolized secularism, could only Muallime persist with the support of the army. However, the first teacher training school Osmanl mparatorluunda Bat modelinde modernleme, Avrupadaki gibi, under the Ottoman Empire was born from of a pedagogic need. felsef, fikr, bilimsel vs. alanlardaki bir evrimin/dnmn sonucunda ve/veya The Modernization of Ottoman Education and Drlmuallimn (schools for ona paralel olarak deil, tamamyla pratik ihtiyalarn basksyla ortaya kmtraining male teachers): From Hodja to Teacher t. Nitekim ilk reformlar cephede alnan baarsz sonularn etkisiyle ordunun slahna ynelik olmutu; yle ki eitimdeki modernizasyon da Bat tipinde asker In the Ottoman Empire, the Western model of modernization emerged because okullarn almas biiminde balamt: mhendishaneler, Mekteb-i Tbbiye ve of the pressure of practical needs, unlike in Europe where modernization emerMekteb-i Harbiye. Bu okullar Trkiyede pozitivizmin dou ve yaygnlamasna ged as the result of and/or parallel to the evolution/transformation in the phibeiklik ederek Cumhuriyete giden fikr ve felsef yolun biimlenmesinde nemlosophical, intellectual and scientific areas. Indeed, due to the disappointing reli rol oynayacakt. sults on the front lines, the first reforms were designed to improve the army; thus, the modernization of education started with the establishment of Western Modern sivil eitimin douu da nemli lde pragmatik bir yaklamn sonustyle military schools: engineering schools (mhendishaneler), medical schools cuydu: Yeni kurulan Bat tipi brokrasinin ada eitim grm, Bat dili bilen (Mekteb-i Tbbiye), and military schools (Mekteb-i Harbiye). These schools were memur ihtiyacn karlamak iin yeni okullar amak. Sultan II. Mahmud bu yaklathe cradle of the birth and spread of positivism and played an important role in mla stanbulda iki okul atrmt (1838). Kurduu bir eitim komisyonu, lkethe formation of the intellectual and philosophical road to the Republic. de, Avrupada olduu gibi, ilk, orta ve yksek retim olmak zere kademeli bir sistem kurulmasn nermiti. Ancak bu sistemin kurulmasna, 1846da PaThe birth of modern civil education was to a considerable extent the result of a yitahtta rdiye ad verilen modern bir okulun almasyla balanmt. Bu okulda pragmatic approach as well: opening new schools satisfied the newly establisverilen eitimin ok baarl olmas zerine, mteakip yllarda yenileri almt. hed Western style bureaucracys need for civil servants who could speak wes* Marmara niversitesi, Atatrk Eitim Fakltesi Dekan * Head ofAtatrk Faculty of Education at Marmara University.
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Ne var ki, saylar artan modern okullarda eitim kalitesinin srdrlmesi iin ada pedagojiye [usl-i cedid] gre yetitirilmi retmenlere ihtiya vard ve medreselerin onlar yetitirmeleri mmkn deildi. Bu gerei gren Sultan Abdlmecidin iradesiyle stanbul Fatihte 16 Mart 1848de Drlmuallimn adyla Trkiyenin ilk retmen okulu ald. Bat lkelerinin aksine, bu okulun al, herhangi bir fikr ve/veya fiil direnile karlamamt. Yllarca kiralk konaklarda faaliyet gsteren Okulun gerek bir kurum haline gelmesi, nl tarihi, hukuku ve devlet adam Ahmed Cevdet [Paa] Efendinin mdrl zamannda mmkn olmutu. Keza, bu kurumun ilk nizamnamesi de onun tarafndan hazrlanmt. Ahmed Cevdet, retmen yetitirmede nicelik nitelik ikilemine dldnde nitelii tercih etmek gerektiini gsteren ilk rnek icraata da imza atmt. yle ki, okula tahsis edilen renci maa [burs] deneinin yetersiz olduunu, parasz kalan rencilerin medrese rencileri gibi cerre ktn ve halktan yardm topladn, bunun ise kamuoyunun gznde retmenliin saygnln azalttn grm, mal darlk dolaysyla denek artrlamad iin, mevcut renci kontenjannn yarya indirilmesini salamt. Bylece, madd imknlar iyileen retmen adaylarnn zsayglar ve sosyal statleri ykselmiti. Bu rnek yaklam ve uygulama, yz elli yl akn retmen yetitirme tarihimizde ou kez unutulacak, genellikle nitelik nicelie kurban edilecekti. Drlmuallimn veya Drlmuallimn-i Rd [Rdiyeler in retmen Okulu], Osmanlnn usl-i cedid dedii ada pedagojiye uygun retmen yetitirerek, mparatorlukta modern eitimin geliiminde hayat bir rol oynad. Ne var ki, rdiyelerin alp yaygnlamas, Tanzimat arifesinde planlanan kademeli yeni eitim sisteminin kurulmas iin yeterli deildi. Zira rdiyelerin almasyla ortaretim kademesi oluturulmutu. Fakat ilkretim ve yksekretim alannda bir ey yaplmad iin Ahmet Cevdet Paann Maruzat adl eserindeki ifadeyle deta iin ortasndan balanmt. Drlfnun ad verilen niversitenin kurumsallamas, bu dnemde al yaplmasna ramen baarlamamt. lkretimin modernizasyonuna giriilmesi iin ise on yldan fazla beklemek gerekecekti.
tern languages. With this approach, Sultan Mahmud II opened two schools in Istanbul in 1838. A commission on education he established suggested the implementation of a European three-level system: primary, secondary and higher education. The establishment of this system began with the opening of a modern school called rdiye (Ottoman Junior High School) in 1846 in the capital city. Due to this schools huge success, new schools were opened in subsequent years. However, in order for these modern schools to maintain a high quality of education, teachers trained in accordance with modern pedagogy (usl-i cedid) were needed and the theological schools were not able to do that. Sultan Abdlmecit understood this and decided to open Drlmuallimn, Turkeys first teacher training school in Istanbul on March 16, 1848. Unlike in the Western countries, the opening of this school did not face any intellectual or operational resistance. The school operated in rented premises for years. Under the leadership of the famous historian, jurist and statesman Ahmed Cevded Pasha, the school became a real institution. Also, he prepared the first charter of this institution. Ahmet Cevded was known for preferring quality if the school fell into the dilemma of quality or quantity when it came to training teachers. He saw that the student loan (bursary) allowance allotted to the school was insufficient; thus students were left penniless and looked for ways to earn money just as the theological school students did. The students resorted to collecting charity from the community which, as a result, reduced their prestige in the eyes of the public. Due to financial distress it was impossible to increase the allowances so Ahmet Cevded decided to halve the current student quota. As a result, the financial means of the teacher candidates improved which raised their self-respect and social status as well. In the more than one and hundred and fifty year long history of training teachers in Turkey, this exemplary approach and implementation was eventually forgotten as quality was sacrificed for quantity.
Drlmuallimn or Drlmuallimn-i Rd (Teacher Training School for Rdiye) educated teachers in accordance with modern pedagogy, called usl-i cedid by the Ottolkretim reformu ve Drlmuallimn-i mans, and played a vital role in the developSbyan ment of modern education within the emSbyan mekteplerinde ada pedagojiye uypire. However, the opening and proliferatigun yenilikler 1850lerde balad. Okullara, on of the Ottoman junior high schools (Rtahta, sra, harita gibi ara ve gereler girmediye), part of the Tanzimat reforms were not ye balad. Selim Sabit Efendinin Rehnumay- enough for the planned establishment of the Muallimn [retmenler in Rehber] adl esenew, three-level education system. The operi bata olmak zere, usl-i cedidi anlatan kining of these junior high schools (Rdiye) taplar ve kurslar vastasyla baz retmenler created the secondary level of education. Hoada pedagojinin ilkelerini snflarna tawever, because nothing was done for the prid. Bu harekete uygun olarak yeni okullar almary education and higher education levels, Medrese alimi ve talebeleri. / Professor of madrassah and his students d; bunlara geleneksel sbyan mekteplerinden as explained by Ahmet Cevdet Pasha in his farkl olarak ibtida ad verildi. book Maruzat, they began the work from the middle. The institutionalization of the universities or Drlfnun was not achieved in this period, even though Ortaretimde olduu gibi, ilkretim reformunu kalc ve etkin hale getirmek three were opened. As for the modernization of primary schools, this would take iin 1868de stanbul Caalolunda Drlmuallimn-i Sbyan adnda bir ilkretat least more ten more years to accomplish. men okulu ald. Bu okul, phesiz mparatorluun devasa retmen an kapatmaya yetmedi. Fakat Trkiyede ilkretimin adalamas srecinde belirlePrimary School Reform and Drlmuallimn-i Sbyan yici bir rol oynad. Her eyden nce, 1974te ilkretime retmen yetitirmenin n lisans seviyesindeki eitim enstitlerine devredilmesine kadar, alan tm ilIn the primary schools (Sbyan mektepleri), developments in accordance with kretmen okullarna model oluturdu. Ayrca, Trkiyede ilkretim alanndaki modern pedagogy started during the 1850s. Schools began to use equipment pedagoji hareketlerine nayak oldu. zellikle kinci Merutiyet dneminde, Trk like boards, desks, maps, etc. Books and courses describing modern pedagogy, dnyas ve teki slm lkeleri zerinde de etkili olacak gl bir ada pedagoji particularly Selim Sabits book Rehnumay- Muallimn (Guide for Teachers), led hareketine sahne oldu. Bu yllarda Sat Bey, sz konusu corafyada Trk Frobeli some teachers to carry out the principles of modern pedagogy in their classes. yaktrmasyla hrete kavutu. Semerkant, Buhara ve Karaba gibi diyarlardan Pursuant to this movement, new schools were opened called ibtida, a name bu okula renim grmek zere renciler geldi. Bu rencilerin barnma, besthat is different from that of the traditional Ottoman primary schools (Sbyan lenme ve teki giderleri devlet ve/veya halk tarafndan karland. mektepleri).
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STANBULDA RETMEN OKULLARI Fransz htilali: yeni eitim ve yeni retmen / TEACHER TRAINING SCHOOLS IN ISTANBUL French Revolution: New Education, New Teachers
Kzlarn eitimi reformu ve Drlmuallimt / Drlmuallimt- liye Tanzimat devri slm dnyasnda kzlarn eitimi bakmndan bir devrime sahne oldu. yle ki, bu devre gelene dein sbyan mektebinde on yana kadar sren bir renim grebilen kzlar; 1859 ylnda stanbul Sultanahmette bulunan gnmzde Trk Edebiyat Vakf tarafndan kullanlan- Cevrikalfa Mektebinde alan nas Rdiyesi [Kz Rdiyesi] ile ortaokula muadil bir renim imknna kavutu. nceleri Mslman aileler, kzlarn, programnda teorik derslerin yannda, ev idaresi, -o gn iin yaygn olmayan bir beceriyi gelitirmek iin- t, diki ve nak ile piyano gibi derslerin de verildii inas rdiyelerine gndermekten ekindi. Bu toplum psikolojisiyle ilgili bir durumdu; zira aileler gelenein dna kp evrelerinden tepki grmekten ekiniyordu. Devlet, resm gazetesi Takvim-i Vekyide yaynlad ilanlarla bu psikolojiyi ortadan kaldrmaya alyordu. Bu ilanlarda slm dininin kzlarn eitimine verdii neme vurgu yaplyordu. Kzlarn eitiminin yaygnlamasn engelleyen faktrlerden biri de, mevcut retmenlerin erkek olmas; toplumun, ergenlik ana gelmi kzlarn bu kimselerle bir arada bulunmasna ho bakmamasyd. te, Bb- li bu soruna zm bulmak iin 1870 ylnda stanbulda Drlmuallimt adnda bir kz retmen okulu at. nas Rtiyesi mezunlarn alan bu okul iki yl sonra ilk bayan retmen mezunlarn verdi. Bunlar, modern anlamda ilk kadn devlet memurlar oldu. Kadn retmenler lkede kzlarn eitiminin yaygnlamasnda nemli bir rol oynad. Bu okul, Trkiyenin ilk kadn pedagoglarnn, yneticilerinin ve aydnlarnn yetimesine zemin hazrlad. Bylece, modern Trkiyenin douunda etkili oldu.
Similar to the experience with training for secondary education, a primary education teacher training school called Drlmuallimn-i Sbyan was opened in Cagaloglu, Istanbul, in 1868, in order to make the primary education reforms permanent and effective. This school could not satisfy the massive demand for teachers throughout the empire, but it played a decisive role in the modernization of primary education in Turkey. Above all, until the responsibility for training primary school teachers was transferred to education institutes in 1974, it set an example for all the primary education teacher training schools that were opened. Also, it took the lead in the pedagogy movement in the field of primary education. Especially during the Second Constitutional Monarchy period, Turkey witnessed strong, modern pedagogy movements that affected the other Islamic countries. During these years, Sat Bey gained fame in the region with the epithet Turkish Froebel. Students came to this school to be educated from regions like Samarqand, Bukhara and Karabagh. The students accommodation, food and other expenses were met by the government and/or the public. Education Reform for Girls and Drlmuallimt / Drlmuallimt- liye
The era of reforms (Tanzimat devri) brought about a revolution with regard to the education of girls. With this reform, female students, who until this time period could only be educated until the age of ten in the Ottoman primary schools, were afforded the opportunity to study at a school called nas Rdiyesi (Secondary School for Girls), opened in 1859 within the Cevrikalfa School and located in SultaTanzimattan sonra vilyetlerde anahmet, Istanbul (used by the Folan az saydaki drlmuallimta model undation of Turkish Literature tooluturan stanbul Drlmuallimt; Biday) which gave them an educatirinci Dnya Savann banda bnon equivalent to secondary school. yesinde alan nas Drlfnunu [KzPreviously, Muslim families hesitalar niversitesi] ile kzlarn yksek ted to send their daughters to girls renim grme imknn elde etmesine junior high schools (inas rdiyede zemin hazrlad. Ayrca, sava arifesi) which offered courses in home sinde ats altnda faaliyete geen Ana economics (developing such a skill Muallime Mektebi ile okul ncesi eiwas not common at that time), irotim retmeni yetitirerek, lkede bu ning, needlecraft or piano in addialann geliiminin nn at. stanbul tion to theoretical courses. This Drlmuallimt, 1924 ylnda Kz Mualwas related to the psychology of lim Mektebi, sonraki yllarda da Kz the community: families were afretmen Okulu adyla faaliyetini srdrraid of the reaction of their neighd. 1974 ylnda ilkokullara retmen bors if they went outside of the trayetitirmenin eitim enstitlerine devdition. The state was trying to eliredilmesiyle tarih rol ve/veya ilevini minate this psychology through kaybetti. announcements in the official gazette, Takvim-i Vekyi. In these anDarlfnun / stanbul University Drlmuallimn-i liye nouncements, the importance of stanbulun eitim tarihine damgasn vuran eitim kurumlarndan biri de, Cumeducating girls in Islam was emphasized. Another reason hindering the spread huriyet dneminde Yksek retmen Okulu adyla 1970lere kadar faaliyetiof girls education was the fact that the current teachers were all male and the ni srdren Drlmuallimn-i liye idi. Modern Osmanl eitim sistemini Fransz public did not find it appropriate for girls at the age of puberty to be taught by modeline gre oluturulan 1869 Maarif-i Umumiye Nizamnamesi [Genel Eitim male teachers. Thus, to solve this problem, the Sublime Port (Babali) opened a Tz]; retmen yetitirme alann da yeniden dzenlemiti. Bu nizamnameteacher training school for female students called Drlmuallimt in 1870. This nin Osmanl retmen yetitirme dzenine yapt en nemli katk, stanbulda school, which enrolled graduates of the junior high school for girls (nas Rtifarkl kademede bulunan sbyan mektepleri, rdiye ve idadilere retmen yetiyesi) produced its first female teacher graduates in two years. These teachers tiren Drlmuallimn-i Kebr [Yksek retmen Okulu] almasn ngrmesiydi. can be called the first female civil servants in Turkey. Female teachers played an Bu okul, 1874 ylnda ald, yl sonra kademeye de retmen yetitirir hale important role in the movement to educate girls throughout the country. This geldi. Sultan II. Abdlhamid dneminde hem nicelik hem de nitelik bakmndan school laid the foundation for the rise of the first female pedagogues, managers nemli bir gelime kaydetti. Bu arada, tekilat bakmndan baz deiimlere uraand visionaries of Turkey. Thus, the school became instrumental in the birth of d. Kimi zaman Sbyan/btida ubesi zerk, kimi zaman da bamsz hale geldi. Famodern Turkey. kat asl deiim II. Merutiyet dneminde (1908-1918) meydana geldi. The model for a few schools opened in the provinces after the Tanzimat reforms, II. Merutiyetin ilk yarsnda Drlmuallimn-i liye, cole normale suprieure the Drlmuallimt of Istanbul opened the door for female students to have acParisten esinlenilerek yeniden yaplandrld. dad retmenlii rencileri, alan cess to higher education with the nas Drlfnunu (University for Girls) that bilgisi derslerini Drlfnundan almaya balad. Okulun ilevi, son snfta pedawas opened within the Drlmuallimt in Istanbul at the beginning of World gojik formasyon eitimi vermekle snrlandrld. Bu yap, 1915 nizamnamesi ile War I. In addition, a Ana Muallime Mektebi (Female Teacher Training School deitirilmi olmakla beraber, sz konusu i blm ekli, Cumhuriyet dneminfor Pre-School Education) was opened under its roof which encouraged the dede de uzun yllar devam etti. Nitekim 1924 ylnda Yksek Muallim Mektebi ksa velopment of this field in the country by educating pre-school teachers. The sre sonra da Yksek retmen Okulu- adn alan okul, 1978 ylna kadar, sadece Drlmuallimt of Istanbul changed its name to Kz Muallim Mektebi (Teacher
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pedagojik formasyon ve genel kltr derslerini verdi. Ayrca, 1998deki yeniden yaplanmadan sonra eitim faklteleri de, lise retmeni yetitiren programlarda benzer bir modeli yrrle koydu. Ne var ki, aradaki yirmi yllk kopukluk srasnda bu tarih tecrbe unutulmu; bu yzden Batdan uyarlanan son modelin uygulanmasnda cidd sorunlarla karlalmt. Sonu olarak, Trkiye retmen yetitirme tarihinde stanbulun ayr bir yeri ve nemi olmutur. Zira Osmanl Dersaadetinde alan bu kurumlarn her biri alanlarnn amiral gemisi olarak kabul edilmi; lkedeki eitim hareketleri zerinde belirleyici bir rol oynamtr. Cumhuriyetin ilnndan sonra yeni rejimin dayand esaslara gre ksm revizyona urayan bu kurumlar (eitim enstitleri, ilkretmen okullar, Yksek retmen Okulu), 1970li yllarn sonlarna kadar varln srdrmtr. 1982de retmen yetitiren kurumlarn niversitelerin bnyesine alnmas srasnda, stanbuldaki kurumlar Marmara niversitesi Atatrk Eitim Fakltesine temel oluturmutur. Gnmzde, son yllarda alan dier eitim faklteleriyle birlikte stanbul, retmen yetitirme tarihimizdeki sekin roln oynamaya devam etmektedir.
Training School for Girls) in 1924 and then to Kz retmen Okulu (Teacher Training School for Girls) and it continued operating under this name. After the responsibility for training primary school teachers was transferred to training institutes in 1974, these schools lost their historical role and function. Drlmuallimn-i liye Another institution of education that made a mark in the history of education in Istanbul was the Drlmuallimn-i liye which continued operating during the Republican era as the Higher Education Teacher Training School (Yksek retmen Okulu) until the 1970s. The General Education Rules (Maarif-i Umumiye Nizamnamesi) that was prepared pursuant to the French model in 1869 reorganized the field of training teachers as well. The major contribution of this code to the Ottoman approach of training teachers was that it stipulated the establishment of the Drlmuallimn-i Kebr (Training School for Higher Education) which trained teachers for the three different levels of education in Istanbul: primary, secondary and higher education. This school opened in 1874 and after three years it was able to train teachers for all three different levels. During the reign of Sultan Abdlhamit II the school developed significantly with regard to both quality and quantity. In the meantime, some changes were made in terms of organization. Sometimes its primary and higher education divisions (Sbyan/btida ubesi) were autonomous, whereas sometimes they were totally independent. However, the actual change occurred during the time of the Second Constitutional Monarchy (1908-1918). During the first half of the Second Constitutional Monarchy, Drlmuallimn-i liye was restructured like the cole normale suprieure - Paris. The students of the Teacher Training School for Higher Education started to take courses for their major at Drlfnun (Ottoman University). The schools function was limited to providing pedagogical training for students in their final year. Even though it was changed in the 1915 code of rules, this division of courses continued for many years during the Republican era. As expected, the school called Yksek Muallim Mektebi (Teacher Training School for Higher Education) in year 1924 -and Yksek retmen Okulu (Teacher Training School for Higher Education) after short notice-, continued to provide teacher training and general knowledge courses until 1978. In addition, after the restructuring in 1998, the faculties of education enacted a similar model for high school teacher training programs. However, this historical experience was forgotten during the intervening twenty-year gap, thus the new model which was adapted from the West faced serious problems regarding implementation. In conclusion, Istanbul always held an important place in the history of training teachers in Turkey. Each of the institutions opened in the capital city (Dersaadet*) of the Ottoman Empire was accepted as the best in their field and all played decisive roles in the education movements within the country. After the proclamation of the Republic, these institutions (training institutes, teacher training schools for primary education and higher education) were partially revised according to the principals that the new regime was based on, and they continued to exist until the end of 1970s. In 1982, when the institutions for training teachers were being incorporated into the universities, the institutions in Istanbul provided the foundation for the Atatrk Faculty of Education at Marmara University. Today, as other faculties of education have opened in recent years, Istanbul continues its prominent role in training teachers. *Dersaadet: Gate of happiness, one of the names of the Ottoman capital.
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STANBULDAN DNYAYA DNYADAN STANBULA DOANAY

M. Ltfi EN
DOANAY: FROM STANBUL TO THE WORLD, FROM THE WORLD TO STANBUL

M. Ltfi EN
STANBULDAN DNYAYA DNYADAN STANBULA DOANAY / DOANAY: FROM STANBUL TO THE WORLD, FROM THE WORLD TO STANBUL
STANBULDAN DNYAYA DNYADAN STANBULA DOANAY

M. Ltfi EN* Rtiye yllarnda erif Renkgrrden, Harita Mhendislik Mektebinde okurken de Diyarbakrl Tahsin Beyden resim dersleri ald. Hocalar yeteneine hayrand ve onu Avusturyaya resim tahsiline yollamaya karar vermilerdi. Balkan Sava patlak verince bu yurtd tahsili ertelendi. I. Dnya Sava ve stiklal Savanda askerdi. Evet, bu kii ressam ve harita subay Adil Doanaydr.
DOANAY: FROM ISTANBUL TO THE WORLD, FROM THE WORLD TO ISTANBUL

M. Ltfi EN* Adil Doanay, the famous painter, took painting lessons from erif Renkgrr while in junior high school and from Mr. Tahsin of Diyarbakir when studying at the School of Topographical Engineering. His teachers admired his talent and decided to send him to Australia to study painting. However, his plans to study abroad were postponed when the Balkan War broke out. He served as a soldier during World War I and during the Turkish War of Independence.
Adil Doanay, sadece yetenekli bir asker ve ressam deildi. an gereklerini Adil Doanay was not just a talented soldier and painter. An intellectual man ve dnsel birikimin geldii noktay iyi kavrayan bu aydndan, kk oluna miwho appreciated the circumstances of the age, he made a decision that deterras kalacak ve onun geleceini belirleyecek nemli bir karar kt. Bir olu olursa mined the future of his son. He planned to send his as-of-yet unborn son abroad kuru fasulye ve ekmek yemek pahasna da olsa onu yurtdna eitime gndereto study, no matter what, even if he had to survive on dried beans and bread cekti. 1929 ylnda olu Burhan Doanay dnyaya geldi. Burhan, kk yataevery day. After his son Burhan Doanay was born ki resim yeteneiyle Adil Doanay mitlendirdi. Kenin 1929, Burhans early talent for painting filled Adil disi ve ressam arkada Arif Kaptan, kk Doanayn Dnya apnda bir sanat kendi Doanay with hope. Adil Doanay and his friend ilk resim hocalar oldular. Sonrasndaki futbol yeteneehri ve lkesi iin neler yapmaldr? Arif Kaptan, a painter, were the first to teach painting i resminin nne geer gibi olduysa da baba Doanto young Doanay. While his talent for football exsorusunun en doru cevabdr Burhan ay, 1940l yllarda bir ressamn veya futbolcunun haceeded that of his talent for painting, Adil Doanay Doanay. yatn kazanmasnn imknsz olduunun farkndayd. O knew that his son could not make a living as a football dnem Trkiyesinde resmin devlet bankalarndan baplayer or a painter in the 1940s. During that period in Burhan Doanays accomplishments ka mterisi yoktu. Turnuva kazanan takm futbolculaTurkey painters did not have many patrons, other than are the best answer to the question, rna verilen en byk hediye ise bir kravattan ibaretthe government banks. Likewise, the winners of football What should a internationallyti (Burhan Doanay, Genlerbirliinde oynarken bir tournaments were just awarded with neckties, nothkravat kazanmt). Adil Doanay bu farkndaln geknown artist do for his city and for his ing more (Burhan Doanay won one as a player for rei olarak olunu hukuk eitimini bitirir bitirmez yurtcountry? Genlerbirlii). dna gnderirken Paris biletine iki art eklemiti. Birincisi futbol oynamamas ve ikincisi Gzel With this in mind, Adil Doanay added two Sanatlar Akademisine gitmemesiydi. Gen conditions to the ticket he bought to send Doanay iki art iin de evet dedi ama ikiBurhan to Paris to study law: the first was sini de tam olarak yerine getiremedi. Onun not to play football and the second was not Paris yllar resimde Empresyonistlerin doto go to the Academy of Fine Arts. Burhan duu yllard. Doanay Empresyonist resDoanay said yes to both conditions, but samlarn mekn tuttuu balk kyne dil was unable to fulfill them either. Doanay, renmek iin gitti. Burada dil renmewho lived in Paris during the Impressionist nin yannda yapt suluboya resimler ve period, went to a fishing village where the oynad amatr futbolla ksa srede nl Impressionists, lived to learn French. In this oldu. Bu arada hukuk zerine balad akavillage, thanks to his watercolor paintings and performance in the amateur football demik kariyerini daha ok ilgi duyduu iktileague, he quickly became famous. In the sada kaydrd. Bu idealist bir ilgiydi. Burhan meantime, he began to study economics, Doanay, bir ziraat lkesi olan Trkiyenin which interested him more than law. Burhan geleceini iyi bir tarm lkesi olmasnda gDoanay predicted that Turkeys future ryordu. Tam da bu sebeple dnyadaki ziwould be in agriculture. Because of this, he rai gelimeler zerine alt ve doktora testudied agrarian developments around the zini Danimarka zirai geliimini inceleyerek globe and wrote his doctoral dissertation on yazd. Bu arada Pariste resim sergisi at ve agrarian development in Denmark. At the Amerikal sanatlarla ortak sergilere katlsame time, his artwork was featured in an d. exhibition in Paris and in joint art exhibitions Gen akademisyen, baaryla geen Pawith American artists. ris tahsilinin ardndan memlekete dnd. After successfully completing his education in Paris the young academician reTrkiyede memuriyet hayatna balad. Ticaret Bakannn zel kalem mdturned to his country. He began to work as a government officer in Turkey. He r, zmir Fuar ve Brksel Sergisi komiseri, Turizm Genel Mdrl ve hariciyerepresented Turkey as a clerk in the Ministry of Commerce, commissioner for de kltr ataesi olarak lkemizi temsil etti. Bu memuriyet hayat boyunca da the Exhibition of Brussels and Izmir Fair, director-general of Tourism, and culresimden hi kopmad; babas Adil Doanayla ortak sergiler at. te, Burhan tural attach for Foreign Affairs. Throughout his life as a civil servant, he never Doanayn dnyay ve a alglamadaki mahareti burada kendini gsterir. neglected his painting; his work was featured in joint exhibitions with his father, Adil Doanay. Gen ressama gre, XVII. yzyl ncesi dnya sanatna yn veren ehir Romayd. XVII. asrdan II. Dnya Savana kadar merkez Paris oldu. Doanay tam da According to the young painter, the city that most influenced the art world prior memuriyet hayatna atld yllarda sanat dnyasnn merkezinin Amerikaya, to the 17th century was Rome. After this, from the 17th century to World War II, daha dorusu New Yorka doru kayacan ngrd. Ressama gre dnya sathe center was Paris. As Doanay started his career as a civil servant, he forenatnda bir yere varmak iin sava dnyadaki merkezinde vermek gerekiyorcast that the center of the world of art would shift to America, to New York, to du. Sonralar tarih, sanatnn bu ngrsn dorulad. Hariciye mensubu olabe exact; history confirmed the artists prediction. rak gittii New Yorkta memuriyetten ayrld. Artk parlak akademik geleceini, yksek memuriyet hayatn elinin tersiyle itmi, dnyann sanat merkezin* Yazar * Writer
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de sadece sanatyla varlk-yokluk sava vermeye balamt. 1962 ylnda yerletii New Yorkta, dnya sanatnn bakentinde kalma cesareti ikinci ylnda ilk meyvesini verdi. Doanayn bir eserini Guggenheim Mzesi mdr Thomas Messer, mze koleksiyonu iin satn ald. Ardndan da 6 ay boyunca kara ka ve imknszla aldr etmeden, Brooklyn Kprs zerine yapt muhteem fotoraf almas geldi. Bu olaanst sanatsal gayret, on dokuz fotorafnn iki metrenin stnde bytlerek dnyann en nemli hava limanlarndan olan Kennedy Havaalannda 2.5 yl sergilenmesiyle sonuland. Bu gzel alma sanatnn uluslararas sanat arenasnda nemli yanklar uyandran duvarlar serisinin esin kaynan oluturdu. Doanay, bu mega art proje kapsamnda 100 akn lkenin duvarlarnn fotoraflarn ekti. Duvarlar nemliydi; hzla geen hayatn ardnda kalan her eyin aynasyd onlar. Bylece bu insanst abann sonunda, dnyann en kritik 30-40 ylnn yansd muhteem bir ariv olutu. nk sanatnn objektifinden yansyan duvarlarda o memleketin, o ehrin, o mahallenin ekonomik durumu, politik tercihi, insanlarn umutlar ya da mutsuzluklar, gncel endieleri, gelecek beklentilerinden cinsel kltrlerine kadar insana zg btn durumlar kayt altna alnyordu. Bu dev proje Fsldayan Duvarlar ismiyle dnyada modern sanatn en nemli merkezlerinden Pariste, Pompidouda sergilendi. Sanat, duvarlardaki her eyi tuvalinde yeniden yaratarak mehur duvarlar serisi resimlerini bu tarihlerde yapmaya balad. Ayn zamanda btn dnyann hakl hayranln kazanan kurdeleler serisi, kolaj ve dekolaj serileri Doanay dnyaya tantt. 1983te Fransann nl hal merkezi Aubussonda tablolarn dokumaya balad. Ksaca bu uzun destans sanat mcadelesi, New Yorktaki Metropolitandan Londradaki Victoria & Albert Mzesine dnyann en nemli 70 mzesinde eseri bulunan bir dnya sanats Burhan Doanay yaratt. Ama bu, Doanay iin asla yeterli deildi. O kendisi iin deil doduu ehir stanbul ve lkesi Trkiye iin ideallerle dolu bir nc aydnd. New Yorkta, dnya sanatnn merkezinde 40 yl srdrd sanatsal
He resigned from his position as a civil servant in New York while on a trip representing the Ministry of Foreign Affairs. He turned down a promising academic career and a post as a senior civil servant, starting a struggle for survival in New York City, the center of the art world. He found success during his second year there. One of Doanays paintings was purchased by the director of the Guggenheim Museum, Thomas Messer, for the museums collection. Following six months of difficulties and severe weather conditions, he had an exhibit at Kennedy Airport, which lasted for two and a half years, featuring nineteen magnificent photographs; these were of the Brooklyn Bridge and some measured more than two meters in size. This inspired the artists wall series, which was well received in the international art arena. Within the context of this mega art project, Doanay photographed walls in more than 100 countries. He believed that walls are important as they mirror life quickly passing by and show everything that has been left behind. Eventually, as a result of his tireless efforts, a spectacular archive entitled Whispering Walls was created, reflecting 30-40 of the most critical years of the world. These walls reflect the economic conditions, political preferences, hopes, misery, current worries, future expectations, and sexual culture that are peculiar to the people of those countries, cities, and neighborhoods. This massive project was exhibited at the Paris Pompidou Center, one of the most important centers of modern art in the world. At the same time, the artist started to recreate the famous series of walls on canvas. Simultaneously a series of ribbons, collage, and dcollage, admired internationally, introduced Doanay to the world. In 1983, he began to weave his works at Aubusson, the famous center for rugs in France. In a short period of time, Burhan Doanay, who has artwork in 70 of the most important museums in the world, from the Metropolitan in New York to the Victoria & Albert Museum in London, became known worldwide. However, this was not enough for Doanay. He was a pioneer, a visionary man who was filled with goals not for himself, but for the city
Burhan Doanay ve ocuklar. / Burhan Doanay and the children
birikimini artk doduu ehre, stanbula tamann zaman gelmiti. Btn dnya sanat evrelerinin yakndan tand ressam, kendi lkesinde yeterince tannmyordu. 2001 ylnda Dolmabahe Saraynda dzenlenen muhteem retrospektif sergisinin al birok stanbullu sanatsevere Doanayn orijinal eserlerini ve kendisini grmek iin bir frsat olmutu. Burhan ve Angela Doanay bu tarihten sonra zamann byk blmn stanbul ve Bodrumdaki atlyelerinde geirmeye balad. Doanay kendisiyle yaplan dost sohbetlerinde lkemizin en nemli sorunu nedir? sorusuna Kltr, kltr ve yine kltr diye cevap veriyordu. Bunun tek zmnn ise, yeni nesilleri kltrl nesiller olarak yetitirmekten getiinin altn iziyordu. te bu bak as, ei Angela ile birlikte Burhan Doanay destans bir kltrl nesiller yetitir-
where he was born, Istanbul, and for his country, Turkey. After 40 years in the center of the world of art, New York, Doanay returned to Istanbul. The painter, well-known around the world, was relatively unknown in his home country. The opening of the magnificent retrospective exhibition at Dolmabahe Palace in 2001 created a chance for art-lovers in Istanbul to see Doanay and his original artwork. After this, Burhan and Angela Doanay started to spend most of their time in their studios in Istanbul and Bodrum. Burhan Doanay was frequently asked what Turkeys three major problems were. To this he repeatedly replied, culture, culture and again culture. He emphasized that the only solution to this problem was for future generations to be raised in greater awareness of cultural issues; he worked with his wife Angela on an epic project
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STANBULDAN DNYAYA DNYADAN STANBULA DOANAY / DOANAY: FROM STANBUL TO THE WORLD, FROM THE WORLD TO STANBUL
me projesiyle buluturdu. Bu dnce Burhan ve Angela Doanayn bir mze kurma abalarn balatt. Sanat nce stanbulun kltr ve sanat merkezi Beyolunda 5 katl tarihi bir bina satn ald. Drt yllk restorasyon almasndan sonra Trkiyenin ilk kiisel modern mzesi 2004 yl Ekim aynda kaplarn sanatseverlere at. Doanay iin mze demek, dnyann en etkili okulu demekti. Mze, ald gnden bugne her hafta -drt ilkretim okulunun modern sanatla bulumasn salad. Ayn zamanda mzeyle birlikte Burhan ve Angela Doanay, kltrl nesiller yetitirme hedefinde birlikte alabilecekleri birok kii ve kurumla ibirlii yaptlar. Bu dnemden itibaren stanbullular Burhan Doanayla birlikte bir kltr etkinliinin markalamasna ve geleneksellemesine, on binlerce ocuun zihninde yer etmesine tank oldu. stanbul Bykehir Belediyesinin ana sponsorluunda alt kez Doanay Mzesi stanbul lkretim Okullar resim yarmas gerekletirildi. Bu kk mze, ilkretim andaki 30.000den fazla ocuun resimlerini sergiledi. Yarmalara katlan ocuklar stanbulu dnme, tasarlama, kefetme ve resmetme abalaryla kltrel bir donanm kazandlar. te, 1900de mparatorlukta doan Adil Doanaydan Cumhuriyetin modern sanat ufku olan Burhan Doanaya uluslararas abalar ve uluslararas baarlarla dolu bir yzyl Btn bu sanatsal zveriyle rlm sergzetten sonra Trkiyenin yaayan ressamlar arasnda eseri en yksek fiyata satlan sanats olmann arka plann iyi anlamak gerekiyor. Yine getiimiz yl aralarnda Picasso, Matisse, Rembrandt, Kandinsky gibi sanatlarnn da bulunduu en deerli ressamlar listesinde 221. sraya Burhan Doanay adnn yazlmas, do-
to realize this goal. Thus, Burhan and Angela Doanay began to set up a museum. First, Doanay bought a five-story historical building in Beyoglu, the culture and art center of Istanbul. After four years of restoration, Turkeys first modern art museum that was privately funded opened its doors to art-lovers in October 2004. For Doanay, a museum is the most effective school for the world. Doanay made sure that each week at least three or four primary schools visited the museum. Also, through the museum, Burhan and Angela Doanay have collaborated with various people and corporations to work together towards their goal of raising better-cultured future generations. From this time on, culture activity has become a trademark of Burhan Doanay, and has affected tens of thousands of children. The Doanay Museum Istanbul Primary School Painting Contest, sponsored by the Istanbul Metropolitan Municipality, has been held six times. This small museum exhibited the paintings of more than 30,000 primary school children. The children who participated in the contest gained cultural achievements in their efforts of thinking, designing, discovering and painting for Istanbul. When looking at all of Doanays artistic adventures, it is important to understand the background of this artist, one whose paintings demand the highest prices in Turkey. Burhan Doanay is ranked 221st on the list of most valuable artists in the world, a list which includes artists like Picasso, Matisse, Rembrandt and Kandinsky. This must be the fruit of Burhan Doanays timely efforts. Of course, these accomplishments were not enough for this important artist. Doanays goals were to broaden the horizon of art in the city and country
ru zamanda doru emeklerin meyvesi olsa gerek. Elbette yaayan en deerli ressammz iin bunlar yeterli deildir. Hakknda Almanya, Fransa, Amerika ve Trkiyede yazlan kitaplar, yurtdnda ve Trkiyede ald birok onur dl, fahri doktora, madalya, British Museumdan Metropolitana dnyann en nemli mzelerinde sergilenen eserleri olmak zere, bu devasa baarlarn doduu ehre ve lkeye sanat ve kltrel ufuk olarak yansmasdr Doanayn hedefi. O, srekli olarak, gelecekte dnya sanat arenasnda bir Trk resminden bahsedilecekse bunun, Doanay gibi en az elli ressammzn milyon dolar stnde bir deerle eser satmasndan getiinin neminden bahseder. Bunun yolu ise, hangi alanda alrsa alsn kltrl, sanat algs yksek, kresel dnyada kendine yer edinen yeni nesiller yetitirmekten gemektedir. stanbula ve lkemize yapt katklar asndan baklnca, Dnya apnda bir sanat kendi ehri ve lkesi iin neler yapmaldr? sorusunun en doru cevabdr Burhan Doanay.
where he was born. He was very successful and books were written about him in Germany, France, America and Turkey. He also received honorary awards both abroad and in Turkey, as well as an honorary doctorate and medals. In addition, his artwork has been exhibited in the most important museums around the world, from the British Museum to the Metropolitan. Doanay constantly stated that for Turkish painting to be well-known in the art world it is important that at least 50 Turkish painters sell their work for more than a million dollars, like Doanay. In order to accomplish this, future generations must be raised with a high appreciation of art, and be sophisticated and interested in the world, regardless of which sector they work in. When the contributions Doanay made to Istanbul and Turkey are considered, we can see that his accomplishments are the best answer to the question, What should an internationally-known artist do for his city and for his country?
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81
EL SANATLARININ DONKOTLARI
Zenginar Afra GLPINAR
THE DON QUIXOTES OF HANDICRAFTS

Zenginar Afra GLPINAR
EL SANATLARININ DONKOTLARI
Zenginar Afra Glpnar*
THE DON QUIXOTES OF HANDICRAFTS

