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The House of Naked Writers

Sinayev-Bernstein’s friezes in an Arbat house, by Seva Kolosent.

This is an excellent example of eccentricity in Moscow, which is always good to show visitors to the capital: a house decorated with bas-reliefs of great Russian writers cavorting with various women. Conventional wisdom is that in pre-revolutionary times there was a brothel at this location, and that the bas-reliefs immortalise its VIP clients – Pushkin, Tolstoy, Gogol and others. In actual fact, this is a sculptural composition of Parnassus by Sinayev-Bernstein (‘ancient muses embracing great writers, artists, scientists, and so on’), which was to form a frieze in the Museum of Fine Arts in Volkhonka. The director of the museum refused the composition, and so Sinayev-Bernstein, in his grief, gave it to a certain Broido to decorate his private home in one of the lanes of Arbat. The frieze had to be chopped into parts so as to fit between the windows. To be fair, local historians do not believe 100% in this version of the story either, so you can make up what you will. The figures, unfortunately, are very fragile and soon there may not be much left to see.

Address: Plotnikov pereulok, Number 4/5.

[Translated from Bolshoi Gorod’s guide to Moscow.]

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Vladimir Sarabyanov

[That fine magazine Bolshoi Gorod has frequent profiles of people who live in the big city of Moscow. The latest issue has an article on Vladimir Sarabyanov, a restorer and art critic. I have loosely translated it. The original text is by Elena Mukhametshina. Cross-posted at Art of the Russias.]

People of the Big City: Vladimir Sarabyanov

Restorer and art critic – on revealing XII century frescoes, footstools, the phenomenon of the sacred space, spasmodic state funding, and the tints of Titian.

On the specifics of working with Russian antiquities

A third of my life is spent in the studio, and two thirds on projects. We go on the road to restore monumental paintings in Novgorod, Pskov, Ladoga, Polotsk, Zvenigorod, Kirillov, the Trinity church of St Sergius. All of the ancient monumental paintings that we have in this country are religious, so we work mainly in churches. But there is far more: for example, in the Shulgan-Tash caves (the Kapova caves in Bashkortostan), there are a palaeolithic paintings from about fifteen or seventeen thousand years BC – scientists haven’t yet decided.

I love antiquity. The twelfth century is the dawn of Russian culture, and I have worked hard on it: the Yuriev monastery, St. Anthony monastery, St Nicholas cathedral in Novgorod, the St. George and Assumption churches in Ladoga. Mirozhsky monastery and Snetogorsky convent in Pskov – the latter, of course, is from the fourteenth century, but still a favourite. About seven years ago we began the restoration of the frescoes at the St. Euphrosine monastery in Polotsk, also dating from the twelfth century, which hopefully we will soon complete. This was incredible – it is an amazing monument, invisible, and we revealed it over a few years from under layers of oil paint. Such monuments are for me the most precious jewels in my work.

All the ancient churches of Russia, from the Kievan churches of the eleventh century to the seventeenth century churches at Yaroslavl and Kostroma – all of them were repainted. Between the seventeenth and the nineteenth centuries, they were never restored but merely renewed, with paint applied directly atop the ancient paintings. Sometimes they tried to correspond with the originals, and sometimes they didn’t bother. And sometimes the paintings would be broken up with a hammer, ‘to improve them, to beautify them’. The only exception is the Ferapontov monastery cathedral which has survived without renovations. Therefore, our restoration of monumental painting has some specificities unlike other countries of the world – we reveal art from under the works of later periods. This is quite specific to the Russian school of restoration. In Italy, for example, where there are large numbers of monumental fine art, it was very rare for artists of one period to overwrite another. It’s the same in Greece. In Byzantium, such stratification is rare. For us, though, it was common practice. Often there would be several layers. In Polotsk we revealed a twelfth century mural from under several layers of oils, in some places up to seven. Sometimes we soften the layers, exfoliate them, and where there are figurative elements, we transfer them onto a new foundation, while where it is just paint, we remove it. It is like a surgical operation.

On the sacred location

Stratification is a Russian cultural mentality. Nothing can be done about it. For example, the Annunciation cathedral in the Moscow Kremlin is the third cathedral of the Annunciation on that site. Where are the previous two? They were demolished because people wanted to do them even better. Well, if you want to do better, build it on a neighbouring site, as is done in any other European country. In some little French or Italian towns there are huge Romanesque-Gothic cathedrals that were built over periods of 200 or 300 years. In Russia, everything was done differently. They built, demolished after a hundred years, built again, and demolished a hundred years later, and rebuilt. And then they say ‘This is the Cathedral of the Assumption of the city of Kolomna from where the advance to Kulikovo field began…’ No, this is not that cathedral. This cathedral is from the 17th century. Of the cathedral from where Dmitri Donskoi went to war, not a stone remains. Intolerance to what someone has done before you lies deep in the Russian subconscious. If you want to do something, you have to somehow destroy all that was done by your ancestors. Why do all the nouveaux riches have to build their ugly towers necessarily in the centre of St. Petersburg or Moscow or another wonderful town? If you want to build a skyscraper, build it on a vacant lot. But they have to build it right where there already is something. In no civilisation is there a concept of a sacred location. ‘No, we have to build a church here.’ – ‘But why? There already is a chapel here.’ – ‘No, we must build it right here.’ – ‘Why?’ – ‘Well, now, it is a sacred spot.’ Sorry, this stinks of heathen practice, it’s not a sacred space. In Christianity, there is no concept of a ‘sacred location’, and yet we have it: we have a special Christianity, a special mentality, a special way about us. We are all special, with quirks.

