DOLMABAHCE PALACE
Where Dolmabahce Square is now 250 to 300 years ago, there
was nothing but a wide bay. Where there is dry land today,
the waters of the Bosphorus rolled then. In the reigns
of sultans Ahmet I, the builder of the Blue Mosque, and
Osman I, sometimes called «Young Osman», the
bay was filled in and thus got its name Dolmabahce or
filled garden..
It seems to have been the special fate of this lovely
coast to have attracted the building of many palaces.
The first of these was the fabulous wooden palace of Besiktas
with Dolmabahce beside it. Decorated as it was in a typically
Ottoman manner, it was one of the great adornments of
Istanbul. During the reign of Sultan Mahmut II, the famous
painter Melling arrived in Istanbul, putting the palace
garden in order, and depicting the loveliness of the imperial
establishment in many of his prints, in these pictures,
one notices the characteristic ornamentations of this
wooden palace, the flowering plants about it, the whole
charming residence resting as though upon the sea.
In 1809, in the time of Mahmut II, the palace was extensively
repaired. Following Mahmut II, Sultan Abdulmecit resided
here, and later commanded the palace rebuilt in the European
manner. He had already built a western-style pavilion
at the historic Topkapi Palace, the home of his imperial
ancestors. He had abandoned his residence at the Topkapi
Palace, though, the last of his dynasty to call the ancient
walls 'home'.
The period of Abdulmecit was, in every way influenced
by the life and the philosophy of the west where the industrial
revolution had accomplished its enormous changes and where
the bourgeoisie had attained new affluence. Abdulmecit's
reign is one of the most important phases of Turkish history.
Doctors, soldiers and engineers all were sent to Europe
to learn the best of the western world. And specialists
representing these three professions were invited, by
Turkey, to assist in the rejuvenatation of these areas
of Turkish life. The Army and the system of technical
education were the first areas of Turkish society to manifest
the improvements of this enlightened epoch. Other fields
of Turkish life were as quickly influenced by the spirit
of innovation abroad in the Empire. The first laws, patterned
after those in use in western Europe, governing commerce
and industry were adopted. An enthusiastic philosophy
of reform found a tolerant atmosphere in which to expand
during this reign. The institution of the monarchy itself
began to imitate the monarchies of western Europe in its
daily life and in its manner of dress. Abdulmecit was
not only the first Ottoman Sultan to attend a ball, he
also danced at that ball. Personally, he was open-minded,
good-willed and sensitive.
But the reign of even this enlightened monarch was not
exempt from certain negative developments. Ottoman handicraft
suffered by being forced to compete with large scale European
methods. And the monarchy, by too carefully imitating
the splendors of the courts of the west, wasted too much
of its substance in typical nineteenth century pomp.
The
palace, seen from the perspective of our own times, the
product of its age, an age when the splendor and glitter
of the great structure itself and the life of its inhabitants,
lay in the shadow of unrewarding foreign engagements and
increasing debts. Reflecting all this sunset period of
the monarchy, one might well remember the social laws
proclaimed 700 years ago by the North African philosopher
Ibn Khaldoun regarding states on the verge of demise 'Wasteful
expenditure and pomp, rich and luxurious life, and a gradual
collapse; a sad and unavoidable decline and end.'
The builder of Dolmabahce Palace, Sultan Abdulmecit, died
here, when still quite young, of tuberculosis. His brother,
and successor. Sultan Abdulaziz though he built a strong
navy, and was the first Ottoman Sultan whose interests
caused him to visit western Europe, was dethroned on 29
May 1876 because of wasteful expenditures and alleged
despotism. The fleet, which turned its guns upon the palace,
the cadets of the Military Academy, and state officials
collaborated in overthrowing Abdulaziz, who was retired
to a simple palace at Ortakoy on the Bosphorus.
The founder of the Turkish Republic, the great Kemal Ataturk
established Ankara, in the heart of Anatolia, as the capital
of the new Turkey. The government and all its functions
were now transferred to the youthful capital. On his visits
to Istanbul, Ataturk occupied only a small room at Dolmabahce
Palace as his own. He made of the palace itself as a practical
centre for national, historical, and language congresses,
and for international conferences. An interesting fact
is that, in 1930, the Alliance Internationale de Tourismel
congress was convened, by order of Ataturk, and on the
initiative of Reshid Saffet Atabinen, founder of the Touring
arid Automobile Club of Turkey, at Dolmabahce Palace.
Famous visitors to the palace during the times of the
Ottoman Sultans included such personages as Empress Eugene
of France, who came repaying the visit of Sultan Abdulaziz.
to France; Emperor Franz Josef of the Austra-Hungarian
Empire; the Grand Duke Constantine; the Grand Duke Nicholas;
Kaiser Wilhelm II; Bulgarian King Ferdinand Serbian King
Peter; and Emperor Karl of the Austro - Hungarian Empire.
During the period of the Republic, eminent visitors have
included the Shah of Iran, Riza Pehlevi; King Faysal of
Iran Abdullah of Jordan; King Amanullah of Afghanistan;
Edward Prince of Wales, Charles de Gaulle etc.
The
first impression the visitor has is that of the magnificent
palace garden. Handsome garden lamps, painted white, line
the pebbled roads. Rare flowers bloom in marble vases.
A large formal pool, just opposite the imposing entrance
to the palace, reflects the green, gray, and blue colours
of conifers and magnolias. A tall ornamental fountain
attractively graces the centre of the pool.