Zernigar Afra Glpnar*
2010 yl Ramazan ay etkinlikleri kapsamnda Taksim Gezi Parknda stanbulun kaybolmaya yz tutmu meslekleri ile ilgili dzenlenen sergi olduka dikkat ekti. Zenginar Afra Glpnar, 1453 stanbul Kltr ve Sanat Dergisi okurlar iin kaleme ald yazsnda sergiyi dergi sayfalarna aktard.
Sizleri deerli gazeteci Zenginar Afra Glpnarn bu iirsel yazsnda sergi izlenimleri ve stanbula zg meslekler hakknda paylat bilgilerle babaa brakyoruz.
As part of the activities held for Ramadan 2010, the exhibition of disappearing careers which was held in the Taksim Gezi Park in Istanbul was very interesting. Zenginar Afra Glpnar has brought the exhibiton to the pages of this magazine with the article she wrote for the readers of 1453 Journal of stanbuls Culture and arz.
We leave you here with the poetical article penned by the valued journalist Zenginar Afra Glpnar, which is full of information about the trades peculiar to Istanbul.
Teknoloji, tadna doyum olmayan ac bir meyve misali, el emeine dayal ve Technology, like a bitter fruit that we cant get enough of, is slowly destroying, her biri kltrel kodlarmz oluturan geleneksel meslekleri birer birer yok edione by one, our handicrafts and traditions that form all our cultural codes. The yor. Bir zamanlar mahalle balarndaki dkknlarnda mterilerini arlayan masters who hosted the customers in their shops at the beginning of the neighustalar ya prestij kitaplarn fotoraf malzemesi ya da bir sergide yal boya tabborhood can only now be found in glossy photography books or as an oil paintlo olarak karmza kyor. Makinenin yaam sil batan deitiren arklarna ing at an exhibition. However, this does not mean that there are not masters kar, Don Kiot benzeri tek tk de olsa durmay baarabilmi ustalar yok dewho have managed to remain, even if few and far between, holding out like il. in ilgin ksm, bu ustalarn bir ksmnn mesleklerini, sanki icra etmi olDon Quixote against the mechanical life that has wiped everything clean for a duklar el sanat ailenin genetik kodlarna ilenmiesine atalarndan miras alfresh start. What is interesting is that some of these masters are plying the trade m olmalar. rnein, Edirnenin dnyaca nl kothey have inherited along with their genetic codes. kulu meyve sabunlarn reten Nihat zer, bir kamu For example, Nihat zer, who produces scented Geleneksel meslekler amzn Don kurumunda finans yneticilii yaparken iini brakp fruit soaps in Edirne that is famous throughout the Kiotlar saylabilecek az saydaki usta aile mesleine ynelmi. Tm aile fertlerinin sabun world, left his job as a manager of a financial inimalatnda altn sylyor. zer, meyveli sastitution and returned to his family trade. He says sayesinde yaamaya devam ediyor. bunlarn tarihini de etraflca aratrm. Genel kanathat all his family members work in the production Traditional crafts survive by means of a atin aksine, bu sanatn kn Halep ve Musul illeof soap. zer thoroughly researched the history of few masters that can be called as the Don rine balayan zer, daha sonra Girit Adasnda yayfruit soap. In contrast to common opinion, zer gnlaan kokulu sabunlarn Edirnede son bulduuconnects the origin of this art to Aleppo and Musul, Quixotes of our time. nu anlatyor. Bu sanatn kkeni 17. yzyla kadar gisaying that it later became widespread in Crete, fidiyor. nally ending up in Edirne. The roots of this art can be traced back to the 17th century. En zoru kivi ve eftali sabunu Kiwi and peach soap are the most difficult Osmanlda misk, amber ve gl esans kartr-
larak hamur kvamna getirilen sabunun birebir In the Ottoman era the fruit soaps that were meyve boyutlarnda ekillendirilmesi ve germade out of soap that was mixed with essences ek meyve renklerine uygun ekilde boyanmaof musk, ambergris and rose, and then formed syla imal edilen meyve sabunlar, zamanla Osinto a dough, shaped and then colored to remanl sarayna, sultanlara, yerli ve yabanc devsemble real fruit, were among the valuable let erkanna sunulan deerli hediyeler arasna gifts that were presented to the Ottoman palgirmi. Hatta bu yzden saray sabunu ya da ace and the sultans, as well as both local and El yapm sabunlar/Hand made soups padiah sabunu eklinde de anlm yzyllarforeign dignitaries. In fact, it is for this reason that ca. Getiimiz yzylda Bedesten ve Arasta arsnda meyve sabunlar satan these soaps were referred to as palace soap or sultans soap. In the ninedkknlarn krktan fazla olmas, Sabuni adl bir mahallenin bulunmas, meyve teenth century the number of shops that sold fruit soaps in the covered market sabunculuunun Edirnede ne kadar nemsendiinin ve nemli gelir kaynaklaor the Arasta Market were more than forty. The fact that there is a region of the rndan biri olduunun gstergesi. city known as Sabuni (soap) is an indication of to what a degree the fruit soap makers were respected and how important a source of income the soap was. Ancak bugn iin ayn eyleri sylemek mmkn deil. Bu el sanatn srdren iletmelerin says olduka snrl. zer, iin zorluunu yle anlatyor: Gnde However, it is not possible to say the same thing about the situation today. The bir kii en fazla 150 sabun yuvarlar. Sonra bu sabunlar tellere aslp kurutulur, number of manufacturers who carry out this handicraft is very low. zer, exzmparas yaplr. Tekrar kurutulduktan sonra elde boyatlr. Ardndan cilas geplains the difficulty of this craft: At most, one person can form 150 balls of soap. lir. Bir sabunun kurumas yazn 30 gn, kn 2.5 ay srer. 40 eit rn var. leLater these soaps are hung up to dry and they are sanded. Then after being dried rinde en zoru kivi ve eftaliyi yapmak. Bu yzden ailede kimse bu iki rn yapagain they are painted by hand. Then they are varnished. It takes 30 days for a mak istemiyor. Sat yapmak, para kazanmak ise ayr bir maharet. soap to dry in the summer, in winter 2.5 months. There are forty types of soap. The most difficult of these are kiwi and peach. No one in the family wants to Bir yemeni 15 ustann elinden geer make either of these two products. Selling, making money is yet another skill. El sanatlarnda bir dier miras ise Cem Dikici. Yemeni ii Dikiciye dededen One Yemeni goes through 15 master hands. miras kalm. Yemeninin bize Halepten, oraya da Yemenden getii bilinmekte. lk defa Yemen Ekber adnda birisi tarafndan yaplmasndan dolay bu ad ald syleniyor. Olduka salkl bir ayakkab olan yemeniyi, dier ayakkablardan ayran zellik, taban ile yznn birletii yerin tamamyla dikili ve dnme olmas. Yani yemeni nce dikiliyor, sonra evrilerek ii dna getiriliyor
* Gazeteci
Another heir to handicrafts is Cem Dikici. The Yemeni work is an inheritance from Dikicis ancestors. The Yemeni came from Aleppo, and from there it passed through Yemen. As these unique shoes were first made by someone called Yemen Ekber, they were referred to as Yemeni. The Yemeni, a very sound pair of
* Journalist
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EL SANATLARININ DONKOTLARI / THE DON QUIXOTES OF HANDICRAFTS
ve asl giyi eklini alyor. Dier bir zellii kesiz oluu. Dikici, yemeninin farkl deriden imal edildii sylyor. Ayrca yemeninin ayakta mantar oluumunu ve kanty engellediini ileri sryor. Yemeninin ekil bakmndan Halebi, Merkup, Burnu sivri, Kula uzun ve Eri simli adlarnda be eidi bulunuyor. Dile kolay... Bir yemeni mterinin ayana girene kadar 15 ustann elinden geiyor. Ancak Dikici, kendilerinin bu modelleri gncelletirdiini sylyor. Gnmzde ustalar, gelenek ile moderni birletirmi. Durum byle olunca yurt dna da almay baarmlar. Hatta Hollywood filmlerinden bile sipari alyorlar. Dikici, Herry Potter iin bin ve Troy filmi iin bin be yz ift sandalet ile bot imal ettiklerinin altn iziyor: Hollywood piyasasnn dnda yurt dndan tek tek sipariler de alnyor. rnein, ngiltereden bir arkada grubu her yl bize dzenli deme yapar, istedikleri sandaletlerin modellerini gnderir ve biz de adreslerine postalarz. Sedefkr ustas on ylda yetiir phesiz gnmze kadar gelen el sanatlar iinde en yaygn olanlarndan birisi de sedefkrlk. stelik sedefkrlk sadece bu topraklara deil tm Dou kltrne yaylm bir sanat. in, Hindistan, Siyamda doan sedefkrlk, Orta Asya Trkleriyle beraber Anadoluya gelmi. Osmanl lkesinde bu sanat ylesine rabet grm ve gelimi ki; Kurn mahfazalarndan sultan kayklarnn kklerine; yenieri yataan kabzasndan, hattatn hokka takmna kadar hemen her yerde sedef kullanlm. yle ki, Hocazade Saadeddin, Fatih Sultan Mehmedin cenaze treninden bahsederken, Tabutun som sedeften yaplm olduunu aktarr. Sultan II. Abdlhamid dneminde ikinci altn dnemini yaamtr sedefkrlk. Bu alandaki son byk usta olan sedefkr Vasf, sedefkrl ahap bezeme sanat olarak tanmlyor. Sedefin daha ok ahapla beraber kullanlmas da bu tarifi doruluyor. Bu sanatn Antepte hl ayakta kalm bir avu isminden biri olan Hayri Kaya da meslei amcalarndan renmi. Otuz yllk sedefkar ustas Kaya, bir ustann yetimesi iin on yllk titiz bir abann gerektiini sylyor. Kayaya gre bu sanat iin en uygun beden ceviz aacnda var. nk ceviz aac sert ve zerinde istenilen bezemenin yaplmasna olanak tanyor. Ancak kesilen ceviz aalarnn da bir yl beklemesi gerekiyor. nk aacn kuru bir ortamda iindeki suyu brakmas ve sertlemesi lazm. Yoksa aa atlama yapyor. Bir sehpay on be gnde imal eden Kayann en byk hayali Avrupaya almak. Sarayn gmlekisi kasaba; Yeilyurt
shoes, are distinguished from other shoes by the fact that at the point where the soul and the upper join they have been completely stitched before being turned. That is, first the Yemeni is sewn and is then turned inside out before taking its final form. Another characteristic is that this shoe has no heel. Dikici says that the Yemeni is made of three different types of leather. Moreover, he claims that this shoe prevents fungus and itching. There are five types of Yemeni, differentiated by shape, the Halebi, the Merkup the Burnu sivri (pointed toe), Kula uzun (long eared) and the Eri simli. It sounds easy But a Yemeni has to go through the hands of 15 different masters before it is worn. However, Dikici says that he has brought these models up to date. Todays masters have combined the traditional with the modern. Thus they have managed to open up on foreign markets. In fact, they have even received orders from Hollywood. Dikici emphasizes that he received one thousand orders for Harry Potter and one thousand five hundred for Troy: Other than the Hollywood market, foreign orders are one by one. For example, a group of friends from England pay us regularly every year and send us the style of sandals they want and we post them. Ten years to train as a master in mother-of-pearl Without a doubt one of the most widespread handicrafts today must be motherof-pearl work. Exquisite mother-of-pearl inlay is not something that is unique to Turkey, but is spread throughout Eastern cultures. Mother-of-pearl inlay which started China, India and Siam, was brought to Anatolia with the Central Asian Turks. This art was in such demand and developed to such an extent in the Ottoman state that mother-of-pearl was used everywhere, from guards for the Quran to the sheaths for the Janissary daggers, even for ink sets. This was true to such an extent that Hocazade Saadeddin, when speaking of the funeral of Fatih Sultan Mehmet tells us that the coffin was made of pure mother-of-pearl. In the era of Abdlhamid II work in mother-of-pearl inlay went through a second golden age. The last great master in this area, Sedefkr Vasf, defined working in mother-of-pearl as the art of decorating wood. The fact that mother-of-pearl is most often used as inlay for wood confirms this definition. Hayri Kaya, one of the few names in Antep who keeps this art alive, learned this art from his uncles. Kaya, a mother-of-pearl master for 30 years, states that it takes ten years of painstaking work to train a master. According to Kaya the most suitable wood for this art is walnut, because walnut is hard and one can easily carry out any decoration one wants. However, it is necessary for walnut to wait a year before being used because the wood must be left in a dry place for the water in it to evaporate and it to harden; otherwise the wood will crack. Kaya can make a coffee table in fifteen days and his dream is to be able to get into the European markets.
Sedefkrlk gibi birok medeniyete mal olan sanatlar olduu gibi brmclk gibi dnyada sadece Mulaya bal Yeilyurt beldesinde yaplan nadir el sanatlar da var. Bu beldenin kadnlaYeilyurt, the town of the palace shirt-maker r belde kurulduundan beri bu sanatla urayor. Yeilyurttaki elle dokunan tezghlardan birinin saIn the same way that mother-of-pearl inlay is something that hibi Zeynep Karacan, Osmanl dneminde saraya belongs to many civilizations, there are arts that are affilii gmlein Yeilyurtdan gittiini sylyor. Hatated with only one place; for example brmclk is a rare ta dnde altn bileziin karl olarak kz taraart form that only exists in Yeilyurt, a town connected to f damada i gmlei dokurmu. 1992 ylnda MuMula. The women in this town have been involved in this la Valiliinin destei ile bir kooperatif kurulsa da handicraft from its very establishment. One of the owners of mr uzun olmam. nk Beymen dahil birok the weaving looms in the town is Zeynep Karacan, and she nl markadan sipari alan kooperatif talepleri yeclaims that in the Ottoman period shirts from Yeilyurt were Sedef kakma/Mother of pearl inlaid rine getiremeyince markalar geri ekilmi. Ardnsent to the palace. In fact, the brides family would present the dan Karacan, bu meslei gen nesillere retmek groom with a shirt from here in return for the gold bracelets. Even though in amacyla kurs atrmak iin giriimlerde bulunmu. Netidece alan kurslarla 1992 a cooperative was established with support from the Mula Governors brmclk sanat meslein son temsilcileri olan yal ninelerden, gen nesilOffice, it did not last long; as when many famous manufacturers, including Beylere aktarlm. Ev dekorasyonu ile ilgili tm rnleri retebildiklerini belirten men, gave orders but these could not be met and the manufacturers withdrew. Karacan rnlerimiz yzde yz pamuk ve ipekten mamul. Konfeksiyon kuraAfter this Karacan started to teach courses to train the younger generation in madmz iin gmlek yapamyoruz. Yoksa rnlerimizin ad yurtdna bile yathis handicraft. As a result of the courses the art of brmclk has been passed ylabilirdi diyor. down from the elderly grandmothers to the younger generation. Karacan, who says that they can make all types of products concerned with home decoration, says Our goods are made from one hundred percent cotton or silk. As we dont have a ready-made factory we dont make shirts. Otherwise we would even be able to send our goods abroad.
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OSMANLI DEVLETNDE FUARCILIK

Mehmet MAZAK
FAIR ORGANIZATION IN THE OTTOMAN EMPIRE

Mehmet MAZAK
OSMANLIDA FUARCILIK / FAIR ORGANIZATION IN THE OTTOMAN EMPIRE
OSMANLI DEVLETNDE FUARCILIK

Mehmet MAZAK* Osmanl Devletini oluturan halkn byk ounluu iftilik ve hayvanclkla urat iin fuar ve sergi kavramlarndan ok daha nceleri panayr olgusu ile tanmlardr. Panayrlar, binlerce yldr zanaatkrlar ile kendi kendine yetebilen tarm topluluklarn buluturan yegane kurum olmutur. Geimlerini tarm ve hayvanclk ura ile salayan sanayi ncesi topluluklar, ylda birka kez gerekletirilen panayrlar sayesinde kendilerinin retemedii bir eye ulaabiliyorlard. Osmanl toplumunda panayrlar ehirlerde, kasabalarda ve hatta kylerde bile karmza kan bir oluumdu. Ancak gelien sanayiye paralel olarak Osmanl Devletinin deiik vilayetlerinde retilen mallarn sergilenebilecei farkl platformlara ihiya duyulmas ile birlikte ulusal ve uluslararas sergi ve fuarlara katlm balad. Fuar, ticaretle ilgili rn ve hizmetlerin, teknolojik gelimelerin, bilgi ve yeniliklerin tantm, pazar bulunabilmesi ve satn alnabilmesi, teknik ibirlii, gelecee ynelik ticari i birlii kurulmas ve gelitirilmesi iin, belirli bir takvime bal olarak, dzenli aralklarla, genellikle de ayn yerlerde gerekletirilen bir tantm etkinlii olarak tarif edilir.
FAIR ORGANIZATION IN THE OTTOMAN EMPIRE

Mehmet MAZAK* As the majority of the Ottoman community dealt in agriculture and husbandry, they encountered the concept of kermis (sales) long before the concepts of fair or exhibition. Over thousands of years, kermises were the sole foundation that brought craftsmen and self-sufficient farming communities together. Thanks to the kermises which were organized a couple of times a year, pre-industrial communities which sustained a living through husbandry and agriculture were given the chance to access things that they could not produce themselves. Within the Ottoman community, these kermises could be found in cities, towns and even villages. However, parallel with developing industry, the need for a variety of platforms for products produced in different regions of the Ottoman Empire appeared, and as a result there began to be a participation in international fairs and exhibitions. A fair can be defined as a public activity in which products and services related to trade, technological achievements, knowledge and innovation are displayed and sold, markets are found and collaborations for technical and future commercial enterprises are formed and developed. It is organized at regular intervals, depending on a specific agenda, and generally at the same locations.
Sanayinin geliimi, yeni pazarlar ve mteriler bulma gayreti ile Batda sergi ve fuar etkinliklerinin balamasna ahit oluyoruz. 19. yzyln bandan itibaren birThe beginning of fairs and exhibitions in the West began with the development ok Avrupa ehrinde sergi ve fuar denemeleri yaof the industrial sector and the efforts to find new plmaya balanmtr. Ancak 19. yzyln ikinci yamarkets and customers. From the beginning of rsndan itibaren, Bat dnyasnda uluslararas serthe 19th century, trial fairs and exhibitions startOsmanl Devlet adamlar Avrupada katldkgiler dnemi balad. 1851 ylnda Londrada baed. However, from the second half of the 19th cenlar uluslararas serginin kltrler aras iletilayan uluslararas sergi ve fuar zincirine gnmztury, the era of international exhibitions began. im ve ticari baarsn grdler ve geni bir code dahi her yl yeni bir halka eklenmektedir. nl Even today, every year a new link is added to the rafyaya yaylm bulunan Osmanlnn Payitahbir tarihinin deyimiyle bu sergi ve fuarlar Batnn chain of international fairs and exhibitions; this t stanbulda bir sergi (fuar) vcuda getirmek iskendi ekonomik ve sanayi zaferlerini kutlamachain started in London in 1851, and according to tediler. ya ynelikti. Ancak bu sergilerde Dou lkeleri de a historian, these exhibitions and fairs were the kendi kltrlerini sunma olana bulmutur. Wests celebration of economic and industrial triThe statesmen of the Ottoman Empire realized umphs. However, Eastern counties also found an the success of the three international fairs Osmanl Devletinin katld ilk uluslararas sergi opportunity to demonstrate their own cultures at which they had attended for cross-cultural ve fuar 1851 Londra Evrensel Sergisidir. Bu sergi these events. communication and trade, and decided to create dnyann ilk uluslararas fuar organizasyonu olaan exhibition (fair) in Istanbul, the capital city of rak tarihe geti. Londra evrensel sergisi, uluslaraThe first fair and exhibition which the Ottoman the geographically dispersed Ottoman empire. ras ve kltrler aras iletiimde yeni bir a baEmpire attended was the 1851 London Exhibition. latt. This exhibition went down to history as the first international fair. The London Exhibition started Osmanl Padiah Sultan Abdlmecid, Kralie a new era in international and cross-cultural comViktoryann daveti ile 1851 ylnda Londra Evrenmunication. sel Sergisine lke topraklarnn verimliliini gstermek, Osmanl tebasnn tarm, sanayi ve sanat The sultan of the Ottoman Empire, Sultan Abdulalanlarndaki kabiliyetini kantlamak, Padiahn mecit, was invited by Queen Victoria ttto attend lkenin gelimesi yolunda sarf ettii gayreti ortaya the London Exhibition; he went with the idea to koymak... dnceleri dorultusunda katld. mdemonstrate the prolificacy of the agricultural paratorluun eitli blgelerinden 700 reticiye lands, prove the ability of the Ottoman citizens in ait tarm ve elsanatlar rnleri 200 sandkla Fevz-i industry, agriculture and art, display the efforts Bahri frkateyniyle Londraya gnderildi. lk uluslathe Emperor made in expenditure for the develraras sergi olan Londra Evrensel Sergisi sonunopment of the country... Agriculture products da Osmanl Devletinin gndermi olduu eitli and handicrafts belonging to 700 producers from rnlere kalite ve baar dl verildi. different parts of the Empire were sent to London in 200 chests on the ship, Fevz-i Bahri. At the end Osmanl Devleti, Londradaki evrensel serginin of the London Exhibition, the first international ardndan 1853 ylnda New Yorkta yaplan ulusexhibition, a variety of products from the Ottolararas sergiye uzakl sebebiyle katlmad. Anman Empire were given awards for their quality cak 1855 ylnda Krm Harbine denk gelen Paand innovation. ris Evrensel Sergisine itirak etti. Bu sergiye katlmalarnn bir sebebi de ngiltere ve Fransa ile birAfter the London Exhibition the Ottoman Empire likte Rusya kar savamalaryd. Osmanl Devlewas unable to participate in the international ti sergiye gidecek rnlerin belirlenmesi iin maexhibition organized in New York in 1853, due to halli meclis ve memurlar grevlendirdi. Blgeler- 1855 Paris Sergisinde Trk Pavyonu. / Turkish Pavilion at 1855 Paris Exposition. the distance. However, the Ottoman Empire did de rnler titizlikle seilerek muntazam bir ekilde attend the World Fair in Paris in 1855, which coinstanbula gnderildi. mparatorluun birok blgesinden yz binlerce rn topcided with the Crimean War. One of the reasons for attending this exhibition was land. Seilen rnler hkmet tarafndan yurtdna gnderildi. 1855 ylndaki due to the war it was fighting with Britain and France against Russia. The OttoParis Sergisinde 27 madalya ve 20 mansiyon dl alan rnlerden bazlar yman Empire appointed regional assemblies and civil servants to determine those leydi: Aydn inciri, zmir kuru zm, Amasya arpas, Konya buday, Bursa ipei products that would be taken to the exhibition. In the regions the products were ve Hereke Fabrika-i Hmayunun rettii erit ile kurdeleler. carefully selected and sent to Istanbul. Hundreds of thousands of products were
* Aratrmac * Researcher
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Osmanl Devletinin katld nc uluslararas sergi ve fuar, 1862 ylnda yaplan Londra II. Evrensel Sergisidir. Bu sergiye yine Devlet-i Alinin eitli yerlerinden el emei gz nuru rnler topanarak bir nceki Londra sergisinden daha fazla yerde 25 pavyonda sergilendi. Bu sergilenen rnlere 83 altn madalya, 44 mansiyon dl verildi. Osmanl Devlet adamlar Avrupada katldklar uluslararas serginin kltrler aras iletiim ve ticari baarsn grdler ve geni bir corafyaya yaylm bulunan Osmanlnn Payitaht stanbulda bir sergi (fuar) vcuda getirmek istediler. Bu dnce ile 1863 ylnda stanbul Sultanahmet Meydannda Sergi-i Umumi-i Osmani adyla bir fuar dzenlendi. 27 ubat 1863 Cuma gn Ramazan aynn dokuzunda Sultan Abdlaziz serginin aln gerekletirdi. Yaklak be ay ak kalan sergiye yurt iinden ve Avrupadan youn bir ilgi oldu. Sergi Osmanl mparatorluu iin ok faydal oldu. Daha nce yurt dndan ithal edilen birok rnn farkl eyaletlerde retildii grld, Devlet-i linin farkl corafyalarndaki esnaf ve brokraside grev alan vatandalarnn tanp kaynamasna vesile oldu. Osmanlnn zenginlii ve kltrel eitlilii gzler nne serildi. Osmanl Devletinin st dzeyde katld ilk sergi 1867 Paris II. Evrensel Sergisi oldu. 21 Haziran 1867de Sultaniye Yat ile yola kan Sultan Abdlaziz Hann beraberinde gen ehzade Abdlhamid de bulunuyordu. Paris Sergisinde Batl devletlere ait pavyonlarda grd teknolojik yenilikler gen ehzadeyi derinden etkiledi. 1867 Paris II. Evrensel Sergisi sadece sanayi ve ticari bir ilev grmemi, ayn zamanda siyasi bir buluma noktas olarak da n plana kmtr. Sultan Abdlazizin yannda, Rus ar, Avusturya mparatoru, Belika, Portekiz, sve, Prusya Karallar ve Galler Prensi de katlm ve siyasi grmeler yaplm-
collected from many regions of the Empire and sent abroad by the government. Some of the products, which received 27 medals and 20 honorable mentions at the Paris Exhibition in 1855, were as follows: figs from Aydn, raisins from zmir, barley from Amasya, wheat from Konya, silk from Bursa and ribbons produced by the Imperial Fabric in Hereke. The third exhibition and fair which the Ottoman Empire attended was the Second London Universal Exhibition organized in 1862. Again, handicraft products were collected from different places of the country and this time they were exhibited in 25 pavilions, a greater number of locations. These products were awarded 83 golden medals and 44 honorable mentions. The statesmen of the Ottoman Empire realized the success of the three international fairs which they had attended for cross-cultural communication and trade, and decided to create an exhibition (fair) in Istanbul, the capital city of the geographically dispersed Ottoman Empire. Thus a fair, the Sergi-i Umumi-i Osmani, was organized in Sultanahmet Square, Istanbul, in 1863. Sultan Abdlaziz opened the exhibition on the 27 February, 1863, Friday, on the ninth day of Ramadan. Both Europeans and the local people showed intense interest in the exhibition, which remained open for approximately five months. This was a particularly beneficial exhibition for the Ottoman Empire. Thanks to the exhibition, it was seen that a variety of products which had previously been imported from abroad were now actually being produced in the different regions of the Empire. In addition, artisans from different parts of the empire and members of the bureaucracy had the chance to interact. The wealth and cultural diversity of the Ottoman Empire were revealed.
Henry Courtney Selous tarafndan yaplan ve 1851 Londar Sergisinin al The painting by Henry Courtney Selous, showing the opening of 1851 London Great Exhibition.
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1851 Londra Sergisinde Trkiye Pavyonu. / TurkishIN THE OTTOMAN EMPIRE Exhibition OSMANLIDA FUARCILIK / FAIR ORGANIZATION Pavilion at 1851 London Great
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tr. Sergilerde farkl milletler iin ayr ayr pavyonlar kuruldu. lk kez bu sergide sanat eserleri gnderilmeye baland. Amadeo Preziosi, Osmanl ressam olarak suluboya tablolar ile sergiye katlm sanatlardand. Bunun yannda yalboya resim, mimari izim, fotoraf ile katlm bu sergide gerekleti. Yine ilk kez her lke kendi mimari slubuna uygun olarak biimlendirilmi bamsz yap gruplar yapma imknna kavutu. Osmanl ve Msr mahalleleri sergi alannda bitiik olarak yerletirildi. Osmanl Devleti, Champ de Marsda kendisine ayrlan blmde biri cami, biri kk ve biri de hamam olmak zere eser ina etti. Sultan Abdlazizin ziyareti vesilesiyle Osmanl mahallesinin bulunduu meknn giriine stnde padiahn turas bulunun bir de zafer tak ina edildi. Osmanl Devleti, be bine yaklaan ziyareti ile Fransa ve ngiltereden sonra en byk katlm salayan nc lke oldu. Osmanl Devleti, uluslararas sergi ve fuarlara katlm noktasnda hayli gayretli olmu, davet edilii sergilere katlm salamaya zen gstermitir. 1873 Viyana Evrensel Segisi, 1876 Philadelphia Evrensel Segisi ve 1889 Paris Evrensel Sergisi de bunlardandr.
1876 yl Amerikann bamszln kazanmasnn 100. yldnmyd. lkenin kuruluunun bu nemli kilometretann, tm dnya lkelerinin katlm ile organize edilecek bir fuar ve sergi ile kutlanmas planland. Osmanl Devletinin Washington temsilcisi Guy dAristarchi, Amerikan Dileri Bakanlnn fuar davetiyesini stanbulda hkmete iletirken, bu fuarn Osmanlnn Amerikaya olan samimi duygularnn gstergesi olmas aThe Ottoman Empire had always been eager to attend internasndan ok nemli olduunu syledi. Ancak fuar sadece sational fairs and exhibitions, as well as being keen to particimimi duygularn ifadesi iin deil; ttnden kahveye, hapate in every fair and exhibition to which it was invited. The ldan kilime kadar Osmanl rnlerini Amerikan pazar1873 Universal Exhibition of Vienna, The 1876 Universal na tantmak iin de byk bir frsatt. Hem Osmanl hem Exhibition of Philadelphia and the 1889 Universal Exhibide Msr ve Tunus, 1867 ylnda Pariste, 1873 ylnda da tion of Paris are a few examples of these. Viyanada gerekletirilen fuarlarda uluslararas ticare1876 marked the centenary of Americas independence. tin tadn almt. lke de Avrupadaki fuarlardan sonThe organization of a fair and exhibition to celebrate ra Amerikann davetine icabet etmekte tereddt etmethis milestone and to which all countries throughout the di. Krktan fazla lkenin temsilci gnderip standlarn aworld was planned. While delivering the invitation to the t fuar, Philadelphiada gerekletirilecekti. Katlmclar fair from the American State Department to the governarasnda Avrupa lkelerinin dnda Orta Douyu temsiment at Istanbul, the Washington representative of the Otlen Osmanl Devleti, Msr ve Tunus da vard. The Cententoman Empire, Guy dAristarchi, stated the importance of this nial Exhibition (100. Yl Fuar) Philadelphiada Fairmont Parkta fair in the sincere demonstration of Ottoman feelings towards 10 Mays 10 Kasm 1876 tarihleri arasnda gerekletirildi. Fuar America. However, the fair was not only an expression of sincere feelbaladnda Abdlaziz tahtayd, bittiinde ise Abdlhamit taht devings, but also an important opportunity for the presentation ralmt. Osmanl Devleti, Philadelphiada Trk Kahve Evi ve Ka1863 sergisi iin retilen madalya palar standlar ile fuara katlmaya karar verdi. Msr ve Os- Madallion in memory of 1863 exhibition of Ottoman products, ranging from tobacco to carpets, to the American marketplace. Both the Otmanl Devleti fuarda ayn byklkte toman Empire, Egypt and Tunisia had mekna sahip olacaklard; ancak Ostasted international trade at the fairs manl Devletine fuarda daha byk bir sergi alan tahsis edildi. organized in Paris in 1867 and Vienna in 1873. Thus, after the fairs they had parte yandan 19. yzyldaki en nemticipated in Europe, all three countries li sergilerden biri hi phesiz ki Chidid not hesitate to accept the invitacago Sergisi oldu. Dnemin hkmdation to the American fair. The fair, with r Sultan II. Abdlhamid de sergiye brepresentatives from more than forty yk nem vererek sergi hazrlklarn yacountries, was to take place in Philadelkndan takip etti. Sergide bir Trk Ky phia. In addition to the European counkurduran Sultan, burada Osmanl snrtries, the Ottoman Empire, Egypt and larnda retilen 3 binden fazla rnn Tunisia were among the participants. sergilenmesini salad. Daha da nemThe Centennial Exhibition was carried lisi, Sleymaniye Camii, Sultanahmet out in Fairmont Park, Philadelphia, emesi ve Dikilitan maketleri, Osbetween the 10th of May and 10th of manl blmne dhil edildi. Sergi boNovember, 1876. When the fair began, yunca emenin musluklarndan sebil Abdlaziz was the sultan; however by erbet aktld. Sergi alannda ina ediits conclusion, Abdlhamit had taken len Trk camisinden de gnde be vakit over the throne. The Ottoman Empire ezan okundu, cemaatle namaz klnd. decided to participate in the fair with Hariciye arivindeki vesikalar, sergi athe Turkish Coffee House and the Grand lnda Chicago caddelerinde gsteri yaBazaar stands. It was assumed that pan Osmanl bandosunun binlerce fesEgypt and the Ottoman Empire would li Amerikalnn tezahrat ile karlatkhave areas of similar sizes; however, at larn yazmaktadr. Bu serginin bir dier the fair a larger area was given to Ottozellii de Dinler Kongresine ev sahipman Empire. lii yapmasyd. Muhtedi Muhammed Russell Webbin konumac olarak kaThe Chicago World Fair was undoubttld kongrede Amerikal Teresse Oyeedly one of the most important exhibi1855 Paris Sergisinde Trkiye Pavyonu / Turkish Pavilion at 1855 Paris Exposition. le de sahabe hanmlar zerine bir tebtions of the 19th century. The ruler of the
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The first exhibition that the Ottoman Empire attended with high-ranking representatives was the 1867 Second Universal Exhibition of Paris. Sultan Abdlaziz, who departed with the Sultaniye Yacht on 21 June, 1867, took the young prince, Abdlhamit, with him. The technological advancements that the young prince saw at the pavilions of the Western countries deeply affected him. The 1867 Second Universal Exhibition of Paris not only had an industrial and commercial function, but also stood out as a political meeting point. Alongside Sultan Abdlaziz, the czar of Russia, the emperor of Austria, kings from Belgium, Portugal, Sweden and Prussia, and the Prince of Wales attended the exhibitions and political discussions were held. At the exhibitions, different pavilions were set up for different nations. For the first time, art works were sent to this exhibition. As an Ottoman painter, Amadeo Preziosi was one of the artists who participated in the exhibition with his watercolor paintings. In addition, oil paintings, architectural drafting and photography were displayed at this exhibition. Another first was that every country gained the opportunity to make independent groups of buildings in their local architectural style. The Ottoman and Egyptian districts were placed next to one another in the exhibition area. At the Champ de Mars, the area reserved for the Ottoman Empire, three works were built, a mosque, a mansion and a Turkish bath. Also, to honor the visit of Sultan Abdlaziz, a triumphal arch with the Sultans tughra on it was built at the entrance to the Ottoman District. With nearly five thousand visitors, the Ottoman Empire was the third country, after France and England, in popularity.
OSMANLIDA FUARCILIK / FAIR ORGANIZATION IN THE OTTOMAN EMPIRE
li sundu. Pariste yaayan Teresse Hanma Osmanl Devletinin bizzat teekkr ettii devlet kaytlarna geerken, Russell Webb II. Abdlhamid tarafndan New Yorka ilk Osmanl Bakonsolosu olarak atand. 19. yzyln son evrensel sergi ise Pariste gerekleti. 1900 ylnda yaplan Paris Sergisi, sanayi ve tarm rnleri ve sanat eserlerinin bilimsel bulularla birlikte sergilendii son uluslararas sergi olarak tarihe geti. Sergi 543 dnm arazi zerine kuruldu. Yaklak 80 bin sergileyicinin katld sergiyi 48 milyon kii ziyaret etti. Ayn dneme ait nfus verileri dikkate alndnda 50 milyona yaklaan ziyareti saysyla yzyln son evrensel sergisinin anna yakr bir ekilde tarih sahnesinden ayrld ortaya kmaktadr. Yryen merdiven ve hareketli filmler gibi yenilikler ilk kez bu sergide gn yzne kt. Osmanl dneminde dnyadaki sanayi ve ticari alandaki gelimeler yakndan takip edilerek o gnn artlarnda birka tanesi dnda btn uluslararas sergi ve fuarlara katlnmtr. New York fuarna devlet olarak katlamam ancak bireysel bazda katlm tevik edilmi ve New York sergisine katlan Osmanl esnaf daha sonra devlet tarafndan nian ve beratla dllendirilmitir.
time, Sultan Abdlhamid II, gave great importance to this exhibition as well, and closely followed the preparations for it. By having a Turkish Village built for exhibition, the sultan assured that more than three thousands products produced within the boundaries of the Ottoman Empire would be on display. More importantly, models of Sleymaniye Mosque, Sultanahmet Fountain and the Obelisk were included in the Ottoman section. During the fair, free sherbet flowed from the taps of the fountain. Moreover, at the Turkish Mosque that was built in the exhibition area, azan was recited five times during fair and people prayed in congregation. The State Department records tell us that the Ottoman Band performed in the streets of Chicago for the opening of the exhibition and that this was welcomed by thousands of Americans wearing fez. Another important feature of this exhibition was that it hosted the Congress of Religions. Russell Webb, who had changed his religion to Islam, attended the congress as a spokesman and the, American Teresse Oyele presented a statement about the women Companions of Prophet Muhammad. The gratitude expressed by the Ottoman Empire to Lady Teresse, who was living in Paris, is a matter of government record and Abdlhamid II appointed Russell Webb as the first Consul General of the Ottoman Empire in New York. The final world fair in the 19th century took place in Paris. The Paris Exhibition of 1900 made history by being the final international exhibition where industrial and agricultural products were displayed alongside with art works and scientific inventions. The exhibition was set up on a land of 543 acre. 48 million people visited the exhibition to which approximately eighty thousand exhibitors attended. When the population data of the same period is taken into consideration, it becomes clear that, the last universal exhibition had left the pages of history with 50 million visitors which befitted to its glory. The innovations such as the moving staircase or motioned picture were revealed firstly at this exhibition.
During the Ottoman era, the progressions in the industrial and commercial fields were followed closely, and at the conditions of that time, except a couple of them, all the international fairs and exhibitions were attended. Even though the Empire could not have attended to the New York Fair itself, it encour1873 Viyana Evrensel Sergisinde Trk Kahvesi. / Turkish coffe house at 1873 Vienna Universal Exposition aged individual participation and the artisans of Ottoman Empire that attended the New York Exhibition were awarded with medals and certificates by Sergi ve fuar organizasyonlarnn faydalarn gren Osmanl Devlet grevlileri the government. 1863 ylnda Sergi-i Umum-i Osmaniyi dzenlediler. Sergi ve fuar organizasyonu iin 1894 ylnda plandklar Dersaadet Ziraat ve Sanayi Sergi-i Umumisi projeAfter seeing the benefits of the organization of fairs and exhibitions, the govsinden o yl stanbulda meydana gelen byk depremden dolay vazgemek zoernment officials of the Ottoman Empire organized Sergi-i Umumi- Osmani in runda kaldlar. Ancak 1906 ylnda Anadolunun farkl ehrinde ziraat ve sa1863. Because of the major earthquake happened in Istanbul in year 1894, they nayi sergisi ve fuar dzenlendi. Bunlar Diyarbakr Ziraat ve Sanayi Sergisi, Trabhad to give up the plans for the organization of Dersaadet Ziraat and Sergi-i zon Sanayi Sergisi ve zmir Sanayi ve Ticaret Sergisidir. 1912 ylnda Bursa SanaUmumisi projects as fairs and exhibitions for the same year. However, in year yi Sergisi dzenlendi. Son olarak da 1923 ylnda Adanada Sanayi ve Ziraat Ser1906, agriculture and industry fairs and exhibitions were organized at three difgisi gerekletirildi. ferent cities of Anatolia. These were the Agriculture and Industry Exhibition of Sonu olarak, dnyadaki ilk uluslararas sergi ve fuar organizasyonu olan 1851 Londra Sergisinden 1923 ylna kadar 72 ylda Osmanl Devleti 55 ulusal ve uluslararas sergi ve fuara itirak ederek dnyann sanayi ve zirai geliimini yakndan takip etmitir. Diyarbakir, Industry Exhibition of Trabzon, and the Industry and Trade Exhibition of Izmir. In 1912 the Industry Exhibition of Bursa was organized. Finally, in year 1923, Industry and Agriculture Exhibition of Adana was carried out.
In conclusion, from the first international exhibition and fair of the world; 1851 Universal Exhibition of London, to 1923, within 72 years, the Ottoman Empire had attended 55 national and international exhibition and fair, and thus had followed the industrial and agrarian development of the world closely.
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KTAP FUARI DEYNCE AKLA GELEN

