Latest news with #Ottoman-era
The Hindu
23-07-2025
- Politics
- The Hindu
Russia-Ukraine talks to begin in Istanbul: Turkish source
Talks between Russia and Ukraine will begin on Wednesday (July 23, 2025) in Istanbul, a Turkish foreign ministry source said. "The meeting between Turkish, Russian and Ukrainian delegations is scheduled to begin at around 7:00 p.m. (1600 GMT)," the official said. Turkish Foreign Minister Hakan Fidan is expected to deliver opening remarks at the Ottoman-era Ciragan palace by the Bosphorus.
Shafaq News
19-07-2025
- Business
- Shafaq News
The Largest ever: 30 billion Dinars allocated to revive Kirkuk's identity
Shafaq News – Kirkuk The Kirkuk Citadel and the Ottoman-era Qishla, two of the city's most prominent historical landmarks, are set to undergo the largest restoration project in Kirkuk's history, the Directorate of Antiquities and Heritage announced on Friday. The project, backed by 30 billion Iraqi dinars (approximately $20 million) in government funding, is part of a broader effort to preserve the city's cultural identity and boost its tourism sector. The Kirkuk Citadel is one of the oldest archaeological sites in northern Iraq, with a history spanning over 3,000 years and linked to civilizations such as the Assyrians, Babylonians, Sasanians, and Ottomans. The Qishla, built during the Ottoman period as a military and administrative center, still retains much of its architectural character despite years of neglect. Raaed Akla al-Obaidi, director of the Antiquities Department in Kirkuk, told Shafaq News that the project follows official approvals from the Ministry of Culture, Tourism, and Antiquities. The ministry emphasized that renovation work must be handled by a specialized firm with solid experience in restoring historical structures to ensure the preservation of the Citadel's original arches, decorations, and architectural details. Obaidi noted that companies from Turkiye, Iraq, and Egypt have submitted bids for the restoration work. A technical committee will review these proposals and select the most suitable according to international heritage preservation standards. The directorate has completed all technical and engineering assessments for the Qishla building and submitted them to the ministry in Baghdad to allocate the necessary funds. The project's financing will come from emergency allocations, as confirmed by the Minister of Culture in recent meetings with provincial heritage officials. 'All technical and administrative requirements for the Citadel's rehabilitation have also been completed,' Obaidi said. The restoration will include key landmarks within the complex, such as the church, mosques, religious schools, traditional houses, gates, fortress walls, and the 'Green Dome.' According to recent assessments, these structures require between 40% to 70% restoration work. Sarmad Mohammed Jameel, head of Kirkuk's Tourism Directorate, told Shafaq News that the Citadel and the Qishla are not merely old stone buildings but represent the cultural and historical identity of Kirkuk, reflecting the legacy of successive civilizations from the Sumerians and Assyrians to the Ottomans. He added that the project's success would directly support the local tourism industry by attracting visitors from across Iraq and abroad. Jameel said, 'Revitalizing these heritage landmarks would help restore Kirkuk's historic stature and pave the way for cultural festivals, art exhibitions, and traditional markets within the Citadel and Qishla.'These developments are expected to stimulate the local economy and generate new job opportunities. Ali Shakir, a historian and academic, told Shafaq News that the Citadel and Qishla are central to the city's collective memory. Restoring them according to international standards, he said, could help Kirkuk regain some of its lost cultural vibrancy. He emphasized that these landmarks are not 'silent stones' but living testimonies to the coexistence of Kirkuk's ethnic and religious communities. Shakir added that the Qishla, with its distinct Ottoman architecture, could be repurposed into a cultural center, museum, or tourist site that connects younger generations to their city's past, helping raise public awareness about the importance of preserving heritage.
