 with Wendy M. K. Shaw hosted by Zeinab Azarbadegan| What is an image in Islam? Is its permissibility the main preoccupation of Islamic discourses? In this episode, Wendy M.K. Shaw revisits the foundations of art history and considers their colonial and Eurocentric roots. She discusses the stories of art and artists that circulated in the Islamic world, not all of which were accompanied with images, in order to understand what the role of art and the artist were conceived of the pre-modern Islamic world. Redefining concepts such as the image, perspective, art, and history, she sketches the alternative Islamic perceptual culture in which seeing with the ear and seeing with the heart are central to understanding this world as the manifestation of the divine.« Click for More »

<a href="" rel="nofollow" target="_blank"> with Wendy M. K. Shaw </a> hosted by <a href="https://columbia.academia.edu/ZeinabAzarbadegan" rel="nofollow" target="_blank">Zeinab Azarbadegan</a> | What is an image in Islam? Is its permissibility the main preoccupation of Islamic discourses? In this episode, Wendy M.K. Shaw revisits the foundations of art history and considers their colonial and Eurocentric roots. She discusses the stories of art and artists that circulated in the Islamic world, not all of which were accompanied with images, in order to understand what the role of art and the artist were conceived of the pre-modern Islamic world. Redefining concepts such as the image, perspective, art, and history, she sketches the alternative Islamic perceptual culture in which seeing with the ear and seeing with the heart are central to understanding this world as the manifestation of the divine. <a href="http://www.ottomanhistorypodcast.com/2022/11/shaw.html#more" rel="nofollow" target="_blank">« Click for More »</a>

What is Islamic Art?

 with Özge Calafato hosted by Zeinab Azarbadegan| What can family and individual studio photographs tell us about social life in the early Republic of Turkey? In this episode, Özge Calafato highlights the negotiations between the Kemalist state, the photographers, and the people being photographed that led to classed and gendered representation of modern Turkish citizens in vernacular photography. Calafato analyzes not only the image, but also the context of production and the inscriptions written behind photographs. Looking at photos of subjects as ranging from beauty queens and feminist activists to bank employees and soldiers, she considers the production and circulation of photos not only in urban studios and within families but also in rural areas and within friendship groups.« Click for More »

<a href="https://uva.academia.edu/OzgeCalafato" rel="nofollow" target="_blank"> with Özge Calafato </a> hosted by <a href="https://columbia.academia.edu/ZeinabAzarbadegan" rel="nofollow" target="_blank">Zeinab Azarbadegan</a> | What can family and individual studio photographs tell us about social life in the early Republic of Turkey? In this episode, Özge Calafato highlights the negotiations between the Kemalist state, the photographers, and the people being photographed that led to classed and gendered representation of modern Turkish citizens in vernacular photography. Calafato analyzes not only the image, but also the context of production and the inscriptions written behind photographs. Looking at photos of subjects as ranging from beauty queens and feminist activists to bank employees and soldiers, she considers the production and circulation of photos not only in urban studios and within families but also in rural areas and within friendship groups. <a href="http://www.ottomanhistorypodcast.com/2022/10/calafato.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Vernacular Photography in Early Republican Turkey

Episode 473   with Elisabeth Fraser  hosted by Emily Neumeier   For centuries, people have been documenting their travels with images, which purportedly function as visual evidence for someone’s experience far from home. This was no less the case for Europeans touring through Ottoman lands, who created a whole industry selling pictures from their time abroad. In this episode, Elisabeth Fraser explains how Western European artists at the turn of the eighteenth century began to create a new type of popular media, the illustrated travel volume. But these were not small guide books to tuck away in your pocket, they were large-scale luxury publications for the discerning armchair traveler. The enormous size and high production quality of these books and the accompanying images means that they were not the work of a single person but rather a large team of artists. Reflecting on these questions of authenticity, Dr. Fraser discusses how her research aims to take up a more nuanced view of the complexities of cross-cultural encounter.  « Click for More »

Episode 473 <a href="https://usf.academia.edu/ElisabethFraser" rel="nofollow" target="_blank"> with Elisabeth Fraser </a> <a href="https://temple.academia.edu/EmilyNeumeier" rel="nofollow" target="_blank">hosted by Emily Neumeier</a> For centuries, people have been documenting their travels with images, which purportedly function as visual evidence for someone’s experience far from home. This was no less the case for Europeans touring through Ottoman lands, who created a whole industry selling pictures from their time abroad. In this episode, Elisabeth Fraser explains how Western European artists at the turn of the eighteenth century began to create a new type of popular media, the illustrated travel volume. But these were not small guide books to tuck away in your pocket, they were large-scale luxury publications for the discerning armchair traveler. The enormous size and high production quality of these books and the accompanying images means that they were not the work of a single person but rather a large team of artists. Reflecting on these questions of authenticity, Dr. Fraser discusses how her research aims to take up a more nuanced view of the complexities of cross-cultural encounter. <a href="http://www.ottomanhistorypodcast.com/2020/08/fraser.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Travel Images Between Europe and the Ottoman Empire