Metin CELL
WHAT COMES TO MIND WHEN WE HEAR BOOK FAIR

Metin CELL
KTAP FUARI DEYNCE AKLA GELEN / WHAT COMES TO MIND WHEN WE HEAR BOOK FAIR
KTAP FUARI DEYNCE AKLA GELEN

Metin CELL* lkemizde kitap fuar denince akla Tyap gelir. Tyap denince de stanbul Kitap Fuar. Oysa Tyap byk bir fuarclk firmas ve her yl bata stanbul olmak zere Trkiyenin birok ilinde ve yurtdnda yzlerce farkl fuar dzenliyor. Selpak deyince kt mendili, jilet deyince tra ban anlamamz gibi Tyap da kitap fuarnn n ad oldu sanrm. lkemizde ilk olarak Tyapn 1982 ylnda Taksim Intercontinental Otelinde kitap fuar dzenledii sanlyor. Trkiyede kitap sergileri, kitap fuarlar o kadar yeni deil ama dnyada neredeyse matbaann icadyla balayan kitap fuarlar gibi yzlerce yl geriye de gitmiyor. lkemizde bilinen ilk kitap sergisi 1929da Trk Oca tarafndan alan Trk Matbaaclnn kiyznc Yldnm Sergisi. Bu kk apl sergiyi Selim Nzhet Gerek dzenlemi. Bunu Selim Nzhetin 1931de Galatasaray Lisesinde Matbuat Cemiyeti adna gazeteciliimizin yznc yl dnm iin at sergi izliyor.
WHAT COMES TO MIND WHEN WE HEAR BOOK FAIR

Metin CELL* When we hear the phrase book fair in Turkey what comes to mind is Tyap. And when we hear Tyap, we remember the Istanbul Book Fair. In fact, Tyap is a firm that every year organizes hundreds of fairs, both abroad and in many provinces of Turkey, but most particularly in Istanbul. I think Tyap has become the leading name in book fairs, just like Selpak has for tissues and Gilette for razors. It is generally accepted that Tyap organized the first book fair in Turkey at the Taksim Intercontinental Hotel in 1982. In Turkey book exhibitions and book fairs are not such recent events, but they do not date back hundreds of years like other book fairs, some of which started almost simultaneously with the invention of printing press. The first known book fair in Turkey was The Exhibition Marking the 200th Anniversary of the Turkish Printing Press, organized by the Trk Oca (Turkish Guild) in 1929. This small fair was organized by Selim Nzhet Gerek. The following one was organized by Selim Nzhet in 1931 at Galatasaray High School on behalf of the Press Association to makr the 100th anniversary of journalism in Turkey.
Gkhan Akurann yazdna gre Selim Nzhetin en nemli adm 1932 ylnnn 30 Austosunda stanbul Halkevi iin Beyazt Meydannda, stanbul niversitesinin nnde at Kitap Panayr olmu. stanbulun btn yaync According to Gkhan Akura, Selim Nzhet took a most important step on 30 ve kitaplarnn katld sergide yeni harflerle baslm 1800 eser sata km. August, 1932. He organized a book fair in front of Istanbul University, on Beyazt Yani bir anlamda Harf Devriminin sonular okurlara sunulmu. Drt gn sren Square; this was arranged for the Istanbul Halkevi (Peoples House). All the pubpanayrda kitaplar yzde on indirimle satlm, panayrdan kitap ya da dergi salishers and book sellers in Istanbul participated in the fair and 1,800 books that tn alanlar ayn alanda dzenlenen Karagz ve Ortaoyunu temsillerini de crethad been printed in the new Turkish alphabet were on offer here. Thus, in a way siz izlemiler. 1933te benzer bir kitap panayr Maarif Vekleti tarafndan dthe fruit of the alphabet reform was offered to readers. The fair lasted for four zenlenen Maarif Sergisi kapsamnda Ankarada smet Paa Kz Enstits ve Tidays, and books were sold at a ten percent discount; those who bought books caret Lisesi bahesinde ald. Bu panayrda da Trk or magazines from the fair could also watch Karagz harfleri ile be yl iinde yaymlanan kitaplar yzde on (shadow puppets) and comedy shows free of charge. lkemizde kitap fuar denince akla indirimle sata sunuldu. Bylelikle kitap panayrlar A similar book fair was organized at the smet Paa Tyap gelir. Tyap denince de ile birlikte indirim kavramnn da kitap sat srecine Institute for Girls and the College of Business and stanbul Kitap Fuar. girdiini gryoruz. Selim Nzhet, sadece genel serCommerce as part of the education fair held by the gilerle yetinmemi, 1935te stanbul Tabip Odas iin Ministry of Education in 1933. The books published in When we hear the phrase book fair Tbbi ve Shhi Kitaplar Sergisi de am, yani yayncthe new Turkish alphabet were also sold here at a ten in Turkey what comes to mind is Tyap. lkta uzmanlamay zendirmi. percent discount. Thus, we can see that the concept And when we hear Tyap, we remember of a discount has been a part of the book selling proSelim Nzhet, gazetecilii ile tannsa da sanyothe Istanbul Book Fair. cess offered at the book fairs. Selim Nzhet was not rum bu kitap sergileri dzenleme iine girimesincontent with only general fairs; in 1935 he organized de Cumhuriyetin ilk Basma Yaz ve a Medical Book Fair for the Istanbul Resimleri Derleme Mdrl grePhysicians Association, encouraging vini yapmas neden oluyor. Trker specialization in publishing. Acarolunun belirttiine gre Selim Nzhet, stanbul Belediyesi ehir Mze Selim Nzhet is famous for his work as ve Kitaplnn dzenlenip ynetilmesi a journalist, but I think that he started iini de yrtm. Milli Ktphanenin to organize book fairs as part of his dukurulmasnda katks olmu. Abdlhak ties as the first administrator of manuinasi Hisarn kardei olan Selim Nzscripts and artwork collections in the het Gerekin kitap ve yayn hayatmRepublic of Turkey. Trker Acarolu za katklar bir baka yaznn konusu stated that Selim Nzhet also applied olacak kadar nemli. Ama Gerekin his organizational and management Trkiyedeki kitap fuarlarnn balatcskills to the Istanbul Municipality City s olduunun altn izmeliyiz. Museum and Library. He contributed to the establishment of the National Selim Nzhet, Trkiyede kitap fuarlaLibrary. Selim Nzhet Gerek was the r dzenlemekle kalmayp, Trk yaynbrother of Abdlhak inasi Hisar. The contributions he made to books and pubclnn yurt dna almasna da vesile oldu. 1937 yl ubat aynda Atinada bir lishing are so important that they actually form the subject of another article. Trk Kitaplar Sergisi at. Bu sergi Belgradda da tekrarland. However, it must be emphasized that Gerek was the first person to bring book fairs to Turkey. stanbul Halkevinin ikinci kitap panayr 15 Ocak 1938de yapld. 12 yaynevi ve kendi kitaplarn yaynlayan baz yazarlarn katld sergide 1936 ve 37 yllarnda Selim Nzhet not only organized book fairs in Turkey, but also helped Turkish yaynlanan 500 kitap sata sunuldu. Bu panayr yine 1938de yaynlanan 500 publishing to be recognized abroad. He set up a Turkish Book Fair in Athens in kadar kitabn sergilendii ve 1 Ocak 1939da Beyolu Halkevinde alan sergi izFebruary, 1937. This fair was held once again in Belgrade. ledi. Bu sergi bir hafta ak kald ve kitaplardaki indirim oran yzde yirmiye kt. Beyolu Halkevi 1940 ve 41de de bu tr kitap sergileri at ve nceki yl yaThe second book fair of the Istanbul Halkevi was organized on 15 February, 1938. ymlanan kitaplar sata sunuldu. Twelve publishers and some authors who had published their own books partici* Yazar, air. * Writer, poet.
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Bu kitap sergilerinin en nemlisi ve kapsamls Birinci Trk Neriyat Kongresi srasnda gerekletirilen ve 2 Mays 1939da alan Neriyat Sergisidir. Bu sergide geen on ylda yaynlanan tm kitaplar, dergiler, gazeteler sergilendi. Neriyat Sergisi On Birinci Yerli Mallar Sergisi kapsamnda 22 Temmuz 9 Austos 1939 tarihleri arasnda stanbulda ve zmir Enternasyonal Fuarnda tekrar edildi. Neriyat Kongresinde alnan kararlar arasnda bir kitap haftas tesis olunmas ve tm yurt apnda kitap sergileri almas da vard. 80li yllara kadar birok kez kitap sergileri, panayrlar, fuarlar ald ama ne yazk ki hibiri srekli olmad. Kukusuz bunda lkemizdeki fuarclk deneyiminin az olmasnn yannda yayncln yeterince gelimemesinin de pay vard. Trkiyede yayncln gerek anlamda sektrlemeye balamas iin 12 Eyll askeri darbesinin yaanmas, yaynevlerinin, kitaplarn kapanmas, kitaplarn imha edilip yazarlarn tutuklanmas ya da yurtdna kamalar gerekiyordu. Darbeden sonra tm kltr hayat ile birlikte yaynclk sektr de derlenip toparlanmaya alt ve 1980 ncesinden ok daha gl ve sektrel bilinci yksek bir yayn hayat dodu. Can, letiim, Metis, Adam, Tima gibi birok nemli yaynevi 80li yllarn banda kuruldu. Tyapn 1982 ylnda, hemen darbe sonras karanlk gnlerde Taksim ntercontinental Otelinin bodrum katnda ilk kitap fuarn dzenlemesi ilgiye deer. nk her gn televizyonda sanki su aletiymi gibi silahlarla birlikte kitaplarn gsterildii o yasaklar ve basklar dneminde mevcut birok yaynevinin bir kitap fuarna katlmak bir yana kitap yaynlamaya bile gleri ve istekleri yoktu. 28 yaynevinin katlmyla, 600 metre karelik kk bir alanda yaplan fuar
pated in the fair. 500 books that had been published in 1936 and 1937 were put on sale. There was another fair at the Beyolu Halkevi on January 1, 1939, where nearly 500 books that had been published in 1938 were put on exhibition. This fair lasted for one week and the discount rate on books was twenty percent. The Beyolu Halkevi also organized book fairs in 1940 and 1941, with the books that had been published the year before being put on sale. The most important and largest of these book fairs was the Neriyat Sergisi (Publications Exhibition), which was held during the first Congress of Turkish Publications, on 2 May, 1939. All the books, magazines and newspapers that had been published in the last ten years were exhibited at this fair. The Neriyat Sergisi was held once again from 22 July to 9 August, 1939 at the Istanbul and zmir International Fair as part of the 11th Domestic Products Fair. One of the decisions taken by the Publications Congress was to establish a book-fair week and to organize book fairs throughout the country. Book fairs and exhibitions were organized many times before the 1980s, however, unfortunately none of these continued. Clearly, this was not due solely to insufficient experience in Turkey, but also to the fact that not enough progress had been made in publishing. For an effective sector in publishing to be formed in Turkey, the experiences of the military coup on 12 September, the closing down of publishers and book stores, the destruction of books, and writers being arrested or fleeing abroad were all necessary. After this blow, cultural life and the publishing sector tried to recover; as a result a new publishing style, greatly
umulann kat kat stnde ilgi grd. Kapda uzun kuyruklar olutu, on sekiz bin kii fuar ziyaret etti. Fuara katlan yaynevleri ksa srede kitaplar satp tketti. kinci yl katlan yaynevi says 72, ziyareti says ise 80 bin oldu. zleyen yllarda fuara hem yaynclarn hem de okurlarn ilgisi iyice artnca artk otel salonu yetmez oldu ve Tyap Tepebana tand. Bugnk TRT binasnn altndaki otoparkn bir blmnn alnmasyla yaplan 3500 m2lik salon da bir sre sonra yetmez oldu, bir kat daha ilave edildi ama her yl katlmc yaynevi ve ziyareti okur says artt. Tepebana artk smak mmkn olmaynca kitap fuar byk direnmelere ramen 2002de Beylikdzne, Tyapn 60.000 m2lik modern fuar alanna tand. Belyikdzndeki olanaklar fuarn hzla geliip bymesini salad. Her yl be yz civarnda yaynevi ve sivil toplum rgt stand at, 300 binden fazla okur fuar ziyaret etti. Bir yandan neredeyse Trkiyedeki tm yaynevleri yer bulurken dier yandan fuar uluslararas olma yolunda da nemli admlar att. Bir nceki yldan itibaren de uluslararas yaynclar kendileri iin zel bir salonda yer ald. 2009 ylnda fuara 28 lkeden yaync katld. 2010da uluslararas olma yolunda nemli bir adm daha atld ve ilk kez bir lke, spanya onur konuu olarak fuara davet edildi. Ayrca Uluslararas Yaynclar Birlii (IPA) Yaynlama zgrl dl Trkiyede ilk kez 29. stanbul Kitap Fuarnn ev sahipliinde dzenlenecek bir trenle verilecek. Bu yl kitap fuarnn uluslararas bir ilki daha yaanacak: Dnyann en nemli on telif haklar ajans fuarda kendilerine ayrlan zel blmde yer alacak ve Trk yaynclarla telif hakk al verii yapacak.
aware of the sector, came into life, much stronger than it had been before the 1980s. At the beginning of the 1980s a large number of important publishers were established, such as Can, letiim, Metis, Adam and Tima. In 1982 Tyap organized the first book fair in the basement of the Taksim Intercontinental Hotel; that this occurred at a time immediately after the military coup, in a time of confusion, makes this fair worth noting. In these days of prohibition and oppression books were put alongside guns to make up the display of illegal weapons on news programs; as a result many of the existing publishers had neither the energy nor the desire to join a book fair or publish books. The fair was organized with the participation of 28 publishers in a small area, measuring 600 m2; the fair attracted a great deal of attention. Indeed, the attendance was higher than expected and long queues formed, with 18,000 people visiting the fair. The publishers who participated in the fair sold all their books. The following year 72 publishers participated and 80,000 people visited the fair. In later years the fair attracted attention from both publishers and readers, and the fair was moved to Tyap Tepeba, as the hotel lounge was no longer sufficient. A new hall, measuring 3,500 m2 was built with the addition of part of the car park that was under the TRT building; however, this soon proved to be insufficient, and another apartment was added. However, with each passing year the number of publishers and readers visiting increased. When Tepeba was no longer able to meet the need, in 2002, despite opposition, the book fair was moved to a modern fair area, measuring 60,000 m2 in Beylikdz. The facilities in Beylikdz
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KTAP FUARI DEYNCE AKLA GELEN / WHAT COMES TO MIND WHEN WE HEAR BOOK FAIR
enabled the fair to improve and expand. Every year nearly 100 publishers and NGOs have stands here, with and more than 300,000 readers visiting the fair. Nearly all the publishers in Turkey participate in the fair; in addition, important steps have been taken to transform this into an international fair. Since last year international publishers participate in a special hall that has been arranged for them. In 2009, publishers from 28 different countries joined the fair. In 2010 another important step will be taken with another country, Spain, being invited to the fair as the guest of honor. Moreover, the 29th Istanbul Book Fair will host a ceremony in which the International Publishers Association (IPA) Publishing Independence Award will be given. There is another first that will occur this year at the book fair. The most important ten copyrights agencies in the world will participate in the fair, where a special stand has been organized for them; they will exchange copyrights with Turkish publishers. The Istanbul Book Fair will come together with readers for the 29th time in 2010. The fair will be held between 30 October and 7 November, 2010. 550 domestic and foreign publishers and NGOs will participate in the fair. The theme of the book fair is Writing about Istanbul. In keeping with this theme, various activities will be offered, with domestic and foreign writers, poets, journalists and researchers writing about Istanbul - the European Capital of Culture. The guest of honor at the fair will be Doan Kuban, a scholar and writer who is an expert on Istanbul. During the fair, some activities, such as interviews and panel discussions on Doan Kubans works and projects, will be organized and a special exhibition profiling his works and life will be offered to book lovers. The exhibition from Spain, the guest of honor, will be located in the International Hall between 30 October and 2 November, 2010. The activities will last for four days and interviews with leading writers of modern Spanish literature will be held, as well as concerts, panel discussions, music and dance performances.
2010 ylnda stanbul Kitap Fuar 29. kez kaplarn okurlara aacak. 30 Ekim - 7 Kasm 2010 tarihleri arasnda dzenlenecek olan fuara yurt ii ve yurt dndan 550 yaynevi ve sivil toplum kuruluu katlacak. Kitap Fuarnn temas ise stanbulu Yazmak. Bu tema erevesinde Avrupa Kltr Bakenti olan stanbulu yazan yerli ve yabanc yazar, air, gazeteci ve aratrmaclarn katlmyla eitli etkinlikler dzenlenecek. Fuarn onur yazar da bir stanbul uzman, bilim adam ve yazar Doan Kuban. Fuar sresince Doan Kubann almalar, projeleri ve eserleri zerine sylei, panel gibi eitli etkinlikler dzenlenecek;
almalarndan ve yaamndan kesitlerden oluan zel bir sergi kitapseverlerle buluacak. Onur konuu olan spanya, 30 Ekim-2 Kasm 2010 tarihleri arasnda Uluslararas Salonda yer alacak. Drt gn srecek etkinlikler kapsamnda bata modern spanyol edebiyatnn nde gelen yazarlar olmak zere sylei, dinleti, panel, mzik ve dans performanslar dzenlenecek.
Kaynaka: Gkhan Akura, Kitap Sergilerinin Tarihi, Trkiye Sergicilik ve Fuarclk Tarihi, stanbul 2009, Trker Acarolu, 40. lm Yldnmnde Selim Nzhet Gerek, Trkiye Ktphaneciler Dernei Blteni, say 3, 1986. Deniz Kavukuolu, Bir Yolculuk yks, stanbul Kitap Fuarnn Yirmibe Yl, stanbul 2006.
Resources: Gkhan Akura, Kitap Sergilerinin Tarihi, Trkiye Sergicilik ve Fuarclk Tarihi, Istanbul 2009, Trker Acarolu, 40. lm Yldnmnde Selim Nzhet Gerek, Trkiye Ktphaneciler Dernei Blteni, No. 3, 1986. Deniz Kavukuolu, Bir Yolculuk yks, stanbul Kitap Fuarnn Yirmibe Yl, Istanbul 2006.
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OSMANLI MPARATORLUUNUN MODERN AVRUPANIN OLUMASINDAK ROL

Erhan AFYONCU
THE ROLE OF THE OTTOMAN EMPIRE IN THE FORMATION OF MODERN EUROPE

Erhan AFYONCU
OSMANLI MPARATORLUUNUN MODERN AVRUPANIN OLUMASINDAK ROL / THE ROLE OF THE OTTOMAN EMPIRE IN THE FORMATION OF MODERN EUROPE
OSMANLI MPARATORLUUNUN MODERN AVRUPANIN OLUMASINDAK ROL

Do. Dr. Erhan AFYONCU* Bir zamanlar modernlik yalnzca Bat medeniyeti ile zdeletirilen bir kavramd. Oysa gnmzde Bat d modernliklerin de varl kabul edilmitir. ncelikle felsefi bir konu olan Bat modernlii, Avrupada cereyan etmi tarihi olaylarn kronolojik sralamasnn ok tesinde bir meseledir. Bununla birlikte Bat modernliinin pratikteki tezahrn hazrlayan bir dizi tarihi olay da grmezden gelinemez. rnein Cemal Bali Akal, Modern Dncenin Douuspanyol Altn a adl kitabnda Bat modernliini hazrlayan gelimelerin spanya ayan baarl bir biimde incelemitir. Biz de bir tarihi olarak bu yazmzda Avrupa modernliini dnsel tarafyla olmasa da tarihi tarafyla, daha dorusu Osmanl tarihi ile ilgili olan tarafyla ele aldk. Tpk Amerika ktasndan Avrupaya altn tayan spanyol gemilerinin hikyelerinin Bat modernlii ile dorudan ilgili olmas gibi, Osmanlnn Avrupadaki diplomatik giriimleri ve askeri harektlar da bu konunun dorudan bir parasdr. Osmanl mparatorluu, her eyiyle tarih olmu, gitmi; kendisinden gnmze bir ey kalmam gibi dnlr. Ancak 600 yldan fazla bir sre dnyann en nemli corafyasnda hkimiyet kuran ve byk imparatorluktan birisi olan Osmanl mparatorluu bugnk dnyann olumasndaki en nemli aktrler arasndadr.
THE ROLE OF THE OTTOMAN EMPIRE IN THE FORMATION OF MODERN EUROPE

Asist. Prof. Erhan AFYONCU* At a certain point in time, modernity was a concept associated with Western civilization. Today, however, the existence of modernity outside the realm of the West has become accepted. Western modernity, which is first and foremost a philosophical matter, is a matter that goes far beyond the scope of the chronological order of historical events which took place in Europe. However, the practical manifestation of Western modernity has also ignored a series of historical events. For example, Cemal Bali Akal, in his book entitled, Modern Dncenin Douu-spanyol Altn a, (The Birth of Modern Thought: the Spanish Golden Age), successfully examined the Spanish phase of the developments which took place in preparation for Western modernity.
In this particular piece, Western modernity is examined -- not in terms of its intellectual composition, but in terms of its history, particularly that pertaining to the history of the Ottoman Empire. Just as the stories of Spanish ships carrying gold from America to Europe are directly related to Western modernity, the Ottomans diplomatic initiatives in Euro600 yldan fazla bir sre dnyann pe, as well as their military operations, are directly tied en nemli corafyasnda hkimiyet to this matter.
Osmanllarn Rumeli Fetihleri Ortodoksluu Yaatt
kuran ve byk imparatorluktan birisi olan Osmanl mparatorluu bugnk dnyann olumasndaki en nemli aktrler arasndadr.
Osmanllar, XIV. yzyln ortalarnda Rumeli fetihleThe Ottoman Empire, which dominated rine baladnda, Balkanlar birok devletikler ve fethe most important lands in the world odal senyrlkler hlinde paralanm durumdayfor over 600 years and which is referred d. Duann kurduu Srp mparatorluunun zayfto as one of the three great empires, lamasndan sonra Kuzeyde Macaristan, Batda ve The Ottomans Rumelia Conquests Sustained played an important role in the Gneyde ise Venedik siyasi paralanmadan istifade Orthodoxy ederek Balkanlarda yaylma politikas gdyorlard. Bu formation of todays world. iki devletin siyasi ve askeri hkimiyeti beraberinde KaWhen the Ottomans began their Rumelia conquests dutoliklii de getiriyordu. Her ne kadar Balkanlarn Ortoring the mid-14th century, the Balkans were divided into doks halk bu iki devletin hkimiyetini benimsemiyorsa da direnecek siyasi ve many little states ruled by independent feudal lords. After the Serbian Empire esaskeri gleri yoktu. Katolik olmaya mahkm gibiydiler. Osmanllarn, Venedik tablished by Emperor Duan grew weak, Hungary in the north and the Venetians ve Macaristann Balkanlara yaylmasn engelleyip kendi hkimiyetlerini kurin the west and south seized the opportunity created in the Balkans through their expansionist policies. In addition to the political and military dominance of these malar, Balkanlarda Ortodoks mezhebinin yaamasn salad. Ayrca Osmantwo states, they also brought Catholicism with them. Regardless of the fact that llarn milli kiliseleri desteklemesi Ortodokslar zerindeki Helen hkimiyetinin the Orthodox people of the Balkans identified with neither of these two states, sona ermesine sebep oldu. rnein Srp Milli Kilisesi, XVI. yzylda Sokullu they had to concede as they did not have the political or military power to resist. Mehmed Paann destei ile kurulmutu. They were essentially resigned to becoming Catholic. The prevention of the VeBalkanlar paralanmlktan kurtulup byk bir imparatorluun paras netian and Hungarian expansion into the Balkans at the hands of the Ottomans hline gelince ekonomik adan da gelime gsterdi. Bulgaristan, Srbistan ve allowed the Orthodox sect to sustain itself. Furthermore, the Ottoman support of Yunanistanda birok ehir, huzur ortamna kavumalar sebebiyle byyp, gethe national churches facilitated the end of the Hellenic dominance over the Ortliti. hodox peoples. For example, the Serbian Orthodox Church was re-established in the 16th century by Sokullu Mehmed Pasha.
The Ottoman Empire is thought to have become history, with no remnants of its existence lingering today. However, the Ottoman Empire, which dominated the most important lands in the world for over 600 years and which is referred to as one of the three great empires, played an important role in the formation of todays world.
Avrupa Milli Monarileri Yok Olmaktan Kurtuldu
Osmanl mparatorluunun Modern Avrupann ekillenmesinde nemli tesiri vardr. Kanun zamannda Dou snrlarnn fazla tehdit almamas ve Avrupada gelien artlar sebebiyle asl hedef Bat olmutu. Bu dnemde Habsburg mparatorluu akrabalk balaryla Avrupann nemli bir ksmnda hkimiyet kurmutu. talya, spanya, Avusturya, Almanya, Macaristan gibi lkeler dolayl veya dorudan Habsburg mparatorluuna balydlar. Habsburglarn nnde direnen tek g Fransa ve ngiltere idi. Osmanllarn Avrupadaki bu mcadeleye karmalar siyasi dengenin yeniden kurulmasn salad. Fransa, Hollanda ve ngiltere gibi milli monariler, Osmanllarn, Habsburglara kar mcadeleye girmesiyle yaam hakk bulabildi. Nitekim 1532de Fransa Kral Fransuva, Venedik elisine arlkene kar Osmanllar sayesinde gvence altnda olduunu sylyordu.
* Do. Dr., Akademisyen, Marmara niversitesi Tarih Blm
After the Balkans were freed from division and became part of the large empire, they developed financially as well. Many cities in Bulgaria, Serbia, and Greece grew and developed after becoming more peaceful.
Europes National Monarchies were Saved from Collapse

The Ottoman Empire influenced the shape of modern Europe. As the eastern borders were not heavily threatened during the reign of Sleyman the Magnificent and Europe had begun to thrive, the West had become a focal point instead. During this time, the Habsburg Empire, through the utilization of their familial ties, established dominance over a significant portion of Europe. Countries such as Italy, Spain, Austria, Germany and Hungary were either directly or indirectly under the rule of the Habsburg Empire. The only forces resisting this empire were France and England. Ottoman involvement in the struggle taking place in Euro* Asist. Prof. Academician, Marmara University, Department of History
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Osmanllar, Fransay asker gndererek, para vererek veya ticari ilikilerle Habsburglara kar kuvvetlendirdiler. Kanun 1533te Fransa Kralna, arlkene kar ngiltere ve Alman prensleri ile bir ittifak yapmas iin 100 bin altn gndermiti. 1569da Fransaya verilen ticari imtiyazlardan sonra 1580de ngiltere ve 1612de de Hollanda, Osmanl mparatorluu tarafndan verilen kapitlasyonlar ile desteklendi. Venedikin Dou Akdenizdeki ticari hkimiyeti Osmanllarn verdii destek ile Fransa ve ngiltereye geti. ngiliz ve Hollandallar, Osmanl gemilerini kullanarak, Karadeniz ticaretinde de Venedikin yerini aldlar. Osmanl topraklarnda ve nfuz blgelerindeki ticaret bu lkelerin ekonomik adan kuvvetlenip, bymesine sebep oldu. ngiliz ve Franszlarn gerek imparatorluk topraklarndan ald hammaddeler, gerekse lkelerinde imal ederek Osmanl lkesinde sattklar rnler kapitalizmin gelimesinde nemli rol oynad. Halil nalck, Osmanllarn farknda olmadan, modern kapitalizmin ykselmesini salayan Avrupa ekonomik sisteminin bir paras olduklarn belirtir.
pe caused the re-shuffling of the balance of political power. National monarchies such as France, Holland and England were able to persist only after the Ottoman campaign against the Habsburg Empire. Hence, in 1532 the French King Francis could say to his Venetian ambassador that he was, under protection of Charles V thanks to the Ottomans. The Ottomans, through funding, dispatching soldiers, and enhancing trade relations with France, helped the French in the face of the Habsburg Empire. In 1533, Sleyman the Magnificent sent 100,000 pieces of gold to the British and German princes so that they would help collaborate against the Habsburg Empire. After trade privileges were granted to France in 1569, England and Holland were supported by the capitulations with the Ottoman Empire in 1580 and 1612 respectively. The Venetians no longer dominated trade in the eastern Mediterranean; thanks to the support of the Ottomans, France and England assumed command of the market. The British and Dutch, utilizing Ottoman ships, took the place of the Venetians in the Black Sea. The trade on Ottoman territory facilitated the financial strengthening and growth of these countries. The raw materials as well as the goods produced in their own lands and sold in Ottoman countries by the British and French played a great role in the development of capitalism. Historian Halil nalcik notes that the Ottomans, without being aware, were a part of the European financial system which gave way to the rise of capitalism.
ngilterenin Umudu Osmanl

Osmanl Padiah III. Murad devrinde Avrupann en uzak lkelerinden ngiltere ile iliki kurulmutu. ngiltere, Habsburglarn spanya kanad tarafndan igal edilmek zereydi. ngilizler, Fransa rneinden hareket ederek Habsburglara kar direnebilmek iin tek anslarnn Osmanl mparatorluundan yardm almak olduunu anlamlard. III. Murad devrinde Osmanl mparatorluu ile ilikiye geerek, spanyol donanmasnn ngiltereyi igalini engellemek iin yardm istediler. Bunda da baarl oldular. nglitere Trk donanmasnn yardmyla spanyol igalinden kurtuldu. ngilterenin nemli gazetelerinden The Guardiann birka yl nce birinci sayfadan spanyol donanmas yenildii iin Sir Francis Drakee deil Trklere teekkr etmeliyiz balyla verdii haber, 416 yl nce yaplan bir yardmn ngilizlere neler kazandrdnn yeni anlaldn gsteriyordu. Kralie Elizabethin askeri danman Sir Francis Walsingham, Temmuz 1588deki spanyol igal teebbsnden nce stanbuldaki ngiltere elisine bir mektup gndererek, spanyol donanmasnn datlmas iin Trk donanmasnn harekete geirilmesini istemiti. ngiliz elisi Harborneun faaliyetleri ve Osmanl siyaseti uyarnca harekete geen Trk donanmasnn Akdenizdeki manevralar spanyol donanmasn datt. Fransann kuzeyinde Calais aklarnda 30 Temmuz 1588de meydana gelen Gravelines Deniz muharebesinde ngiliz donanmasnn karsna spanyol donanmasnn bir ksm kabildi. ngiliz donanmasnn komutan Sir Francis Drake de, spanyollar rahatlkla malup etti. ngiliz tarihi Profesr Jerry Brotton, durumu Osmanllarn manevralar spanyol Kral II. Philipin donanmasn datt. Artk okullarda spanyol ordusunun neden ngiltereyi igal edip, Protestanla son veremediine bir sebep daha eklememiz gerekecek. Bu da Kralie Elizabeth tarafndan tesis edilen ngiliz-Osmanl ittifakdr diye deerlendirir. ngiliz devlet adamlarndan Sir Francis Walsingham, Akdes Nimet Kurat tarafndan yaynlanan ve stanbuldaki ngiltere elisi William Harbornee gnderdii 24 Haziran 1587 tarihli mektubunda III. Murad spanyollara kar harekete geirmek iin elinden ne geliyorsa yapmasn ve ngilizlerin iyi insanlar olduunu anlatmasn istiyordu. ngilterenin Osmanl mparatorluuna gnderdii eliler, spanyollara kar yardm alabilmek iin her trl yolu denemilerdi. ngiliz temsilcisi Harborne, Akdes Nimet Kurat tarafndan yaynlanan, III. Murada sunduu arzuhalinde diplomatik slubu brakarak padiahn spanyollara kar hi olmazsa 60 ya da 80 kadrga gndermesi iin neredeyse yalvaryordu.
The Ottomans: Englands Hope

During the reign of the Ottoman Sultan Murad III, relations with one of the furthest most nations of Europe, England, were established. England was about to be occupied by the Spanish wing of the Habsburg Empire. The British, in light of the example set by the French, knew that their only chance in resisting the Habsburg Empire was to attain the help of the Ottoman Empire. During the era of Murad III, the British initiated contact with the Ottoman Empire, asking for help to prevent the Spanish fleets occupation of England. Their request was met: England was able to evade Spanish occupation with the help of a Turkish armada. An editorial featured in one of Englands leading dailies, The Guardian, on June 1, 2004 ran the headline, Why we must thank the Turks, not Drake, for defeating the Armada, which reflected the help extended to the British 416 years ago. Prior to the July 1588 Spanish occupation attempt, Sir Francis Walsingham, the military consultant of Queen Elizabeth, had sent a letter to the British ambassador in Istanbul asking for a Turkish armada to be mobilized to destroy the Spanish fleet. The moves of the Turkish armada, which was mobilized in line with the initiative of British Ambassador Harborne and Ottoman policies, was able to overpower the Spanish fleet. Only a portion of the Spanish armada was able to face the British armada during the Battle of Gravelines, which took place off the shore of Calais in northern France on July 30, 1588. Sir Francis Drake, commander of the British armada, was able to easily defeat the Spanish. British professor and Historian Jerry Brotton, evaluated this battle: The maneuvers of the Ottoman armada ruined the armada of the Spanish King Philip II. We must now add another reason as to why the Spanish army was not able to occupy England and end Protestantism in schools. And this is the English-Ottoman alliance instituted by Queen Elizabeth. In a letter addressed to William Harborne, the British Ambassador in Istanbul, dated June 24, 1587, published by Akdes Nimet Kurat, the English statesmen Sir Francis Walsingham asked the ambassador do whatever was necessary to mobilize Murad III against the Spanish and to explain that the British are good people. The ambassador who had been sent to the empire by England tried all methods possible in order to receive support against the Spanish. In a request letter penned by British ambassador Harborne to Murad III, published by Akdes Nimet Kurat, all diplomatic approaches had been set aside as he practically begged that if nothing else, 60 or 80 long ships be sent against the Spanish.
Hollanda Osmanldan yardm istiyor

Hollandann bir devlet olarak tarih sahnesine kmas olduka ge bir tarihtedir. Hollandallar, 16. yzyln sonlarnda Habsburglarn Bat kolu olan spanya Krallna kar isyan ettiler. syann ban eken Oranje Prensi William, ilk arpmalarda spanyol ordusunun komutan Alva Dknn stnl karsnda kuvvetlerini Flandr topraklarndan ekip, Almanyaya kat. spanyollara kar mcadele planlar yaparken, dardan destein gerekli olduunun farkndayd. Fransz Protestanlar olan Huguenotlarn ileri gelenleriyle ve Alman prenslerle temaslarn sklatrd. Ancak temasa getii prensliklerin hibirisi o dnemin en byk iki imparatorluundan biri olan Habsburglar durdurmaya
Holland Asks for Help from the Ottomans

