Conference Presentations by Nicole Kançal-Ferrari
This lecture focuses on architectural diversity in medieval Crimea.
https://podcasters.spotify... more This lecture focuses on architectural diversity in medieval Crimea.
https://podcasters.spotify.com/pod/show/dost-i/episodes/Terrae-Incognitae---Language-and-Culture-in-Medieval-Crimea-Nicole-Kanal-Ferrai-e2ju9fn
References for further readings:
- Nicole KANÇAL-FERRARI: Transcultural Ornament and Heraldic Symbols: An Investigation into the Aesthetic Language of Early Modern Crimea and the Northern Black Sea Shore (Thirteenth–Sixteenth Centuries), in: The Land between Two Seas: Art on the Move in the Mediterranean and the Black Sea, 1300–1700, ed. by Alina PAYNE, Leiden / Boston 2022, p. 152–176. (and the bibliography in this reference).
- Rafał QUIRINI-POPŁAWSKI: The Art of the Genoese Colonies of the Black Sea Basin (1261–1475), Leiden / Boston 2023.
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I Tatti - The Harvard University Center for Italian Renaissance Studies, 2021
The Land Between Two Seas: Art on the Move in the Mediterranean and the Black Sea 1300-1700 bring... more The Land Between Two Seas: Art on the Move in the Mediterranean and the Black Sea 1300-1700 brings together scholars focusing on the strong riverine ties that connect the seas of the Mediterranean system (from the Western Mediterranean through the Sea of Marmara, the Black Sea and the Sea of Azov) and the hinterland. The two-day conference will examine spaces, artworks and stories from the territories North of the Danube (Poland, eastern Hungary and parts of Transylvania), the Adriatic and Eastern Mediterranean (Constantinople, and the Dalmatian and Illyrian coasts) and the Black Sea and its Eastern neighbors. On the cusp between cultures and religions-mostly Eastern Orthodox (apart from e.g., Hungary, Dalmatia and Poland), and mostly of Slavic language (apart from e.g., Romania)-these principalities, kingdoms and fiefdoms came to embody hybridity, to act as a form of buffer or cultural "switching" system that assimilated, translated and linked the cultures of Central Asia with the western European ones.
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Books by Nicole Kançal-Ferrari
Patrimonialization on the Ruins of Empire Islamic Heritage and the Modern State in Post-Ottoman Europe. Maximilian Hartmuth, Ayşe Dilsiz Hartmuth (eds.) , 2024
This article discusses the politics of patrimonialization in the historical and cultural context ... more This article discusses the politics of patrimonialization in the historical and cultural context of Crimea’s Muslim material heritage. It asks how the peninsula’s rich Islamic past – from the Seljuk, Golden Horde, Ottoman, Crimean Khanate, and later imperial Russian and Soviet eras – is integrated into national heritage politics, and explores the rationales and mechanisms behind cases where it is ignored or even erased. Starting with a historical overview, the article continues with an account of the changing stances toward Crimea’s Islamic material remains after the peninsula’s incorporation into the Russian Empire and subsequently the Soviet Union. The main focus, however, is on the more recent past, specifically developments in Crimea before and after the Russian invasion and subsequent occupation in 2014. Through the examples of sites such as the famous Khan’s Palace, the article looks at how heritage strategies have unfolded over recent decades, and at the ideological and political climate that shaped them. The last part of the article investigates the creation of new narratives, the re-creation and reinvention of a specific Islamic past, through the decision to embrace an Ottoman visual idiom at the expense of other locally rooted forms.
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Textile in Architecture, 2023
Please leave a message for requesting the full PDF copy of this article.
https://www.taylorfra... more Please leave a message for requesting the full PDF copy of this article.
