不知名的工匠成为现实:Sopon Bezirdjian,亚美尼亚和制作晚期奥斯曼宫殿

Alyson Wharton-Durgaryan
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引用次数: 1

摘要

索蓬·贝兹尔吉安(1839-1915)是奥斯曼帝国的亚美尼亚臣民,出生于君士坦丁堡。他在早期的职业生涯中为苏丹阿卜杜勒阿齐兹(r.1861-76)的宫殿设计装饰方案,如Beylerbeyi(1865)和Ciragan(1871),这些宫殿是在建筑师Serkis Balyan的管理下建造的。这篇文章提请注意Sopon的遗产,这实际上已经被写在史学之外。与最近对世界主义前景的解释相反,这篇文章强调了19世纪60年代到70年代负责这些作品的团队的亚美尼亚性质,并开始将索彭的角色置于这些团队中。同时,通过查阅索彭的绘画档案,调查了索彭与他的奥斯曼、亚美尼亚和欧洲(他在1880年左右移居英国)方面的关系,并展示了亚美尼亚方面是如何随着政治压力的增加而日益凸显出来的。这篇文章提出了强调亚美尼亚性背后的后期奥斯曼建筑的工艺和中心的工作环境,后来的公共转型的情况下。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Unknown Craftsman Made Real: Sopon Bezirdjian, Armenian-ness and Crafting the Late Ottoman Palaces
Sopon Bezirdjian (1839-1915) was an Armenian subject of the Ottoman Empire, born in Constantinople. He spent his earlier professional life designing the decorative programs for the palaces of Sultan Abdulaziz (r.1861–76), such as Beylerbeyi (1865) and Ciragan (1871), which were built under the management of the architect Serkis Balyan. This essay draws attention to legacy of Sopon, which has been virtually written out of the historiography. In contrast to recent interpretations that foreground cosmopolitanism, this essay stresses the Armenian nature of the teams that were responsible for these works of the 1860s to 70s and starts to place the role of Sopon within these teams. It also, through looking at Sopon’s archive of drawings, investigates Sopon’s engagement with his Ottoman, Armenian and the European (he moved to England around 1880) sides to his identity and shows how Armenian aspects were increasingly coming to the foreground as political strains increased. This essay puts forward the case for the highlighting the Armenian-ness behind the crafting of late Ottoman architecture and for the centrality of this working milieu to later communal transformations.
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