Adel Akar
October 25, 2026
The Alexander Sarcophagus, the Sarcophagus of the Mourning Women, the Statue of Tyche, the Statue of Emperor Hadrian and many other sites are among the most majestic features you could encounter when visiting the Archaeology Museum in Istanbul.
Despite its proximity to the Topkapı Palace this museum does not overflow with tourists, yet it displays invaluable artifacts once central to human life across various ancient epochs.
This summer I went to Istanbul specifically in order to contemplate the beauty of a statue depicting an official from Aphrodisias (c. 400 AD) that a famous art historian Ernst Gombrich discussed in his magnum opus, “The Story of Art.”
Frustrated that this pantheon of archaeology remains largely overlooked, I find it unfair that many people may never see those masterpieces in person. Therefore, I undertook this article for two simple purposes: to familiarise those who have never heard of the Istanbul Archaeological Museum with its history as well as some of its artifacts, and to delve into the time when archaeologist Osman Hamdi Bey’s (1842-1910) personal involvement led to the revival of the excavation series that eventually resulted in the discovery of world masterpieces.
Osman Hamdi Bey’s Professional Development
First, who was Osman Hamdi Bey, and why is he considered both an archaeologist and a painter? Why is he so important when discussing cultural legacy specifically? To understand why he had such an immense impact on Ottoman archaeology, we need to have a quick look at his family background.
I would especially like to draw your attention to Hamdi Bey’s father, Ibrahim Edhem Pasha, who through financial opportunities and his past life experiences, stimulated his son’s curiosity about art, while stifling his career ambitions in this field.
Hamdi Bey’s father was one of the first Ottoman officials who received his education in Europe. Later in life, he was appointed as Grand Vizier in the Empire. Overall, someone who held this rank had to advise the Sultan and serve as a right-hand man.
Despite being positioned so high in the political hierarchy, the family shared close ties with art in various ways. The father’s ability to send his child to travel abroad had also helped cultivate Hamdi Bey’s fascination with the art. After a trip to Vienna, young Hamdi Bey got inspired by visiting museums and decided that he wanted to pursue his education abroad.
By then, his predisposition towards the fine arts was already evident, but because his father wanted him to acquire a customary formal education, Hamdi Bey had to balance his studies with his artistic development. Since he was taught painting by prominent French artists in Paris, several of his works were recognised and exhibited.
This was the moment when Ibrahim Edhem began to be concerned with the future direction of his son’s professional career and started to pressure Hamdi Bey to return to Constantinople. The young artist tried to convince his father that he was accepted in the art circles and this was the reason why he should continue, but nothing could convince him. Ultimately, regardless of his return to Constantinople, the time Hamdi Bey had spent in Paris paved the way for his further painting career and for his bond with art that would help the ancient cultural heritage revive itself in the Imperial Museum.
It is worth mentioning that Hamdi Bey studied law in Paris. Although he did not end up obtaining a law degree, this knowledge came in handy later when he had to participate in drafting the new regulations and defending its principles afterwards.
During Hamdi Bey’s directorship, the museum became not only an exhibition place for phenomenal relics but also a stronghold of archaeological knowledge. Hamdi Bey invited several experts and specialists in order to foster expertise in ancient history. Furthermore, he initiated several archaeological excavations in Lagina (southwestern Türkiye), Sidon (known as Saida today in Lebanon), Myrina (Greece), and many other regions to establish a new status for the Ottoman Empire as a state that stood on equal footing with European countries in terms of historical legacy.
Osman Hamdi Bey’s Legislative Initiatives for Artifacts’s Protection
One of the most notable of Hamdi Bey’s achievements is his impact on the Ottoman legislature through his issuing of several laws regulating the preservation of antiquities.
For example, the 1884 regulation modified the earlier laws that did not impede the smuggling and damage of ancient artifacts in the Ottoman Empire.
The 1906 regulation was also codified in order to improve the preceding laws. However, this regulation faced resistance from the German officials who expressed their discontent regarding its content on antiquities, as it strictly prohibited exportation of the findings from the Ottoman land. Nevertheless, Hamdi Bey stood his ground and wrote, implicitly referring to territorial integrity, that the Ottoman Empire’s 1906 law on antiquities is a matter of “d’ordre interieur”, or internal affairs. This exemplified his solid readiness to assert the artifacts as an indisputable possession of the Ottoman Empire in spite of the steadfast international pressure and external political influence.
The Modern Years: World-Class Monuments
“Through these sarcophagi the names of Turkish archaeologists began to be heard for the first time in Europe,” writes Selin Adile Atıman about “The Sarcophagus of Alexander,” “The Sarcophagus of Crying Women” and “The Sarcophagus of King Tabnit.” The first two of them were mentioned at the very beginning of the article, so we are going to talk a little about the history behind their discovery and creation as well, and add a couple of other artifacts.
All of the aforementioned artifacts are exhibited within the Istanbul Archaeological Museum. Had Hamdi Bey not been active in preserving ancient heritage, who knows where these relics might have been dispersed now or when we would even know about their existence.
That is exactly why Osman Hamdi Bey is known as the father of Turkish museology. He made an incredible contribution to the attitude towards art in the Ottoman Empire, and immortalized himself in the history of archaeology.
Photo Source: Adel Akar