「明治の建築家 伊東忠太 オスマン帝国をゆく」書評 安松みゆき 早稲田学報 in Japanese, Book Review on "Meiji Architect Ito Chuta's Travel Throughout the Ottoman Empire" by Yasumatsu Miyuki, Waseda Gakuho Monthly magazine (original) (raw)
2019
The interdisciplinary joint seminar will compare the perceptions of Japan and the Ottoman Empire in the Holy Roman Empire in a workshop taking place at the University of Kyoto from May 31st to June 3rd, 2019. The research situation is as diverse as the focused regions: In the German-speaking lands research on the perceptions of the Ottoman Empire in the Holy Roman Empire has long been established and is increasingly being promoted. More systematic investigations as well as new methods are being undertaken, which in particular use the new possibilities of digitization and digital humanities: FWF projects “The Mediality of Diplomatic Communication: “Habsburg Envoys in Constantinople in the middle of the 17th Century“, (2017–2021); “Perceptions of the Other in Travelogues 1500–1875 – A Computerized Analysis”, (2018–2021); “Continent Allegories in the Baroque Era”, (2012–2016). While perceptions of the Ottoman Empire are increasingly being investigated, those of Japan have so far hardly been analyzed. The research interest is recent and first results are published in highly selective studies. The few studies that deal with relations between early modern Japan and Europe focus on the missionary work of the Jesuit order in the 16th and 17th centuries and the work of the Europeans in the wake of the Dutch East India Company in the 17th and 18th centuries in Japan. The Joint Project "Japan on the Jesuit Stage: German-speaking Areas and Beyond" (2017–2019) shows the added value of such international projects as well as their necessity. Within the framework of the joint seminar, the varied material basis of these projects, ranging from diplomatic correspondence to travelogue to sculptural and visual sources, will now be presented comparatively in view of the articulated perceptions of the Ottoman Empire and Japan. Through their systematic and comparative study, the mechanisms of perceptions of otherness and its representations in the Holy Roman Empire can be analyzed much more clearly than before. Ultimately, the joint seminar will enable a deepening of scientific cooperation between Japan and Austria as well as further development of methods and results of each participants. The importance of the seminar also lies in the challenges of today. Each of us is constantly confronted with diversity due to global phenomena such as globalization and international migration. The analysis of the treatment of otherness in the past offers historical orientation for today and tomorrow. The Joint Seminar is financed cooperatively by the Austrian Science Funds FWF and the Japan Society for the Promotion of Science (JSPS).
[conference report] Japan and the Ottoman Empire in the Eye of the European Beholder: A Comparison
2019
The interdisciplinary joint seminar, which took place at the University of Kyoto on 1st and 2nd June 2019, compared perceptions of Japan and the Ottoman Empire in the Holy Roman Empire during the Early Modern Period. By doing so, the seminar responded to a researched desideratum: While perceptions of the Ottoman Empire have been the focus of research for decades, interest in the perception of Japan is recent and research has focused mostly on Jesuit missions and the Dutch East India Company (VOC). Comparisons of Japan and the Ottoman Empire, however, are lacking. Organised by Haruka Oba (Kurume University, Japan), Arno Strohmeyer (ÖAW, INZ, Vienna and University of Salzburg), Marion Romberg and Doris Gruber (both ÖAW, INZ, Vienna), the seminar brought together specialists from Europe and Japan as well as their broad material base, ranging from diplomatic correspondence to travelogues, plays, and sculptural and pictorial sources.
Ito Chuta and the narrative structure of Chinese architectural history
The Journal of Architecture, 2015
This article examines the intellectual and political environment that gave rise to the basic narrative structure in the writing of Chinese architectural history during the formative stage of the discipline through the career and works of the Japanese architectural scholar Ito Chuta (1867–1954). The author argues that the heavy emphasis on pre-Tang history in the early literature on Chinese architecture was a result of the power shift in late-nineteenth to early-twentieth-century East Asia, namely, the decline of China and the rise of Japan. By analysing the textual and visual information in Ito's major scholarly works, this article reveals the political agenda behind the methodological discrepancy between Shina kenchikushi and Shina kenchiku soshoku: the former is more historical and the latter is more anthropological, which echoes the cultural contradictions in Japanese colonialism, and shows how Ito's scholarships on Horyuji helped to identify such a shift in the mantle of East Asian tradition from ancient China to modern Japan.
