Public monuments in Turkey and Egypt, 1840-1916

Muqarnas

Volumn 14, Issue , 1997, Pages 103-117

  Kreiser, Klaus ^a  

^a UNIVERSITY OF BAMBERG   (Germany)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 65849275732     PISSN: 07322992     EISSN: 09210326     Source Type: Journal    
DOI: 10.2307/1523239     Document Type: Review

References (88)

1. Ahmed Lūtfi, Târîh, 8 vols. (Istanbul, 1290-1328/1873-1910), 6: 126-27
2. For Fossati, see the literature at the end of the article in Dünden Bugüne İstanbul Ansiklopedisi (Istanbul, 1993-94), vol. 3, by Cengiz Can
3. I have been able to collect only a few details about "Pascal- Artin" Bilezikçi. He was probably related to the well-known Bilezikçiyan money-changer/banker (sarrâf) family in Istanbul. He received his diploma in 1856, the year of the peace of Paris (L. Dussieux. Les artistes français à l'étranger, 3rd ed. [Paris, 1876], p. 389)
4. In 1857 "Bilezikçi Artin" was mentioned as an architect in the service of the Istanbul municipality (mi'mâr-i dâ'ire-i beledîye) (Osmân Nûrî [Ergin], Mecelle-i umûr-i beledîye [Istanbul, 1338/1922], 1: 1241)
5. M. Cezar, quoting the Journal de Constantinople (17 September 1860), no. 1349, says that he worked in 1860 with (Gaspare) Fossati on the enlargement of a police station. The figure in L'Illustration was reproduced and commented on much later by İhsân [after 1935, ÖZSOI], the director of the teacher's college (Dârülmu'allimîn tatbikât mektebi müdürü): "Tasawurda kalmiş bir tanzîmât âbidesi. Topkapi sarayi parkinda inşasi münâ sebetyile" Şehbâl 4, no. 84 (1329/1914-15): 210-12
6. L'Illustration. Journal Universel 26, 654 (8 September 1855): 176
7. Halîl Edhem, "Sultân 'Osmân Hân-i sânî'nin Leh seferine dâ'ir Türkçe bir kitâbesi," Târîh-i 'Osmânî Encümeni Mecmû'asi 1 (1326 H.): 223-32
8. Halük Y. Şehsuvarogcombining brevelu, Asirlar boyunca İstanbul. Saraylar, camileri, abîdeleri, çeşmeleri (Istanbul, 1953), p. 63
9. According to Ahmed Lütfi's extensive report in Klaus Kreiser, "'... dan die Tūrckhen leiden khain Menschen Pildnuss': Über die Praxis des "Bilderverbots" bei den Osmanen," in Fifth International Congress of Turkish Art (Budapest, 1978) pp. 549-56
10. Archival evidence for the innovation of hanging Mahmud's portrait in state offices has been collected by Mehmet Seyitdanhoǧlu, Tanzimat devrinde Meclis-i Vâlâ 〈1838-1868〉 (Ankara, 1994), p. 38, n. 12. A.D
11. Mordunann reports, on good authority, that a governor of Saloniki on an inspection tour in his province during the first years of Abdūlaziz's reign, obliged the notables of towns and villages to kiss the portrait of the sultan and to keep records of their names (Anonymous, Stambul und das moderne Türkenthum [Leipzig, 1877-78], 2: 25)
12. For the historical background, compare Roderic H. Davison, Reform in the Ottoman Empire, 1856-1876 (New York, 1973), pp. 235-37
13. More detailed are Ali Kemali Aksüt, Sultan Aziz'in Misir ve Avrupa Seyahati (Istanbul, 1944)
14. and Mustafa Cezar, Sanatta Bati'ya açiliş ve Osman Hamdi (Istanbul, 1971; rev. rpt. 1995), pp. 91-95
15. see also Taner Timur, "Sultan Abdülaziz in Avrupa Seyahati," Tarih ve Toplum 11-12 (1984), pp 42-44, 16-25; i H. p. 23
16. Maurice Agulhon, "La 'statuomanie' et l'Histoire," Ethnologie française (1978): 145-72
17. Gustave Pessard, Statuomanie Parisienne, Étude critique sur l'abus des statues (Paris, 1911)
18. See also June Hargrove, Les statues de Paris: La représentation des grands hommes dans les rues et sur les places de Paris (Anvers, 1982)
19. Refik A. Sevengil seems to be the only author who connected the European trip of the sultan, "where he saw the statues of great men" with the commission of a statue of himself; see his Saray tiyatrosu (Istanbul, 1962), pp. 81-82
20. Fernand Bournon, La voie publique et son décor: Colonnes, tours, portes, obélisques, fontaines, statues etc. (Paris, 1909), pp. 169-74