Irrationality can reside within a person, but when it spills out into public life, and begins to determine the fate of the country, it becomes frightening. But I have an optimistic attitude to life. Firstly, no matter how bad it gets, we know that it could be worse. Secondly, we still believe for the most part in God, consciously or unconsciously, we live in hope. And this hope helps us, otherwise our country would long have ceased to exist. I am deeply convinced of this.

On training in restoration

I came into the profession in the mid-1970s, where you could hardly study the subject anywhere. There were no serious schools offering training in restoration, so I learned everything in the studio, and went to the evening courses at Moscow State University only later, once I had learned to work with my hands.

These days it’s better for restorers. There are strong departments at Stroganovka, Moscow Architectural Institute, Surikov academy; in St. Petersburg as well there are several schools. Firstly, the profession has come into demand. Secondly, towards the end of the 1970s and the early 1980s, it became clear that the restorers who formed the basis of our schools may have been great masters, but were for the most part, quite uneducated. When they were asked, ‘What kind of icon is this?’ they would hesitantly mutter, ‘From some time between the 16th and 18th centuries.’ It was a strange time: an eerie, inward-looking state, the rise of the Brezhnev era, absolute stagnation in all things, but somehow there sprang occasional shoots of hope. And one of these was the fact that the government’s attention was drawn to the serious lack of training in restoration.

On professional principles

Many people go into the profession out of a sense of idealism. In my studio there is a girl who has just graduated from the Stroganovka. She pursued a highly technical diploma for half a year at Polotsk, lived in a hostel for monastic novices and owned barely anything. And today she earns a very modest pay, because we ourselves, old men, are hardly paid. She could have gone into another ‘department’ of our organisation, where it is possible to earn 100-150 thousand every month – on demand, on expensive objects, where it is necessary to engage less in restoration than in renovation – to repaint or apply gilt. These days there are lots of such jobs in Moscow. But the girl didn’t go there. Out of six people in her course, four didn’t go into that line – they all work in my team.

The career of a restorer offers a wide choice. It is possible to get into the commercial, profitable way, where you needn’t work to the highest principles of restoration, but rather based on demand, working on everything that’s brought to you. But if you want to work with wonderful monuments and history, then step off the path of riches.

It is like with doctors: you can bleed your patients dry pretending to treat them, or you can actually cure them. The doctors call this the Hippocratic oath. Among restorers there are no oaths, but there are principles.

A specialist in monumental restoration needs hands, a head, eyes and a conscience. If any of these is lacking, the chain is broken. You can distinguish a good restorer from a poor one by the results. But the difference can be understood only by other specialists. The hoi polloi are far from this level of understanding.

Restoration – it is a way of life. It is better to ask my wife about this – she will eloquently keep silent on the subject. All my life I’ve spent either in the studio or on the road, on projects.

It is not necessary to equate restoration with the creative process. We do not create anything new; we concern ourselves only with the extension of life. The proper restorer thinks not of themselves, but of the object they hold in their hands.

Our team has a rigid principle – we restore antiquity, revealing it from under all the growths on top of it, and we present it to people in the way that it has been preserved. Not in the form that they want to see it – with little eyes and smiling mouths, little arms and legs; but rather in that authentic form that it has reached us from the past.

On stools and bureaucrats

It used to be that you would arrive in some Old Ladoga and you would be lodged literally in a hovel – no windows, no doors. And to begin work, you would have to make the doors yourself, glaze the windows, set up the electricity, build furniture from wooden boards. We used to go to Novgorod every year and we’d be settled in the empty chambers of the half-ruined Yuriev monastery. Floors were missing, the roof leaked, the windows had no panes – everything was smashed or burned. So we constructed beds and tables and stools and we lived there for about five months. We would return the following year, and again there was nothing around. Sometimes, it is true, we’d discover one of our stools in a neighbouring studio of some Novgorod artist who had taken it but wouldn’t admit to having done so. And we’d take it back from him in exchange for a bottle of port.

Recently, attitudes towards us and in general towards restoration have improved. That same Yuriev monastery where we long had a base for restoration and archaeology is now functional, in use.

The biggest obstacle today to the work of restoration is its financing. It is the most destructive force that puts a spoke in our wheels. Financing always appears at the last moment, because of which it is impossible to make plans for the year. It’s one thing if you restore an icon or a painting or a sculpture inside your studio. If you aren’t paid, you get up, go home and wait until they pay you. On the other hand, we have objects that are out on the street, exposed to the elements, interacting with the environment. You can work on them in summer, but not in winter. But this goes completely against the system of government funding. When it is warm – there is no funding. Maybe it is available where it is even warmer. But when it gets colder, the bureaucracy gathers in Moscow and begin to cluck: ‘Oh no, we really need to finish the project. Oh no, we did nothing for half the year.’ Or maybe they did something with the money – perhaps it provided for their presence in some warm clime. ‘Well, we got to do something. Let us hand out the money here and there.’ They do not consider that we would now have to work in subzero temperatures. But we need at least seven degrees Celsius for ordinary work in the interior of a church. Last year, for example, we worked on the southern facade of the Assumption cathedral in October, while the money for it had been granted at the beginning of the year. Sadly, this spasmodic regime of funding is the main problem today with the industry and, it appears, the whole country.

On Moscow art and Titian

In Moscow there are few ancient monuments. They are mainly concentrated in the Kremlin; there are some in the Novodevichy convent, the Trinity church at Nikitniki, and the Intercession church at Fili. All the restoration there was accomplished thirty or forty years ago, often done quickly, focused on some festivity or the other, such as the Olympics. Perhaps the only church that was restored according to scientific techniques is the Annunciation cathedral in the Kremlin. Three generations of restorers worked on it, the most recent contribution being our own.