David Ohannessian

Episode 471   with Sato Moughalian  hosted by Sam Dolbee  David Ohannessian is one of the foremost pioneers of the ceramic styles associated today with the city of Jerusalem, but the remarkable story of how he ended up there has never been properly told. Born in 1884 outside of Eskişehir (modern-day Turkey), David Ohannessian became a master in the iconic Kütahya style of Ottoman ceramics. He worked on important architectural projects of the Ottoman government, only to be deported during the Armenian Genocide. He managed to survive, however, and continued his craft afterward in Jerusalem, where he became involved with restoration of the Dome of the Rock and opened his own ceramics studio in the Old City. Yet the past stayed with him, especially the weight of his experience during the genocide. In this episode, Sato Moughalian discusses Feast of Ashes, her recent biography of Ohannessian. She also talks about his story's personal resonance for her as Ohannessian's granddaughter. His artistic persistence provided a model of resilience to emulate in her own art, but the violence and displacement experienced by Ohannessian and his family also left a legacy of secrets and complicated grief in Moughalian's life that was long felt but seldom addressed.  « Click for More »

Episode 471 <a href="http://www.satomoughalian.com/" rel="nofollow" target="_blank"> with Sato Moughalian </a> <a href="https://harvard.academia.edu/SamDolbee" rel="nofollow" target="_blank">hosted by Sam Dolbee</a> David Ohannessian is one of the foremost pioneers of the ceramic styles associated today with the city of Jerusalem, but the remarkable story of how he ended up there has never been properly told. Born in 1884 outside of Eskişehir (modern-day Turkey), David Ohannessian became a master in the iconic Kütahya style of Ottoman ceramics. He worked on important architectural projects of the Ottoman government, only to be deported during the Armenian Genocide. He managed to survive, however, and continued his craft afterward in Jerusalem, where he became involved with restoration of the Dome of the Rock and opened his own ceramics studio in the Old City. Yet the past stayed with him, especially the weight of his experience during the genocide. In this episode, Sato Moughalian discusses <a href="https://www.sup.org/books/title/?id=28630" rel="nofollow" target="_blank">Feast of Ashes</a>, her recent biography of Ohannessian. She also talks about his story's personal resonance for her as Ohannessian's granddaughter. His artistic persistence provided a model of resilience to emulate in her own art, but the violence and displacement experienced by Ohannessian and his family also left a legacy of secrets and complicated grief in Moughalian's life that was long felt but seldom addressed.  <a href="http://www.ottomanhistorypodcast.com/2020/08/ohannessian.html#more" rel="nofollow" target="_blank">« Click for More »</a>

David Ohannessian: Art, Exile, and the Legacies of Genocide

Episode 465   with Robyn Dora Radway  hosted by Emily Neumeier   What was it like to be a foreigner living in Ottoman Istanbul? In this episode, our guest Robyn Dora Radway answers this question by providing an in-depth look at an unusual type of document: alba amicorum, or friendship albums, which were essentially the social media of the sixteenth century. Produced in the Habsburg embassy (aka the “German House"), these albums functioned like yearbooks in that the owners residing in the embassy would strive to collect all manner of mementos from their time abroad, including signatures, poems, short anecdotes, and even drawings and paintings. At the German House, men from all walks of life would end up assembling their own album amicorum, from the Habsburg ambassador to the cook (who was quite popular and had the largest album by far). We discuss how these albums can thus serve as a valuable resource for historians, as they offer a full picture of the social makeup of these kinds of diplomatic spaces—information that does not often turn up in more traditional archives.  « Click for More »

Episode 465 <a href="https://people.ceu.edu/robyn-dora_radway" rel="nofollow" target="_blank"> with Robyn Dora Radway </a> <a href="https://temple.academia.edu/EmilyNeumeier" rel="nofollow" target="_blank">hosted by Emily Neumeier</a> What was it like to be a foreigner living in Ottoman Istanbul? In this episode, our guest Robyn Dora Radway answers this question by providing an in-depth look at an unusual type of document: alba amicorum, or friendship albums, which were essentially the social media of the sixteenth century. Produced in the Habsburg embassy (aka the “German House"), these albums functioned like yearbooks in that the owners residing in the embassy would strive to collect all manner of mementos from their time abroad, including signatures, poems, short anecdotes, and even drawings and paintings. At the German House, men from all walks of life would end up assembling their own album amicorum, from the Habsburg ambassador to the cook (who was quite popular and had the largest album by far). We discuss how these albums can thus serve as a valuable resource for historians, as they offer a full picture of the social makeup of these kinds of diplomatic spaces—information that does not often turn up in more traditional archives. <a href="http://www.ottomanhistorypodcast.com/2020/07/radway.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Mementos from Habsburg Life in Ottoman Istanbul

