{"title":"Doğan Kuban's Books","description":"\u003cdiv style=\"text-align: left;\"\u003e\u003cimg style=\"margin-right: 10px; margin-bottom: 10px; float: left;\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/dogan_kuban_manset_480x480.jpg?v=1697454920\" width=\"199\" height=\"129\"\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eDoğan Kuban\u003c\/strong\u003e was born in Paris in 1926. He graduated as an architect from Istanbul Technical University (ITU), Faculty of Architecture in 1949. In 1952, he was appointed as an assistant to the Department of Architectural History and Surveying at the same institution. Here, he worked as a translator for Paolo Verzone, who gave the first restoration course in Turkey, and later took over the course himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOBTAINED THE TITLE OF ASSOCIATE PROFESSOR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKuban, who served as a consultant in the renovation of the Aspendos Theatre in 1953, assisted Verzone in the research of Ancient and Christian monuments in Cappadocia and Pisidia between 1953-56. In 1954, he prepared his qualification thesis titled \"An Essay on Ottoman Baroque Architecture,\" which for the first time addressed Westernization in Turkey as an architectural or art historical problem. In 1954, he was assigned to Italy by the ITU Faculty of Architecture to research Renaissance architecture. After returning to Turkey, he obtained the title of associate professor with his thesis \"The Formation of Interior Space in Ottoman Religious Architecture - A Comparison with the Renaissance\" (1958). \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBECAME A PROFESSOR IN 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWith a 1962-63 Fulbright postdoctoral research fellowship, he lectured as a visiting faculty member in the art history department at the University of Michigan in Ann Arbor, USA; from 1963-64, he worked on the Catalogue of Christian Structures in Anatolia at the Dumbarton Oaks Byzantine Research Center in Washington DC; from 1966-76, he co-chaired project and supervision work with Cecil Striker in the excavation and restoration of the Kalenderhane Mosque in Istanbul, funded by the same institution; in 1964, he served as the excavation architect during the first season of the Qasr al-Hayr al-Sharqi excavation in Syria under the direction of Oleg Grabar. After returning to Turkey, he became a professor in 1965 with his thesis \"Source Problems of Anatolian Turkish Architecture.\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBECAME DEAN OF ITU FACULTY OF ARCHITECTURE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKuban, who ensured the detailed inclusion of \"Modern Architectural History\" in the curriculum, served as the head of the ITU Department of Architectural History and Surveying, then the Department of Architectural History and Restoration, and finally the Department of Restoration until his retirement in 1993. Between 1974 and 1977, he also served as the dean of the ITU Faculty of Architecture.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGAVE LECTURES AT MANY SCIENTIFIC INSTITUTIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStarting from 1967, he lectured and organized seminars on Islamic and Turkish Art as a visiting faculty member in the USA and Saudi Arabia. In addition to his visiting professorships, beginning in 1963, Kuban gave lectures at numerous scientific institutions such as universities, museums, and research centers in various US states, Denmark, the Netherlands, Switzerland, Italy, Hungary, Canada, Pakistan, Sudan, Saudi Arabia, Egypt, Morocco, Indonesia, and Singapore.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONDUCTED EXCAVATION WORK AT EDİRNE PALACE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBetween 1968-72, he conducted the excavation of Edirne Palace with the project titled \"Monographic Study and Field Research of Edirne Monuments\" funded by ITU; between 1968-78, he worked for the establishment of the Turkish branch of the International Council on Monuments and Sites (ICOMOS). Kuban, who established and chaired the Institute of Architectural History and Restoration (MTRE) affiliated with the ITU Faculty of Architecture in 1974, was elected president of the International Centre for Islamic History, Art and Culture (IRCICA) in 1979-80 and carried out the efforts for the center's establishment in Istanbul.\u003c\/p\u003e","products":[{"product_id":"turk-ahsap-konut-mimarisi","title":"Turkish Wooden House Architecture","description":"\"House,\" the primary and most unique product of the relationship between space and human, has long transcended the boundaries of architecture and been embraced as an indicator of a broad disciplinary field. The \"Turkish house,\" despite all its diversity and its coverage of a vast historical and geographical area, only became a subject of research from the 20th century onwards.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Turkish housing tradition maintained its fundamental layout and the originality of its element placement for centuries. At the root of the room space lies the way of existence of nomadic traditions; life and form are intertwined. Enriched by the overlap of nomadic pragmatism and Islamic abstraction, this dwelling also reflects the local characteristics of the Anatolian-Turkish society. It reached its peak with the consolidation of Ottoman rule in the second half of the 16th century, finding its unique expression in the \"hayatlı ev\" (house with a courtyard\/living area). Although the Turkish house has been described in travelogues, engravings, and paintings for five hundred years, the limited lifespan of its building materials, especially wood, has not left sufficient data to study this architecture in all its details.