Scottish Sun
12-07-2025
- Scottish Sun
The unique city that straddles two continents and is a must-visit for shopping, food and culture
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) the name evokes intoxicating images of incense-filled mosques, historic palaces and bustling bazaars, air filled with exotic aromas. I've been desperate to visit the city for years to experience everything it has to offer, including its fabulous food, and here I was finally - smack-bang in the middle of it all. Sign up for Scottish Sun newsletter Sign up 8 The streets of Istanbul are a colourful delight Credit: Supplied 8 Gerry was captivated by the Blue Mosque in Istanbul Credit: Supplied 8 The landmarks are a true Turkish delight Credit: Supplied Istanbul is a place like no other, the only city in the world to straddle two continents. But it's unique for many reasons. Not long after my Turkish Airlines flight had landed, I was checking in at the Marmara Pera in the vibrant Beyoglu district where I found streets packed with bars, cafes and kebab shops to investigate. My hotel was a stone's throw from the Istiklal Street, the city's shopping hub, a one-mile stretch from Taksim Square to Galata Tower, rammed with retail giants and independent stores, and thronged with tourists and local families. But it was the Historical Peninsula I made a bee-line for. It hosts some of Istanbul's most beautiful and ancient buildings, rich in culture. The stunning Topkapi Palace, offers an interesting glimpse into the country's colourful history. The welcoming courtyard and manicured gardens lead into the museum, packed with artefacts from the Ottoman empire and beyond. I'd heard so much about the beauty of The Blue Mosque, one of the world's most recognisable buildings, but nothing prepared me for just how beautiful it actually is. It's one of those places you really do need to see with your own eyes. Built in 1609, it's stunning blue interior tiles, six minarets, and impressive size left me literally open-mouthed. To this day the Ottoman-era mosque is place of worship from Muslims and a draw for tourists. The nearby Hagia Sophia grand mosque is equally as stunning. Built in 360AD, it was the largest cathedral in all of Christendom before it was converted to an Islamic holy base by Sultan Mehmet the Conqueror. One in three travellers admit they have no idea how to pack a suitcase efficiently It was turned into a museum in 1934 before reverting back to a mosque in 2020 and has been a UNESCO world heritage site since 1985. The incredible structure includes columns brought in from the Temple of Artemis in Ephessus used in the naves, as well as eight columns brought from Egypt that support the domes. No matter what religion you are, or if you're not interested in any faith, it's absolutely worth visiting. After a morning and afternoon of visiting the various attractions, it was time to sample Istanbul's famous gastronomy and where better than at Galeyan restaurant. As soon as the Turkish 'balloon' bread was dished out with salads, I knew that I wasn't going to be hungry. The table was soon heaving with dishes of hot and cold meze, and I devoured the delicacies. Eggplant dip and pitta breads packed with cheese soon vanished, followed by various lamb dishes and the freshest veg possible. 8 Gerry soaked up all the culture, food and shopping that Istanbul had to offer Credit: Supplied 8 Gerry stayed at the Marmara Pera hotel 8 The hotel is smack bang in the middle of Istanbul Needing to walk off my over-indulgence, my pals and I took a stroll through a few of the many neighbourhoods in the vast city, stopping off to taste Boza, a fermented drink loved by Turks at the Vefa Bozacisi shop. Then it was time to hit shopping heaven (if you like shopping, that is!) at the city's famous 600-year-old Grand Bazaar, below — the oldest covered market in the world. It was every bit as big and crazy as I'd expected but I absolutely loved the experience. There's just about everything you could possibly think of for sale here, from Turkish Delight to tea and decorative tiles. My nose was quickly hit by the aroma of spices, soaps and leather items and my eyes literally popped out of my head at the crazy amount of jewellery stores. It was crazy, chaotic and totally sensational but boy, was I glad to get a bit of peace and quiet back in my lovely, cool and comfortable room at the Marmara Pera hotel. GO: INSTANBUL GETTING THERE: Turkish Airlines flies from Edinburgh to Istanbul twice daily with baggage-inclusive round trip fares starting from £265. See STAYING THERE: Double rooms at the The Marmara Pera start from around £130 per night. See MORE INFO: For more on visiting Turkey see Rested and revived, it was time to experience Istanbul after dark and what better way then cruising along the Bosphorus as the sun set. Our luxurious yacht dropped us directly in front of the Ruby restaurant which even has its own mooring spot. It's definitely one of the THE places to be, loved by the great and good of Istanbul. With locally produced red wine flowing, we were soon sampling the tastiest kebabs, sensational seafood and endless side plates, laden with delicious local delicacies. Although Istanbul is renowned for stunning past, the city has many contemporary attractions and many can be found in the trendy Galataport area. The nearby Istanbul Modern Museum has art displays over several floors, including wacky interactive exhibitions. But it was the cool vibe of the nearby Karakoy district I loved most. It's got tonnes of bars and cafes all nestled in packed little streets, bustling with local life. 8 Istanbul draws visitors back again and again to explore its magical historical sites Credit: Supplied 8 The shopping quarter is a true highlight Credit: Supplied The fancy Octo restaurant there was an ideal place to have lunch. Its slow-cooked beef rib was just sensational, as were the views over the port and the Bosphorus. Next on the menu was a look at Istanbul's food but from the perspective of various artists. The Is Sanat museum was showcasing an exhibition called 'Taste and Art: Delicious Paintings', which went down a treat with everyone. And looking at all those fabulous food paintings and pictures made us hungry for the real thing and we were lucky enough to bag ourselves a table at the acclaimed Michelin-starred Neolokal — a fitting place to have our last meal. It's set in a former bank building and the food is fancy — very fancy — but it doesn't compromise on taste. There's everything from seafood to vegetarian and meat dishes, as well as stunning deserts which wouldn't look out of place in that 'Taste And Art' show back at the Is Sanat museum or one of the city's many art galleries. My first visit to Istanbul was a real Turkish delight — and I'm already planning a return.
