Harem (Suleiman the Magnificent Documentary) | Timeline
https://www.youtube.com/watch?v=XEDWaBmKpfY
Embark on a journey to explore the hidden world of the Harem, a world that has long been shrouded by mystery and erotic fantasies. In the 16th century the Turkish city of Istanbul was ruled by Suleyman the Magnificent. The center of his power was Topkapi Palace - at the heart of which was the harem. Into it came hundreds of women from all over the empire and beyond. It was a place where sex could equal power. This documentary tells the story of how some of these women came to play a pivotal role in running the world's largest empire from inside the mysterious and sometimes violent world of the Harem.
Assoc. Prof. Dr. Hülya Tezcan
http://www.turkishculture.org/whoiswho/academics/hulya-tezcan-170.htm
Assoc. Prof. Dr. Hülya Tezcan was the former Curator of the Sultans Costumes and Textiles Section of the Topkapı Saray Museum. She retired from museum in 2005. She has published extensive works on old Ottoman textiles, in addition to her dissertation on the antique and Byzantine structures located at site of the Topkapı Palace, and numerous articles. The work of art related to the Kaaba will be published in English. She has also participated in many International Conferences and symposiums with her papers.
Selected published books:
Atlaslar Atlas (Istanbul: Yapı Kredi 1993), Silks for the Sultans, Ottoman Imperial Garments from Topkapı Palace, (Milan: Ertuğ & Kocabıyık yayını 1996), Ipek, İmperial Ottoman Silks and Velvets (with Nurhan Atasoy, Walter Denny, Louise Mackie) (Istanbul: Türk Ekonomi Bankası 2001), Osmanlı Sarayının Çocukları: Şehzadeler ve Hanım Sultanların Yaşamları, Giysileri (Istanbul: Aygaz Yayınları 2006), Topkapı Sarayı’ndeki Şifalı Gömlekler, (Istanbul: Timaş yayını 2006).
Selected articles:
“Fashion at the Ottoman Court”, P Dergisi 3 (Istanbul, Spring-Summer, 2000, p.2-49), “Sixteenth and Seventeenth Century Women’s fashion at the Ottoman Palace” P Dergisi 3 (Istanbul, Spring-Summer, 2000, p.4-18), “Ottoman Fabric Weaving and Women’s Fashion in the Eighteenth Century”, P Dergisi 3 (Istanbul, Spring-Summer, 2000, p.18-30), “The Sultanic Costumes in the Attire Collection at the Topkapı Palace Museum”, P Dergisi 3 (Istanbul, Spring-Summer, 2000, p.30-50), “Furs and skins owned by the Sultans”, Ottoman Costumes From Textile to Identity, edited Suraiya Faroqhi and Christoph K. Neumann, (Istanbul: Eren, 2004), “Arslan Terzi Atölyesi ve Saraya Yapılan İşlerin Defteri”, Prof. Dr. Mübahat S. Kütükoğlu’na Armağan (Istanbul 2006, s. 613-663).
The Sultanic Costumes in the Attire Collection at the Topkapı Palace Museum
https://www.google.com/search?hs=zbN&q=The+Sultanic+Costumes+in+the+Attire+Collection+at+the+Topkapı+Palace+Museum”,&tbm=isch&source=univ&client=opera&sa=X&ved=2ahUKEwjPoe66q4bjAhWKtYsKHRGDCvIQsAR6BAgFEAE&biw=1880&bih=938
Topkapı Palace Museum Istanbul
https://www.visitistanbul.com/explore-istanbul/topkapi-palace-museum-istanbul.html/
Topkapı Palace Museum Istanbul The house of felicity
The most beautiful and best-known of all Istanbul’s sights, Topkapi is the place overlooking
Bosporus where the sultans made their homes and supervised government during the glory
days of the Ottoman Empire ; it is here more than anywhere else in the city that you will feel the ghosts of the Imperial past brushing up against you.
A collection of kiosks and pavilions set in delightful gardens sit alongside the harem, the private quarters of the sultan’s family and the source of much western fantasizing. Here too stands Hagia Eirene (Divine Palace) , partner to the emperor Justinian’s great mosque of Hagia Sophia (Divine Wisdom)
– Museum Information:
Museum is open everyday except Tuesdays. Museum is also closed at first days of the religious festive days until afternoon.
– Baby Cars:
Exhibiton hall is not visited with baby car. Please don’t forget this rule before buy a ticket.
– Sacred Relics Department:
We ask that you refrain from entering the Sacred Relics Department with shorts, mini-skirts, tank tops, or strapless clothing.