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith this book, which attempts to evaluate Turkish wooden residential architecture with comprehensive historical research and a deep theoretical approach, we hope it will achieve the position and value it deserves in universal architectural history.","brand":"İş Bankası Kültür Yayınları","offers":[{"title":"Default Title","offer_id":39408956801219,"sku":"9786052951071","price":288.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/turk-ahsap-konut-mimarisi.webp?v=1740951755"},{"product_id":"mimar-doganlare280a6-uc-dogan_352130-html","title":"The Doğan Architects… The Three Doğan Brothers","description":"\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0); font-family: Arial, Helvetica, sans-serif;\"\u003eWhen architects Doğan Kuban, Doğan Tekeli, and Doğan Hasol, who enriched Turkey's cultural and architectural life with their long-standing works and unique contributions, came together for Cumhuriyet newspaper in 2010 and 2015 to discuss architecture and urban policies centered on Istanbul, this meeting created a wide resonance. After a five-year hiatus, these three important figures of the architectural world are continuing their discussions, guided by Ceren Çıplak Drillat's questions, picking up where they left off and opening up many current topics related to architecture and urbanization for debate. They express their views on a wide range of issues, from the relationship of architecture with culture and technology, and construction with economics, to the problems of urbanization and urban living. Starting from Turkey's architectural policies, they scrutinize current architectural practices, conservation and restoration applications, urban transformation projects, and many other important architecture-centered issues occupying the country's agenda. Based on the relationship they have established with the city they live in as architects from the past to the present, they lay bare Istanbul's urbanization problems, and while reflecting on the future of the city, they also express their dreams.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Kırmızı Kedi Yayınevi","offers":[{"title":"Default Title","offer_id":39408958341315,"sku":"9786052987674","price":360.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786052987674.jpg?v=1616017314"},{"product_id":"mimarlik-kavramlari","title":"Architectural Concepts - 19th Edition","description":"\u003cp\u003eYEM Yayın, which publishes books on topics such as architecture, interior design, design, engineering, urban planning, urbanization, industrial product design, landscape design, archaeology, culture, and art, has released the 19th edition of its book titled Mimarlık Kavramları (Architectural Concepts).\u003c\/p\u003e\n\n\u003cp\u003e“The process of acquiring knowledge passes through theoretical teaching and printed paper. When it is accepted that the best person to teach architecture (except in special cases) should be an architect, the necessity for the architect to have the ability to express the act of building verbally, either to explain themselves or to understand what their colleagues are saying, arises. I hope this small book can, to some extent, show aspiring architects ways to articulate their work.”\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDOĞAN KUBAN\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eMimarlık Kavramları, which aims to correctly define architectural activity at a general and conceptual level, especially for those new to architecture and design education, comprehensively evaluates the boundaries of the objective conditions of building production, societal organization, the construction process, building form, and the relationships between individuals and society within a theoretical framework.\u003c\/p\u003e\n\n\u003cp\u003eIn his book Mimarlık Kavramları, which was initially prepared for introductory architectural history courses but was developed in subsequent editions to become one of the fundamental reference sources for architectural education in Turkey, Doğan Kuban gradually examines the emergence and development of basic concepts, which can be called the ABCs of architecture, within the history of architecture.\u003c\/p\u003e\n\n\u003cp\u003eThe book defines all components of architecture, from building materials and techniques such as stone, soil, wood, and mortar to structural elements like columns, arches, vaults, and domes; its relationships with art, aesthetics, cities, and society are examined in detail.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208669939,"sku":"9786058136663","price":273.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Mimarlik_Kavramlari.jpg?v=1686646173"},{"product_id":"istanbul-1600-yillik-bir-muzedir","title":"Istanbul Is a 1600-Year-Old Museum - 4th Edition","description":"\u003cp class=\"MsoNormal\"\u003eProf. Doğan Kuban, one of Turkey's most distinguished and world-renowned architectural historians, also known as the \"Teacher of Teachers,\" has released his book titled \"Istanbul: A 1600-Year-Old Museum\" through YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eProf. Doğan Kuban examines Istanbul from the perspective of a true Istanbulite, who has been a historian and writer of the city since 1953, focusing on critical observations rather than mere descriptions. He draws attention to the importance for architects, planners, and conscious intellectuals not only to love the city they live in but also to question it.