https://www.taylorfrancis.com/chapters/edit/10.4324/9781003281276-14/ruler-clothes-manifold-dimensions-textile-patterns-muslim-funeral-architecture-mausoleum-first-crimean-khans-nicole-kan%C3%A7al-ferrari
Textiles in the form of tent-like structures, sarcophagus and cenotaph covers, shrouds, clothes, and banners were a vital part of pre- and early-modern Turco-Islamic funeral architecture. This paper investigates the multifaceted relationship between architecture and textile (real textile, imitation of textile, and textile-like patterns) in Islamic funeral architecture through the example of the mausoleum of the first Crimean khans. This mausoleum, constructed ca. 1466-1515, was the burial place of the first three generations of rulers of the Crimean khanate, the successor state of the Golden Horde and the period’s most powerful political entity in the northern Black Sea. The mausoleum is situated in a suburb of their capital of Bahçesaray, Crimea. Through the example of this edifice, this paper investigates the connection between textile and architecture in Muslim funeral culture and reflects on the scope and meaning attributed to the real textiles used in these edifices and their possible application, imitation, and representation in architectural ornamentation. The paper explores the relationship between the mausoleum’s decoration, especially the combination of ornamentation and Quranic inscriptions, and other “soft-architecture,” to use a term by
Avinoam Shalem (e.g., curtains, covers, and tents), mainly from the Islamic holy cities of Mecca and Medina, and other portable items (e.g., banners and kaftans) from other parts of the Turco-Islamic world, such as the Mamluk and Ottoman realms.
The edifice’s entrance façade, a deep iwan, bears sophisticated, textile-like decorative patterns of elaborated foliate design combined with Quranic verses, and some suggest the use of portable fabric models applied to stone. Some of the precious textiles adorning the wooden sarcophagi in the mausoleum’s crypt bore similar ornamentation (as well as Italian and/or Ottoman floral patterns), suggesting the application of a
similar stylistic pattern onto both textile and stone. Through this example, the paper reflects on the various dimensions of the ruler’s body and its being “resurrected,” or re-presented, through the decoration program on the edifice and the real textiles, his clothes, on the cenotaphs and coffins in the edifice.
The paper also investigates the larger context of these textiles and how they made their way into the khans’ possession, exploring similar architectural uses of textiles in neighboring principalities in the Balkans; very similar luxury textiles also circulated among the ruling elite in Europe at the turn of the sixteenth century, serving as gifts for other rulers and vassals and for representational purposes. I argue that this mausoleum permits us to reconsider the interaction of the secular and spiritual/sacred dimensions of Turco-Islamic funeral architecture, the role they played in confirming and displaying the rulers’ worldly power, and the reference they make to the afterlife. The mausoleum’s architectural program was established based on portable, textile models, many bearing meaningful inscriptions and embroideries.
Through the presence of the precious textiles in the crypt and their parallels in the tombs of other significant rulers in Europe, the mausoleum also serves as an example of a shared cultural imagination in which textiles acted as primary agents of artistic transfers and producers of meaning.
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Inscriptions of the Medieval Islamic World, Edinburgh University Press 2023
Please leave a message for requesting the full PDF copy of this article.
https://doi.org/10.15... more Please leave a message for requesting the full PDF copy of this article.
https://doi.org/10.1515/9781474489461-018
This chapter presents an overview of the corpus of Turco-Islamic inscriptions from the late seventh/thirteenth to the twelfth/eighteenth century in Crimea, covering the Golden Horde and later Crimean Khanate periods. It also offers a short account of the history and the context of the related epigraphic research. A general survey of the
extant material is followed by an investigation of the nature of these epigraphs and a closer look at some specific examples. In addition, this chapter explores what we can glean from the language and structure of the inscriptions, the selection of passages from textual sources, and what the information they convey tells us about the individuals they were made for, patronage relations, and titulature. These inscriptions
not only provide useful historical data but also contain much detail pointing to the larger socio-religious and cultural environment of their period. We see this chapter as an initial step towards promoting greater awareness about this material and thus facilitating its incorporation into the corpus of inscriptions of Islamic lands.
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Osmanlı Kültür Ortamında Miraç ve Yolculuk Durakları. Edebiyatta, Müzikte ve Resimli Elyazmalarında Miraç ve İslam’ın Üç Kutsal Şehri. Dergah Yay. 2022.
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The Ascension of the Prophet and the Stations of His Journey in the Ottoman Cultural Environment. The Miraj and the Three Sacred Cities of Islamin in Literature, Music, and Illustrated Manuscripts. Dergah Publications.
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Osmanlı Kültür Ortamında Miraç ve Yolculuk Durakları. Edebiyatta, Müzikte ve Resimli Elyazmalarında Miraç ve İslam’ın Üç Kutsal Şehri. Dergah Yay. 2022.
