DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.27907#0237
TURKISH ART
Summary
FOREWORD
The author was born in the Eastern part of pre-war Poland and educated in Lvov, and raised in a culture filled with objects of
oriental art, Turkish, Persian, and Armenian. Already in his youth he met scholars busy in the field. After the war he settled in
Cracow and graduated from the Jagiellonian University, in art history and English literaturę. He started his professional work in
1950 at the Czartoryski Museum, originally one of the richest private collection in Poland, with numerous oriental objects, and
sińce 1951 a department of the National Museum in Cracow. He wrote his doctor’s thesis at the Jagiellonian University on the
history of this Collection (1960), obtained the degree of docent at the same University (1968) on the basis of a dissertation “T urkish
Banners in Poland”; in 1978 he was granted the title of professor. In 1955 he co-organized the Adam Mickiewicz Museum in
Istanbul,Staying in Turkey six weeks. He repeated short visits to this country in 1970, 1975, and 1983, publishing various works on
T urkish art and culture, with a particular interest in T urkish arms and armour. In 1979 he was elected a member of the Permanent
Committee for International Congresses of Turkish Art in Warsaw and Cracow. He also contributed largely to the exhibitions in
Vienna, Warsaw, and Cracow devoted to the Siege and Relief of Vienna in 1683.
This is the first monograph od Turkish art published in Poland. However, there are only a few books in the world with such a
scope and written by a single author, most of the contemporary books on Turkish art being the product of groups od
scholars.
INTRODUCTION
Studies of Turkish art and its place in the history of world art. The notion of Turkish art. T urkish tribes in Central Asia and their
nomadic character. Social and military organization of the tribes and their instinct for State formation. In the course centuries
about 80 State structures formed on the vast Eurasion and African territories, some ofthem only ephemeral. Type ofart produced
by Oghuz Turks wandering before the lOth century from Central Asia west- and southwards and entering under the influence of
Islam. Turks in Iran and Asia Minor. Seljuk and Ottoman periods of Turkish art. Imperial ideas among the Turks finding
realization after the capture of Constantinople. The system of the polynational State under the strict rule of Islam and the highest
authority ofthe Sułtan who had assumed the position of Emperor. Ottoman culture and its inspiration: political, religious, social,
and aesthetic rules. Factors of integration and antagonistic tendencies in the Otoman State. Ottoman art in the service of the
imperial idea. Turkish art observed by Europeans. Export of Turkish objects to Europę sińce the 14th century. Indirect infiuence
on Europę through Bałkan countries. Images of Turkey in European art sińce the 16th century, mainly as a result of diplomatic
relations. First documentalists of Turkish customs and habits, as well as the city landscape of Istanbul: Nicolas de Nicolay,
Melchior Lorich, Johannes Lewenklau, and Henry Hendrowski. Reports of diplomats, especially of imperial ambassadors and
Venetian bailos. Luigi Ferdinando di Marsigli and his book on the military State of the Ottoman Empire, published in the
Netherlands in 1732. Development of orientalism in Europę as an instrument of learning and domination. Mahomet as a “false”
prophet and misinterpretation ofthe Koran, lmitation of Turkish style in the so-called “turqueries” especially popular in 18 th
century French and Saxon arts. The first critical attempt at research of Turkish history: J. Hammer-Purgstall “Geschichte des
Osmanischen Reiches" (10 volumes, Budapest 1827-1836). Limited knowledge of T urkish art till the end of the Sultanate because
most ofthe Ottoman treasures, especially illuminated manuscripts and miniatures of Sułtan’s libraries, were beyond the reach of
scholars. The situation totally changed after 1923 on the formation of the Turkish Republic. Development of universities, with
Istanbul and Ankara in the first place, growth of museums and archeological researches, the forming of an advanced Staff of
Turkish art historians and archaeologists. Increase in Turkish studies in various countries, particularly in Germany, Great Britain,
France, Italy, the Soviet Union, and the United States. Establishment ofthe Permanent Committee for International Congresses of
Turkish Art in 1959 in Ankara, with subseąuent congresses every 4 years (Venice, Cambridge-UK, Aix-en-Provence, Budapest,
Munich.and Warsaw). Stimulation of research and publications. The position of Poland in the study ofT urkish art: the holdings of
objects in Polish museums and archives, University background and scholars.