Hollands emergence as a state on the historical stage occurred at a later date. During the end of the 16th Century, the Dutch rebelled against the Spanish Kingdom, which was a western wing of the Habsburg Empire. William I, Prince of Orange, who headed this rebellion, pulled back his forces from the Flanders soil and fled to Germany after the initial clashes with the Duke of Alva, the commander of the Spanish Army. While devising a combat plan against the Spaniards, he was aware that external support was necessary. He increased his communication
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yeterli deildi. Bu yzden farkl bir dinden olmasna ramen daha nce Habsburglara kar Fransa ve ngiltereye yardm eden Osmanl mparatorluuna mracaat etti. Osmanllar, Williama hemen yardm edemedi. Osmanl ynetimi, 1570te Kbrsn fethi gerekletikten sonra spanya meselesini ele almay planlyordu. Veziriazam Sokullu Mehmed Paa 1574 yl balarnda yazd mektupta, araya 1570 Kbrsn fethi ve 1571 nebaht felaketi girdiinden kendilerine yardm edilemediini sylyordu. Ancak o yl, yani 1574te Tunusa sefer dzenleneceini ve bu mesele de halledildikten sonra ne zaman hazrlklar tamam olup spanyaya kar isyan edeceklerse, Osmanl ordusunun da Cezayirliler ile birlikte karadan ve denizden yardm edeceini mjdelemiti. Lutheran taifesi ile, yani Almanyadaki Protestanlarla gizlice haberleip, onlarla ayn zamanda harekete geilmesi de ayrca tembihlenmiti. Fakat 1574te Hollandallara Osmanl yardm gereklemedi. Buna ramen spanyaya kar bu ortak harekt projesi uzun sre gndemde kald. spanya Kral kinci Felibe, Osmanllara kar kazanlan 1571 nebaht Deniz Muharebesinden sonra, Flandra olan saldrlarn sklatrd. Flandrdaki asi ehirler birer birer dyordu. Hollandal isyanclar, 1574te Leidende spanyol askerlerini durdurdular. 1579da da Utrecht Birlii adyla yedi vilayetten oluan Protestan Hollanda Cumhuriyetini kurdular. Gney, yani bugnk Belika, Katolik olarak spanya idaresinde kald. Fakat spanyann saldrlarnn ard arkas kesilmiyordu. William ldrene byk dller vaat edilmiti. Baltazar adl biri 1584te William tabancayla Delft ehrinde ldrd. spanyollar Kuzeyde tekrar ilerlemeye balamlard. Williamn yerine geen olu Maurice spanyollarla mcadeleye devam etti. Hollandallar, 1590dan itibaren yeni gelitirdikleri fleuten adl gemileriyle Hindistan ve Atlantikte ticarete nem verdiler. Seri olarak retilen ve okyanuslarda hzla hareket eden bu yeni tip gemiler Hollandallara byk stnlk salyordu.
with the Huguenot leaders and German princes. However, none of the princedoms that he contacted were sufficient to stop the Habsburgs, one of the two greatest empires at the time. That is why even though it adhered to a different faith, he requested the help of the Ottoman Empire, which had previously helped France and England against the Habsburg Empire. The Ottomans were not able to immediately help William. The Ottoman administration was planning on laying the Spanish issue on the table after the conquest of Cyprus in 1570. In a letter he wrote in early 1547, Grand Vizier Sokullu Mehmed Pasha noted that they could not be helped because the 1570 conquest of Cyprus and the 1571 Inebahti disaster had gotten in the way. However, he reported that an expedition to Tunis would take place in 1574 and after this matter was resolved and when all of the preparations had been completed to assist with resisting the Spanish, the Ottoman army would be supported by the Algerians on the ground as well as the sea. It was also advised that the Protestants in Germany be secretly contacted via the Lutheran tropps and that they move simultaneously. However, the Dutch received no aid from the Ottomans in 1574. Despite this, the issue of a common operation against Spain remained on the agenda for a long time. Spanish King Philip II increased his attacks against Flanders following the 1571 Inebahti sea battle against the Ottomans in 1571. The rebellious cities in Flanders were being lost one by one. The Dutch insurgents stopped the Spanish soldiers in Leiden in 1574 and in 1579 and established the Protestant Dutch Republic, dubbed the The Union of Utrecht comprising seven provinces. The south, modern day Belgium, remained Catholic and under Spanish administration. However, there was no end to the Spanish attacks. Great rewards had been promised to whoever killed William. A person by the name of Balthazar killed William in the city of Delft in 1584. The Spanish again began progressing in the north. Replacing his father William, Maurice continued to fight against the Spanish.
As of the 1590s, the Dutch began concentrating on trade with India and the Atlantic with the Bu byk ticaret potansiyeline ramen Hollannew ships they had developed called fleuten. da henz bamsz bir devlet olarak tannmyorThis new type of ship was mass produced and du. Dnyann en byk ticaret potansiyeline satraveled quickly on sea which gave the Dutch a hip Akdenize, kendi bayraklaryla giremiyorlargreat deal of advantage. Despite its great trade d. Hollandallar, Akdenizde Fransz ve ngiliz potential, Holland was still not recognized as bayraklar altnda ticaret yapyorlard. 1609da an independent state. They could not enter the Mediterranean, which had the greatest potential spanya ile atekes imzalamalarnn hemen arfor trade in the world, flying their own flag. The dndan Osmanl Sultan tarafndan tannmak Dutch could only conduct trade in the Mediterve Akdenizde ticaret yapabilme izni alabilmek ranean under the French or British flags. Immeiin temaslara baladlar. 1612de eli sfatyla Martin Luther, Protestan Reformunu ilan ediyor. / Martin Luther declaring diately after they signed a ceasefire agreement gnderilen gen bir avukat olan Cornelis Haga, the Protestant Reformation with Spain in 1609, they began communication stanbula geldi. Fakat ticaret imtiyazlarn kapin order to be recognized by the Ottoman Sultan and to gain permission to contrmak istemeyen ngiltere, Fransa ve Venedik, Hagaya kar her trl entrikay duct trade in the Mediterranean. Cornelis Haga, a young lawyer sent as an endenediler. Hollanda Elisinin padiahla grmemesi iin byk rvetler teklif voy, arrived in stanbul in 1612. However, England, France, and the Venetians ettiler. Eliyi himayesine alan Vezir Halil Paa, Hagay kaya bindirip skdara were adamant about not losing their trade privileges and tried everything to geirdi ve Osmanl saraynda byk itibar olan eyh Aziz Mahmud Hdynin prevent Haga from having his requests fulfilled. They offered large bribes for elini ptrd. Hagann saygsn beenen eyhin tavsiyesi zerine Haga, 1 Mathe Dutch envoy not to speak to the Sultan. Vizier Halil Pasha, who had taken ys 1612de Topkap Saraynda Birinci Ahmedin huzuruna kabul edildi. Haga, the envoy under his guardianship, brought Haga over to skdar on a row boat Sultan Ahmedin huzurunda, kralmz kullua kabul buyurup, gemilerimizi baand had him kiss the hand of Sheikh Aziz Mahmut Hudai, who was a scholar ka bayrakla yrtmek minnetinden bizi kurtarrsanz memnun kalacaz dedi. held in very high regard at the Ottoman palace. Upon the recommendation of Katolik spanyaya kar eskiden beri Avrupadaki mcadeleleri destekleyen Osthe sheikh, who was impressed with the respect shown by Haga, the envoy was manl ynetimi, Hollandaya istedikleri ticaret imtiyazlarn verdi. Osmanl yneaccepted into the presence of Sultan Ahmed at Topkap Palace on May 1, 1612. timinin Hollandaya verdii kapitlasyonlar yle balyordu: Haga, in the presence of Sultan Ahmed, said, We would be happy if you accept Nederland vilayetlerine bal olan Gelderland, Holland, Zeeland, Utrecht, Friesour king into servanthood and save us from the obligation of flying other flags on land, Overijsel, Groningen, Groningerland ve bunun yannda Dou Hindistann our ships. The Ottoman administration, which supported the struggles against vilayetlerine tbi birok memleketin generalleri ve hakimleri -akbetleri hayrl Catholic Spain in Europe from the get go, granted Holland the trade privileges olsun- tarafndan sadakatle mhrlenen mektuplaryla birlikte Hristiyan millethey asked for. The capitulations given to Holland by the Ottoman administratinin ileri gelenlerinden olan muteber elileri Cornelis Haga -itaati artsn- huzution began as follows: rumuza geldi. Mektuplar incelendiinde nihai gayelerinin ihlas ve samimiyetlerini arzetmek olduu anlald. Yine mektuplarndan anlalmaktadr ki dman Cornelius Haga -- may his regard increase -- a leading figure and envoy of the vilayetlerin gemilerinde olan Mslman esirleri aileleriyle birlikte kurtararak viChristian people, along with a letter from many nations under the rule of the layetlerine gndermiler ve memleketimize ait gemilere ve insanlara uzun bir East Indian provinces as well as Gelderland, Holland, Zeeland Utrecht, Friesland, zamandan beri tecavzde bulunmamlardr. Bu dostane davranlarnn netiOverijsel, Groningen, and Groningerland, which are under the auspices of the
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cesi olarak, yksek eiimizle Fransa ve ngiltere arasndaki dostlukta olduu gibi kendi tccarlarnn, adamlarnn ve tercmanlarnn memleketimize emniyet ierisinde mallar ile birlikte gelip ticaret etmelerine izin verilmesini ve zikredilen lkelere verilen anlamann bir benzerinin de kendilerine verilmesini istedikleri bilgimize sunulduunda istekleri tarafmzdan uygun grld. Elileri Cornelis Haga ise makammza yz srerek dier eliler gibi eiimizde elilik hizmetine tayin edilmi ve lkemizdeki iskelelere konsoloslar tayin etmeye yetkili klnmtr. Hollandallar antlamadaki artlara sadk kaldklar mddete, yeri ve g yaratan Allahn hakk, ecdadm ve babamn ruhu iin biz de bu anlamaya uygun olarak hareket edeceiz ve ona aykr bir davranta bulunmayacaz. Daimi eli olarak uzun yllar stanbulda kalan Haga iki devlet arasndaki ilikileri hzla gelitirdi. Hollanda bamsz bir lke olarak Osmanl mparatorluu tarafndan tannd. Bu durumu engellemek isteyen Venedik Elisi, veziriazama verdii notta, Hollandann bir devlet deil, krallarna isyan eden asiler topluluundan olutuunu sylemiti. Buna ramen Hollandaya kapitlasyon verilerek ticaret imtiyazlar salanmt. Bu sayede daha nce Fransa ve ngiltere bayraklar altnda seyreden Hollanda gemileri serbeste Akdenizde ticaret yaptlar. Kapitlasyonlar almalarnn hemen ardndan da Akdenizde konsolosluk a kurdular. Osmanl topraklarnda Halep, skenderun, Kbrs, Mora, nebaht ve Eriboz ile Venedik, Cenova, Livorno ve Sicilyada konsolosluklar atlar. Hollanda bir isyanc topluluundan tannan bir devlet haline geldi. Hollandann Katolik krallar ve Habsburglar tarafndan tannmas ok daha sonra, 30 Yl Savalarnn sonunda imzalanan 1648 Westfalya Antlamasnn ardndan gerekleti. Avrupada bamszl tannmayan Hollanda, bu antlamadan 36 yl nce Osmanl Devleti tarafndan bir devlet olarak tannm ve bykeli statsnde lkemizde temsil edilmiti. Hollandallarn Osmanllardan aldklar siyasi ve ticari destek de bu devletin Habsburg mparatorluu karsnda var olmasn salamt.
provinces of Nederland, came to our presence. When his letters were examined, it was understood that he was sincere and cordial. It was also understood from the letters that they have rescued Muslim captives from the ships of enemy provinces and sent them, along with their families, to their respective provinces. In addition, they have not violated the people or ships that belong to our country for a long time. As a result of this amicable behavior, it was seen as befitting that the right to conduct trade be granted to their men and the safe entry of their translators with their goods into our country be allowed so they can conduct trade. In addition, their request for an agreement similar to the ones granted to France and England, who maintain a friendship with our exalted threshold, was granted. Their envoy Cornelis Haga approached us, and like other envoys he was appointed to the service of ambassadorship and given the authority to appoint consular-generals to the ports in our country. As long as the Dutch remain loyal to the clauses of the agreement, we will act in accordance with this agreement and will not violate it for the sake of the rights of Allah, who created the heavens and the earth and the souls of my ancestors and my father. Haga, who remained in Istanbul for many years as a permanent ambassador, caused many developments to take place in the bilateral relations between the two countries. Holland was recognized by the Ottoman Empire as an independent nation. The Venetian delegate, who tried to prevent this from happening, passed a note to the grand vizier saying that Holland was not a state, but a group of insurgents who had rebelled against their king. Despite this, Holland was afforded trade privileges. This allowed the Dutch, who had previously sailed the Mediterranean under French and British flags, to freely conduct trade in the sea. Immediately upon receiving these rights, they established a web of consulates in the Mediterranean region. They opened up consulates in the Ottoman territory of Aleppo, skenderun, Cyprus, Mora, nebaht and Eriboz as well as in Venice, Geneva, Livorno and Sicily. Holland came to be known as a state comprised of insurgent masses.
Protestanlk, Osmanllarn Habsburglara Kar Saldrlar ile Hayat Buldu
Yine bu dnemde Avrupada ortaya kan reform hareketleri de koyu bir Katolik devThe recognition of Holland by the let olan Habsburglara kar geliebilmesiAkdeniz / Mediterranean Habsburgs and the Catholic kings of ni, Osmanllarn arlkene kar yapt asHolland occurred much later, following the signing of the 1648 Treaty of Westkeri baskya borludur. Osmanllarn, Habsburglarn Alman kanadn ypratmaphalia at the end of the 30 Years War. Holland, whose independence was not lar sayesinde Protestanlk Almanyada yaylabildi. recognized by Europe, was recognized by the Ottoman state thirty-six years prior Kanunnin veziriazam Makbul/Maktul brahim Paann 1533te Avusturya elto the agreement mentioned above and was represented in the country at the ilerine kar sarf ettii u szler, hem Osmanl ynetiminin Luther ve taraftarambassadorial level. The Ottomans political and trade support for Holland allarn nasl yakndan takip ettiini, hem de Osmanlnn kendisine ne kadar glowed the Dutch state to exist in the face of the Habsburg Empire. vendiini gsterir: Kayserin kendi lkesinde bile gc ve itibar yok. Bir konsil toplamay bile baard m? Ben, Hristiyan hkmdarlar toplant yapmaya pekl zorlarm. stersem, onu hemen imdi yaparm. Hristiyanlar, gut hastal, ba ars ve baka nedenler bulup gelmemek iin mazeret de gsteremezler. Bir tarafa Lutheri ve dier tarafa Papay oturtarak, her ikisinin de bu konsili yapmasn salarm. Osmanllar, Protestan ve Kalvinistleri her frsatta desteklediler. 1552de Kanun, Protestan Alman prenslerine gnderdii mektupta, o tarafa bir sefere kacan ancak onlarn Osmanl askeri harektndan bir zarar grmeyeceini sylyor ve Papa ile arlkene kar onlar kkrtyordu. Osmanllar Luther ve taraftarlaryla ilgilendikleri lde olmasa da Kalvinistlerin faaliyetlerini de takip ettiler. Kalvinin lmnden yl sonra, Trkiyeden gnderilen bir mektupta, beyaz pelerinleri ve kazaklar ile Prens Condnin emri altnda Saint-Denisde dven Kalvincilerin yiitlii vlyordu. Bu mektupta Osmanl padiah unlar sylyordu: Eer bu beyazllar benim elimde olsayd Dnyay ele geirirdim ve beni bundan kimse alkoyamazd.
Protestantism Gained Vitality through the Ottoman Attacks against the Habsburgs
Reform movements again emerged in Europe during this time, which allowed for the defiance of the strict Catholic Habsburg state, due to the military pressure the Ottomans placed on Charles V. Protestantism was able to spread throughout Germany since the German wing of the Habsburg Empire had been worn down by the Ottomans. The words of Maktul brahim Pasha, the Grand Vizier of Sleyman the Magnificent, directed toward the Austrian envoy in 1533 reflect both how closely the Ottoman administration was being monitored by Martin Luther and his supporters as well as the level of confidence that the Ottomans had in themselves: The Kaiser doesnt even have any strength and esteem in his own nation. Is he able to convince a council? I can certainly force the Christian emperors to con99
Avrupada tehdit altnda olan Protestanlar Osmanl topraklarna sndlar. Osmanl hkimiyeti altnda bulunan Erdel yani Transilvanya, Kalvinist ve Unitarianlarn snd en nemli yerdi. Birok Protestan da Budine snarak dini inanlarn burada rahata yaayabildiler. Nitekim Macar kkenli bir Protestan olan Sigmund Torda, Almanyadaki Protestanlarn nde gelenlerinden birisi olan Philipp Melanchtona Aralk 1545te yazd mektupta, lkesinde Protestanln hzla yayldn, bu yzden de Osmanllarn Macaristan fethetmelerinin Allahn bir ltfu olduunu sylyordu. Alman prensliklerindeki Protestanlara, Osmanl hkimiyeti altndaki Macar topraklarndan, burada rahat bir dini hayat yaadklarna dair bunun gibi birok mektup yazlmtr. Macaristanda yaayan Emerius Zigerius (mre Eszeki)un, Almanyadaki Protestanlarn nde gelenlerinden Matthias Flacius lllyricusa gnderdii mektup, bunlarn en ilginlerinden birisidir. Zigeriusun Osmanl mparatorluundaki Protestanlarn, Hristiyan Avrupada hi grlmeyen bir ekilde rahata dini hayatlarn yaadklarn anlatt mektubu Haziran 1550de Flaciusun eline ulat, o da bu manzum mektubu bir nsz ilave ederek yaynlad. Flacius nszde Bizim szde Hristiyan hkmdarlar, Trklerin Tanrnn sadk kullar Hristiyanlar himaye ettiklerini, savunduklarn, Hristiyanlk retisini yaymalarna ve uygulamalarna bile izin verdiklerini duyunca utantan yzleri kzarsn istedim. Benim burada szn ettiklerim Papa veya spanyollar deildir. Ksa bir sre nce gerek Hristiyanl kabul etmelerine ramen Katoliklerin kaba kuvvetinden korkup ya da kar umuduyla inkr edenlerdir. hanet edip Hazreti say Almanyadan tmyle atmak istiyorlar. Onlar Trkleri kendilerine rnek alsnlar. Bu szde Hristiyanlar, gerek Hristiyanlara en korkun Trklerden daha kt davranmaktalar. Trkler gerek Hristiyan retisine izin vermekle kalmayp, Hristiyan olmayan Kurtlara (Katoliklere) kar da Hristiyanl kllaryla savunuyorlar Ben bu mektupla huzursuzluk yaratmay amalamadm. Amacm gerek Protestanlk retisine inananlara Trkiyedeki Hristiyan kilisesini rnek gsterip onlara cesaret ve umut vermek. Kendilerini Hristiyan olarak niteleyen yneticilere de Trklerin iyi niyet ve yumuakln gsterip onlar belki de saldrdan ve hmdan vazgeirmek diye yazmaktadr. Bu mektup ve benzeri dier mektuplarda Trklerin Protestanlara, Katoliklerden daha iyi davrandnn anlatlmas ok byk bir propaganda arac olarak kullanld. Luther yazlarnda ve vaazlarnda Trk tehlikesini byterek Katolik basksndan kurtulup dikkatlerin Osmanllara evrilmesi siyasetini gtmt. Bu yzden 1545te arlken ve Ferdinand Trklerle bar antlamas yapmak istedii zaman Luther byk bir tepki gstermiti. Nitekim Osmanllarla bir yllk atekes yapan Habsburglar ilk i olarak Protestanlarn zerine yrmlerdi. arlken, Trk saldrlar yznden Protestanln Alman prensliklerinde yaylmasn engelleyemedi. Ayrca Habsburglar, Osmanllara kar koyabilmek iin Protestan askerlerine de ihtiya duyuyorlard. Protestanlar da cepheye asker gndermek iin kendi dini dncelerinin tannmasn art kotular. Osmanllarn, Kutsal Roma-Cermen mparatorluuna her saldrs Protestanln kademe kademe glenmesini ve sonunda da 1555te Augsburgda tam olarak tannmasn salad.
vene. If I so wished, I could do that right now. The Christians cannot cite excuses such as gout, headaches or other reasons for not coming. I will sit Luther on one side and the Pope on the other, facilitating the participation of both of them in this council. The Ottomans supported the Protestants and Calvinists every chance they had. In 1522, Suleyman the Magnificent sent a letter to the German princes informing them that he would be embarking on an expedition to that side of the world and that they would not be harmed in any way by the Ottoman military operation, antagonizing them against the Pope and Charles V. The Ottomans followed the activities of the Calvinists, although not as much as they concerned themselves with Luther and his followers. Three years after the death of Calvin, a letter sent from Turkey praised the bravery of the Calvinists who fought under the command of the Prince of Cond at Saint Denis in white capes and sweaters: If these white-clad forces were with me, I would take over the world and nobody would be able to stop me from doing so. The Protestants, who were under threat in Europe, sought refuge on Ottoman soil. Erdel, or rather Transylvania, was the most important location where the Calvinists and Unitarians took refuge. Many Protestants took refuge in Buda where they were able to freely exercise their religious beliefs. However, in a letter dated December 1545 addressed to Philipp Melanchton, one of the leading Protestants in Germany, Sigmund Torda, a Protestant of Hungarian descent, noted that Protestantism was quickly spreading in his country and that it was a blessing from God that the Ottomans had conquered Hungary. Many such letters were written to the Protestants on German soil from the Hungarian lands under the rule of the Ottomans, explaining that they are able to practice their religion freely. A letter penned by Emerius Zigerius (mre Eszeki), who lived in Hungary, to Matthias Flacius lllyricus is the most interesting of such letters. In this letter Zigerius explained that, The Protestants in the Ottoman Empire can comfortably fulfill their religious obligations in a matter not witnessed in Christian Europe. This letter reached Flacius in June 1550 and he published the poetic letter after inserting a preface. In his preface, Flacius said, I wanted our so-called Christian emperors to be red with shame upon hearing how the Turks treated Christians -- the faithful people of God -- safeguarding, defending and even allowing for the publication and application of Christian teachings. Those whom I speak of here are not the Pope nor the Spaniards. It is those who despite having accepted true Christianity a short while ago, have since been in denial of their beliefs after either being intimated by the brute force of the Catholics or with the hopes of gaining personal benefits. They wish to commit treason and to completely do away with Jesus in Germany. They should take the Turks as an example for themselves. These so-called Christians treat real Christians worse than the frightening Turks. The Turks dont allow the teachings of real Christianity, but they defend Christianity against the non-Christian Wolves (Catholics) with their swords I did not intend to create unease with this letter. My purpose is to give the Christian church in Turkey as an example and to give hope to those who believe the real Protestant teachings so that the administrators who call themselves Christian may see the good intention and leniency of the Turks and change their minds about attacking them. This letter and other similar letters were used as a vehicles of propaganda to reflect how the Turks treated the Protestants better than the Catholics. Luther, in his writings and speeches, had fostered the policy of amplifying the Turkish threat, doing away with the Catholic pressure, and focusing on the Ottomans. This is why when Charles V and Ferdinand wanted to sign a peace agreement with the Turks in 1545, Luther reacted strongly. In the end, the Habsburgs, who agreed to a year-long ceasefire with the Ottomans, seized the first opportunity to confront the Protestants. Charles V was not able to circumvent the spread of Protestantism to the German princeships due to the attacks by the Turks. Furthermore, the Habsburgs, in order to resist the Ottomans, were in need of Protestant soldiers. The Protestants put forth a requirement that their own religious beliefs be recognized before they agreed to deploy troops to the battlefield. Every Ottoman attack against the Holy Roman Empire allowed Protestantism to gradually strengthen which eventually led to its complete recognition in Augsburg in 1555.
Moskovann Ykseliinde Osmanl Parma

Osmanl mparatorluunun XV. yzylda izledii bir siyaset ise ileride kendi bana byk bir dert at. Bu dnemde kk bir ehir devleti olan Moskova Knezlii, Altnordunun basks altndayd. Altnordunun Lehistan-Litvanya ile olan ittifakna kar Moskova, Osmanl himayesinde bulunan Krm Hanl ile ibirlii yapt. Osmanl mparatorluu Moldovyadaki konumlarnn Lehistan-Litvanya tarafndan tehdit edilmesi ve Altnordunun da Krm ele geirmeye almasndan dolay Moskova Knezlii-Krm Hanl ittifakn desteklemiti. Krm Han Mengli Girayn 1502de vurduu darbe ile Altnordu Devletinin sona ermesinden sonra, Moskova bamszln kazanarak ilk nce evresindeki dier Rus knezliklerini, daha sonra da Sibiryaya kadar olan sahada ve Kafkaslardaki Trk hanlklarn ele geirdi. Moskova knezleri Osmanllarla yaplan krk ticareti sayesinde de nemli gelirler elde etmilerdi. Osmanl-Rus dostluu III. vann Volga havzasndaki Altnordu kalntlar olan Kazan (1552) ve Astrahan (1556) ele geirmesine kadar srd. Osmanl mparatorluunun dolayl olarak yapt destek Byk Rus mparatorluunun domasna yardmc olan unsurlardan biridir. Rusya, 16. yzylda Korkun van zamanndaki askeri tekilatlanmasnda Osmanl ordusundan etkilendi. Osmanl ordusundaki disiplin ve liyakat sistemi rnek alnd.
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Yalnzca Rusya deil Avrupadaki birok farkl devlette de Osmanl ordusunun tesirleri grlr. Uzun sre savalarda svari birlikleri n plandayd. Yenieriliin kuruluuyla birlikte savalarda piyadeler n plana kmaya balad. spanyollar, arlken dneminde Osmanl ordusundan ilham alarak tercios birliklerini kurdular. spanyollar ile evlenen talyan kadnlarnn ocuklarna askerde yenieri deniliyordu. Macarlar, 15. yzylda Hussar ad verilen hafif svari birliklerini Osmanl timarl sipahilerini rnek alarak kurmulard. Osmanl ordusunu en ok taklit edenlerden biri de Polonyallard. Polonya ordusu kulland klca kadar birok silah ve sistemi Trk ordusundan rnek almt.
The Role of the Ottomans in the Rise of Moscow

The policies followed by the Ottoman Empire in the 15th century caused a great deal of trouble later on. The Grand Duchy of Moscow, which was a small citystate at the time, was under pressure from the Golden Horde. Moscow cooperated with the Khanate of Crimea which was under Ottoman protection against the Golden Horde Kingdom of Poland-Lithuania alliance. The Ottoman Empire supported the coalition between the Grand Duchy of Moscow and the Khanate of Crimea due to the fact that their status in Moldova was threatened by the Kingdom of Poland-Lithuania and because the Golden Horde had tried to conquer Crimea. After a blow by the Crimean Khan Mengli Giray in the year 1502 resulted in the demise of the Golden Horde, Moscow became independent and first took over the surrounding Russian duchies and then later the Turkish khanate in the Caucasus up to the borders of Siberia. The Muscovite duchy earned a good deal of income due from the fur trade with the Ottomans. The Ottoman-Russian friendship remained in effect until the capture of Kazan (1552) and Astrakhan (1556), remains of the Golden Horde, in Ivan IIIs Volga basin. The indirect support of the Ottoman Empire helped lead to the birth of the Great Russian Empire. Russia was influenced by the discipline and merit system of the Ottoman army during its military reorganization under the reign of Ivan IV, also known as Ivan the Terrible. Besides Russia, the influence of the Ottoman army can be seen in numerous European countries. For a long time, mounted troops were on the front lines of wars. With the establishment of the Janissary corps, infantries began to take the front seat in wars. Inspired by the Ottoman army, the Spaniards established tericos units during the reign of Charles V. The children of Italian women who married Spaniards were referred to as janissaries in the military. The Hungarians established light mounted troop units called Hussar in the 15th century, exemplifying the Ottoman cavalry soldiers. The state to most closely imitate the Ottomans was the Polish. The Polish army copied many weapons, including swords, as well as systems from the Turkish army.
slmiyetin Mukaddes Topraklarnn Var Olma Mcadelesi

mit Burnunun kefinden sonra Portekizliler, Hint Okyanusunda hkimiyet kurmulard. Memlk Devleti, Ciddeye karak Mekke ve Medineyi tehdit eden Portekizlilerin ilerleyiini durduramyordu. Hindistandan mal ak da Portekizliler sebebiyle azalmt. Bu durum Msrn zenginliinin sona ermesi demekti. Memlkler, deniz gc bakmndan zayf olduklarndan Osmanllardan yardm istediler. II. Byezidin son dnemlerinde bir filo gnderildi. Daha sonraki yllarda artan Portekiz tehdidi slmiyetin iki mukaddes ehri olan Mekke ve Medineyi tehdit etmeye balad. Mekke erifleri Osmanllardan yardm istemeye kalktlarsa da Memlk idaresi bunu engelledi. Memlk idarecilerinin, Portekizliler yznden azalan devlet gelirlerini artrmak iin ek vergiler ihdas btn lkede karkla yol at. Yavuz Sultan Selim zamannda bu artlar altnda Suriye ve Msr ele geiren Osmanllar, Hindistan ticaret yollarnn nemli bir ksmna hkim oldular. Portekizlilerin, Kzldenizdeki hakimiyetinin sona erdirilmesi sayesinde Hindistandan mal ak Osmanl lkesi zerinden Avrupaya yaplmaya baland. Osmanllarn Hint Okyanusundaki mcadelesi Hindistan ticaretinin, XVII. yzylda Hint sularnda ngiltere ve Hollandann faaliyetlerine kadar Akdeniz zerinden yaplmasn salad. Akdenizdeki nemli liman kentleri zenginliklerini bir mddet daha srdrdler.
Islams Sacred Lands Struggle For Existence

After the discovery of the Cape of Good Hope, the Portuguese established dominance over the Indian Ocean. The Mamluk Sultanate was unable to stop the advancing Portuguese, who had taken Jeddah and were threatening the cities of Mecca and Medina. The flow of goods from India had decreased due to the presence of the Portuguese as well. This meant that the wealth of Egypt was nearing an end. Because the Mamluk were weak in terms of their naval forces, they asked the Ottomans for help. During the end of his reign, Sultan Bayezid II sent a fleet to their assistance. In later years, the growing Portuguese threat began to threaten the two sacred cities of Mecca and Medina. Even though the chiefs of Mecca attempted to ask for aid from the Ottomans, the Mamluk administrators prevented this from happening. The additional tax established by the Mamluk administrators in order to increase the state income which had shrunk due to the Portuguese caused unease. The Ottomans, who took over Syria and Egypt during the reign of Sultan Yavuz Selim under the above mentioned circumstances, established dominance over a significant portion of the Indian trade routes. After the Portuguese dominance of the Red Sea was thwarted, the flow of Indian goods to Europe through the Ottoman territories began. The struggle of the Ottomans in the Indian Ocean, facilitated Indian trade being conducted via the Mediterranean Sea until the 17th Century, when the British and Dutch activities in Indian waters began. Important harbor towns in the Mediterranean maintained their wealth for a while longer.
Kuzey Afrika Smrgelemekten ve Hristiyanlamaktan Kurtuldu

Osmanl mparatorluunun XVI. yzylda dnya siyasetine yn verecek bir duruma gelmesi Kuzey Afrikann tarihi geliimini de yakndan etkiledi. 1492de Endlsn son kalnts olan Grnatann dmesinden sonra spanyol ve Portekizliler, Kuzey Afrikaya yerlemeye balamlard. Osmanl mparatorluu, Barbaros ile birlikte denizlerde etkin bir hle gelince Kuzey Afrikada, Avrupallarla hkimiyet mcadelesine girdi. Habsburglarn Kuzey Afrikay ele geirmeleri bu blgelerdeki Trk korsanlaryla Osmanllarn ibirlii yapmas sayesinde nlendi. 1516da Cezayiri ele geiren Barbaros kardeler, spanyollara kar koyabilecek durumda deillerdi. Bu yzden Barbaroslar, Cezayirde Osmanl hkimiyetini tanyarak kendilerini salama almlard. Nitekim Cezayiri igal etmek isteyen spanyollar 1541de bozguna uratld. 1551de Turgut Reis Trablusgarb, yani Libyay Osmanl hkimiyetine soktu. Tunus 1533te Barbaros Hayreddin Paa tarafndan fethedilmi fakat ksa bir sre sonra kaybedilmiti. II. Selim zamannda 1574te Sinan Paa tarafndan ikinci kez fethedildi. Osmanl hkimiyeti Fasa kadar ilerlemiti. Fasta balayan taht kavgasna mdahale edilerek burasnn Portekiz himayesine girmesi nlendi. 4 Austos 1578de Fasta yaplan Alkazar Savanda Portekiz Kral ldrld ve bu lkede Osmanl himayesi dnemi balad. Osmanllarn Kuzey Afrika hakimiyeti ktann ilerinde bulunan ancak sahille ilikileri sebebiyle spanyol ve Portekiz nfuzu altna giren bugnk Nijerya, Nijer, ad, Mali devletlerinin topraklarnda hkm srmekte olan Bornu, Songay, Timbuktu Sultanlklar gibi Mslman devletlerini de kurtard. Bu sultanlklar Osmanl padiahn halife olarak tanyp, tbi oldular. Osmanllarn, Habsburglarn spanyol kanadn Kuzey Afrikadan uzaklatrarak, burada hkimiyet kurmalar, bu blgelerin Hristiyanlamasn ve smrgelemesini nledi. Eer Osmanllarn mdahalesi olmayp, spanyol ve Portekiz hkimiyeti srseydi bugn buralarda durum ok farkl olurdu. Akdenizde ve Kuzey Afrikada hkimiyet kuramayan Habsburglar btn dikkat ve glerini At-
North Africa Was Spared From Colonization and Christianity

The Ottoman Empires status in the 16th Century enabled it to shape the course of world politics and play a significant role in the historical development of North Africa. In 1492, following the fall of Granada, the last remnant of Andalusia, the Spanish and Portuguese began to settle in North Africa. When the Ottoman Empire became active at sea with Barbaros Hayreddin Pasha, it entered a struggle for dominance with the Europeans in North Africa. The Habsburg conquest of North Africa was prevented through the cooperation of Ottomans with the Turkish pirates in the area.
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lantik tesindeki yeni smrgelerine kaydrdlar. Bu durum da Amerika ktasnn smrgeletirilmesini hzlandrd. XV. yzyln sonlarndan itibaren denizlerde byk bir stnle sahip olan Portekiz, Afrikann Dou ve Bat sahillerindeki Mslman sultanlklara saldrarak birok yeri harap etmi, bir ksmnda da hkimiyet kurmutu. Osmanl mparatorluu, Kzldenizde hkimiyet kurarak, Afrikann Dousunda Mozambike kadar olan blgeyi Portekizlilerin igalinden kurtard. Habeistana hkim olan Osmanllarn nfuzu Kenyada Mombasaya kadar yayld. Bylece bu blgelerin Avrupallar tarafndan smrgeletirilmesi uzun sre nlenmi oldu. Osmanl mparatorluu izledii siyasetlerle bugnk modern dnyann olumasna bahsettiimiz katklarda bulunmutur. Ayrca Osmanl idaresi altnda asrlarca bulunmu lkelerin pek ok karakteristii de bu dnemde ekillendi. Budinden Basraya kadar uzanan blgedeki dini ve etnik gruplar Osmanl idaresi altnda olutu. Osmanl mimarisi ve ehircilik anlay, hkimiyeti altndaki birok yerde ehirlerin ekillenmesinde nemli tesirlerde bulundu. Osmanl mparatorluunun hkim olduu sahada Arnavutluk, Bahreyn, Birleik Arap Emirlikleri, Bosna-Hersek, Bulgaristan, Cezayir, Etiyopya, Filistin, Hrvatistan, Irak, srail, Karada, Katar, Kbrs, Lbnan, Libya, Macaristan, Makedonya, Msr, Moldavya, Romanya, Srbistan, Suudi Arabistan, Suriye, Tunus, Umman, rdn, Yemen ve Yunanistan kurulmutur. Ayrca bugnk Azerbaycan, Grcistan, Ermenistan, Polonya, ek Cumhuriyeti, Slovakya, Sudan ve Ukraynann da baz ksmlar Osmanl topra olmulard. Btn bu blgelerde yzyllarca sren Osmanl hkimiyeti gnmz dnya politikasna da etki eden derin izler brakt. Nitekim gnmzde, zellikle son 15 ylda Balkanlarda, Kafkasyada ve Ortadouda kaldrlan her tan altndan bu imparatorluun izleri kmaktadr. David Fromkinin, New York Timestaki 9 Mart 2003 tarihli yazs da bu gerei ifade ediyordu: Bir hayalet ABDyi penelerine alm, rahat brakmyor. Bu, Osmanl mparatorluunun hayaleti. Irakta, Srbistanda, Bosnada, Kosovada, Krfez Savanda, 11 Eyll saldrlarnda bu hayalet bizimleydi. Osmanl hayaletleri asla uzaklamad.
Kitabiyat / Bibliography: Abdullah Atyye Abdulhafz, Osmanl Dneminde Msr Mimarl ve Osmanl Etkileri, XIV. Trk Tarih Kongresi, II/II, Ankara 2002. Akdes Nimet Kurat, Trk-ngiliz Mnasebetlerinin Balamas ve Gelimesi 1553-1610, Ankara 1953. A. Fisher Galanti, Trk Cihad ve Alman Protestanl, 1551-1555, yay. haz. Nevl ke, stanbul 1992. Ahmet Kavas, Osmanl Devletinin Afrika Ktasnda Hakimiyeti ve Nfuzu, Osmanl, I, ed. Glay Eren, Ankara 1999, s. 421-430. Blent Ar, stanbuldaki lk Hollanda Elisi: Cornelis Haga ve 1612 Tarihli Hollanda Kapi tlasyonlar, Divn, say: 2 (stanbul 2003). , lk Osmanl-Hollanda Mnasebetleri, Osmanl, I, ed. Gler Eren, Ankara 1999, s. 493-501. Erdal oban, Macaristanda Protestanln Geliimi ve Osmanl Hakimiyeti, OTAM, say: 7, (Ankara 1996), s. 99-112. Halil nalck, Osmanl-Rus likileri 1492-1700, Osmanl-Rus likilerinde 500 Yl, 14911992, Ankara 1999. , Avrupa Devletler Sistemi, Fransa ve Osmanl, Dou-Bat, say: 14 (Ankara 2001), s. 122-142. Halil nalck-Glsel Renda, Osmanl Uygarl, I-II, Ankara 2003. mparatorluk Miras, Balkanlarda ve Ortadouda Osmanl Damgas, ed. L. Carl Brown, ev. Gl aal Gven, stanbul 2000. Klaus Schwarz, 16. Yzyln Ortalarnda Protestanlarn Umudu Trkler, Tarih ve Toplum, X/59 (stanbul 1988), s. 9-13. Leyla Coan, Tanrm Bizi Trklerden Koru, stanbul 2009. Nicolae Jorga, Osmanl mparatorluu Tarihi, I-V, ev. Nilfer Epeli, stanbul 2005. Osmanl ve Dnya, Osmanl Devleti ve Dnya Tarihindeki Yeri, ed. Kemal Karpat, ev. Mustafa Armaan vd., stanbul 2000. Tahsin Grgn, Avrupann Sosyo-Politik Oluumunda Bir Faktr Olarak Osmanl Devle ti, Osmanl, VII, Ankara 1999, s. 134-145. Zinkeisen, Geschichte des Osmanischen Reiches in Europa, I-VII, Hamburg 1840-1863.
The Barbaros brothers, who captured Algeria in 1516, were not in a position to oppose the Spanish. Therefore, they protected themselves in Algeria through the recognition of Ottoman dominance. However, the Spanish who were looking to occupy Algeria were defeated in 1541. In 1551, Turgut Reis was able to take over Tripoli, or rather New Libya. Tunisia had been conquered by Barbaros Hayreddin Pasha in 1533; however, it had fallen shortly thereafter. During the reign of Sultan Selim II in 1574, it was conquered once again by Sinan Pasha. With this, Ottoman dominance spread all the way to Morocco. An intervention in the battle for the throne taking place in Morocco prevented the nation from falling under Portuguese dominance. During the Battle of Alcazar, which took place in Morocco on April 4, 1578, the Portuguese king was killed and the period of Ottoman patronage began. The Ottoman dominance in North Africa also saved the Muslim states which were located inside the continent; however, due to their coastal location the Sultanates of Borno, Songhay and Timbuktu, known today as Nigeria, Niger, Chad and Mali, came under the influence of Spain and Portugal. These sultanates recognized the Ottoman sultan as the Caliph and became his subjects. By establishing dominance in this region and fending off the Spanish wing of the Habsburgs, the Ottomans prevented thus prevented this area from becoming Christian and being colonized. If the Portuguese and Spanish had dominated this area instead of the Ottomans, the situation there today would be very different. The Habsburgs, who was unable to establish dominance in the Mediterranean and North Africa, directed all of their attention and power to their new colonies located beyond the Atlantic Ocean. This in return facilitated their colonial involvement in North America. Following the end of the 15th century, Portugal dominated the sea and destroyed many places through attacks on the Muslim sultanates located in eastern and western Africa. The Ottoman Empire dominated the Red Sea, saving eastern Africa to the borders of Mozambique from Portuguese occupation. The domain of the Ottomans, who also maintained dominance over Ethiopia, spread until Mombasa in Kenya. Thus, the European colonization of these areas was prevented for a long time. Based on the above evidence, it is clear that the Ottoman Empire, through the policies it maintained, played an influential role in the formation of todays modern world. Furthermore, the characteristics of the countries which remained under Ottoman administration for centuries were formed during this time period. Religious and ethnic groups from Buda to Al-Basra were under Ottoman rule. Ottoman architecture and notions of urbanization became important influences in the shaping of many cities under Ottoman dominion. From the land that was under Ottoman control, the countries of Albania, Algeria, Bahrain, Bosnia Herzegovina, Bulgaria, Croatia, Cyprus, Egypt, Ethiopia, Greece, Hungary, Iraq, Israel, Jordan, Lebanon, Libya, Macedonia, Moldova, Montenegro, Palestine, Qatar, Romania, Saudi Arabia, Serbia, Syria, Tunisia, the United Arab Emirates, and Yemen were established. Furthermore, the modern day countries of Armenia, Azerbaijan, the Czech Republic, Georgia, Poland, Slovakia, Sudan and some parts of Ukraine were also Ottoman territory. Ottoman dominance in these areas, which lasted hundreds of years, left deep marks which have come to effect todays politics as well. Moreover, today, particularly over the past 15 years, traces of the Ottoman Empire have been found everywhere in the Balkans, Caucasus and the Middle East. In a March 9, 2003, New York Times article titled, The World: A World Still Haunted by Ottoman Ghosts, David Fromkin highlights the truth of this reality: A ghost has been haunting the United States. It is the specter of the Ottoman Empire. The ghost is with us today, in the antagonism between Turkey and the Kurds in any war over Iraq The ghost made its appearance when Saddam Hussein invaded Kuwait, igniting the 1991 Persian Gulf War The ghost was with us when Yugoslavia disintegrated into savage ethnic feuds the Ottoman ghosts never far away.
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Mzik, ekmek ve su kadar doald.

Syleen: Hasan IIK
ERKAN OUR:
Music was natural like bread and water.

