The memoirs and works of Fausto Zonaro compiled in a book

 It is as absorbing and visually fluid as it is informative. As the name suggests, it is a collection of the memoirs and works of Fausto Zonaro, an Italian artist who was appointed court painter by Sultan Abdülhamid II in 1896. The book covers the period of time between Zonaro’s arrival in İstanbul until his return to Italy, when his position as court painter was brought to an end following the deposition of Sultan Abdülhamid.

On the one hand, the book provides a historical account of the time Zonaro spent in İstanbul, which included the last days of Sultan Abdülhamid’s reign, the lives of Europeans in İstanbul at the turn of the century and the lifestyle of Ottoman high society and Abdülhamid’s coterie. On the other hand, the key to the success of the book is Zonaro’s graceful accounts of everyday occurrences in the city, represented in a collection of his paintings of the highest quality. His eyewitness accounts contain countless visual details, just like his paintings, although Zonaro is being humble when he writes a note to his son: “I am not a literary writer. I am an artist, a painter who narrates with pictures, so I trust that readers who will honor me by reading my book will pardon me for any shortfalls.”

Zonaro’s oriental-themed studies and paintings have made him a renowned orientalist painter, though “he did not seek out this title,” notes Erol Makzume -- who has prepared this book in conjunction with Cesare Mario Trevigne -- in the foreword. Orientalism is a manner of regularized, stereotypical vision and depiction of Eastern cultures, referring generally to the mystical, exotic and enchanting atmosphere that is perceived to predominate in Eastern lands. However, Zonaro’s orientalism is somewhat different to that of many of his contemporaries, as he gives an unbiased, honest account of the city instead of taking pride in being the judge and jury of oriental behavior.

First impressions of the great city, İstanbul

As an orientalist, he describes how he is carried away by the enchanting beauty of İstanbul from the moment he arrives. His first impression of the great city reveals his orientalist approach: “All I shall say on the entry into the great port of the Orient and its astonishing, intoxicating effect that was beyond anything that could be imagined is: as the sun was just starting to rise from behind the hills on the Asian side, the oppressive gleam of the moon was slowly disappearing over the great buildings in Galata and on the Golden Horn, as though it had been overthrown by that all-embracing mighty star.” He says this strange and celestial first impression and the bedazzling atmosphere will never be erased from his mind. Zonaro is fascinated by what he sees from the window of his small room in Pera: “The constant living presence of fez-wearing men and women with their heads covered and faces veiled,” caiques from the sultan’s navy lying at anchor and the marvelous silhouette of mighty İstanbul in the background.

Zonaro thinks art is an inevitable product of an environment as inspirational as this, in which he is surrounded by the inexhaustible subjects and the wonders of the Orient. His passion for İstanbul, which he likens to “a cinema with an ever-lasting film,” and the abundance of picturesque things are essential motives behind his magnificent paintings that were inspired by the city. The very idea that there lives a sultan here in İstanbul, with his spectacular entourage, is enough to carry him away. It is significant to note that the sultan is often an object of interest to orientalists.

The Bayram celebrations, which continue for three days, provide precious material for Zonaro. He works tirelessly throughout the holiday, observing carefully what people do and drawing countless sketches. He reflects on Bayram, saying, “Even if the world is bankrupt, there has to be abundance at Bayram,” a time when state officials receive their salaries, all debts are paid and new clothes are worn.

Zonaro enters the secret harem

When Sultan Abdülhamid expresses a desire for Zonaro to produce a portrait of the sultan’s daughter, Refia Sultan, Zonaro is presented with an opportunity to enter the harem, which is yet another object of interest to orientalists. Zonaro depicts his entrance to the secret courtyard of the harem as follows: “Those first steps taken into that flowery heaven [harem] were really exciting, into that sanctuary in which thousands of beautiful birds emit in their chirrups a timeless poetry from their gilded cages placed here and there.” He is dumbstruck by the magnificent Oriental beauty of Refia Sultan, whose hair, decorated with diamonds, “is flowing freely.”

After spending some time in İstanbul, a new subject arouses his interest: The mystical Rifa’i dervishes, who tread a Sufi Muslim ascetic path and exercise extreme austerity and poverty in order to come closer to God. He frequently visits their lodge in Scutari (Üsküdar), and one day after watching their rituals he expresses his admiration to the sheikh, the leader of the dervishes: “It is the great ceremony that really grabs my attention, and I come here so often because of the admiration I have for it.”

Zonaro not only drew countless sketches depicting Istanbullites; he also adopted their lifestyle and culture. Whenever he felt tired, Zonaro would spend a few hours on his own “with a Turkish coffee, in one of those dark secluded cafes on the shore of Galata with beautiful views over the sea.” When in the right mood, he would watch the gentle courses of the caiques, swigging a glass of mastika, a kind of rakı containing mastica gum which was widespread in İstanbul at the time.

Zonaro’s memoirs were published in Turkish for the first time by Yapı Kredi Publications İstanbul in 2008. The English edition, released by Geniş Publishing House in October 2011, is now available for purchase.