Among the spaces conveying rich information on Anatolian social structure, mosques occupy a special place. In pre-modern societies, village and small-town mosques were not only places of worship, but served as foci of education and sociability, hosting visitors or travellers on occasion. While the architecture of village mosques is usually very simple, the furnishings can be elaborate, turning these modest structures into mirrors reflecting village culture, and thereby the culture of the Ottoman periphery. The present article focuses on eighteenth- and nineteenth-century painted mosques in the Turkish province of Denizli and environs, which display a remarkable unity of style and iconography. In the secondary literature, these works of art usually appear as products of so-called ‘Westernization’. By contrast, this study argues that they are outputs of Ottoman popular culture. Tangible from the seventeenth century onwards, the sociocultural dynamics and life practices specific to the Ottoman periphery have given this artwork its peculiar form. Thus, this study encourages researchers to rethink Anatolian conservatism, as it demonstrates that in the pre-modern era, mosques were not the well-protected spaces, distant from everyday life that they are today. Rather, in the period under study, village mosques could be ‘ambiguous’ spaces seamlessly joining varying spheres of life and belief.

中文翻译：

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奥斯曼晚期周边的“流行”意象：代尼兹利省乡村清真寺的壁画

在传达有关安纳托利亚社会结构的丰富信息的空间中，清真寺占据了特殊的位置。在前现代社会，乡村和小镇清真寺不仅是礼拜场所，而且还是教育和社交活动的中心，有时会接待游客或旅行者。虽然乡村清真寺的建筑通常非常简单，但家具可以很精致，将这些朴素的结构变成反映乡村文化的镜子，从而反映奥斯曼周边地区的文化。本文重点介绍土耳其代尼兹利省及周边地区 18 世纪和 19 世纪的彩绘清真寺，这些清真寺展示了风格和图像的非凡统一。在二级文献中，这些艺术作品通常作为所谓“西化”的产物出现。相比之下，本研究认为它们是奥斯曼流行文化的产物。从 17 世纪开始，奥斯曼周边地区特有的社会文化动态和生活实践赋予了这件艺术品独特的形式。因此，这项研究鼓励研究人员重新思考安纳托利亚的保守主义，因为它表明在前现代时代，清真寺并不是受到良好保护的空间，远离今天的日常生活。相反，在研究期间，乡村清真寺可能是“模棱两可”的空间，无缝连接不同的生活和信仰领域。因为它表明在前现代时代，清真寺并不是受到良好保护的空间，远离今天的日常生活。相反，在研究期间，乡村清真寺可能是“模棱两可”的空间，无缝连接不同的生活和信仰领域。因为它表明在前现代时代，清真寺并不是受到良好保护的空间，远离今天的日常生活。相反，在研究期间，乡村清真寺可能是“模棱两可”的空间，无缝连接不同的生活和信仰领域。