Global Perspectives on Japan, 2020
In the historiography of Japan’s Interaction with the Turkish and the Muslim World, Ahmed Münir İbrahim (1887-1941) has been overshadowed by his father, Abdürreşid İbrahim (1857-1944). Abdürreşid, a Russian Tatar scholar and journalist, spent five months in Japan in the first half of 1909. After his journey, he published a two-volume travelogue entitled Alem-i İslam ve Japonya’da İntişar-ı İslamiyet in Istanbul in 1910. This travelogue has remained one of the most important sources for the history of early Turkish-Japanese relations and has predominantly been regarded as an expression of pan-Islamist and pan-Asianist thinking. Similar to his father, Münir too traveled to Japan in December 1910 as a member of the first Ottoman student delegation. Münir and his two companions, Hasan Fehmi and Mehmed Tevfik, were sent to Japan at the request of the pan-Asianist society Ajia Gikai to take up their studies in Tokyo. After his arrival in Japan, Münir published a brief, serialized travelogue in the Kazan newspaper Beyanülhak, which relates the students’ journey from Harbin to Tokyo, alongside other articles on Harbin and Japan. While Münir’s articles in the Ottoman journal Sebilürreşad and the Japanese journal Daitō have recently been scrutinized by historians, his travelogue in Beyanülhak has to date remained completely obscure. This article will, first, provide a concise discussion of the Ottoman student delegation to Japan and, second, examine key aspects of Münir’s travelogue, which may provide historians with important insights into the more mundane aspects of Turkish- Japanese exchanges behind the idealizing visions of pan-Islamism and pan-Asianism.
Travelers and Painters on Byzantine-Seljuk-Ottoman Territory
This data base is developed as a by-product of the author's river-research titled The Evolution of the Ottoman House . 4 parts of this independent work, which is evolving into a book , have been published as conference proceedings and articles. The study started with a research presented at the Conservation and Implementation of Wooden Structures Symposium of Istanbul Metropolitan Municipality, KUDEB (Conservation, Implementation, Supervision Bureau) and was published in Turkish and English in the proceedings book. Although this presentation has a distinctive structure in itself, it was understood that some sections should be examined and detailed. These were the problems of how the transition from the Byzantine house to the Ottoman house was and why the " çardak", an Iranian masonry building style, was started to be used for wooden structures by the Ottomans . The findings and propositions of this research were published as two separate articles. During all these studies, it was seen that the limited research and publications of architectural historians could only provide healthy clues for the recent times, since the house was always overshadowed by monumental structures. On the other hand, we were experiencing that the Ottoman houses that we restored had evolved through testing/error processes that stretch back far back . Evolutionary processes, on the other hand, could only be read on a very limited number of 18th and 19th buildings that survived and were not damaged by restorations. Another important source for a full understanding of the process was the results of archaeological research. We saw that the architectural whole, which we call the Ottoman house, dates back to the Neolithic in the Eastern Balkans and Anatolia. On the other hand, it was seen that the Turks (Seljuks and Turkmens) had never used such a wooden structure system before Anatolia, that the Ottoman house (Anatolia) was local and spread to Anatolia and the Balkans, especially after its development in Constantinople . These processes would also need to be carefully studied. The research had to cover not only Ottoman lands but also pre-Eastern Roman, Byzantine and Seljuk civil architectures. Still, archeology, history, architecture and art history, and the buildings themselves were insufficient to fully read the process. For example, there were important gaps that could not be filled, such as the period when Byzantium was interrupted by the Latin Empire. The reason why the Ottomans continued the wooden building system in Constantinople despite the great fires was another paradox that we had difficulty in understanding. As you move away from the capital, there is very little documentation about the Ottoman house. We should have also investigated the emergence and spread of the Ottoman house as a concept. At this point, it was understood that travelogues and engravings could provide clues to complete the missing links. Based on this need, we started to examine the previously studied travel books. For this purpose, it turned out that travelogues should be read as much as possible and their traces should be sought in any secondary source. In some travel books, the traveler's references to previous travelers not only enabled the author to reach another first source that had not been noticed before, but also gave important clues about the changes in the structure in question over time. The process of using travelogues and engravings to write the history of the Ottoman house was presented as a paper in Sarajevo (Bosnia-Herzegovina). While it is thought that the development of the Ottoman house ended due to the transition from wood to masonry due to fires, especially in Constantinople , 18.-19. We have come to the conclusion that the notables, who emerged as a necessity in the centuries and became stronger, extended their lives with the ayan palaces they erected or gathered using the architectonics of the Ottoman house. The presentation will be included as a chapter in the proceedings book of the symposium. The fifth and final river-studies will cover the development of the house in the Balkans and Anatolia from the Neolithic to the Middle Ages, based on archaeological research. It has been shaped as a by-product of the database we share in this process. The database we have prepared with Excel is constantly updated, corrected and developed. In the last column, accessible primary sources are given in APA format (as far as possible). Secondary sources are given collectively in another bibliography at the end of this report. We are currently publishing the bibliographies as PDF ( Portable Document File ) while avoiding our copyrights to some extent . We archive the PDFs of the accessible first and second references as big data and index them using Adobe Acrobat program. In this way , we can easily access the information we are looking for by doing data mining .
