Conscious appeals to the priority of "national" can have different ideological content, which det... more Conscious appeals to the priority of "national" can have different ideological content, which determines the choice of a strategy for self-determination of a particular culture in a certain period of time. An illustrative example for demonstrating a change in the idea of "national values" and a change of such strategies is the architecture of the late Ottoman Empire and the Republic of Turkey. In the XIX—XX centuries Ottoman/Turkish architecture repeatedly programmatically opposed the priority of national traditions to borrowed international styles, however, the criteria for cultural self-identification within the framework of the “national idea” turned out to be different. Three such strategies have been identified: the “imperial” one, which corresponded to the neo-Ottoman style of the late 19th century; "nationalist", expressing the Turkist ideals of the Young Turks; "regional", corresponding to an expanded understanding of the national heritage in the Republic of Turkey. As part of these successive strategies, the rhetorical goals of official culture changed, the national idea was expressed in different ways, the tasks of art were formulated, and artistic samples were chosen.
At the recent architectural exhibition “ArchMoscow 2023”, a new project of the Grand Mosque in Ka... more At the recent architectural exhibition “ArchMoscow 2023”, a new project of the Grand Mosque in Kazan was presented, in which the architects propose to erect a huge building in the form of a black cube with a domed prayer hall inscribed in it. This project, allegedly already approved by the leadership of Tatarstan, caused bewilderment and rejection of the participants of last year's competition. The appeal to the forms of the Kaaba has precedents in the contemporary architecture of the mosque, which does not remove the question – how acceptable and appropriate is the exploitation of the image of the Meccan shrine? The article analyzes aspects of the originality of this project and its compliance with the tasks of the already held competition.
Государство, религия и церковь в России и за рубежом, 2024
The article discusses the ability of mosque architecture to reflect a number of factors that are ... more The article discusses the ability of mosque architecture to reflect a number of factors that are optional in relation to religion, first of all, to serve as an instrument of political rhetoric. In contemporary architectural practice, following historical patterns is gaining ground, in which other meanings are invested. The recent competition of projects for the Kazan Cathedral Mosque demonstrates, on the one hand, an attempt to limit the spread of neo-Ottoman forms and create a new example of the national style, and on the other hand, the dependence on existing developments and the inability of architects to offer a clear alternative to these forms, which would be close to believers and understandable townspeople. The ability of the architectural image of a contemporary mosque to rhetorically convey certain meanings (even not taken into account by customers and architects) is more important than the very fact of creating a mosque as a religious building.
Reconstruction of the non-surviving Biyuk-jami in Kefe (Feodosia), one of the first Ottoman mosqu... more Reconstruction of the non-surviving Biyuk-jami in Kefe (Feodosia), one of the first Ottoman mosques in Crimea, is still a matter of controversy. The article critically examines the range of literary and graphic sources associated with this building, existing dating and hypothetical attribution of mosque to Sinan, attempts are made to determine the typological affiliation of the building, reduce the range of Anatolian architectural analogies and introduce the Crimean monument into the context of Ottoman religious architecture.
“Pavilion mosques” is a special type of religious architecture that came into being in the 19th c... more “Pavilion mosques” is a special type of religious architecture that came into being in the 19th century to replace the "Great Ottoman mosques". Buildings of this type inherited the triumphant political rhetoric of the Sultan's order, and in their developed facade pavilions the functions of special elements that marked the place of prayer of the Sultan / Caliph were combined. Two-part compositions of architectural volumes allowed Istanbul masters (primarily representatives of the Balyan dynasty) to combine decorative elements of various architectural styles, largely predetermining the evolution of Ottoman religious architecture from borrowed Baroque and Empire styles to eclecticism and a national version of the historical style. The magnificent facades of the "pavilion mosques", placed on the coastline of the Bosphorus, supplemented the new panorama of the Europeanized Istanbul, designed to be perceived from the water and compared by Western travelers to theatrical scenery.
The emergence of the "Ottoman Baroque" in the middle of the 18th century traditionally explained ... more The emergence of the "Ottoman Baroque" in the middle of the 18th century traditionally explained by the intensification of contacts between the Ottoman Empire and Europe. In an effort to create a new "imperial style" that adequately reflected the political claims of Istanbul, oriental architects willingly borrowed a ready-made recognizable set of decorative elements, carefully adapting it to traditional types of buildings and revitalizing the "conserved" forms of the Sultan's order. However, European borrowing has become only one of the possible areas of renewal. In search of authoritative examples and in an effort to go beyond their own classical heritage, Ottoman architects turned to sources closer to them than Western models. In several Istanbul mosques built in the second half of the 18th century by the main court architect Mehmed Tahir there is a consistent rejection of the tested European forms in favor of Byzantine and Early Ottoman elements, an interest in the use of texture and color as expressive means new for Ottoman cult architecture (Ayazma-jami). As a result, the monuments erected by him (openly "Byzantinizing" mosques Laleli, Zeynep Sultan) easily fit into the architectural context of Constantinople, creating the impression of rebuilding ancient Byzantine buildings and forming within the (both chronological and stylistic) "Ottoman Baroque" a special line of deliberate archaization of architectural forms.
The largest mosque in Istanbul - Suleymaniye - already because of the figure of its customer and ... more The largest mosque in Istanbul - Suleymaniye - already because of the figure of its customer and the eponym Sultan Suleiman the Magnificent, can and should be considered as an attempt at "axiological modeling" of the Temple of Solomon. The architectural landmark for the implementation of the idea was the St. Sophia, which previously embodied the "Solomonic principle", which explains the compositional anachronism of the mosque compared to other buildings of Sinan. In turn, it was the image of Suleymaniye that was used at the beginning of the 20th century in a utopian project to rebuild the Al-Aqsa Mosque on the Temple Mount of Jerusalem.