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Osmanlı Kültür Ortamında Miraç ve Yolculuk Durakları. Edebiyatta, Müzikte ve Resimli Elyazmalarında Miraç ve İslam’ın Üç Kutsal Şehri. Dergah Yay. 2022.
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The Ascension of the Prophet and the Stations of His Journey in the Ottoman Cultural Environment. The Miraj and the Three Sacred Cities of Islamin in Literature, Music, and Illustrated Manuscripts. Dergah Publications, 2022.
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The Ascension of the Prophet and the Stations of His Journey in the Ottoman Cultural Environment. The Miraj and the Three Sacred Cities of Islamin in Literature, Music, and Illustrated Manuscripts. Dergah Publications, 2022.
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Osmanli Kültür Ortaminda Miraç Ve Yolculuk Duraklari. Edebiyatta, Müzikte ve Resimli Elyazmalarında Miraç ve İslamın Üç Kutsal Şehri, 2022
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The Ascension of the Prophet and the Stations of His Journey in the Ottoman Cultural Environment. The Miraj and the Three Sacred Cities of Islam in Literature, Music, and Illustrated Manuscripts. Dergah Publications, 2022
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The Land between Two Seas Art on the Move in the Mediterranean and the Black Sea 1300–1700 , 2022
https://brill.com/view/title/61882
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History of Istanbul from Antiquity to XXIst
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Conference Presentations by Nicole Kançal-Ferrari
https://podcasters.spotify.com/pod/show/dost-i/episodes/Terrae-Incognitae---Language-and-Culture-in-Medieval-Crimea-Nicole-Kanal-Ferrai-e2ju9fn
References for further readings:
- Nicole KANÇAL-FERRARI: Transcultural Ornament and Heraldic Symbols: An Investigation into the Aesthetic Language of Early Modern Crimea and the Northern Black Sea Shore (Thirteenth–Sixteenth Centuries), in: The Land between Two Seas: Art on the Move in the Mediterranean and the Black Sea, 1300–1700, ed. by Alina PAYNE, Leiden / Boston 2022, p. 152–176. (and the bibliography in this reference).
- Rafał QUIRINI-POPŁAWSKI: The Art of the Genoese Colonies of the Black Sea Basin (1261–1475), Leiden / Boston 2023.
Books by Nicole Kançal-Ferrari
https://www.taylorfrancis.com/chapters/edit/10.4324/9781003281276-14/ruler-clothes-manifold-dimensions-textile-patterns-muslim-funeral-architecture-mausoleum-first-crimean-khans-nicole-kan%C3%A7al-ferrari
Textiles in the form of tent-like structures, sarcophagus and cenotaph covers, shrouds, clothes, and banners were a vital part of pre- and early-modern Turco-Islamic funeral architecture. This paper investigates the multifaceted relationship between architecture and textile (real textile, imitation of textile, and textile-like patterns) in Islamic funeral architecture through the example of the mausoleum of the first Crimean khans. This mausoleum, constructed ca. 1466-1515, was the burial place of the first three generations of rulers of the Crimean khanate, the successor state of the Golden Horde and the period’s most powerful political entity in the northern Black Sea. The mausoleum is situated in a suburb of their capital of Bahçesaray, Crimea. Through the example of this edifice, this paper investigates the connection between textile and architecture in Muslim funeral culture and reflects on the scope and meaning attributed to the real textiles used in these edifices and their possible application, imitation, and representation in architectural ornamentation. The paper explores the relationship between the mausoleum’s decoration, especially the combination of ornamentation and Quranic inscriptions, and other “soft-architecture,” to use a term by
Avinoam Shalem (e.g., curtains, covers, and tents), mainly from the Islamic holy cities of Mecca and Medina, and other portable items (e.g., banners and kaftans) from other parts of the Turco-Islamic world, such as the Mamluk and Ottoman realms.