21. See my article, "Le Paris des Ottomans à la Belle Époque," Revue du Monde Musulman et de la Méditerranée (forthcoming)
22. Léon Creil in L'Illustration. Journal Universel, 1868, p. 336
23. Behzat Ünsal, "Glavani Ailesi," in Dünden bugüne İstanbul Ansiklopedisi 3: 402
24. Cf. P.J. Vatikiotis, "Ismā'īl Pasha" in Encyclopedia of Islam (henceforth cited as EI), 2nd ed., 4: 192-93
25. On the title page of the official biography of Ismail (not mentioned in the article in EI cited in n. 17), see G. Douin, Histoire du Règne du Khedive Ismaïl (Rome, 1934), vol. 2
26. Benedict R. O'G. Anderson, "Cartoons and Monuments: The Evolution of Political Communication under the New Order," in Political Power and Communications in Indonesia, ed. K.D. Jackson and L.W. Pye (Berkeley, Calif. 1978), p. 301
27. Gaston Wiet, Muhammad 'Ali et les Beaux-Arts (Cairo, 1950)
28. Muhammad 'Ali died in Alexandria on 2 August 1849 after having been removed from power in 1847. Dantan traveled in Egypt in 1848. During his stay he produced a number of busts and medallions of other personalities: Stanislas Lami, Dictionnaire des sculpteurs de l'École française au dix-neuvième siècle, 4 vols. (Paris, 1914-1921, rpt. 1970), 1: 24-46. Lami (p. 41) says that there is a plaster copy of the bust in the Rouen museum, but it is not mentioned in Edmond Lebel, Catalogue des Ouvrages de Peinture, Dessin, Sculpture et Architecture (Rouen, 1890). The inventory of the Musée des Beaux Arts in Rouen has no bust of Muhammad 'Ali (communication, January 26, 1996), nor did Wiet find any record of it half a century ago
29. Pierre Kjellberg, Les Bronzes du XIXe siècle. Dictionnaire des sculpteurs (Paris, 1987), p. 55
30. Catherine Chevillot, Peintures et sculptures du XIXe siècle; la collection du musée de Grenoble (Paris, 1995), pp. 290-93
31. Marvin Trachtenberg, The Statue of Liberty (London, 1976), p. 49
32. La Statue de la Liberté. L'exposition du centenaire. Catalogue (Paris, 1986), Eng. ed., Liberty. The French-American Statue in Art and History (New York: New York Public Library, 1986)
33. Régis Hueber, "La Turquerie Fatale. Nouvelle considération sur les deux projets Bartholdiens d'un monument pour la ville du Caire 〈1869〉," Mémoire Colmarienne. Bulletin trimestriel de la liaison de la Société d'Histoire et d'Archéologie de Colmar no. 52 (December, 1993): 5-11
34. Erroneous attributions in Trachtenberg, Statue of Liberty (London, 1976), p. 55
35. and Pierre Provoyeur, "Artistic Problems," in Liberty. The French-American Statue in Art and History (New York, 1986), p. 91
36. The German architect Karl von Diebitsch (1819-69), who had met the viceroy at the London exhibition of 1861, built for Said Pasha a funerary monument in fine cast-iron (H. Stier, "Karl von Diebitsch," Deutsche Bauzeitung 3 [1869]: 418-20, 432-36)
37. Jeanine Durand[-Revillon], "La galerie anthropologique du Muséum national d'histoire naturelle et Charles-Henri-Joseph-Cordier, " in La Sculpture ethnographie. De la Vénus hottentote à la Tehura de Gauguin, ed. Antoinette Le Norman-Romain (Paris, 1994): 51-64
38. The model of Ibrahim Pasha on horseback seems to have been exhibited in the Salon as late as 1872 (Lami, Dictionnaire, p. 421)
39. Doris Behrens-Abouseif, Azbakiyya and Its Environs. From Azbak to Ismā'īl 1476-1879 (Cairo, 1985), p. 92. Plate XII shows the statue with remains of the mosque of Azbak before its destraction
40. Rûznâme-i Cerîde-i Havädis, no. 998 (11 C II 1285 [29 IX. 1868]), cited by M. Cezar, Osman Hamdi, p. 95
41. Lami, Dictionnaire des sculpteurs 3: 191-94
42. Kjellberg, Les Bronzes du XIXe siècle, pp. 387-88
43. For the monument in the context of nineteenth-century urbanization of Alexandria: E. Breccia, Alexandrea ad Aegyptum: Guide de la ville ancienne et moderne et du musée gréco-romain (Bergamo, 1914), pp. 6-7
44. M.F. Awad, "Le modèle européen: l'évolution urbaine de 1807 à 1958," Revue de l'Occident Musulman 46 (1987): 95-101