Bölüm 460   Fatih Parlak   Sunucu: Can Gümüş     Erken modern dönemde Avrupa’nın oyun dünyası nasıldı? Avrupa’nın çeşitli ülkelerinde üretilen bu oyunlarda Türkler nasıl temsil ediliyordu? Bu bölümde, Dr. Fatih Parlak ile bu sorular etrafında sohbet ediyoruz. Parlak’ın doktora tezi batılı kaynaklarda yer alan Türk imgesini durağan kabul eden ana akım yaklaşımları yeniden değerlendiriyor ve bu imgenin çok katmanlı ve çok yönlü olarak değerlendirilmesi gerektiğine vurgu yapıyor. Aynı zamanda, oyunları incelemenin açtığı yeni araştırma imkânlarını da tartışıyor.   « Click for More »

Bölüm 460 <a href="https://uab.academia.edu/FatihParlak" rel="nofollow" target="_blank"> Fatih Parlak </a> Sunucu: <a href="https://boun.academia.edu/YeterCanG%C3%BCm%C3%BC%C5%9F" rel="nofollow" target="_blank">Can Gümüş </a> Erken modern dönemde Avrupa’nın oyun dünyası nasıldı? Avrupa’nın çeşitli ülkelerinde üretilen bu oyunlarda Türkler nasıl temsil ediliyordu? Bu bölümde, Dr. Fatih Parlak ile bu sorular etrafında sohbet ediyoruz. Parlak’ın doktora tezi batılı kaynaklarda yer alan Türk imgesini durağan kabul eden ana akım yaklaşımları yeniden değerlendiriyor ve bu imgenin çok katmanlı ve çok yönlü olarak değerlendirilmesi gerektiğine vurgu yapıyor. Aynı zamanda, oyunları incelemenin açtığı yeni araştırma imkânlarını da tartışıyor. <a href="http://www.ottomanhistorypodcast.com/2020/04/turk-imgesi.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Erken Modern Avrupa Oyunlarındaki Türk İmgesi 

Episode 445   with Mary Roberts  hosted by Zeinab Azarbadegan   Download the podcast Feed | iTunes | GooglePlay | SoundCloud   The line between Orientalist and Ottoman painting might at first seem clear. But in this episode, historian Mary Roberts argues that such distinctions are in fact complicated, drawing on her recent book Istanbul Exchanges: Ottomans, Orientalists and Nineteenth-Century Visual Culture. She explains how Istanbul became a global center of production, circulation, and exhibition of visual culture in the nineteenth century. Ottomans and Orientalists both contended and connected with each other--whether in Pera or in the palace--and Roberts discusses how these networks of patronage and apprenticeship eventually led to works that were produced in Istanbul ending up all around the world. There they became defined as Orientalist, but Roberts unearths the more tangled genealogy of their production, as well as the relevance of audience in these characterizations.   « Click for More »

Episode 445 <a href="https://sydney.academia.edu/MaryRoberts" rel="nofollow" target="_blank"> with Mary Roberts </a> <a href="https://history.columbia.edu/faculty/azarbadegan-zeinab/" rel="nofollow" target="_blank">hosted by Zeinab Azarbadegan</a> <center> Download the podcast <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/roberts" rel="nofollow" target="_blank">SoundCloud</a></center> The line between Orientalist and Ottoman painting might at first seem clear. But in this episode, historian Mary Roberts argues that such distinctions are in fact complicated, drawing on her recent book <a href="https://www.ucpress.edu/book/9780520280533/istanbul-exchanges" rel="nofollow" target="_blank">Istanbul Exchanges: Ottomans, Orientalists and Nineteenth-Century Visual Culture</a>. She explains how Istanbul became a global center of production, circulation, and exhibition of visual culture in the nineteenth century. Ottomans and Orientalists both contended and connected with each other--whether in Pera or in the palace--and Roberts discusses how these networks of patronage and apprenticeship eventually led to works that were produced in Istanbul ending up all around the world. There they became defined as Orientalist, but Roberts unearths the more tangled genealogy of their production, as well as the relevance of audience in these characterizations.  <a href="http://www.ottomanhistorypodcast.com/2020/01/ottoman-paintings.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Ottomans, Orientalists, and 19th-Century Visual Culture

Episode 407  with Heghnar Watenpaugh  hosted by Emily Neumeier   Download the podcast Feed | iTunes | GooglePlay | SoundCloud   The genre of biography usually applies to people, but could a similar approach be applied to an object? Can a thing have a life of its own? In this episode, Heghnar Watenpaugh explores this question by tracing the long journey of the Zeytun Gospels, a famous illuminated manuscript considered to be a masterpiece of medieval Armenian art. Protected for centuries in a remote church in eastern Anatolia, the sacred book traveled with the waves of people displaced by the Armenian genocide. Passed from hand to hand, caught in the chaos of the First World War, it was divided in two. Decades later, the manuscript found its way to the Republic of Armenia, while its missing eight pages came to the Getty Museum in LA. In this interview, we discuss how the Zeytun Gospels could be understood as a "survivor object," contributing to current discussions about the destruction of cultural heritage. We also talk about the challenges of writing history for a broader reading public.  « Click for More »

