Vertrekken van de sultan in de Yeni Cami moskee in Istanboel 1888 - 1900

Editor: We’re looking at a photograph titled "Vertrekken van de sultan in de Yeni Cami moskee in Istanboel," taken by Sébah & Joaillier between 1888 and 1900, using the gelatin-silver process. The composition and details feel very intricate, but there’s also an emptiness that’s quite striking. How do you interpret this work? Curator: It's interesting you pick up on the sense of emptiness. Think about what isn't shown, whose presence is only implied. This image, taken during a time of immense colonial influence, freezes a specific architectural space, fetishizing it. We see no people other than as ghostly traces. How does the implied absence of the Sultan function within the visual narrative being presented to a Western audience hungry for Orientalist imagery? Editor: So, it’s not just a simple documentation of Islamic art, but a carefully constructed representation? The lack of figures definitely adds another layer of meaning. Curator: Precisely. It speaks to the power dynamics inherent in the act of documentation itself. Consider the political context – the weakening Ottoman Empire and the growing fascination in Europe with its culture, particularly within the context of the "Orient." This image becomes a vehicle for power. Editor: What about the choice of focusing on the Yeni Cami mosque? Curator: Yeni Cami, being a significant Ottoman monument, symbolizes a complex history. Its architecture reflects imperial power but photographing this private corner invites viewers to consider notions of access, privilege, and perhaps even an implied sense of intrusion into a culture deemed "other." Where do you see that playing out in the image’s textures and lines? Editor: I see it now! The delicate floral patterns and Arabic script covering the walls juxtapose with the stark reality of an empire grappling with political instability. It’s both beautiful and loaded. I initially only saw the architectural space; now it reveals something about the act of seeing, itself! Curator: Exactly, and questioning our ways of looking is essential for any engagement with art!