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Balkan Travellers, Bulgaria
Feb 9 2008
Plovdiv: A Felicitous Stop on the Orient Express Route
During the Ottoman Empire's decline, merchants of rose oil, silk and
linen built one of Bulgaria's most impressive urban centres
In the middle of Djumaya - the square that marks the historical
centre of Plovdiv, stands a high pillar topped with the bronze,
gold-wreathed figure of Philip II of Macedon, the father of Alexander
the Great. Plovdiv's inhabitants believe they owe their city to him.
Had they been less filled with historical romanticism, in his place
there would have been a statue of the founder of Compagnie
Internationale des Wagons Lits. The international rail company's
decision in the mid-nineteenth century to build a rail line from
Europe to Istanbul through Plovdiv was the event that made the city
what it is today.
As part of the Ottoman Empire, Bulgaria had the advantage being of
geographically located near Central Europe. During the sixteenth
century many trade fairs took place on its territory, with the
Uzundzhovo Fair being the most significant among them.
`Uzundzhovo? Where is that?' - every other Bulgarian would ask today,
and had it not been for the Compagnie Internationale des Wagons Lits,
the question would have been `Plovdiv? Where is that?' The rail link
to the city was the reason why, in the mid-nineteenth century, the
Turkish city administration ceased bothering with the hassle of
maintaining the cobblestone road to Uzundzhovo near Haskovo, and
moved the fair to Plovdiv.
The city, rebuilt as Philippopolis in the fourth century BC, was
completely demolished several times during the following centuries.
According to historical accounts, when it was incorporated into the
Ottoman Empire in the fourteenth century, in was in pretty bad shape.
The cohabitation of a number of ethnic groups, including the
influential Muslim community, brought it back to life and gradually
turned it into a local trade centre. But it was the rail connection
and the fair's relocation that transformed Plovdiv into a regional
centre, quickly modernised it and added larger amounts of European
splendour to its previously Oriental existence.
In the following decades, the residential quarter built atop one of
Plovdiv's hills transformed into a complex that was wealthy compared
to Balkan standards. Today, the area is under UNESCO's protection as
a world architectural heritage site. The quarter's houses, almost to
the last one, belonged to merchant families that managed to
significantly increase their fortune over a few decades. Moreover,
they successfully created one of the most progressive urban
communities that served as a stepping stone to Bulgaria's
independence in the 1880s.
Ekaterina Terzieva, a Bulgarian journalist from Plovdiv, takes a peek
into the history of some of these houses, where human fates unfolded
simultaneously with melodrama characteristic of an opera libretto but
also with the flourish of a national epic.
The_Balabanova_House
The_Kuyumdzhioglu_Hous e
The_Hindilyanova_House
The_Nedkovich_House
The Balabanova House: Empire Style and à la frangi
One of the most famous houses in Plovdiv's Old Town - the Balabanova
House, was built at the beginning of the nineteenth century by
Panayot Lampsha, a merchant and moneylender. In style, it imitates
the wealthy Ottoman estates lining the Bosphorus's banks in Istanbul.
Its generous living space is divided in a manner common to the
nineteenth-century homes of the merchant class: the first floor is
dedicated to the family's private life, while the second, ceremonial
floor was occupied by a spacious social salon, surrounded by a series
of rooms of various designs.
In the Balabanova House, the official salon has views to the yard and
the street and it is accessible through an internal staircase.
Glassed-in like a winter garden, the airy room is similar to the
?divanhane', the formal hall for public gatherings in Turkish
architecture.
But that's about it when it comes to nods to the Orient. When Luka
Balabanov bought the house at the end of the nineteenth century, he
renewed its entire interior with objects imported from Europe: the
walnut table and Viennese, green-upholsered furniture in the salon,
the study's Austro-Hungarian fittings in the Empire style, the two
`gold' rooms with French furniture. The dining room, as an exception,
is filled with pieces from Sofia.
The fake windows in the four rooms, known as à la frangi, literally
meaning `according to the European way' are decorated with
landscapes, scenes and paintings that Balabanov had seen during his
trips to Western Europe, where he traded grain, textiles, and the
exotic but key for that-time Bulgaria rose oil.
There is no historical record of the reasons why the Balabanov family
left the house, but it was completely demolished in the 1930s. The
building that stands in its place now is a copy of the original
house, built in 1971.