45. Jean Louis Hachet, Les bronzes animaliers. De l'antiquité à nos jours (Paris, 1986), pp. 103-5
46. See Egyptomania. L'Égypte dans l'art occidental 1730-1930 (Paris, 1994), pp. 332-33
47. Jacquemart rejected his original idea of putting lions on the pedestal of the statue and proposed instead enlarging them to the height of four meters and placing them on either side of the Nile bridge (Wiet, Mohammed Ali, p. 404). The Ottoman review Resimli Kitâb (5, 14 [1326/1910-11]: 165) published photographs of Cairo including the bridgehead of the Qasr al-Nil
48. François-Levernay, Guide-annuaire d'Égypte. L'année 1872-1873 (Cairo)
49. Reprinted in Robert Ilbert and Ilios Yannakis, eds., Alexandrie 1860-1960. Un modèle éphémère de convivialité: Communauté et identité cosmopolite (Paris, 1992), p. 244
50. Douin, Histoire du règne du Khédive Ismaïl, 3: 740-71
51. Philipp Mansel, Sultans in Splendour (London, 1988), p. 176
52. Alexander Schölch, Ägypten den Ägyptern. Die politische und gesellschaftliche Krise der Jahre 1878-1882 in Ägypten (Zürich, 1972), p. 244
53. For information on Fuller, see Samuel Redgrave, Dictionary of Artists of the English School (rpt., Bath, 1970), pp. 161-62, which summarizes his obituary in the Art Journal, 1875, p. 178
54. For a list of Fuller's sculptures exhibited in the Royal Academy, see The Royal Academy of Arts: A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904 (London, 1905) pp. 180-81. An obituary note in the London Times (cited in the Art Journal, 1875) refers to his visit to Istanbul, where he "in defiance of the Koran was allowed to make a statue (an equestrian one) of the sultan. The stipulation was, if we are rightly informed, that the statue should not be lifesize; a little larger or smaller it might be."
55. Peter Volck, art. "Miller, v. Ferdinand," Neue Deutsche Biographie (Munich, 1994), 14: 516-17
56. Ferdinand von Miller erzählt. Aufgezeichnet und herausgegeben von Eugen Stollreither mit einem Lebensbild von Alexander Heilmeyer (Munich, 1932), pp. 188-89
57. Further research will make clear whether or not von Miller received the Mecidye order in 1875 in recognition of his achievement in casting Abdülaziz's statue. "Gedenkfeier für Ferdinand von Miller," Zeitschrift des bayr. Kunstgewerbe-Vereins München, vol. 36, 5-6 (1887): 46
58. The estate on which the palace was built once belonged to Khedive Ismail. Abdūlmecid commissioned the well-known architect Alexandre Vallaury to build him a palace in Moorish style; it was finished around 1901 (see İsmail Hakki Konyali, Abideleri ve kitabeleriyle Üsküdar tarihi, 2 vols. (Istanbul, 1976-77), 2: 229-37
59. and Afife Batur, "Abdülmecid Efendi Köşkü, " in İstanbul Ansiklopedisi, vol. 1
60. "Haremde Beethoven" reproduced in Başlangicindan Bugüne Çaḡdaş Türk Resim Sanati Tarihi, 4 vols. (Istanbul, 1980-89), 1: 164, fig. 134
61. The authors give no date for the painting (154-211 cm) which, like its equivalent "Haremde Goethe," is part of the collection of the İstanbul Resim ve Heykel Mūzesi. It shows a male and two female musicians playing a trio for piano, violin, and cello, while three ladies and a senior Ottoman official (probably Abdülmecid himself) listen attentively. The statue is seen from the front in the opening of an arcade. In 1939 during his Parisian exile, Abdülmecid directed his secretary to sell sculptures inherited from Abdūlaziz (pederin heykelleri). See S. Keramet Nigâr, Halife İkinci Abdülmecit (Istanbul, 1964), p. 44
62. Photograph of Abdūlmecid with brush and palette sitting on the rung of a ladder in front of the nearly finished painting in his atelier in La question du Califat = Les Annales de l'autre Islam, vol. 2 (Paris, 1994), p. 173
63. About the industrial exploitation of works of art, Jacques de Caso, "Serial Sculpture in Nineteenth-Century France," in Jeanne L. Wasserman, ed., Metamorphoses in Nineteenth-Century Sculpture (Cambridge, Mass., 1975), pp. 1-27