Culture of the Orient. Issue 5. Search for consonances. To the 90th anniversary of S.N. Sokolov-Remizov / ed. E. Kononenko. M: SIAS, 2021., 2021
Based on the article by S. Sokolov-Remizov on Fangu - the Chinese method of "interpreting the cla... more Based on the article by S. Sokolov-Remizov on Fangu - the Chinese method of "interpreting the classics", the author considers the appeal to the "classics" as a phenomenon common to a number of Oriental cultures. The terms "classic", "classical" need clarification and identification of the specifics of their meaning in relation to the subject under consideration, and the identification of the reasons for the characteristics of specific masters as "classics" and certain works, genres, techniques, phenomena, etc. how "classical" can become a separate historiographic task. Comparison of the manifestations of the "interpretation of the classics" should include the definition of the specifics, mechanisms and boundaries of referring to the "heritage of ancestors" (copying, quoting, imitation, etc.), as well as an analysis of the reasons, goals and consequences of such an appeal.
Culture of the Orient. Issue 4. The boundaries of sacred spaces., 2019
The features of the spatial and architectural design of the place intended for Islamic prayer are... more The features of the spatial and architectural design of the place intended for Islamic prayer are considered. In the absence of iconographic and symbolic requirements, the main characteristics are vector and ritual purity, but the priority factor is the time of the ritual. However, when determining the time limits of worship, it is legitimate to speak of the priority of the inner conviction of a particular praying person in the completeness and validity of his worship. The act of worship ritualizes both a portion of the space and a portion of the time allowed for each of the obligatory prayers. The mosque itself does not model anything - it only provides a fixed beginning of the “vector of Islam”. Prayer does not determine the spatial dimension of the mosque, but rather the temporary transformation of space into a ritual one.
От религиозного реформаторства к европеизации культуры мусульман. К 155-летию со дня рождения Исмаила Гаспринского., 2016
An article deals with connections between “Turkic idea” and development of Ottoman architecture a... more An article deals with connections between “Turkic idea” and development of Ottoman architecture at the turn of XIX–XX centuries. Although Neo-ottoman style was made to visualize the state doctrine of “Ottoman Renaissance”, after the victory of the Young Turk Revolution it was adjusted to express not state-religious, but national idea. Iconography of Neo-ottoman style, which appeared simultaneously with international search for architectural “historism”, was used successfully in national Neo-romanticism of 1910s years. Ideological changes in Ottoman society and declaring of return to ethnic roots coincided with transfer from eclectism to art nouveau. Every phase of development of political ideology assumed its own architectural “style”, but these search was realized by only one generation of architects, and their creation work became the foundation of the “First national architectural movement”.
Vestnik of Saint Petersburg University, Arts, 2021
The author considers typical ways of simulating the scientific process, leading to an increase in... more The author considers typical ways of simulating the scientific process, leading to an increase in the quantitative parameters of reports, but not contributing to an increase in scientific knowledge (artificial increase in publication activity; defense of frankly weak qualifying works, including dissertations; imitation pseudoscientific conferences; “omnivorous” paid journals; blurring the lines between genres of work in pursuit of funding). The proliferation of simulation mechanisms that do not contradict normative documents testifies to the loss of the qualitative criteria necessary for the self-preservation of science. The use of regulatory instruments provided for by the current bureaucratic acts is also formal, and often overtly simulated. In fact, many of the identified “challenges” are not “local”, inherent exclusively to Russian science. In addition, as the practice of recent years shows, the problems and consequences of the simulation of scientific work are well understood by domestic scientists who are trying to draw attention to anomalies and develop mechanisms to counter their manifestations, which indicates the existence of an “initiative from below”. The author believes that the activity of the professional community of art historians and critics can become a model in restoring regulatory mechanisms for the humanities. The criteria for the quality of scientific work and traditions of criticism that have survived in this community will not replace the imposed quantitative parameters, but can reduce the reputation losses of the Russian humanitarian science.
A Mosque in a Landscape. Architectural
Monuments as “Ottoman” Indicators
Ottoman culture was ind... more A Mosque in a Landscape. Architectural Monuments as “Ottoman” Indicators
Ottoman culture was indifferent to the development of special markers of the national landscape, replacing them with an architectural indicator. The mosque served the tasks of monumental propaganda, fixing the ottomanization of the territory and replacing ancient monuments. In the European landscape painting the Ottoman mosque turned into an orientalist indicator of territorial and civilizational affiliation, a means of visual metonymy, and landscape with a mosque became an analogue of theatrical scenery for the plot without presenting artists with the requirements of historical authenticity.
"THE SUBSTITUTION OF SHRINES":
SOME ASPECTS OF THE ARCHITECTURAL OTTOMANIZATION
OF CONSTANTINOPLE... more "THE SUBSTITUTION OF SHRINES": SOME ASPECTS OF THE ARCHITECTURAL OTTOMANIZATION OF CONSTANTINOPLE IN THE 15TH–16TH CENTURIES After the conquest of Constantinople, the Ottomans faced the task of visually marking their victory in the space of the ancient city. The instrument of such indication was the erection of the Sultan's memorial complexes (kulliye) and the triumphal ulu-jami (the version of which was the “Great Ottoman mosque”); they were built on the site of the most significant objects in the sacral topography of the Second Rome whose location was in turn dictated by the terrain. The consistent emergence of new dominants of urban development was fixed on European prints. The chain of huge domes flanked by minarets stretching across the peaks of the Istanbul hills not only created a new panorama of the city, but repeated the direction of Mesa, one of the main highways of the Byzantine capital. The “substitution of shrines” while preserving the existing sacral topography makes it possible to clarify and expand the range of comments by O. Grabar expressed in relation to the Early Islamic material.