\u003c\/p\u003e\n\u003cp\u003eDoğan Kuban addresses the development and change Istanbul has undergone from its Roman-Byzantine identity to the present day, from a very broad perspective, through its structures, squares, architects, dominant cultures, and their approaches, virtually presenting a complete biography of the ancient city. He offers a detailed assessment, covering everything from the city's cultural identity to its planning, from its archaeology to its transportation, from its Westernization efforts to its fight against illegality.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"metinnormal165x240\"\u003e\u003cspan style=\"font-size: 11.0pt; letter-spacing: .1pt;\"\u003eThrough his book, which articulates both the proud heritage of the past, gradually vanishing amidst the chaos of the new city, and the unsettling darkness of the future, K\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; letter-spacing: -.15pt;\"\u003euban invites readers to love history and approach the future with a critical perspective, addressing those who wish to \"truly understand\" Istanbul:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“I must confess that it is now very difficult to find beauty in Istanbul without the legacy of its topography and history. However, Istanbul still has natural spaces that we have not been able to destroy. Spaces formed by the sea and hills, where the shores draw one's gaze into the distance. As you travel between Üsküdar and Beşiktaş and Eminönü, as you cross from Bebek to Kandilli, as you come from Kadıköy to the Bridge, as you look at the Bosphorus from Sarayburnu, as you cross the bridges, as you walk along the coastal roads, as you sail from the Bosphorus to the Black Sea or enter the Bosphorus from the Black Sea, as you look at Istanbul from Marmara or Salacak, there are beauties you cannot tire of looking at, no matter what cultural background you come from. Especially on a spring morning, untouched by the haze, when the sun begins to warm you, on one of Istanbul's coasts, in one of its cafes, in a light mist, when you perceive it like a painting by Sisley, you can forget all the evils people have done. With a slight sense of fate's oppression, perhaps you can even forgive them. In moments of pure perception, unburdened by thought, you might even begin to think that there is no city more beautiful than Istanbul, and that you are lucky to live in this world here...”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003cb\u003e\u003cspan style=\"font-size: 11.0pt;\"\u003eWHO IS PROF. DOĞAN KUBAN?\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDoğan Kuban, whom we lost in September 2021, was born in Paris in 1926. \u003cbr data-mce-fragment=\"1\"\u003eHe graduated from Istanbul Technical University, Faculty of Architecture, in 1949. He became an assistant in the Department of Architectural History at the same university. Kuban, whose thesis was on Turkish Baroque Architecture, studied Renaissance Architecture in Italy in 1954-55 and became an associate professor with his work titled \"Formation of Interior Space in Ottoman Architecture and a Comparison with the Renaissance.\" In 1962-63, he was a visiting faculty member in the Islamic Art department at the University of Michigan, USA, with a Fulbright scholarship. In 1963-64, as a Harvard Fellow, he worked on Anatolian Byzantine Architecture at the Dumbarton Oaks Byzantine Research Center in Washington. In 1965, he became a professor with his book \"Sources and Problems of Anatolian Turkish Architecture.\" From 1967 onwards, Kuban taught Islamic Art and Architecture at Michigan and Minnesota universities, and from 1980-81, he taught Islamic Architectural History as a visiting Aga Khan professor at MIT. Between 1965 and 1975, he worked as a co-director with Prof. L. Striker in the excavation and restoration of the Kalenderhane Mosque in Istanbul, sponsored by Harvard University. He consulted on the restorations of Kalenderhane, Tahtakale Hamam, Yesevi Mausoleum in Kazakhstan, and Sultan Sanjar Mausoleum in Merv, Turkmenistan. He prepared historical environment protection reports and projects for the cities of Istanbul, Izmir, Gaziantep, Iznik, Kastamonu, Sivas, and Erzurum. In 1975, he founded and headed the Institute of Architectural History and Restoration. He served as the head of the Architectural History and Restoration departments (1958-93) and Dean of the Faculty of Architecture (1974-77) at ITU. Between 1978 and 1983, he worked on the Aga Khan Award for Architecture steering committee. From 1968 to 1983, he was a member of the Supreme Council of Immovable Cultural and Natural Assets and Monuments (Vice Chairman from 1981-83). Kuban, who retired in 1993, received Service Awards from the Ministry of Culture, the Chamber of Architects, and TÜBİTAK. Doğan Kuban, who received the 2019 Presidential Culture and Arts Grand Award in \"Architecture,\" was elected an honorary foreign member of the American Institute of Architects in 1994. His book \"Sinan’ın Sanatı ve Selimiye\" (1997) \u003cbr data-mce-fragment=\"1\"\u003ereceived the Aydın Doğan Award, and the English version of his book \"Osmanlı Mimarisi\" (2007), which won the Memet Fuat Publishing Award for YEM Yayın, \u003cbr data-mce-fragment=\"1\"\u003ewas published by ACC Publishing Group in 2010 under the title \"Ottoman Architecture.\" Kuban's books published by YEM Yayın include \"Osmanlı Mimarisi,\" \"Mimarlık Kavramları,\" \"Cennetin Kapıları \/ Gates of Paradise,\" \"Kaybolan Kent Hayalleri Osmanlı Sarayları,\" \"Vanished Urban Places Ottoman’s Palaces,\" \"Osmanlı’nın İstanbul’u,\" \"Ottoman’s \u003cbr data-mce-fragment=\"1\"\u003eIstanbul,\" and \"İstanbul 1600 Yıllık Bir Müzedir.