Leaving Istanbul

Leaving Istanbul...sad to leave.

It was time to leave Istanbul and make my way back to London. My lovely Taxi Driver played some ‘leaving’ music (Jazz) as we drove to the airport. I was overwhelmed with emotion thinking of the beautiful people and places I had come to know…and the patterns. The patterns can not be separated from the people or the place…

Arda and I at the Blue Mosque

Didem at my Birthday Dinner...

Fishermen and Businessmen on the Bosphorous

Istanbul recycling: Beautiful deconstruction. They keep and reuse everything!

Action on Istanbul Streets

Looking Up in Tunel

Ikat Kaftans within the Grand Bazaar

Trips to the Spice Market

Hagia Sophia

Rear View to Istanbul...

…I will return!

My family just got bigger!

My Beautiful Turkish Family…including Mushi Mushi (far right)

While in Istanbul I met some amazing people. We spent such wonderful nights together; cooking; watching Istanbul Soap Opera’s; discussing patterns, language and life!

The accomplished Cuneyt cooks up a storm…

While the girls relax…The Gorgeous Didem and Arda

Cuneyt in deep after-dinner conversation…

… as pregnant Mushi Mushi observes from a safe distance

Cuneyt is an amazing conversationalist and extremely educated in language and culture. We had intense discussions about many things including similarities between Japanese and Turkish language. Didem works as a fashion designer (spunky stuff) and Arda in Marketing and Media.

Such beautiful, passionate and inspiring people that made me feel so welcome!

 

For my Mum

Treasures within a discreet shop front

My Mum has taught me many things. To work hard at the things I love; to look deeper beyond surface; and to value all of the beautiful things in the world; from people to nature and their celebration in ceramics, glassware, jewellery and prints. During my daily walks in Istanbul I came across a little shop that had many beautiful treasures. They reminded me of my Mum and the curios that surrounded me during my childhood.

These photos are for you Mum to inspire you today! Thank you!

Thimbles, pen nibs, eyeglasses, clock faces, shell Cameos…

More spectacles, brooches, pins, amber beads…

Stamps for printing fabric…

Stamps for pressing metal…

Vintage italian glass micro-mosaic brooches…

Cufflinks, snuff boxes, glass eyes for dollies…

Walking in Istanbul

Istanbul Modern

Istanbul Modern Entry (Yes that is a Cruise Liner in the left of the photo). Unfortunately no photos were allowed to be taken inside The Istanbul Modern.

I visited The Istanbul Modern on several occasions to enjoy their extensive collection and see the Istanbul Biennial. The Istanbul Modern, through its collection, exhibition and discussion of work via extensive public programmes, shares Turkey’s Cultural Identity (both contemporary and historical) within the context of International art, design architecture, new media and film. I saw artworks (installations, sculpture and moving image) by artists including Inci Eviner, Kuzgun Acar, Osman Dinc, Olufur Eliasson, and Canan Dagdelen.

Olufur Eliasson’s work was meditative as it enabled me to feel the space with the transformation of light radiating through his geometric form and the void of space, to cast shadows on the surrounding walls.

Inci Eviner’s work was really interesting in the context of my research, as it questioned attitudes about traditional representations (especially those used in Ottoman tiles). She aimed to make evident the motif and pattern’s role to relay political meaning. She replaced elements within traditional European wallpapers with personal ideograms and symbols found within traditional patterns; also incorporating the moving image into the compositions.

Iznik Tiling

The Blue Mosque Interior

Iznik Tiling within the Blue Mosque

The interior of The Blue Mosque and The Rustem Pasha Mosque incorporate Iznik tiling, in the form of complete areas, as top borders and within corners, as well as around window frames and entrances. Their pattern and surface are used to transform these interiors into a path to the divine. They fill the space with subtly reflected light and colour. The tiles themselves have no material value (clay and glaze). Through the time and care of the maker they are invested with symbolic meaning and value. They are hand painted with the exact pattern transferred using a pin-stencil technique to ensure the patterns continue across tiles once installed.

Iznik Tiling within the Blue Mosque: Patterns incorporating various leaves and petals as well as tulips and carnations

Iznik tiles sit within two main types: those inspired by animals (Rumi) and those inspired by plants (Haiti). Rumi are very stylized. The motifs mean courage, faithfulness and abundance. Haiti are inspired by flowers and plants of the place including tulips, carnations, jacinth flowers, pomegranates, scarlet pimpernels and stylized roads of reeds. They are symbolized in part or whole including:

– Petals only of a variety of flowers

– Penc: A stylized top view of a flower. Their names stem from the number of petals.

– Haiti: The stylized anatomic lines in transverse section of flowers (carnations, tulips).

– Semi-stylized flowers importantly not losing the character of the original flower.

There are also Cloud, Cinemani, Muhani and The Life Tree motifs used in Iznik Tiling. Clouds bring forth rain and abundance and so are important in their symbolic meaning. They occur as rain clouds, or the stylized line of a cloud and include Free Cloud, Tepelik Cloud types and Cloud in the Circle. Each has a different role within the composition either filling space, particular position (top/bottom), as exit points for the design or joining elements together (pedicles of bouquets).

Iznik Tiling Within Aya Sofya including The Life Tree (R)

Iznik Tiling within The Blue Mosque with Cinemani featuring as well as tulips, leaves and jacinth

Cinemani are made up of two undulating lines and three spheres (one at the top and two at the bottom). It represents the pelt of the striped tiger and spotted leopard. These motifs acquired great associations symbolizing power, strength and sovereignty.