Matters are not good at the Novodevichy convent – everything is covered with writing; it needs serious restoration. I would restore all the churches of the Kremlin too but this is not a pressing problem – the paintings there are in stable condition, not falling apart. They look somewhat unclear because the original is covered by the remains of overpainting and additions from previous restorations, but they can be handled in the future, there is no hurry. And anyway, these flaws are visible only to a professionally picky eye, like mine, for instance. I can scarcely enter a museum in peace because I see not art but its restoration. This is a professional defect in me. Everybody says, ‘Look, what a Titian!’ And I think, ‘Why does this Titian have such heinous tones? Who put them there? Tear off his hands.’

Art and Pleasure at the Royal Court of Lucknow

02/08/2011 1 comment

PARIS – Riches, arts and delights: the Guimet Museum brings to life the splendor of the royal court of Lucknow, a city of northern India, which glittered like a star for a century, from 1754 to 1856, until its annexation by the British.

Nawab Shuja-ud-Daulah and his heir Mirza Amani, by Tilly Kettle, 1772.

The exhibition “A royal court in India, Lucknow, eighteenth – nineteenth century,” which runs until July 11, 2011 in Paris, demonstrates that for a century, the capital of the Mughal province of Awadh (now Uttar Pradesh) was home to a sophisticated cosmopolitan culture.

It has paintings of court, miniatures, jewelry, valuables, luxurious textiles, and old photographs of the city of gold and silver, all witnesses to “a hybrid, welcoming and brilliant Indo-Muslim civilization,” notes Amina Taha Hussein, chief curator at the Guimet Museum.

When Delhi, the seat of the Mughal dynasty, was sacked in 1739 by Iranian invaders, Indian artistes – painters, poets, musicians, dancers – flocked to the prosperous agricultural region of Awadh, and Lucknow in particular.

Europeans, adventurers, artists, representatives of military and commercial companies also were attracted by the beauty of the city, its opulence, and the generosity of its Nawabs, sovereign Shiites of Iranian origin. Among them were the English painter Tilly Kettle, the Frenchmen Claude Martin and Jean-Baptiste Gentil, and the Swiss Antoine-Louis Poli.

The exhibition, created by the Los Angeles County Museum of Art (LACMA), is the first devoted to the city of Lucknow of the time of its splendour.

The golden age of the city was short, the British having ended it in ambush. It started with the accession to power of the ruler Shuja al-Daula in 1754, who made Lucknow his permanent residence. The Nawab attempted to curb the growing power of the British East India Company militarily, which earned him a stinging defeat in 1764. He then signed a treaty with the British in which he recovered his powers of Awadh in exchange for trade concessions and large payments of money.

Gradually, under the leadership of its nawabs keen to showcase their dynasty by the glitz and the arts, Lucknow was bedecked with palaces, mosques and mausoleums inspired by Mughal architecture, embellished with rococo and neoclassical European decor.

The houses stretched along the Gomti river (a tributary of the Ganges), on which floated the boats of Nawabs, shaped like fish.

In 1819, Ghazi al-Din Haidar took the title of king and freed Awadh from the nominal suzerainty of the Mughals, with the blessing of the East India Company. His crown was directly inspired by those of European monarchs.

The last Nawab of Lucknow, Wajid Ali Shah, had a special interest in music and poetry. But the British East India Company, which despised him, decided to remove him in 1856 and annex the province of Awadh. This is a story beautifully told in the film “The Chess Players ” (1977) by Satyajit Ray.

The coup in 1857 triggered the Indian Mutiny (Indian soldiers serving the British), which will come to be described as the first war of Indian independence.

Lucknow suffered reprisals by the English and partly destroyed in 1858. A professional photographer, Felice Beato, was on hand to capture the takeover of the British. Deprived of its court, the city gradually declined.

(By Agence France Presse)

[Translated from L’Express, published 2 May 2011]

Categories: art, france, history, india

Jewels of Settecento Venice dazzle at the Academy of San Fernando

[A quick and loose translation from a recent piece in El País.]

The Piazza San Marco, the Ducal Palace, the Temple of Santa Maria of the Salvation, gondolas plying under the bridge of the Academy… Few cities seduce as much as Venice. And at no time has La Serenissima been portrayed with as much fascination as during the Settecento, the Italian 18th century. The Venetian republic faced the decline of its fortunes, but the arts exploded in a spectacular blaze. More than 350 artists flourished at the time, of which more than a hundred are considered of the first rank. Tiepolo, Canaletto, Ricci, Guardi, Cimaroli are some of the best known names, but there were many more.

On 25 March 2009, La Academia de Bellas Artes de San Fernando in Madrid opened an exhibition of the finest works of the Venetian Settecento. Titled From Baroque to Neoclassicism, and sponsored by the Fundación Banco Santander, fifty-seven paintings are on display, as well as authentic jewellery of the period. 80% of the artworks, from private collections and public foundations, have never been exhibited in Spain, and indeed most have never left Italy before.

The curator, Analisa Scarpa, explains that this is the most complete exhibition ever in Spain dedicated to the Settecento. “It was a period of renewal of the formulation of painting. Light and colour enter the process during this period as never before.”

Michele Marieschi. (Venice, 1710 - 1743). Veduta of the basin of San Marco with the Palazzo Ducale. Oil on canvas. 106 x 134 cm. Terruzzi Collection.

Michele Marieschi. (Venice, 1710 - 1743). Veduta of the basin of San Marco with the Palazzo Ducale. Oil on canvas. 106 x 134 cm. Terruzzi Collection.