Intervew by: Hasan IIK
ERKAN OUR
ERKAN OUR: Mzik, ekmek ve su kadar doald. / INTERVIEW WITH ERKAN OUR Music was natural like bread and water.
Mzik, ekmek ve su kadar doald

Sylei: Hasan IIK Erkan Bey, sizinle ilgili birtakm bilgileri zaten yllardr biliyoruz. Ama sizin gemiinizle ilgili doru bilgileri bir kez de sizin anlatmnzla dinleyebilir miyiz?
ERKAN OUR LE SYLE
ERKAN OUR LE SYLE

Music was natural like bread and water
Interview by: Hasan IIK Many of us know much about your life. However, could you please tell us the facts about your past once again?
My mother and father were the children of families from ElazMy mothers Annem de babam da Elazl ailelerin ocuklar Anne taraf Kesrikli, baba taraf side originally came from Kesrik, and my fathers family came from Iran. They ranldr. Merkezde yaamlar, vaktiyle kylere gidip gelmiler. Babam doktor. lived in the center of the town, but would come and go from the villages. My faLise alarnda stanbula gelip Haydarpaa Lisesinde okuyup, sonrasnda Askether was a doctor. When it was time for him to go to secondary school he came ri Tp Fakltesini bitirip doktor olmu. Doktorluunu Elazda yapt. Kore gazito Istanbul to study at Haydarpaa High School and then studied at the Military sidir. Korede ilk estetik ameliyatlar yapan doktordur, dnya apnda. BaldrlarMedical School, becoming a physician. He practiced in Elaz. He served during dan para alp kulak, burun gibi organlarda kullanthe Korean War. He was the first doctor in the world yordu. Hatta anlatlr ki Amerikallar onu hep arto carry out plastic surgery in the Korean War. He Mzikle ilgili en u dncem, felsefi mlar bu ii orada retsin diye ama babam o dtook a piece from the calf and used it to repair ormanadaki hayalim, susmak, baka birey nemin idealist insanlarndan; Elazda devam ettirgans like ears and noses. In fact, it is said that the deil. mi doktorluunu. Americans would ask him to come and teach this technique there, but my father was an idealist; he My extreme idea on music, my philosophical Doum yeriniz Elaz, deil mi? continued working as a physician in Elaz. image on it is just silence, and nothing else. Benim doum yerim Ankara. Ama doum iin Ankaraya gidilmi, sonra tekrar Elaza dnlm. Ben Elazda bydm. Ortaokulu bitirdim, sonra lise alarnda stanbuldaki Kabata Lisesine geldim. Mzikle ilgili ilk temeliniz Elazda m balad? Tabii, Elazda Benim eitimim orada balayp bitmitir. Sonrakiler sadece tecrbe, aknlk vs. Mzik de Elazda olutu, Elazn folkloru, mahalli sanatlar, ky dnleri vs. lk enstrmannz keman, hem de boyunuzla eit bir keman!.. Evet, ok kk yalarda yay boyum kadard, ama balamam da vard. O benden de uzundu. Bir yl kadar keman altm. Yine Gazi Eitim mezunu an hocas olan lk hanmdan. O kemanc deildi, keman bilmiyordu ama mzii biliyordu. Nota falan renmitim o yalarda. Mzik aleti bizim iin imdiki bilgisayar gibi birdenbire insanlarn genlerin ok ilgi duyduu bir eydi. Onun iin ok youn almalar yaptm ben. Geri ailem pek taraftar deildi bu ie. Babam hibir zaman tasvip etmedi. Tasvip ettii bir an yok mu? Hi hatrlamyorum, sfr yani. Tam tersine reddetti. Uzun yllar sonra ben Almanyaya fizik okumaya gittim, 1973 sonlarnda O dnemde nc snfta braktm eitimimi ve klasik gitar eitimi almaya baladm. Babam da beni evlatlktan reddetti. ok kzd. Mziin sizdeki karl neydi? Benim iin mzik hobi deildi. Hep ihtiya olarak hissettim. Mzik hi yabanc gelmedi yani. Dierleri yabanc geldi. Ama toplum basks, aile, etraftan grdmz; insanlar doar, st emer, okula gider, alr falan. Benim iin o dersler hobiydi aslnda. Mzik, ekmek ve su kadar doald. Ben almadm, yksek dzeyde bunun eitimini almadm. Bir yllk bir keman alma dnemim var. Benim btn mzik eitimim o kadard diyebilirim. Bir Alman metodu, Arthur Seyboldun keman metodunu bulmutu hocam. Ne Almanca biliyoruz ne mzik dilini biliyoruz ne de keman biliyoruz. an hocas o sesleri biliyor sadece Bu, Do dedi, ben de aradm buldum, Ha buymu dedim. yle arama tarama, deneme, bozma ve greme ekliyle nota rendim, bir metot almas nasldr onu rendim. Mziinizi oluturan duygu nedir? Mziin nasl olutuunu sorduunuzda; o bir muamma, tarif edemem. Hediye midir tesadf mdr ya da kader midir bilmiyorum. Benim sesim gzeldi. Duyduum sesleri tarif ya da taklit etmek veya ona benzeik sesler retmek ihtiya104
You were born in Elaz, werent you? I was born in Ankara. My mother went to Ankara for my birth, and then returned to Elaz. I grew up in Elaz. I finished middle school there, and then went to Istanbul, Kabata High School, for secondary school. Were the first foundations of your career laid there? Of course, in ElazMy education started and finished there. What happened later was just experiences, wonder, etc. The music was formed in Elaz, with the folk songs, local singers, village weddings, etc. You first instrument was a violin, one that was as big as you..! Yes, when I was very young, the bow was as tall as me, but I also had a balama (a stringed instrument, played like a guitar). This was bigger then me. I practiced violin for a year. My teacher was the singing teacher lk Hanm, a graduate from Gazi Education. She wasnt a violinist; she didnt know how to play the violin, but she understood music. I learned to read music, etc. at that age. Musical instruments were things that young people at that time had suddenly become greatly interested in, like computers today. That is why I worked very hard. In fact, my family didnt really approve of this; my father never was in favor. Did he never approve? I dont remember him approving, not at all. Just the opposite, he rejected my music. Years later, I went to Germany to study physics, at the end of 1973at that time I dropped out of university in the third year and started to study classical guitar. My father disowned me. He was very angry. What has music given you? For me, music has never been a hobby. I have always felt that it was more of a need. That is, music wasnt something alien to me. Everything else appeared strange or alien. However, with social pressure, my family, everything that I saw around me; people were born, they suckled milk, went to school, workedIn fact, my lessons were a hobby for me. Music was natural like bread and water. I didnt study nor did I receive any higher education. There was a period of a year during which I studied the violin. That is about all the music education that I had. I found a teacher of the German method, the Arthur Seybold violin method. I didnt know German and I did not know the language of music, nor did I know anything about violin. I only knew the sounds made by that singing teacher This is Do she would say and I would find what I was looking for: Yes, this is it I would say. Thus by searching and finding, experimenting, wrestling with the notes I learned where they were, and developed a method of studying.
c hissediyordum. Mesela nesli tkenen kartallar vard, Harputun uurumlarnda yaarlard, sonra yok oldular. Keman alr giderdim, onlar terken ben de keman ttrrdm. Onunla konuurdum, bir ey almazdm yani, ses karrdm o da yank yapard. Yanknn kard sesi severdim. Saniyelik eylerdi bunlar, benim ilk kaydm bunlard. En gzel kayt onlard. Enstrman yani mzik aletlerini ok seviyorum. ok iyi bir gitarc olmayabilirim, ama gitar en ok seven diye tarif ederim zaman zaman kendimi. Almanyada ilk mzik temrinleriniz nasl balad? Ben perdesiz gitar yapmadan nce, fizik tahsilini brakp youn bir ekilde klasik gitar almaya baladm. Gitar Almanyada rendim. nemli gitarclar izledim, onlarn plaklarn alp dinleyerek kendi nota bilgimle Mnih Ktphanesinden notalarn bulup onlar takip ederek plaklardan klasik gitar repertuvarn yava yava renmeye baladm. Oscar Casales isimli Kbal ok nemli bir klasik gitarc, Mnihe gelmiti bir konser iin. Sonra atlye almas dzenlendi. Ben de katldm. Herkes bir eyler ald; kimi Bach alyor, kimi Tarrega alyor, kimi Willibald, ben de tuttum Byk Cevizin Dibi diye bir trkmz var, onu aldm. Adam ok beendi; ritmini, melodik yapsn ilgin buldu Ba-
What is the emotion that forms music? You ask how music is formed; it is an enigma, I cant explain it. I dont know if it is a gift, a coincidence, or perhaps fate. I have a good voice. I feel the need to describe or imitate the sounds I hear or to produce similar sounds. For example, along the cliffs of Harput there used to be eagles they were becoming extinct and then they disappeared. I would take my violin and I would cry out along with them. I would talk to them, that is, I would take something from them, I would make a sound and they would echo it. I loved the sound they made when echoing. These were instantaneous things, but these were my first recordings. I love instruments. I may not be a great guitarist, but I from time to time I describe myself as the most loving. How did you first start practicing music in Germany? Before making a fretless guitar I dropped out from studying physics and started to work intensely on classical guitar. I learned to play the guitar in Germany. I observed important guitar players, purchasing their records and listening to them; I found the music sheets in the Munich library and tried to follow them with the records, using my own knowledge of reading music. It was in this way
sit bir armonisi vard belki onlara ilgin geldi ya da para deiik geldi. Gel benim talebem ol dedi. Ondan sonra fizik tahsili bitti. Bir yl kadar ellerinizdeki rahatszlktan tr enstrman alamyorsunuz. Bu bir mzisyen iin nasl bir duygudur? Evet, Oscar Casalesin rencisi olmak iin Almanyadaki fizik tahsilimi brakp Parise gittim. Orada Sorbonnedan mezun, ayn zamanda caz davulu alan, orada okuyan bir arkadam vard; Can Kozlu. u anda Bilgi niversitesinde -
that I started to develop a classical guitar repertoire. A classical guitarist, the Cuban Oscar Casales, came to Munich to give a concert. Later he arranged studio lessons. I joined in them. Everyone played something; someone played something from Bach, another from Tarrega, another from Willibad, and I played the Turkish folk song Byk Cevizin Dibi. He really liked it, finding the rhythm and structure of the melody very interestingperhaps this is a simple harmony, but it was interesting or different to him. Come and study with me he said. That was when my study of physics finished.
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retim grevlisi. O Gel burada kalrz dedi. Pariste banliylerin, pazarn ortasnda bir yerde, yaklak -drt ay bir zaman geirdim. Maksat, Oscar Casalesn talebesi olmak, onunla almak ve klasik gitar hayatna balamakt. Geldim, imtihana girdim, alt yllk bir konservatuvar, onun drdnc snfna aldlar beni. Fakat Oscar Caselas dnya turuna kt, asistanyla beni ba baa brakt. Onunla baya altm. Ama her ey ok hzl geliiyor. Bu dnemde anladm ki ben klasik gitarc deilim. nk Trk mziini dndm zaman kocaman bir ses kyor, majestik konser tonu kyor ama Villa Logos, Bach ya da o literatrden bir ey aldmda ortalama, teknii iyi, eitmen dzeyinde olabilecek insanlar, klasik gitar anlatabilecek dzeyde bir mzikalite kyor ortaya Bir arabam vard, onu satp gitar almtm. Gitar yere koydum, sonra zerine ktm bakalm tartyor mu beni diye, krld. Sonra tekrar Almanyaya dndm. Fizik tahsilini de klasik gitar da braktm. Ve kendime perdesiz gitar yaptm, o krk gitarla. ki yl kadar altm. Ellerim rahatsz oldu. Bileklerimde urlar kt, mesleki hastalk. Ar zorlamaktan Yani -be yl daha ksa zamana sdrma abas yznden, yanl alma uygulamaktan. Gnde 10-12 saat alyordum, baka hibir ey yapmyordum, her eyi brakmtm. Ka yandaydnz? 1975-1976 yllar, 22-23 yalarnda falanEllerim sonra hareket edemez oldu, yle kaldlar, kalem bile tutamadm. Kapy aamazdm iddetli arlardan. Doktorlara gittim, kimisi onu alacaz diyor, kimisi kortizon tedavisi diyor. Babama da bir vesileyle sordurmutum annem vastasyla, Mesleki hastalk mr boyu eker ama bir tarafna bak vurdurmasn demi. Ben bu konuda yalnz kaldm. Almanyadaki doktorlara da o kadar gvenemedim. Alt ay almadm. O alt ay dinlenmeyle geti; arlar geti, szlar durdu. Sonra zamanla ben hareketlerimi kstlayarak, daha az g harcayarak alma teknikleri gelitirdim. O arada perdesiz gitar, o krlan gitar yaptm. Oradaki maksat, hem Trk mzii alabilmek hem de dokunarak ses karabileceim bir gitar yapmak. Yormasn beni, artmasn diye. Benim yaptm gitarda telin altndan sa kl geer, yani o kadar yksekteydi. ok az ses kar ama kck dokunursun, ancak ben duyarm. Onun iin actmazd, artmazd elimi. Tabii o sadece ikinci neden deil, bir de araynzn ierisinde sizi perdesiz gitara gtren esas neden Evet, perdesiz gitara gtren esas neden Trk mzii sesleri, daha dorusu seslerin snrsz olmas zellii Yani snrl bir aralkta iki eik arasnda bir tel var ve zerinde sen on tane perde belirlemisin, hlbuki sonsuz ses var orada. O, yani esas dnce fizikten kaynaklanyor. Yaptnz mzik, iinizden gelen ve kendinize ait bir mzik Piyasaya baktnzda kendinizi ansl olarak gryor musunuz? Kendi mziim deil de kendimi iimden gelene braktm, diyelim. Ben nk felsefi manada baktnzda insann bir ey yaratabileceine inanmayan birisiyim. Ama organize ediyorsunuz, onu dzenleyebiliyorsunuz, kefedebiliyorsunuz, yani olan bir ey. Veya onu taklit edebiliyorsunuz ya da tarif edebiliyorsunuz. Ama yoktan bir ey kmyor ortaya. Elazda ne duyduysam ya da sonradan baka zamanlarda ne duyduysam onlarn bir harman kafamn iinde dnp dolap bir ekle girip kyor. Hepsi sonradan iimde doan eyler aslnda.
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For about a year you were couldnt play because of a problem with your hands. As a musician, how did this make you feel? Yes, in order to be Oscar Casales student I abandoned my education in physics in Germany and went to Paris. There I had a friend who was studying, having graduated from the Sorbonne, and who was at the same time working as a jazz drummer; Can Kozlu. Now he is a lecturer at Bilgi University. He said Come and stay here. I spent about three to four months in the Parisian suburbs, in the middle of a market place. The intention was to be Oscar Casales student, to work with him and to start my life with classical guitar music. I came, took the exams, and a six-year conservatory took me on as a fourth year student. However, Oscar Caselas had set out on a world tour, leaving me with his assistant. I worked quite hard with him, but everything developed very rapidly. It was during this period that I understood that I was not a classical guitarist, because whenever I thought of Turkish music a huge sound would emerge, majestic concert tones, but with Villa Logos, Bach or something else from the classical guitar repertoire I could only produce an average musicality with good technique that could be trained. I had a car and I sold it and bought a guitar. I put the guitar on the floor and stood on it to see if it could carry my weight; it broke. Then I returned to Germany. I had abandoned studying physics and classical guitar. And I made my own fretless guitar with that broken guitar. I worked a lot for two years. I started to have some problems with my hands. There were lumps on my wrists; this is an occupational hazard. I had great difficulty that is, this was a result of trying to cram three to five years of efforts into a shorter period of time, and an incorrect techniqueI would work 10-12 hours, not doing anything else; I abandoned everything else. How old were you? This was in 1975-76, I was 22-23Finally I was unable to move my hands, they remained like that; I couldnt even hold a pen. I couldnt open the door due to the intense pain. I went to doctors; some said, well remove the lumps, others said they would use cortisone. Through my mother, by some means, I was able to ask my father: This is an occupational hazard, he will suffer from it for the rest of his life, but he should have it removed. I was alone; I didnt trust the doctors in Germany very much. I did not play for six months. I spent those six months resting; the pain receded, the aches disappeared. Later, I developed a method of playing that limited the movements, using less strength. At this time from that broken guitar I made a fretless guitar. The purpose here was not only to make a guitar on which I could play Turkish music, but one on which I could produce a sound by merely touching so that I wouldnt tire myself or cause myself pain. A hair could be passed under the strings of the guitar I made, that was how close they were to the fingerboard. It did not make much sound, but I could hear the slightest touch. This did not hurt my hand, it didnt make it ache. Of course, the basic reason that brought you to develop a fretless guitar was not this second reason Yes, in fact the reason that brought me to a fretless guitar was the notes of Turkish music, or more accurately, the characteristic of an infinity of sounds that is, we have a string between two bridges, with a limited distance; on it there are ten frets. However, there is in fact an infinity of sounds there. This basic idea comes from physics.
Ozan ya da k geleneinin neresindesiniz? Ben o gelenei seyreden, uzaklap giden halini seyreden birisiyim. Ozan deilim. Ozan olabilmek iin o olaylar yaam olmak lazm. Hibir ey yaamadk biz, mutlu bir ocukluk ortalama bir dzen ierisinde Trkiyenin en mutlu dneminde yaadk belki de. stanbula, Trkiyeye tekrar dnmeye nasl karar verdiniz? T Konservatuarnn varln rendim, okul 1976da kurulmu. Benim idealim hem Trk hem Bat mziinin eitiminin verildii bir yerdi ve ok byttm gzmde. Bir anda Almanya bitti benim iin. Orada baz orkestralarda alyordum, niversiteyi brakp mzie getikten sonra evrem deiti. Ondan nce Kpekler ve Trkler giremez yazlar olan restoranlarda bulak bile ykadm. niversitede ya da bankalarda sralarn arkalarna koyarlard bizi, rk bir lkeydi oras. ok kt bir dnemdi Almanyada, onlar iin zgnm; acyorum Alman halkna ve politikalarna Arkama bile bakmadan Trkiyeye dndm. Geldiimde baz hayal krklklar yaadm, ihtilal oldu. Byle eylerle de karlatm. htilal olur, millet lkesinden kaar gider; ben lkeme dndm. Hibir eyi gzm grmedi akas. Tye girdim, imtihan kazandm, orada drt yl okudum. Enstrman yapm blm hocas benim ok eskiden de tandm Cafer An, derslerin dndaki zaman onunla geirirdim. Bana bir ke ayrmt, orada aletlerimi yapardm. Bir tane perdesiz gitar orada yapmtm, sevmemiti. M.F.. grubunun ilk albmlerindeki Gllerin inden parasn aldm aleti yapmtm. Onun iin iyi yanar demiti. O zaman yle diyorlard, imdi nmzdeki Ekim aynda ayn okulda ben hocala balayacam. Perdesiz gitar blm atlar, uluslararas, btn dnyaya ak. Aradan yirmi be yl geti, ancak arj ettiler. Ben de kapnn zerine yazacam Burada yangn var diye O dnem perdesiz gitar alan bir tek siz vardnz, deil mi? 1993-1994 balarna kadar yoktu pek alan. Sonralar insanlar almaya, anlamaya baladlar. Bir arkadamz eittik, enstrman yapmcs; kendisi benim enstmanlarm boza ze yapar oldu. Baka insanlar da yapt, onlar da almaya balad. Sizin kendinizi yakn hissettiiniz kimler var? Ben mahalli sanatlar seviyorum. Daha dorusu iini severek, drste yapan mzisyenlere her zaman yaknlk duydum. Yre sanatlarn tercih ediyorum. Bizim Elazda klarneti bir kr vard, davulcu Hdr vard, kr dris var cmb alan. Benim de bir cmbm vard, alardm, o da perdesizdi. Ramazan Gngr rahmetli, onu severdim. Muharrem Erta severdim. zay Gnlm ok severdim. Aydnlk bir insand. Erkan Bey, bir dnem zellikle 1980 sonras, mzik piyasasnda ekirdek Sanat Evi epey bir damga vurdu. Siz nasl tandnz, nasl tantnz, nasl balad oradaki serveniniz? Belki de ilk sanat evi Oras Fikret Kzlokun diilik yapt muayenehanesiydi. atalemede, akn Bakkaldan biraz ileride. Fikret Kzlok da annemin evinin bir arka sokanda otururdu. Blent Ortagil ile onlarn dnemsel rekabetleri ve birliktelikleri vard. Ben de Blentin ocukluk arkadaym. Bu vesile ile Fikret Kzloku tandk. Fikret Kzlok ok gzel yemek yapard. Deniz bilgisi olan, Bodrumda yaayan, teknesi olan, baya keyifli yaayan bir adamcazd. Okumu, biraz entelektel, mzik lsnde insanlar dndrebilen birtakm eyler yapan birisiydi. Sonra muayenehanesini krk elli kiilik bir salona evirdi. Orada hem sergiler olurdu, hem syleiler; hal bile rld insanlarn nnde. ocuklar iin resim kurslar yapld. cretsizdi. Sadece o gn ne performans varsa onun kayd yaplyordu. O kaytlarn kopyalar o gn oraya gelen insanlara bir cret karl veriliyordu. Sonrasnda Fikret ve Blent ortak yapm irketine dntrp bunlar oaltp sattlar. O yzden sizlere ulat onlar. Ben perdesiz gitar almaya orada karar vermitim. Orada Perdesiz Gitarda Araylar gecesini dzenledim. Kendimi snadm, yle bir gecenin kayddr o. Sonra baktm oluyor, rahatladm, almaya karar verdim. O kayt benim iin ok zel bir eydi, sanki evde yaptm bir eydi.
The music you make comes from within you and is your own peculiar form of musicDo you see yourself as fortunate when you look at the world of music? Rather than saying my own music, lets say that which comes from within me. I am not someone who believes, when you look at things philosophically, that people can create something. Yes, we can organize, sort it out and discover the things that are there. Or we can imitate or describe. But it is not possible to produce something out of nothing. What I heard in Elaz or what I heard at later times form a harmony in my head, spinning around and they come out in some form. In fact, they are all things that were born in me later on. Where do you place yourself in the ozan (poet) or ak (minstrel) tradition? I am the one who is observing that tradition, as it slowly draws away. I am not a poet. In order to be a poet one needs to live through events. I have not experienced anything, having lived a happy childhood in perhaps what was the happiest period of Turkey. How did you decide to return to Istanbul, to Turkey? I learned about the Istanbul Technical University Conservatory; the school had been established in 1976. My ideal was a place that provided education in both Turkish and Western music and this had grown to be very important to me. Germany was over in a flash for me. I played in some orchestras there, when I quit the university and passed over to music my environment changed. At first, I even started washing dishes in restaurants where No Dogs or Turks was written on the door. They would put us at the back of the lines in universities and banks; it was a racist society. It was a bad time for Germany, I am sorry for them, I feel for the German people and politiciansI returned to Turkey, and did not look back once. When I returned I experienced some disappointment, the coup occurred. This is what I faced. The coup happened and people were fleeing the country; I had just returned. In fact, I was totally unaware. I went to IT (Istanbul Technical University), passed the exam and studied there for four years. The professor of the instrument makers department was Cafer An, who I had known years before; I spent time with him outside of lessons. He set aside a corner for me, and I made instruments. I made one fretless guitar there, but he didnt like it. I made the instrument which I used on the Gllerin inden on the first album for M.F.. group. He said it would make good fire wood. That is what they said then, but now in October next year I am going to start lecturing at the same school. They have opened a fretless guitar section, which is open internationally to the whole world. Twenty-five years have passed, and things have been charged. I am going to write a sign saying The Fire is Here on my door At that time you were the only one playing the fretless guitar, werent you? There werent many people playing the fretless guitar until the beginning of 1993-94. Then people began to play it, to understand it. We taught a friend, an instrument maker, who took my instruments apart to learn. Other people made them and they started to play them. Who do you feel is close to you? I like local musicians. Or more accurately, I like what they do; I always feel close to musicians who do what they do honestly. I prefer the regional artists. There is a clarinetist in Elaz, a kr and a drummer Hdr, a blind dris who plays the cmb (metal mandolin). I have a cmb, I would play it; it has no frets. The late Ramazan Gngr - I loved him. Muharrem Erta was someone I loved too. I also loved zay Gnlm. These were enlightened people. The ekirdek Sanat Evi (Art House) put its stamp on the music market for a period, particularly after 1980. How did they become acquainted with you, how did you meet and how did this adventure start? This was perhaps the first art houseoriginally this was the examination room of Fikret Kzloks dental surgery. It was in ataleme. There was periodic competition and cooperation between them and Blent Ortagil. Blent was a childhood friend of mine. It was through him that I met Fikret Kzlok. However, they were the people who were producing at that time. Fikret Kzlok was a wonderful cook. He was a man who was familiar with the sea, who had lived in
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Herhangi yeni kan bir sanatnn albmnde sizin isminizi grnce bir gven geliyor ve kt bir albm olsa, Erkan Our yer almaz dncesiyle alyoruz. Bu bir sorumluluk mudur? Ben gnahm gibi dnyorum. Sonradan duyduumda tylerim diken diken oluyor. Uzun zamandr almyorum kaytlarda. Ancak byle arkada e dost srar ederse alyorum. Mesela geliyorlar Tam sizlik bir paramz var, halk mzii zgn mzik tarznda diye, nceleri acaba filan diye dnyordum. Sonra zaman ierisinde grdm ki insanlarn alakas yok mzik mefhumuyla. Bu biraz da ortama gre deil mi? Mzik kalitesi giderek ucuzlad, bir ey oaldka giderek nitelii azalyor. Az olan eyler kymetli aslnda, o yzden bir kirlilik var ortalkta. Sonra beni taklit eden bir sr insanlar kt. Ben bu mzikleri duyduumda anlayabiliyorum ben olmadm ama insanlar Orada da almsn, ne gzel almsn diyorlar. Bu arada insanlarn ne kadar duymadn gryorsunuz, bu ok zc. Giderek uzaklatm yani. Peki, mzik kariyerinizle ilgili dndnz ey nedir? Mzikle ilikinizin geleceiyle ilgili Mzikle ilgili en u dncem, felsefi manadaki hayalim, susmak, baka bir ey deil. Ama saf mzik diye bir emelim var, yle syleyeyim. Btn tutkularmzdan, hazlarmzdan, insana ait ne kadar nefsani zellik varsa onlardan syrlm, hani Gln kokusu vard diyoruz ya, gl kokar ama koktuunu bilmez, tartmaz da onu, Ben kokuyor muyum? falan diye tartmaz onun gibi bir mzik Tabiattaki gibi, rzgrn sesi gibi, saf olan bir mzik yaplabilir mi diye, onu dlyorum. Saf, buradan baknca dibine kadar iini grebilecein bir biimde olan mzii zlyorum. topik bir ey Bu araylar sizin araylarnzn ierisinde hep var. Tabiata yaklama, esas isteim budur, her alanda mracaat ettiim konu. Bu mzii yakaladnz zaman birok insann o mzii duyamayacan m dnyorsunuz?
Bodrum, who had a boat and who was great fun. He was educated, a little bit intellectual, he can think to a certain extent, making things in pop music that causes people to think. Later he transformed his dental practice into a room for forty to fifty people. Here there would be exhibitions and readings; even carpets were woven in front of other people. Drawing lessons for children were held free of charge. Whatever performance would be held that day would be recorded. These recordings would be copied and distributed for a fee to the people who had come. Then Fikret and Blent formed a partnership and turned it into a company, starting to copy these and sell them. That is how I came to them. It was there that I decided to play the fretless guitar. I arranged a night for Searches in the Fretless Guitar. I tested myself; there is a recording of such a night. Later, I saw that this would work, so I relaxed and decided to start playing. That recording is very special for me; it is like something I did at home. Whenever we see your name on the album of a new artist it gives us a feeling of reassurance, as we think that Erkan Ours name would not appear on a bad album. Is this a responsibility for you? I feel as if this is my fault. Later when I heard this I got goose pimples. I havent played on recordings for a long time. However, I play if a good friend or acquaintance insists. For example, they come and say, We have a piece that is just right for you, in the folk music style, and then I think I wonder, etcLater, over time I saw that this had nothing to do with people, but musical notions. So, in other words, this changes according to the situation? The quality of music is increasingly being lessened; as something increases its quality decreases. In fact, that which is rare is valuable, and for this reason there is contamination. Later, a number of people who wanted to imitate me appeared. When I heard them I could tell that it wasnt me playing but people say You played on that album; how well you played. Then I understood how little people actually heard. I grew further and further away. So, what do you think about your musical career? About your future relationship with music
ekirdek Sanatevinden km olan albmler./ Albums which are recorded in ekirdek Art Center.
nsanlarn ne dneceini tarttm mziklerim var. Tabiatla btnleme abas sadece, baka bir ey deil. Ben mesela neyzenleri ok severim, ney fleseydim baka hi enstrman almazdm ama halen zerinden geen rzgrn kamtan kard sesi, bir neyzene tercih ediyorum. nk neyzen yemek yiyor, iiyor, dnyor, hesap yapyor, sabah kalkyor, dnyor, Aman nasl aldm eri mi aldm dzgn m aldm, ama orada, kamn ise? Ben alnacak mym? diye bir dncesi yok, rzgr da Ben kamn stnden mi geeceim, ses mi karacam? diye dnmyor. ok saf yani Halen o sesi dinliyor musunuz? Dinlediiniz yerlere gidiyor musunuz? Ben her sese am, tabiattaki sesleri ocukluumdan beri, hep takip ederim. Benim albmlere bakarsanz zaten misyonludur. Hadi bu yl bir albm yapaym gibi bir durum yok. 2000 ylndan beri yapmyorum, dnsenize, bir iki film mzii oldu o kadar. Solo albm olarak bir ey yapmadm. u an farkl birileri var m ortak altnz ya da almay dndnz? Canl mzik icraatlar yapyoruz birileriyle, Erdal Erzincanla bir eyler yapyoruz zaman zaman. Derya Trkanla belki yle bir proje olacak. Albm olarak yeni bir ey yok. Bir Harput projem var, ta ezelden beri.
My most extreme thought about music, my dream in the philosophical sense, is nothing more than being quiet. But I have a hope of a pure music; that is what I say. All of my passions, my greatest thrill, is a music that is as unquestionable as saying the Rose has a Scent; we smell the rose, but the rose does not know its own scent, cannot determine it, nor does it ask whether or not it smells. All the characteristics of the ego have been removed. I dream of being able to create a pure music, as in nature, like the sound of the wind. I long for a music that is pure, which when looking from above it is possible to see down to the bottom. A utopian thing. That search is part of all your searches. This approach to nature is my fundamental desire, the subject that I apply in every area. Do you think that when you capture such music that many people may not be able to hear it? I have music with which I can measure what people think. This is just an effort to combine nature, nothing else. For example I love neyzen (players of ney, reed flute); if I could play the ney I would not play another instrument. However, I still prefer the sound of the wind blowing over reeds to a neyzen. Because the neyzen eats, drinks, thinks, calculates, gets up in the morning, thinking How
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Biriktirdiiniz seksene yakn Harput trks var deil mi? Bunlarla neler yapmay dnyorsunuz? Onlardan semeler olabilir. Harput konusu iin dndm birka proje var. Bir tanesi geleneksel biimde, bir tanesi benim sevdiim, kendi yaklammla olan bir Harput projesi. Bir tanesi tamamyla soyut, orann belki folklor elerini ieren, ama Harputa at eklinde Oradaki yok oluun, ykln, terk ediliin at ekli. Bunlardan birini semem gerekli. kincisi de benim Bir mrlk Misafir adnda bir albmm var, onun uzants. Peki, bu Pencereden Kar Geliyor trks? Ninni Ana atlar. Ninni konusu benim nemsediim bir ey. Hibir lkede bu kadar ninni yoktur herhalde. Mzikologlara sormak lazm Afrikada falan belki vardr ama onun hesabn yapmlar mdr bilmiyorum. Anadoluda 55.000e yakn ninni olduu mzikologlar tarafndan syleniyor. Notas yazlm, arivdeki trk saymz 5.000. Bunun on katnn zerinde ninni olduunu dnrseniz, hayli enteresan bir durum yani. Pencereden Kar Geliyor trks de yle bir ninni. Onu syledim, artk hi syleyemiyorum. Albm kayt ettiim zaman da anneme dinletmitim, annem bana O kz kim? dedi. Ondan beri syleyemiyorum ite. Ailemin, slalemin mzikle pek alakas yok. Annem her zaman destek olmutur ama anladndan deil de sevdii iin. Gzel bir ey diye destek olmutur. Konserlerde isterler o paray ama syleyemem. Bir iki defa denedim, ortasnda alamam geliyor, bu defa bir ey yapamyorsun. Onun iin vazgetim sylemekten. Film mziklerine gelecek olursak?
did I play? Did I play correctly? Did I make a mistake? but, what does the reed do? There is no thought Will I be played? the wind does not think If I blow over the reed, will I make a noise? This music is totally pure Do you still listen to those sounds? Do you go to the places to listen? I am interested in any noise; I follow all noises in nature. From my childhood on, from the eagles onIf you look at my albums you will see that this is my mission. Theres nothing like Lets make a new album this year. From 2000 on I havent made any music, just the scores for one or two films. I have never made a solo album. Is there anyone new with whom you are working or planning to work? I am playing live music with some people; from time to time I work with Erdal Erzincan, and perhaps there will be such a project with Derya Trkan. But there is nothing like a new album. I have a Harput project, but that has been going on forever. You have collected about eighty Harput trk (Traditional Turkish folk songs) There could be a selection from them. I have a couple of projects about Harput. One of them is in the traditional form; another of them is my favorite, and then there is my own approach to the Harput project. One of them is completely abstract, perhaps containing folkloric elements, but in the Harput elegy formThe extinction, destruction and abandonment elegy form. I have to choose one of these. The second is the extension of the album called A Lifetime Guest.
OK, how about this PenBen profesyonel anlamda cereden Kar Geliyor (Snow film mzii yapan birisi deblowing through the winilim. Yaptm film mzikledow) trk? ri dl ald ama ben grmeA lullabya mothers eldim hi. Sonunda bir taneegy. Lullabies are something si iin Altn Portakal dlleriwhich are important to me. ne ardlar, nasl olduysa en There is probably no other sonuncusuna gittim ben de country with as many lullaErkan Our ve Hasan Ik / Erkan Our and Hasan Ik bies. We would have to ask Mzik syleileri falan yaplthe musicologistsperhaps in Africa, but I dont know if anyone has ever countyor, halk da var. Film Mzikileri dizilmiler, beni koydular aralarna Orada ed. The musicologists claim that there are close to 55,000 lullabies in Anatolia. bana da konuma sras geldi. Ben de, Ben film mzikisi deilim ama film mThe number that has been recorded and which is in the archives is 5,000. If we zii isteyen arkadalarm grdm ki film bile ekebilirmiim diye bir eyler sythink that there are 10 x this number of lullabies, then this creates a very interledim. Kzdlar bana O konu ok yerlerde srnen bir durumda. esting situation. The trk Pencereden Kar Geliyor is just such a lullaby. I have sung it before, but I dont sing it any more. At the time I recorded the album I Ben film mzii yaparken ok detay dndm. Tesadfen bu ii yapyorum had my mother listen to it and she asked Whos that girl? I havent sung it bari ne olduunu anlayaym diye birka kitap kartrdm. Benim doal olarak since that day. My family does not have much interest in music. My mother yaptm eyleri orada okudum. always supported me, but not because she understood what I was doing, but from love. It was beautiful so she supported it. They have asked for that song Son olarak bir Amerika maceranz var. Biraz da bundan bahsedebilir misiniz? at concerts, but I dont play it. I tried once or twice but I felt like crying half way Evet, 1989 ylnda her eyi terk edip Amerikaya gittim. Biraz birikmi param through, now I dont do anything. I guess you could say I have given up on it. vard. 4500 dolar ve bir tane perdesiz gitar, bir tane de perdelerin aras oyuk bir gitarm vard. Hatta Amerikan vizesi almam bile tesadfiydi. Sonra gittim, What about film scores? 1993 ylnda da dndm. Oradayken Blues mzii ile ilgili epey bir tecrbe I am not a person who professionally writes film scores. The film scores I have edindim. Yukarda Kanada snrndan, Mississipinin kaynandan, Meksika written have won awards, but I havent seen the films. In the end they called me Krfezine kadar indim ktm. Kk bir orkestrayla en kk kylerinde bile, to the Golden Orange Awards; somehow I was the last one therethey played okuma yazma bilmeyen bir sr insann yaad yerlerde aldm. nnde tel music, etc., people were there. They put the Film Score Writers up in a row, and rg olan, beenmedikleri zaman ie frlattklar kulplerde aldm. Bluesu put me in between them. ..Then it was time for me to talk. I said something like I am not a film score writer, but when I saw my friends, they asked me for a anladm, bizim trklerle, deyilerle ok benzeik yanlar var. Sonra Bluesu score; then I thought, hey even I could make a film. This annoyed them This yle tarif ettim, iyi insanlarn bana kt eylerin gelmesiyle yaklm, bizim is something that happens a lot. trkler gibi Byle bir deneyimim oldu.
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Rivayet odur ki Mississipiyi 12 defa geersen, bir blues alabilirsin. Siz ok getiniz deil mi? Ben ok getim, birka tane alabilirim Ama bizim trklerimiz, atlar falan tam karl yani. Tartlmaz, dnyann her yerinde byle olsa gerek. inde de yledir. Afrikada kim bilir ne Blueslar var, ne trkler var? Sadece corafya nedeniyle, kltr nedeniyle, dil nedeniyle ilgili farkllklar var. Enstrmanlar farkllklar gsteriyor. lkemizde Blues festivalleri ve caz festivalleri yaplyor. Sebahat Akkiraz Pariste, Londrada yaplan caz festivallerine, onur konuu olarak davet ediliyorken, Trkiyede yaplan caz festivallerinde neden yok? Ya da bir Erkan Our Blues Festivalinde neden yok? Bu festivallerde byle lezzetleri de dinlemek ok ayr bir keyif olurdu, diye dnyorum. Pencereden Kar Geliyor trks bir Blues mesela. Bunu yabanc anlayabiliyor, Sen kendi Bluesunu sylyorsun diyebiliyor. Ama biz burada kendi Bluesumuzu sylediimiz zaman kendi insanmz bunun cazla ya da Bluesla hi alakas olmadn sanyor. Onu rttremiyor. Gemii hatrladm bir anda. Biz sizin uzun bir dnem smail Hakk Deirmenci ile birlikte yapm olduunuz almalarnz dinledik. Keke arada byle farkl lezzetleri de dinleyebilsek
When I write a score I think in great detail. If something happens by coincidence I want to understand what is happening, and so I look through some books. I read about that which I do naturally in those books. Finally, you had an American adventure, could you tell us a bit about that? Yes, in 1989 I abandoned everything and went to America. I had some money collected. I had $4,500 and a fretless guitar and a guitar that was carved out between the frets. It was a fluke that I got my American visa. Later I went and I returned in 1993. While I was there I experienced a lot to do with Blues music. I travelled from above the Canadian border, from the source of the Mississippi, down to the Mexican Gulf. I played with the smallest orchestras in the smallest villages; I played with a whole bunch of people, even with those who did not know how to read or write. I played in clubs from behind chicken wire in which people flung bottles at me if they didnt like what I was playing. I understood the Blues; they are our trk, there is an expression in them that is very similar. Later, I interpreted the Blues in this way, bad things happening to good people, like our trkthis was an experience for me. It is said that if you Cross the Mississippi 12 times you can play the Blues. You crossed the Mississippi a number of times, didnt you? I crossed it a number of times, and I can play some Bluesbut they are an exact match for our trk, for our elegies. Without a doubt this is true for music everywhere in the world. Who knows, it is the same in China, in Africa, they have their Blues, their trk. The differences occur only due to geography, culture, and language. The instruments bring out the differences. In Turkey we have Blues and jazz festivals. While Sebahat Akkiraz is invited as a guest of honor to jazz festivals held in Paris and London, why does she not appear in the jazz festivals in Turkey? And why is Erkan Our not appearing at the Blues festivals? I think it would be a great thing to be able to listen to such people. For example, Kar Geliyor is Blues. Foreigners can understand this, saying You sing your own Blues. But here people think when we sing our own Blues that they have nothing to do with Blues or jazz. They cant equate them. I remember the past, we used to listen to the work you did with smail Hakk Deirmenci. If only we could listen to such different examples from time to time. I am working with Telvin now. I have expanded the small orchestra of Telvin, with five erbani drums, four asma drums, a kaval (shepherds pipe), two drum sets, a keyboard, a double bass and guitars. I call it Anatolian Jazz & Blues.
Erkan Our ve smail Hakk Demirciolu / Erkan Our and smail Hakk Demirciolu
Where and when can we come listen to you? First we need a sponsor, because this is a big orchestra, an expensive thing I gave a few concerts, in Zonguldak, in Ereli, and there is a DVD of this. I sent it to a number of places, America and the like. There is the Chicago Blues Festival, this is the largest Blues festival; perhaps we will apply there. We are waiting, but nothing has happened yet. We havent given a concert in Istanbul yet. However, there is no music like this in the Istanbul Jazz Festival. The KSV is very far removed from this, they continue with the country-fair attitude. As you said, Sebahat Akkiraz or a man who sings gazels from Urfa are in fact playing the Blues. Now there is an academic point at which jazz and our Anatolian music converge. For example, you play jazz standards and improvise in the kors dorian mode or the Phrygian mode. There is such a rule. This Phrygian is the frikya, the Lydian is the likya, the Dorian is Eastern Anatolia, the Aeolian is the Aegean; that is, jazz musicians are playing Anatolia. They are playing from here and then they sell it back to us as jazz. Our guys bust a gut to play Dorian, but if they just play the Hseyni makam, that would be enough. Or the Krdi makam. That is, they can play the temperament, or if you know something that is outside our temperament, they can play it. Suddenly the doors open. This is just ignorance.
Telvinle yapyoruz imdi. ekirdek Telvinde orkestray byttm, be tane erbane, drt tane asma davul, kaval, iki bateri, keyboard, kontrbas, gitarlar. Anatolian Jazz&Blues diye isim koydum. Ne zaman ve nerede dinleyebileceiz? Birincisi bir sponsor lazm nk ok byk bir orkestra, pahal bir ey Birka konser verdim, Zonguldak Erelide, onun DVDsi olutu. Onu eitli yerlere, Amerikaya falan gnderdik. Chicago Blues Festivali var, en byk Blues festivali, belki oraya mracaat ederiz. Bekliyoruz, henz yeni bir ey. stanbulda konser vermedik daha. Ama bu sylediiniz eyin stanbul Jazz Festivalinde hibir rnei yok. KSVnin bu ile hi ilgisi yok, panayr zihniyetiyle devam ediyorlar. Dediiniz gibi Sebahat Akkiraz veya Urfadan gazel syleyen bir adam aslnda Blues yapyor. imdi cazla bizim Anadolu mziklerinin rtt bilimsel bir nokta var. Mesela cazc standartlarn alyor sonra kors dorian modunda veya phrygian modunda bir improvisation olabilir diye not alyor. yle kurallar var. Bu phrygian dedii frikya, Lydian diyor mesela Likya, Dorian diyor Dou Anadolu, Aeolian diyor Ege, yani Anadoluyu alyor adamlar. Buralardan alyorlar, caz diye satyorlar bize buradakiler. Bizim insanmz Dorian alacam diye kafay yiyor, Hseyni makam alacaksn bitecek. Ya da Krdi makamn alacaksn. ster tamperaman al ister bizim tamperaman d halini biliyorsan al. Bir anda kaplar alyor. Cehalet ite.
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METN ERKSAN FLMLERNDE STANBUL