Travellers & Artists in Ottoman Territory
Travelers & Artists, 2025
The bibliography of the travelers and painters on Ottoman land is a by-product of the author's river-research titled The Evolution of the Ottoman House. 4 parts of this independent work, which is evolving into a book, have been published as conference proceedings and articles. The study started with research presented at the Conservation and Implementation of Wooden Structures Symposium of Istanbul Metropolitan Municipality, KUDEB (Conservation, Implementation, Supervision Bureau) and was published in Turkish and English in the proceedings book. Although this presentation has a distinctive structure, it was understood that some sections should be examined and detailed. These were the problems of how the transition from the Byzantine house to the Ottoman house was and why the "çardak", an Iranian masonry building style, was started to be used for wooden structures by the Ottomans . The findings and propositions of this research were published as two separate articles. During all these studies, it was seen that the limited research and publications of architectural historians could only provide healthy clues for the recent times, since the house was always overshadowed by monumental Ottoman structures. On the other hand, we were experiencing that the Ottoman houses that we restored had evolved through trial-and-error processes that stretch back far back. Evolutionary processes, on the other hand, could only be read on a very limited number of 18th and 19th buildings that survived and were not damaged by restorations. Another important source for a full understanding of the process was the results of archaeological research. We saw that the architectural whole, which we call the Ottoman house, dates to the Neolithic in the Eastern Balkans and Anatolia. On the other hand, it was seen that the Turks (Seljuks and Turkmens) had never used such a wooden structure system before Anatolia, that the Ottoman house (Anatolia) was local and spread to Anatolia and the Balkans, especially after its developments in Constantinople. These processes would also need to be carefully studied. The research had to cover not only Ottoman lands but also Eastern Roman, Byzantine and Seljuk civil architectures. Still, archeology, history, architecture and art history, and the buildings themselves were insufficient to fully read the process. For example, there were important gaps that could not be filled, such as the period when Byzantium was interrupted by the Latin Empire. The reason why the Ottomans continued the woodebbvcc x n building system in Constantinople despite the great fires was another paradox that we had difficulty in understanding. As you move away from the capital, there is very little documentation about the Ottoman house. We should have also investigated the emergence and spread of the Ottoman house as a concept. At this point, it was understood that travelogues and engravings could provide clues to complete the missing links. Based on this need, we started to examine the previously studied travel books. For this purpose, it turned out that travelogues should be read as much as possible, and their traces should be sought in any secondary source. In some travel books, the traveler's references to previous travelers not only enabled the author to reach another first source that had not been noticed before, but also gave important clues about the changes in the structure in question over time. The process of using travelogues and engravings to write the history of the Ottoman house was presented as a paper in Sarajevo (Bosnia-Herzegovina). While it is thought that the development of the Ottoman house ended due to the transition from wood to masonry due to fires, especially in Constantinople, 18th -19th centuries. We have concluded that the notables, who emerged as a necessity in the centuries and became stronger, extended their lives with the ayan palaces they erected or modifies using the architectonics of the Ottoman house. The presentation will be included as a chapter in the proceedings book of the symposium. The fifth part and the final part of the river-research will cover the development of the house in the Balkans and Anatolia from the Neolithic to the Middle Ages, based on archaeological research.
