Diliara Aliadinova | Kiev, National Ukrainian Academy of Science, Institute of Archaeology | GLAZED CERAMICS TABLEWARE IN THE EARLY OTTOMAN CRIMEA |
Ecem Altınkılıç | İstanbul, İstanbul University | OTTOMAN GLASS ART AND ITS INTERACTIVE RELATION WITH GLASS ART IN VENICE IN THE 18TH- 19TH CENTURIES |
Serpil Ayhan | Ankara, Hacettepe University | THE MURAQQA H.2158 IN TOPKAPI PALACE MUSEUM AS A MEDIUM THAT BRINGS TOGETHER OTTOMAN AND SAFAVID ARTISTIC TASTES |
Bilal Badat | Tübingen, The University of Tübingen | THE ART OF COMPLETING UNFINISHED MANUSCRIPTS IN OTTOMAN CALLIGRAPHY |
Yasemin Bağcı | Amsterdam, Independent scholar | CERAMICS AND CULTURAL INTERACTION IN 14TH CENTURY ANATOLIA |
Jacques Burlot | Lyon, Maison de l’Orient et de la Méditerranée | DEFINING THE DECORATION PRODUCTION TECHNOLOGY OF AN EARLY OTTOMAN POTTERY: THE CASE OF THE “MILETUS WARE” |
Halil Elemana | Ankara, Hacı Bayram Veli University | AN EVALUATION OF DOCUMENTS RELATING TO THE CONSTRUCTION, REPAIR, AND FURNISHINGS OF THE YILDIZ PALACE IN THE PRIME MINISTRY OTTOMAN ARCHIVES |
Špela Grošelj | İstanbul, İstanbul University | ARCHITECT ANTONIO LASCIAC (ANTON LAŠČAK) IN THE OTTOMAN EMPIRE |
Müjde Dila Gümüş | İstanbul,İstanbul University | AN EARLY EXAMPLE OF SECOND CONSTITUTIONAL ERA MONUMENTS: THE PROJECT OF RAYMOND PÉRÉ |
Zohirul Islam | Bangladesh, Center for Heritage Studies | THE CONNECTIVITY OF TURKISH ART, ARCHITECTURE AND LANGUAGES IN BANGLADESH (PAST BENGAL): AN HISTORICAL AND ANALYTICAL STUDY DURING MEDIEVAL PERIOD |
Cailah Jackson | Oxford, University of Oxford | THE KARAMANIDS AND THEIR ILLUMINATED MANUSCRIPTS IN FOURTEENTH-CENTURY KONYA Barrera |
Muzaffer Karaaslan | Ankara, Hacettepe University | FOLLOWING AN ECOLE IN THE OTTOMAN WALL PAINTINGS IN THE KOSOVO |
Gulbanu Koshenova | Turkistan, Akhmet Yassawi University | AN EXAMPLE OF MOSQUE ARCHITECTURE FROM KYZYLORDA REGION, KAZAKHSTAN: GANI BAY MOSQUE |
Naz Defne Kut | İstanbul, Koç University | ICONOGRAPHY OF A CATHOLIC VICTORY: THE BATTLE OF LEPANTO IN ITALIAN PAINTING |
Khalida Mahi | Aix-en-Provence, Independent scholar | PROBLEMS OF IDENTIFICATION OF THE “MASTERS OF TABRIZ” |
Zeynep Özaltın | İstanbul, Marmara University | SUUT KEMAL YETKİN AND ART CRITICISM: WRITING ON ART AND INSTITUTIONALISATION OF THE CULTURE OF ART CRITICISM 1950-1980 |
Arda Can Özsu | Ankara, Hacettepe University | THE PORTRAIT OF ŞEKER AHMED ALİ PASHA IN THE NATIONAL ART GALLERY COLLECTION IN GREECE AND SIMEON SAVVIDIS, AN ARTIST OF ANATOLIAN ORIGIN |
Ilenia Pittui | Venice, Ca’Foscari University | PAOLO GIOVIO AND THE REPRESENTATION OF THE TURKISH POWER: SOME CASE STUDIES |
Kristyna Rendlova | Oxford, University of Oxford | THE TOPKAPI PALACE PORTRAYED IN THE 16th-CENTURY OTTOMAN ILLUSTRATED MANUSCRIPTS: BETWEEN IMPERIAL IDEOLOGY AND PICTORIAL AND ARCHITECTURAL MODELS |
Saarthak Singh | New York City, NY, New York University | A TALISMANIC TUNIC WITH IMAGES OF MECCA AND MEDINA |
Fırat Şeker | Bamberg, Otto-Friedrich University | SİNAN’S OTHER PATRONS |
Müge Şen | Ankara, Ankara University | ŞEHZÂDE MEHMED TOMB TILES IN THE LIGHT OF CURRENT INFORMATION |
Nicola Verderame | Berlin, Graduate School Muslim Cultures and Societies | MONUMENTALITY AND INFRASTRUCTURE: A HAMIDIAN FOUNTAIN IN OTTOMAN ANKARA |
Özlem Yıldız | London, School of Oriental and African Studies | THE TEXT AND IMAGE IN THE DIVAN OF BAKİ: AN ILLUSTRATED MANUSCRIPT FROM THE SEVENTEENTH CENTURY (BRITISH LIBRARY, ADD. 7922) |