Episode 407 <a href="https://ucdavis.academia.edu/HeghnarZeitlianWatenpaugh" rel="nofollow" target="_blank">with Heghnar Watenpaugh</a> hosted by <a href="https://upenn.academia.edu/EmilyNeumeier" rel="nofollow" target="_blank">Emily Neumeier</a> <center> Download the podcast <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/survivor-objects-and-the-lost-world-of-ottoman-armenians-heghnar-watenpaugh" rel="nofollow" target="_blank">SoundCloud</a></center> The genre of biography usually applies to people, but could a similar approach be applied to an object? Can a thing have a life of its own? In this episode, Heghnar Watenpaugh explores this question by tracing the long journey of the Zeytun Gospels, a famous illuminated manuscript considered to be a masterpiece of medieval Armenian art. Protected for centuries in a remote church in eastern Anatolia, the sacred book traveled with the waves of people displaced by the Armenian genocide. Passed from hand to hand, caught in the chaos of the First World War, it was divided in two. Decades later, the manuscript found its way to the Republic of Armenia, while its missing eight pages came to the Getty Museum in LA. In this interview, we discuss how the Zeytun Gospels could be understood as a "survivor object," contributing to current discussions about the destruction of cultural heritage. We also talk about the challenges of writing history for a broader reading public. <a href="http://www.ottomanhistorypodcast.com/2019/03/survivor-objects.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Survivor Objects and the Lost World of Ottoman Armenians

Episode 400  with Nir Shafir  hosted by Suzie Ferguson   Download the podcast  Feed | iTunes | GooglePlay | SoundCloud   In this episode, Nir Shafir talks about the problem of "fake minatures" of Islamic science: small paintings that look old, but are actually contemporary productions. As these images circulate in museums, on book covers, and on the internet, they tell us more about what we want "Islamic science" to be than what it actually was. That, Nir tells us, is a lost opportunity.   « Click for More »

Episode 400 <a href="https://ucsd.academia.edu/NirShafir" rel="nofollow" target="_blank">with Nir Shafir</a> hosted by <a href="https://columbia.academia.edu/SusannaFerguson" rel="nofollow" target="_blank">Suzie Ferguson</a> <center> Download the podcast</center> <center> <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://www.blogger.com/ENTER%20EPISODE%20URL%20FROM%20SOUNDCLOUD" rel="nofollow" target="_blank">SoundCloud</a></center> In this episode, Nir Shafir talks about the problem of "fake minatures" of Islamic science: small paintings that look old, but are actually contemporary productions. As these images circulate in museums, on book covers, and on the internet, they tell us more about what we want "Islamic science" to be than what it actually was. That, Nir tells us, is a lost opportunity. <a href="http://www.ottomanhistorypodcast.com/2019/02/islamicscience.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Forging Islamic Science 

Episode 399  with Zeynep Çelik  hosted by Zeinab Azarbadegan and Matthew Ghazarian   Download the podcast  Feed | iTunes | GooglePlay | SoundCloud   How did the Ottomans react to European attitudes and depictions of their own lands? Pondering on the groundbreaking book 'Orientalism' by Edward Said forty years after its publication, our guest Zeynep Çelik discusses the ways in which urban, art, and architectural historians have grappled with representations of the Ottomans by Europeans and representations of Ottomans by Ottomans themselves. Telling us about a number of paintings, monuments, scholarly writings and stories, she argues that Orientalism is still relevant and with us wherever we go.   « Click for More »

Episode 399 <a href="http://design.njit.edu/people/celik.php" rel="nofollow" target="_blank">with Zeynep Çelik</a> hosted by <a href="https://history.columbia.edu/faculty/azarbadegan-zeinab/" rel="nofollow" target="_blank">Zeinab Azarbadegan</a> and <a href="https://columbia.academia.edu/MatthewGhazarian" rel="nofollow" target="_blank">Matthew Ghazarian</a> <center> Download the podcast</center> <center> <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/orientalism-in-the-ottoman-empire-zeynep-celik" rel="nofollow" target="_blank">SoundCloud</a></center> How did the Ottomans react to European attitudes and depictions of their own lands? Pondering on the groundbreaking book 'Orientalism' by Edward Said forty years after its publication, our guest Zeynep Çelik discusses the ways in which urban, art, and architectural historians have grappled with representations of the Ottomans by Europeans and representations of Ottomans by Ottomans themselves. Telling us about a number of paintings, monuments, scholarly writings and stories, she argues that Orientalism is still relevant and with us wherever we go. <a href="http://www.ottomanhistorypodcast.com/2019/01/orientalism.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Orientalism in the Ottoman Empire

"The Visual Past” showcases the latest research by scholars who explore the visual, spatial, and material culture that shaped the Ottoman world. The series will address not only objects, images, and calligraphy, but also works of architecture that were themselves contexts for other media. Before being designated historical landmarks or enshrined in museum displays, these rich artistic and architectural products constituted an intrinsic part of Ottoman life, intersecting with and affecting all levels of society. Episodes in this series investigate crucial issues about sight and seeing in the Ottoman Empire, including the power of the gaze, the depiction of human and animal imagery, and questions of style, aesthetics, and patronage. The series also explores transformations in technology that opened up new possibilities during the nineteenth and twentieth centuries for the popular dissemination of images through photographs, print media, and film.