Fashion Network
12-07-2025
- Entertainment
- Fashion Network
Last from Paris couture: Rami Al Ali, Germanier and Jordan Roth
Paris couture will always be a study in contrasts, never more so than its final day, when Syria's Rami Al Ali, Switzerland's Germanier and New York's Jordan Roth presented wildly different visions of fashion and art. Rami Al Ali: Damascus renaissance At the risk of sounding facetious, one of the happy by-products of the end of the tragic and awful Syrian civil war is that its good citizens can finally enrich their own culture and creativity again. Case in point, Rami Al Ali, the Syrian-born and Dubai-based couturier, who presented a fresh and feminine collection that lovingly employed techniques from his own native country and echoed the unique architecture of Damascus. 'Now, after almost 15 years, we can begin again focusing on our heritage and skills, and breathe again,' commented Rami, whose title for this fall/winter 2026 collection was "Guardians of Light." A couturier clearly in full command of his atelier, Rami sent out some beautifully finished silk lattice dresses that evoked the famed Al-Azm Palace with his geometric Ottoman-era facades composed of contrasting limestone, sandstone, basalt and marble. While curvy tulip sleeve gowns recalled the arches of Damascus' legendary caravanserai Khan As'ad Pasha. And one felt a sense of the dense floral and script style of Islamic art within the capital city's great museum, Jami' al-Darwishiyya, when witnessing a splendid spring green semi-sheer dress in tulle finished with sequin motifs shimmering like Iznik tiles. These historic spaces—once alive with calligraphers, woodworkers, metal artisans, and weavers—echo once more, reinterpreted through modern couture, Rami explained in his program notes. His goal: to elevate craftsmanship beyond technique into cultural memory, working in tandem with the Syrian Crafts Council, to ensure every piece carries a traceable thread to Syria's heritage, updated for today. Composed in the hues of golden dome, alabaster, viridian and lapis, the collection received loud applause when Rami took his bow inside the rooftop show-space of the Palais de Tokyo. An elegant fashion statement, and an important reminder to those of us who have been privileged to have visited Damascus, the world's oldest capital city, blessed with a unique ensemble of antique and classic art and architecture and truly hospitable citizens. Germanier: Recycle and roll Kevin Germanier is a Swiss fine artist born in the wee village of Granges, barely a thousand people up in the Alps, whose mania for playful experimentation and full-on recycling has made him into a cult figure in fashion. His budget is modest, his ingenuity very rich. For his second couture show, and the last of the four-day Paris season, Kevin was, if anything, even crazier than ever with his maximalist mélange of polka dots, snakeskin, painted leopard, stripes, all fused into bold silhouettes in psychedelic color. Entitled "Les Joueuses," or "The Players," the collection was certainly very playful, and supported by two figures standing on the sidelines, dressed like Salvador Dali's remake of the Teletubbies. Above all, Kevin is a great image-maker, from his sequined silver surfer with dragoon boots and a mini skirt made of mini shiny balls, to his coral-hued beaded jacket with mock sunflowers, the show opened with great energy. Staged inside the IRCAM, the experimental music center, the cast walked around a massive center-point made of scores of meter-wide iridescent balloons. This set design will be entirely upcycled next season into sequins, said the environmentally admirable couturier. Before the mound, marched models in outlandishly exuberant balloon dresses, or intensely colored sculptural raffia dresses with huge trains, made in collaboration with Brazilian artist Gustavo Silvestre. The wildest looked like Carmen Miranda on acid. Mashing up upcycled leather, previously used for Eurovision, reworked and crystal-stressed to a couture level; recycled Japanese paper; thousands of beads and pearls. Models don't really wear Germanier collections, they inhabit them. Given his mind-blowing imagination, some smart producer should really hire Kevin Germanier to costume a major feature film; that way, millions of people can enjoy this young man's talent. And not just the 400 people at this show. 