After the First World War and the Turkish War of Independence, major political and social changes took place in Anatolia. As a result of these events, many regional collections of antiquities were transferred to newly founded state museums. Objects that had once belonged to churches, monasteries, or local communities were gathered and placed in museum collections for protection and preservation.
Unfortunately, during this period of transition, much valuable information was lost. Details about the historical and cultural context of many objects disappeared. In many cases, we no longer know the exact place where an icon was originally displayed. Information about donors, patrons, or later owners was also lost. Documents that could have helped scholars understand the original setting and function of these icons were often destroyed or misplaced during times of war and population movement Post-Byzantine Art in Anatolia.
This loss of context makes research more difficult today. Without knowing where an icon originally stood or who commissioned it, it becomes harder to understand its full meaning and purpose.
The Need for a Comprehensive Icon Corpus
At present, there is no complete database or comprehensive corpus of Greek Orthodox icons preserved in Turkey. Such a project would be extremely valuable for scholars. A carefully photographed and fully documented corpus would allow researchers to study these works in a systematic way.
A proper corpus would not only help us understand Greek Orthodox painting produced during Ottoman times, but it would also contribute to Ottoman history more broadly. These icons reflect the religious life, artistic traditions, and social networks of Orthodox communities within the Ottoman Empire.
Furthermore, such a collection would enrich the study of Byzantine panel painting. Although post-Byzantine icon painting followed a different historical path after the fall of Constantinople, it continued to maintain a strong Orthodox identity. A detailed catalog would allow scholars to trace stylistic developments, regional differences, and workshop practices over time Private Tour Guide Istanbul.
Ongoing Research and Documentation
The author of this study has worked for many years on devotional objects, with the long-term goal of creating an icon corpus. This research has taken place over nearly two decades, in different phases between 1997 and 2015. During this time, approximately 100 icons have been documented and studied in detail.
Many of the examples discussed in this article are published for the first time. This makes the study an important contribution to the field. By introducing new material into academic discussion, the research opens the door to further studies and comparisons.
The author also expresses sincere thanks to Professor Elena N. Boeck for her generous invitation to contribute to the volume and for her inspiration and support. Academic collaboration plays an important role in advancing research on complex topics such as post-Byzantine art.
The Number of Icons in Turkish Collections
Although there is no complete inventory, estimates suggest that between 800 and 1,000 icons are currently preserved in state museums and accessible private collections in Turkey.
For example, the Hagia Sophia Museum holds approximately 452 icons, although some scholars estimate the total number may be closer to 600. In Antalya, there are 172 icons, including bema doors and an epistyle, which are parts of an iconostasis. Of these, 25 are currently on display. In Tokat, there are 16 icons; in Sinop, 55; and in Bursa, around 5 pieces.
These numbers show that a significant body of material survives. However, much of it remains understudied. A systematic effort to document, photograph, and analyze these works would greatly improve our understanding of Orthodox artistic production in the Ottoman period.
In conclusion, while the transfer of icons to museums helped preserve them physically, the loss of contextual information presents serious challenges. Future research must aim to reconstruct, as far as possible, the historical and cultural background of these important devotional objects.