The Kuyumdzhioglu House: Plovdiv's Baroque
Also known as the King's House, the house of Kuyumdzhioglu had a fate
filled with many twists and turns, before in 1938 hosting the town's
ethnographic museum.
It was built in 1847 for rich merchant Argir Kuyumdzhioglu.
Two-stories tall on its western side and four-stories tall on its
eastern side, the house is spread over 570 square metres and it is
one of the most splendid examples of that period's local urban
architecture.
Twelve rooms are arranged around its airy salons, one of which
reaches more than 18 metres in length. The official three-winged
staircase connecting to it serves as a great lead into the salon's
massive, wood-carved ceiling. Bulgarian architects say that its style
can be described as a local version of the Baroque Style.
After Bulgaria became independent, Argir Kuyumdzhioglu decided to
move to Istanbul. After he left, his home was first used as a girls'
boarding house (1989-1202), then it became Garabet Karagyozian's hat
factory, then a warehouse for storing flour and even a vinegar
factory. In 1930, it was bough by the tobacco merchant Antonio
Kolaro.
The Hindilyanova House: A Rose Water Fountain
One of the most magnificently furnished houses in Plovdiv's Old Town
belonged to Stepan Manug, a merchant of Armenian decent, who lived
during the Revival Period. Known for his trade contacts in India, the
city's Muslim community referred to him as Hindioglu.
During the house's 1834 construction, two painters from the town of
Chirpan - Moka and Mavrudi, painted its inside and outside over a
period of six months.
According to historians, when they painted the first floor, they
applied an innovative technique of using a pre-made paper mould. The
decoration of the second storey was more reminiscent of the Sisyphean
labour exerted in the Sistine Chapel - all the walls were painted by
hand.
The colouring followed the Oriental example and there was so much
creativity invested in the each of the ornaments that - according to
researchers, not one appears more than once.
Similarly to the Balabanova house, Hindioglu also had his à la frangi
painted with scenes of places he visited: from Alexandria in the East
to Venice in the West.
One of the impressive parts of the house is the marble-and-plaster
bathroom that is Bulgaria's only preserved city bathroom with running
hot and cold water from the time. It was made on the same principle
as the Roman hypocaust system - heating was provided by clay pipes
that were built into the floor and filled with hot air.
But the house's essence is contained in the second-floor marble
fountain. Placed in the midst of the domestic social life, it
circulated rose water - its smell dispersed around the neighbouring
yards and brought pleasure to the urban community.
Hindioglu left his house in 1915, when the Armenian population began
to be prosecuted by the Turks. His home became a shelter for Armenian
refugees. Because of that, the Taviani brothers recently used the
house as a shooting location for their film The Lark Farm[ital],
dedicated to the Armenian genocide at the beginning of the last
century.
The Nedkovich House: Plovdiv's Classicism
The house of Nikola Nedkovich, a textile merchant from Karlovo, was
considered as one of the strangest and most modern revivalist houses
at the time.
Built in the 1860s, it is also known as the House with the Medallions
- because of the three bas reliefs on its façade, crafted with the
delicacy of a cameo work. One is of the Nedkovich house itself, the
second is of a typical Balkan house and the third - an example of the
West European architecture at the time.
The three panels could be interpreted as the epitome of Plovdiv's
entire urban architecture: having its origins in the Orient, but
headed towards Europe, it developed mid-way between the East and
West.
>From a contemporary point of view, however, it is the Oriental
elements that contribute to Old Plovdiv's local colour. For example,
the so-called klyukarnik, or `gossip room', in the Nedkovich and
other houses served to bring pleasure to the female household
members. Its size was unimportant, judging from the mere two square
metres of space provided by the architects. They must have though
that, as long as there was a good view of the street, the women
gathered in the gossip room would not mind the fact that they were
rubbing elbows and sweating in the stuffy space while commenting on
the fates, hair and clothes of their neighbours, passing below on the
street.
Another eastern pleasure in the official salon on the second floor is
the so-called köþk[ital], a platform raised over the floor level,
where musicians would stand to perform.
If there is any doubt regarding the kinds of interactions they played
along to, it quickly vanishes with a look at the well-preserved
tête-à-tête - the special sofa accommodating only two occupants who
could sit to face each other.