The Sehzade Mosque in Istanbul: to the reconstruction of the original brainchild
The article is ... more The Sehzade Mosque in Istanbul: to the reconstruction of the original brainchild
The article is devoted to the Sehzade Mosque at Istanbul (1543–1548) which is one of the main works of the outstanding Ottoman architect Sinan. The appearance of this building is traditionally associated with the death of the heir (sehzade) Mehmed, but the existing mosque does not correspond to the funerary memorial typology that formed by the 16th century in the Ottoman architecture. Separate elements of the composition testify a change of the project already during construction, which is confirmed by the city legends and archival documents that were not previously used to study it. Reconstruction of the brainchild and chronology of the construction of the mosque allows to answer questions already asked about the features of the architectural order of Suleiman the Magnificent, to clarify the significance of this monument in the Ottoman layout of Istanbul and its place in the works of Sinan.
The article discusses the formation of a plan quadrifolia in Ottoman Muslim architecture. It was ... more The article discusses the formation of a plan quadrifolia in Ottoman Muslim architecture. It was this layout that corresponded to the Renaissance search for the ideal religious building became the basis for further development. that became the basis for the further development of the composition of «the Great Ottoman mosque», which was actively used in modern Muslim architecture, including in projects implemented on the territory of the Russian Federation.
Vestnik of Saint Petersburg University. Arts, 2019
The article examines the special form of printed graphics: the advertising poster for tourism,
wh... more The article examines the special form of printed graphics: the advertising poster for tourism, whose task is to create a certain “image of the country” and to shape demand for certain tourist routes. This product became a companion to the development of the tourism industry itself, and with the release of such packages as “traveling to the East,” a separate group of advertising posters appeared that had all the advantages of high graphics of the epochs of Art Nouveau and Art Deco. However, representations in “eastern routes” posters developed their own techniques that were di¸erent from those of European destinations. First, in advertisements for Mediterranean destinations, the subject (image of the traveler) was replaced by the object (image of the country), which was positioned with the help of “visual brands” — monuments uniquely associated with a speci¹c place. Artists in the ¹rst third of the 20th century created a number of graphic techniques for the catchy and recognizable “demonstration” of the East — the selection of “visual brands,” a special organization of composition, lighting, and imaginative structure of posters that created a “waiting e¸ect” for potential tourists in accordance with advertising objectives. A separate reception was the stylized use of elements of the traditional artistic language of the “advertised” country. e article highlights the emergence of the “oriental” advertising poster as an art product, marks characteristic artistic tricks, and draws attention to the transformation of some works into independent visual brands that are becoming the subject of contemporary vintage stylizations.
QUESTIONS OF THE HISTORY OF WORLD ARCHITECTURE, 2018
Ak-tekke (1370) is a memorial complex in Larend, the capital of the principality of Karaman. The ... more Ak-tekke (1370) is a memorial complex in Larend, the capital of the principality of Karaman. The composition of the centraldomed mosque Ak-tekke is similar to many Early Ottoman monuments, standing out sharply in the total mass of extremely conservative Karamanid religious buildings, but its constructive achievements far exceed the capabilities of masters who built synchronous Ottoman buildings. Some elements of the composition of the hall of Ak-tekke are reminiscent of the late Seljuk domed madrasah of the 13th century and the ways of expanding space in the mosques of the North Anatolian beyliks of the 14th century. This little-known construction, genetically related to the architecture of the Rum Sultanate, reflects the search for the optimal composition of the mosque by Anatolian architects and could not stay away from the attention of Ottoman architects, especially considering the direct Ottoman architectural patronage in Larend.
Article from the digest "Business cards of Eastern cultures." A special model of religious buildi... more Article from the digest "Business cards of Eastern cultures." A special model of religious buildings, referred to as the “large Ottoman mosque,” based on literary sources, posters, logos, is regarded as a visual brand of the Ottoman and more widely - Turkish and even Islamic cultures.
Introducion to the digest “Business cards of Eastern cultures.” Questions are raised about the fu... more Introducion to the digest “Business cards of Eastern cultures.” Questions are raised about the functioning of a number of monuments as visual brands capable of marking countries, cultures, civilizations, and some mechanisms of smooth functioning are analyzed.
Conscious appeals to the priority of "national" can have different ideological content, which det... more Conscious appeals to the priority of "national" can have different ideological content, which determines the choice of a strategy for self-determination of a particular culture in a certain period of time. An illustrative example for demonstrating a change in the idea of "national values" and a change of such strategies is the architecture of the late Ottoman Empire and the Republic of Turkey. In the XIX—XX centuries Ottoman/Turkish architecture repeatedly programmatically opposed the priority of national traditions to borrowed international styles, however, the criteria for cultural self-identification within the framework of the “national idea” turned out to be different. Three such strategies have been identified: the “imperial” one, which corresponded to the neo-Ottoman style of the late 19th century; "nationalist", expressing the Turkist ideals of the Young Turks; "regional", corresponding to an expanded understanding of the national heritage in the Republic of Turkey. As part of these successive strategies, the rhetorical goals of official culture changed, the national idea was expressed in different ways, the tasks of art were formulated, and artistic samples were chosen.
At the recent architectural exhibition “ArchMoscow 2023”, a new project of the Grand Mosque in Ka... more At the recent architectural exhibition “ArchMoscow 2023”, a new project of the Grand Mosque in Kazan was presented, in which the architects propose to erect a huge building in the form of a black cube with a domed prayer hall inscribed in it. This project, allegedly already approved by the leadership of Tatarstan, caused bewilderment and rejection of the participants of last year's competition. The appeal to the forms of the Kaaba has precedents in the contemporary architecture of the mosque, which does not remove the question – how acceptable and appropriate is the exploitation of the image of the Meccan shrine? The article analyzes aspects of the originality of this project and its compliance with the tasks of the already held competition.
