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The Scenic decorations of Yıldız Palace

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The scenes in the moldings of the ceiling o f KUf Uk Mabeyn are in circles in the cor­ ners, while on the walls they are in rectangular cartouches. At the same time, these pain­ tings are documentary evidence reflecting the architecture culture, technology, and day- to-day living o f the 19th C en tu ry Ottomans.

The Scenic Decorations of Yıldız Palace

Yıldız Palace covers an area of near­ ly 700,000 mJ, stretching from the district of Balmumcu to Çırağan Palace on the shore. It is known from historical sources that the first summer palace here was built on the orders of Mihrişah Sultan, mother o f Sultan Selim III (1789-1807). The in­ terest of the padishahs in Yıldız Palace in­ creased more and more, and particularly during the reign of Sultan Abdülhamid II (1876-1909), the Palace with all its sec­ tions achieved the appearance of a city skyline.

These magnificent structures display Turkish palatial architecture for the last time in its most beautiful form, and their

in terio r deco ratio n s are o f equal importance.

From the second half of the 17th Cen­ tury on, we see that under the influence o f the West, baroque and rococo art had an effect on Turkish art, and composi­ tions consisting o f scenes, still life, and flowers in vases began to appear in wall painting. It was also during this century that the perspective seen in scenic pain­ ting entered Turkish art.

M ost o f the fccenic paintings decorating our walls and ceilings reflect an appearance of the four seasons in Istanbul. Scenic views of 19th Century Istanbul are displayed on the moldings of

the ceiling o f Küçtik Mabeyn and in the ceiling o f Seyir Villa. The scenes in the moldings of the ceiling of Küçtik Mabeyn are in circles in the corners, while on the walls they are in rectangular cartouches. In addition, there are also successful scenic paintings in the Kebap Villa and along the stage apron in the Theatre Building. At the same time, these pain­ tings each bear the quality o f being documentary evidence reflecting the ar­ chitecture culture, technology, and day- to-day living o f the 19th Century Otomans.

To date, the name or the signature of

C ontinued on Page 6

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Kişisel Arşivlerde Istanbul Belleği Ta ha To ros Arşivi

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