The edifice’s entrance façade, a deep iwan, bears sophisticated, textile-like decorative patterns of elaborated foliate design combined with Quranic verses, and some suggest the use of portable fabric models applied to stone. Some of the precious textiles adorning the wooden sarcophagi in the mausoleum’s crypt bore similar ornamentation (as well as Italian and/or Ottoman floral patterns), suggesting the application of a
similar stylistic pattern onto both textile and stone. Through this example, the paper reflects on the various dimensions of the ruler’s body and its being “resurrected,” or re-presented, through the decoration program on the edifice and the real textiles, his clothes, on the cenotaphs and coffins in the edifice.
The paper also investigates the larger context of these textiles and how they made their way into the khans’ possession, exploring similar architectural uses of textiles in neighboring principalities in the Balkans; very similar luxury textiles also circulated among the ruling elite in Europe at the turn of the sixteenth century, serving as gifts for other rulers and vassals and for representational purposes. I argue that this mausoleum permits us to reconsider the interaction of the secular and spiritual/sacred dimensions of Turco-Islamic funeral architecture, the role they played in confirming and displaying the rulers’ worldly power, and the reference they make to the afterlife. The mausoleum’s architectural program was established based on portable, textile models, many bearing meaningful inscriptions and embroideries.
Through the presence of the precious textiles in the crypt and their parallels in the tombs of other significant rulers in Europe, the mausoleum also serves as an example of a shared cultural imagination in which textiles acted as primary agents of artistic transfers and producers of meaning.
https://doi.org/10.1515/9781474489461-018
This chapter presents an overview of the corpus of Turco-Islamic inscriptions from the late seventh/thirteenth to the twelfth/eighteenth century in Crimea, covering the Golden Horde and later Crimean Khanate periods. It also offers a short account of the history and the context of the related epigraphic research. A general survey of the
extant material is followed by an investigation of the nature of these epigraphs and a closer look at some specific examples. In addition, this chapter explores what we can glean from the language and structure of the inscriptions, the selection of passages from textual sources, and what the information they convey tells us about the individuals they were made for, patronage relations, and titulature. These inscriptions
not only provide useful historical data but also contain much detail pointing to the larger socio-religious and cultural environment of their period. We see this chapter as an initial step towards promoting greater awareness about this material and thus facilitating its incorporation into the corpus of inscriptions of Islamic lands.
https://podcasters.spotify.com/pod/show/dost-i/episodes/Terrae-Incognitae---Language-and-Culture-in-Medieval-Crimea-Nicole-Kanal-Ferrai-e2ju9fn
References for further readings:
- Nicole KANÇAL-FERRARI: Transcultural Ornament and Heraldic Symbols: An Investigation into the Aesthetic Language of Early Modern Crimea and the Northern Black Sea Shore (Thirteenth–Sixteenth Centuries), in: The Land between Two Seas: Art on the Move in the Mediterranean and the Black Sea, 1300–1700, ed. by Alina PAYNE, Leiden / Boston 2022, p. 152–176. (and the bibliography in this reference).
- Rafał QUIRINI-POPŁAWSKI: The Art of the Genoese Colonies of the Black Sea Basin (1261–1475), Leiden / Boston 2023.
https://www.taylorfrancis.com/chapters/edit/10.4324/9781003281276-14/ruler-clothes-manifold-dimensions-textile-patterns-muslim-funeral-architecture-mausoleum-first-crimean-khans-nicole-kan%C3%A7al-ferrari
Textiles in the form of tent-like structures, sarcophagus and cenotaph covers, shrouds, clothes, and banners were a vital part of pre- and early-modern Turco-Islamic funeral architecture. This paper investigates the multifaceted relationship between architecture and textile (real textile, imitation of textile, and textile-like patterns) in Islamic funeral architecture through the example of the mausoleum of the first Crimean khans. This mausoleum, constructed ca. 1466-1515, was the burial place of the first three generations of rulers of the Crimean khanate, the successor state of the Golden Horde and the period’s most powerful political entity in the northern Black Sea. The mausoleum is situated in a suburb of their capital of Bahçesaray, Crimea. Through the example of this edifice, this paper investigates the connection between textile and architecture in Muslim funeral culture and reflects on the scope and meaning attributed to the real textiles used in these edifices and their possible application, imitation, and representation in architectural ornamentation. The paper explores the relationship between the mausoleum’s decoration, especially the combination of ornamentation and Quranic inscriptions, and other “soft-architecture,” to use a term by
Avinoam Shalem (e.g., curtains, covers, and tents), mainly from the Islamic holy cities of Mecca and Medina, and other portable items (e.g., banners and kaftans) from other parts of the Turco-Islamic world, such as the Mamluk and Ottoman realms.