Государство, религия и церковь в России и за рубежом, 2024
The article discusses the ability of mosque architecture to reflect a number of factors that are ... more The article discusses the ability of mosque architecture to reflect a number of factors that are optional in relation to religion, first of all, to serve as an instrument of political rhetoric. In contemporary architectural practice, following historical patterns is gaining ground, in which other meanings are invested. The recent competition of projects for the Kazan Cathedral Mosque demonstrates, on the one hand, an attempt to limit the spread of neo-Ottoman forms and create a new example of the national style, and on the other hand, the dependence on existing developments and the inability of architects to offer a clear alternative to these forms, which would be close to believers and understandable townspeople. The ability of the architectural image of a contemporary mosque to rhetorically convey certain meanings (even not taken into account by customers and architects) is more important than the very fact of creating a mosque as a religious building.
Reconstruction of the non-surviving Biyuk-jami in Kefe (Feodosia), one of the first Ottoman mosqu... more Reconstruction of the non-surviving Biyuk-jami in Kefe (Feodosia), one of the first Ottoman mosques in Crimea, is still a matter of controversy. The article critically examines the range of literary and graphic sources associated with this building, existing dating and hypothetical attribution of mosque to Sinan, attempts are made to determine the typological affiliation of the building, reduce the range of Anatolian architectural analogies and introduce the Crimean monument into the context of Ottoman religious architecture.
“Pavilion mosques” is a special type of religious architecture that came into being in the 19th c... more “Pavilion mosques” is a special type of religious architecture that came into being in the 19th century to replace the "Great Ottoman mosques". Buildings of this type inherited the triumphant political rhetoric of the Sultan's order, and in their developed facade pavilions the functions of special elements that marked the place of prayer of the Sultan / Caliph were combined. Two-part compositions of architectural volumes allowed Istanbul masters (primarily representatives of the Balyan dynasty) to combine decorative elements of various architectural styles, largely predetermining the evolution of Ottoman religious architecture from borrowed Baroque and Empire styles to eclecticism and a national version of the historical style. The magnificent facades of the "pavilion mosques", placed on the coastline of the Bosphorus, supplemented the new panorama of the Europeanized Istanbul, designed to be perceived from the water and compared by Western travelers to theatrical scenery.
The emergence of the "Ottoman Baroque" in the middle of the 18th century traditionally explained ... more The emergence of the "Ottoman Baroque" in the middle of the 18th century traditionally explained by the intensification of contacts between the Ottoman Empire and Europe. In an effort to create a new "imperial style" that adequately reflected the political claims of Istanbul, oriental architects willingly borrowed a ready-made recognizable set of decorative elements, carefully adapting it to traditional types of buildings and revitalizing the "conserved" forms of the Sultan's order. However, European borrowing has become only one of the possible areas of renewal. In search of authoritative examples and in an effort to go beyond their own classical heritage, Ottoman architects turned to sources closer to them than Western models. In several Istanbul mosques built in the second half of the 18th century by the main court architect Mehmed Tahir there is a consistent rejection of the tested European forms in favor of Byzantine and Early Ottoman elements, an interest in the use of texture and color as expressive means new for Ottoman cult architecture (Ayazma-jami). As a result, the monuments erected by him (openly "Byzantinizing" mosques Laleli, Zeynep Sultan) easily fit into the architectural context of Constantinople, creating the impression of rebuilding ancient Byzantine buildings and forming within the (both chronological and stylistic) "Ottoman Baroque" a special line of deliberate archaization of architectural forms.
The largest mosque in Istanbul - Suleymaniye - already because of the figure of its customer and ... more The largest mosque in Istanbul - Suleymaniye - already because of the figure of its customer and the eponym Sultan Suleiman the Magnificent, can and should be considered as an attempt at "axiological modeling" of the Temple of Solomon. The architectural landmark for the implementation of the idea was the St. Sophia, which previously embodied the "Solomonic principle", which explains the compositional anachronism of the mosque compared to other buildings of Sinan. In turn, it was the image of Suleymaniye that was used at the beginning of the 20th century in a utopian project to rebuild the Al-Aqsa Mosque on the Temple Mount of Jerusalem.
Culture of the Orient. Issue 5. Search for consonances. To the 90th anniversary of S.N. Sokolov-Remizov / ed. E. Kononenko. M: SIAS, 2021., 2021
Based on the article by S. Sokolov-Remizov on Fangu - the Chinese method of "interpreting the cla... more Based on the article by S. Sokolov-Remizov on Fangu - the Chinese method of "interpreting the classics", the author considers the appeal to the "classics" as a phenomenon common to a number of Oriental cultures. The terms "classic", "classical" need clarification and identification of the specifics of their meaning in relation to the subject under consideration, and the identification of the reasons for the characteristics of specific masters as "classics" and certain works, genres, techniques, phenomena, etc. how "classical" can become a separate historiographic task. Comparison of the manifestations of the "interpretation of the classics" should include the definition of the specifics, mechanisms and boundaries of referring to the "heritage of ancestors" (copying, quoting, imitation, etc.), as well as an analysis of the reasons, goals and consequences of such an appeal.
Culture of the Orient. Issue 4. The boundaries of sacred spaces., 2019
The features of the spatial and architectural design of the place intended for Islamic prayer are... more The features of the spatial and architectural design of the place intended for Islamic prayer are considered. In the absence of iconographic and symbolic requirements, the main characteristics are vector and ritual purity, but the priority factor is the time of the ritual. However, when determining the time limits of worship, it is legitimate to speak of the priority of the inner conviction of a particular praying person in the completeness and validity of his worship. The act of worship ritualizes both a portion of the space and a portion of the time allowed for each of the obligatory prayers. The mosque itself does not model anything - it only provides a fixed beginning of the “vector of Islam”. Prayer does not determine the spatial dimension of the mosque, but rather the temporary transformation of space into a ritual one.