64. Glenn F. Benge, Antoine-Louis Barye. Sculptor of Romantic Realism (London, 1984)
65. Kjellberg, Les bronzes du XIXe siècle, pp. 55-84
66. Illustration in Chris Hellier and Francesco Venturi, Splendeurs d'Istanbul. Palais et demeures du Bosphore (Paris, 1993), p. 189
67. Lami, Dictionnaire des sculpteurs, 1:127-30
68. Victor Borie, "Le Jardin du Sultan," L'Illustration. Journal Universel 45, no. 1141 (7 January 1865): 16
69. The other bull - with bowed head - is today in front of the district building of Istanbul-Kadikōy (reproduction in Hüseyin Gezer, Cumhuriyet Dönemi Türk Heykeli [Ankara, 1984], p. 13)
70. Wolfgang Müller-Wiener, "Minaret und Uhrturm," Schöndruck-Widerdruck=Schriften-Fest für Michael Meier zum 20. Dezember 1985 (Munich, 1985), pp. 82-85, fig. 36-38
71. Kemal Ōzdemir, Ottoman Clocks and Watches (Istanbul, 1993)
72. Hakki Acun, Anadolu Saat Kuleleri (Ankara, 1994)
73. David Kushner, "The Haifa Damascus Railway: The British Phase, 1890-1902," in Decision Making and Change in the Ottoman Empire, ed. Caesar E. Farah (Kirksville, Mo., 1993): 193-213
74. Ufuk Gülsoy, Hicaz Demiryolu (Istanbul, 1994), p. 130
75. Manfredi Nicolettï, D'Aronco e l'architettura liberty (Rome, 1982)
76. Afife Batur, "Raymondo d'Aronco," İstanbul Ansiklopedisi 2 (1993-94)
77. Manfredi Nicoletti published d'Aronco's design of 1900 with the erroneous annotation: "progetto no realizzato": "D'Aronco e la Turchia," in D'Aronco Architetto, ed. M. Nicoletti (Milan, 1982): 13-17, fig. 60
78. I am indebted to Dr. Abd al-Razzaq Moaz (Damascus) for providing a copy of an unpublished dissertation directed by Dr. Talāl Aqīlī (Al-nasb al-tadhkārī l-il-ittisālāt al-barkcombining dot belowiyya bain Dimashk wa'l-Madīna al-munawwara, Sāhcombining dot belowa al-shahāda, Dimashq. This study has very detailed measurements of the monument and places it in the urban context. For a number of historical and modern photographs of the monument, see Abdullah Manaz, Suriye'nin başkenti Şam'da Türk dönemi eserleri (Ankara, 1992)
79. See the curriculum of the Sanâ'î-i Nefîse Mektebi in the yearbook of the Ministry of Education: The sculpture class (heykeltirâşi) met three days a week for eight hours (Sâlnâme-i Nezâret-i Ma'ârif-i Umûmiye, vol. 1 [Istanbul, 1316/1898], p. 106)
80. Ervant Osgan (1855-1914), who was Osman Hamdi's deputy, directed the sculpture class until his death (Onnig Avédissian, Peintres et sculpteurs arméniens du 19ème siècle à nos jours [Cairo, 1959], pp. 483-84)
81. Some sculptures of Oskan such as "Zeybek" and "Saz şairi" are reproduced in the journal of the Society of Ottoman Painters (Osmanli ressâmlar cem'iyeti gazetesi no. 12 [1326-39/ 1911-14], pp. 114, 221)
82. Erdem Yücel, "Mimar Muzaffer 〈1881-1920〉" Bizim Anadolu (4. Eylül 1971), p. 6
83. See, for more details, my forthcoming article in the Istanbuler Mittelungen
84. For details and photograph of the bust of Osman Gazi erected in Hafik by the wali of Sivas Ahmed Muammer [Kardaş] (1875-1928), during the World War: Ali Çankaya, Yeni Mülkiye Tarihi ve Mülkiyeliler, vol. 4 (Ankara, 1968-69), pp. 819-22: " Rahmetli, Memleketimizde ilk defa büst yaptirip diktiren idâre âmiridir" ("The deceased was the first senior administrator in our country who had a bust made and erected it")
85. Fatāwā 'l-Imām Muhammad Rashīd Ridā, ed. Salāh ai-Din al-Munadjdjid and Yūsuf K. Khūrī (Beirut, 1970) vol. 4
86. 'Abdel-hamīd Muhammad Ahmad, Die Auseinandersetzung zwischen al-Azhar und der modernistischen Bewegung in Ägypten von Muhammad 'Abdūh bis zur Gegenwart, Phil. Diss. (Hamburg, 1963), pp. 23-31: "Al-Azhar und die Bilderfrage."
87. From an unpublished study by Ehud E. Toledano, "Forgetting Egypt's Ottoman Past."
88. Compare Robin Jeffrey, "What Statues Tell: The Politics of Choosing Symbols in Trivandrom," Public Affairs 53 (1980): 484-502