İstanbul’s Pera Museum hosted an endless muster in 2012 that enclosed several photographs of a Anatolian seaside of a Bosporus from a mid-19th century to a 20th century.
Titled “From Konstantiniyye to İstanbul,” a muster denounced countless moments, images and sentimental İstanbul photos taken by masters of photography such as Ali Sami Aközer, Félice Beato, Guillame Berggren, a Abdullah Brothers, a Gülmez Brothers, Ernest Edouard de Caranza, Sebah Joaillier, Maurice Meys, Ali Enis Oza, James Robertson and Elisa Pante Zonaro.
Consisting of a preference from a Suna and İnan Kıraç Foundation photography collection, a uncover was critical in a clarity that it presented İstanbul and a beauty by decades.
The muster was open for some-more than 3 months in İstanbul and now it has recently found a approach to Bosnia and Herzegovina with a partnership of a “Turkey-Bosnia and Herzegovina Intercultural Art Dialogs” project, a Yunus Emre Institute, and a Suna and İnan Kıraç Foundation.
The photographs are intensely profitable in terms of documenting sentimental images of a city depicting daily life, people and a landscape. The muster takes a assembly on a tour by a photography techniques that differ from today’s digital photography practices. In that respect, it is probable to see “From Konstantiniyye to İstanbul” in dual opposite ways. Firstly, it is a kind of a time transport by a changing city, and secondly, it is a tour by a changing techniques of photography.
Dr. M. Sinan Gerim, curator of a muster and acclaimed architect, lists a spots a photographs cover to give a assembly an discernment into a changes a city went through. Gerim writes in a vaunt catalogue: “In a delay of a initial frame, we declare some heated growth from Karaköy and Tophane to Dolmabahçe Palace and observe a fast change of a city’s silhouette. Extending from Beşiktaş all a approach into a Bosphorus and partly dark in valleys, a villages, on a other hand, seem as eccentric settlements whose organic ties with a city are nonetheless to develop. Predominantly inhabited by non-Muslims, nonetheless villages such as Arnavutköy, Bebek, Tarabya, and Büyükdere say organic ties with a city, Rumelihisarı, Yeniköy, İstinye, Sarıyer, and Rumelikavağı sojourn connected with a past to a certain extent. In some frames, we see buildings about that we find information in combined sources. Mimar Sinan’s Karaköy Hamam, Nusretiye Mosque before losing a yard to a tramline, Bayıldım Pavilion, a neat coming of Dolmabahçe block during a power of Sultan Abdülmecid, a caique pier in front of Muayede Salonu [Ceremonial Hall], Neşetabad Palace in Defterdarburnu, Kaleiçi [inner castle] houses of Rumelihisarı, Summer Palace Hotel and many others.”
When it comes to a photographs, as a middle of nostalgia in this case, one can see a physicality of a images with a paper, pellet and superfluity that is specific to a duration in photography practices. Wandering among these works, it immediately strikes a modern-day assembly that is used to saying digital images of cities all around a world. The photos mount out with their renowned peculiarity and manually managed manipulations of a colors combined with chemicals and opposite practical processes. In that sense, a collection is critical for photography enthusiasts as a anxiety indicate in a story of this fast changing art.
“From Konstantiniyye to İstanbul” is a roving muster that carries a images of one city to another city. İstanbul’s sentimental images lift many stories and they are out there to be seen by audiences in Bosnia and Herzegovina. For print enthusiasts elsewhere, a strange muster catalog including all a photos is still accessible during a Pera Museum and will sojourn a longstanding source for a story of İstanbul.