От религиозного реформаторства к европеизации культуры мусульман. К 155-летию со дня рождения Исмаила Гаспринского., 2016
An article deals with connections between “Turkic idea” and development of Ottoman architecture a... more An article deals with connections between “Turkic idea” and development of Ottoman architecture at the turn of XIX–XX centuries. Although Neo-ottoman style was made to visualize the state doctrine of “Ottoman Renaissance”, after the victory of the Young Turk Revolution it was adjusted to express not state-religious, but national idea. Iconography of Neo-ottoman style, which appeared simultaneously with international search for architectural “historism”, was used successfully in national Neo-romanticism of 1910s years. Ideological changes in Ottoman society and declaring of return to ethnic roots coincided with transfer from eclectism to art nouveau. Every phase of development of political ideology assumed its own architectural “style”, but these search was realized by only one generation of architects, and their creation work became the foundation of the “First national architectural movement”.
Vestnik of Saint Petersburg University, Arts, 2021
The author considers typical ways of simulating the scientific process, leading to an increase in... more The author considers typical ways of simulating the scientific process, leading to an increase in the quantitative parameters of reports, but not contributing to an increase in scientific knowledge (artificial increase in publication activity; defense of frankly weak qualifying works, including dissertations; imitation pseudoscientific conferences; “omnivorous” paid journals; blurring the lines between genres of work in pursuit of funding). The proliferation of simulation mechanisms that do not contradict normative documents testifies to the loss of the qualitative criteria necessary for the self-preservation of science. The use of regulatory instruments provided for by the current bureaucratic acts is also formal, and often overtly simulated. In fact, many of the identified “challenges” are not “local”, inherent exclusively to Russian science. In addition, as the practice of recent years shows, the problems and consequences of the simulation of scientific work are well understood by domestic scientists who are trying to draw attention to anomalies and develop mechanisms to counter their manifestations, which indicates the existence of an “initiative from below”. The author believes that the activity of the professional community of art historians and critics can become a model in restoring regulatory mechanisms for the humanities. The criteria for the quality of scientific work and traditions of criticism that have survived in this community will not replace the imposed quantitative parameters, but can reduce the reputation losses of the Russian humanitarian science.
A Mosque in a Landscape. Architectural
Monuments as “Ottoman” Indicators
Ottoman culture was ind... more A Mosque in a Landscape. Architectural Monuments as “Ottoman” Indicators
Ottoman culture was indifferent to the development of special markers of the national landscape, replacing them with an architectural indicator. The mosque served the tasks of monumental propaganda, fixing the ottomanization of the territory and replacing ancient monuments. In the European landscape painting the Ottoman mosque turned into an orientalist indicator of territorial and civilizational affiliation, a means of visual metonymy, and landscape with a mosque became an analogue of theatrical scenery for the plot without presenting artists with the requirements of historical authenticity.
"THE SUBSTITUTION OF SHRINES":
SOME ASPECTS OF THE ARCHITECTURAL OTTOMANIZATION
OF CONSTANTINOPLE... more "THE SUBSTITUTION OF SHRINES": SOME ASPECTS OF THE ARCHITECTURAL OTTOMANIZATION OF CONSTANTINOPLE IN THE 15TH–16TH CENTURIES After the conquest of Constantinople, the Ottomans faced the task of visually marking their victory in the space of the ancient city. The instrument of such indication was the erection of the Sultan's memorial complexes (kulliye) and the triumphal ulu-jami (the version of which was the “Great Ottoman mosque”); they were built on the site of the most significant objects in the sacral topography of the Second Rome whose location was in turn dictated by the terrain. The consistent emergence of new dominants of urban development was fixed on European prints. The chain of huge domes flanked by minarets stretching across the peaks of the Istanbul hills not only created a new panorama of the city, but repeated the direction of Mesa, one of the main highways of the Byzantine capital. The “substitution of shrines” while preserving the existing sacral topography makes it possible to clarify and expand the range of comments by O. Grabar expressed in relation to the Early Islamic material.
The Sehzade Mosque in Istanbul: to the reconstruction of the original brainchild
The article is ... more The Sehzade Mosque in Istanbul: to the reconstruction of the original brainchild
The article is devoted to the Sehzade Mosque at Istanbul (1543–1548) which is one of the main works of the outstanding Ottoman architect Sinan. The appearance of this building is traditionally associated with the death of the heir (sehzade) Mehmed, but the existing mosque does not correspond to the funerary memorial typology that formed by the 16th century in the Ottoman architecture. Separate elements of the composition testify a change of the project already during construction, which is confirmed by the city legends and archival documents that were not previously used to study it. Reconstruction of the brainchild and chronology of the construction of the mosque allows to answer questions already asked about the features of the architectural order of Suleiman the Magnificent, to clarify the significance of this monument in the Ottoman layout of Istanbul and its place in the works of Sinan.
The article discusses the formation of a plan quadrifolia in Ottoman Muslim architecture. It was ... more The article discusses the formation of a plan quadrifolia in Ottoman Muslim architecture. It was this layout that corresponded to the Renaissance search for the ideal religious building became the basis for further development. that became the basis for the further development of the composition of «the Great Ottoman mosque», which was actively used in modern Muslim architecture, including in projects implemented on the territory of the Russian Federation.