The Visual Past

Mughal Kashmir

Episode 346  with Jan Haenraets  hosted by Nir Shafir and Polina Ivanova   Download the podcast Feed | iTunes | GooglePlay | SoundCloud   Over the course of the seventeenth century, Kashmir became a valley adorned with gardens as Mughal emperors and nobles built garden after garden across the valley floor and mountainous landscape. In this episode, we speak with landscape architect and preservation specialist Jan Haenaerts on his research into the history of these gardens. We discuss not only their historical formation and usage of these spaces but also how they differed from the more well known Mughal gardens surrounding the Taj Mahal and Humayun's tomb. In the second half of the episode we also explore the difficulty of conserving historical gardens and landscapes in general and how this occurs in conflict areas such as Kashmir.  « Click for More »

Episode 346 <a href="https://www.bu.edu/ah/profile/jan-haenraets/" rel="nofollow" target="_blank">with Jan Haenraets</a> hosted by <a href="https://ucsd.academia.edu/NirShafir" rel="nofollow" target="_blank">Nir Shafir</a> and <a href="https://harvard.academia.edu/PolinaIvanova" rel="nofollow" target="_blank">Polina Ivanova</a> <center> Download the podcast <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/the-gardens-of-mughal-kashmir-jan-haenraets" rel="nofollow" target="_blank">SoundCloud</a></center> Over the course of the seventeenth century, Kashmir became a valley adorned with gardens as Mughal emperors and nobles built garden after garden across the valley floor and mountainous landscape. In this episode, we speak with landscape architect and preservation specialist Jan Haenaerts on his research into the history of these gardens. We discuss not only their historical formation and usage of these spaces but also how they differed from the more well known Mughal gardens surrounding the Taj Mahal and Humayun's tomb. In the second half of the episode we also explore the difficulty of conserving historical gardens and landscapes in general and how this occurs in conflict areas such as Kashmir. <a href="http://www.ottomanhistorypodcast.com/2018/02/kashmirgardens.html#more" rel="nofollow" target="_blank">« Click for More »</a>

The Gardens of Mughal Kashmir

with Emine Fetvacı  hosted by Emily Neumeier and Nir Shafir    Emine Fetvacı discusses her research for Picturing History at the Ottoman Court (Indiana University Press) with Emily Neumeier and Nir Shafir.  Download the episode  Podcast Feed | iTunes | Soundcloud    In the second half of the sixteenth century, the Ottoman court became particularly invested in writing its own history. This initiative primarily took the form of official chronicles, and the court historian (şehnameci), a new position established in the 1550s, set to work producing manuscripts accompanied by lavish illustrations. However, the paintings in these texts should not be understood merely as passive descriptions of historical events. Rather, these images served as complex conveyors of meaning in their own right, designed by teams of artists to satisfy the aspirations of their patrons, which included not only the sultan but also other members of the court. In this episode, Emily Neumeier and Nir Shafir speak with Emine Fetvacı about these illustrated histories, the subject of her 2013 volume Picturing History at the Ottoman Court.   « Click for More »

with Emine Fetvacı hosted by Emily Neumeier and Nir Shafir Emine Fetvacı discusses her research for Picturing History at the Ottoman Court (Indiana University Press) with Emily Neumeier and Nir Shafir. <center> Download the episode</center> <center> <a href="http://ottomanhistory.hipcast.com/rss/science.xml" rel="nofollow" target="_blank">Podcast Feed</a> | <a href="https://itunes.apple.com/us/podcast/history-science-ottoman-or/id1017658972" rel="nofollow" target="_blank">iTunes</a> | <a href="https://soundcloud.com/ottoman-history-podcast/picturing-history-at-the-ottoman-court-emine-fetvaci" rel="nofollow" target="_blank">Soundcloud</a></center> In the second half of the sixteenth century, the Ottoman court became particularly invested in writing its own history. This initiative primarily took the form of official chronicles, and the court historian (şehnameci), a new position established in the 1550s, set to work producing manuscripts accompanied by lavish illustrations. However, the paintings in these texts should not be understood merely as passive descriptions of historical events. Rather, these images served as complex conveyors of meaning in their own right, designed by teams of artists to satisfy the aspirations of their patrons, which included not only the sultan but also other members of the court. In this episode, <a href="https://upenn.academia.edu/EmilyNeumeier" rel="nofollow" target="_blank">Emily Neumeier</a> and <a href="https://ucla.academia.edu/NirShafir" rel="nofollow" target="_blank">Nir Shafir</a> speak with <a href="https://bu.academia.edu/EmineFetvaci" rel="nofollow" target="_blank">Emine Fetvacı</a> about these illustrated histories, the subject of her 2013 volume Picturing History at the Ottoman Court.  <a href="http://www.ottomanhistorypodcast.com/2016/01/ottoman-painting.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Picturing History at the Ottoman Court