'We're living through heavy times, politically, socially and economically. I believe that my role is to bring light — that's what drives my work, and this collection is a direct response to that. I wanted joy on the runway,' insisted Kevin Germanier. He achieved exactly his desire. Jordan Roth: Son & lumière for a Nike from New York Jordan Roth is a Broadway producer and the rich son of a very rich property magnate, Steven Roth. Roth junior has been a noted VIP shopper in couture for many years. No Balenciaga or Schiaparelli show is complete without an appearance by Jordan in some very dramatic women's look. This season, instead of being a mere front row fixture, Roth decided to stage his own work of performance art, and being very well-off, he hired the Cour Marly inside the Louvre for the Thursday night event. In effect, it was the final happening of the Paris season, attended by scores of editors, art honchos and designers like Thom Browne and Michele Lamy. The display happened in three acts. First, a group of young men and women in the sort of gentlemanly garb Edwardian gents would wear to a science lecture – albeit in ecru – marched around an elegant, crumpled white ball gown in awe. Before, an even wider-eyed Roth, in studied incredulity, was finally dressed inside the gown, apparently inspired by an empress gown by John Galliano. A one-minute operation that lasted a good ten. Next, a teeth-grindingly slow march up past the sculpture of epic athlete Milo of Crotone and famed stone equestrian statues taken from the Chateau Marly, and placed underneath I. M. Pei's giant glass roof. Where Roth - in a chignon, makeup and three-inch nails, then lived out his fantasy as the goddess Nike, or contemporary Winged Victor of Samothrace. Thrusting into the air, 15-meter-long wings, decorated in a light display with various feathers. The original is probably the most visited museum statue in the world. Some 400 people turned up for the first of three performances. With the soundtrack pumping out lush orchestral sounds, 49-year-old Jordan, entered a huge sheath dress and ascended into the heavens, the fabric billowing into the shape of a pyramid. The ancient Romans once built Cestius a pyramid in thanks for organizing feasts and public banquets. Jordan managed it by just being born rich. Bringing us to the climax, where a light projection reproduced Pei's exterior glass Louvre pyramid and various works of art by Ruben and Mantegna on the dress, the largest ever in a Paris couture season. Entitled "Radical Acts of Unrelenting Beauty," this show was themed around the museum's current novel show, "Louvre Couture," where great works of fashion are placed beside important works of décor and art. Was this a mini fashion moment, or a self-indulgence load of twaddle by the son of the largest commercial landlord in New York, and occasional partner of Donald Trump? Judging by the modest applause at the finale, opinion was divided. But one thing is for sure, Paris will always love an American with artistic pretensions and chutzpah.
Fashion Network
11-07-2025
- Entertainment
- Fashion Network
Last from Paris couture: Rami Al Ali, Germanier and Jordan Roth
Paris couture will always be a study in contrasts, never more so than its final day, when Syria's Rami Al Ali, Switzerland's Germanier and New York's Jordan Roth presented wildly different visions of fashion and art. Rami Al Ali: Damascus renaissance At the risk of sounding facetious, one of the happy by-products of the end of the tragic and awful Syrian civil war is that its good citizens can finally enrich their own culture and creativity again. Case in point, Rami Al Ali, the Syrian-born and Dubai-based couturier, who presented a fresh and feminine collection that lovingly employed techniques from his own native country and echoed the unique architecture of Damascus. 'Now, after almost 15 years, we can begin again focusing on our heritage and skills, and breathe again,' commented Rami, whose title for this fall/winter 2026 collection was "Guardians of Light." A couturier clearly in full command of his atelier, Rami sent out some beautifully finished silk lattice dresses that evoked the famed Al-Azm Palace with his geometric Ottoman-era facades composed of contrasting limestone, sandstone, basalt and marble. While curvy tulip sleeve gowns recalled the arches of Damascus' legendary caravanserai Khan As'ad Pasha. And one felt a sense of the dense floral and script style of Islamic art within the capital city's great museum, Jami' al-Darwishiyya, when witnessing a splendid spring green semi-sheer dress in tulle finished with sequin motifs shimmering like Iznik tiles. These historic spaces—once alive with calligraphers, woodworkers, metal artisans, and weavers—echo once more, reinterpreted through modern couture, Rami explained in his program notes. His goal: to elevate craftsmanship beyond technique into cultural memory, working in tandem with the Syrian Crafts Council, to ensure every piece carries a traceable thread to Syria's heritage, updated for today. Composed in the hues of golden dome, alabaster, viridian and lapis, the collection received loud applause when Rami took his bow inside the rooftop show-space of the Palais de Tokyo. An elegant fashion statement, and an important reminder to those of us who have been privileged to have visited Damascus, the world's oldest capital city, blessed with a unique ensemble of antique and classic art and architecture and truly hospitable citizens. Germanier: Recycle and roll Kevin