Vestnik of Saint Petersburg University. Arts, 2019
The article examines the special form of printed graphics: the advertising poster for tourism,
wh... more The article examines the special form of printed graphics: the advertising poster for tourism, whose task is to create a certain “image of the country” and to shape demand for certain tourist routes. This product became a companion to the development of the tourism industry itself, and with the release of such packages as “traveling to the East,” a separate group of advertising posters appeared that had all the advantages of high graphics of the epochs of Art Nouveau and Art Deco. However, representations in “eastern routes” posters developed their own techniques that were di¸erent from those of European destinations. First, in advertisements for Mediterranean destinations, the subject (image of the traveler) was replaced by the object (image of the country), which was positioned with the help of “visual brands” — monuments uniquely associated with a speci¹c place. Artists in the ¹rst third of the 20th century created a number of graphic techniques for the catchy and recognizable “demonstration” of the East — the selection of “visual brands,” a special organization of composition, lighting, and imaginative structure of posters that created a “waiting e¸ect” for potential tourists in accordance with advertising objectives. A separate reception was the stylized use of elements of the traditional artistic language of the “advertised” country. e article highlights the emergence of the “oriental” advertising poster as an art product, marks characteristic artistic tricks, and draws attention to the transformation of some works into independent visual brands that are becoming the subject of contemporary vintage stylizations.
QUESTIONS OF THE HISTORY OF WORLD ARCHITECTURE, 2018
Ak-tekke (1370) is a memorial complex in Larend, the capital of the principality of Karaman. The ... more Ak-tekke (1370) is a memorial complex in Larend, the capital of the principality of Karaman. The composition of the centraldomed mosque Ak-tekke is similar to many Early Ottoman monuments, standing out sharply in the total mass of extremely conservative Karamanid religious buildings, but its constructive achievements far exceed the capabilities of masters who built synchronous Ottoman buildings. Some elements of the composition of the hall of Ak-tekke are reminiscent of the late Seljuk domed madrasah of the 13th century and the ways of expanding space in the mosques of the North Anatolian beyliks of the 14th century. This little-known construction, genetically related to the architecture of the Rum Sultanate, reflects the search for the optimal composition of the mosque by Anatolian architects and could not stay away from the attention of Ottoman architects, especially considering the direct Ottoman architectural patronage in Larend.
Article from the digest "Business cards of Eastern cultures." A special model of religious buildi... more Article from the digest "Business cards of Eastern cultures." A special model of religious buildings, referred to as the “large Ottoman mosque,” based on literary sources, posters, logos, is regarded as a visual brand of the Ottoman and more widely - Turkish and even Islamic cultures.
Introducion to the digest “Business cards of Eastern cultures.” Questions are raised about the fu... more Introducion to the digest “Business cards of Eastern cultures.” Questions are raised about the functioning of a number of monuments as visual brands capable of marking countries, cultures, civilizations, and some mechanisms of smooth functioning are analyzed.
Review of: Asya Gimborg. The Magnificent Age of Ottoman Art. Palaces, mosques, harems and the Bos... more Review of: Asya Gimborg. The Magnificent Age of Ottoman Art. Palaces, mosques, harems and the Bosphorus at night. Moscow: Mann, Ivanov, Ferber, 2023. 224 p.
Рецензия на монографию С.М. Червонной «Современная мечеть.
Отечественный и мировой опыт Новейшего... more Рецензия на монографию С.М. Червонной «Современная мечеть. Отечественный и мировой опыт Новейшего времени» (Торунь, 2016) / The Architecture of the Contemporary Mosque: an Experience of Systematization (A review of “Contemporary Mosque. Domestic and International Experience in the Recent History” by S.M. Chervonnaya. Тoryn, 2016)
Рецензия на: Шукуров Ш.М. Хорасан. Территория искусства. М., 2016 / A rewue of: Shukurov Sh. Khor... more Рецензия на: Шукуров Ш.М. Хорасан. Территория искусства. М., 2016 / A rewue of: Shukurov Sh. Khorasan. The territory of Art.
Abstract: Pavilion mosques represent a distinct type of religious architecture that came into bei... more Abstract: Pavilion mosques represent a distinct type of religious architecture that came into being in the 19th century and supplanted great Ottoman mosques. Buildings of this type inherited the triumphant political rhetoric of the Sultan’s order, and their elaborate façade pavilions appeared to function as special elements that marked the place of prayer of the Sultan / Caliph. Two-part architectural structures allowed Istanbul masters (primarily representatives of the Balyan dynasty) to combine decorative elements of various architectural styles, which largely predetermined the evolution of Ottoman religious architecture from the borrowed Baroque and Empire styles to eclecticism and a national version of the historical style. The ornate façades of pavilion mosques erected along the coastline of the Bosporus made the Europeanized Istanbul complete with a new panorama specifically designed to be enjoyed from the water and compared by Western travellers to stage sets Аннотация: «Павильонные мечети»-особый тип культовой архитектуры, пришедший в XIX в. на смену «большим османским мечетям». Здания этого типа унаследовали триумфальную политическую риторику султанского заказа, а в их развитых фасадных павильонах оказались совмещены функции особых элементов, маркировавших место молитвы султана/халифа. Двухчастные композиции архитектурных объемов позволили стамбульским мастерам (прежде всего представителям династии Бальянов) совмещать элементы декора различных архитектурных стилей, во многом предопределив эволюцию османской культовой архитектуры от заимствованных барокко и ампира к эклектике и национальному варианту исторического стиля. Пышные фасады «павильонных мечетей», вынесенные на береговую линию Босфора, дополнили новую панораму европеизируемого Стамбула, рассчитанную на восприятие именно с воды и сравнивавшуюся западными путешественниками с театральной декорацией.
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However, European borrowing has become only one of the possible areas of renewal. In search of authoritative examples and in an effort to go beyond their own classical heritage, Ottoman architects turned to sources closer to them than Western models.