Episode 327   with contributions by Zeynep Çelik, Leyla Amzi-Erdoğdular, Özde Çeliktemel-Thomen, Mehmet Kentel, Michael Talbot, Murat Yıldız, Burçak Özlüdil Altın, Seçil Yılmaz, Burçin Çakır, Zeinab Azerbadegan, Dotan Halevy, Chris Gratien, and Michael Ferguson   Download the podcast  Feed | iTunes | GooglePlay | SoundCloud   Visual sources such as photographs, maps, and miniatures often serve as accompaniment or adornment within works of Ottoman history. In this episode, we feature new work that interrogates methods of analyzing and employing visual sources for Ottoman history that go beyond the practice of "image as decoration." Following a conversation with the organizers of the "Visual Sources in Late Ottoman History" conference held at Columbia University in April 2017, we speak to conference participants about the visual sources they employ in their work and how these visual sources allow us to understand the history of the Ottoman Empire and post-Ottoman world in a new light.  « Click for More »

Episode 327 with contributions by Zeynep Çelik, Leyla Amzi-Erdoğdular, Özde Çeliktemel-Thomen, Mehmet Kentel, Michael Talbot, Murat Yıldız, Burçak Özlüdil Altın, Seçil Yılmaz, Burçin Çakır, Zeinab Azerbadegan, Dotan Halevy, Chris Gratien, and Michael Ferguson <center> Download the podcast</center> <center> <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/visual-sources-in-late-ottoman-history" rel="nofollow" target="_blank">SoundCloud</a></center> Visual sources such as photographs, maps, and miniatures often serve as accompaniment or adornment within works of Ottoman history. In this episode, we feature new work that interrogates methods of analyzing and employing visual sources for Ottoman history that go beyond the practice of "image as decoration." Following a conversation with the organizers of the "Visual Sources in Late Ottoman History" conference held at Columbia University in April 2017, we speak to conference participants about the visual sources they employ in their work and how these visual sources allow us to understand the history of the Ottoman Empire and post-Ottoman world in a new light. <a href="http://www.ottomanhistorypodcast.com/2017/07/columbia-visual.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Visual Sources in Late Ottoman History

 with Gwendolyn Collaçohosted by Chris Gratien, Nir Shafir, and Huma Gupta   Download the podcast Feed | iTunes | GooglePlay | SoundCloud  The illustrated account of the festivals surrounding the circumcision of Sultan Ahmed III's sons in 1720 is one of the most iconic and celebrated depictions of urban life in Ottoman Istanbul. With its detailed text written by Vehbi, accompanied by the vibrant miniature paintings of Levni, this work has been used as a source for understanding the cast of professions and personalities that occupied the public space of the Ottoman capital. In this episode, we focus not on the colorful characters of Levni's paintings but rather the backdrop for the celebrations: the Golden Horn and the waterfront of 18th-century Istanbul. As our guest Gwendolyn Collaço explains, the accounts of festivals in early modern Istanbul reflect the transformation of the city and an orientation towards the waterfront not only in the Ottoman Empire but also neighboring states of the Mediterranean.   « Click for More »

<center> <a href="https://harvard.academia.edu/GwendolynColla%C3%A7o" rel="nofollow" target="_blank">with Gwendolyn Collaço</a> hosted by <a href="http://georgetown.academia.edu/ChrisGratien" rel="nofollow" target="_blank">Chris Gratien</a>, <a href="https://ucla.academia.edu/NirShafir" rel="nofollow" target="_blank">Nir Shafir</a>, and <a href="https://akpia.mit.edu/huma-gupta" rel="nofollow" target="_blank">Huma Gupta</a></center><center> </center><center> </center><center> Download the podcast</center><center> <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/festivals-and-the-waterfront-in-18th-century-istanbul-gwendolyn-collaco" rel="nofollow" target="_blank">SoundCloud</a></center> The illustrated account of the festivals surrounding the circumcision of Sultan Ahmed III's sons in 1720 is one of the most iconic and celebrated depictions of urban life in Ottoman Istanbul. With its detailed text written by Vehbi, accompanied by the vibrant miniature paintings of Levni, this work has been used as a source for understanding the cast of professions and personalities that occupied the public space of the Ottoman capital. In this episode, we focus not on the colorful characters of Levni's paintings but rather the backdrop for the celebrations: the Golden Horn and the waterfront of 18th-century Istanbul. As our guest <a href="https://harvard.academia.edu/GwendolynColla%C3%A7o" rel="nofollow" target="_blank">Gwendolyn Collaço</a> explains, the accounts of festivals in early modern Istanbul reflect the transformation of the city and an orientation towards the waterfront not only in the Ottoman Empire but also neighboring states of the Mediterranean.  <a href="http://www.ottomanhistorypodcast.com/2016/08/levni.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Festivals and the Waterfront in 18th Century Istanbul

