Aramaya Dön

Kemençe

İsim Kemençe
Yazar Unknown (Made-)
Basım Tarihi: 1850
Basım Yeri Turkey (Made) Istanbul (made) -
Konu Musical Instruments Woodwork
Tür Diğer
Dil Belirlenmemiş dil
Dijital Evet
Yazma Hayır
Fiziksel Boyutlar Total length: 41cm, Width: 15cm
Kütüphane: Victoria and Albert Museum
Demirbaş Numarası 1009-1869
Kayıt Numarası 1009-1869
Lokasyon Middle East Section
Tarih 1850
Notlar The word ‘kemençe’, which means ‘small bow’ or ‘small bowed instrument’ in Persian, was used for the spike fiddle known today as the rebab (the term ‘spike fiddle’ in organology is the common name for bowed instruments with a body generally in the shape of a cut globe, and a long cylindrical neck that passes through the body, which are played upright). The kemânçe, also kalled kemân, was the only bowed instrument used in Turkish classical music up until the eighteenth century. The kemânçe was replaced by the European viola d’amore (known in Turkish as sinekemanı, or ‘breast fiddle’), and later by the European violin. The pear-shaped kemençe entered the classical ensemble towards the middle of the nineteenth century. Earlier versions of this instrument, like this example, had three gut strings, although more recent versions have been fitted with four metal strings. Owing to its soft timbre, the kemençe is played both solo and in ensembles. This example could have been made for the Ottoman palace or mansions by great masters such as Büyük İzmitli (from the town of Izmit) or Barovak Baron, both craftsmen renowned for their delicate and detailed inlay. At this time, there were also a considerable number of Greeks who resided in Ottoman Turkey, in the region formerly known as Pera (today Beyoğlu), who were equally respected for their fine craftsmanship. According to Carl Engle’s A Descriptive Catalogue of the Musical Instruments in the South Kensington Museum (London, 1874), pp. 207-10, “The musical instruments in Turkey are chiefly made in Constantinople [Istanbul]. The woods principally used in their construction are from the twon of Ismid [Izmit] and Bartan in Asia Minor; and also from Abasa in Trans-Caucasia. Rose wood and ebony are imported from India, and mahogany from America…The tortoise shell, mother-of-pearl, and ivory are imported from Egypt, and from Yemen and Hedjaz in Arabia.”
Malzemeler ve teknikler Planed and joined wooden body, inlaid with ivory and tortoise-shell; carved ivory tuning pegs Walnut Ivory Tortoise Shell Planing Inlay Carving
Parçalar Kemence, Bow (Chordophone Component), Fragment, Fragment
Fiziksel açıklama A small stringed instrument. Its body, reminiscent of a half pear, its elliptical pegbox (‘kafa’ or head), and neck (‘boyun’) are all carved from a single piece of wood. On its face are two large D-shaped sound holes, with the rounded sides facing out, three strings of gut, and three long tuning-pegs of ivory. The upper neck is delicately decorated with ivory inlay upon tortoise shell, depicting a winged bird perched above a vertical row of floral sprays emerging from a slender vase. Along the back of the begbox is a similar inlay panel of scrollwork and rosettes.
Kaynağa git Victoria and Albert Museum Victoria and Albert Museum - Osmanlıca el yazması arama motoru
Victoria and Albert Museum - Osmanlıca el yazması arama motoru Victoria and Albert Museum

Kemençe

Yazar Unknown (Made-)
Basım Tarihi 1850
Basım Yeri Turkey (Made) Istanbul (made) -
Konu Musical Instruments Woodwork
Tür Diğer
Dil Belirlenmemiş dil
Dijital Evet
Yazma Hayır
Fiziksel Boyutlar Total length: 41cm, Width: 15cm
Kütüphane Victoria and Albert Museum
Demirbaş Numarası 1009-1869
Kayıt Numarası 1009-1869
Lokasyon Middle East Section
Tarih 1850
Notlar The word ‘kemençe’, which means ‘small bow’ or ‘small bowed instrument’ in Persian, was used for the spike fiddle known today as the rebab (the term ‘spike fiddle’ in organology is the common name for bowed instruments with a body generally in the shape of a cut globe, and a long cylindrical neck that passes through the body, which are played upright). The kemânçe, also kalled kemân, was the only bowed instrument used in Turkish classical music up until the eighteenth century. The kemânçe was replaced by the European viola d’amore (known in Turkish as sinekemanı, or ‘breast fiddle’), and later by the European violin. The pear-shaped kemençe entered the classical ensemble towards the middle of the nineteenth century. Earlier versions of this instrument, like this example, had three gut strings, although more recent versions have been fitted with four metal strings. Owing to its soft timbre, the kemençe is played both solo and in ensembles. This example could have been made for the Ottoman palace or mansions by great masters such as Büyük İzmitli (from the town of Izmit) or Barovak Baron, both craftsmen renowned for their delicate and detailed inlay. At this time, there were also a considerable number of Greeks who resided in Ottoman Turkey, in the region formerly known as Pera (today Beyoğlu), who were equally respected for their fine craftsmanship. According to Carl Engle’s A Descriptive Catalogue of the Musical Instruments in the South Kensington Museum (London, 1874), pp. 207-10, “The musical instruments in Turkey are chiefly made in Constantinople [Istanbul]. The woods principally used in their construction are from the twon of Ismid [Izmit] and Bartan in Asia Minor; and also from Abasa in Trans-Caucasia. Rose wood and ebony are imported from India, and mahogany from America…The tortoise shell, mother-of-pearl, and ivory are imported from Egypt, and from Yemen and Hedjaz in Arabia.”
Malzemeler ve teknikler Planed and joined wooden body, inlaid with ivory and tortoise-shell; carved ivory tuning pegs Walnut Ivory Tortoise Shell Planing Inlay Carving
Parçalar Kemence, Bow (Chordophone Component), Fragment, Fragment
Fiziksel açıklama A small stringed instrument. Its body, reminiscent of a half pear, its elliptical pegbox (‘kafa’ or head), and neck (‘boyun’) are all carved from a single piece of wood. On its face are two large D-shaped sound holes, with the rounded sides facing out, three strings of gut, and three long tuning-pegs of ivory. The upper neck is delicately decorated with ivory inlay upon tortoise shell, depicting a winged bird perched above a vertical row of floral sprays emerging from a slender vase. Along the back of the begbox is a similar inlay panel of scrollwork and rosettes.
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