Celil CVAN
STANBUL IN METN ERKSAN MOVIES

Celil CVAN
METN ERKSAN FLMLERNDE STANBUL / STANBUL IN METN ERKSAN MOVIES
METN ERKSANIN STANBULU

Celil CVAN* Kendine zg sinema dili ve ele ald meselelerle Metin Erksan, Trk sinemasnn nemli ynetmenlerinden biridir. 1952 ylnda senaryosunu Bedri Rahmi Eybolunun yazd Karanlk Dnya, Ak Veyselin Hayat filmiyle sinemaya atlan Erksan, edebiyat uyarlamalarndan melodramlara, romantik komedilerden ky filmlerine kadar pek ok dalda rn verir. Metin Erksan, Susuz Yaz filmiyle 1964 ylnda Berlinde Altn Ay dln alr. Filmin Trkiyeden karlarak yarmaya sokulduuna dair sylentiler bugn bile konuulur. Oysa ynetmen, 1985 ylnda verdii bir rportajda konuyla ilgili unlar syler: Susuz Yazn Berline gidii zerine hl bir laf vardr. Kardlar, diye. Hayr, hi karlp gtrlmedi, alakas yok. Susuz Yaz Berline festivalden gelen davet zerine, son derece yasal yollardan gitti. Sinema zerine yazlar da yazan Erksan, Halit Refi, Ltfi Akad, Atf Ylmaz gibi isimlerle beraber, Kemal Tahirin grleri etrafnda toplumsal konulara eilen Ulusal Sinema akmnn temsilcilerindendir. ofr Nebahat (1960), Kelolanla Can Kz (1972) gibi popler filmler yannda Kadn Hamlet (1976) gibi deneysel almalar da yapan ynetmenin Sevmek Zaman (1965) isimli filmi Trk sinemasnn bayaptlarndan biridir.
* Yazar
STANBUL IN METN ERKSAN MOVIES

Celil CVAN* Metin Erksan, a director with a unique approach to issues and the use of cinema, is one of the most outstanding film directors in Turkish cinema. Erksan, who began his career in cinema in 1952 with the film that was written by Bedri Rahmi Eybolu, Karanlk Dnya, Ak Veyselin Hayat (A Dark World, the Life of Ak Veysel), went on to produce films in various fields, ranging from literary adaptations to melodrama and from romantic comedies to village stories.
In 1964, Metin Erksan won the Golden Bear Award at the Berlin Film Festival for his film Susuz Yaz (The Dry Summer). Even today, there are speculations that the film was snuck into the noMetin Erksan birok filminde ana minations at the Berlin Awards. However, in an intermekn olarak stanbulu kullanmtr. view given in 1985, Metin Erksan spoke about the film:
Yeilam kalplarn kulland filmlerde bile dert edindii meselelere vurgu yapan ynetmen, stanbulu da farkl anlatr. Metin Erksan chosed Istanbul as the main location for many of his films. As a director he emphasized the issues of Turkish cinema in his films, portraying Istanbul in a different light.
There have been various speculations regarding the nomination of Susuz Yaz at the Berlin Film Festival, for example, that it was snuck in. This was not the case; Susuz Yaz was entered into the awards legally, by the invitation of the organizers of the Berlin Film Festival. Erksan who also wrote articles about cinema which support the social views of Kemal Tahir about the trends of National Cinema; he joined with other famous names like Halit Refi, Ltf Akad and Atf Ylmaz. In addition to his most popular films, fr Nebahat
* Writer Metin Erksan bir film ekiminde. / Metin Erksan shooting a film.
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Sinema ve stanbul
Modern bir sanat olan sinemada kentlerin ne kmas tesadf deildir. Sinemada kent, sadece mekn ilevi grmez, ayn zamanda bir sosyo-kltrel imge olarak da filme katk salar. Filmde gsterilen kent ve kentsel temsiller, seyircinin kenti alglamasnda nemli bir rol oynar. Kent ierdii imknlarla sinemaya byk katklar salarken sinema da kentin yeniden biimlenmesine yardmc olur. Sinema kentlerde gelimitir ama seyircinin zihnindeki birok kent imgesi de (Paris, Roma, New York gibi) sinema araclyla yaratlmtr. Yeilam sinemasnda da stanbul merkez bir yere sahiptir. Filmlerin ou stanbulda ekilmekle kalmam, bir imge olarak kent, filmlerin ana mekn, arka fonu olmutur. Trk sinemasnn geliim dnemi olan 1950-1960 yllar arasnda stanbul, filmlerin ana unsurunu, toplumsal ve kltrel balamn oluturur. Asuman Sunere gre bu filmlerde stanbul i mekn ilevi grr. Hikyeler stanbulun iinden, stanbulda yaayan kiiler etrafnda rlr. Kahramanlarn hemen hepsi stanbulludur ve stanbulda yaar. 1960 sonras sinemasnda Anadoludan stanbula g eden kiiler, bu filmlerde ne kmad gibi ikinci dneme ait filmlerde gn simgesi olan Haydarpaa Gar ilk dnemde fazla yer almaz. Kentte yaayan kiiler arasndaki farklar kltrel elerle temsil edilir: Orta ve alt gelir gruplar mahalle hayatn devam ettirir, fakir ama gururlu bir hayat yaar. ehir dndaki veya deniz kenarndaki konaklarda yaayan st gelir gruplar ise yoz hayatlaryla ktl temsil eder. Orta ve alt gelir gruplar daha ok Kasmpaa, Eyp gibi semtlerde, st gelir gruplar Yeniky, Tarabya ve Gztepe gibi semtlerde oturur. Bebek Sahili, Emirgn, Boaz gibi yerlerse hemen btn filmlerde grlr ve masals, romantik bir hava katar. Metin Erksan, birok filminde ana mekn olarak stanbulu kullanmtr. Yeilam kalplarn kulland filmlerde bile dert edindii meselelere vurgu yapan ynetmen, stanbulu da farkl anlatr. Ele alacamz filmde stanbul, artk bir romantik fon olarak ilev grmez. Aksine toplumsal eletirinin mekn olarak gerek ve tekinsiz bir yerdir.
(Chauffeur Nebahat) (1960), Kelolanla Can Kz (1972), he carried out experimental productions like Kadn Hamlet (Lady Hamlet) (1976). Erksans film Sevmek Zaman (Time to Love) (1965) is a masterpiece of Turkish cinema.
Cinema and Istanbul

It is not a coincidence that some cities play an important role in the modern art form of cinema. The cities portrayed in cinema not only act as the setting for the films, they also contribute to the social-cultural images. The cities and urban symbols which are reflected in the films play a significant role in the viewers perception of urbanization. Not only have the opportunities in the cities contributed greatly to cinema, but the cinema has also served to restructure the city. While the cinema has been developed in the cities, it is the cinema that creates their image (for example, Paris, Rome or New York) for the audience. Istanbul is the central point for Turkish cinema. Not only have most Turkish films been shot in Istanbul, but the city has an image in Turkish cinema and has thus acted as a primary location. During the 1950-1960s, the development period of Turkish cinema, the social-cultural context of the city was the main factor for many films. According to Asuman Suner, Istanbul serves as an inner space in these films. The stories are built around individuals who are from or live in Istanbul, and almost all of the main characters both originate from and live in this city. The people who immigrated to the city from Anatolia after 1960 did not take a prominent role in these films, and in parallel with this, the Haydarpaa Railway Station, a symbol of this immigration, did not appear much during this earlier period. Cultural factors were used to represent the differences between those living in the city; the middle and lower classes resided in certain districts of the city, living a meager but proud life. The upper classes, living extravagantly in seafront mansions or large rural estates, represent corruption and evil. The lower and middle classes lived mainly in Kasmpaa or Eyp, while the upper classes lived in areas like Yeniky, Tarabya or Gztepe. The banks of Bebek, Emirgan and the
Ac Hayat: stanbulda Evlenmek

Ac Hayat (1962), ticari baars yannda ele ald meseleyle de ne kar. Yukarda anlan syleide Erksan film iin yle der: Zaten filmde bir allegori de vard. Evlenmek: ev bulmak. Yani bir evin iine girmek demekti. Bir ev bulup iine giremedikleri iin o kzla, o erkek ayrlyorlar ve film oradan itibaren balyordu. Nitekim film bir melodram olsa da toplumsal bir soruna deinir. Kahramanlar, alkn olduumuz gibi yanl anlama yznden deil maddi durumlar elvermediinden ayrlr. Kasmpaa limannda kaynaklk yapan Mehmet (Ayhan Ik), zenginlerin gittii bir kuafrde alan Nerminle (Trkan oray) evlenmek ister. ift iin evlenmek, ev bulmakla ayn anlam tar. Mehmet ev bulmadan Nerminle evlenmeyi kabul etmez. Sokak sokak stanbulu dolaan ift, Trkan oray ve Ayhan Ik Ac Hayat filmini esnasnda. / Trkan oray and Ayhan Ik in a from Bitter Life scene gelirlerine gre bir ev bulamaz. Beendikleri evler pahal, ucuz evlerse gzel deildir. lk sahnelerden birinde iftimizi yeni ina edilmi apartmanlaBosphorus are used as the settings for many Turkish films, and a romantic, fairy rn nnde yrrken grrz. Seyirci de Nermin gibi bu yeni apartmanlara batale atmosphere is thus added to the stories. kacaklarn dnr. Oysa Mehmet ite uras deyince kamera apartmanMetin Erksan chosed Istanbul as the main location for many of his films. As a larn bulunduu tepeden aaya inip gecekondulara odaklanr. Bu kaydrma, director he emphasized the issues of Turkish cinema in his films, portraying Istanstanbulun geirdii dnm de gsterir: Eteklerinde gecekondularn yer albul in a different light. In the three films we will discuss here, Istanbul does not d tepelere yeni apartmanlar dikilmektedir. serve as a romantic setting; on the contrary, it is a location of taboo and reality, nsanlar arasndaki farkn meknsal temsilleri, Ac Hayatta da karmza kar: a place for social criticism. Mehmet ile Nermin ahap evlerde oturur, mahalle hayat yaarlar. Nermini elde Ac Hayat (Bitter Life): Marriage in Istanbul etmek iin peinden koan Ender (Ekrem Bora) ise ailesiyle birlikte Gztepede bir konakta oturur. In addition to commercial success, Ac Hayat (Bitter Life) sheds light on other specific issues. In the interview mentioned above, Erksan talks about the film: Filmde ne kan bir dier yer Kilyostur. st gelir gruplarnn tatil mekn olan There was initially an allegory in the film. Marriage means finding a home and Kilyos filmde ssz ve tekinsiz bir yerdir. Ender, Nermini sarho edip Kilyostaki moving into that home. However, as they were unable to find a home, the young yazla gtrr. Filmin sonunda, zengin olup Niantana tanan Mehmet, couple is forced to live separately, and this is where the film actually begins. Kilyosta ei benzeri bulunmayan bir villa ina eder. Geri dnen Nermine syleAlthough the film is a melodrama, it portrays a social issue. In contrast to the dii szler, akn ifade ettii gibi Kilyosla temsil edilen mekna dnk bir eleusual reasons for separation, the characters in this film do not separate due to a tiriyi de ierir: Bir evin ruhu olmal Byle beton mezarlara lanet olsun! inde misunderstanding; they must separate because their financial situation makes it sen olmadktan sonra neyleyim ben byle evi! impossible for them to get married and live together.
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Metin Erksan Sevmek Zaman filminin oyuncularndan Mfik Kenter ve Sema zcan ve grnt ynetmeni Meng Yein ile birlikte. / Metin Erksan and Meng Yein (director of photography) with the actors of Time for Love Mfik Kenter and Sema zcan.
Sulular Aramzda: Yal ve gecekondu

Sulular Aramzda (1964) yine melodram kalplaryla toplumsal eletiriyi bir arada kullanr. Filmin hikyesi gerek bir olaya dayanr. Yeniky Tarabya hattndaki bir kkten bir kolye alnr. aibeli yollarla zengin olmu bir ailenin gelinine ait kolyeyi satmak iin kuyumcuya giden hrszlar, kolyenin sahte olduunu renirler. Zengin ailenin olu Mmtaz (Ekrem Bora) olay basna ve polise duyurmakla tehdit eden hrszlar ondan para koparmak isterler. Hrszlarla buluan Mmtaz, Yusufu (Hakk Haktan) ldrr ve parayla kolyeyi alr. Hrszn orta Halil (Tamer Yiit) bir yandan polise yakalanmamak bir yandan da Mmtazn kars Demete (Belgin Doruk) gerekleri anlatmak ister. Film melodramatik elere ramen klsik bir Yeilam filmi olmaktan uzaktr. Zaten isminde bir ironi vardr: Hrszlara kt derken kolyenin sahte kmasyla asl sulunun zengin aile olduu anlalr. Kahramanlar ne ok iyi ne de ok ktdr. Halil filmin kahraman da olsa polisten ve Mmtazdan korkar. Mmtaz adam ldrr, eini aldatr, babasn kandrrken bunlar iinde bulunduu cemiyet yznden yaptn syler. Demet, kocas Mmtazdan kurtulmak isterken zenginlikten vazgeemez. Belki filmin en kt karakteri Mmtazn babas Halis Beydir (Atf Kaptan). Gelini ve oluyla konuurken bile kr-zarar hesab yapan Halis Bey Ac Hayattaki Tahsin Beyi hatrlatr. Tahsin Bey de her ii iadam mantyla zmek ister. Filmde meknsal tezat, Tarabya Yeniky hattndaki yallarla hrszlarn yaad Bykderedeki gecekondu mahallesi arasndadr. Filmin bandaki yemekli toplant sahnesinde Halis Bey, servetini kan ve gzyana borlu olduunu anlatrken konuklar Halis Beyin nasl zengin olduu hakknda dedikodu yapar.
Mehmet (Ayhan Ik) is a welder in the docks in Kasmpaa; he wants to marry Nermin (Turkan oray), a young girl who works in a beauty parlor that caters for a wealthy clientele. Marriage for this couple means finding a home to live in. Mehmet refuses to marry Nermin until he finds a home. The couple roam the streets of Istanbul, yet are unable to find a home that is in keeping with their budget. The apartments they like are too expensive, and the ones they can afford are not suitable. In one of the first scenes of the film, we see the couple walking in front of a building that is being constructed, and like Nermin, the audience also assumes that the couple will look at the new apartments. However, when Mehmet says There it is, the camera turns away from the hill where the new apartments are situated, and focuses on the shanty district. This sudden shift of the camera reveals the transformation that is being carried out in Istanbul: New luxury apartments are under construction on the hilltops above the shanty districts. In Ac Hayat we are confronted with the differences of location between the characters: Both Nermin and Mehmet live in wooden houses in a poor neighborhood. Ender (Ekrem Bora), who tries to win the heart of Nermin, lives in a mansion with his family in Gztepe. Another important location in the film is Kilyos. In the film this area is used as a holiday resort for the upper class, an isolated, eerie place. Ender gets Nermin drunk and takes her to his summer house in Kilyos. At the end of the film, Mehmet, who has become wealthy and moved to Nianta, builds a luxurious villa in the same resort. His words to Nermin, who returns to him, expresses his love for her while also included words of criticism for the villa that represents Kilyos: A home must have a spirit To hell with tombs made of cement like this! What is a house like this to me if you are not in it!
Sulular Aramzda (Criminals Among Us): Mansions and ShantyTown

Sulular Aramzda (1964) again employs social criticism within a melodramatic context. The film is based on a true story; a necklace is stolen from a mansion located somewhere between Yeniky and Tarabya. The necklace originally belonged to the daughter-in-law of a family that became wealthy through immoral means; the thieves learn that the necklace is an imitation when they try to sell it. The thieves threaten to tell the police and the media about the fake jewelry, trying to extort money from Mumtaz (Ekrem Bora), the son of the rich family. Mumtaz meets the thieves and kills Yusuf (Hakk Haktan), taking both the necklace and the money. Halil (Tamer Yt), the thiefs partner, while trying to evade the police, wants to explain the truth to Demet (Belgin Doruk), Mumtazs wife. Regardless of the melodramatic elements, the film is far from being a classic Turkish film. In fact, there is a sense of irony in the name of the film: The thieves are the supposed bad characters in the film, however, when the necklace turns out to be fake it becomes clear that the true culprits are in fact the wealthy family. The thieves are neither good nor bad. Even though Halil is the true hero of the film, he is still afraid of both Mumtaz and the police. Mumtaz kills a man, is unfaithful to his wife, and deceives his father; while doing all this he tries to blame his environment. Although Demet wants to leave her husband, she does not want to lose the life of wealth and luxury. The nastiest character of the film is probably Halis Bey (Atf Kaptan), Mumtazs father. Halis Bey, a character that calculates money and profit - even when he speaking to his son and daughter-inlaw - reminds us of Tahsin Bey, the character in Ac Hayat. Tahsin Bey wants to solve everything as a business man.
Sulular Aramzda filminde rol alan Belgin Doruk ile Ekrem Bora ekimler srasnda. / Belgin Doruk and Ekrem Bora during the shooting of Criminals Among Us
Ancak btn bu konumalar fslt halinde gerekleir ve sonunda unutuluverir. Kkteki hayat, Mmtazn metresiyle yaadklar ve filmin sonundaki balkadam partisi st snfn yozluunu gsterir. Yozlamann karsndaysa Halilin yaad Bykderedeki gecekondu mahallesi durur. Yokluk ve sefalet ne kar ama Halilin btn parasn Yusufun dul karsna verdii sahnede olduu gibi iyilik ve yardmseverlik burada geerlidir. Demetin alt yoksullara yardm dernei ise yardm kuruluundan ok zenginlerden para almak iin ilgin partiler dzenleyen bir sosyete dernei gibi gsterilir. Sevmek Zaman: Bykadada Ak Bugn efsane olan Sevmek Zaman (1965), evrildii yllarda ne seyirciden ne de Erksann deyiiyle entelijansiyadan rabet grr. Oysa film, bizim geleneimize zg bir hikye anlatr: Surete k olma. Bykadada bir yaly boyayan Halil (Mfik Kenter), baka bir yalnn duvarnda yer alan resme ktr. Resim yalnn sahibinin kz Merale (Sema zcan) aittir. Bir gn yalya gelen Meral, Halili grr ve tutkusunu fark eder. Halilin akndan etkilenen Meral, gen adam sureti deil, gereini sevmeye ikn etmek ister ama bir sre bunu baaramaz. Halil gerek Merali deil, resmini ister.
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METN ERKSAN FLMLERNDE STANBUL / STANBUL IN METN ERKSAN MOVIES
Doulu anlatnn altnda Erksan toplumsal eletiriden geri kalmaz. Halil ve Meral, o mehur ifadeyle ayr dnyalarn insanlardr. Halil, Meralin suretini severken, Halile k olan Meralin elinde Ovidiusun Sevime Yolu kitab vardr. Baka bir ifadeyle erkek Doulu, kz Batldr. Meral yazlar tatil iin adadayken Halil adaya kn, o da almak iin gider. Meralin babas tpk Tahsin ve Halis Beyler gibi iadam mantyla hareket eden, karlarnn peinde bir babadr. Meralin sevgilisi Baar (Sleyman Tekcan) nceki iki filmde Ekrem Borann izdii yozlam zengin gen adam tipine benzer. Sevmek Zaman, toplumsal eletirileri yannda bir stanbul filmi olarak ne kar. zellikle Bykada filmde nemli bir yer tutar. Zenginlerin tatil yeri olan Bykada, film boyunca yamurlu, kasvetli ve sszdr. Yaz boyunca ortada grnmeyen boyaclar, tamirciler, iiler adaya ancak kn, zenginler yokken gider. Fakat Bykada toplumsal bir eletiriye olduu kadar Halilin ruh haline de uygundur. Meralin suretine k olan Halil, hem Meralden ayr bir dnyada yaar, hem de ada gibi iine kapank ve kasvetlidir.
The location of the film is between the mansions located in Tarabya and Yeniky and the shanty district where the thieves live. In the scenes at the beginning of the film, where Halis Bey is explaining that his wealth is due to hard work, the guests begin to gossip about how he actually became rich. However, this is just gossip between friends, and is eventually forgotten. Life in the mansion, Mumtazs affair with his mistress, and the party at the end of the film portray the degenerate lifestyle of the upper class. The shanty district in Bykdere where Halil lives stands firm against this degenerate alternative. Although poverty and hardship may be prominent, the scene where Halil hands all of his money over to Yusufs widow shows us that this in fact is a place of kindness and generosity. The charity for the poor where Demet works is portrayed rather like a high-society association which organizes interesting parties to take money from the rich.
Sevmek Zaman (Time for Love): Romance on Bykada

During the years when Sevmek Zaman (1965), a classic Turkish film, was made the film was not received well by the audiences or, in Metin Erksans words, by the intelligentsia. Nevertheless, the film does portray a story that is in keeping with Turkish customs. Falling in love with an image Halil (Mfik Kenter) sees painting a mansion on Bykada and falls in love with a portrait that is hanging on the wall of another mansion. The portrait is a picture of Meral (Sema zcan), the daughter of the owner of the mansion. Meral comes to the mansion one day and sees Halil; she notices his passion for the portrait. Meral, influenced by his admiration, wants to convince Halil to fall in love with the real Meral, and not the portrait; however, for some time she is unable to do this. Halil wants the Meral in the portrait, not the real Meral. The social criticism that lies under the Eastern expression is evident. Meral and Halil are, in the clichd phrase, from two different worlds. While Halil is passionately in love with Merals portrait, Meral, who is in love with Halil, picks up Ovidiuss book, The Path to Love. Halil comes from the East, while Meral has a more Western up-bringing. While Meral visits the island during the summer holidays, Halil goes to the island in winter to work. Just like Tahsin and Halis Bey, Merals father also has the logic of a business man; he is a father who pursues self interests. Baar (Sleyman Tekcan), Merals boyfriend, is similar to the stereotype wealthy young man played in the previous two films by Ekrem Bora. In addition to social criticism, the film is important as an Istanbul film. Bykada plays an important role in the film. This island in the Marmara Sea is a holiday resort for the rich; however, throughout the film it is a rainy, overcast and desolate. The painters, builders, and laborers, who are not present on the island during the summer, go there in the winter, when the wealthy residents are absent. However, as well as being a vehicle for social criticism, Bykada is also an appropriate setting for Halils frame of mind. Halil, who is in love with Merals portrait, lives in a world that is totally different to that of Merals; like the island, his world is gloomy and self-enclosed. One of the other locations in the film is the shooting range in Maslak. This shooting range in particular attracts our attention as the setting for where Baar and his friends beat up Halil, who is desperate to see Meral. In other words, the shooting range symbolizes Baars conceit and aggressiveness. Another setting used in the film is the Belgrad Forest. Halil lives in the Belgrad Forest, in a wooden hut with his boss. Halil strolls around the banks of the lake in the forest. The final scenes of the film take place beside the lake. Halil, who learns that Meral is about to get marry, places a manikin with Merals photo on it, dressed in a wedding gown, into a rowing boat; he then begins to stroll around the lake. Halil has now returned to where he was at the beginning of the film. The image of Meral is restricted, like the lake; once again Halil is experiencing the restrictions of his imagination. Soon after, Meral, who has run away from her wedding, appears beside the lake. Meral gets into the rowing boat, throwing the manikin and the image into the lake. In other words, Meral destroys Halils limited, secure world of the imagination, replacing it with reality. However, grief is inevitable with reality: Baar comes searching for Meral and shoots both Meral and Halil. While Erksan destroyed the epical image of Istanbul for the films Ac Hayat and Sulular Aramzda, in Sevmek Zaman he fictionalizes Istanbul as a world of romance. However, in Erksans epical portrayal of Istanbul both the painful truth and social criticism are unavoidable.
Filmde yer alan meknlardan biri de Maslaktaki at poligonudur. Bu poligon zellikle dikkat eker zira Baar ve arkadalar, Merali grmek isteyen Halili burada dverler. Baka bir ifadeyle, poligon Baarn markln ve vahetini temsil eder. Bir dier mekn ise Belgrad ormandr. Halil ile ustas ormanda bir kulbede yaarlar, Halil ormann iindeki gln kysnda dolar. Filmin son sahneleri de glde geer. Meralin evleneceini renen Halil, bir kaya Meralin resmiyle gelinlik giymi bir mankeni koyar ve glde dolamaya balar. Aslnda Halil tekrar baa dnmtr. Meralin sureti gibi gl de snrldr ve Halil yeniden bu snrl hayal dnyasnda yaar. Bir sre sonra nikhtan kaan Meral gl kysna gelir. Kaya binen Meral resimle mankeni gle atar. Baka bir ifadeyle Meral Halilin snrl, gvenli hayal dnyasn kaldrr ve yerine gerei koyar. Oysa gerek iin iine girince ac da kanlmaz olur: Meralin peinden gelen Baar, Halil ve Merali vurur. Erksan, Ac Hayat ve Sulular Aramzda filmlerinde masals stanbul imgesini ykarken Sevmek Zamannda stanbulu bir masal dnyas gibi kurgular. Ancak Erksann masals stanbulu toplumsal eletiriden ve ac gereklerden kanmaz.
Kaynaka / References: Erksan, Metin. Trkiyede Entelijansiya Yok. Syleiyi yapan: Hseyin Snmez-Serhat ztrk. Ve Sinema Kitap 1, 1985. zdamar, Zeynep. stanbulun 1950-1990 Dnemindeki Kentsel Geliiminin Trk Sinemasndaki Temsili. Yaymlanmam yksek lisans tezi. stanbul: stanbul Teknik niversitesi, 2006. Suner, Asuman. Hayalet Ev Yeni Trk Sinemasnda Aidiyet, Kimlik ve Bellek. stanbul: Metis, 2006.
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Sezer Sezin, Erol Ta, Kadir Savun ofr Nebahat filminden bir karede. / Sezer Sezin , Erol Ta, Kadir Savun in a scene from the film.
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TRKYE DYANET VAKFI SLM ANSKLOPEDS

M. Kmil YAAROLU
THE ENCYCLOPEDIA OF ISLAM OF THE RELIGIOUS AFFAIRS FOUNDATION., TURKEY

M. Kmil YAAROLU
TRKYE DYANET VAKFI SLAM ANSKLOPEDS / THE ENCYCLOPEDIA OF ISLAM OF THE RELIGIOUS AFFAIRS FOUNDATION, TURKEY
TRKYE DYANET VAKFI SLM ANSKLOPEDS

Dr. M. Kmil YAAROLU* Trkiyede ve genel olarak slm dnyasnda modern anlamda ansiklopediciliin XIX. yzyl sonlarnda balad sylenebilir. Baz teebbsler henz balang aamasnda sona ererken pek ou da tamamlanamad. Tamamlanabilen birka eserin en nemlileri arasnda Mehmed Sreyya Beyin Sicill-i Osmnsi, emseddin Saminin Kmsl-alm ve Bursal Mehmed Tahirin Osmanl Mellifleri isimli almalar zikredilebilir. Trkiyede ansiklopedicilik faaliyetleri almalar zellikle 1960lardan itibaren hzl bir gelime kaydetti. O dnemden bugne hem genel kltr, hem de zel alanlarda eitli ansiklopediler yaymland. Ne var ki, Mill Eitim Bakanlnn yaymlad slm Ansiklopedisi hari tutulursa, zel olarak slm dini, tarih, corafya, kltr ve medeniyetine dair tamamlanm bir ansiklopediden bahsetmek mmkn deildir. Trk Ansiklopedisi, Meydan Larousse, Ana Britannica gibi ansiklopediler, bir slm ansiklopedisinin zel konular olabilecek birok maddeye yer vermedikleri gibi, aldklar maddeleri de uzmanlk dzeyinde incelemediler. The Encyclopaedia of Islam
THE ENCYCLOPEDIA OF ISLAM OF THE RELIGIOUS AFFAIRS FOUNDATION., TURKEY

Dr. M. Kmil YAAROLU* In Turkey and in the Islamic world in general, the concept of an encyclopedia began to appear at the end of 19th century. Many attempts to compile an encyclopedia were not completed, while others never got past the initial stages. Some of the most important works that were able to be completed are Sicill-i Osmani by Mehmet Sreyya Bey, Kamusl-alam by emsettin Sami and Osmanl Mellifleri by Bursal Mehmet Tahir. From the 1960s on work on encyclopedias rapidly improved in Turkey. From that date until the present day, a large number of encyclopedias have been published, both in general culture and in more specific fields. Nevertheless, there has been no complete encyclopedia concerned with Islamic religion, history, geography, culture and civilization other than the Encyclopedia of Islam, published by the Ministry of Education. Encyclopedias such as the Turkish Encyclopedia, Meydan Larousse or Ana Britannica do not include topics that should be included in an encyclopedia concerned with Islam, while those that do include such topics have not been prepared with expertise.
The Encyclopedia of Islam Dnyada slm konulara dair yaym tamamlanm akademik dzeydeki ilk anThe first complete academic encyclopedia prepared siklopedi msterikler tarafndan hazrlanan The on Islamic topics was The Encyclopedia of Islam, Encyclopaedia of Islam isimli eserdir. Hollandann slm Ansiklopedisi ayn zamanda kamuoyunun which was prepared by Orientalists. It was pubLeiden ehrinde E. I. Brill kurumu tarafndan 1901doru bilgi edinme ihtiyalarn karlamay hedeflished by E. I. Brill as a 5-volume work in Leiden, 1939 yllar arasnda Almanca, Franszca ve ngilizce leyen, din ve sosyal bilimlerde aratrma yapmak between 1901 and 1939 in German, French and olarak 5 cilt halinde yaymlanan bu alma Batda isteyenlerin bavurabilecei ciddi, kapsaml ve kuEnglish. This is the most important produce of Oriarkiyat faaliyetlerinin XX. yzyln banda ortaya atc bir kaynaktr. entalist activities at the beginning of the 20th cenkoyduu en nemli rndr. Ansiklopedi 1960ta tury. Work to complete the second edition began in balanan ikinci bask almalaryla 2002 ylnda on The encyclopedia of Islam is also a source of genethe 1960s and by 2002 the encyclopedia consisted bir cilde ulat. ral knowledge. In addition to religious knowledge, of 11 volumes. it includes a great deal of information about liteThe Encyclopaedia of Islamn gerek madde seirature, philosophy, history, fine arts and social sciIn The Encyclopedia of Islam, the selection and fominde, gerekse seilen maddelerde hangi noktalaences. cus of the articles was determined by the interests ra arlk verilmesi gerektii hususunda, Batl okuof Western readers. Although this encyclopedia is yucularn ilgi ve ihtiyalar gz nne alnmtr. an important resource, it has some drawbacks. For Eser nemli bir kaynak olarak kabul edilmekle birlikte baz kusurlar tamakexample, some topics are of no or little scientific value, as they have not been tadr. Mesela baz nemsiz maddeler ok uzun tutulurken nemli baz maddeprepared by experts. In addition, some trivial topics are given a great deal of ler ksa geilmi, nemli birok kii veya konu hi alnmamtr. Din, milliyet ve attention, while more important topics are only briefly touched upon and many Batclk taassubu, smrgecilik zihniyeti ve nispeten az olmakla birlikte misyoimportant people or topics are not even mentioned. The work has not been prenerlik gayreti gibi ilm objektiflie aykr olan bir yaklamla, ilgili birok maddepared with the necessary academic objectivity, and has a biased approach in de slmiyetin vahye dayal bir din olmad, Kurn- Kermin daha ok hristimatters of religion, nationality, as well as being tainted by imperialism and a yan ve yahudi kaynaklarndan faydalanlarak hazrland, slm felsefesi, tasavmissionary attitude. In many topics the articles are tainted with a Western pervuf, slm hukuku gibi disiplinlerin hibir orijinal yanlarnn bulunmad, bunlaspective, including ideas that Islam is not a religion based on divine revelation, rn da ayn dinlerle eski Yunan ve ran kltrlerinin eseri olduu gr hkim the Quran was prepared according to Christian and Jewish sources, and that klnmak istenmitir. Yanl bilgiler ihtiva eden maddeler arasnda Abdullah b. Islamic philosophy, Sufism and Islamic law are not original, but works of ancient Abbs, dem, Allah, Muhammed zikredilebilir. Greek and Iranian cultures. Among entries containing wrong information are Milli Eitim Bakanl slm Ansiklopedisi 1939 ylnda Maarif Vekili Hasan li Ycelin stanbul niversitesi Rektrlne gnderdii bir yazyla The Encyclopaedia of Islamn Trkeye evrilmesi istendi. Bunun zerine dzenlenen rapordaki prensip kararlarna gre yaplan hazrlklardan sonra Edebiyat Fakltesinin kontrolnde Aralk 1940ta slm Ansiklopedisinin ilk fasikl kt. Yayn almalarnn daha verimli hale getirilmesi amacyla ksa bir sre sonra ansiklopedinin ynetimine Abdlhak Adnan Advar getirildi. Yayn kuruluna da Reit Rahmeti Arat, Sabri Esat Siyavugil, M. erefettin Yaltkaya ye; Besim Darkot, Mkrimin Halil Yinan, Zeki Velidi Togan, Cavit Baysun, Ahmet Ate ve M. Tayyib Gkbilgin yardmc tayin edildi. Balangta ansiklopedinin sadece tercme yoluyla yaymlanmas dnlmse de daha sonra Trkiyeye ait maddelerin yetersizlii ve yanllar dikkate alnarak dzeltme ve ilvelerde bulunulmas, baz maddelerin ise yeniden yazlmas uygun grld. Ansiklopedi on be cilt halinde 1988de tamamland. Bu yaynda Trk dnyasyla ilgili maddelerdeki hata ve eksiklerin giderilmesi amaTDV slm Aratrmalar Merkezi Genel Sekreteri
Abdullah b. Abbs, Adam, Allah, Muhammad
The Ministry of Education and the Encyclopedia of Islam In 1939, the Minister of Education Hasan Ali Ycel sent a letter to the Office of the Rector of Istanbul University, requesting that The Encyclopedia of Islam be translated into Turkish. A commission from the department of literature prepared a report, and after resolutions and preliminary work the first volume of The Encyclopedia of Islam was published in December 1940. To render publishing efforts more effective Abdlhak Adnan Advar was appointed head editor of the encyclopedia The new editorial board was formed by Reit Rahmeti Arat, Sabri Esat Siyavugil, M. erafettin Yaltkaya; Besim Darkot, Mkrimin Halil Yinan, Zeki Velidi Togan, Cavit Baysun, Ahmet Ate and M. Tayyib Gkbilgi. In the first stages it was planned that only translations of the encyclopedia would be published, but later it was decided that some corrections and additions should be made, due to a lack of some subjects and errors concerned with Turkey and a lack of some topics. The encyclopedia was completed in 1988 and
Graduate, General Secretary of ISAM, The Religious Affairs Foundation
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cyla ansiklopedi maddelerinin te biri yeniden yazld. Ancak slm diniyle ilgili maddelerdeki hata ve eksikliklerin ou aynen kald. Ansiklopedinin dilinin ar oluu, okuma hzn engelleyecek ekilde sk sk kaynak gsterilmesi tenkit edilen hususlardan bazlardr. Btn aksaklklarna ramen slm Ansiklopedisi zellikle son ciltlerindeki telif maddeleriyle Trk ve dnya literatrnde nemli bir kaynak olma durumunu korumaktadr. nemli maddeler arasnda Timar, Reisl-kttb, Mehmed II, Knunnme, kt, Trkler, Tarih, stanbul ve Dstr saylabilir. TRKYE DYANET VAKFI SLM ANSKLOPEDS The Encyclopaedia of Islam ve bu ansiklopedinin Trke tercmesinde yer alan slm dini ve kltryle ilgili maddelerin yetersiz oluunu, oryantalistlerin bak asn yanstan yanl hkmler ve temelsiz iddialara yer verilmesini gz nnde bulunduran Trkiye Diyanet Vakf tamam telif bir slm ansiklopedisi yaymlamann lzumuna inanarak ilk adm 1980 ylnda att. Gazeteci yazar Ergun Gzenin ynetiminde slm Ansiklopedisi hazrlklarnn balatlmasna 1980 yl Kasm aynda karar verildi. Ergun Gze ansiklopedi maddelerinin hazrlk almalarn yaklak bir buuk yl yrtt. 1982de yaplan ynetim deiikliinden sonra 1983 ylnda slm Ansiklopedisi Genel Mdrl kuruldu. lk Genel Mdr olarak merhum Ahmet Grta grev yapt. kinci dnem hazrlk almalarna aralarnda Bekir Topalolu, Hayrettin Karaman, M. Yaar Kandemir, M. Saim Yepremin de bulunduu ilim adamlar katk salad. Bu arada o srada Pariste ikamet eden merhum Prof. Dr. Muhammed Hamidullah da ansiklopedi almalarna katlmak zere davet edildi ancak bu mmkn olmad. Be yl kadar sren yeni dnem hazrlk almalar srasnda ilm ve idar birimlerin kuruluu tamamland. Ansiklopedinin mahiyeti ve madde tespiti almalar yapld. Hazrlk dneminde ktphane ve dokmantasyon merkezi oluturulmaya baland. Bu alma sayesinde SAM (Trkiye Diyanet Vakf slm Aratrmalar Merkezi) bnyesinde 400 bine yakn kitap ve dergiyle sosyal bilimler alannda zengin bir ktphane meydana geldi. Bu ktphanedeki veri tabanlar zerinden Trkiyede yazma eser bulunduran ktphanelerin nemli blmnn kataloglarna ulamak mmkndr. 1986 ylnda ansiklopedinin deneme amal fasikl karld ve Trkiyedeki akademik evrelere datld. lim adamlarnn grleri alndktan sonra ansiklopedinin ilk fasikl 1988 ylnda yaymland. Halen 50 bine yakn abonesi bulunmaktadr. Nasl Bir Ansiklopedi? TDV slm Ansiklopedisi, tercme deil telif bir eserdir. Madde listesi herhangi bir ansiklopediden kopya edilmeyip yaklak 500 temel kaynan taranmas suretiyle dzenlenmitir. Bu liste 17.000 maddeden olumaktadr. Maddelerin hacimleri konularna gre farkllk gstermektedir. 1-2 sayfalk maddeler olduu gibi 80 sayfalk maddeler de bulunmaktadr. Maddelerle ilgili geni bir grnt arivi tesis edilmitir. Ayrca ktphane bnyesindeki dokmantasyon biriminde her madde ile ilgili bir bibliyografya dosyas oluturulmutur. lgili kitap, dergi vb. yaynlarn kapak sayfalar bu dosyalarda arivlenmekte ve hem madde yazarlarnn hem de dier aratrmaclarn istifadesine sunulmaktadr. Ansiklopedi, slm ilimlerle slm-Trk kltr ve medeniyetine ait kavramlar, sahalarnda eser vermi bilginleri, gemi slm devletleri ve yneticilerini, nemli tarih olaylar, din ve sosyal hayatta etkili olan akmlar, tarih, ilm ve kltrel messeseleri, nemli yerleim merkezlerini, dier byk dinleri, mslman olmad halde slm dini, kltr ve medeniyeti ile ilgisi bulunan ahsiyetleri madde dizinine dahil etmitir. Ansiklopedi bnyesinde slm ilimlerin her biri iin ayr ilim heyetleri kurulmutur. Bu heyetler, Arap Dili ve Edebiyat, Dinler Tarihi, Fars Dili ve Edebiyat, Fkh, Hadis, limler Tarihi, slm Dncesi ve Ahlk, Hat, Mimar, Msiki, slm Tarihi ve Medeniyeti, slm lkeleri Corafyas, Kelm ve Mezhepler Tarihi, Tasavvuf, Tefsir, Trk Dili ve Edebiyat, Trk Tarihi ve Medeniyeti eklinde isimlendirilmektedir. slm Ansiklopedisi sadece din bilgiler ansiklopedisi olmayp genel bir bilgi kayna niteliindedir. Dini bilgilerin yannda edebiyattan felsefeye, tarihten gzel sanatlara kadar sosyal bilimler alanndaki birok bilgiyi bulmak mmkndr. slm Ansiklopedisi ayn zamanda kamuoyunun doru bilgi edinme ihtiyalarn karlamay hedefleyen, din ve sosyal bilimlerde aratrma yapmak isteyen-
consisted of 15 volumes. In this first Turkish edition one-third of the topics in the encyclopedia were rewritten in order to correct the errors and parts that were lacking. However, many errors still existed, and many topics concerned with Islam were still lacking. The work was also criticized because of its literary language being too complex to read, and its too many quotations to render reading uncomfortable. despite all its shortcomings, Encyclopedia of Islam, especially with entries originally written in its latter volumes, is an important source of information in Turkish and world literature. Among its important entries are Timar (Ottoman rule of agriculture), Reisl-kttb (Minister of Foreign Affairs), Mehmed II, Knunnme (Law Codex), kt (Ottoman rule of agriculture), Trkler (the Turks), Tarih (History), stanbul and Dstr (Principle). THE TURKISH RELIGIOUS AFFAIRS DEPT. AND THE ENCYCLOPEDIA OF ISLAM As the articles concerned with Islam and Islamic culture included in The Encyclopedia of Islam and its Turkish translation were insufficient, and as it included incorrect information and claims reflecting the Orientalists perspective, the Religious Affairs Dept. carried out a preliminary work in 1980; as a result they arrived at the conclusion that it was necessary to publish an entire Islamic Encyclopedia concerned with Islam and Islamic culture. Headed by Ergun Goze, journalist and writer, preparations started November 1980. Ergun Goze carried out the preparatory work for one and a half year. 1982, editorial management changed, and in 1983 the General Management of Encyclopedia of Islam was formed. Ahmet Gurtas was the first General Manager. Then came the 2nd preparatory phase, where academicians like Bekir Topalolu, Hayrettin Karaman, M. Yaar Kandemir, M. Saim Yeprem contributed . Mohammad Hamidullah, then living in Paris, was invited to contribute; but he couldnt come. During the second preparatory studies, which continued for 5 years, the academic and administrative units were established, and the nature of the encyclopedia was determined. Some studies were made to determine the topics. In addition to this, a library and a documentation center were constituted during this period. As a result, an expansive library, including nearly 400,000 books and periodicals concerned with social sciences, was established as part of ISAM (the Turkish Directorate of Religion, Islamic Research Center). The databases of this library help us access catalogs of manuscript libraries in Turkey. In 1986 a sample volume of the encyclopedia was prepared and distributed to different academic institutions throughout Turkey. After a survey of academics, the first fascicle of the encyclopedia was published in 1988. It has a subscribers list of 50.000 today. What type of encyclopedia? The Islamic Encyclopedia of the Turkish Directorate of Religion is not a translation, but rather a compilation work. The topic list was determined by thoroughly researching 500 basic resources rather than merely copying another encyclopedia. This list included 17,000 topics. The entries vary in length according to their topics. There are entries 1 or 2 pages long, as well as entries 80 pages long. A broad visual material archive is launched. The documentation unit in the library has bibliography files for every single topic. Cover pages of related books, periodicals and the like are archived for further use by the writing staff as well as other researchers. The topic index of the encyclopedia consisted of aspects of Islamic knowledge, Islamic-Turkish culture and civilization, scholars who had written works in these fields, ancient Islamic states and their administrators, important historical events, important movements in religious and social life, historical, scientific and cultural institutions, some important population centers, other important religions, and non-Muslim people who have some connection with Islam, its culture or civilization. Within the body of the encyclopedia, separate academic commissions were set up for every aspect of Islamic knowledge. These commissions include the following; Arabic language and literature, the history of religions, Persian language and literature, Islamic law, hadiths, the history of sciences, Islamic thoughts and morals, calligraphy, architecture, music, Islamic history and civilization, the geography of Islamic countries, the history of Islamic theology and sects, Sufism, commentary on the Quran, Turkish language and literature, and Turkish history and civilization.
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TRKYE DYANET VAKFI SLAM ANSKLOPEDS / THE ENCYCLOPEDIA OF ISLAM OF THE RELIGIOUS AFFAIRS FOUNDATION, TURKEY
lerin bavurabilecei ciddi, kapsaml ve kuatc bir kaynaktr. Ansiklopedide titizlikle uygulanmaya allan temel ilke, btn maddelerin gvenilir kaynaklara dayanmas ve doru bilgiler ihtiva etmesidir. Bu ilkeden taviz vermemek artyla konular ilm ller iinde ok fazla ayrntya girmeden ilenmeye allmakta, kltr seviyesi farkl insanlarn bilgi edinme ihtiyalar maddelerin yazm srasnda gz nnde tutulmaktadr. slm Ansiklopedisinde yer alacak konularn slm adan ve ilm ller iinde incelenmesine zellikle dikkat edilmekte, benzer kaynaklarda bu baka ve ilm tarafszla ters den deerlendirme ve yanllarn dzeltilmesine allmaktadr. Ansiklopedi her alt ayda bir cilt olarak neredilmektedir. Halihazrda ansiklopedinin 39. cildi matbaa aamasnda olup, 40. cildin telifi tamamlanmtr. 41. cildin hazrlklar ise devam etmektedir. 42-43 ciltte tamamlanmas planlanan ansiklopedinin Arapa ve ngilizceye tercmesiyle ilgili hazrlk almalar devam etmektedir. slm Ansiklopedisi Nasl Hazrlanyor? Ansiklopedi maddelerini yazacak olan mellifleri tespit amacyla SAM bnyesinde oluturulan veri tabannda ilgili konularda uzman olan akademisyenlerin uzmanlk alanlar ve yaptklar almalar belirlenmitir. Her madde yurt iinden veya dndan konunun uzmanlarna sipari edilmektedir. Ansiklopedi maddelerinin sipariinde snrl bir mellif kadrosuna bal kalnmam, gerek yurt iinde, gerek yurt dnda kendilerine ulalabilen ilgili btn ilim adamlarndan istifade edilmeye allmtr. Ansiklopediye bir ksm yurt dndan olmak zere, konusunda uzman 2.000den fazla yazar katk salamaktadr. Ansiklopedinin yazarlar kadrosu, esas itibariyle Trkiye niversitelerinin ilgili bilim dallarna mensup uzmanlardr. Dolaysyla bu ansiklopedi, ilm bakmdan Trk niversite camiasnn eseridir. Merkez ilim heyetleri yeleri listesinde yer alan isimler ise telif almalar yannda, madde listesinin tespiti, maddelerin melliflere siparii, takibi, redaksiyona tbi tutulmas gibi ansiklopedinin dier ilerine katkda bulunan ilim adamlardr. Sipari edilen madde geldiinde ncelikle ilgili ilim heyeti bakan tarafndan ilk incelemeye tabi tutulmaktadr. Gerekli grld takdirde maddenin ansiklopedide yer alacak ekle gelmesi iin merkez ilim heyeti yeleri tarafndan ilmi redaksiyon yoluyla zenginletirilmektedir. Teknik redaksiyon ve kontrol aamasnda ise madde metnindeki ayetlerin, hadislerin anlamlarnn doru verilip verilmedii, kaynaklarnn doru gsterilip gsterilmedii, bibliyografyada yer alan eserlerle ilgili bilgiler kontrol edilmektedir. Bu sreteki nemli safhalardan biri de i kontrol safhasdr. Her maddede yer alan bilgiler daha nce yaynlanm maddelerdeki bilgilerle karlatrlmakta, ahs, devlet, ehir, kitap isimlerinin ve ilmi terimlerin, ahslarn doum ve lm, devletlerin kurulu ve sona eri tarihlerinin, nceki maddelerde yer alan bilgilerle ayn olup olmad kontrol edilmektedir. Daha sonra maddenin imla asndan kontrol yaplarak imla birlii salanmaktadr. Madde son olarak ilim heyeti bakannn kontrolne sunulur. Onun onayndan getikten sonra yayn mdrlne teslim edilir. Bir madde yazar tarafndan teslim edildikten sonra son eklini alp yayn mdrlne teslim edilme aamasna kadar 18 ila 20 basamaktan gemektedir. Trkiye Diyanet Vakf slm Ansiklopedisi, slm kltr ve medeniyetiyle ilgili olarak hazrlanan ve tamamlanmaya yaklaan, slm dnyasndaki tek rnek durumundadr. Ansiklopedinin bir dier zellii yaymlanmaya balad dnemdeki durumuyla bir mektep zellii tamasdr. Zira be yl kadar devam eden hazrlk ve daha sonraki telif ve redaksiyon almalar srasnda, btn kademelerdeki yetkili ve sorumlular ansiklopedicilik alannda hem kendilerini yetitirmeye hem de dier elemanlarn yetimelerini salamaya gayret gstermilerdir. Bu bakmdan slm Ansiklopedisi, Trkiyede zellikle slm ilimler sahasnda alanlar arasnda gerek bilgi gerek teknik ve uygulama bakmndan ansiklopedicilikte uzmanlam bir kadronun yetimesini ve yaygnlamasn salama ynnde de hizmet vermitir. Ansiklopedi maddelerinin nemli blm akademisyenler tarafndan referans olarak kullanlmaktadr. kinci bask iin gerekli kontroller ve dzeltmeler gncel olarak yaplmaktadr.
The encyclopedia of Islam is not just an encyclopedia of religious knowledge; it is also a source of general knowledge. In addition to religious knowledge, it includes a great deal of information about literature, philosophy, history, fine arts and social sciences. The encyclopedia of Islam is a serious, comprehensive and wide-scoped resource for people who are researching religious and social sciences. The encyclopedia aims to meet the needs of the public by delivering accurate knowledge. The overriding principle, carried out meticulously in the encyclopedia, is that all topics should depend on reliable resources and contain accurate knowledge. Without comprising this principle, all subjects are dealt with academically and without going into excess detail. The fact that people from a variety of cultural levels require knowledge is taken into consideration when writing up the topics. It should also be noted that the topics that are included in the Encyclopedia of Islam are dealt with from an Islamic aspect and an academic approach. The errors and approaches that are opposed to such an approach are being rectified. Every six months one volume of the Encyclopedia is issued. At the present time, the 39th Volume is being printed, while the 40th volume is being written. The preparations for the 41st volume are continuing. It is planned that the Encyclopedia will consist of 42 or 43 volumes. The preparations for Arabic and English translations are also continuing. HOW IS THE ENCYCLOPEDIA OF ISLAM PREPARED? A database has been formed within ISAM to determine which authors will write the topics that are included in the encyclopedia. The areas of expertise and the research that has been carried out by academics who are experts in their related fields are identified. Each topic is sent to experts, both abroad and in Turkey. The authors for the articles are not limited to the in-house writing staff. Attempts to benefit from all academics concerned with the related field, both in Turkey and abroad, are made. More than 2,000 authors, some from abroad, who are experts in their fields, have contributed to the encyclopedia. The writing staff of the encyclopedia mainly consists of academics from different universities in Turkey. Thus, it could be said that this encyclopedia is the academic product of the Turkish university community. The members of the central academic board also contribute to some other tasks in the compilation of the encyclopedia, such as, compilation studies, determination of the topic lists, requesting topics from authors, follow-up and editing. When the requested topic is received, it is first submitted to a careful examination by the relevant member of the academic board; it is then edited if necessary, being enriched and then included in the encyclopedia. In the technical editing process, the article is checked for accuracy of the Quranic verses and hadiths, as well as the references and bibliographic information. One of the most important phases in this process is the internal control phase. All the information in every topic is compared with the information in topics that have already been published. The names of people, regions, cities, books and scientific terms, as well as dates of births and deaths, dates of the establishment and collapse of states are all controlled to ensure consistency throughout the encyclopedia. After this, the topics are checked to ensure uniform spelling throughout the encyclopedia. Finally, the article is presented to the head of the academic board. After being approved, the article is handed over to the publishing department. All in all, each topic undergoes 18 to 20 steps until being given to the publishing office in the final version. The Encyclopedia of Islam of the Turkish Directorate of Religion, which is prepared on Islamic culture and civilization and is unique in the Islamic world, is now reaching completion. Another characteristic of the encyclopedia is that due to its unique position in the early years it formed a kind of school. Since the preliminary study, compilation and editing lasted for 5 years, the people and authorities involved did their utmost to educate themselves and other staff. Thus, the Encyclopedia of Islam has served to train experts in encyclopedic research in terms of knowledge, method and its application in Turkey in the field of Islamic sciences. Many topics in the Encyclopedia are quoted by academicians. Updating for the second edition is in progress nowadays.
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STANBULUN EN GZEL EVLER