Episode 297  with Massumeh Farhad &amp; Simon Rettig  hosted by Emily Neumeier   Download the podcast  Feed | iTunes | GooglePlay | SoundCloud   The preeminent position of manuscript painting and poetry at the Ottoman court has been well established by historians, yet the equally important practice of commissioning and collecting sumptuously decorated copies of the Qur’an--the sacred text of Islam--has been less explored. The role of the Qur’an in the artistic culture of the Ottoman world is just one facet of the landmark exhibition The Art of the Qur’an: Treasures from the Museum of Turkish and Islamic Arts, on display at the Smithsonian Institution in Washington DC. The show traces the formal evolution of the Qur’an, especially in terms of calligraphy and manuscript illumination, with over 60 manuscripts and folios spanning a thousand years and created in an area stretching from Egypt to Afghanistan. Besides having an opportunity to appreciate the level of labor and skill invested in producing such high-quality manuscripts, visitors will also be surprised to learn about the mobility of these books, as they were avidly collected, repaired, and donated by members of the Ottoman court to various religious institutions around the empire. In this episode, curators Massumeh Farhad and Simon Rettig sit down with us to reflect both on the reception of the exhibition in the United States, as well as the process of organizing this collaborative venture between the Smithsonian and the Museum of Turkish and Islamic Arts in Istanbul.    « Click for More »

Episode 297 <a href="http://www.asia.si.edu/exhibitions/current/art-of-the-quran/video-farhad-rettig.php" rel="nofollow" target="_blank">with Massumeh Farhad &amp; Simon Rettig</a> hosted by <a href="https://upenn.academia.edu/EmilyNeumeier" rel="nofollow" target="_blank">Emily Neumeier</a> <center> Download the podcast</center> <center> <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/art-of-quran" rel="nofollow" target="_blank">SoundCloud</a></center> The preeminent position of manuscript painting and poetry at the Ottoman court has been well established by historians, yet the equally important practice of commissioning and collecting sumptuously decorated copies of the Qur’an--the sacred text of Islam--has been less explored. The role of the Qur’an in the artistic culture of the Ottoman world is just one facet of the landmark exhibition The Art of the Qur’an: Treasures from the Museum of Turkish and Islamic Arts, on display at the Smithsonian Institution in Washington DC. The show traces the formal evolution of the Qur’an, especially in terms of calligraphy and manuscript illumination, with over 60 manuscripts and folios spanning a thousand years and created in an area stretching from Egypt to Afghanistan. Besides having an opportunity to appreciate the level of labor and skill invested in producing such high-quality manuscripts, visitors will also be surprised to learn about the mobility of these books, as they were avidly collected, repaired, and donated by members of the Ottoman court to various religious institutions around the empire. In this episode, curators Massumeh Farhad and Simon Rettig sit down with us to reflect both on the reception of the exhibition in the United States, as well as the process of organizing this collaborative venture between the Smithsonian and the Museum of Turkish and Islamic Arts in Istanbul. <a href="http://www.ottomanhistorypodcast.com/2017/02/quran-art-history.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Exploring the Art of the Qur'an

 with Armen T. Marsoobianhosted by Zoe Griffith   Download the podcast Feed | iTunes | GooglePlay | SoundCloud  Interest in Ottoman photography has tended to focus on the orientalist gaze or the view from the imperial center. In this episode, Armen T. Marsoobian offers us the unique lens of the Dildilian family of Armenian photographers in provincial Anatolia. Around the turn of the twentieth century, the Dildilians worked to memorialize portraits of fragmenting families and to document everyday scenes in provincial cities such as Sivas, Samsun, and Merzifon. Marsoobian, himself a descendant of the Dildilians, has woven together the family's remarkable photographic archive along with their memoirs and oral histories, to describe how  through ingenuity and professional connections, the family and with them much of their art survived the genocide in 1915-16.  « Click for More »

<center> <a href="https://www.southernct.edu/academics/schools/arts/departments/philosophy/facultyandstaff/department-chair.html" rel="nofollow" target="_blank">with Armen T. Marsoobian</a> <a href="https://brown.academia.edu/ZoeGriffith" rel="nofollow" target="_blank">hosted by Zoe Griffith</a></center><center> </center><center> </center><center> Download the podcast</center><center> <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | SoundCloud</center> Interest in Ottoman photography has tended to focus on the orientalist gaze or the view from the imperial center. In this episode, Armen T. Marsoobian offers us the unique lens of the Dildilian family of Armenian photographers in provincial Anatolia. Around the turn of the twentieth century, the Dildilians worked to memorialize portraits of fragmenting families and to document everyday scenes in provincial cities such as Sivas, Samsun, and Merzifon. Marsoobian, himself a descendant of the Dildilians, has woven together the family's remarkable photographic archive along with their memoirs and oral histories, to describe how  through ingenuity and professional connections, the family and with them much of their art survived the genocide in 1915-16. <a href="http://www.ottomanhistorypodcast.com/2016/08/armenian-photography-anatolia.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Armenian Photography in Ottoman Anatolia