In several Istanbul mosques built in the second half of the 18th century by the main court architect Mehmed Tahir there is a consistent rejection of the tested European forms in favor of Byzantine and Early Ottoman elements, an interest in the use of texture and color as expressive means new for Ottoman cult architecture (Ayazma-jami). As a result, the monuments erected by him (openly "Byzantinizing" mosques Laleli, Zeynep Sultan) easily fit into the architectural context of Constantinople, creating the impression of rebuilding ancient Byzantine buildings and forming within the (both chronological and stylistic) "Ottoman Baroque" a special line of deliberate archaization of architectural forms.
Monuments as “Ottoman” Indicators
Ottoman culture was indifferent to the development
of special markers of the national landscape, replacing
them with an architectural indicator. The mosque
served the tasks of monumental propaganda, fixing
the ottomanization of the territory and replacing
ancient monuments. In the European landscape
painting the Ottoman mosque turned into an
orientalist indicator of territorial and civilizational
affiliation, a means of visual metonymy, and landscape
with a mosque became an analogue of theatrical
scenery for the plot without presenting artists with
the requirements of historical authenticity.
SOME ASPECTS OF THE ARCHITECTURAL OTTOMANIZATION
OF CONSTANTINOPLE IN THE 15TH–16TH CENTURIES
After the conquest of Constantinople, the Ottomans faced the task of visually marking their victory in the space of
the ancient city. The instrument of such indication was the erection of the Sultan's memorial complexes (kulliye)
and the triumphal ulu-jami (the version of which was the “Great Ottoman mosque”); they were built on the site of
the most significant objects in the sacral topography of the Second Rome whose location was in turn dictated by
the terrain. The consistent emergence of new dominants of urban development was fixed on European prints. The
chain of huge domes flanked by minarets stretching across the peaks of the Istanbul hills not only created a new
panorama of the city, but repeated the direction of Mesa, one of the main highways of the Byzantine capital. The
“substitution of shrines” while preserving the existing sacral topography makes it possible to clarify and expand the
range of comments by O. Grabar expressed in relation to the Early Islamic material.
The article is devoted to the Sehzade Mosque at Istanbul (1543–1548) which is one of the main works of the outstanding Ottoman architect Sinan. The appearance of this building is traditionally associated with the death of the heir (sehzade) Mehmed, but the existing mosque does not correspond to the funerary memorial typology that formed by the 16th century in the Ottoman architecture. Separate elements of the composition testify a change of the project already during construction, which is confirmed by the city legends and archival documents that were not previously used to study it. Reconstruction of the brainchild and chronology of the construction of the mosque allows to answer questions already asked about the features of the architectural order of Suleiman the Magnificent, to clarify the significance of this monument in the Ottoman layout of Istanbul and its place in the works of Sinan.
to the Renaissance search for the ideal religious building became the basis for further development. that became the basis for
the further development of the composition of «the Great Ottoman mosque», which was actively used in modern Muslim
architecture, including in projects implemented on the territory of the Russian Federation.
whose task is to create a certain “image of the country” and to shape demand for certain
tourist routes. This product became a companion to the development of the tourism industry
itself, and with the release of such packages as “traveling to the East,” a separate group of
advertising posters appeared that had all the advantages of high graphics of the epochs of Art
Nouveau and Art Deco. However, representations in “eastern routes” posters developed their
own techniques that were di¸erent from those of European destinations. First, in advertisements
for Mediterranean destinations, the subject (image of the traveler) was replaced by the
object (image of the country), which was positioned with the help of “visual brands” — monuments
uniquely associated with a speci¹c place. Artists in the ¹rst third of the 20th century
created a number of graphic techniques for the catchy and recognizable “demonstration” of
the East — the selection of “visual brands,” a special organization of composition, lighting, and
imaginative structure of posters that created a “waiting e¸ect” for potential tourists in accordance
with advertising objectives. A separate reception was the stylized use of elements of the
traditional artistic language of the “advertised” country. e article highlights the emergence
of the “oriental” advertising poster as an art product, marks characteristic artistic tricks, and
draws attention to the transformation of some works into independent visual brands that are
becoming the subject of contemporary vintage stylizations.
mosque Ak-tekke is similar to many Early Ottoman monuments, standing out sharply in the total mass of
extremely conservative Karamanid religious buildings, but its constructive achievements far exceed the capabilities
of masters who built synchronous Ottoman buildings. Some elements of the composition of the hall of Ak-tekke
are reminiscent of the late Seljuk domed madrasah of the 13th century and the ways of expanding space in the
mosques of the North Anatolian beyliks of the 14th century.
This little-known construction, genetically related to the architecture of the Rum Sultanate, reflects the search for
the optimal composition of the mosque by Anatolian architects and could not stay away from the attention of Ottoman
architects, especially considering the direct Ottoman architectural patronage in Larend.
However, European borrowing has become only one of the possible areas of renewal. In search of authoritative examples and in an effort to go beyond their own classical heritage, Ottoman architects turned to sources closer to them than Western models.
In several Istanbul mosques built in the second half of the 18th century by the main court architect Mehmed Tahir there is a consistent rejection of the tested European forms in favor of Byzantine and Early Ottoman elements, an interest in the use of texture and color as expressive means new for Ottoman cult architecture (Ayazma-jami). As a result, the monuments erected by him (openly "Byzantinizing" mosques Laleli, Zeynep Sultan) easily fit into the architectural context of Constantinople, creating the impression of rebuilding ancient Byzantine buildings and forming within the (both chronological and stylistic) "Ottoman Baroque" a special line of deliberate archaization of architectural forms.