Gian Battista Cimaroli (Salò, 1687 - 1771). The Running of the Bulls in the plaza of San Marco. Oil on canvas. 160 x 205 cm. Teruzzi Collection.

Gian Battista Cimaroli (Salò, 1687 - 1771). The Running of the Bulls in the plaza of San Marco. Oil on canvas. 160 x 205 cm. Teruzzi Collection.

Giovanni Antonio Canal, a.k.a Canaletto (Venice, 1697 - 1768). Veduta del Gran Canal con la basílica de la Salute hacia el Molo. Oil on canvas. 72 x 112.5 cm. Terruzzi Collection.

Giovanni Antonio Canal, a.k.a Canaletto (Venice, 1697 - 1768). View of the Grand Canal and the Basilica of St Mary of Salvation. Oil on canvas. 72 x 112.5 cm. Terruzzi Collection.

Gian Antonio Guardi (Vienna, 1699 - Venice, 1760). Triumph of Scipio Africanus. Oil on canvas. 155.5 x 202.5 cm. Private Collection, Milan.

Gian Antonio Guardi (Vienna, 1699 - Venice, 1760). 'Triumph of Scipio Africanus'. Oil on canvas. 155.5 x 202.5 cm. Private Collection, Milan.

Giacopo Amigoni (Venice, 1682 – Madrid, 1752). Diana and nymphs bathing. Oil on canvas. 122x158 cm. Terruzzi Collection.

Giacopo Amigoni (Venice, 1682 - Madrid, 1752). 'Diana and nymphs bathing'. Oil on canvas. 122 x 158 cm. Terruzzi Collection.

Rosalba Carriera (Venice, 1675-1757). Picture as a child (William Hamilton). Pastel on paper 30.5x27 cm. Private Collection.

Rosalba Carriera (Venice, 1675-1757). 'Picture as a child (William Hamilton)'. Pastel on paper 30.5 x 27 cm. Private Collection.

Sebastiano Ricci (1659 - 1734)

Venus and Adonis by Sebastiano Ricci (Belluno, 1659 - Venice, 1734). Oil on canvas. 105 x 151.5cm. Terruzzi Collection

Gian Battista Pittoni (Venice, 1687 - 1767). Olindo and Sofronia. Oil. 114 x 146 cm. Museo Cìvico, Vicenza.

Gian Battista Pittoni (Venice, 1687 - 1767). 'Olindo and Sofronia'. Oil on canvas. 114 x 146 cm. Civic Museum, Vicenza.

Categories: art, italy, spain, venice

Armenian Istanbul

09/09/2008 7 comments

[Mark Grigorian has posted a neat set of three articles on the Armenian influence on Istanbul, based on recent visits to that city. The original is in Russian, and my translation is below. Mark kindly went over my translation and improved it considerably; any mistakes that remain are, of course, mine.]

If you are a speaker of Russian, as many Armenians in Armenia are indeed, and have never been to Istanbul, then you should start with two words: “durak” (which in Russian means “fool”) and “bardak” (“brothel” in Russian).

There is nothing wrong with these words, in Turkish. “Durak” means “a stop.” So the question, “Where is the tram durak?” is normal, legitimate, and insults nobody. Likewise, “bardak” means “a glass.” And “tea in a bardak” is merely in a glass, and has nothing to do with “coffee in bed,” as you might have imagined.

Dolmabahce Palace

Dolmabahce Palace

With the rest, it’s a bit easier. How about the word “saray” (“shed” or “barn” in Russian), which means “palace” in Turkish? And, of course, the name of Dolmabahçe Palace sounds peculiar to the Armenian ear, as “dolma” is a dish in Armenian cuisine. But that’s just linguistics in some poor taste. Dolmabahçe, the palace of the last Ottoman Sultans, was built by the Armenian architect Garapet Balyan, and its collection of works of art is graced by the canvases of Hovhanes Aivazovsky – a famous Armenian seascape painter. So, quite naturally, the first part of my travelogue of Istanbul will be called …

ARMENIAN ISTANBUL

And let it not sound strange or unlikely: Armenians have dwelt in Constantinople since long before 1453, the year the Ottoman Turks conquered the city. Today there remain sixty to eighty thousand of them, and they do not consider themselves part of the Armenian diaspora. “The Armenian diaspora,” they say, “is in the US, in France, in Russia. We are indigenous.”

Because what I’m presenting are notes on travel, and not research, I will allow myself the leeway to ignore chronology, and will not attempt an exhaustive study of the subject. I have a modest role: I am a tourist in Constantinople, who came to see it through the eyes of an Armenian from Yerevan. But before I begin this essay, permit me a small digression. For me, having lived the first forty-five years of my life in Yerevan, Istanbul was a city filled with an absolutely negative aura. It was – in every way possible – the city where on the 24th of April, 1915, began the genocide in which perished a million and a half of my compatriots.

The beginning of the genocide is marked by the day when tens of eminent Armenians were arrested. Politicians, priests, artists, musicians, jurists, doctors, teachers, lawyers, businessmen were taken out of the city, and nearly all were put to death. Back in my school years, I had the impression (which lasted for many years) that there were no Armenians left in Istanbul, and that this city would not tolerate even a mention of Armenia or Armenians. But when I moved to London, I began to meet compatriots whose families still lived in Istanbul, and who indeed often journeyed to that city and spent months there. I, myself, began to travel to Istanbul frequently, meeting with fellow journalists who lived and worked in that city. With the assassination of one of them, Hrant Dink, all the ambivalence of Istanbul began to reveal itself to me.