\" Kuban, who also served as an advisor to İzmir Metropolitan Municipality Mayor Ahmet Piriştina for a period, was an honorary member of TÜBA.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207621363,"sku":"9786257008204","price":560.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008204.jpg?v=1616018055"},{"product_id":"dogan-kuban-yazilari-antolojisi-1-cilt","title":"Doğan Kuban Anthology of Writings, Volume 1","description":"\u003cp\u003e\"As a society that excluded philosophy, painting, and sculpture, the Ottomans developed no theoretical thought regarding art, architecture, and aesthetics. Today, there are schools, artists, academics, and a public opinion that have overcome this void. However, Turkish society began this intellectual endeavor – that is, aesthetics, art history, and art criticism – after the Republic, which is 500 years after Europe. Even today, there is a political environment with an artistic thought 500 years behind the world.\"\u003cbr\u003e\u003cbr\u003eThis book contains a wide selection of writings by Doğan Kuban, ranging from his views on architectural projects highly debated today, such as the Topçu Barracks and the Çamlıca Mosque, to an essay on the concept of Anatolian-Turkish Art in the Middle Ages, from the Great Mosque of Divriği to an article explaining the aesthetics of living beings.\u003cbr\u003e\u003cbr\u003eThe work, which is the first volume of an anthology designed in two parts, brings together the studies published over the past half-century by Prof. Doğan Kuban, one of the first names that comes to mind in our country when architectural history is mentioned, who has been writing on architecture, history, urban planning, and conservation, as well as art, culture, and education, from the 1960s to the present day.\u003c\/p\u003e","brand":"Boyut Yayın Grubu","offers":[{"title":"Default Title","offer_id":39409038131395,"sku":"9789752311459","price":387.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9789752311459.jpg?v=1616018236"},{"product_id":"dogan-kuban-yazilari-antolojisi-2-cilt","title":"Anthology of Doğan Kuban's Writings, Vol. 2","description":"\u003cp\u003eA selection of influential articles by Doğan Kuban, one of the living legends of Turkish architecture...\u003cbr\u003e\u003cbr\u003eAs in the first volume, the articles in the second volume are presented in this Anthology in terms of content, not chronology. The second volume also presents the themes that Doğan Kuban focused on in various periods, structures and topics.\u003c\/p\u003e","brand":"Boyut Yayın Grubu","offers":[{"title":"Default Title","offer_id":39409038164163,"sku":"9789752311923","price":485.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9789752311923.jpg?v=1616018237"},{"product_id":"cennetin-kapilari-gates-of-paradise","title":"Gates of Paradise","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCENNETİN KAPILARI \/ GATES OF PARADISE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDivriği Ulucamisi ve Sifahanesi’nde Hürremşah’ın Yontu Sanatı \/ \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Sculpture of Hürremşah at Divriği Ulucami and Şifahane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Prof. Doğan Kuban’s eagerly awaited new edition of the book “Cennetin Kapıları \/ Gates of Paradise”, which describes the unique stone sculptures of Divriği Great Mosque and Hospital within Anatolian architectural development and unrivaled in the history of Islamic art, was published by YEM Publishing with the valuable contributions of Rönesans Holding.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e In the Turkish-English book, accompanied by Cemal Emden's very special photographs, the stone sculptures of Divriği Great Mosque and Hospital, dated 1228\/29, which remained unique in the architectural development in Anatolia and are unparalleled in the history of Islamic art, are presented during the art era known as Anatolian Seljuk Architecture between the 12th and 14th centuries.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Kuban, in his book examining the position of these sculptures, which have no other parallel in the history of world art as well as in Islamic and Turkish arts, within the universal concept of sculpture, says the following:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Among the masters of the building, only one’s name, ‘Hürremşah of Ahlat’, is given once in both the mosque and the hospital. It is probable that the design of the buildings and a part of the stone sculptures are the creation of this artist from Ahlat. The sculptural program realized to decorate the monumental portals in the building moved the ornamentation away from its complementary role to the architecture, creating an extraordinary work that sculpted stone carving. It is these sculptural stone carvings that make Divriği art original and famous. However, beyond this aesthetic quality, the North (Qibla) Portal, designed as a virtual Gate of Paradise, is perhaps the only image of a gate of paradise in the history of Islamic art. In this respect, it should have a very important place in Islamic culture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWestern culture has created a vision of world art history within its own historical expansions, and the art traditions of the entire world are presented with interpretations filtered through the European art vision. In European sculpture history, the subject is fundamentally the human figure. Since the Islamic tradition rejects figurative art as a principle, Islamic stone carving has been evaluated in the category of ornamentation in world art history. Although since the development of the concept of abstract art, the subject of the figure has ceased to be a mandatory feature of the concept of painting and sculpture. However, this situation has neither eliminated the existence nor the effect of a broad theoretical and critical thought based on the tradition of figurative art. Furthermore, the place of Islamic art structures, which have been excluded from the thousands of years of figurative art tradition, is limited in world art history, even if on a universal scale. Divriği sculpture is an art phenomenon unparalleled in Islamic art...