Abstract
When photography was first introduced in the Ottoman Empire, Islamic laws forbade the production of images of sentient beings and therefore the practice of photography to the Muslim majority. Non-Muslim minorities, in particular the Armenians, thus became significant producers of photographic practices and traditions in the late Ottoman Empire. Until the present, however, cataloguing practices have not reflected the complexity of Ottoman society, resulting in an inadequate if not misleading representation of Armenian photographers, and their contributions. Using the photographs of Gabriel Lekegian, Pascal Sébah and Jean Pascal Sébah housed in the New York Public Library this thesis investigates the extent to which the Armenian community was involved with the development, production and circulation of Ottoman photography and argues for the inclusion of their ethnic identities in catalogue records so as to begin to identify the distinct characteristics or aesthetic qualities inherent in the Armenian photographic tradition.
Highlights
Ottoman photography has been frequently studied without addressing a basic puzzle regarding the nature of photographic production in late modern Islamic society
How was it possible that a state and society based on Islamic law and norms which placed strong constraints on the production and consumption of images of living beings—aniconism—could develop an indigenous photographic industry and market? This thesis argues that an understanding of the role of non-Muslim minorities in the Ottoman Empire, the contributions made by ethnic Armenians, can offer greater insight into the nature of the indigenous production of images in the Middle East
The case studies explored in this thesis have demonstrated that ethnic status, in the case of the Armenian community, is fundamental to the practices and traditions of Ottoman photography
Summary
Ottoman photography has been frequently studied without addressing a basic puzzle regarding the nature of photographic production in late modern Islamic society. Balakian called for specialists in the field to revise and revisit minority histories that have not been properly recognized, in Middle Eastern or Ottoman contexts.4 He explained that minority groups like the Kurds, Greeks and Armenians from the region are not being properly located on the map or wall exhibit in museums: their cultural accomplishments are labeled and attributed as “Ottoman.” Such mislabelling diminishes and blurs the diverse contributions made by the Ottoman Empire’s ethnic communities. This thesis is structured around two case studies involving the works of ethnically Armenian photographer Gabriel Lekegian and Syrian-Armenian father-son duo Pascal Sébah and Jean Pascal Sébah in order to both expand awareness of misattributed or misappropriated catalogue records and to award a deeper recognition of ethnic minorities’ contribution to photographic traditions and practices of the Ottoman Empire.
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