Photos at
http://www.balkantravellers.com/en/read/article /350
From: Emil Lazarian | Ararat NewsPress
Feb 9 2008
Plovdiv: A Felicitous Stop on the Orient Express Route
During the Ottoman Empire's decline, merchants of rose oil, silk and
linen built one of Bulgaria's most impressive urban centres
In the middle of Djumaya - the square that marks the historical
centre of Plovdiv, stands a high pillar topped with the bronze,
gold-wreathed figure of Philip II of Macedon, the father of Alexander
the Great. Plovdiv's inhabitants believe they owe their city to him.
Had they been less filled with historical romanticism, in his place
there would have been a statue of the founder of Compagnie
Internationale des Wagons Lits. The international rail company's
decision in the mid-nineteenth century to build a rail line from
Europe to Istanbul through Plovdiv was the event that made the city
what it is today.
As part of the Ottoman Empire, Bulgaria had the advantage being of
geographically located near Central Europe. During the sixteenth
century many trade fairs took place on its territory, with the
Uzundzhovo Fair being the most significant among them.
`Uzundzhovo? Where is that?' - every other Bulgarian would ask today,
and had it not been for the Compagnie Internationale des Wagons Lits,
the question would have been `Plovdiv? Where is that?' The rail link
to the city was the reason why, in the mid-nineteenth century, the
Turkish city administration ceased bothering with the hassle of
maintaining the cobblestone road to Uzundzhovo near Haskovo, and
moved the fair to Plovdiv.
The city, rebuilt as Philippopolis in the fourth century BC, was
completely demolished several times during the following centuries.
According to historical accounts, when it was incorporated into the
Ottoman Empire in the fourteenth century, in was in pretty bad shape.
The cohabitation of a number of ethnic groups, including the
influential Muslim community, brought it back to life and gradually
turned it into a local trade centre. But it was the rail connection
and the fair's relocation that transformed Plovdiv into a regional
centre, quickly modernised it and added larger amounts of European
splendour to its previously Oriental existence.
In the following decades, the residential quarter built atop one of
Plovdiv's hills transformed into a complex that was wealthy compared
to Balkan standards. Today, the area is under UNESCO's protection as
a world architectural heritage site. The quarter's houses, almost to
the last one, belonged to merchant families that managed to
significantly increase their fortune over a few decades. Moreover,
they successfully created one of the most progressive urban
communities that served as a stepping stone to Bulgaria's
independence in the 1880s.
Ekaterina Terzieva, a Bulgarian journalist from Plovdiv, takes a peek
into the history of some of these houses, where human fates unfolded
simultaneously with melodrama characteristic of an opera libretto but
also with the flourish of a national epic.
The_Balabanova_House
The_Kuyumdzhioglu_Hous e
The_Hindilyanova_House
The_Nedkovich_House
The Balabanova House: Empire Style and à la frangi
One of the most famous houses in Plovdiv's Old Town - the Balabanova
House, was built at the beginning of the nineteenth century by
Panayot Lampsha, a merchant and moneylender. In style, it imitates
the wealthy Ottoman estates lining the Bosphorus's banks in Istanbul.
Its generous living space is divided in a manner common to the
nineteenth-century homes of the merchant class: the first floor is
dedicated to the family's private life, while the second, ceremonial
floor was occupied by a spacious social salon, surrounded by a series
of rooms of various designs.
In the Balabanova House, the official salon has views to the yard and
the street and it is accessible through an internal staircase.
Glassed-in like a winter garden, the airy room is similar to the
?divanhane', the formal hall for public gatherings in Turkish
architecture.
But that's about it when it comes to nods to the Orient. When Luka
Balabanov bought the house at the end of the nineteenth century, he
renewed its entire interior with objects imported from Europe: the
walnut table and Viennese, green-upholsered furniture in the salon,
the study's Austro-Hungarian fittings in the Empire style, the two
`gold' rooms with French furniture. The dining room, as an exception,
is filled with pieces from Sofia.
The fake windows in the four rooms, known as à la frangi, literally
meaning `according to the European way' are decorated with
landscapes, scenes and paintings that Balabanov had seen during his
trips to Western Europe, where he traded grain, textiles, and the
exotic but key for that-time Bulgaria rose oil.
There is no historical record of the reasons why the Balabanov family
left the house, but it was completely demolished in the 1930s. The
building that stands in its place now is a copy of the original
house, built in 1971.