Elif ENGN
THE UNIQUE HOUSES OF STANBUL

Elif ENGN
STANBULUN EN GZEL EVLER / THE UNIQUE HOUSES OF STANBUL
STANBULUN EN GZEL EVLER

Elif ENGN* Evler. stanbulun her yerinde ama bazlar bizler iin ok zel. Ailemizin, sevdiimizin, dostlarmzn ve zamann esiri varlklar olduumuzdan hi yz yze buluamadmz ruh kardelerimizin evleri. Bizi bambaka yerlere zamanlara dlere gtren yazarlarmzn mze evleri. Her okuyucunun zlemi deil midir sevilen, hayranlk duyulan yazarn sofrasnda oturup onunla hayat ve insana dair eyleri konuabilmek, evindeki kitap ve ttn kokusunu iine ekebilmek. Yznn mimiklerini, kahkahasn duyabilmek. Durmakszn iki kii arasndaki derin ruh bayla sarmalandn hissetmek. Artk yaamyorlar. Peki ama kitaplar iinde yaayp ldkleri evleri. O evler ki stanbulun drt bir yanna salm. Sadece girip grmek o olaand kitaplklara bakabilmek. Sevenleri ve aileleri tarafndan byk zverilerle korunan, her gelen okuyucuyu beklenen bir dost gibi glmseyerek karlayan mze evler. Ku yuvasnda dinlenen aslan
THE UNIQUE HOUSES OF STANBUL

Elif ENGN* Housesthey are everywhere in Istanbul, but some are very special for us. The houses of our families, our loved ones, our friends, houses from the past, houses of the soul mates whom we never came met...the houses of authors which have been transformed into museums take us to another place, another time, transporting us to our dreams. Is it not every readers dream to sit with the author they love and admire, to sit down and eat with them, to talk about life and all matters connected to humanity with them, to be able to inhale the scent of their books and their pipe? To see the expressions on their face, to hear their laughter? To feel the deep connection of soul, without hesitation, that occurs between two people? They are no longer alive; but what about the houses that lived and died in their books? Those houses are spread over all four corners of Istanbul. If only we could go in and look at those extraordinary bookshelves With the Museum Houses that are waiting, smiling, like a friend for every reader, protecting with great care the beloved and the families there, we can. Lions Resting in a Birds Nest Think of a houseevery corner is decorated, the place of every stone has been considered carefully. When one looks from this house, every attraction of Istanbul is spread out before you. Let the doors of the house of our great poet Tevfik Fikret, which he created with the masters, which were closed in 1906, be opened once again! Ah Aiyan! When we visit Aiyan, which Tevfik Fikret decorated, designed during his seclusion, the same Tevfik Fikret who said: Art should not change nature, it should
Bir ev dnn her bir kesi ilmik ilmik ilenmi, her bir tann duraca yer stne dnlm olsun. Oradan baknca stanbul btn gzellii ile karnzda sere serpe uzanm olsun. Sevenleri ve aileleri tarafndan byk En sonunda 1906 ylnda ustalarla birlikte alarak ter zverilerle korunan, her gelen okuyucuyu dken byk airimiz Tevfik Fikrete kaplarn am beklenen bir dost gibi glmseyerek olsun. Ah Aiyan.. Aiyan ziyaretinizde Sanat doay deitirmemeli onu tamamlamal diyen Tevfik Fikretin inzivaya ekilmek iin izdii, dekore ettii bu evde O nun resme olan tutkusunu apak greceksiniz. Eski stanbul zevkinin zarif mobilyalarn, kendisine edebiyat sevgisini alayan retmeni Recaizade Mahmut Ekremin portresini. lmnden seneler sonra retmenlik yapt
* Yazar
karlayan mze evler.
With the Museum Houses that are waiting, smiling, like a friend for every reader, protecting with great care the beloved and the families there, we can.
* Writer
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Boazii niversitesinin mahzeninde bulunmu ve evine nakledilmi yaz masas, kitaplar, iirlerini ya da ders notlarn hazrlad yaz takmlarn ve nl Sis iirine ithafen Sultan Abdlmecid tarafndan yaplm ayn isimli tabloyu hatta Mihri Hanm tarafndan alnm Fikret Maskn grebilirsiniz. 19. yzyl Osmanl aydnlarnn iine dt karamsarlktan, zgrlk ve devrimci ruhuyla syrlan Tevfik Fikret daha iyi bir gelecein sadece dn kurmakla kalmad o dn tohumunu da ekti. Gerek ocuklara ynelik ilk kitap olan ermini yazarak gerekse mdr olduu Sultan Mektebine (Galatasaray Lisesi) yaplan saldrya okulun kapsnda tek bana dikilip Buray ykmak iin nce beni ykmalsnz deyip meydan okumasyla efsane haline gelen eitimciliiyle gelecei yetitirdi. Modern pedagoji temellerine uygun eitim veren bir okul kurma hayalini hayata geiremeden len Tevfik Fikret adalarndan sadece sanatyla deil ilham veren dnce ve davranlaryla da sonraki nesillerin kalbinde yer etti. Bu etkinin en gzel rnei kukusuz Mustafa Kemal Atatrkn Ben inklap ruhunun en hakikisini Fikretten aldm szlerindedir.
complete it then we can see the passion that he felt. You can see the elegant furniture of old Istanbul, the portrait of Recaizade Mahmut Ekrem, his teacher who inoculated him with a passion for literature, the writing table, the books, poems and the pen set with which he prepared his notes; these were all found years after his death in the cellars of Bosphorus University, where he taught. They were then brought to this house; here too is the painting, executed by Sultan Ablmecid, called Sis (Fog), to which Tevfik Fikret dedicated the poem of the same name. Shedding off the pessimism into which the 19th century intellectuals had fallen with a soul of freedom and revolution, Tevfik Fikret not only dreamed of a better future; he planted that seed. He trained future generations with both his first book, which he wrote for children, ermin, and his legendary standing as an educationalist, gained when, as head master, he placed himself in front of the Sultan Mektebi (Galatasaray High School) and said to those rushing the gates If you want to pull this school down, you must pull me down first!
Aiyan, Tevfik Fikretin Mze Evi. / Aiyan, Tevfik Fikrets house as a museum.
Doaya olan sevgisini hissetmek, mimari zevkini ve resim tutkusunu grmek, gzellie ve akla olan balln duyumsamak isteyen herkesin, iinde ruh btnl bulabilecei bu ev iin airin lmeden ksa bir sre nce sylediklerinden baka ne denebilir ki, Yine beklerim. Aiyan benim deil sizin. Orasn unutmayn.
Adres: Aiyan Yokuu, Bebek Mahallesi - Beikta, Telefon: (212) 263 69 86
Tevfik Fikret, who died before realizing his dream of establishing a school that would provide an education in keeping with pedagogical fundamentals, made a place for himself in the hearts of future generations not only with his art, but also with his inspiring thoughts and behavior. The most beautiful example of this is without a doubt Mustafa Kemal Atatrks words: I took the most authentic soul of reform from Fikret. About this house, for everyone who wants to feel a love of nature, to see a keen interest in architecture and a passion for painting, for everyone who wants to hear affection for beauty and to discover a mind in which the unification of the soul can be found, we only repeat that which the poet uttered shortly before he died: Come again. Aiyan is not mine; it is yours. Do not forget her.
Address: Aiyan Hill, Bebek - Beikta, Telephone: (212) 263 6986
Devlet Anann yorgunluk bilmeyen avas Kitaplnzdaki bir kitap iin 12 yl hapis yatsanz ne hissederdiniz? Yoksa toplam kitap saynz dnp rahatlar mydnz ? stne stlk hapisten knca Nazm Hikmet tarafndan Trk edebiyatnn en gzel drt hikayesi olarak tanmlanan Gl nsanlarn yazabilmek. Tek bir deneme yazsn beenmeyip, otuzu akn taslak hazrlayan Kemal Tahir, 1931 ylnda tihat dergisinde yaynlanan iirleriyle edebiyata ilk admn att. lnceye kadar sadece kalemiyle hayatn kazanan bir yazar olarak Kemal Tahirin, bir dnem evirdii Mike Hammerin yazar Mickey Spillane yazmaya ara verdiinde seriye kendisinin devam ettii yle ki bu yazlarn orjinalinden daha nitelikli olduu ve daha byk beeni toplad hep anlatlr. Evini ziyaret ettiinizde sadece yaklak dokuz bine ulaan kitabn olduu etkileyici kitapln deil hemen nnde duran geni yaz masasn tam da brakt gibi bakt notlar, yirmi iki nisan gnnn ilerinin yazl olduu ajandasyla birlikte grebileceksiniz. Ayn zamanda sevilen ve kendisini yazmas ynnde destekleyen bir dostunun, Nazm Hikmetin Oliver marka daktilosunu, ekmecelerinde ise karlkl yazdklar mektuplarnnda koyduu ekilde korunduunu bilmelisiniz.
The Untiring Warrior of Devlet Ana What would you feel if you went to prison for 12 years merely for a book that sat on your bookshelf? Is it a relief when you consider the total number of books you own? To be able to leave prison and then write Gl nsanlar, described by Nazm Hikmet as the most beautiful story in Turkish literature. Kemal Tahir, who did not just scribble a story, satisfied with what was on the page, but rather prepared over thirty drafts, took his first steps into literature with the poems that were published in tihat in 1931. Kemal Tahir earned his livelihood as an author, his sole occupation being working with his pen until his death; at one point he translated Mike Hammer but when the author, Mickey Spillane, took a break from writing, Kemal Tahir continued the series himself. It is widely recognized that these texts were of better quality than the original and were more popular.
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Bir insann evi, onun kalesidir. diyenlerdenseniz, Kemal Tahirin kalesinin duvarlar kitaplarndan, harc ise insan utandran mtevazlndan geldiini anlayacaksnz. Kanepesinde otururken, size mehur kaln erveli gzlklerinin stnden baktn ve piposunun kokusuyla zihninizin kendi sesini duyabilecei bir sakinlikle kaplandn hissedeceksiniz. Btn bu sakinliin iindeyken nasl olur da edebiyatlar ve aratrmaclar hatta farkl siyasi grteki pek ok kii tarafndan Kemal Tahirin nasl bu kadar tartldn anlayamayacaksnz. Sonra Asya Tipi retim Tarz, Tmar, Batl insanla doulu insan kelimeleri aklnza gelince glmseyip nce kitaplktan bir kitap semenin daha iyi olacana karar vereceksiniz. Kimbilir kitap falnzda ansnza Karl A.Wittfogelin Oriental Despotizm: A Comparative study of total power veya Abdl-Malekin IEgpyte, Societe Militaire denk gelebilir.
Adres: aknbakkal Alan Sokak Alan Apt Kadky Telefon: (0216) 355 56 92
When visiting his house, it is not just his library, which consists of nearly nine thousand books; you can see the wide desk just as he left it, the notes, the diary with the tasks for the twenty-second of April. At the same time, realize that the Oliver typewriter belonged to Nazm Hikmet - his beloved friend who supported him when writing; you can find the correspondence between the two in the drawers. A mans home is his castle they say; the walls of Kemal Tahirs castle consist of books; the humility of this house puts one to shame. While sitting on the couch you will feel for a moment that he is looking over the famous thick-framed glasses at you and the smell of his pipe and the sound of his voice permeate your mind. Within all this tranquility you will not be able to understand how it was that so many people, including literati and researchers, even people with different political views, argued so much about Kemal Tahir. Then, when you remember the arguments about Asya Tipi retim Tarz, (Asia Type Production Style), Tmar (service, grooming) or Batl insanla doulu insan (Western Person vs. Eastern Person) you will laugh, thinking it would be better to select a book from the shelves. Perhaps by luck you will come upon Karl A. Wittfogels Oriental Despotism: A Comparative Study of Total Power or Abdl-Malek LEgypte, Societe Militaire.
Kemal Tahirin mzeye dntrlen evi. / Kemal Tahirs house as a museum.
Baba Evi ile Hanmn iftlii arasndaki yolda dinlenen ruh Tm dnyada yazabilen insanlar var ama ka tanesi iyi bir yazar? Peki bu iyi yazarlarn ka tanesi gerek bir yazar? Hem de iinde dpedz insan sevgisi ve insanlk iin umudu olan cinsten. Ne anslyz ki Orhan Kemal gibi bir insan, bir yetenek bizim paymza dm. Henz onbe yandayken, tandklari Suriyede balad alma hayatna nce bulaklk ve matbaa iilii daha sonra Adanada rr fabrikalarnda iilik, ktiplik, amelelik ve hamallk yaparak ondokuz yl boyunca durmakszn devam etti. Evet bir yandan alt; bir yandan yazd; bir yandan da ailesine bakt. ou insann sadece fiziksel deil, ruhsal olarakta tketecek bu yaam temposunda, sevecenlik ve umut tayan ama gereklerede gzn krpmadan bakan yirmiyedi roman ve onyedi yk yazd. Orhan Kemalin evini gezdiinizde ise pek ok kitabn yansra dostlaryla ve ailesiyle dolu dolu geen bir hayatnda fotoraflarn grebileceksiniz. Koridorlarnda ocuklarnn dolat, komularn geldii, srekli canl ve scak bir evde olduunuzu ayrmsyacak yatann, dolabnn, alma masasnn sadelii iinize ileyecek. Sadece yazarak yaama kararn almann, bir yazar olarak ne kadar mutluluk verici ama bir baba, bir e ve bir insan olarak ne kadar zor olabileceini de anlayacaksnz. Yaad tm maddi ve manevi zorluklara ramen nandm dorularn adam oldum. Byle yaadm, karnca kararnca bu dorularn savan daha ok sanatmda yapmaya altm. Kursama hakkm olmayan bir tek kuru dahi girmemitir. demenin herkesin harc olmad iinize yer edecek. Orhan Kemalin pek ok yabanc dile evrilmi eserlerini grnce gsnzn kabarmasn engelleyemediinizi de farkedebilirsiniz.
Address: aknbakkal Alan Street, Alan Apt Kadky Telephone: (0216) 355 56 92
The Soul that Rests on the Road between Baba Evi and Hanmn iftlii
All over the world there are people who can write; but how many can write well? And how many of those who can write well are truly authors? And how many are authors full of honest love and hope for humanity? How fortunate we are that a person like Orhan Kemal belongs to us. While only 15 years old, when his family had moved to Syria, Orhan Kemal started his working life; first as a dishwasher and then in printing. Later, he worked in a ginnery in Adana, as well as a secretary, a laborer and a porter, continuing in this fashion for nineteen years. Yes, he worked, wrote and looked after his family, all at the same time. During a life lived at such a tempo, one in which many people will become exhausted not only physically, but also spiritually, he wrote twenty-two novels and seventeen stories, full of love and hope, but always aware of reality.
Kemal Tahir
When you visit Orhan Kemals house, alongside the many books you can see photographs of the friends and family who played a part in his very full life. Contrasting with the children running around, the neighbors paying a call in this constantly lively and warm house is the simplicity of his bed, cupboard and desk. You will be able to understand when Mzenin duvarlarnda asl duran, pek sevgili doshe took the decision to earn his living solely as an tu, iiri brakp roman ve yk yazmasnda en byk author, although he provided the readers with so Kemal Tahirin mzeye dntrlen evi. / Kemal Tahirs house etken olan Nazm Hikmetle olan mektuplarn okuyaas a museum. much happiness, how difficult it was for him as a fabilir ve hatta askerliini yaparken kitaplarn okuduu ther, husband and human being. Despite all the finaniin be yl hapis cezas ald Nazm Hikmetle cezaevinde tanp dost olduklacial and spiritual difficulties he experienced he said I became a man who conrn renince u hayatn cilvesi karsnda yznzde tuhaf bir tebessmle kafirmed what he believed. I lived thus, and even if not to a great extent, I tried to labilirsiniz. carry out this battle for the truth in my art. Nothing that I did earn has passed
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Kemal Tahirin mzeye dntrlen evi. / Kemal Tahirs house as a museum.
through my lips; this is something that will affect all those who have been in similar positions. The fact that Orhan Kemals has been translated into a number of foreign languages is something that will make you swell with pride. You can read the letters from Nazm Hikmet, his beloved friend, which hang on the wall; the latter was the greatest influence in Orhan Kemals abandoning poetry and turning to novels and short stories. When you learn that Orhan Kemal and Nazm Hikmet became friends during the five years the former served in prison, punished for reading while completing his military service, you will smile in a sad, strange way at the twists of life.
Address: Akarsu Avenue, No:32 Cihangir Taksim Telephone: (0212) 292 92 45 (0212) 292 12 13 STANBUL ORHAN KEMAL L HALK KTPHANES (Istanbul Orhan Kemal Public Library)
Ordu Avenue. No. 33 Beyazt- Istanbul
Adres: Akarsu Caddesi No:32 Cihangir Taksim - Telefon: (0212) 292 92 45 - (0212) 292 12 13 STANBUL ORHAN KEMAL L HALK KTPHANES Ordu Cad. No.33 Beyazt-stanbul
Orhan Kemalin Mze Evi. /Orhan Kemals house as a museum.
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Narmanl Han - Ryalarn ve kayp giden anlarn sesi Tanpnar

1831de Giuseppe Fossati, Rus elilii tamamlanana kadar hem elilik binas hem de Rus mahkumlar iin hapishane olarak kullanlmak zere, stanbuldaki dier almalarnn da ilki olma zellii tayan binasn gururla tamamlar. htimaller ierisindedir ki, Bay Fossati buray ina ederken insanlarn iinde aclara hapis olmadlarsa, huzur ve dostluk bulabilecekleri ve kendi arzularyla geldikleri bir yer olmasn dilemi olsun. phesiz Bay Fossatinin dileklerini tmyle ve tam olarak bilemeyiz ama insan kendine eken bu yerin umutsuzlar, sulular ya da tccarlarla dolu olmasna gnl raz gelmeyen Avni ve Stk Narmanl kardeler, ilerindeki sanat sevgisinin verdii gle, binann ilesine son verirler. nce bir isim koyup binaya hayat verirler; sonrada sekin bir zevk. Narmanl Yurdu olmutur yeni ad ve zellikle sanatlara kiralanacaktr odalar.. Narmanl Yurdu, hemen tanmak istediklerini semeye balar. Heykeltra Dr. Firsek Karol, ressam ve air Bedri Rahmi Eybolu, ressam Aliye Berger, Andrea Kitabevi, Jamanak Gazetesi ve Mimoza apkacs. Neticede Narmanl Han da bir bayandr, tm sade izgilerinin altnda. Sanatlar ok sever ve modaclarla samimi ve ilgili bir yaknlk kurar. Scak, derin, duygulu, renkli ve akll bir kadndr kendileri. Bo konuanlar sevmez, kendini ve sevdiklerini, kem gzlerden ve dedikoduya a kulaklardan saklamasn iyi bilir. Kedilere, aalara bir de ieklerine pek dkndr. Baz evrelerde iyi bilinen bir ak bile vardr. Bu hanmn misafirlerinin en nls, gzdesi: Ahmet Hamdi Tanpnar..
Narmanli Han: Tanpnar as the voice of dreams and lost moments

In 1831, Giuseppe Fossati proudly completed the first of the buildings he had constructed in Istanbul, a building that functioned both as a prison for Russian prisoners and as an embassy until the Russian embassy building would be completed. It is likely that while building this structure Mr. Fossati wished for it to become a place where people would come willingly, where they could find peace of mind and companionship rather than a place in which they were imprisoned. Of course, we cannot know what Mr. Fossatis intentions were in their entirety; however, the Narmanl brothers -Avni and Stk- who were unable to bear that this building, one which drew people to itself, was infested with criminals or merchants, put an end to the misery of the structure with a strength they found through their love of art. First they gave the building a name and then graced it with refined taste. The new name was Narmanl Yurdu (The Narmanl Dormitory) and its rooms were be rented out, specifically to artists. Narmanl Yurdu immediately begin to select those whom it wished to meet. The sculptor Dr. Firsek Karol, the artist and poet Bedri Rahmi Eypolu, the artist Aliye Berger, Andrea Publications, Jamanak newspaper and the Mimoza hat maker. The Narmanl Han is a woman as well, beneath all of the simple design. She loves artists and established close and congenial ties with designers. She herself is a warm, deep, sentimental, colorful and intelligent woman. She doesnt care for those who speak idly; she knows well how to
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Trk Edebiyatnn en byk kalemlerinden biri. Huzur ve Saatleri Ayarlama Enstits gibi okumayann hep eksik kalaca romanlarn yazar. Tabii ki aratrmaclarn, edebiyatlarn, eletirmenlerin ve edebiyat severlerin ktphanelerinde her zaman yeri olan XIX. Asr Trk Edebiyat Tarihi isimli eserin yazar Ahmet Hamdi Tanpnar. Dnn, Narmanl Handaki odasnda oturmu; iinde yaad an en alkantl dnemini, lkemizin iki uygarlk arasnda bocalad, kim olduunu anlamaya alt yllar, dn-bugn size okuyacanz en keskin mizahla anlatan Saatleri Ayarlama Enstitsn yazan bir Tanpnar. ylesine tutkulu bir stanbul a ki bir bayapt olan Huzurun her bir kesini ona adam. Huzuru okumadan
protect both herself and her loved ones from envious eyes. She hovers over her cats, trees and flowers. She even has a love interest, well known in certain circles. The most famous and favored among her guests is Ahmet Hamdi Tanpnar. Ahmet Hamdi Tanpnar is one of the greatest names in Turkish literature and the author of the novels such as Huzur and Saatleri Ayarlama Enstits (A Mind at Peace and The Clock-Setting Institute); those readers who are not acquainted with his work surely suffer from a void. Of course, this is the author of the book XIX. Asr Trk Edebiyat Tarihi (The History of 19th Century Turkish Literature), which maintains a place for itself in the libraries of academics, literaries, literary critics and literature buffs. Just imagine Tanpnar sitting in his room at the Narmanl Han, a Tanpnar who is in his most turbulent era and tells the tale of how our country is adrift between two civilizations, trying to understand who is who and narrating with a sharp wit his time from history to the present. This is the Tanpnar who wrote Saatleri Ayarlama Enstits. He was such an admirer of Istanbul that he devoted every bit of his masterpiece Huzur to the city. Is it not a shortcoming for one to see and feel Istanbul without reading Huzur? And what about Be ehir? (Five cities) Is there no Istanbul infused in that? Certainly, there is. So where is the Tanpnars home, where did this man whose works are read in 18 countries, whose readers are us, coming from all corners of the world, where did he live? And where are his typewriter and desk? None of these exist anymore. Why can we not enter the Narmanl Han, where he stayed for years, penning his works and chatting in the courtyard? Why should a place which is home to such history and has embraced such a wonderful artist until his last breath not become a museum home? Its not the view of the Bosporus alone which makes it inimitable. One cannot think of an Istanbul that is void of people. Lets be honest -- there are ample cafes and hotels on stiklal Street. There is no need for a historical building like Narmanl Han to be transformed into a hotel or restaurant. What are we doing for Ahmet Hamdi Tanpnar, who was born and breathed his last in stanbul, who was unable to be understood throughout his life, who suffered from both illness and poverty, but attained the recognition he deserved through the admiration and adoration of the world over? Would it not be befitting for Narmanl Han to be transformed into a museum home, at least for his sake? Address: stikll Cad. Narmanl Han, No: 390
stanbulu grmek, hissetmek hep biraz eksik deil mi? Peki ya Be ehir ? Orada da stanbul yok mu? Evet var. Madem yle, eserleri 18 lkede okunmakta olan Tanpnarn dnyann drt bir yanndan gelen ve pek tabii ki burada yaayan biz okurlarnn ziyaret edebilecegi evi nerede? Daktilosu, yaz masas ? Bunlarn hi biri yok. Yllarca kald, eserlerini yazd, avlusunda sohbet ettii Narmanl Hana girmek, odasn gezmek neden mmkn olmasn? Bylesi bir tarih barndran, bu kadar byk bir sanaty lene dek barna basm bir yer neden mze ev olmasn? stanbulu benzersiz klan sadece Boaz manzaras degildir. nsanlarndan soyutlanm bir stanbul dnlemez. Drst olalm stiklal Caddesinde yeterince kafe, yeterince otel var. Narmanl Han gibi tarihi bir binann otel veya lokanta olmasna gerek yok. Bizler stanbulda domu, stanbulda lm, yaad sre boyunca deeri anlalamam, hastalk ve yokluk ekmi, ancak bugn tm dnyann takdir ve hayranlk duygularyla layk olduu yere kavuabilmi airimiz,yazarmz Ahmet Hamdi Tanpnar iin ne yapyoruz? Narmanl Han Onun adna bir mze ev yapmak bize ve stanbulumuza yakmaz m? Adres: stikll Cad. Narmanl Han, No: 390
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NE OLDU SANA BALIK?

Kadir CAN
WHAT HAPPENED TO THE FISH?

Kadir CAN
NE OLDU SANA BALIK? / WHAT HAPPENED TO THE FISH?
NE OLDU SANA BALIK?

Kadir CAN*
WHAT HAPPENED TO THE FISH?