Germanier is a Swiss fine artist born in the wee village of Granges, barely a thousand people up in the Alps, whose mania for playful experimentation and full-on recycling has made him into a cult figure in fashion. His budget is modest, his ingenuity very rich. For his second couture show, and the last of the four-day Paris season, Kevin was, if anything, even crazier than ever with his maximalist mélange of polka dots, snakeskin, painted leopard, stripes, all fused into bold silhouettes in psychedelic color. Entitled "Les Joueuses," or "The Players," the collection was certainly very playful, and supported by two figures standing on the sidelines, dressed like Salvador Dali's remake of the Teletubbies. Above all, Kevin is a great image-maker, from his sequined silver surfer with dragoon boots and a mini skirt made of mini shiny balls, to his coral-hued beaded jacket with mock sunflowers, the show opened with great energy. Staged inside the IRCAM, the experimental music center, the cast walked around a massive center-point made of scores of meter-wide iridescent balloons. This set design will be entirely upcycled next season into sequins, said the environmentally admirable couturier. Before the mound, marched models in outlandishly exuberant balloon dresses, or intensely colored sculptural raffia dresses with huge trains, made in collaboration with Brazilian artist Gustavo Silvestre. The wildest looked like Carmen Miranda on acid. Mashing up upcycled leather, previously used for Eurovision, reworked and crystal-stressed to a couture level; recycled Japanese paper; thousands of beads and pearls. Models don't really wear Germanier collections, they inhabit them. Given his mind-blowing imagination, some smart producer should really hire Kevin Germanier to costume a major feature film; that way, millions of people can enjoy this young man's talent. And not just the 400 people at this show. 'We're living through heavy times, politically, socially and economically. I believe that my role is to bring light — that's what drives my work, and this collection is a direct response to that. I wanted joy on the runway,' insisted Kevin Germanier. He achieved exactly his desire. Jordan Roth: Son & lumière for a Nike from New York Jordan Roth is a Broadway producer and the rich son of a very rich property magnate, Steven Roth. Roth junior has been a noted VIP shopper in couture for many years. No Balenciaga or Schiaparelli show is complete without an appearance by Jordan in some very dramatic women's look. This season, instead of being a mere front row fixture, Roth decided to stage his own work of performance art, and being very well-off, he hired the Cour Marly inside the Louvre for the Thursday night event. In effect, it was the final happening of the Paris season, attended by scores of editors, art honchos and designers like Thom Browne and Michele Lamy. The display happened in three acts. First, a group of young men and women in the sort of gentlemanly garb Edwardian gents would wear to a science lecture – albeit in ecru – marched around an elegant, crumpled white ball gown in awe. Before, an even wider-eyed Roth, in studied incredulity, was finally dressed inside the gown, apparently inspired by an empress gown by John Galliano. A one-minute operation that lasted a good ten. Next, a teeth-grindingly slow march up past the sculpture of epic athlete Milo of Crotone and famed stone equestrian statues taken from the Chateau Marly, and placed underneath I. M. Pei's giant glass roof. Where Roth - in a chignon, makeup and three-inch nails, then lived out his fantasy as the goddess Nike, or contemporary Winged Victor of Samothrace. Thrusting into the air, 15-meter-long wings, decorated in a light display with various feathers. The original is probably the most visited museum statue in the world. Some 400 people turned up for the first of three performances. With the soundtrack pumping out lush orchestral sounds, 49-year-old Jordan, entered a huge sheath dress and ascended into the heavens, the fabric billowing into the shape of a pyramid. The ancient Romans once built Cestius a pyramid in thanks for organizing feasts and public banquets. Jordan managed it by just being born rich. Bringing us to the climax, where a light projection reproduced Pei's exterior glass Louvre pyramid and various works of art by Ruben and Mantegna on the dress, the largest ever in a Paris couture season. Entitled "Radical Acts of Unrelenting Beauty," this show was themed around the museum's current novel show, "Louvre Couture," where great works of fashion are placed beside important works of décor and art. Was this a mini fashion moment, or a self-indulgence load of twaddle by the son of the largest commercial landlord in New York, and occasional partner of Donald Trump? Judging by the modest applause at the finale, opinion was divided. But one thing is for sure, Paris will always love an American with artistic pretensions and chutzpah.
