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This research paper examines the transition of urban spaces and architectural changes in Elbasan, Albania, from Ottoman influence to modernity. By analyzing urban development and architectural styles from both the Ottoman and contemporary periods, the paper aims to provide a comparative perspective on the architectural language between these two periods. The study explores the alterations in characteristics of city urbanism and architecture in Ottoman and post-Ottoman times, spanning from the early 19th century to the present day. It also examines the implications of these changes for urban spaces and cultural identity. Through case studies and comparative analysis, the paper highlights the dynamic evolution of Elbasan’s architectural landscape and provides insights into its future development. The data was collected using a multi-faceted methodology, including archival drawings, scholarly works, maps, field visits, and observations. The results reveal significant variability in the urban and architectural patterns of the city. The differences between 18th- 19th- century Elbasan and that of the 20th and 21st centuries are profound and distinct. However, the central area of the city, which remains the most historic part due to the survival of structures such as the castle, the clock tower, old bathhouses, and the king’s mosque, still retains traces of the Ottoman city. Keywords: Urban Transition, Ottoman Architecture, Modernity, Elbasan, Cultural Identity, Urban Development

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Kemaliye Village, which is connected to Keles District of Bursa province, is located 11 km. south of the district center. Even in the oldest Ottoman chronicles, it is known that the inhabitants of the village mentioned were from Kızılkeçili nomads. The name of the village, which was known as Kızılkise until the Republican period, was changed to Kemaliye in 1922. There are ruined architectural remains from the Byzantine period in the village. The mosque in the center of the village XIX. it was built in the last quarter of the century and decorated within the framework of the art style of the period. The mosque and its decoration were last repaired by Bursa Metropolitan Municipality in 2010. There is also a mention of the existence of a dervish lodge in the village, which was told by the elderly and there is no certainty about when it was destroyed. The sanjak-ı şerîf and the beard-i şerîf, which are said to belong to the lodge, are preserved in the mosque. The mosque, which was built as a masonry and wooden skeleton system, consists of a narthex and a main aisle. The hand-drawn ornaments and woodwork that adorn the interior walls of the mosque are important in terms of bringing the artistic understanding of the period it was made to the present. [ABSTRACT FROM AUTHOR]

Copyright of Selçuk University Journal of Faculty of Letters is the property of Selcuk Universitesi Edebiyat Fakultesi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mimarbaşı Lole, one of the most significant figures in Mardin's historical heritage, played an active role in the construction and repair of many major monuments between the 19th and early 20th centuries. The study aims to provide a detailed documentation of the buildings of a craftsman who has taken a place in the historical heritage of Mardin. A four-stage method was used to identify the built or repaired buildings and to reveal his construction practice. First, the monuments associated with him were determined in line with the data obtained from the literature. Second, a map was prepared to determine the relationship between these monuments and their surroundings in the city. Third, they were categorized and presented in a table according to their features. In the last, the monuments and their qualities were analyzed in a sequential approach and also evaluations on how the construction practice evolved over time were included. It was observed that Lole had an active role, including mansions, churches, educational and administrative buildings in different areas of the city. It was concluded that a specific architectural and cultural formation already exists in the region, and that the construction by Lole is not an exception to this formation. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Historical sources often do not extensively feature architects, builders, and construction workers. In particular, written texts that focus on a structure itself and the patron who commissioned it either make no mention of the builder at all or content themselves with referring to these builders with generic professional titles such as architect, master, or apprentice. Architects’ names are rarely mentioned, and even for legendary and productive architects such as Mimar Sinan, information is quite limited. In fact, Sinan stated that he had dictated his autobiographies over time to ensure he would not be forgotten. Meanwhile, oral tradition revolves around architects’ and construction builders’ daily lives, achievements, and professional challenges, even their relationships with religious-mythological elements, which are aspects often overlooked in historical sources. Fictional narratives passed down through oral tradition often draw from real events rarely reflected in written sources, deriving stories from both well-known architects and anonymous builders, characterizing a semi-fictional architect or master. In a way, oral tradition, where the structures themselves and even the narratives serve as direct sources, complements the gaps in the history of architects and builders that do not appear in historical sources. This text focuses on compiling, classifying, and researching origins through written sources, as well as comparing the narratives of architects, craftsmen, and builders that are reflected in the oral tradition within Turkish culture and that are primarily shaped around 14 different motifs. The study aims to draw a fictionalized portrait of the history of Turkish architecture. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Mosque of Şehzade Mehmet had been built between 1543 and 1548 at an important location within the Historical Peninsula of Istanbul. The complex within which the mosque is built was located on the road which lies between the Aqueduct of Valens (Bozdoğan) and the Fatih Complex. This area constituted the city center and had an impact over the silhouette of the city in the sixteenth century as it does today. The mosque was located at the center of the complex. The Mosque of Şehzade Mehmet was the first sultans mosque designed and built by Mimar Sinan. Even though Sinan himself considers the mosque as his apprenticeship work, researchers disagree. They instead identify the mosque as Sinan’s mastership work. There is a plethora of research on the works of Mimar Sinan. In some of these, the existence of modular and/or proportional architecture is discussed. These researches have been conducted within the context of approaches which accept either Western proportion systems, traditional measurement systems, or dome unit as the module. In this article too, the Mosque of Şehzade Mehmet will be analytically studied in order to find out which modular system inspired the design. However, what differs this study from other works is the existence of an extensive survey which is conducted through the use of modern technology. Thus, through this survey, the topic is thoroughly studied with an approach which takes the dome unit as the module. The results are presented by various technical drawings.