Indeed, despite the genocide and the terrible past, in Istanbul continues to dwell a fairly large community of Armenians. Along with the Greeks and the Jews, the Armenians are an officially recognised minority in Turkey (unlike the Kurds). Armenians study in their own schools, maintain their own churches, own real estate in prestigious districts of the city, and are engaged in business and craft. But they all say that life has become harder in recent years, the harassment has gotten worse. This, they tell me, is in the atmosphere – cloying and unpleasant. Many say they are ready to leave the city.

But surprisingly, many are arriving. Mainly, these are families from Armenia, and mainly, from Gyumri and Vanadzor – two towns seriously damaged during an earthquake in 1988. There are areas in Istanbul where the sounds of Armenian speech are freely heard on the streets. But I am getting ahead of myself…

In the 19th century, Constantinople was one of the centres of Armenian culture. Because the Armenians had been denied their own state, their literature, journalism and culture developed outside of Armenia proper. The closest places to mainland were Constantinople and Tiflis, cities outside their native lands.

In the space of a few decades, by the middle of the century, there were almost fifty Armenian newspapers and journals in Constantinople; there was an active theatre; Armenians thrived at business, and even had their self-governing body – the Armenian National Assembly (although, in fact, with very limited powers). Armenians were often advisers to viziers and ministers, and even some Foreign Ministers, in the Ottoman government.

From this period of enlightenment remain more than ten churches (interestingly, nobody was able to give me an exact figure, though there is mention of sixteen churches belonging to the Armenian Apostolic Church, and several others, Catholic and Protestant); a few schools where a good part of the instruction is in Armenian (in truth, there is considerable oversight of this by the Turkish authorities, who take exception if things are not “just so”). And there are hospitals, shops, restaurants, residences…

It is said that not long ago, a travel guide to the “Greek Istanbul” was published. I am convinced that there is interest in a guide to the Armenian Istanbul, and it will sell well. But evidently the Turks are still not quite ready for this.

Haghia Sophia

Haghia Sophia

I would, somewhat unexpectedly, name Haghia Sofia as the first monument of Armenian Istanbul. Although the original basilica was constructed by Greek architects (Isidor of Miletus and Anthemius of Tralles) in the sixth century (532-537), its cupola has collapsed several times; after its destruction during an earthquake in the year 989, the authorities invited the famed Armenian architect Trdat, creator of the cathedral of Ani, to restore it. Well, by “the authorities” I mean the Byzantine emperor Basil II, nicknamed the Bulgar-Slayer (Boulgaroktonos), who actually was of Armenian descent.

And by 994, Trdat had finished the reconstruction of the cupola which has to this day – for more than a thousand years – covered this magnificent cathedral. The Russian poet Osip Mandelshtam wrote about the cupola:

“Haghia Sophia – “stop here”
Said God unto nations and kings!
Indeed your dome, as the witnesses say
Is hanging from the heavens by a chain.”

Dome of Haghia Sophia

Dome of Haghia Sophia

Madonna & Child - The fresco had been scrubbed when the church became a mosque. Recently restored.

Madonna & Child - The fresco had been scrubbed when the church became a mosque. Recently restored.

Crosses visible from where they were painted over

Crosses visible from where they were painted over

The Cathedral Is Now A Museum

The Cathedral Is Now A Museum

But let’s move forward – to the next point in Armenian Istanbul.

Do not seek the Armenian Istanbul in the world-famous Lonely Planet guide. In fact, do not seek any Armenian references in this book – I spent nearly an hour on this, to no avail. I found pointers to gay clubs, and baths and saunas for gays, but did I find any mention of Armenian Istanbul? Not one. If you meet the author of the guide, Virginia Maxwell, please convey my regards to her.

So we are not going to depend on maps and guidebooks. We’ll just head to the tramway fool (“stop”, remember?) nearest to Haghia Sophia, and proceed further by rail, towards the Grand Bazaar.

But don’t worry, we shall not enter the bazaar. Opposite the bazaar, we shall turn left into one of the little lanes that steeply descend towards the Sea of Marmara. If we are lucky, this will be Tiyatro Caddesi, but if not, we shall anyway exit at the next junction, deftly avoiding the enormous number of shoes that are sold in this quarter.

The junction is a meeting point of five or six streets. At the centre of this square sits a bootblack, and around him are tens of restaurants, mainly offering fish dishes. These restaurants are very popular and therefore the food is not very tasty. Why bother to make an effort if the place is filled up day and night?

We are now in the area known as Kumkapı. In the evenings, it is impossible to breathe here. Hundreds of tourists invade the restaurants to eat fish. Ushers stalk the lanes in front of the eateries, persuading passers-by in six or seven languages to patronise one or the other restaurant. “I see that you are a bit hungry,” says one hopeful to us, “Well, here you can find all that you want.”

“Mister, mister, where are you from?” yells another. “Table for two? I’ll seat you at the VIP table. Cool and delicious!”

Belly dancers wind their sinuous way among the restaurants. Rather than an exotic oriental dance, what they are doing is simply an extortion of tips from the men – you may stick your money into their bras, but if it’s more than ten dollars, you will be granted the opportunity to stuff it into their silken panties.

But I digress. We are not interested in this. In fact, we arrive at this oasis of restaurants not in the evening, but during the day, when the waiters are just preparing the tables and utensils for the usual evening feast. So we head towards another street called Çifte Gelinler, and walking a bit along it, turn left onto a street with a strange name: Şarapnel.

Patriarchate of the Armenian Apostolic Church

Patriarchate of the Armenian Apostolic Church

And here is a three-storied white mansion, built in the European cottage architectural style of the 19th century. In front of it are palm trees, and it would appear completely serene were it not for the booth of policemen armed with automatic weapons.

