Gülru Necipoğlu

Gülru Necipoğlu (born 3 April 1956 in Istanbul) is a Turkish American professor of Islamic Art/Architecture.

Necipoğlu graduated from the Robert College of Istanbul in 1975.

She attended the Williams College junior-year exchange program in 1978.

She received a degree in art history with a concentration on Late Medieval and Renaissance periods from Wesleyan University in 1979.

In 1982, she received a master's degree in Islamic art and architecture from Harvard University, where she obtained her Ph.D. in 1986 with a dissertation titled, The Formation of an Ottoman Imperial Tradition: The Topkapı Palace in the 15th and 16th Centuries, under the supervision of Oleg Grabar.

She received her Harvard Ph.D. in the Department of History of Art and Architecture (1986), her BA in Art History at Wesleyan (Summa Cum Laude, 1979), her high school degree in Robert College, Istanbul (1975).

She is married to the Ottoman historian and Harvard University professor Cemal Kafadar.

Her sister is the historian Nevra Necipoğlu.

Necipoğlu is an elected member of the American Philosophical Society, American Academy of Arts and Sciences, the British Academy, and Centro Internazionale di Studi di Archittettura Andrea Palladio in Vicenza.

Her Ph.D. dissertation was the winner of the King Fahd Grand Prize for Excellence of Research in Islamic Architecture (1986).

Based on her research project as Mellon Post-Doctoral Fellow at Columbia University (1986–87), she published “The Life of an Imperial Monument: Hagia Sophia after Byzantium,” in Hagia Sophia: From the Age of Justinian to the Present, ed.

One of Necipoğlu’s earliest articles, “Plans and Models in 15th and 16th-Century Ottoman Architectural Practice” won the Society of Architectural Historians Best Article by a Young Author prize (1986).

Her article, “Süleyman the Magnificent and the Representation of Power in the Context of Ottoman-Hapsburg-Papal Rivalry” was awarded the Best Article Published in any Discipline prize by the Turkish Studies Association (1991).

Her first book Architecture, Ceremonial and Power: The Topkapı Palace in the Fifteenth and Sixteenth Centuries (MIT, 1991) was supported by grants from the Architectural History Foundation and College Art Association.

Robert Mark and Ahmet Çakmak (1992).

She has been the Aga Khan Professor and Director of the Aga Khan Program for Islamic Architecture at Harvard University since 1993, where she started teaching as Assistant Professor in 1987.

Necipoğlu’s reading of this allegedly “modest” monument’s ambitious imperial agenda opened up new vistas for studies on Islamic palatial architecture (a subject broadly explored in her edited volume, Palaces in the Pre-Modern Islamic World, Special Issue, Ars Orientalis, vol. 23, 1993, containing her introduction, “Shifting Paradigms in the Palatial Architecture of the Pre-Modern Islamic World,” and her influential essay, “Framing of the Gaze in Ottoman, Safavid, and Mughal Palaces.” The Turkish translation of her book, 15. ve 16. yüzyılda Topkapı Sarayı: Mimari, Tören ve İktidar, was published in 2007 (reprint 2014).

Priscilla Soucek states in her 1994 review that “Necipoğlu has provided a solid foundation for future consideration of matters relating to Ottoman palatial architecture and court ceremonial, a truly admirable achievement.” This book, accepted as “a landmark” in the field, is one of the earliest scholarly attempts to interpret the architectural program of the Topkapı Palace in Istanbul.

Necipoğlu’s The Topkapı Scroll—Geometry and Ornament in Islamic Architecture (Getty, 1995) won the “Best New Book on Architecture and Urban Planning” award of the Association of American Publishers.

Aptullah Kuran’s book jacket endorsement judges this study as “One of the principal works about Ottoman architectural history.” The author’s novel analytical synthesis is praised in Howard Crane’s 1996 review: “It is the great strength of Professor Necipoğlu’s book that she elaborates in a lucid and precise manner this connection between architectural form and function, a physical arrangement and symbolism.

Architecture, Ceremonial, and Power is a model of both exacting scholarship and thoughtful interpretation, and serves to bring to life that monument which is surely one of the keys to the understanding of the Ottoman concept of imperial absolutism.” The extensive corpus of primary sources introduced in the book reveal the dialogues and parallelisms between Byzantine, Italianate, Islamicate-Ottoman architectural cultures and practices.

In 1996, it received two further awards: the Spiro Kostof Book Award for Architecture and Urbanism from the Society of Architectural Historians, and the Albert Hourani Book Award of the Middle East Studies Association.

The book interprets central defining themes of Islamic art such as geometric ornament and the muqarnas, through the hitherto overlooked centrality of designs on paper in premodern architectural practice.

It features the facsimile of a unique 30-meter design scroll, with two- and three-dimensional geometric patterns and calligraphy for architectural ornament, which she attributes to late fifteenth-century Timurid-Turkmen Iran, particularly Tabriz.

Her book demonstrates the crucial role of mathematical sciences in the theory and practice of architecture and the ornamental geometric mode known as girih.

In his book review, Walter Denny remarks that “This theme of relation between science and art in Islam has been so often repeated in survey texts as to have become almost a cliché, but the actual relationships between theoretical studies and what Necipoğlu calls ‘practical geometry’ used in the creation of art have never before been carefully and meticulously linked to this degree in the literature.” In her seminal work, Necipoğlu challenges orientalist and reductionist assumptions regarding the meaning and function of geometry in Islamic art.

She investigates in depth the intellectual and cultural contexts of the scroll, exploring multiple meanings and perceptions of geometrical designs in line with philosophical and aesthetic theories current in the medieval Islamic world.

Oleg Grabar’s book jacket endorsement reads, “Just about the best book on Islamic art for the past one hundred years.

It is a masterpiece that establishes our understanding of why geometry became so important in Islamic art.” According to Priscilla Soucek, the book “goes far beyond the explication of a set of architectural drawings.

Its ambitious scope and painstaking documentation provide a new foundation for considering the role of geometric ornament in the visual traditions of the medieval Islamic world, and indeed initiate a wider debate about how to interpret the other ornamental traditions used in pre-modern Islamic regions.” Godfrey Goodwin lauds Necipoğlu’s intellectual analysis as “immaculate” and remarks that “For anyone seriously studying Islamic art and the concepts underlying it, this work is and will be essential reading.

New details may be added in time, but it will not be surpassed.

It creates its own infinity.” The Topkapı Scroll was translated into Persian in 2000.

The Getty Virtual Library provides a full copy of the book in English.

She was an invited faculty scholar at Kunsthistorisches Institut in Florenz-Max-Planck-Institut (2013, 2014), and the Slade Professor of Fine Art at the University of Cambridge (2013).

An abridged Turkish translation of this now timely study appeared in Toplumsal Tarih 254 (2015).

Her prize-winning books are: The Arts of Ornamental Geometry (2017); The Age of Sinan (2005), The Topkapı Scroll (1996).

Her books and numerous essays have appeared in English, Turkish, French, Spanish, Persian, and Arabic.

Necipoğlu specializes in premodern Islamic arts/architecture, especially the Mediterranean and Eastern Islamic lands.

Her publications address aesthetic cosmopolitanism, transregional connectivity between early modern empires (Ottoman, Safavid, Mughal), artistic exchanges with Byzantium and Renaissance Europe, plans, and drawings in pre-modern architectural practice, aesthetics of abstraction, and geometric ornament.

Her critical interests encompass methodological and historiographical issues in modern constructions of the field of Islamic art and Orientalism.