Kadir CAN*
In the mid 1970s, stalls selling fish were opened in the squares in Eminonu, ok fazla uzaa gitmeye gerek yok, yetmili yllarn ortalarna kadar Eminn, Karakoy and skdar, where people passed going to and from work. ArKaraky, skdar ve Karaky gibi halkn iyerlerine gidip dnerken gemek zoranged on round red trays, the fresh bluefish, skipjack tuna, large bluefish, runda olduklar meydanlara balk sat tezghlar kurulurdu. Yuvarlak, krmz and other types of fish attracted people due to their freshness and low price. tablalara dizilen, yerlere serilen lfer, kofana ve palamut gibi prl prl taptaze There was no need for the fishermen to bark out, These bluefish are from balklar albenilerinin yan sra fiyatlarndaki ucuzlukla gelip geenleri mknats the Bosphorus, or The skipjack tunas are from the Marmara, the skipjack gibi kendine ekerdi. Balklarn:Canl bunlar canl, Boazn lferi bunlar, tunas are from the Marmara, as they do today. People ordered the fish by Palamutlar Marmarann, palamutlar Marmarann diye barp rtkanlk saying, Give me three clean ones, or Give me five clean ones, while the yapmalarna gerek yoktu. Tezghlara sokulanlarn kimi: Kes tane, Kes be fishermen worked like bees. Of these fish, the skiptane diyor, balklar ar gibi alyordu. Bu balklarn jack tuna is known as the bread of the poor. Howiinden palamudun ad da Fakir ekmeine kmt. ok fazla uzaa gitmeye gerek yok, yetever, when people who were living at those time O yllar yaayanlar bugn Fakir ekmei palamudun mili yllarn ortalarna kadar Eminn, see fish like the skipjack, bluefish or large bluefish yan sra lfer, kofana gibi balklar ehrin nezih semtleKaraky, skdar ve Karaky gibi halkn in shops in good neighborhoods today, they cannot rindeki dkknlarn tablalarn sslerken grdklerinde iyerlerine gidip dnerken gemek zohelp but ask, What happened to the fish? ister istemez deta barrcasna sormaktan kendilerini runda olduklar meydanlara balk sat alamyorlar:Ne oldu sana balk?. The fishermen used nets made from yarn or string Pamuk ipliinden veya ngiliz siciminden yaplan alarla avlanan balklarn ahap teknelerinin boyu on be metreyi gemiyor, motor gleri ise seksen bele yz yirmi beygir arasnda deiiyordu. Henz balk bulucu cihazlar olmad iin avclkta btn yk Reisin omuzlarndayd. Gndz yaplan avclk srasnda, ba* Akademisyen, Marmara niversitesi Tarih Blm
tezghlar kurulurdu.
In the mid 1970s, stalls selling fish were opened in the squares in Eminonu, Karakoy and skdar, where people passed going to and from work.
from wooden boats that were no longer than fifteen meters with a motor power that ranged from between eighty-five to one hundred twenty horsepower. Because they did not have fish-finders yet, the captain had the responsibility of finding the fish. While fishing in the morning, the fishermen watched
* Academician, Marmara University, Department of History
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lk deyimiyle Alaylar, Srler halinde gei yapan balklarn kuyruk sularnn izine baklr, bazlarnn srayp su stne karak oynak yapmalar beklenirdi. Akntnn, rzgrn denizin zerinde brakt izlerle, su yzeyine yakn yzen balk srlerinin oluturduklar izleri birbirinden ayrabilen deneyimli reisler bereketli avlar yapabilirdi. Gece balkl ise ay karanlnda oluan yakamozdan faydalanlarak yaplrd. Gndz veya mehtapl gecelerde meralarda dank olarak dolaan balklar, ayn domadan nce veya battktan sonraki zaman dilimine ait zifiri karanlkta bir araya toplanarak srler oluturur. Balklar, ay karanlnda denize alr, gzcler teknelerin burun ksmlarna uzanp aa sarkar, balk srlerinin yakamozlarn grmek iin pr dikkat beklerlerdi. Motorun grlts veya gzc tayfalarn ara sra yakp sndrdkleri el fenerinin ndan rken balk srleri harekete geince oluturduklar k seli yakamozla kendilerini ele verirlerdi. Balklarn, Denizin dibi bir anda bembeyaz, yourt gibi oldu dedikleri o andan sonra bir taraftan alar atlr dier taraftan da nallah lfer deildir diye dua edilirdi. Alar ekilirken nce yakalananlarn lfer veya kofana olup olmadna baklrd. An iindeki balklar lfer veya kofana ise hemen iki yaka alr bylece sr serbest braklrd. Bu ilem yaplmad takdirde son derece yrtc bir balk tr olan lferlerle kofanalar pamuk iplii veya ngiliz sicimi alar birka dakika iinde parampara ederek ekip giderdi. lkel ancak denizlerdeki balk trlerine en az zarar veren dengeli avlanma 1971 ylnda yaynlanan 1380 sayl Su rnleri Sirkleri ile sona erdi. Bata gmrk muafiyeti olmak zere eitli kolaylklar salanan ve kredi musluklar alan balklar birbirleriyle amansz bir yara baladlar. thal edilen ok gl motorlar, boylar otuz metreyi aan sac tekneler, balk bulucu cihazlar ve naylon alarla donatlan grgr takmlarnn birer ikier denize almaya balamasnn ardndan balklmz a atlam, ilkel balklktan elektronik balkla geilmiti. Bu gei srasnda balklara snrsz olanaklar salanm ancak bilimsel bir alma yaplmamt. Stoklar belirlenmedii gibi herhangi bir snrlama da konulmamt. Tekne boylarna, motor glerine, alarn uzunluklaryla derinliklerine ve avlanacak balk miktarna ynelik herhangi bir snr yoktu. Denetimin de olmad denizlerde her ey serbestti ve ne yazk ki balklarla balklar ba baa braklmlard. Balklarn ilkel balklktan elektronik balkla geerek modernize olmasnn ardndan gelen ilk yllarda tam bir felaket yaand. Marmara ve Karadenizin bakir sularnda avlanan miktar o kadar fazlayd ki hemen her gn binlerce kasa balk Azapkapdaki halden denize dklr olmutu. Birbirleriyle kyasya rekabete girien balklar yaptklar ar ve bilinsiz avclkla denizlere byk zarar verdiler. Balklkta katliam benzeri yllarn ardndan bata uskumru olmak zere kolyoz, kl, lfer, kofana, torik ve palamut gibi balklarn avlanma miktarlarndaki ar d fiyatlarn trmanp astronomik rakamlara kmasna neden oldu. Ar ve bilinsizce avlanp tketilen balklardan biri Karadenizin kalkan, dieri de Marmara ile Saroz Krfezinin orkinoslaryd. neadadan Hopaya kadar, Karadeniz sahili boyunca kalkan neslini neredeyse tketen balklar komu lkelerin sularna ynelince eitli olaylara da neden oldular. Yakalanan kalkan avclar eitli ceza-
the ripples made in the water by the fish and waited for them to jump out of the water. Experienced captains could figure out if the ripples in the water were from schools of fish, currents, or the wind, allowing them to catch abundant amounts of fish. On the other hand, when fishing at night the fishermen could benefit from the phosphorescence visible in the dark. The fish swim freely during the day and during moonlit nights, but form schools during the dark period before the moon rises and after it sets. During this time, scouts would lean over the bow of the boat as it sailed and wait attentively to see the phosphorescence emitted by the schools of fish. Scared by the sound of the motor or from the light of the flashing lamp on the ship, the schools of fish would reveal themselves with a flood of light emitted by their movement. The fishermen explained that at that moment, in a split second, the sea becomes, whiter than white, like yogurt. The nets were immediately cast as the fishermen prayed, Hopefully, it is not bluefish. After raising the nets from the sea, they first checked whether they had caught bluefish or large bluefish. If the fish in the net were bluefish or large bluefish, they were immediately set free. If this procedure was not followed, the predatory bluefish and the large bluefish would tear the nets into pieces within minutes. This primitive but controlled method of fishing caused little damage to the shoals; however, this ended in accordance with the Fisheries Notification, No. 1380, which was issued in year 1971. The fishermen were provided with various concessions, starting with customs exemption and they began to compete with one another to take advantage of this. This started fierce competition among the fishermen. Fishing entered a new age, in which imported high-powered motors, sheet iron boats measuring more than thirty meters, fish-finder equipment and dragnets equipped with plastic nets were used. During this transition, the fishermen were provided with unlimited resources, but neither was a scientific study conducted to determine the stocks nor were any limitations placed on fishing. Likewise, there were no limitations on the length of the boats, their motor power, the length or depth of the nets, or the amount of fish that could be caught. As the seas were unsupervised, the fish were left alone with the fishermen. Following the modernization of the fishing industry, disaster occurred. So many fish were caught that each day hundreds of thousands of fish were thrown back into the sea at the Azap Kapi port. The excessive fishing of the ruthless fishermen critically damaged the seas. After many years of over-fishing, the substantial drop in the number of mackerel, swordfish, bluefish, large bluefish, Atlantic bonito and skipjack tuna caught caused a dramatic increase in the price of fish. Turbot from the Black Sea and tuna from the Marmara Sea and Saroz Bay were excessively fished and consumed. After turbot could no longer be found in the stretch from Needle Island to Hopa, the fishermen headed to the waters of the other countries which border the Black Sea, causing various problems with these counties. While some fishermen were caught poaching turbot and punished, the boats of those who tried to escape sunk and their crews drowned. Turkish people did not like the color of the bright red tuna, and consumed it only after it was pro-
135
NE OLDU SANA BALIK? / WHAT HAPPENED TO THE FISH?
lara arptrlrken, kamak isteyenlerin tekneleri batrld, tayfalar ldrld. Eti kpkrmz olduundan halkmz tarafndan pek benimsenmeyen ancak ilenerek konserve haline getirildikten sonra tketilen, bir ad ton dieri orkinos olan balklar da seksenli yllarn ortalarnda Japonlar iin avland. Mutfaklarnn vazgeilmezi olan en deerli tr orkinosun Marmarada srler halinde yaadn renip ok aran Japonlar hemen stanbuldaki ihracatlarla anlatlar. O zamana kadar orkinoslar olta balklar tarafndan veya girdikleri dalyanlarda az miktarda yakalanyordu. Japonyadan getirilen orkinos alaryla donatlp denize alan balklar Marmaray alt st ettiler. hracatlar arasndaki rekabet fiyatlar inanlmaz rakamlara kard, baz orkinoslar bir yerli otodan daha deerli oldu. Bu amansz rekabet Marmarada son orkinos yakalanncaya kadar kyasya srd. Marmaradaki orkinos neslinin tketilmesinin ardndan Akdenize ynelen, her biri drt-be milyon dolarlk, boylar elli metrenin zerindeki grgr takmlarnn says yz geti. Geen yl bin ton olan orkinos avlama kotas bu yl drt yz tona indirildi. stanbul Balk Halinde 1909-1923 yllar arasnda mdrlk yapan Karekin Deveciyann yazd kitaptaki izelgede 1913 ylnda avlanan orkinos miktar 527 ton olarak grlyor. Sadece dalyanlarda 97 yl nce yakalanan orkinos miktarnn bu yl dev bir filoyla Akdenizde avlanmasna izin verilenden fazla olmas kadar dndrc ne olabilir? Ekonomik deeri yksek, gezginci balk trlerinin her yl okyanustan balayp Azak Denizine kadar uzanan periyodik seyirlerinin en nemli gei yerlerinin banda Boazlar ve Marmara
cessed and canned; therefore, during the mid 1980s, this fish was exported to Japan. After finding out that the most valuable kind of tuna, an indispensable ingredient in their cuisine, was abundant in the Marmara Sea, the Japanese immediately made an agreement with exporters in Istanbul. Before that, tuna were caught only by anglers or in small amounts from fish traps. Equipped with tuna nets brought from Japan, the fishermen turned the Marmara upside down trolling for fish. The competition among the exporters inflated the price of tuna to exorbitant figures; some tuna became more expensive than a domestic car. This ruthless competition continued until the last tuna in the Marmara had been caught. After the tuna in the Marmara had all been caught, more than a hundred dragnets, each of which were worth four to five million dollars and were more than fifty meters long, headed to the Mediterranean Sea. Last year, the quota for tuna dropped from a thousand tons to four hundred tons. A chart in the book of Karekin Deveciyan, the former director of the Istanbul Fish Port between 1909 and 1923, shows that the amount of tuna caught in 1913 was 527 tons. What can be more thought-provoking than the fact that the amount of tuna caught only with fish traps 97 years ago is greater than the amount that is allowed to be caught this year by a huge fleet in the Mediterranean Sea? The Bosphorus and the Marmara Sea happen to be one of the most important transit points for the valuable migrating fish that journey from the ocean to the Azak Sea every year. The skipjack tuna and bluefish travel to the
gelir. remek iin ilkbahar aylarnda Karadenize kan palamut, lfer tr balklar yumurta attktan sonra sonbaharda geri dnerler. Bu tr ekonomik deeri yksek balklarn her geen yl azalmalarnn nedeni ar avlanmadan kaynaklanmaktadr. Bu avlanma Marmara ve Boazlarda yaplmaktadr. Marmara ve Boazlarda en az be yl srecek bir av yasann ardndan balklarn alarnn derinlikleri bata olmak zere tekne boyundan motor gcne kadar her ey snrlandrlp denetlenmelidir. Bu tr nlemleri acilen almaz, olanlar grmezden gelip denizlere srtmz dnmeye devam edersek :Ne oldu sana balk? sorusunu gelecek nesiller soracak, kemiklerimizi szlatacaklardr.
Black Sea to breed during the spring and return in autumn after laying their eggs. The number of these valuable fish, which are mainly fished in the Marmara and Bosphorus, is decreasing due to excessive fishing. Following a five-year long prohibition on fishing, everything has to be limited and controlled, from the depth of the nets to the length of the boat and the power of the motors. If this kind of measure is not taken promptly and the problem continues to be ignored, future generations will ask the question, What happened to the fish? as we turn over in our graves.
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VAHAN USTA
Alper EKER
MISTER VAHAN
Alper EKER
VAHAN USTA / MSTER VAHAN
VAHAN USTA
Alper EKER* Vahan Kocaolu, nam- dier Vahan Usta, stikll Caddesinde artk kapanm bir devrin simge isimlerindendir. stanbula yanda gelen Vahan Usta, kendi ifadesinden anlald zere ilk okulu birinci snfta brakm, ama efsane hafiye Nat Pinkerton onu yeniden ve bu kez tutku ile okumaya ve kitaplara ynlendirmi. Beni yaklak on yl nce Vahan Usta ile bir baka sahaf olan Mehmet elik tantrmt. Vahan Usta, o dnemde Galatasaray Lisesinin yannda kitap tezgh ayordu. ki olundan Nazar, gndz Kapal arda kartvizit siparileri alr, akamstleri de Beyoluna babasnn yanna gelirdi. Hemen her akam Mehmet elik ile Vahan ve olunu alr, ngiliz Konsolosluunun karsndaki, bamya yemei ile nl Merih Restorana giderdik. Burada Vahan Usta bizimle gizli bir edebiyat olan Nazarn yazdklarn paylard. Bugn tadilattan gemi olan Merih Restoran o yllarda sala ama ok scak bir meknd; daha sonra Pano ve Cumhuriyet gibi restoranlarla ayn akbete urad. Mehmet elikin hayatnda Vahan Ustann ok zel bir yeri vard, nk ilk sermayesini onun sayesinde yapmt. Vahan Usta, deerini bilmedii bir fotoraf partisi hakknda Mehmet eliki uyarm ve yksek bir fiyata satmasna arac olmutu. Bir de Hasan Cokundan sz etmem gerek. O da Beyoluna gnl vermi gen bir sahaf olarak, Hayal Sahaf: Vahan Usta adl kitab yaymlamt. Vahan Ustann en edebi betimlemesi Hasan Cokuna aittir: Gary Coopern sigara tutuunu tpatp taklit eden insann, deta Panait Istratinin romanlarndan km bir karakter olduunu hissettiinizde arsanz da ocuksu gl sadece bu hissinizi perinlemeye yarar.
MISTER VAHAN
Alper EKER* Vahan Kocaoglu, in other words Mister Vahan, is a symbol of an era on Istiklal Street that has now come to an end. As Mister Vahan explains, he came to Istanbul at the age of three and left school in the first grade; however, the legendary investigator Nat Pinkerton led him to return with passion to school and books. It was 10 years ago that Mehmet elik, another secondhand book seller, introduced me to Mister Vahan. At that time, Mister Vahan had set up a stall next to Galatasaray High School. Nazar, one of his two sons, took orders for business cards during the day in the Grand Bazaar and worked with his father in the evening in Beyolu. Almost every night Mehmet elik and I would pick up Vahan and his son and head to Merih Restaurant, across from the British Consulate, which was famous for its okra. Here, Mister Vahan shared with us things that Nazar, a secret writer, had written. Merih Restaurant, which has since been renovated, was a small but very cozy spot at that time. Later on, it suffered the same fate as the restaurants Pano and Cumhuriyet. Mister Vahan was very special to Mehmet elik because it was thanks to him that he had acquired his initial capital. Mister Vahan had informed Mehmet elik that a camera he had was valuable, helping him sell it for a high price.
Vahan Usta Beyolu iin yle diyordu: Eskilerin bir tabiri vardr: Beyolu zehirli muhittir. Eer zehirlenmisek ak hava bize kt gelir, hasta yapar; yaayamayz. Mister Vahan said the following about Beyolu: There is a phrase used by our elders: Beyolu is a poisonous district. If we become poisoned, then the fresh air might be bad for us, making us sick and unable to live.
Kalabalk, dzenli bir nehir gibi akp giderken Vahan Usta da yerinden ayrlmyordu. Ona dnp, Geenlerin bir gn kemik yn olacaklarn dndn olur mu hi? dedim. Bakp da grmedikleri kitaplarn yerine, tm ilgilerini ynelttikleri marka giyecekleri onlar iin daha nemli; sonunda bir kemik ynna dneceklerini bildikleri halde ruhlarn mutlu etmek akllarna gelmez. Kitaplar kapaklarna gre alrlar. Toz yapar diye de, korkup dokunmazlar Gzlerini caddedeki kalabalktan ayrmakszn, uzaklara bakarak sigarasn tttrd. Kl avucunun iinde topluyor, sonra da gidip kede duran poetin iine atyordu. Halsna zen gsteren titiz bir ev hanm gibi, o da sokana byk zen gsteriyordu. (Hasan Cokun, Hayal Sahaf: Vahan Usta) Beyolunda hibir sahafn bulunmad 1960l yllarda Vahan Usta stikll Caddesinde yer tezghnda kitap satmaya balamtr. Zaman iinde kitaplarn satt yazar ve airlerin pek ou ile tanm, dost olmutur. Bana sk sk eskilerden sz eder, arkadalk kurduu yazarlar, Beiktataki Sinan Paa Camiinin avlusunda Neyzen Tevfik ile ekmek karnesi kuyruuna girdii yllar anlatrd. Vahan Ustann Beyolunda yaklak yarm yzyl sren sahaflk maceras, birka yl nce Beyolu Belediyesinin nargilenin kitaptan daha elzem bir ihtiya olduuna karar verip kendisini yerinden etmesiyle noktaland. Bylece Galatasaray Lisesinin yanndaki sokakta kitaplarn yerini ay bahesi ald. Oysa Vahan Usta, onun iin Beyolu Devletinin gelmi gemi tm zamanlarnn Kltr Bakan nitelemesini yapan Oktay Gzeloluna yle diyordu: Eskilerin bir tabiri vardr: Beyolu zehirli muhittir. Eer zehirlenmisek ak hava bize kt gelir, hasta yapar; yaayamayz. (a.g.e.)
* Yazar
And I must speak of Hasan Cokun. a young secondhand book seller devoted to Beyolu, who published the book entitled, Hayal Sahaf: Vahan Usta (The Illusive Bouquiniste: Mister Vahan). The most literary description of Mister Vahan came from Hasan Cokun: You may be surprised when you learn that this person who holds a cigarette just like Gary Cooper is essentially a character right out of a Panait Istrati novel, but his childish smile will only reaffirm your feeling. When it was crowded, Mister Vahan refused to budge from his spot. I turned to him and asked, Do you ever think of how those passing by will be a pile of bones some day? They are more focused on brand names than on books, which they look at but dont see. Even though they know that theyll become a pile of bones in the end, bringing joy to their souls doesnt even cross their minds. They buy books based on their covers. But they dont touch them, as they are frightened of the dust. He smoked while looking into the distance, without taking his eyes off the crowds. He would gather the ashes in his palm and dispose of them in a bag in the corner. Like a meticulous housewife who takes good care of her rugs, he took a great deal of care of his street (Hasan Cokun, Hayal Sahaf: Vahan Usta). During the 1960s, when there were no secondhand book sellers in Beyolu, Mister Vahan began selling books in a stall on stiklal Street. He met and became friends with many of the authors and poets he sold books to. He would frequently tell me about the past, the authors he had befriended, and how he had stood in a bread coupon line with Neyzen Teyfik in the courtyard of the Sinan Pasa Mosque in Beikta. Mister Vahans half-century-long adventure as a secondhand book seller in Beyolu came to an end when the Beyolu Municipality decided that sheesha was more essential than books. They gave the spot where his book stall was, next to Galatasaray High School, to a tea house. Mister Vahan however, said the following about Oktay Gzelolu, who had referred to him as the eternal minister of culture of Beyolu: There is a phrase used by our elders: Beyolu is a poisonous district. If we become poisoned, then the fresh air might be bad for us, making us sick and unable to live. (Ibid.)
* Writer
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Vahan Usta bir sre Beiktata tezgh amaya devam etti ancak Beikta Belediyesi de snrlar iinde kitaba fazla tahamml edemedi. Sonunda bu hayal sahaf, kendisini emekliye ayrd ve stanbul efsaneleri arasndaki yerini ald. Meslei braktktan sonra eve kapanmasna ramen Vahan Usta ile grmeyi hi brakmadm. Bazen yz yze, bazen de telefonda gerekletirdiimiz konumalardan anladm kadaryla kendisi byk bir krgnlk iinde. Dorusu Beyolu da onun brakt semt olmaktan ok uzak, bambaka bir ehreye dnm durumda. lenin yneticileri stikll Caddesinde dnyann en iyi art nouveau rnekleri olan binalar restore edip stanbula kazandrmak yerine Beyoluna ruhunu veren insanlar kardlar. Bylece Beyolu Devleti sona erdi ve bir devir noktaland.
Mister Vahan moved his stall to Beikta; however, the Beikta Municipality was unable to tolerate books being sold within its borders for much longer either. In the end, he retired and took his place among the legendary figures of Istanbul. Even though Mister Vahan confined himself to his home after retiring, I never stopped speaking to him. I gather from the conversations weve had, both face to face and over the phone, that he is in a state of discontent. And in all truthfulness, Beyolu is far from the district he left behind; it has been transformed into something entirely different. The administrators of the municipality drove out the people which had given Beyolu its spirit while restoring the buildings which were the greatest examples of Art Nouveau in the world. Thus, the State of Beyolu came to an end, as did an entire era.
fot./photo Yusuf alar
Vahan Usta / Mster Vahan
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DOUMLARININ 100. YILINDA CAHT SITKI TARANCI VE ZYA OSMAN SABA

Elif TUNA
THE 100TH ANNIVERSARY OF CAHT SITKI TARANCI AND ZYA OSMAN SABA
Elif TUNA
DOUMLARININ 100. YILINDA CAHT SITKI TARANCI VE ZYA OSMAN SABA / THE 100TH ANNIVERSARY OF CAHT SITKI TARANCI AND ZYA OSMAN SABA
DOUMLARININ 100. YILINDA CAHT SITKI TARANCI VE ZYA OSMAN SABA

Elif TUNA* Platon, felsefenin bir tr lm hazrl olduunu dnrd. Batnn maddeci uygarl, yaayanlarn lmden kayglanmasn anlamsz bulmutur. 20. yzyln moda dnce akm olan mantk pozitivizm de lm yaamn snr olarak tanmlamtr. Buna karlk Orta Asyada Trkler, llerin azndan konuan balballar dikerlerdi. stanbulun fethi ile bu ehirde benzersiz bir medeniyet gelitiren Trkler, mezarlklarn yaltmam ve ehrin iinde konumlandrmtr. Her biri ayr bir sanat aheseri olan gemiin mezar talar, remizlerden oluan dillerini anlayanlarn durup kendileriyle sohbet etmesine olanak tanmtr. Yani lm, Douda yaamn bir parasdr. Onu hatrlamak ve bu sayede dnyadaki yaantmza eki dzen amacyla dinimizin tavsiyesine uyarak bizler her frsatta atalarmzn mezarlarn ziyaret ederiz. Bu yaam tarznn oluturduu imgelem, aadaki esiz msralar dourmutur:
ldk, lmden bir eyler umarak. Bir byk bolukta bozuldu by. Nasl hatrlamazsn o trky, Gk paras, dal demeti, ku ty, Altmz bir eydi yaamak.
THE 100TH ANNIVERSARY OF CAHT SITKI TARANCI AND ZYA OSMAN SABA
Elif TUNA* Plato believed that philosophy was a kind of preparation for death. Materialistic Western civilization found the concerns regarding death pointless. Logical positivism, popular in the 20th century, defined death as the limit of life.
2010 senesi, ayn yl doan Ziya Osman Saba ve Cahit Stk Tarancnn 100. doum yldnmleridir. Trk edebiyatn bu iki nemli airi, ne yazk ki skalanm ve eserleri hak ettikleri ilgiyi grmemitir. Yaamn birletirdii ve lmn ayramad bu iki ismin hatrlanmasn salamak, stanbula kar bir bortur.
In contrast, Turks in Central Asia used to erect tombstones which identified the name of the deceased, as well as provided additional information about and even advice from them. With the conquest of Constantinople, the Turks developed The year 2010 is the anniversary of the birth a unique civilization which did not isolate graveof both Ziya Osman Saba and Cahit Stk yards but rather located them in the cities. The Taranc. These two significant Turkish poets are ancient tombstones, each of which is a unique unfortunately not well-known and their work masterpiece, gave the people visiting the grahas not received the interest it deserves. It is an ve the opportunity to enter into a kind of dialoobligation that Istanbul remembers these two gue with those who had passed away. In other poets whom life brought together and death could words, death is a part of life in the East. In order not separate. to remember death and remind ourselves to live our lives better, we take the advice of our religion, Islam, and visit the graves of our ancestors as much as possible. The imagery constructed as a result of this lifestyle has led to the composition of the following poetic verses:
We died, expecting something from death. (ldk, lmden bir eyler umarak.) The spell is broken into a big emptiness. (Bir byk bolukta bozuldu by.) How come you cant remember that song, (Nasl hatrlamazsn o trky,) A piece of the sky, a bundle of branches, feathers, (Gk paras, dal demeti, ku ty, Was something that we used to do, (Altmz bir eydi) Living. (yaamak.)
Bu belik, Cahit Stk Tarancnn lmden Sonra adl iirinin ilk ktasn oluturmaktadr. 1910 ylnda Diyarbakrda doan Cahit Stk Taranc, ehrin soylu bir ailesinin mensubuydu. lkrenimini doduu ehirde tamamlayan air daha son* Yazar
These are the first verses of Cahit Stk Tarancs poem, lmden Sonra (After Death). Cahit Stk Taranc was born in Diyarbakr in 1970. After completing elementary school, the poet later moved to Istanbul and enrolled at Saint Joseph
* Writer
Beikta
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ra stanbula geldi ve Saint-Joseph Lisesine kayt oldu. Drt yl okuduktan sonra Galatasaray Lisesine geti ve burada dostluunu mr boyu srdrecei Ziya Osman Saba ile tant. Ziya Osman Saba, Taranc ile ayn yl Beiktata bir yalda Binba Osman Beyin olu olarak dodu. Kk yata annesini kaybetti. Mtareke yllarnda, iir sanat konusunda kendisini derinden etkileyecek olan Cahit Stk Taranc ile tant Galatasaray Lisesine girdi. Galatasaraydaki bu tanma hakknda Yaar Nabi Nayr yle yazar: Yalnz bir ders ylnda snflarmz birlemiti onunla. Sonra kaderlerimiz bizi ayrd. Lisede bir yl snf dnnce birdenbire Cahiti bulmutu yannda. Dostluunda bakeyi ona ayrmt artk.
High School. After four years, he entered Galatasaray High School where he met Ziya Osman Saba, who would become a lifelong friend. Ziya Osman Saba, the son of Commander Osman Bey, was born the same year as Taranc in a mansion in Beikta. He lost his mother at a very young age. During the armistice, he enrolled in Galatasaray High School where he met Cahit Stk Taranc, who would greatly influence his interest in the art of poetry. Yaar Nabi Nayr describes how they met at Galatasaray: They had a class together for only one year. Later, they were separated by fate. One year in high school, when the classes were mixed, Ziya suddenly found Cahit by his side. He reserved the seat of honor for him.
Cahit Stk Taranc
Ziya Osman Saba, Galatasaray Lisesinden mezun olduktan sonra niversitede hukuk eitimine balad. Ama asl byk arzusu airlikti. Gen yata stanbulun edebiyat evrelerine giren Cahit Stk Taranc ve Ziya Osman Saba ilk iirlerini Servet-i Fnun dergisinde yaymladlar. Peyami Safa Cumhuriyet gazetesindeki bir yazsnda Tarancya byk destek verdi. Saba ise Yedi Mealeciler grubuna katld. lm, bu iki dostun iirlerinde ortak konular oldu. Ancak Ziya Osman Saba, stanbula tutkuyla balyd. Bununla ilgili olarak yeniden Yaar Nabi Nayra kulak verelim: Galatasaraylyd ama daha nce stanbulluydu. Ana tarafndan da, baba tarafndan da kim bilir ka kuaklk atalar stanbulda doup bym, stanbul topraklarna gmlm kiilerdi. Tabiatyla, insanlaryla, her eyiyle seviyordu doduu ehri. Ama asl sevgisi eski stanbula, ocukluunun stanbulunayd.
After graduating from Galatasaray High School, Ziya Osman Saba began to study law at university. However, his real desire was to become a poet. Cahit Stk Taranc and Ziya Osman Saba, who entered the literary circles of Istanbul at an early age, published their first poems in Servet-i Fnun. Peyami Safa, a member of the group Yedi Mealeciler, supported Taranc in an article he wrote in Cumhuriyet. Death was a common issue in the poems of these two friends. But Ziya Osman Saba was passionately interested in Istanbul. Yaar Nabi Nayr explains: He was a graduate of Galatasaray, but more importantly he was from Istanbul. Many generations on both from his mother and fathers side had been born and had died in Istanbul. He loved the city where he was born for its nature, its people, everything. But his real love was for old Istanbul, the Istanbul of his childhood.
In your sky I met the full moon, (Gnde tandm ayn on drdn,) In your prairie I knew the spring, (Krlarnda bilirim bahar,) Everything, everything in me (Her ey, iimde her ey,) Is a souvenir from Istanbul (stanbul yadigr.)
Ziya Osman Saba
Ziya Osman Saba, stanbul adl iirinde Nayrn szn ettii duyguyu dile getirmektedir:
Gnde tandm ayn on drdn, Krlarnda bilirim bahar, Her ey, iimde her ey, stanbul yadigr.
Ziya Osman Saba expresses the emotion Nayr describes in his poem Istanbul:
Cahit Stk Taranc 1956 ylnda vefat etti. Ziya Osman Saba, iirlerindeki birok msrada Taranc ile olan dostluuna yer verdi. Ertesi yl da kendisi bu sonlu dnyadan gt. 2010 senesi, ayn yl doan Ziya Osman Saba ve Cahit Stk Tarancnn 100. doum yldnmleridir. Trk edebiyatn bu iki nemli airi, ne yazk ki skalanm ve eserleri hak ettikleri ilgiyi grmemitir. Yaamn birletirdii ve lmn ayramad bu iki ismin hatrlanmasn salamak, stanbula kar bir bortur.
Cahit Stk Taranc passed away in 1956. Ziya Osman Saba referred to his friendship with Taranc in many verses in his poems. One year later, he passed away as well. The year 2010 is the anniversary of the birth of both Ziya Osman Saba and Cahit Stk Taranc. These two significant Turkish poets are unfortunately not wellknown and their work has not received the interest it deserves. It is an obligation that Istanbul remembers these two poets whom life brought together and death could not separate.
Beikta
143
LOCATION STANBUL MEKN

SANATORIUM SVL SANAT NSYATF
Sanatorium Sivil Sanat nisiyatifi, 2008 ylnda Asmalmescitte, ressam Tunca Suba, Guido Casaretto, Can Erta; heykeltra Bar lkhan, Yldrm Alp Alanbay; graffiti sanats Tun Dinda ve fotoraf sanats Mehmet Turgut tarafndan Trkiyede hzla devam eden sanat retim srecine katkda bulunmak amacyla kuruldu. Trkiyede gelimekte olan gncel sanat ortamnn bamsz sanatlarn oluturduklar sanat inisiyatifleriyle gerek kimliine kavuacana inanan Sanatorium; stiklal Cad. Postaclar Sok. No: 5 Beyolu/stanbul adresinde birok sergiye ev sahiplii yapt.
SANATORIUM INITIATIVE OF CIVIL ARTS

The Sanatorium Initiative of Civil Arts was founded in 2008 in Asmalimescid, Istanbul, by painter Tunca Suba, Guido Casaretto, Can Erta; sculptor Bar lkhan, Yldrm Alp Alanbay; graffiti artist Tun Dinda and photographer Mehmet Turgut to contribute to the fast developing artistic sector. Sanatorium believes, that the contemporary artistic environment may only be developed by free artistic initiatives of independent artists. It housed many exhibitions at: stiklal Cad. Postaclar Sok. No: 5 Beyolu/stanbul
145
STANBUL YALNIZ SEN SEVDM

Mart sesleri, ezanlar, pazarclarn manileri, bekilerin ddkleri ve sokak algclar ile yirmi drt saat susmayan bir mzik elik eder stanbula. Pek ok sanat bu ehri notalarla ifade etmi, stanbul iin saysz ark yazlmtr. Bunlarn bir ksm anonimdir, bazlarnnsa besteci ve gftecilerini tarih kayt altna alm ve gnmze gelmesini salamtr. Trk diline ve sanata yapt katklardan dolay hem yurt iinde hem de yurt dnda deerli dllerle onurlandrlan Sezen Cumhur nal, kard albmlerle kentimizi dile getiren bu arklar gelecek kuaklara aktarmann gayreti iindeki Kltr A.. tarafndan yaymlanan bu albmde Trk pop mziinin unutulmaz sanatlar olan Ertan Anapa, Berkant, Selma Gneri, zdemir Erdoan ve Ersan Erdura tarafndan seslendirilen stanbul konulu gfteleriyle karmza kyor.
STANBUL I LOVE ONLY YOU

Seagull screams, azan singing from minarets, songs of bazaar vendors and street musicians ... those form the music playing 24 hours in Istanbul. Many artists spoke of this city in musical notes composing songs for Istanbul. Some of these are anonymous songs, some others are by known artists registered in history records. Sezen Cumhur nal, honored by many Turkish and international awards for his contribution to the Turkish language and Turkish music, and the Culture Co. aiming to bring Istanbulite music to future generations join their efforts in this album: Unforgettable singers of Turkish pop music like Ertan Anapa, Berkant, Selma Gneri, zdemir Erdoan and Ersan Erdura perform music praising Istanbul.
KLTR A.. STANBUL KTAP FUARINDA

Her yl Kltr A..nin de yer ald stanbul Kitap Fuarnn yirmi dokuzuncusu 30 Ekim-7 Kasm 2010 tarihleri arasnda rekor sayda ziyaretinin katlmyla gerekleti. stanbulu Yazmak konulu fuarn onur yazar Doan Kuban oldu. Bununla birlikte spanyann onur konuu lke olarak seilmesi fuara uluslararas bir nitelik katt. Kltr A.. kendi standnda Ersin Kalkan, mer Faruk erifolu ve Server Dayolu gibi yazarlarna dzenledii imza gnleri ile fuara renk katt. Bu yl izgi romanlar ieren bir serginin de yer ald stanbul Kitap Fuarnda Zagor ve Dylan Dog gibi eserlerin izerleri olan Gallieno Ferri, Gianfranco Manfredi, Moreno Burratini, Marco Verni, Graziano Romani, Laura Scarpa, Marcello Toninelli, Diego Cajelli, Riccardo Burchielli ve Marco Schiavone okurlara kitaplarn imzaladlar. Sanatlardan Marco Verni ve Riccardo Burchieli, 1453 dergisinin grafikeri kran Kumrala eserlerini imzaladlar ve nl izgi roman tiplemelerini kendisi iin hatra olarak izdiler.
CULTURE Co. IN STANBUL BOOK FAIR

The Istanbul Book Fair, where the Culture Co. takes part every year, opened its doors to a record number of visitors between 30 October - 7 November, this year. Doan Kuban with his book Writing Istanbul was one of the honor guests of the fair. Spain as international guest of honor gave the fair a feature of an international event. In the Culture Co.s stand, Ersin Kalkan, mer Faruk erifolu and Server Dayolu had their book signing days, which contributed the many colors of the fair. This year comics like Zagor and Dylan Dog also met readers in the fair, where comics writers like Gallieno Ferri, Gianfranco Manfredi, Moreno Burratini, Marco Verni, Graziano Romani, Laura Scarpa, Marcello Toninelli, Diego Cajelli, Riccardo Burchielli and Marco Schiavone signed their books for readers. Artists Marco Verni and Riccardo Burchieli drew their characters for kran Kumral who is the designer of 1453 journal.
AITLAR VE ANITLAR
Siyasi kimlii ile tannan Sleyman Gndz ayn zamanda usta bir fotoraf sanats. Bugne kadar birok sergi aan Sleyman Gndzn eserlerinden oluan tematik bir seki, Kltr A.. tarafndan yaymland. Sleyman Gndzn sergilerini karan fotoraf merakllar Atlar ve Antlar adl eserde sanatnn birbirinden ilgin almalarn bir arada bulabilir.
REQUIEMS AND MONUMENTS

Sleyman Gndz, known by his political activism, is also a master photographer. He has opened many exhibitions until today; and now a thematic collection of his art photography is published by the Culture Co. Visitors missing his REQUIEMS AND MONUMENTS exhibition now can find his art photography in this book.
TAINABLR SANAT
Tanabilir sanat projesi, sanat inisiyatifleri ile kratrlerin rettii veya hazrlad sergi ve performanslardan olumaktadr. Bu proje kapsamndaki sergiler ile belediyelerinin mevcut kltr ve sanat merkezlerinde sanatseverlerle bulumu, bylece stanbulun cra kelerinde izleyicilere ulama hedefi hayata geirilmitir. Tanabilir Sanat adl eser, Kltr A..nin yrtt bu projenin katalou niteliindedir.
PORTABLE ART
The Portable Art Project is made of artists initiatives as well as exhibitions and performances organized by curators. Exhibitions within the scope of this project opened up their doors to visitors in culture and art centers of district municipalities, in service of art lovers in remote corners of Istanbul. The book Portable Art is a catalog of this project by the Culture Co.
NEYE ALTERNATF
I. Uluslararas Sanat nisiyatifleri stanbul Bulumas kapsamnda Trkiyeden ve Avrupa lkelerinden 40a yakn sanat inisiyatifinin kendilerini tantma olana bulduklar bir fuar yer almtr. Fuar sresince Ak Alan Teknolojisi toplant yntemiyle tartma oturumlar dzenlenmitir. Bu toplantlarda Sanat inisiyatifi nedir?, Bu kavramn tek bir tanm m vardr?, Sanat inisiyatifleri neye alternatiftir?, Sanat evresinde neye hizmet ederler? gibi pek ok sorunun irdelenmesi hedeflenmitir. 1453 dergisi olarak tantmn yaptmz eser, bu etkinliin sonucunda ortaya kmtr.
ALTERNATIVE TO WHAT
A fair with the participation of nearly 40 artist initiatives from Turkey and other European countries took place within the scope of the 1st International Artist Intatives Istanbul Meeting giving the chance to these initiatives to introduce themselves. During the course of the fair, also several discussian sessions were held using the method of Open Spaces Technology. In these sessions, it was intended to discuss in detail, the answers to questions suc as What is an artist initiative?, Is there a single definition for this concept?, Artist initiatives are alternative to what?, What do they serve for in arts circles? The book which we introduce you as the 1453 journal is a result of this project.
Osman Turan

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SAYI / ISSUE 10 EKIM - KASIM - ARALIK / OCTOBER - NOVEMBER - DECEMBER 2010 BU BIR SREL YAYINDIR / THIS IS A PERIODICAL JOURNAL

Ahmet SELAMET Nevzat BAYHAN

Yayn Kurulu / Publishing Board

Grafik Tasarm / Graphic Design Fotoraflar / Photograph

Sanat Ynetmeni / Art Director

Alp ESN, Ali KONYALI

DARLFNUN MUALLM OLARAK MEHMET KF MEHMET KF AS AN INSTRUCTOR AT THE STANBUL UNIVERSITY

Zeynep KANDUR Betl EREN

Halkla likiler / Public Relation e-mail:1453@1453.cc

YAPIM / PRODUCTION KLTR A..

FSF Print House

Sylei - Intervew by: Hseyin SORGUN

MONOSEK BELEDYE BAKANI LE SYLE INTEVIEW WITH MAYOR OF SHIMONOSEKI

EDRNEKAPIDA MHRMH SULTAN CM THE MHRMH SULTAN MOSQUE AT EDRNEKAPI

Fransz htilal: Yeni eitim ve yeni retmen

STANBULDA RETMEN OKULLARI

TEACHER TRAINING SCHOOLS IN STANBUL French Revolution: New

Prof. Dr. Cemil ZTRK

OSMANLI DEVLETNDE FUARCILIK FAIR ORGANIZATION IN THE OTTOMAN EMPIRE

VAHAN USTA MISTER VAHAN

STANBULUN EN GZEL EVLER THE UNIQUE HOUSES OF STANBUL

NE OLDU SANA BALIK? WHAT HAPPENED TO THE FISH?

ERKAN OUR: Mzik, ERKAN OUR: Music

ekmek ve su kadar doald.

METN ERKSAN FLMLERNDE STANBUL STANBUL IN METN ERKSAN MOVIES

Prof. Abdullah UMAN

Education, New Teachers

Within the orbit of the art.

STANBULDA ADA SANAT CONTEMPORARY ART IN STANBUL

STANBULDA YAADILAR, STANBULDA ALITILAR VE STANBUL N RETTLER

CONTEMPORARY ART GUESTS OF STANBUL

STANBULDA YAADILAR, STANBULDA ALITILAR VE STANBUL N RETTLER

THEY LIVED IN STANBUL, WORKED IN STANBUL AND PRODUCED FOR STANBUL

PETER KOGLER / 14 22 ubat 2010, 2-5 Haziran 2010

DANAE STRATOU / 27 Mart -18 Nisan 2010, 26-30 Mays 2010

SOPHIE CALLE / 6-26 Nisan 2010

Remo Salvadori altay, 2009 / Remo Salvadori Workshop, 2009C

stanbul 2010, Peter Kogler altay/ Peter Kogler Workshop

stanbul 2010, Peter Kogler altay/ Peter Kogler Workshop

stanbul 2010, Peter Kogler altay/ Peter Kogler Workshop

stanbul 2010, Peter Kogler altay/ Peter Kogler Workshop

VICTOR BURGIN / EYLL 2010)

VICTOR BURGIN / SEPTEMBER 2010

Victor Burgin altay, 2009/Victor Burgin Workshop, 2009

Victor Burgin, 2009

Peter Kogler altay/Peter Kogler Workshop 2010

Vital Space Projesi- Danae Stratou, Uur

bak, Stelios Apostolids-Vital Space Project

Danae Stratou altay/Danae Stratou Workshop 2010

Sophie Calle altay/Sophie Calle Workshop 2010

STANBULUN YKSELEN YILDIZI GNCEL SANAT

THE RISING STAR OF STANBUL ACTUAL ART

STANBULUN YKSELEN YILDIZI GNCEL SANAT

THE RISING STAR OF STANBUL ACTUAL ART

STANBULUN 10 RESM, 10 RESSAMI

THE TEN BEST PAINTINGS AND ARTISTS FROM ISTANBUL

STANBULUN 10 RESM, 10 RESSAMI

THE TEN BEST PAINTINGS AND ARTISTS FROM ISTANBUL

Hoca Ali Rza

9- evket DA (Istanbul, c. 1876-c. 1944)

DARLFNUN MUALLM OLARAK MEHMET KF

MEHMET KF AS AN INSTRUCTOR AT THE STANBUL UNIVERSITY

DARLFNUN MUALLM OLARAK MEHMET KF / MEHMET KF AS AN INSTRUCTOR AT THE STANBUL UNIVERSITY