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor the author of this book, the portals of Divriği Great Mosque and Hospital have characteristics that we would place in the category of artistic activity that Western art history defines as 'sculpture'. Although similarities that can be found in sculptural techniques and forms in different cultural environments cannot be considered as stylistic similarities. It has been shown in this book with undeniable examples that the professional encounter between the artist carving the stone and the material leads to similar behaviors.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe comparisons made in this book are illuminating in terms of the character of Hürremşah's sculpture. However, in the Western art tradition where all criteria are based on the 'representation' of the human figure, calling Divriği sculpture 'sculpture' only seems possible when we reach the 20th century.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cstrong\u003eGATES OF PARADISE\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTheSculpture of Hürremşah at Divriği Ulucami and Şifahane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“The book you are holding in your hand is devoted to the description of the Stones culpture of the Divriği Ulucami and Şifahane (Great Mosque and Hospital of Divriği) (1228\/29), a glorious example of 12\u003csup\u003eth \u003c\/sup\u003eto 14\u003csup\u003eth \u003c\/sup\u003ecentury Anatolian Seljuk architecture and a truly unique phenomenon in the history of Islamic art. Of the craftsmen in volved in the work the name of only one has survived – that of ‘Hürremşah of Ahlat’, whose name appears once in both them osqueand the hospital. It seems probable that this master builder and stone Carver from Ahlat was responsible for the design of the buildings and for the creation of part of the sculpture. He created a sculptural programme for the decoration of the monumental portals which gave the ornamentation a sculptural dimensionan dremoved it from its traditional role as a me resubsidiary element and complement to the architecture. It is this sculptural stone work that is responsible for the unique quality and fame of Divriği art, but besides this aestheticquality, the Qibla portal, designed as an imaginary ‘Gate of Paradise’, is probably the only example of a symbolic paradisegate in thehistory of Islamic architecture. From that point of view, it deserves to be awarded a very important place in Islamic culture...''\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206671091,"sku":"9786257008464","price":875.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/CENNETIN_KAPILARI_3BASKI_ON_KAPAK_YEM.jpg?v=1639734840"},{"product_id":"osmanli-mimarisi-karton-kapak","title":"Ottoman Architecture - Paperback (2nd Edition)","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published a new edition of \"Ottoman Architecture,\" written by Prof. Doğan Kuban with the aim of \"unveiling prejudices related to Ottoman history, culture, and art, and putting an end to the clichés created by foreigners and even Turks themselves since the 19th century.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis comprehensive reference work, featuring meticulously compiled academic data, includes nearly 1,000 specially taken photographs, architectural drawings, engravings, comparative tables, and maps, as well as an Ottoman-Turkish Architectural Dictionary.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDOĞAN KUBAN TALKS ABOUT \"OTTOMAN ARCHITECTURE\"\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Kuban, who states that \"the experience of establishing a relationship between social history and architectural history can also be evaluated as looking at Ottoman history through the mirror of architecture,\" shares his views on this unique work as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Ottoman architecture is the most internationally significant production and product of Ottoman culture. The Ottomans produced great works which, I believe, hold a special place in world architectural history; these have survived to this day and have influenced leading art historians and architects worldwide. I am a historian of this subject. I have been working in this field for over 60 years. As a master of this craft, I felt the need to explain architecture in a more detailed way, intertwined with Ottoman history and culture, with a different understanding than what has been done so far.