This mansion is the residence of the Patriarch of the Armenian Apostolic Church of Constantinople. The police post was established shortly after the Patriarch was shot at. The Patriarch himself, Mesrob Mutafyan, is seriously ill, and has stepped away from his duties for about six months. This affects the Armenian community, because he is not just one of the highest church authorities, but is also the exarch, that is, the spiritual as well as secular leader of all Armenians in Turkey. The Patriarch of Constantinople performs secular duties as well, in particular representing the interests of the community to the authorities in Turkey.

Across the Patriarchal residence is the Church of the Holy Virgin. This is the mother church of the Armenian community in Turkey. Ethiopian and Syrian residents of Istanbul also worship at this church; as they also belong to relatively small Eastern Orthodox Churches. The group differs from other Christian denominations in that it is Monophysite, that is, believing that Christ has only one nature – divine. The Orthodox, Catholics and Protestants maintain that Christ has a dual nature – human and divine. They are called Dyophysite. And that’s a very old story – this division goes back to 451.

I was at the Church of the Holy Virgin last year, during Easter. There were crowds, masses of police, because the previous week, ultranationalists had tried to assassinate the Patriarch at the entrance to the Church (they missed). The Easter service was led by Mesrob Mutafyan, solemnly proclaiming the good news: Christ has risen!

The attendees were in two groups, clearly distinguishable from each other. One group was comprised of the long-time residents of the city. Many couldn’t speak Armenian, and I noticed they were ashamed of this. We spoke to one of them, a man of about sixty years of age, with the help of his eight-year old granddaughter. She was visibly proud to translate from Turkish to Western Armenian. I was doing my best to communicate in Western Armenian (which is quite strongly distinct from Eastern Armenian, which is spoken in Armenia). I had to speak as clearly as I was able so that the little girl could understand me.

Those who know both these Armenian tongues will understand that this was not an easy exercise.

The second group of parishioners was comprised of “Armenian” Armenians, that is, spoken in the modern tongue, migrant workers, or gastarbeiters. The majority spoke Armenian with a brightly expressive Gyumri accent. Naturally, because they came here from Gyumri.

Estimates vary, but in Istanbul there are between five and twenty thousand migrant workers from Armenia. Many have dwelt here over a decade, and have managed to purchase apartments, bring over their families, get settled. Not all are legal, but the authorities turn a blind eye. It is said that it’s much more difficult in Istanbul for the Uzbeks – the authorities are trying hard to prevent them from staying on illegally.

In Istanbul, I was told, there was much demand for nurses and domestic workers from Gyumri. Their cleanliness, kindness to toddlers and their hard work are much prized. And in the local Armenian families they are valued for speaking the Armenian language with the kids, who, thus, begin to speak the mother tongue.

At the same time, the same nurses improve their Turkish, and moving into Turkish employ, find themselves valued for their work ethic.

A Street in Kumkapi

A Street in Kumkapi

Many of the folk from Gyumri live not far from the Patriarchate in the Kumkapı quarter. Walk on the streets and you will certainly overhear the Armenian speech with its characteristic Eastern interjections “vabshe” (meaning “in general”), and “ee” (uttered abruptly and passionately, expressing surprise and other related emotions) and so on.

I visited the residence of one of these inhabitants of Kumkapi. It was a small one or two-bedroom flat in one of the four- or five-storey buildings where, in keeping with the spirit of Armenia, lived three generations of Gyumriites.

A rug hung on the wall, Jesus Christ embroidered; on the buffet a carefully arranged dinner service; a TV in the corner of the room and a portable tape recorder. Both were on: there was some broadcast from Yerevan (satellite!), and from the tape deck shrieked a shrill female voice, singing an Armenian pop song. In a nutshell, everything was just like back home.

Kumkapı is not a wealthy area. This means that you will see here yet another aspect of Istanbul – where the ordinary people live. Turks, Armenians, Ethiopians… They live, you see, together.

This is the story of the owner of the house. It is easy, after all, to chat over a cup of coffee…

“It is difficult [to live here], but not overly so. Difficult, because we are not citizens. If we had citizenship, everyone would benefit.”

“We have little connection with the Armenian community of Istanbul. If anyone took the initiative, that would be good. But there’s no effort at all. The local Armenians keep to themselves, and the Armenians from Armenia – we keep to ourselves as well.”

“We are asked – was there really a genocide? We, to the best of our ability, explain: “Yes. There was.” But the local Turks say to us: “It was war, and many Turks died.” Thousands of Turks perished at the time. Well, it’s not for us to make out what happened or how. But we speak to them, and we want to say, yes, it did happen.”

“They often ask me: “You, an Armenian, have been here for seven years. Has anyone insulted you?” Well, even here there are fanatics. But there are fanatics everywhere. There are parties espousing fanaticism. Among all peoples there are bigots.”

But It is time for us to abandon Kumkapı. Let us leave the quarter of thin moustaches and grimy houses, and head towards the touristic centre of European Istanbul, İstiklal Caddesi, or the Avenue of Independence. To do this, we need to get to the New Mosque and cross the Golden Horn over the Galata Bridge, where at all times and any kind of weather, one always finds fishermen. These are a strange breed. If they catch three or four fish as long as an adult’s middle finger, they consider it a satisfactory achievement. Actually, I respect these guys. They are real sportsmen, for whom the whole process is as important as catching the fish. But the result… Such a result would barely be enough for a bite with a can of beer.

Crossing the bridge, we will take the metro to the stop (or “fool”, in case you haven’t forgotten) Tünel, ascend to the surface, and emerge upon the famous Avenue of Independence.

Until the middle of the last century, the entire street and quarter was called Pera. It was mainly inhabited by Greeks. There were also some Armenian quarters, life in which was described with warmth and sweet sadness in the novels of Krikor Zohrab – writer, lawyer, member of Parliament, killed in 1915.