– Harem Section:
If you want to visit Harem you have to buy a seperate ticket from the ticket booths where stands outside of the museum or in front of the Harem entrance. Ticket Price for one person for the Harem entrance is 25 TL.
– Hagia Irene:
Hagia Irene Church, which is located at first courtyard of The Topkapi Palace, is opened to visit for visitors. The Hagia Irene Church can be visited as individual visitor from now on. Ticket Price is 20 TL for one person.
– Photo Shooting:
Please, do not take photo inside the exhibition halls in which contains/displays objects for avoid interrupting other visitors’ tour and avoid harm objects with flashlight Just around the corner from Hagia Sophia, Topkapi Palace has a spectacular location high on the First Hill of the Byzantine city overlooking the confluence of the Golden Horn, the Sea of Marmara and the Bosporus.
This is where the Byzantine emperors had also chosen to site their palace, which reflects the Ottomans desire to be seen as stepping into the shoes of a line of rulers stretching back to the Romans. Despite its much later
date, the high wall that surrounds the palace and stretches from Cankurtaran to Sirkeci looks very similar to the great Theodosian land walls that enclosed the Byzantine city; the area inside it corresponds very closely to what would have been the extent of the original Byzantium.
Parts of the palace gardens now form Gulhane Park, while parts are occupied by Istanbul Archaeology Museum. Some of the grounds were lost long ago to the railway line from Greece, leaving the pretty little Sepetciler Kasr stranded on its own by the waterside.
As you approach the palace you should rid your mind of the idea of a single building usually evoked by the word. Instead the Ottomans, like the Byzantines before them, lived in a collection of relatively small buildings scattered about extensive gardens which were added to as and when the need arose. By the time the sultans abandoned it the Topkapi complex consisted of four courtyards, a set of gardens and terraces, and the labyrinthine harem. It continued in use until 1856 when Sultan Abdulmecid I chose to move across the Bosphorus and base himself in the brand-new Dolmabahce Palace.
His successors also preferred to live in Dolmabahce, Yildiz Palace, and a series of more minor palaces dotted around their estates. Just as the Old Palace at Beyazit had become a retirement home for redundant palace women after the sultans took up residence in Topkapi, so Topkapi itself served a similar function after the sultans relocated across the Bosporus. It has been a museum since 1926.
You Are What You Wear: Ottoman Costume Portraits in the Elbise-i Osmaniyye
https://quod.lib.umich.edu/a/ars/13441566.0047.008/--you-are-what-you-wear-ottoman-costume-portraits?rgn=main;view=fulltext
Abstract
Commissioned for the 1873 Vienna World’s Fair, the photographic album Elbise-i Osmaniyye hosts a bona fide fashion show. Through seventy-four luminous photographs, it presents a transnational performance of regional Ottoman costume. As an intellectual index and a pictorial register of imperial industrial progress, the album testifies to an emergent and ethnically diverse modern Ottoman identity. This identity is not found in the faces depicted in the Elbise or in the wax figurines at the fair but materializes through the assertive quality of Ottoman dress. Through the Elbise and its exhibition in Vienna, drapery displaces physiognomy as the locus of a modern, multicultural Ottoman identity, manifesting a competition among legible surfaces: face, skin, and fabric. The costumes themselves, therefore, become faces—matrices for something other than themselves. This article explores what happens when Ottoman dress eclipses Ottoman faces, revealing Ottomanness to be as flexible and flamboyant as fabric, incapable of being signified by a single uniform or fixed image.
A photograph made by a member of the official Vienna Photographers Association at the 1873 Vienna World’s Fair presents the Ottoman installation in the Hall of Industry as a stately interior, replete with myriad cultural artifacts (fig. 1).[1] Textiles cascade from the ceiling; books, fabric, and metalwork decorate tabletops. Pairs of wax mannequins pose on white, geometric plinths. Two by two, they encircle the Türkische Gallerie and function as much as runway models as attendants of the court. Contemporary spectators, such as the newlywed American couple Emily Birchall and David Verey, commented on the veracity of the Ottoman costume display. After visiting the exposition on May 5, Birchall wrote, “The walls were hung with brilliant flags, and rich warm carpets; all round the sides of the great gallery stand lay-figures wonderfully life-like, clad in all the various costumes of the land.”[2] Her description of the mannequins as “wonderfully life-like” illustrates the animation of Ottoman costume and its capacity to fashion a dynamic cultural portrait.
Istanbul, TURKEY
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