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI prepared 'Ottoman Architecture' by bringing together ideas, studies, research, and comparisons from other works, which I compiled over many long years. In fact, I can say that I summarized in a single work a task that is encyclopedic in nature and could be done by many people. I say 'summarized' because it is not possible to fit all of Ottoman architecture into 720 pages. However, such works are not read encyclopedically. In my opinion, books prepared with an internally consistent approach are more illuminating because they have internal consistency. I tried to achieve this in a field where I spent 60 years, and I succeeded. That is why I am happy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Architectural history\" can merely be the story of grand, rich, and beautiful buildings. It can also be the story of personal and societal demands related to a building, but this parameter has often not been given sufficient weight. Yet, structures do not materialize until these demands are transformed into a building program. Behind these demands and programs lie social functions, social values, personal tastes, manners, knowledge, and techniques. For example, the fact that the staircase, one of the most magnificent elements of architectural history, was not used as an important design element in Ottoman architecture before the 19th century, and that designs such as the Scala Reggia or the staircase hall of Würzburg Palace never developed in Turkey, is an architectural history problem that deserves contemplation. Similarly, seeking answers to questions about dimensions, symmetry, and ornamentation; examining the content of the desires and aspirations behind the wills that created houses, palaces, and mosques; is more important than merely displaying buildings as a cultural showcase. The fact that Sinan continued his research until he reached the Selimiye; the fact that Nuruosmaniye, built 20 years after the Hekimoğlu Ali Paşa Mosque, could be designed and implemented with such a bold interpretation at that time, are as important as the buildings themselves. Because it is these interpretations and tastes that make them unique and appealing. Understanding and explaining how much of these are tradition, how much thought, how much patron's command and taste, and how much the expression of the artist's will, are the efforts that make architectural history worth writing and reading. If written with a sufficiently developed intuition, this effort can better explain the true nature of historical production. I believe that architectural history can only have meaning if written this way, otherwise, it cannot go beyond a display of goods. \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReaders of this work may reject the naming of structures they previously knew as mosques as zawiye or imaret here. This long-debated issue needed to reach a conclusion with clear evidence from documents. Because this issue is related to the structure of the state at the beginning of Ottoman history.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe information included in this narrative could not have been compiled without drawing upon the work of hundreds of experts who have been working on this subject for almost a century. Therefore, however much I may reject their judgments, I dedicate my book to the memory of researchers who have sincerely labored in this field...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209358067,"sku":"9786257008471","price":910.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/OSMANLI_MIMARISI__Karton_Kapak.jpg?v=1639735379"},{"product_id":"osmanli-mimarisi-ciltli","title":"Ottoman Architecture (Hardcover)","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published the longed-for new edition of Professor Doğan Kuban’s “Ottoman Architecture,” which he wrote with the intention of “revealing prejudices about Ottoman history, culture, and art, and putting an end to the clichés created by foreigners and even Turks themselves since the 19th century,” with the valuable contributions of RÖNESANS Holding.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis comprehensive reference work, which includes meticulously compiled academic data, features nearly 1,000 specially taken photographs, architectural drawings, engravings, comparative tables, and maps, as well as an Ottoman-Turkish Architecture Dictionary.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDOĞAN KUBAN TALKS ABOUT “OTTOMAN ARCHITECTURE”\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Kuban states that “the experience of establishing a relationship between social history and architectural history can also be regarded as looking at Ottoman history through the mirror of architecture,” and shares his views on this unique work as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Ottoman architecture is the most internationally significant production and product of Ottoman culture. The Ottomans created great works that, I believe, hold a special place in the history of world architecture. These works have survived to this day and have influenced prominent art historians and architects worldwide. I am a historian of this field. I have been working in this area for over 60 years. As a scholar of this subject, I felt the need to explain architecture in a more intertwined manner with Ottoman history and culture, with a bit more detail, and with a different understanding than what has been done so far.