By Carel Bertram

Homes can turn into poetic expressions of eager for a misplaced previous, voices of a lived current, and desires of an incredible destiny. Carel Bertram came upon this fact while she went to Turkey within the Nineties and started asking humans approximately their thoughts of ''the Turkish house.'' the fancy and nostalgia with which individuals recalled the designated wood homes that have been as soon as ubiquitous during the Ottoman Empire made her become aware of that ''the Turkish house'' contains wealthy symbolic that means. during this delightfully readable booklet, Bertram considers representations of the Turkish apartment in literature, paintings, and structure to appreciate why the belief of the home has turn into this kind of effective signifier of Turkish identification. Bertram's exploration of the Turkish condominium indicates how this option of Ottoman tradition took on symbolic which means within the Turkish mind's eye as Turkey grew to become extra Westernized and secular within the early a long time of the 20 th century. She indicates how artists, writers, and designers all drew at the reminiscence of the Turkish condominium as an area the place altering notions of spirituality, modernity, and identity--as good because the social roles of ladies and the family--could be approached, contested, revised, or embraced in this interval of tumultuous switch.

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This becomes clear when we look at how the costuming of various Karagöz characters changed to suit various periods. For example, the Çelebi or Gentleman can appear in either eighteenth-century or mid-nineteenth-century Tanzimat-era garb, and the Zenne or Lady can appear in eighteenth-century dress or with a nineteenthcentury ferece and yaşmak (cloak and veil). But the symbol of the neighborhood, the cantilevered house, does not change, suggesting that the house and the neighborhood were believed to have a timeless visual stability.

Indb 44 5/23/08 12:57:07 PM Amasya. Istanbul depicted under the Şadırvan (fountain) canopy, Bayezid II Mosque courtyard in 1874. From Arık, Batılılaşma Dönemi Anadolu Tasvir Sanati, Fig. 11. Yozgat. Wall painting in Nizamoğlu house of local fire. From Arık, Batılılaşma Dönemi Anadolu Tasvir Sanati, p. 61. indb 45 5/23/08 12:57:07 PM Istanbul, Cengelköy. The Sadrullah Pasha Yalısı. From Renda, A History of Turkish Painting, p. 84. indb 46 5/23/08 12:57:08 PM bringing the turkish house into focus |  imaginary, and perhaps because of this they produced no art historical future in that they did not become at a later date representative of the period in which they were produced (or used) and therefore held no affective resonance.

Indb 32 5/23/08 12:57:06 PM bringing the turkish house into focus |  ments. But these spatial divisions and decorative schemes reached their fullest development in the capital of Istanbul, and then spread to the provinces along with the princes and wealthy officials who were sent there. The Köşk When the term köşk (pronounced kushk; related to the English word kiosk) refers to a residence, it is a house intended as a summer residence of any size. However, since summer residences were the privilege of the wealthy, köşks were often merely suburban konaks.

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