The Kuyumdzhioglu House: Plovdiv's Baroque
Also known as the King's House, the house of Kuyumdzhioglu had a fate
filled with many twists and turns, before in 1938 hosting the town's
ethnographic museum.
It was built in 1847 for rich merchant Argir Kuyumdzhioglu.
Two-stories tall on its western side and four-stories tall on its
eastern side, the house is spread over 570 square metres and it is
one of the most splendid examples of that period's local urban
architecture.
Twelve rooms are arranged around its airy salons, one of which
reaches more than 18 metres in length. The official three-winged
staircase connecting to it serves as a great lead into the salon's
massive, wood-carved ceiling. Bulgarian architects say that its style
can be described as a local version of the Baroque Style.
After Bulgaria became independent, Argir Kuyumdzhioglu decided to
move to Istanbul. After he left, his home was first used as a girls'
boarding house (1989-1202), then it became Garabet Karagyozian's hat
factory, then a warehouse for storing flour and even a vinegar
factory. In 1930, it was bough by the tobacco merchant Antonio
Kolaro.
The Hindilyanova House: A Rose Water Fountain
One of the most magnificently furnished houses in Plovdiv's Old Town
belonged to Stepan Manug, a merchant of Armenian decent, who lived
during the Revival Period. Known for his trade contacts in India, the
city's Muslim community referred to him as Hindioglu.
During the house's 1834 construction, two painters from the town of
Chirpan - Moka and Mavrudi, painted its inside and outside over a
period of six months.
According to historians, when they painted the first floor, they
applied an innovative technique of using a pre-made paper mould. The
decoration of the second storey was more reminiscent of the Sisyphean
labour exerted in the Sistine Chapel - all the walls were painted by
hand.
The colouring followed the Oriental example and there was so much
creativity invested in the each of the ornaments that - according to
researchers, not one appears more than once.
Similarly to the Balabanova house, Hindioglu also had his à la frangi
painted with scenes of places he visited: from Alexandria in the East
to Venice in the West.
One of the impressive parts of the house is the marble-and-plaster
bathroom that is Bulgaria's only preserved city bathroom with running
hot and cold water from the time. It was made on the same principle
as the Roman hypocaust system - heating was provided by clay pipes
that were built into the floor and filled with hot air.
But the house's essence is contained in the second-floor marble
fountain. Placed in the midst of the domestic social life, it
circulated rose water - its smell dispersed around the neighbouring
yards and brought pleasure to the urban community.
Hindioglu left his house in 1915, when the Armenian population began
to be prosecuted by the Turks. His home became a shelter for Armenian
refugees. Because of that, the Taviani brothers recently used the
house as a shooting location for their film The Lark Farm[ital],
dedicated to the Armenian genocide at the beginning of the last
century.
The Nedkovich House: Plovdiv's Classicism
The house of Nikola Nedkovich, a textile merchant from Karlovo, was
considered as one of the strangest and most modern revivalist houses
at the time.
Built in the 1860s, it is also known as the House with the Medallions
- because of the three bas reliefs on its façade, crafted with the
delicacy of a cameo work. One is of the Nedkovich house itself, the
second is of a typical Balkan house and the third - an example of the
West European architecture at the time.
The three panels could be interpreted as the epitome of Plovdiv's
entire urban architecture: having its origins in the Orient, but
headed towards Europe, it developed mid-way between the East and
West.
>From a contemporary point of view, however, it is the Oriental
elements that contribute to Old Plovdiv's local colour. For example,
the so-called klyukarnik, or `gossip room', in the Nedkovich and
other houses served to bring pleasure to the female household
members. Its size was unimportant, judging from the mere two square
metres of space provided by the architects. They must have though
that, as long as there was a good view of the street, the women
gathered in the gossip room would not mind the fact that they were
rubbing elbows and sweating in the stuffy space while commenting on
the fates, hair and clothes of their neighbours, passing below on the
street.
Another eastern pleasure in the official salon on the second floor is
the so-called köþk[ital], a platform raised over the floor level,
where musicians would stand to perform.
If there is any doubt regarding the kinds of interactions they played
along to, it quickly vanishes with a look at the well-preserved
tête-à-tête - the special sofa accommodating only two occupants who
could sit to face each other.
Photos at
http://www.balkantravellers.com/en/read/article /350
From: Emil Lazarian | Ararat NewsPress