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI prepared 'Ottoman Architecture' by bringing together ideas, studies, research, and comparisons that I compiled over many years and wrote about in other works. In essence, I can say that I summarized in a single work a task that is encyclopedic in nature and could be done by many people. I say 'summarized' because it is not possible to fit all of Ottoman architecture into 720 pages. However, such works are not read encyclopedically. In my opinion, books prepared with an internally coherent approach are more illuminating because they possess internal consistency. I strived and succeeded in achieving this in a field where I have spent 60 years. For that, I am happy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Architectural history\" can be just the story of large, rich, and beautiful buildings. It can also be the story of personal and social desires related to a structure, but this parameter has often not been given enough weight. Yet, structures do not materialize until these desires turn into a building program. Behind these desires and programs lie social functions, social values, personal tastes, manners, knowledge, and techniques. For example, the fact that the staircase, one of the most magnificent elements of architectural history, was not used as an important design element in Ottoman architecture before the 19th century, or that designs like a Scala Reggia or the staircase hall of Würzburg Palace never developed in Turkey, is an architectural history problem worth pondering. Similarly, seeking answers to questions about dimensions, symmetry, and ornamentation; examining the content of the desires and aspirations behind the wills that created houses, palaces, and mosques; is more important than arranging structures like a showcase for cultural display. The fact that Sinan did not cease his research until he reached Selimiye; and that Nuruosmaniye, built 20 years after the Hekimoğlu Ali Paşa Mosque, could be designed and implemented with such a bold interpretation at that time, are as important as the structures themselves. Because it is these interpretations and tastes that make them original and appealing. Understanding and explaining how much of these are tradition, how much are ideas, how much are patron's orders and tastes, and how much are expressions of the artist's will, are the efforts that make architectural history worth writing and reading. If written with sufficient developed intuition, this effort can better explain the true nature of historical production. I believe that architectural history can only have meaning if written in this way, otherwise it cannot go beyond a display of goods. \u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReaders of this work may object to structures they previously knew as mosques being referred to here as zawiyas or imarets. This long-debated issue needed to be resolved with clear documentary evidence. This is because the problem is related to the structure of the Ottoman state at its inception.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe information included in this narrative could not have been compiled without benefiting from the work of hundreds of experts who have been working on this subject for almost a century. Therefore, however much I may reject their judgments, I dedicate my book to the memory of the researchers who sincerely toiled in this field...”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209325299,"sku":"9786257008488","price":2100.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/OSMANLI_MIMARISI_ONKAPAK_3BASKI_YEM.jpg?v=1639736051"},{"product_id":"batiya-gocun-sanatsal-evreleri","title":"Artistic Stages of Western Migration","description":"\u003cspan data-mce-fragment=\"1\"\u003eA continuous story of how Turkish art evolved over centuries, starting from the Asian steppes and migrating westwards to Anatolia and the Balkans... This long narrative, spanning a vast geographical area and centuries, is often examined within the framework of geographical regions or different cultural-political traditions. The Artistic Stages of the Western Migration treats the art traditions of prehistoric steppe societies, Central Asian, Timurid, and Seljuk art as continuous phases of the long migration westward. It paints a striking picture of the interaction between steppe societies and the creations of settled societies, especially China; Timurid art with Indian and Iranian styles; and Anatolian-Turkish art with Middle Eastern traditions. To read the story of how the same artistic tradition flourished with new forms and styles in each new geography, against the backdrop of social, economic, and religious traditions unlike the previous one, accompanied by drawings, plans, maps, and photographs... Doğan Kuban was born in Paris in 1926, where his father was studying at the French War Academy. He began his professional career in 1949 after graduating from ITU as a high engineer and architect, and in 1952, he joined the Department of Architectural History as an assistant. He became an associate professor in 1958 and a professor in 1965. During these years, he won awards and honorable mentions in many architectural competitions he participated in. He was a visiting lecturer at various universities in Europe and America and distinguished himself with his work on the preservation of historical artifacts. Between 1966-76, he directed the excavation and restoration work at Kalenderhane Mosque in Vezneciler, Istanbul. He held positions in many leading national and international conservation institutions and professional organizations, including an honorary membership in TÜBA, an honorary foreign membership in the American Institute of Architects, and a corresponding membership in the German Archaeological Institute. He has over 150 scientific articles, in addition to 25 books including Turkish Houses with Life, Anatolian Art in the Seljuk Era, Sinan's Art and Selimiye, Istanbul - A City History and Ottoman Architecture, and 68 articles in the Istanbul Encyclopedia, where he was one of the publishing directors, as well as newspaper articles he regularly continued to write.\u003c\/span\u003e","brand":"İş Bankası Kültür Yayınları","offers":[{"title":"Default Title","offer_id":43021010272499,"sku":"9789944885614","price":74.