A Tram on Istiklal Caddesi

A Tram on Istiklal Caddesi

Pera was considered one of the luxurious quarters of Istanbul. As an Istanbul resident said to me, a woman could not step outside one’s home without gloves and an umbrella. What a sophistication! Lace gloves upto one’s elbows, and a matching umbrella in lace.

But in early September 1955, an explosion ripped through the courtyard of the Turkish consulate in Thessaloniki. In revenge, a mob stormed through Pera.

At the end of two days of rioting and arson, Pera lay literally in ruins. Many houses, shops and churches were destroyed. Relatively few people died – sixteen or so Greeks, and one Armenian. But the Greek community, like the rest of Pera, suffered irreparable damage. Before the pogroms, almost a hundred thousand Greeks lived in Istanbul. Now, fifty years later, there are barely two or three thousand.

I’m amazed, however, at the sheer number of Greek tourists in the city. You can hear the language being spoken everywhere, in Hagia Sophia, in the Grand Bazaar, on the streets. The restaurateurs, and the shopkeepers in the bazaars, and the vendors of knick-knacks and touristy bric-a-brac, everyone, in fact, would call out perkily in Greek, inviting the customers in.

I am heartened by the numbers of Greek visitors. God willing, there will one day be similar numbers of Armenian tourists here as well, and the ushers will call out to them like Gikor in the novel by Hovhannes Tumanyan: “Esti hametsek, esti hametsek” (“Come here, come here”). Or something similar – after all the Tiflisian dialect of Gikor is quite different from the western Armenian spoken in Istanbul. But we have to wait quite a while before any of this happens.

So let us return to İstiklal, renamed thus after the pogroms.

Today, this is an eminently European avenue, wide, beautiful, with brightly displayed fashion stores and souvenir shops. It is mainly pedestrian.

Occasionally, right in the middle of the street, a police car will pass by, or red tram with its musical bells, ticketless travellers hanging off its back in happy bunches.

On İstiklal are the French and British embassies, and the Russian trade office. This is, after all, a diplomatic district.

Çiçek Pasajı

Çiçek Pasajı

Walking along the avenue for about a kilometre, we look carefully at the buildings on the left side, where we will soon encounter a sign “Çiçek Pasajı.”

This means “Flower Passage” and is one of the most important places of interest of the avenue.

These days, there are restaurants in the passage. Oh, and a counter of sweetmeats at the entrance. In 1920, this was a real shopping passage, with haberdasheries and glass-blowers and tobacconists. And at the time, the building was still called Cite de Pera. During the early twenties, Russians aristocrats, fleeing from the Bolsheviks, began to sell flowers there.

Imagine this! A Russian baroness or Grand Duchess, with her brilliant French manners, sophisticated in the best European tradition, standing there, selling bouquets to passers-by.

For some time thereafter, the passage was used by flower vendors, and thus obtained its name.

Having admired the passage, we turn to a narrow little street next to it. Twenty-odd metres up and turning right, between the vendors of fresh fish, cheap jewellery and Chinese-made toys, we notice a rather unobtrusive door. It opens to the Armenian Church of the Holy Trinity, built at the beginning of the 19th century by the architect Garapet Balyan, the same man who built that palace with a strange name Dolmabahçe, and also the Mother of God Church in Kumkapı, where we have already been.

Church of the Holy Trinity

Church of the Holy Trinity

Leaving the churchyard, we do not return to İstiklal; instead, we proceed farther. We fall into a little lane, seething with restaurants. We should be careful here, for we do not want to miss a particular eatery named “Bonchuk.” Obviously, as I am writing about the Armenian Istanbul, the owner of this restaurant will be Armenian, too. His name is Telemak, an ancient name, but not very Armenian, indeed.

I was told that the journalist and founding editor of the weekly “Agos“, Hrant Dink, loved to sit around at this restaurant. Dink was killed at the entrance to his office by a young ultranationalist from Eastern Turkey. Dink’s family and lawyers accuse the Turkish police and army of having known beforehand of the plan to murder him. The authorities, however, did not allow to launch an investigation against eight allegedly culpable police officers, including the police chief of the city, and the head of police intelligence department.

I must confess, however, that I was not very happy with the quality of food in “Bonchuk”. Maybe that’s because at the moment Telemak was not “on site”? I do not know. I, perhaps, will venture to go to “Bonchuk” one more time.

Istanbul Restaurant

Istanbul Restaurants

Having recalled Hrant Dink, it is time to proceed to the final destination of our adventure – the office of the newspaper “Agos”. To do so, we go along İstiklal towards Taksim Square and beyond, past the Hospice of St. Akop, an Armenian Catholic establishment, and walk past the mansion by which flutters the Armenian tricolour (this is the office of the Armenian delegation to the Organisation of the Black Sea Economic Cooperation), onto Cumhurriyet Caddesi, the Avenue of the Republic.

We must amble along this avenue for about twenty minutes. We could, of course, take a bus or descend into the metro. Cumhurriyet merges smoothly into Halaskargazi, where we can find the editorial office of “Agos”.

I love visiting there, meeting with journalists, drink the coffee that has been kindly prepared for the visitor, and talk to the editor Etyen Mahcupyan about the situation in Armenia. This is a very hospitable place. Of course, I understand that I’m distracting Etyen from his editorial work with my chatter, but cannot deny myself the pleasure of reacquainting myself with Sarkis Seropyan, that master of the Armenian language, and once again look at the large photograph of Hrant Dink on the wall of the office, and breathe in the smell of freshly printed newspapers.

