Researcher: Yalman, Suzan Ayşe
Name Variants
Yalman, Suzan Ayşe
Email Address
Birth Date
2 results
Search Results
Now showing 1 - 2 of 2
Publication Metadata only Translating Spolia. a recent discovery of fragments from the walls of Seljuk Konya and their afterlives(Masarykova Univ, 2021) Department of Archeology and History of Art; Yalman, Suzan Ayşe; Faculty Member; Department of Archeology and History of Art; College of Social Sciences and Humanities; 50754In the thirteenth-century city walls of Seljuk Konya, a prominent example of spolia - two reused sarcophagus panels once set into the northern walls - serves as a case study. By chance, the material evidence surfaced after publication of an article on the textual descriptions of this alto relievo in nineteenth-century European travel accounts, when a late-Ottoman photograph of the left panel came to light. After reviewing the visual and textual sources, this article discusses how pursuing the provenance led to the whereabouts of the remains today. The discovery of the actual sarcophagus fragments enables reassessment of the sources and inquiry into layers of translation and meaning. Although these works are now displayed as Roman artifacts illustrating the myth of Achilles on Scyros and are thereby stripped of their afterlife in the Konya walls, they compare with reused sarcophagi known from Ephesus or Nicaea. In the case of the Seljuk capital, how were the panels understood when embedded in the walls? Their conspicuous placement indicates a particular prominence given to them. While difficult to pin down given the paucity of sources and multicultural context of Anatolia, a number of semiotic readings are suggested for their reuse. Perhaps what contributed to their magnetism and resonance in the thirteenth century and beyond was their capacity for multivalent meanings and appeal to a diverse range of audiences.Publication Open Access Photographs as testimony: understanding antiquities in late 19th-Century Konya and the fate of some spoliated reliefs from the Seljuk Walls(Murat Serdar, 2022) Department of Archeology and History of Art; Yalman, Suzan Ayşe; Faculty Member; Department of Archeology and History of Art; College of Social Sciences and Humanities; 50754The late nineteenth century was a period of transition and transformation for the Ottoman Empire. New laws were established in 1869, 1874, and 1884, in response to increasing foreign interests in antiquities found in the Ottoman lands. Moreover, in 1889, a new regulation was established for the Imperial Museum and in 1899 its first branch opened in Konya. During the fifteen years between 1884 and 1899, what kinds of developments occurred in Konya in terms of protecting antiquities? The city’s medieval walls are especially important as a case study. For instance, while on the one hand antiquities were coming under protection, on the other, the city’s renowned thirteenth-century Seljuk walls were being destroyed. Was there an explanation for this seemingly contradictory situation? The textual sources do not provide sufficient information regarding the dismantling of the walls. However, as a new technology, photography offers critical testimony for the time period in question. In this article, I try to shed light on the late nineteenth-century cultural context and the fate of the walls through the lens of photographs taken during those years. While discussing this period, I focus on some spoliated reliefs exhibited together as a frieze on the Konya walls. / On dokuzuncu yüzyılda Osmanlı Devleti’nde “âsâr-ı atîka” olarak bilinen eski eserler, 1869 ve 1874’ten sonra, 1884 yılında yeni bir Âsârı Atîka Nizamnamesi ile daha kapsamlı bir şekilde korunmaya alınmıştı. Daha sonra, 1889 yılında Müze-i Hümayun Nizamnamesi çıkartılmış ve 1899 yılında da Konya Âsâr-ı Atîka Müzesi Anadolu’da Müze-i Hümayun’un ilk şubesi olarak açılmıştı. Bu gelişmeler Osmanlı İmparatorluğu’nun modernleşme çabalarının önemli bir kesitiydi ve vilayetlerdeki eserleri korumak için Osmanlı valileri yetkilendirilmekteydi. Nizamnamelerdeki değişikliklerden sonra müzenin açılışına kadar geçen on beş yılda Konya’daki süreç koruma anlayışı açısından nasıl ilerlemişti? Bu çerçevede bir vaka örneği olarak şehrin Ortaçağ surlarının akıbeti önem taşımaktadır. Örneğin, bir yandan Konya’daki eski eserler koruma altına alınırken, diğer yandan şehrin on üçüncü yüzyıldan kalma meşhur Selçuklu surları yık(tır)ılıyordu. Çelişkili görünen bu durumun bir açıklaması olabilir miydi? Elimizdeki yazılı kaynaklar, özellikle surların akıbeti konusunda yeterli bilgi içermemektedir. Ancak, yeni bir teknoloji olan fotoğraf, o dönemdeki gelişmelere tanıklık edilebilmesi açısından önem taşır. Bu makale, Konya’nın on dokuzuncu yüzyıl sonundaki kültür tarihine ve surlarının akıbetine, o yıllarda çekilmiş ve özellikle surlarda bir friz olarak sergilenen bazı devşirme rölyeflerin fotoğrafları aracılığıyla ışık tutmayı hedefler.