Sadberk Hanim Museum, Istanbul

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Buyukdere Piyasa Cad. 27- 29 Saryyer +90(212) 242 38 13

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  • Sadberk Hanim Museum
    by neodue
  • Sadberk Hanim Museum
    by neodue
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    by neodue Written Apr 16, 2008

    3.5 out of 5 starsHelpfulness

    She was the wife of Mr.Vehbi Koc and Mother of the Rahmi Koc.The famous richest family of Turkey.When Sadberk Hanim Passed away her husband founded a Foundation and converted their old mansion as a museum.The museum includes collection of Sadberk hanim.

    The Vehbi Koç Foundation Sadberk Haným Museum occupies two separate buildings. The original building is a three-story (plus an attic) wooden mansion that is generally believed to have been built in the late 19th century and whose architecture was inspired by European vernacular traditions. The building, constructed of wood and lathe-and-plaster on a masonry foundation, was known as the "Azeryan Yalýsý" or "Azeryan Yalý".

    The building was purchased by the Koç family in 1950 and was used by them as a summer-house until the decision to convert it into a museum was taken in 1978. The conversion to a museum was carried out between 1978 and 1980 according to a restoration project that had been prepared by Sedat Hakký Eldem. It opened its doors to the public on October 14th 1980 with the Sadberk Koç collection on display.

    The Azeryan Yalý occupies 400 square meters of space set in grounds measuring a total of 4,280 square meters in all. On the ground floor is a gift shop and a small tea room. The ceiling over the main entrance (which is no longer used) is decorated with plaster moldings inspired by ancient Roman architecture. Wooden stairways lead to the upper floors. The walls are painted so as to resemble veined marble. The centrally located main halls of the second and third floors and the rooms opening onto them are used for display purposes. The attic is used for storage and also contains offices and a library. The crossed wooden moldings decorating the exterior give the building a distinctive appearance quite different from that of its neighbors. It is because of these molded facades that the building was for a long time popularly known as the "Threaded Yalý".

    In 1983 the Vehbi Koç Foundation purchased the Hüseyin Kocabaþ collection for the Sadberk Haným Museum. It was decided to purchase and restore a semi-dilapidated yalý adjacent to it to house these new acquisitions. The facade of this second yali, which is thought to have been constructed in the early part of this century, was faithfully reconstructed according to the original. The restoration project was prepared by Ýbrahim Yalçýn and the work, including the construction of the museum, took two years to complete. This museum, which was opened on October 24th 1988, was given the name the "Sevgi Gönül Wing". It houses works from the pre-Islamic period. In 1988 it was awarded the Europa Nostra award as an outstanding example of modern museum architecture and design.

    This wing is completely constructed of reinforced concrete. The front is clad in wood while the side is clad in marble stucco treated to resemble wood. (This was done as a precaution against fire.) The building has three stories in the front and four at the back, including the ground floor on which are located a multi-purpose hall and conservation laboratory. Archaeological objects are displayed in chronological order on the main and other floors. The total exhibition space is 625 square meters. The entrance floor is paved in white Afyon marble while black Adapazari marble was used for the floors of the exhibition spaces and the stairs. All the exhibition areas are sealed off from daylight and the display cases are illuminated in keeping with modern museum techniques.

    The earliest centuries of Islamic art are a period in which different cultural influences make themselves felt and in which a distinctive and original style eventually emerges into which new techniques have been incorporated.

    Most of the metalware produced during the Early Islamic period consists of cast bronze vessels manufactured in Iran and Mesopotamia. In addition to ewers derived from Sasanian prototypes having a pear-shaped body and a palmette-shaped knob or a thumb-rest shaped like an animal-head, another type of ewer with a globular body, handles decorated with a row of beads, and a pomegranate-shaped thumb-rest was developed during this period.

    The most important innovation in pottery-making was the application of the luster technique (which had originally been developed by Egyptian glassmakers) to pottery by Iraqi potters. In addition to sgraffito-decorated pottery in Iran, slip~decorated bowls begin incorporating Kufic inscriptions, stylized birds, and figures and palmettes in the Sasanian style make an appearance in the 10th century, especially in Nishapur and Samarkand.

    Syrian and Egyptian glassmakers produced simple, undecorated wares for everyday use by means of manufacturing techniques dating back to Roman times. High-quality luxury items of cut glass decorated with luster and enamel were also produced however. Glassware decorated with relief-cut floral and figurative motifs and calligraphy in the Sasanian tradition were produced in Iran and Mesopotamia

    During Ottoman times, a great distinction was made between the garments that women wore indoors and outdoors. Around the beginning of the 16th century, women's outdoor clothing consisted of ferace (overmantle), yaþmak (light-colored veil), and peçe (black veil). Winter overmantles were made of wool while those worn in summer were of silk. They had full sleeves and wrapped the body very loosely. Opening in the front, their lengths reached the ground. During the 18th century, trimmed collars were added to the overmantle. Over the years, the lengths of the "collars" varied, sometimes reaching as far as the lower hem as during the reign of Mahmud 11. During the second half of the 19th century skirt fronts were cut round and were fastened with a single button. Edges were embellished with pleating. Overmantle colors played an important role during Ottoman times: Muslim women wore red, blue, or green feraces while those worn by non-Muslim women were of paler shades.

    Yaþmaks were made from a fine, soft, white fabric and consisted of two parts: one that was wrapped about the head covering it to the eyebrows and another that covered the lower part of the face to just the bridge of the nose.

    The çarþaf, a baggy outer garment, is a fairly late addition to the Ottoman woman's wardrobe, having been introduced from Syria after 1872. Made from two long pieces of cloth joined together and fastened in pleats at the waist with a drawstring, it was worn together with a transparent veil over the face. This innovation did not always meet with approval; Sultan Abdiilhamid 11 for example expressly forbade the women of his palace to wear it. The baggy Çarþaf was in some cases replaced by a two-piece affair consisting of a skirt and cape.

    Within the home, Ottoman women of the 16th and 17th centuries dressed in ankle-length trousers called þalvar, long-sleeved shifts of a seersucker gauze that reached down to the heels, long-sleeved cardigans, and robes known as kaftan. Open in the front and lacking any trimming, the fullness of the skirts of these robes was increased by the addition of narrow godets from the waist down. This style is common in skirts until the 19th century

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