DIYÂR

This study examines three imperial collections housed within sultanic pavilions at Topkapı Palace during the late Ottoman era. Originally constructed in the 15th century during the reign of Mehmed II (the Conqueror) for the sultan’s personal use,...

This article examines the calligraphic production of Ottoman sultans from the early eighteenth to the early twentieth centuries, drawing on a corpus of largely unstudied archival inventories. It argues that royal calligraphy was not only a personal...

In 1855/1860, Dimitrie Papazoglu (1811−1892) opened a museum in his private residence on Calea Văcărești, no 151, Bucharest, with objects amassed during and after retiring from his military career, ca. 1855. Papazoglu doubled opening a museum...

Once ubiquitous, the fact that Muslim merchants were overshadowed by their non-Muslim counterparts in the later Ottoman Empire helped engender the misconception of an antagonism between Islam and enterprise. Based on a document in the Austrian State...

This article aims to explore the intricate interplay between artefacts and identities from the perspective of temporary Turkish art exhibitions planned at American museums in the 1950s by looking into personalities, namely American museum curators...

The current Paper is focused on the Turkish-Iraqi border, specifically on Mosul, which was under Ottoman administration until just before the end of World War I (11th November 1918) and is now within the borders of Iraq. The so-called ‘Mosul...

In the 1880s, Islamic art objects were not yet regarded as collectable heritage in the Ottoman state. Although Salomon Reinach (1858–1932) had suggested turning the fifteenth-century Çinili Köşk (Tiled Kiosk) into a museum of ‘Muslim art’...

This article examines the collecting practice of Sadberk Koç (1908–1973), whose systematic engagement with Ottoman textiles and domestic artefacts culminated in the posthumous establishment of the Sadberk Hanım Museum, Turkey’s first...