Monuments as “Ottoman” Indicators
Ottoman culture was indifferent to the development
of special markers of the national landscape, replacing
them with an architectural indicator. The mosque
served the tasks of monumental propaganda, fixing
the ottomanization of the territory and replacing
ancient monuments. In the European landscape
painting the Ottoman mosque turned into an
orientalist indicator of territorial and civilizational
affiliation, a means of visual metonymy, and landscape
with a mosque became an analogue of theatrical
scenery for the plot without presenting artists with
the requirements of historical authenticity.
SOME ASPECTS OF THE ARCHITECTURAL OTTOMANIZATION
OF CONSTANTINOPLE IN THE 15TH–16TH CENTURIES
After the conquest of Constantinople, the Ottomans faced the task of visually marking their victory in the space of
the ancient city. The instrument of such indication was the erection of the Sultan's memorial complexes (kulliye)
and the triumphal ulu-jami (the version of which was the “Great Ottoman mosque”); they were built on the site of
the most significant objects in the sacral topography of the Second Rome whose location was in turn dictated by
the terrain. The consistent emergence of new dominants of urban development was fixed on European prints. The
chain of huge domes flanked by minarets stretching across the peaks of the Istanbul hills not only created a new
panorama of the city, but repeated the direction of Mesa, one of the main highways of the Byzantine capital. The
“substitution of shrines” while preserving the existing sacral topography makes it possible to clarify and expand the
range of comments by O. Grabar expressed in relation to the Early Islamic material.
The article is devoted to the Sehzade Mosque at Istanbul (1543–1548) which is one of the main works of the outstanding Ottoman architect Sinan. The appearance of this building is traditionally associated with the death of the heir (sehzade) Mehmed, but the existing mosque does not correspond to the funerary memorial typology that formed by the 16th century in the Ottoman architecture. Separate elements of the composition testify a change of the project already during construction, which is confirmed by the city legends and archival documents that were not previously used to study it. Reconstruction of the brainchild and chronology of the construction of the mosque allows to answer questions already asked about the features of the architectural order of Suleiman the Magnificent, to clarify the significance of this monument in the Ottoman layout of Istanbul and its place in the works of Sinan.
to the Renaissance search for the ideal religious building became the basis for further development. that became the basis for
the further development of the composition of «the Great Ottoman mosque», which was actively used in modern Muslim
architecture, including in projects implemented on the territory of the Russian Federation.
whose task is to create a certain “image of the country” and to shape demand for certain
tourist routes. This product became a companion to the development of the tourism industry
itself, and with the release of such packages as “traveling to the East,” a separate group of
advertising posters appeared that had all the advantages of high graphics of the epochs of Art
Nouveau and Art Deco. However, representations in “eastern routes” posters developed their
own techniques that were di¸erent from those of European destinations. First, in advertisements
for Mediterranean destinations, the subject (image of the traveler) was replaced by the
object (image of the country), which was positioned with the help of “visual brands” — monuments
uniquely associated with a speci¹c place. Artists in the ¹rst third of the 20th century
created a number of graphic techniques for the catchy and recognizable “demonstration” of
the East — the selection of “visual brands,” a special organization of composition, lighting, and
imaginative structure of posters that created a “waiting e¸ect” for potential tourists in accordance
with advertising objectives. A separate reception was the stylized use of elements of the
traditional artistic language of the “advertised” country. e article highlights the emergence
of the “oriental” advertising poster as an art product, marks characteristic artistic tricks, and
draws attention to the transformation of some works into independent visual brands that are
becoming the subject of contemporary vintage stylizations.
mosque Ak-tekke is similar to many Early Ottoman monuments, standing out sharply in the total mass of
extremely conservative Karamanid religious buildings, but its constructive achievements far exceed the capabilities
of masters who built synchronous Ottoman buildings. Some elements of the composition of the hall of Ak-tekke
are reminiscent of the late Seljuk domed madrasah of the 13th century and the ways of expanding space in the
mosques of the North Anatolian beyliks of the 14th century.
This little-known construction, genetically related to the architecture of the Rum Sultanate, reflects the search for
the optimal composition of the mosque by Anatolian architects and could not stay away from the attention of Ottoman
architects, especially considering the direct Ottoman architectural patronage in Larend.
Отечественный и мировой опыт Новейшего времени» (Торунь, 2016) / The Architecture of the Contemporary Mosque: an Experience of Systematization (A review of “Contemporary Mosque. Domestic and International Experience in the Recent History” by S.M. Chervonnaya. Тoryn, 2016)
rhetoric of the Sultan’s order, and their elaborate façade pavilions appeared to function as special elements that marked the place of prayer of the Sultan / Caliph. Two-part architectural structures allowed Istanbul masters (primarily representatives of the Balyan dynasty) to combine decorative elements of various architectural styles, which largely predetermined the evolution of Ottoman religious architecture from the borrowed Baroque and Empire styles to eclecticism and a national version of the historical style. The ornate façades of pavilion mosques erected along the coastline of the Bosporus made the Europeanized Istanbul complete with a new panorama specifically designed to be enjoyed from the water and compared by Western travellers to stage sets
Аннотация: «Павильонные мечети»-особый тип культовой архитектуры, пришедший в XIX в. на смену «большим османским мечетям». Здания этого типа унаследовали триумфальную политическую риторику султанского заказа, а в их развитых фасадных павильонах оказались совмещены функции особых элементов, маркировавших место молитвы султана/халифа. Двухчастные композиции архитектурных объемов позволили стамбульским мастерам (прежде всего представителям династии Бальянов) совмещать элементы декора различных архитектурных стилей, во многом предопределив эволюцию османской культовой архитектуры от заимствованных барокко и ампира к эклектике и национальному варианту исторического стиля. Пышные фасады «павильонных мечетей», вынесенные на береговую линию Босфора, дополнили новую панораму европеизируемого Стамбула, рассчитанную на восприятие именно с воды и сравнивавшуюся западными путешественниками с театральной декорацией.