page_title: Nationality Rooms
section_title: Turkish
hierarchical_section_title: Nationality Rooms / Classrooms / Turkish
caption_attribution_description: English: Turkish Nationality Room at the University of Pittsburgh
context_page_description: The Nationality Rooms are a collection of 31 classrooms in the University of Pittsburgh's Cathedral of Learning depicting and donated by the national and ethnic groups that helped build the city of Pittsburgh. The rooms are designated as a Pittsburgh History and Landmarks Foundation historical landmark and are located on the 1st and 3rd floors of the Cathedral of Learning, itself a national historic landmark, on the University of Pittsburgh's main campus in the Oakland neighborhood of Pittsburgh, Pennsylvania, United States. Although of museum caliber, 29 of the 31 rooms are regularly used as functional classrooms that are utilized daily by University of Pittsburgh faculty and students, while the other two are mostly used as display rooms viewed through glass doors and are otherwise utilized primarily for special events and can only be explored via special guided tour. The Nationality Rooms also serve in a vigorous program of intercultural involvement and exchange in which the original organizing committees for the individual rooms remain as participants and includes a program of annual student scholarship to facilitate study abroad.
context_section_description: The Turkish Nationality Room was based on a baş odası, or main room, of a typical Turkish house or hayat with an outer gallery and a side iwan. The iwan is intended to be used as an entrance area similar to the royal pavilion, annexed to the Yeni Mosque in the Eminönü district of Istanbul, which was built in 1663 for the use of Sultan Mehmet IV. In the iwan of the Turkish Nationality Room, four ceramic panels, painted on clay tiles in Ankara, represent various cultures and points in Turkish history. The largest ceramic is a portrait of Mustafa Kemal Atatürk, the founder and first president of the Republic of Turkey, who is depicted instructing the nation on the Turkish alphabet adopted in 1928. Other panels depict Uighur princesses, who represent the importance of women in circa 9th-century Turkish culture, a reproduction of "Two merchants in conversation" by Mehmed Siyah Kalem which signifies the appearance of realism in Turkish drawing around the 14th century; and a depiction of Suleiman the Magnificent at the circumcision ceremony of Şehzade Beyazıt and Şehzade Cihangir which represents the apex of Ottoman power and culture in the 16th century.  The main room attempts to convey the theme of democracy with its seating distributed around the perimeter of the room which suggests that all occupants are equals. Hardwood seats mimic divan-style seating found in a typical baş odası with back panels that function as writing tablets which when retracted form a "parted curtain" motif, a common shape used for household wall niches. The room's ceiling, modeled after the Emirhocazade Ahmet Bey summer house in Safranbolu, is a combination of traditional çitakâri and kündekâri carpentry art that creates intricate geometric patterns using small pieces of wood attached without metal fasteners or glue. Clear glass windows along one wall frame a painted mural depicting a panoramic view of Istanbul which is feature similar to that seen in the mirrored room of the Topkapi Palace. The stained glass windows depict a tulip shape which served as a symbol of the Ottomans in the 18th century.  Display cases contain historic examples of Turkish calligraphy, ceramics, jewelry, miniatures and textiles as well as an evil eye. The entrance symbol above the exterior door depicts the current flag of Turkey, adopted in 1936.
caption: The Turkish Classroom
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