tasarım+kuram 140.yıl ek sayısı, 2023
As of nineteenth century, the inadequacy of the Ottoman Imperial Architects' Guild, triggered efforts to replace it with a new and modern institution. From among many proposals to the Sublime Porte, finally Osman Hamdi Bey's repeated and detailed petitions reached the conclusion and the royal order dated January 1, 1882, sealed the establishment of the Sanayi-i Nefise Mektebi or today’s Mimar Sinan Fine Arts University. Osman Hamdi Bey added Alexandre Vallaury, who had returned to Istanbul after his architectural studies at the Ecole des Beaux Arts and his architectural work in Paris, to his team. The school was inaugurated on March 3, 1883. By the turn of the century, Sanayi-i Nefise Mektebi would be institutionalized to a considerable extent. And the architecture department increased its student body in both number and diversity of origin and nationality. Its graduates were realizing significant works of architecture as state architects or as freelance professionals. The aim of this study, is to first elucidate how an institutional Fine Arts Administration with Turkish-Ottoman elements was established in the Ottoman Empire. Then the focus is on early period of the Architecture Department of the Sanayi-i Nefise Mektebi, a duration delimited by 1928 when the institution would be renamed Güzel Sanatlar Akademisi. Finally the paper attempts, owing to a heavy scrutiny of archival documents, to introduce the identities of the architect graduates of this period ,as well as their works and careers. Osmanlı Hassa Mimarlar Ocağı'nın yetersizleşmesi sonucunda, ondokuzuncu yüzyıl başından itibaren, sistemli bir eğitimle yetkin mimarlar yetiştirmek amacına yönelik, neredeyse bir yüzyıl süren çabalar, Osman Hamdi Bey'in tekrarlı ve ayrıntılı dilekçelerine cevaben Sanayi-i Nefise Mektebi'nin kuruluşuna karar verildiğini bildiren 1 Ocak 1882 tarihli irade-i seniyye ile sonuca ulaşmıştır. Osman Hamdi Bey, Ecole des Beaux Arts'taki mimarlık eğitimi ve Paris'teki mimarlık işleri sonrası İstanbul'a dönmüş Alexandre Vallaury'yi de ekibine katarak, Mekteb-î Sanayi-î Nefise-î Şâhâne, yani bugünkü Mimar Sinan Güzel Sanatlar Üniversitesi'nin resim, heykel, fenn-i mimari, hakkaklık ve tezyinat bölümleri için ilk yönetmelik ve müfredatının oluşturulması, okul binası yapımı ve donatımı ile okul idari ve akademik kadrosunun oluşturulması işlerini tamamlar. 3 Mart 1883'te törenle açılışı yapılan okula öğrenci kabul edilerek Türk mimarlık eğitimi ve meslek pratiğinde yeni bir sayfa açılır. Temelleri bu şekilde atılan Sanayi-i Nefise Mektebi fenn-i mimari şubesinin yirminci yüzyıl başı itibarı ile öğrenci sayısının büyük ölçüde arttığı, köken ve milliyet olarak öğrenci profilinin çeşitlendiği, kadronun yeni hocalarla zenginleştiği, mezunlarının serbest mimar veya devlet kurumlarında görevli olarak başarılı işlere imza attıkları, okulun kuruluşundaki motivasyon ve hedeflerin azımsanmayacak ölçüde gerçekleştiği ve Sanayi-i Nefise Mektebi'nin ve mimarlık şubesinin kurumsallaştığı bir olgudur. Bu çalışmanın amacı, kuruluş amaç ve motivasyonundan başlayarak, Osmanlı Devleti'nde Türk-Osmanlı unsurları ağırlıklı kurumsal bir Güzel Sanatlar İdaresi oluşturulmasını ve bu bağlamda Sanayi-i Nefise Mektebi mimarlık şubesinin kuruluş sürecini ve 1928'de kurumun Güzel Sanatlar Akademisi adını aldığı Namık İsmail Bey yönetimi dönemiyle sınırlandırdığımız erken dönemini, büyük ölçüde arşiv belgeleri ve birincil kaynaklara dayanarak ortaya koymak ve okulun bu dönemde yetiştirdiği, mezun ettiği mimarların kimliklerini ve yaptıkları işleri tanıtmaktır.
