"Over the course of the dynamic nineteenth century, the image of the Ottoman sultan maintained a complex relationship with ideas surrounding the modernisation of the Empire. This book investigates that relationship by situating the tasvir-i humayun (imperial portrait) within the wider program of top-down modernisation movements initiated at the end of the eighteenth century under Sultan Selim III (r. 1789-1807) and culminating in the Tanzimat (Reorganization) era (1839-76). The study breaks new ground byconsidering the use of new image-making technologies and aesthetic trends - including oil-on-canvas paintings, lithographic prints, and photographs - primarily at the imperial court in Istanbul, but also at the provincial courts of the Ottoman Balkans"--Provided by publisher.
This book investigates the complex relationships among images of the Ottoman sultan – including portrait paintings, prints, and photographs – and ideas surrounding the modernisation of the Empire over the course of the dynamic nineteenth century.
Arvustused
"Focusing on newly developed strategies for disseminating the sultans image, Alison Terndrup offers a compelling reassessment of one of the most politically and artistically consequential moments in the history of the Ottoman Empire. Both assured and nuanced in its framing, her study situates the portraitstogether with their ideological, ceremonial, and diplomatic motivationsagainst the backdrop of larger transnational shifts while also elucidating the specifically Ottoman concerns that shaped such imagery. This is an original, adroit approach to the thorny question of Ottoman modernity that will benefit readers from across disciplines."
Ünver Rüstem, Second Decade Society Associate Professor of Islamic Art and Architecture, Johns Hopkins University
Contents
Acknowledgements
List of Figures
Note on Language and Transcription
Note on Web Sources
Abbreviations
Introduction
1Ottoman Modernisation and Global Trends
2Incorporating New Models: Press and Place
3Sultans Portraits in Historical Perspective
4Likeness, Gaze, and Power
5Chapter Summaries
6Conclusion
1 Dynamism, Diplomacy, and Distribution
1Paper Support and Design Dissemination
2Dynastic Representation during Political Volatility
3The Auspicious Event and the Sultans New Look
4Difference as Progress: Double Mahmuds
5Courtly and Commercial Exchange
6Conclusion
2 Dazzlingly Brilliant: Precious Miniatures
1Award Form and Its Accrual of Symbolic Value
2Tokens of Friendship and Loyalty in Non-Ottoman History
3The Mahmuds Multiply
4Ceremonial Bestowals: The Sultans Inner Circle
5Controversy and Permissibility
6Rewarding Loyalty?
7The Sultan: Friend of the King
8The Sultan: Friend of the Czar
9Continuities and Changes in the Mid-Century
10Conclusion
3 Beautiful, Wonderful Wall-Hanging Works
1A Report from the Barracks
2Ritual and Repetition in Portrait-Inauguration Ceremonies
3Embodiment and Image in the Early Nineteenth Century
4Display at Sea: Mamdiye and Nuretiye
5Display at School: Maçka
6Display at the Dvnne
7Display Abroad
8Display in the Second Part of the Century
9Conclusion
4 The Nin in Ottoman-Balkan Princely Portraits
1The Embedded Miniature
2Sartorial Symbolism and Legitimacy
3The Case of Serbia
4The Serbian Revolution, Russian Aid, and Napoleon
5Prince Milo: Going Fezless
6The Dual Cases of Moldavia and Wallachia
71848 Revolutions and the Crimean War
8Conclusion
5 The Sultans True Likeness in the Press
1Models, Copies, and Reproductions
2Photography, Truth, and Beauty
3Imperial Power on the Worlds (Fairs) Stage
4The Restricted Image: Abdülhamid II
5Hamidian Albums
6Conclusion
Conclusion. Legacies of Aesthetic Shifts and New Approaches
Appendix
1. Transcription of Tavm-i Veyi No. 133
Image Credits
Bibliography
Index
Alison Terndrup, Ph.D. (2021), Boston University, is a Visiting Assistant Professor at the University of Delaware. She has also taught at Northeastern University, where she developed a course in Dynamism and Diversity in Islamic Visual Cultures.
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