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Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Erdem is the property of Ataturk Kultur Merkezi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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The formation and development processes of public buildings, which emerged as an important building group in Ottoman architecture during the westernization period, can be evaluated within the transformation efforts experienced in the administrative field after the declaration of the Tanzimat Edict. In the light of documents and project files found in the Ottoman archives; prisons, which are seen to have an important place among public buildings, constitute a building group with important data showing how the architectural environment of the period could come together in the axis of politics and law. In this context, archival documents about the three projects designed at different dates for the prison building, which is planned to be built in the provincial center of Konya, and exhibiting independent design features, are examined within the framework of the discipline of art and architectural history. In addition, maps in different institutions, which are directly related to the locations of the prisons, are also used to evaluate the location of the said prisons. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cult of Saint George, which evolved in the Christian era over an almost 2000 years old tumulus in Edirne, historically known as Adrianople, turned with the Ottoman sovereignty into another cult, which took shape around the Khizr-Elijah belief. This hillock was named the Maqam of Khizr/Hıdırlık due to the belief that Khizr appeared and worshipped on top of it, which later witnessed various miracles with associated motifs. In course of time there emerged many and varied fantastic rumors about the origins of the cult. The rumors circulating from person to person and the historical sources indicate that the intense construction activity of the Ottomans at the Hıdırlık cult centre realized especially in the first part of the 15th century. It is clear that the cult centre, which kept growing in the 16th century, contained various dervish lodges, many mausoleums, annexes and a dense population of Bektashi dervishes. The sources of the period reveal that the Hıdırlık cult centre incurred two subsequent demolition attempts in the 17th century. First demolition occurred following a complaint about the sins committed here in 1642 in the period of Sultan Ibrahim I and the second in 1660s in the period of Sultan Mehmet IV after the decision of a new pavilion construction on top of this spacious and partially idle hillock. On the first and obviously partial demolition, most of the inhabitant dervishes left Hıdırlık and the cult centre lost its old density. On the second demolition, the standing mausoleums and graves were razed and a pavilion with a large garden was built instead, which subsisted until the 19th century. After the construction of the pavilion in Hıdırlık there were only one dervish lodge and two mausoleums left standing. As the construction of the pavilion put the cult centre under state supervision, the last standing dervish lodge in the centre was also demolished in the first half of the 18th century. At the end of the 19th century after the construction of one of the biggest bastions to defense Edirne there was no trace left of the cult centre besides the Hıdır Dede Mausoleum, which was also destroyed in Balkan Wars by the Greek inhabitants of Edirne, causing only the grave of the Hızır Dede to reach to the present day. The destruction of the cult centre was related to the Kadızâdeliler movement, which was utterly against the sufistic approaches and had from the first half of the 17th century onwards many fans in the palace and administrative circles. The Kadızâdeliler movement was a religious movement which requested the demolition of the dervish lodges and the prohibition of grave and mausoleum visits, which led to the destruction of various lodges and mausoleums indeed. One of the fundamental issues, which became a conflict between The Kadızâdeliler movement and the sufis was the nature of Khizr. Whereas the Kadızâdeliler supported the idea that Khizr was dead, sufis believed he was alive. Hıdırlık, which came into existence around the cult of Khizr, was a settlement which was totally against the ideas of the Kadızâdeliler both theorically in terms of the belief that Khizr is not dead and also practically in terms of dervish lodge rituals and mausoleum visits. The reason of the demolition attempts occurred in Hıdırlık in the 17th century and led in time to the utter destruction of the cult centre, was obviously the preaches and pressures of the Kadızâdeliler. This paper aims a historical analysis about the embodiment of Hıdırlık as one of the four holy places in Edirne, where it is believed that the prayers are answered and the gradual annihilation of it. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Erdem is the property of Ataturk Kultur Merkezi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Despite the fact that during the sixteenth century, the so-called golden age of classical Ottoman architecture, thousands of significant buildings were constructed, the methods of designing in the classical Ottoman period still raises several unanswered questions. The present paper surveys some features of classical Ottoman designs, the types of drawing documents used by the craftsmen, and the operation of the architectural institutions. By outlining the dimensions of a specific group of commemorative buildings, the mausolea or türbes erected in Ottoman Hungary, this article aims at providing historical contributions to the evaluation and construction methods of the remaining examples of this building type in Hungary. For this reason, the dimensions of the Türbe of Gül Baba and the Türbe of Idris Baba, the two Shrines in Hungary that still stand, will be investigated.

