Europe is all very well, but the Asian side of Istanbul is really quite enough.
When I do venture to cross the Bosphorus, being aboard a boat still gives me a buzz—my first time afloat since looking after Li Manshan and the Daoists in Venice in 2012.
The centre of the world, by renowned Kuzguncuk artist Yusuf Katipoglu (1941–2018).
Üsküdar on right, Kuzguncuk on left.
Returning to Üsküdar the other afternoon, as landmarks gradually became visible I was trying to recognise its mosques from afar. I was on the lookout for the Yeni Valide Camii (1703)—where we had previously admired a double ezan call to prayer—and the charming little Şemsi Paşa Camii (1581) on the coast; perhaps even the Atik Valide Külliyesi (1583) further up the hill. But at first I couldn’t quite make out any of them.
Şemsi Paşa Mosque (right), Yeni Valide Mosque (left).
Not actual size (Discuss).
I made some fatuous remark like “The big mosque looks very small”, whereupon my Wise Companion Augusta patiently offered me a lesson in perspective not unlike that of Father Ted to Dougall:
Augusta promised me the mosques would soon look bigger—and as if by magic…
In art, the development of perspective is commonly associated with Renaissance Italy (Brunelleschi, Piero della Francesca, and so on). BTW, for China, do read the fascinating article by Hannibal Taubes on the use of perspective on temple murals and opera stages in rural north China since the 19th century!
OK, we’re not talking Art here, more the disconnect between my eyes and brain. Like hello?
For a return match, see Line judges.