A Japanese protégé in Pera: Fukuchi Gen’ichirō’s reports on the mixed courts of Turkey and Egypt
Diplomacy and Intelligence in the Nineteenth-Century Mediterranean World, 2019
On a spring morning in 1873, two unusual visitors disembarked from a mail steamer and set foot in Istanbul. Now 35 years old, Shimaji Mokurai was a Buddhist priest on a journey that would soon take him on to Palestine, with excursions to Jerusalem and Bethlehem as he explored the roots of Christianity. His companion, Fukuchi Gen'ichirō, was a month short of his 32 nd birthday. Now a Meiji government official, he was a veteran traveller who had been to Europe several times before as an interpreter. After several months in Britain and France, they were both making their way back to Japan. Instead of heading straight for Suez before crossing the Indian Ocean, however, they had decided to take a detour first through the eastern Mediterranean, starting with this visit to the capital of the Ottoman Empire. They were the first travellers from Japan ever known to have set foot in Istanbul. Arriving in the city they knew as Constantinople, Shimaji and Fukuchi landed in a district called Pera on the northern shore of the Golden Horn. On the hill behind the European hotels and embassies close to the waterfront they could see the Galata Tower, marking the site of the Genoese colony once developed here in medieval times. First they stopped by at the customs house, but could not retrieve their luggage until the superintendent arrived, so in the meantime they checked in at the Hotel de France before going out to explore. Shimaji's diary records some of their first impressions. It was a Friday, the Muslim day of prayer, and there were large crowds, reminding him of India, which he had visited earlier on his passage to Europe. Street sellers were everywhere, as in Japan, and Fukuchi passed some time talking with the locals. There were also some European residents or visitors riding through the streets, as horses could be hired for 10 francs, and carriages were available for 30 francs. In Shimaji's view, the local women seemed to disapprove of European couples riding side by side. Dressed in white shawls, they did not get out much, he noted, but some were to be seen travelling by carriage, smoking tobacco as they rode about town, though they did not share their compartments with any men. 1 Later that day, the two Japanese travellers visited the French Embassy, which Shimaji found extremely grand. 2 As Fukuchi later recalled, he did 'not feel any confidence in the peculiar laws and customs of Turkey, nor in the administration'. Accordingly, he produced his credentials at the embassy as a
Ottoman Scholars and the Byzantine Architectural Legacy of Istanbul
Discovering Byzantium in Istanbul: Scholars, Institutions, and Challenges, 1800–1955, 2022
Byzantium was the tangible evidence of moral decay. Like cholera, the Byzantine corruption contaminated the Ottoman Empire. The Ottomans did not understand this at the beginning. … The Turks, coming from the Turan [Central Asia], were tired of the wars. They could not resist the beauty and charm of Byzantium. The Turks did not capture the Byzantine Empire; on the contrary, the Byzantines captured the Turks! That is how Celal Nuri (İleri) (1881-1938), a prominent figure in the Young Turk movement, painted Byzantine and Ottoman history in 1912. 1 Nuri published another essay five years later in which he further elaborated on the "conquest" of the Ottoman Turks by the Byzantines, comparing the Byzantine and Ottoman Empires in terms of their administrative practices, courtly culture, and ceremonies. 2 There he concluded that the appropriation of Byzantine institutions had been the main cause of the corruption of Turkic identity and thus the demise of the Ottoman Empire. He was not alone in thinking so. Ahmed Midhat Efendi (1844-1912), a prominent historian of the period, also compared both empires, declaring the Byzantine Empire the embodi-* This paper is based on a chapter of my doctoral dissertation, "Byzantium between 'East' and 'West': Perceptions and Architectural Historiography of the Byzantine Heritage" (Middle East Technical University, 2013). I would like to thank Professor Suna Güven, my thesis supervisor, for her guidance.
2018
The Effects of the Russo-Japanese War on Turkic Nations: Japan and Japanese in Folk Songs, Elegies, and Poems 199 A. Merthan Dündar vi Contents Some Notes on the Japanese Records and Information on the "Turks" 228 Katayama Akio 11 Tracing Origins Along the Silk Road: Japanese Architect Itō Chūta's Travel in the Ottoman Lands 245 Miyuki Aoki Girardelli 12 The Beginning of Turkish Philology and Linguistics in Japan 259 Klaus Röhrborn 13 Appendix to the "The Beginning of Turkish Philology and Linguistics in Japan" 289 Mehmet Ölmez 14 F. Beato Beyond Empires: Flaneur, Photo Reporter, Merchant 306 Banu Kaygusuz 15 Translation Practices on the Silk Road and Akutagawa Ryūnosuke's "Toshishun" 323 Oğuz Baykara 16 Transforming an Ancient Myth into a Popular Medieval Tale 339 Satō Masako Index 365 Japanese names are mostly given with last name first in line with Japanese practice unless preferred otherwise by the author. Turkish letter c is pronounced as j, ç is pronounced as ch, ş as sh in English, ğ as a soft g that is not pronounced, ö and ü as in German ö and ü. The Turkish letter ı which is an i without a dot is similar to the exclamation sound "uh" in English. Japanese words are written according to Hepburn romanization unless originally published in a different style. 10.3 Nakanome's book in which he claimed to discover Turkic Runic Characters at Temiya Cave, Otaru 240 10.4 "Japan-Turkey Trade Association is born"-Nakanome Akira and Ōtani Kōzui at the opening ceremony 242 11.1 Columns with entasis, Hōryū-ji Temple 246 11.2 Comparison of proportions between Etruscan temple and Hōryū