“Agos” is the first and so far the only newspaper released in two languages – Turkish and Armenian.

Right in front of the office is a music shop. I would recommend a visit there to ask for Armenian music. I don’t know if I can find as many CDs of our music in an average store in Yerevan. If you like the duduk, please yourself: any number of CDs of Djivan Gasparyan, Levon Minasyan, Gevorg Dabaghyan, Suren Asaduryan; you can find here folk songs performed by the ensemble Knar, records of Anna Mailyan, and concerts by Ara Dinkjian, and Arto Tuncboyaciyan, and even – imagine it – folk songs reworked by the famous Soviet-Armenian choirmaster Tatul Altunyan.

And a CD of Komitas performing Armenian folk songs.

Do you see Tegaran? Thats pharmacy in Western Armenian

Do you see 'Tegaran'? That's 'pharmacy' in Western Armenian

If you think that such a wide selection of Armenian music exists in this store just because it is so close to the editorial office of “Agos”, then feel free to inspect the shelves at any other music store in Istanbul. The variety and number of Armenian discs are no less anywhere else.

But let us return to the reality of Istanbul. The editorial office of “Agos” is not far from Kurtulush. This is a district so Armenian that one can find shop signs written in Armenian. Well, they are in the Latin script, but, as the old folk adage goes, there cannot be two strokes of good fortune in one place.

“Agos” is not the only Armenian newspaper in Istanbul. I met the editor of another, a daily, called “Zhamanak”, on Taksim Square. His name is Ara Kochumian. He is a corpulent young man with a bristly fuzz on his cheeks. Ara speaks an excellent western Armenian in a verbose and flowery fashion. And if he can’t find the mot juste, he borrows an equivalent from the French.

“We are all citizens of the Turkish republic, but of Armenian ethnicity. Many adhere to the Armenian Apostolic Church. And we, like jongleurs, keep having to juggle these three balls: one always in the air, and two in our hands.”

“An Armenian in Istanbul tries to live in such a way that he can run his business quietly, so as not to attract any overt discrimination. On a personal level, therefore, much unpleasantness can be avoided. But at the institutional level, for example, where the Armenian Apostolic Church is concerned, or the problems of the Armenian educational organisations – schools – are concerned, we see many examples of discrimination.”

“And this is because in Turkey there are several ways to oppress minorities. The Turkish republic was born out of a multicultural empire and often describes itself as the legal successor of that empire. That is what I want to say: the state today is secular, but [it is understood] there is a notion of non-Islamic citizens of the country. This was established at the Treaty of Lausanne. The existence of this notion raises a number of issues, including how to organise the education and religious practices of a new generation of Armenians. To this, we can add the two-headed supervision of Armenian educational establishments, created with the tacit agreement of the community. As you know, the directors of the schools are Armenian. But alongside them there are deputy directors whose powers and functions are in some ways higher than expected at that level.”

In all, in Istanbul, there are fifteen Armenian schools, and as I understand it, in the most of them, but not all, this deputy director – a Commissar of a kind – is an ethnic Turk.

“But there is one more problem,” continues Ara. “In the Armenian high schools, we are giving up the teaching of certain subjects in our language: history and geography and so on, are taught by Turks in the Turkish tongue.”

“After all, these community institutions were established at a time when the Armenians in Istanbul numbered 200 thousand out of a total population of about one million people. Now we are barely 70-80 thousand, and these institutions are working to save our community. But to ensure that they continue to function, we need huge, superhuman efforts. And sometimes it upsets us that in the other Armenian Diaspora communities, these efforts are not fully appreciated.”

***

Hrant Dinks Portrait in the Agos Office

Hrant Dink's Portrait in the Agos Office

Here I probably shall stop, although there is much more to tell about the Armenian Istanbul. For example, I could have talked about the architectural dynasty Balian. Istanbul takes pride in many of the remarkable buildings built by them. Or of the Armenian churches in other parts of the city, including those on the Asian shore… Separately, I could have talked of one of the best photographers of the 20th century – Ara Gyuler (I wrote about him here)…

And, of course, there’s a lot I don’t know. I hope that my concise notes were interesting, and helped you to think about the Armenians of Istanbul, about their past and present. And the future, of course. This is important for all.

As an epilogue, here’s a conversation I had with the manager of the hotel I stayed in. Or, rather, it is his monologue.

Imagine: a shadowy hotel lounge, steaming cups of tea before us (“bardak”), and a young man of about thirty lounging on a sofa, smoking Marlboros.

“Your son is called Tigran,” he began. “That is the name of the famous Kurdish singer, Tigran-Aram. He is an Armenian just like you, but he sings Kurdish songs beautifully. I, myself, am a Kurd.”

“I know,” I managed to put in a word, “I realised this as soon as we met.”

“…I myself am a Kurd,” he continued. “We support the Armenians. Do not worry, Istanbul is in our hands. There is nothing to fear here.”

“I’m not afraid,” I responded.

“At the moment, we are about twenty percent of the country. Maybe even more. The President (I suppose he had the imprisoned Abdullah Ocalan in mind) said: have more children. If you have more children, in a generation, or maximum two, we’ll number as many as the Turks. Fifty-fifty. And the country will be ours.”

“But our people are asleep. It is time for the people to awaken.”

At this “optimistic” juncture in the conversation, I was able to make my excuses and leave.

But Kurds in Turkey are not even considered a minority. In Turkish universities, there is not one chair in Kurdish studies or in the Kurdish language Kurmanji.

Meanwhile, there is no faculty of Armenian studies or the Armenian language either.

But when they do appear…

References

Mark Grigorian, Armenian Istanbul, Parts One, Two ,Three.