 with Ahmet Ersoyhosted by Susanna Ferguson   Download the podcast Feed | iTunes | GooglePlay | SoundCloud  What happens when we encounter "Orientalist" aesthetics outside the West? In the late nineteenth century, a cosmopolitan group of Ottoman architects turned to modern forms of art history writing to argue that synthesis and change stood at the heart of a particularly "Ottoman" architectural aesthetic. Working together, these writers produced the first text of modern art history writing in the Ottoman empire, the Usul-ı Mi’marî-yi Osmanî or The Fundamentals of Ottoman Architecture. This volume was published simultaneously in Ottoman Turkish, French and German for the Universal Exposition or World's Fair in Vienna in 1873. In this episode, Ahmet Ersoy explores the making of this text, its arguments, and its implications for understanding the relationship of the late-Tanzimat Ottoman Empire with Europe, its own cosmopolitan "hyphenated-Ottoman" intellectuals, and historical imagination.  « Click for More »

<center> <a href="https://boun.academia.edu/AhmetAErsoy" rel="nofollow" target="_blank">with Ahmet Ersoy</a> <a href="https://columbia.academia.edu/SusannaFerguson" rel="nofollow" target="_blank">hosted by Susanna Ferguson</a></center><center> </center><center> </center><center> Download the podcast</center><center> <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/ahmetersoy" rel="nofollow" target="_blank">SoundCloud</a></center> What happens when we encounter "Orientalist" aesthetics outside the West? In the late nineteenth century, a cosmopolitan group of Ottoman architects turned to modern forms of art history writing to argue that synthesis and change stood at the heart of a particularly "Ottoman" architectural aesthetic. Working together, these writers produced the first text of modern art history writing in the Ottoman empire, the Usul-ı Mi’marî-yi Osmanî or The Fundamentals of Ottoman Architecture. This volume was published simultaneously in Ottoman Turkish, French and German for the Universal Exposition or World's Fair in Vienna in 1873. In this episode, <a href="https://boun.academia.edu/AhmetAErsoy" rel="nofollow" target="_blank">Ahmet Ersoy</a> explores the making of this text, its arguments, and its implications for understanding the relationship of the late-Tanzimat Ottoman Empire with Europe, its own cosmopolitan "hyphenated-Ottoman" intellectuals, and historical imagination. <a href="http://www.ottomanhistorypodcast.com/2016/11/architecture-historical-imagination.html#more" rel="nofollow" target="_blank">« Click for More »</a>

Architecture and Late Ottoman Historical Imagination

Antoine Köpe

Episode 387  with Nefin Dinç hosted by Chris Gratien   Download the podcast  Feed | iTunes | GooglePlay | SoundCloud   Antoine Köpe was never a prominent politician or public figure, but he was witness to extraordinary events. Born in late Ottoman Istanbul to French and Hungarian parents, Antoine was there to celebrate the 1908 Young Turk revolution, fight in the First World War, live under an Allied occupation, and experience the emergence of the national resistance and the establishment of the Republic of Turkey. Driven by an irresistible instinct to document, he produced writings, drawings, audiovisual recordings, and a 10-volume memoir of his unusual life. In this episode, our guest filmmaker Nefin Dinç shared more about the life of Antoine Köpe, which is the subject of a documentary project titled "Antoine the Fortunate."  « Click for More »

Episode 387 <a href="https://www.jmu.edu/smad/about-smad/our-people/Dinc-Nefin.shtml" rel="nofollow" target="_blank">with Nefin Dinç</a> <a href="https://virginia.academia.edu/ChrisGratien" rel="nofollow" target="_blank">hosted by Chris Gratien</a> <center> Download the podcast <a href="http://feeds.feedburner.com/soundcloud/OHP" rel="nofollow" target="_blank">Feed</a> | <a href="https://itunes.apple.com/us/podcast/ottoman-history-podcast/id513808150" rel="nofollow" target="_blank">iTunes</a> | <a href="https://play.google.com/music/m/Idu7nhligwgytnv77wvecdx3slq?t=Ottoman_History_Podcast" rel="nofollow" target="_blank">GooglePlay</a> | <a href="https://soundcloud.com/ottoman-history-podcast/the-incredible-life-of-antoine-kope-nefin-dinc" rel="nofollow" target="_blank">SoundCloud</a></center> Antoine Köpe was never a prominent politician or public figure, but he was witness to extraordinary events. Born in late Ottoman Istanbul to French and Hungarian parents, Antoine was there to celebrate the 1908 Young Turk revolution, fight in the First World War, live under an Allied occupation, and experience the emergence of the national resistance and the establishment of the Republic of Turkey. Driven by an irresistible instinct to document, he produced writings, drawings, audiovisual recordings, and a 10-volume memoir of his unusual life. In this episode, our guest filmmaker Nefin Dinç shared more about the life of Antoine Köpe, which is the subject of a <a href="http://antoinekope.com/#home" rel="nofollow" target="_blank">documentary project titled "Antoine the Fortunate."</a> <a href="http://www.ottomanhistorypodcast.com/2018/10/dinc.html#more" rel="nofollow" target="_blank">« Click for More »</a>

The Incredible Life of Antoine Köpe

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