The edifice’s entrance façade, a deep iwan, bears sophisticated, textile-like decorative patterns of elaborated foliate design combined with Quranic verses, and some suggest the use of portable fabric models applied to stone. Some of the precious textiles adorning the wooden sarcophagi in the mausoleum’s crypt bore similar ornamentation (as well as Italian and/or Ottoman floral patterns), suggesting the application of a
similar stylistic pattern onto both textile and stone. Through this example, the paper reflects on the various dimensions of the ruler’s body and its being “resurrected,” or re-presented, through the decoration program on the edifice and the real textiles, his clothes, on the cenotaphs and coffins in the edifice.
The paper also investigates the larger context of these textiles and how they made their way into the khans’ possession, exploring similar architectural uses of textiles in neighboring principalities in the Balkans; very similar luxury textiles also circulated among the ruling elite in Europe at the turn of the sixteenth century, serving as gifts for other rulers and vassals and for representational purposes. I argue that this mausoleum permits us to reconsider the interaction of the secular and spiritual/sacred dimensions of Turco-Islamic funeral architecture, the role they played in confirming and displaying the rulers’ worldly power, and the reference they make to the afterlife. The mausoleum’s architectural program was established based on portable, textile models, many bearing meaningful inscriptions and embroideries.
Through the presence of the precious textiles in the crypt and their parallels in the tombs of other significant rulers in Europe, the mausoleum also serves as an example of a shared cultural imagination in which textiles acted as primary agents of artistic transfers and producers of meaning.
https://doi.org/10.1515/9781474489461-018
This chapter presents an overview of the corpus of Turco-Islamic inscriptions from the late seventh/thirteenth to the twelfth/eighteenth century in Crimea, covering the Golden Horde and later Crimean Khanate periods. It also offers a short account of the history and the context of the related epigraphic research. A general survey of the
extant material is followed by an investigation of the nature of these epigraphs and a closer look at some specific examples. In addition, this chapter explores what we can glean from the language and structure of the inscriptions, the selection of passages from textual sources, and what the information they convey tells us about the individuals they were made for, patronage relations, and titulature. These inscriptions
not only provide useful historical data but also contain much detail pointing to the larger socio-religious and cultural environment of their period. We see this chapter as an initial step towards promoting greater awareness about this material and thus facilitating its incorporation into the corpus of inscriptions of Islamic lands.
İstanbul Şehir Üniversitesi Şehir Araştırmaları Merkezi ve İ.B.B. Kültürel Miras Müdürlüğü’nün ortaklaşa yürüttüğü “İstanbul Türbe, Hazire ve Kabirleri” envanter projesi tamamlandı. Proje yöneticiliğini ve editörlüğünü Merkez Müdürümüz Dr. Yunus Uğur‘un yaptığı ve yayın kurulunda İstanbul Şehir Üniversitesi öğretim üyesi Doç. Dr. Nicole Kançal-Ferrari, İstanbul Üniversitesi öğretim üyesi Dr. Ahmet Vefa Çobanoğlu, Fatih Sultan Mehmet Vakıf Üniversitesi öğretim üyesi Dr. Alidost Ertuğrul ve Mimar Sinan Güzel Sanatlar Üniversitesi öğretim görevlisi Hayri Fehmi Yılmaz’ın bulunduğu proje kapsamında hazırlanan ve dört ciltten oluşan Envanter Serisi, İstanbul’un tarihi ilçeleri Fatih, Eyüpsultan, Üsküdar ve Beyoğlu’nda bulunan türbe, hazire ve kabirlerin listesini, fotoğraflarını ve detaylı bilgilerini içermekte. Proje sonuçları ayrıca web portalı ve dört belgesel çekimi ile birlikte zenginleştirildi.
