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dc.contributor.authorGÜMÜŞ, Müjde Dila
dc.date.accessioned2023-10-10T13:13:29Z
dc.date.available2023-10-10T13:13:29Z
dc.date.issued2023
dc.identifier.citationGÜMÜŞ M. D., "The Creation of a Natural History Display at the Yildiz Palace by Fausto Zonaro and Hüseyin Zekâi Paşa", Sanat Tarihi Yilligi, sa.32, ss.275-303, 2023
dc.identifier.issn0579-4080
dc.identifier.othervv_1032021
dc.identifier.otherav_2ea5d9ed-4097-4b27-b76c-d0a7947132a7
dc.identifier.urihttp://hdl.handle.net/20.500.12627/190507
dc.identifier.urihttps://www.scopus.com/inward/record.uri?partnerID=HzOxMe3b&scp=85168380374&origin=inward
dc.identifier.urihttps://doi.org/10.26650/sty.2023.1244177
dc.description.abstractRelated to the increasing interest in natural history in Europe in the 19th century, natural history collections were established in various institutions in the Ottoman Empire. Yildiz Palace was among the collection centers during Abdülhamid II's reign (r. 1876-1909). The Sultan's collection used to be exhibited in the natural history museum within Yildiz Palace and at various points of the palace. The collection items were distributed to multiple educational institutions, mainly to the Ministry of Education, following Abdülhamid II's dethronement. This article focuses on two glass cabinets designed as natural history displays with landscape paintings on the interior surfaces and taxidermized birds inside. The cabinets were assembled at Yildiz Palace at the beginning of the 20th century, and have been preserved in the Istanbul University Faculty of Science since the 1930's. Besides being examples of the display practices at Yildiz Palace, the cabinets are relevant in an art historical aspect since the paintings in them carry Fausto Zonaro's, Hüseyin Zekai's, Halid's (Naci), and A. Nicot's signatures. The cabinets exemplify a unique collaboration of four artists, each of whom had served in Yildiz Palace with different titles during Abdülhamid II' reign. Within this article's scope, the cabinets mentioned, which have yet to be examined in an art historical context and have been overlooked in the literature on related painters, are introduced in detait, emphasizing the paintings they carry. In relation to the critical importance of Yildiz Palace as a self-representation medium for Abdülhamid II, it is argued that natural history displays at the palace were a component of the modern appearance of the Sultan. The primary sources of the study consist of publications and archival documents from the Abdülhamid II era, photographs from Yildiz Albums, and inventory records of Istanbul University.
dc.language.isoeng
dc.subjectArkeoloji (sanat ve beşeri bilimler)
dc.subjectSosyal Bilimler ve Beşeri Bilimler
dc.subjectGörsel Sanatlar ve Gösteri Sanatları
dc.subjectTarih
dc.subjectSanat
dc.subjectArkeoloji ve Sanat Tarihi
dc.subjectSosyal ve Beşeri Bilimler
dc.subjectTARİH
dc.subjectARKEOLOJİ
dc.subjectSANAT
dc.subjectSanat ve Beşeri Bilimler
dc.subjectSanat ve Beşeri Bilimler (AHCI)
dc.titleThe Creation of a Natural History Display at the Yildiz Palace by Fausto Zonaro and Hüseyin Zekâi Paşa
dc.typeMakale
dc.relation.journalSanat Tarihi Yilligi
dc.contributor.departmentİstanbul Üniversitesi , Edebiyat Fakültesi , Sanat Tarihi Bölümü
dc.identifier.issue32
dc.identifier.startpage275
dc.identifier.endpage303
dc.contributor.firstauthorID4514556


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