This style of tiling was based in Iznik because it was close to Istanbul, on the Silk Road and had an abundance of hornbeam (used as combustible material for firing) and the raw materials for tile and ceramic. It declined in the 17th Century when the trading route changed its path, coupled with Iznik Tile Masters (originally from Tabriz) being exiled to Rhodes. Their knowledge was passed from Father to Son so the knowledge left with them.

Collated from information from The Blue Mosque, V&A Museum and  The Islamic and Turkish Works Museum.

The Tulip

Carpet within The Blue Mosque, Istanbul, featuring blue tulips ready to blossom (central)

Silk Lattice Design with gold tulips and pomegranate superimposed with red and blue rosebuds; Turkey probably Bursa 1550 – 1600 The V&A Collection

The symbolic importance of the Tulip to the Ottoman Empire is seen within the use of the motif throughout their textiles, ceramics, tile work and rugs in a myriad of patterns formations and variations in the tulip forms. Within the Sufi language the Tulip and its parts have different meanings.

– The colors symbolise God.

– Tulips have a black/dark interior. The structure (from dark interior to colourful exterior) symbolises ‘the tolerant, respectful Dervish who overcame interior evil to become bright’.

– Tulips have six petals symbolizing the Six Articles of Faith. Often within the patterns, though, they are shown with three or four petals as they are drawn from a side view.

– The petals and their configuration in the patterns mean different things. When facing upwards, for example, they represent the Dervish opening arms to the sky praying.

Detail of Embroidered Princes Kaftan: Meandering Vine with Tulips (from side with three petals) 1590 – 1600 The V&A Collection

Tiles with repeat pattern, Turkey probably Iznik, About 1580 The V&A Collection. Tulips drawn from side view with four petals

Dhoku

Dhoku at The Grand Bazaar

Dhoku group, lead by Mehmet Gureli, produces contemporary rough-hewn, flat weave rugs. Dhoku means ‘texture’. Mehmet comes from three generations of experience in Turkish Rugs. Dhoku produces EthniCon Vintage a type of rug that blends undamaged portions of antique ethnic Turkish kilims to make contemporary rugs.

Traditional rugs salvaged, re-dyed and trimmed; New Life and New Beauty

Dhoku launched their new range with traditional kilims designed by SUPERPOOL

They also make new kilims using traditional patterns hand woven with sheep yarn on Anatolia looms. The most beautiful of these incorporate natural dyes and simple two color patterns. While in Istanbul I met with Mustafi Gureli a number of times to discuss Dhoku’s process, material qualities and limitations of weaving to pattern making and the patterned designs.

Very generous and passionate people! Special Thanks to Mustafi Gureli from Dhoku!

The Turkish and Islamic Works Museum

One of the Main Exhibition Spaces within the Turkish and Islamic Works Museum

The Turkish and Islamic Works Museum is located in Ibrahim Pasha Palace at Sultanahmet Square, Istanbul. The Palace’s large ceremony hall and second courtyard serve as the main exhibition spaces for the Museum. The Museum has an amazing collection of carpets and rugs from the diverse cultures that make up Turkey, including samples of Usak and palace carpet, and Anatolian carpets produced between the 15 to 17th Centuries.

Seljuk Carpet: 13^th – 14^th Century, from the Tomb of Saltan Alaaddin Keykubat in Konya. From afar this rug looks very simple and bold. It also has beautiful detail in texture and pattern that you appreciate up close. 

Arda standing beside Carpet with Vase Motif: Persia, Shah Abbas period 17th Century, from the Topkapi Palace Museum.

Details of Carpets L> Carpet Western Anatolia Usak, late 18th Century – early 19th Century, from the Ankara Ethnographical Museum. C > Seljuk Carpet: 13th – 14th Century, From the Tomb of Saltan Alaaddin Keykubat in Konya. R > Garden Carpet: North Western Persia 18th Century, from Mosul.

There were extensive examples of tile work, carvings, calligraphy, and religious artifacts such as cases, book-rests and drawers using mother of pearl, ivory, and tortoise-shell inlay.

L > Gilded Copper Lantern (Detail) Ottoman Period, CA 1481 – 1512. C and R > Details of Doors from the The Great Mosque of Cizre. Beaten Copper Sheet attached to wood backing with iron nails. Motifs include the Twelve pointed star with a border of the Four leaf clover, Rumi-Palmette and scrolls. The knobs incorporate the Dragon and the Lion. These are frequently used in Anatolian Artukid Art symbolising the Sun and the Moon.

Rest for The Koran

The Blue Mosque

Main Entry to Courtyard of Blue Mosque

Within the Courtyard there is a central waterFountain

Preparing to enter: photo by Arda

Arda and I prepared to walk into The Blue Mosque by covering our head and hair with shawls. We did this in the plain entry Courtyard. The Courtyard was spacious (the same size as the Mosque’s interior) and soothing; lined with colonnades on all sides with special carved stone wall niches and incorporating a very small amount of color.

and then Inside

Dome Above

Paint work and Iznik tiling with stone work

Spatial layering: surface, form, light and shade

I found the interior of The Blue Mosque overwhelming. Their was pattern in so many forms, materials, scales and surfaces. I could hear ‘visual sound’ all around emitted from every surface!

Pattern, colour and texture everywhere

There was painted pattern within the decorated domes above and thousands of Iznik tiles covering the walls, vaults and columns, and highly geometric ironwork and wooden inlay doors.

Entry Courtyard Relief: Straightened

Colonnade: Straightened

It was a relief to return to the simplicity of the Courtyard.

Courtyard entry way

I know this photo is lopsided! I did not correct it like I did the other ones. All of the photos I took once I left the interior of the Blue Mosque were off-line or askew! I was quite affected by the experience.