Exhibition curators: Ayşe Taşkent, Nicole Kancal Ferrari
13 May to 30 June 2017 at the Turkish and Islamic Arts Museum, Istanbul.
Miraç ve Yolculuk Durakları (Osmanlı Kültür Ortamında Miraç) projesinin aynı adlı sergisi 12 Mayıs 2017 Cuma akşamı Türk ve İslam Eserleri Müzesi’nde açılıyor.
Ayşe Taşkent ve Nicole N. Kançal Ferrari’nin proje sorumlusu olduğu sergide, Hz. Peygamber’in Miraç’ını ve bu kutsal yolculuğa tanıklık eden İslâm’ın mukaddes şehirlerini resmeden 70 kadar minyatür yer alıyor.
İslâm görsel kültürünün gözde örnekleri arasından seçilen ve 15-18. yy arasındaki farklı dönemleri kapsayan bu tasvirler, dünyanın farklı müze ve koleksiyonlarından derlenerek yüksek kaliteli tıpkıbasımlar olarak ziyaretçilerin ilgisine sunuluyor.
Serginin yanı sıra Miraç ve İslam’ın Kutsal Şehirleri başlıklı bir panel ve unutulmuş bir gelenek olarak Miraciyye mukabelesinin yer aldığı Proje’nin ürünü olarak bir de albüm-kitap yayınlanacaktır.
Bağımsız Sanat Vakfı’nın desteklediği sergi, 13 Mayıs’tan 30 Haziran 2017 tarihine kadar 10:00-18:00 saatleri arasında Sultanahmet’teki Türk ve İslam Eserleri Müzesi’nde ziyarete açık olacak
This article draws upon fieldwork carried out in the Meskheti (Ahıska) region of modern Georgia to introduce, analyse, and discuss local mosque architecture. The region’s Islamic art and architecture is largely unknown to the international scholarly community due to a turbulent history, especially in the twentieth century. However, as I show, these mosques shed light on trans-regional and trans-imperial artisan and patronage networks and architectural and aesthetic currents in the nineteenth and early twentieth centuries. Also of interest is the story of how local Muslim communities navigated the complex process of maintaining their religious identity and visible material culture amid the shifting political and social tides in the region during that time, and the fate of the edifices they built after they were forced to leave the region in the mid-twentieth century. Today, much of the Islamic material heritage of Meskheti, Georgia remains under threat. I conclude by considering the current situation of the preservation of historical edifices and offer thoughts on the problems that must be overcome.
Bu kapsamda Fatih, Eyüp, Beyoğlu ve Üsüdar ilçelerindeki türbe, hazire ve kabir yerlerinin mevcut durumlarının tespitlerinin yapılması, adres, mülkiyet vb. bilgi ve verilerinin etüt edilerek güncellenmesi, mevcut veriler ile konuya ilişkin kurum ve kuruluşların arşivlerinde bulunan yazılı ve görsel bilgilerin sayısal ortamda birleştirilerek bir envanter listesinin oluşturulması hedeflenmektedir. Ayrıca bu eserlerin ilmi araştırmalarının yapılıp sonuçların web portalı, belgesel ve kitap yayını ile paylaşılması amaçlanmaktadır.
Envanter türü eserler çerçevesinde elinizdeki çalışma, İstanbul’un dört tarihi ilçesi Fatih, Eyüpsultan, Beyoğlu ve Üsküdar’daki türbe ve hazirelerin tama yakın listesini ve bilgilerini vermekte ayrıca yüzlerce kabrin yine detaylarını sunmaktadır. Bilgiler, eserlerin fotoğrafları, eski ve yeni planlardaki konumunu gösterir haritalarla desteklenmektedir. Şimdiye kadar başta N. Vatin ve S. Yerasimos’un (2001) Fransızca hazırladığı, sadece Suriçi’ndeki hazireleri ele alan ve temel bazı bilgileri vermekle yetinen çalışma olmak üzere, parça parça hazire, türbe ve kabirleri ele alan diğer envanter türü eserler mevcuttur. Elinizdeki çalışma, hem daha fazla bölgeyi ve eser türünü muhtevi olması, hem tarihçe, biyografi ve görsel malzemeler dahil olmak üzere eserlerle ilgili ilave bilgileri içermesi hem de bu eserlerin mahallelere göre tasnifini yapmış olması itibariyle literatüre önemli bir katkı yapmış olacaktır.