Bu makalede, Tunceli ili, Hozat ilçe merkezinde bulunan Osmanlı Dönemi’ne ait mimari eserler ele alınmıştır. Tunceli ili, Arkeoloji ve Sanat Tarihi araştırmaları yönüyle eksik çalışılmış bir yerdir. Bölgedeki çalışmalar, 1970 yıllarında Keban Barajı Kurtarma Kazıları kapsamında yoğunluk kazanmıştır. Sanat Tarihi yönüyle ele alındığında ise özellikle anıtsal mimari ve birkaç ilçe merkezi (Çemişgezek, Pertek ve Mazgirt) ile sınırlı kalmıştır. Çalışmaların belli bir süre sonra kesintiye uğradığı anlaşılmaktadır. Son yıllarda az da olsa konuyla ilgili bilimsel faaliyetlerin yapıldığı söylenebilir. Hozat ilçe merkezinde yapılan çalışmada Osmanlı Dönemi’ne ait 1 cami, 1 hamam, 5 çeşme, 1 köprü, sokak dokusu ve sivil konut örnekleri tespit edilmiştir. Bu makaleyle birlikte, arşiv belgeleri ışığında Hozat ilçe merkezinin Osmanlı Dönemi’ndeki kuruluşu hakkında bilgi verilmiş ve ilçe merkezinde bulunan Osmanlı Dönemi’ne ait tarihi eserlerin ilk defa bilim dünyasına tanıtılması, Sanat Tarihi içerisindeki yeri ve önemi vurgulanmaya çalışılmıştır.