Summary
FOREWORD
The author was born in the Eastern part of pre-war Poland and educated in Lvov, and raised in a culture filled with objects of
oriental art, Turkish, Persian, and Armenian. Already in his youth he met scholars busy in the field. After the war he settled in
Cracow and graduated from the Jagiellonian University, in art history and English literaturę. He started his professional work in
1950 at the Czartoryski Museum, originally one of the richest private collection in Poland, with numerous oriental objects, and
sińce 1951 a department of the National Museum in Cracow. He wrote his doctor’s thesis at the Jagiellonian University on the
history of this Collection (1960), obtained the degree of docent at the same University (1968) on the basis of a dissertation “T urkish
Banners in Poland”; in 1978 he was granted the title of professor. In 1955 he co-organized the Adam Mickiewicz Museum in
Istanbul,Staying in Turkey six weeks. He repeated short visits to this country in 1970, 1975, and 1983, publishing various works on
T urkish art and culture, with a particular interest in T urkish arms and armour. In 1979 he was elected a member of the Permanent
Committee for International Congresses of Turkish Art in Warsaw and Cracow. He also contributed largely to the exhibitions in
Vienna, Warsaw, and Cracow devoted to the Siege and Relief of Vienna in 1683.
This is the first monograph od Turkish art published in Poland. However, there are only a few books in the world with such a
scope and written by a single author, most of the contemporary books on Turkish art being the product of groups od
scholars.
INTRODUCTION
Studies of Turkish art and its place in the history of world art. The notion of Turkish art. T urkish tribes in Central Asia and their
nomadic character. Social and military organization of the tribes and their instinct for State formation. In the course centuries
about 80 State structures formed on the vast Eurasion and African territories, some ofthem only ephemeral. Type ofart produced
by Oghuz Turks wandering before the lOth century from Central Asia west- and southwards and entering under the influence of
Islam. Turks in Iran and Asia Minor. Seljuk and Ottoman periods of Turkish art. Imperial ideas among the Turks finding
realization after the capture of Constantinople. The system of the polynational State under the strict rule of Islam and the highest
authority ofthe Sułtan who had assumed the position of Emperor. Ottoman culture and its inspiration: political, religious, social,
and aesthetic rules. Factors of integration and antagonistic tendencies in the Otoman State. Ottoman art in the service of the
imperial idea. Turkish art observed by Europeans. Export of Turkish objects to Europę sińce the 14th century. Indirect infiuence
on Europę through Bałkan countries. Images of Turkey in European art sińce the 16th century, mainly as a result of diplomatic
relations. First documentalists of Turkish customs and habits, as well as the city landscape of Istanbul: Nicolas de Nicolay,
Melchior Lorich, Johannes Lewenklau, and Henry Hendrowski. Reports of diplomats, especially of imperial ambassadors and
Venetian bailos. Luigi Ferdinando di Marsigli and his book on the military State of the Ottoman Empire, published in the
Netherlands in 1732. Development of orientalism in Europę as an instrument of learning and domination. Mahomet as a “false”
prophet and misinterpretation ofthe Koran, lmitation of Turkish style in the so-called “turqueries” especially popular in 18 th
century French and Saxon arts. The first critical attempt at research of Turkish history: J. Hammer-Purgstall “Geschichte des
Osmanischen Reiches" (10 volumes, Budapest 1827-1836). Limited knowledge of T urkish art till the end of the Sultanate because
most ofthe Ottoman treasures, especially illuminated manuscripts and miniatures of Sułtan’s libraries, were beyond the reach of
scholars. The situation totally changed after 1923 on the formation of the Turkish Republic. Development of universities, with
Istanbul and Ankara in the first place, growth of museums and archeological researches, the forming of an advanced Staff of
Turkish art historians and archaeologists. Increase in Turkish studies in various countries, particularly in Germany, Great Britain,
France, Italy, the Soviet Union, and the United States. Establishment ofthe Permanent Committee for International Congresses of
Turkish Art in 1959 in Ankara, with subseąuent congresses every 4 years (Venice, Cambridge-UK, Aix-en-Provence, Budapest,
Munich.and Warsaw). Stimulation of research and publications. The position of Poland in the study ofT urkish art: the holdings of
objects in Polish museums and archives, University background and scholars.