The facade of the palace is in Empire and Baroque style
and seems the result of a dream, with its balconies and
its columns of dazzling white marble. The famous writer
Theophile Gautier describes the exterior appearance of
the palace as follows : 'The enormous construction of
Marmara marble, of a bluish white which the strident clamour
of modernity makes seem a bit cold, produced a truly majestic
effect between the azure of the sky and the azure of the
sea, the effect is even better when the hot sun of Asia,
shining directly upon it, gilds it with its rays.'
Assuredly, Vignola would not recognize himself in this
totally hybrid facade, where the styles of all countries
and all times form a composite order which he could not
have forseen. But one cannot deny that this multitude
of flowers, scrolls, rose-windows, carved like jewels
out of precious materials, produces a luxuriant impression,
complicated, fastidious, and delightful to the eye. This
is a palace which might have been built by a sculptor
of ornaments who spared neither craftsmanship, time, nor
expense.
THE
GARDEN
The white palace itself, rises before us, a majestic facade
of balconies and columns. The visitor may freely photograph
all exterior aspects of the palace. Within, porters will
gladly mind one's cameras for the duration of the visit
to the rooms and state chambers of the palace, as photography
is not allowed inside the palace. In the foyer, tickets
are presented to attendants, cameras are checked, and
when a sufficient number of visitors have gathered, an
authorized attendant will lead the way into the palace.
The magnificence of the palace is at once apparent. Begun
in 1844 and completed in 1856, the expense of the construction
of Dolmabahce Palace amounted to five million Ottoman
goId liras. In today's currency, this would be the equivalent
to one hundred million U.S. dollars.
HALL OF ENTRY
In the first hall, hangs a magnificent Baccarat crystal
chandelier. There are 36 similar ones throughout the palace:
the hall fairly glitters from the reflections of this
great chandelier and from the crystal light fixtures rising
from floor to ceiling in the four corners of the room,
an impressive floor fixture with 30 lamps, and two more
crystal fixtures on bases. The two large vases on this
side of the opposite door at the foot of the stairs leading
to the second floor and beautiful picture vases to the
right and the left and in the middle of this hall, are
products of the Yildiz Porcelain Factory at Istanbul.
The hall is called the 'Medhal Salonu' meaning 'entrance
hall'.
The room to the right of this hall was reserved for the
Grand Vizier. The Grand Viziers who now came to the palace,
had formerly resided here. A later regulation of Sultan
Mehmet Reshad, decreed that Grand Viziers would be invited
to the palace to dine there twice a week. Later, they
would be ushered to upstairs parts of the palace.
In the past, there were no tables in this Middle Hall.
Now there is a balsam table with bronze carvings. It supports
dark blue and gold-coloured Sevres vases bearing the initials
of Abdulmecit.
As we move towards the stairs rising opposite us, we are
immediately impressed by the overall magnificence of our
surroundings. The staircases together with its crystal
ornamented handrails, the gilt carvings, the carpets,
and the chandelier hanging high above with its almost
indescribable beauty, is virtually unique. It is like
no ordinary staircase. A few steps above the lower floor,
there is landing. The railing of this splendid stairway
is made all of crystal. Two vases, on stands at the back
of the folding screen at the beginning of the first section
of stairs, are Japanese.
A glass folding screen, and a large upper story Maben
Salonu (private apartment of the palace) are before us
as we go upstairs to the entry there. The two big vases
at two sides of the stairs are Sevres work. Besides these
two vases, two huge elephant tusks may be seen, again
in opposing positions. These are decorated with silver
branches. Silver bowls and candlesticks hang upon them.
They are presents of the governor of the Hedjaz when that
part of Arabia was a province of the Ottoman Empire.
THE MABEVN HALL
Upon passing the folding screen and entering the salon,
we enter an atmosphere of magnificence, spaciousness,
richness and lavish a dornment. As in the downstairs of
Medhal Salon, a great Baccarat chandelier hangs exactly
in the centre of the chamber. Eyes lifted to look upon
the chandelier, will be surprised and delighted by the
carved and sculptured golden decoration of the ceiling.
It is the work of the best Italian and French artists
of its age. This centre chandelier is complimented by
four corner Baccarat lighting fixtures, each possessing
30 lamps. The parts framing the four big open fireplaces
in the room's four corners, are composed of beveled crystals
by the thousands. Throughout all hours of the day, the
light and colour reflected by these decorations make changing
patterns whenever they may strike the walls. The whole
effect here, is delightfully one of crystals.
In the centre of the room the large carpet, whose dimensions
are 17 by 6,5 metres, is Turkish and from the famous Hereke
factory. The visitor would do well to look through the
windows of two closed doors at the right hand of the entrance.
Within, he will see a table with silver flowers on a fruit
pot, and many comfortable chairs covered with blue damask.
This is the informal dining hall. More formal dinner parties
were not held here, but in other halls.
Also in this salon are two big silver braziers called
'mangal' and two enormous white bear skins. These great
skins are placed, symmetrically in relation to the two
braziers. The skins are gifts of Russian Czar Nicholas
II to the Sultan. One of them is placed in front of the
entry of the hall. The other, in a corresponding place,
just a little further away.
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Dolmabahce
Palace
Dolmabahce,
Besiktas
Telephone:
90-212-2369000
Open
daily except Mondays and Thursdays, 09:30-16:00
To
take photos in the palace you have to pay an
extra 5.000.000 TL.
To take video in the palace you have to pay
an extra 10.000.000 TL.
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