1361 yılında Sultan I. Murad tarafından fethedilen Edirne, İstanbul’un fethine kadar Osmanlı Devleti’ne başkentlik yapmıştır. Başkent olduktan sonra kentin imarına önem verilmiş ve kentte pek çok eser inşa edilmiştir. Bünyesinde barındırdığı şaheserlerle Osmanlı Devleti tarihindeki yerini alan Edirne ve yöresi, anıtsal mimarisi ile dikkat çeken bir yerleşim yeri olmuştur. Bu mimarinin içinde su yapıları ayrı bir yer tutmaktadır. Türklerin temizliğe verdiği önem ve İslam dini hükümleri çerçevesinde kent merkezinde ve çevresinde pek çok su yapısı inşa edilmiştir. Bu yapılar içinde hamamlar kent tarihi ve kent dokusunun gelişmesinde bizlere önemli bilgiler vermektedir.Edirne kentinin güneyinde ve aynı zamanda Çanakkale Boğazı güzergâhında yer alan Keşan, günümüze ulaşan iki önemli hamam yapısıyla dikkat çeker. Bu hamamlardan her ikisi de bugün ilçe merkezindedir. Hamamlardan daha büyük boyutlu olan ve asıl konumuzu oluşturan Eski Hamam, daha önce yazılı belgelerle yayınlanmamış olup ilk kez bu çalışma ile bilim dünyasına tanıtılacaktır.Bu çalışmada Edirne’nin Keşan ilçesinde bulunan ve daha önce arşiv belgelerinde de adına rastlamadığımız bir hamam yapısını malzeme, plan, mimari ve süsleme özellikleri açısından değerlendirerek Türk hamam mimarisi içindeki yerini belirlemeye çalışacağız. Ayrıca yapının tarihlendirilmesine üzerine kısa bir değerlendirme yapılacaktır.

Copyright of Journal of Ottoman Legacy Studies (OMAD) / Osmanlı Mirası Araştırmaları Dergisi is the property of Journal of Ottoman Legacy Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study is the second of the trilogy written / to be written by the author, on the urban and architectural history of Ottoman Istanbul. The first of the trilogy is "A District, A Mansion: Çemberlitaş Selim Bey Mansion" and this article which is called "A District, A Place of Temple: Cerrahpaşa Canbaziye Mosque" is the second. The last of the trilogy is "A District, A School: Yedikule, German School", yet to be finished. The common point of the articles is the analysis of a specific historical structure located in a specific district of Walled City of Istanbul with architecture and art history disciplines. This trilogy can be considered as an attempt to write a monograph. The subject of this article is Canbaziye Mosque which dates back to the fifteenth century, located in Cerrahpaşa, the seventh hill of Istanbul. Since it is one of the mosques built after the conquest of Istanbul, surviving to this day, it is important regarding city and venue history. Spatial history of Cerrahpaşa district is discussed in the study along with the mosque's district / spatial identity review in a context of historicity, architecture and art history. The graveyard and the fountain located next to it are also mentioned along with some tombstones in the graveyard. [ABSTRACT FROM AUTHOR]

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From the first quarter of the 18th century, a new perspective for European civilization was adopted by the Ottoman Empire and this Westernization concept was transformed into an essential revolutionary movement in governmental and social structure. Therefore, the initials steps of implementing any change were taken with the decision of constructing the buildings with new functions that are required as the necessary structures of modern state and public, according to European architectural design models with modern building materials and construction technologies. Building materials fabricated by European industry, such as brick, steel and concrete, as well as construction technologies like brick arch, steel-frame and concrete were important determinants in the historical evolution of Ottoman architecture after the first quarter of the 19th century. One of the first structures built with the new function and construction technology of Ottoman architecture is Pera Palace Hotel (1895) designed by famous architect of this period, Alexander Vallaury. Apart from the Ottoman palaces, it's a building that the first electricity is supplied, the first elevator is located and the first hot water is active. In this paper, the architectural characteristics of the first modern hotel structure built in the Pera region, the construction system vertically supported by prefabricated bricks and arched floor with steel beams will be carried out in the frame of the original architectural projects. The significance of the building will be revealed in terms of cultural values of the Ottoman architecture.

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)