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/KB9789944885614.jpg?v=1658825080"},{"product_id":"the-turkish-hayat-house","title":"Hayat House of Turkey","description":"\u003cspan data-mce-fragment=\"1\"\u003eThe Turkish House is both a picturesque image and a historical fact. Since the sixteenth century, descriptions of travelers and the engravings and paintings of western artists depicting Ottoman lands introduced to the world images of a different urban tradition and the existence of a different dwelling concept. Europeans regarded the physiognomy of the Ottoman capital, Istanbul, and other great cities of the Empire such as Edirne, Bursa, Izmir, Konya, Amasya and lesser towns from the Balkans to Iran and Mesopotamia with a mixed feeling of wonder and disdain. The Turkish urbanscape - the khans and caravansaries, covered bazaars, Turkish baths, the wooden houses with their lattice-screenned windows and bold overhaning projections aligned along the narrow and tortuous streets, well-lit and lavishly-decorated rooms in which dignified men in magnificent robes sat in characteristic postures on low divans, women of the harem looking over the streets from behind wooden screens - all these idiosyncratic images of a preindustrial society, idealized, romanticized and distorted by narrators and artists, excited the imagination of the western public about the nonchalant life of the Turks and the so-called Orient.\u003c\/span\u003e","brand":"Eren Yayıncılık","offers":[{"title":"Default Title","offer_id":43049707700467,"sku":"9789757622147","price":600.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/51TXK2KNQRL.jpg?v=1659520623"},{"product_id":"istanbul-bir-kent-tarihi","title":"Istanbul - A City's History","description":"\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eThis ancient city, where the first settlements date back 8,000 years, and which served as the political, economic, and cultural capital of the Eastern Mediterranean for 1,600 uninterrupted years, is detailed in a 600-page book... \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eIn Doğan Kuban's \"Istanbul: A City History,\" compiled over decades of research, the new edition features over 370 photographs, engravings, plans, maps, drawings, and documents, offering a fascinating and colorful journey into the past: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eWhat unique geographical features of this place attracted its first prehistoric inhabitants? \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eWhy did Roman emperors choose to build and develop their new and natural capital here? \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eHow did Paganism, Christianity, and Islam influence the shaping of the city in different periods? \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eWhat did the Latin occupation take away from the city, and what did it leave behind? \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eWhile many parts of the city were destroyed or rebuilt throughout history, which elements remained almost unchanged? \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eOver 27 centuries, how far did the city's borders expand, and when did they reach their peak? \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eWhat were the negative problems Istanbul faced due to population growth and water scarcity? \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eBesides emperors, commanders, and scholars, who were the other people who lived in the city? \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eDid the old Ottoman Istanbul disappear into history in the 20th century, or earlier? \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eHow was Istanbul affected as the world changed in the 20th century? \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\"Istanbul: A City History\" answers these and many more questions with a long and colorful narrative penned by a master writer. \u003c\/span\u003e\u003cspan style=\"vertical-align: inherit;\"\u003ePerfect for your foreign friends who are fluent in English…\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e","brand":"İş Bankası Kültür Yayınları","offers":[{"title":"Default Title","offer_id":43262602510579,"sku":"9786053600640","price":2720.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/0000000352730-1.jpg?v=1663929751"},{"product_id":"turk-ve-islam-sanat-uzerine-denemeler","title":"Essays on Turkish and Islamic Art","description":"\u003cspan data-mce-fragment=\"1\"\u003eThe development of a historiography based on a coherent interpretation of contemporary culture necessitates a conceptual clarification. However, in present-day Turkey, we live amidst the semi-illuminated definitions of a transitional culture. Amidst the distorted interpretations caused by Turkish-Islamic, Anatolian-Central Asian, East-West polarities and ideological tensions, such a clarification is not possible. We are only just entering the institutionalization process not only in history or art history but in all branches of social sciences. Kuban's articles, collected in this book and some of which were previously published under the title \"Problems of Our Art History,\" are essays written with the aim of bringing clarity to conceptual problems within general historical and cultural perspectives.\u003c\/span\u003e","brand":"Arkeoloji ve Sanat Yayınları","offers":[{"title":"Default Title","offer_id":44738277572851,"sku":"9789757538738","price":255.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/71znKuNWojL._SL1144.jpg?v=1707304676"}],"url":"https:\/\/yemkitabevi.com\/en-us\/collections\/dogan-kuban-kitaplari\/basimtarihi_2016.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}