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الفتى المتيم والمعلم
"يصل جهان، الفتى الهندي البالغ من العمر اثني عشر عامًا، إلى قصر توبكابي في اسطنبول مع هدية للسلطان: فيل أبيض صغير يُدعى شوتا.
في هذه المدينة، تتغير حياة جهان بفضل شخصيتين بارزتين: ابنة السلطان، مهرماه، التي تفتنه، والمعماري الشهير سنان الذي يتبنّى تدريبه على بناء المساجد والقصور والحمامات والمدارس والجسور، والأهم اكتشاف الذات وإعمار الروح.
رواية مذهلة تصحبنا شافاك من خلالها إلى القصور وجنائنه، حيث الحيوانات والمروضون والوزراء والخبثاء والجواري الحسان؛ وإلى هذه المدينة/ البوتقة التي تنصهر فيها الأديان والثقافات وتختلط فيها ألوان الفقر والجريمة؛ وإلى دواخل النفس المظلمة والمشرقة في آن..."
في هذه المدينة، تتغير حياة جهان بفضل شخصيتين بارزتين: ابنة السلطان، مهرماه، التي تفتنه، والمعماري الشهير سنان الذي يتبنّى تدريبه على بناء المساجد والقصور والحمامات والمدارس والجسور، والأهم اكتشاف الذات وإعمار الروح.
رواية مذهلة تصحبنا شافاك من خلالها إلى القصور وجنائنه، حيث الحيوانات والمروضون والوزراء والخبثاء والجواري الحسان؛ وإلى هذه المدينة/ البوتقة التي تنصهر فيها الأديان والثقافات وتختلط فيها ألوان الفقر والجريمة؛ وإلى دواخل النفس المظلمة والمشرقة في آن..."
608 pages, Paperback
First published January 1, 2013
3262 people are currently reading
49258 people want to read
About the author
Elif Shafak
63 books32.5k followersElif Shafak is an award-winning British-Turkish novelist and the most widely read female author in Turkey. She writes in both Turkish and English, and has published seventeen books, eleven of which are novels. Her work has been translated into fifty languages. Shafak holds a PhD in political science and she has taught at various universities in Turkey, the US and the UK, including St Anne's College, Oxford University, where she is an honorary fellow. She is a member of Weforum Global Agenda Council on Creative Economy and a founding member of ECFR (European Council on Foreign Relations). An advocate for women's rights, LGBT rights and freedom of speech, Shafak is an inspiring public speaker and twice a TED Global speaker, each time receiving a standing ovation. Shafak contributes to major publications around the world and she has been awarded the title of Chevalier des Arts et des Lettres. In 2017 she was chosen by Politico as one of the twelve people who would make the world better. She has judged numerous literary prizes and is chairing the Wellcome Prize 2019. www.elifshafak.com
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Displaying 1 - 30 of 3,222 reviews
April 13, 2022
‘no one told us that love was the hardest craft to master.’
this book has been sitting on my shelf for years. i have avoided picking it up because how dense it is. but after deciding i had neglected it for far too long, i realised that reading this is a labour of love.
this book takes time and effort and patience. just as the architects apprentice put in the work to build the many mosques of istanbul brick by brick, so too must the reader invest in his story page by page. only then can you appreciate what a masterpiece it is.
ES has designed and constructed a tale worth reading and admiring.
↠ 5 stars
this book has been sitting on my shelf for years. i have avoided picking it up because how dense it is. but after deciding i had neglected it for far too long, i realised that reading this is a labour of love.
this book takes time and effort and patience. just as the architects apprentice put in the work to build the many mosques of istanbul brick by brick, so too must the reader invest in his story page by page. only then can you appreciate what a masterpiece it is.
ES has designed and constructed a tale worth reading and admiring.
↠ 5 stars
April 29, 2016
لو اتخذنا من الترجمات العربية مصدرًا للحكم ، لوجدنا تطور ملحوظ في أسلوب شافاك الروائي، ورغم عشقي الشخصي لرائعتها (لقيطة استانبول) فإني أرى في هذه الرواية الأفضل فيما كتبت إلى الآن، وكالعادة فإن أشهر أعمالها هي الأسوأ من وجهة نظري.
شافاك تنتمي إلى طائفة الروائيين خفيفي الظل ، أصحاب الحضور المميز ، والقبول الطاغي لدى القارئ ، ولكن لا تتوقع منهم روايات عظيمة تُسجل في ذاكرة التاريخ ، فهي لن تفوز مثلًا بنوبل ولكن كتبها تحقق مبيعات محترمة ، فكأنها صفقة بين طائفة نالت المجد وأخرى نالت الشهرة.
المهم : نحن أمام رواية بسيطة للغاية ، بديعة الزمان ظريفة الشخصيات ، رواية طويلة للغاية (600صفحة) ولكنك ستنتهي منها بسرعة قياسية (أخذت مني قرابة العشر ساعات قراءة ) ، النمط التقليدي من الرواية ، يقدم لك الأحداث بكل وضوح ، بشرح وافٍ لظروفها وتتابعها، بإمعان في الوصف خلًاب.
الرواية ببساطة بتحكي عن زمن العثمانيين ، ودولتهم العظيمة ، بتحكي عن قصور لم نرها وقباب لم نحضرها ومساجد بلغت المجد والعظمة، بتحكي عن سحر السلطة وقوتها التي تدفع المرء لقتل فلذات أكباده ، وتدفع الأخوة لشنق إخوانهم ، بتحكي عن أمة عظيمة ومدينة أعظم تُسمى اسطنبول.
اسطنبول : مدينة كل الحضارات وملتقى القارات والشعوب ، عاصمة الدنيا والدين ، تتابعت عليها الامبراطوريات وحكمها الملوك والسلاطين ، وفنوا هم وبقت هي شامخة عنيدة ، تحتوي البشر كاحتواء أم حنون تقسو أحيانًا.
الرواية بتبدأ بحادثة مريبة لمقتل أطفال وتختم الكاتبة الفصل لتبدأ في آخر ، لتبدأ في قصة فتى صغير يدعي كذبًا أنه مرّوض فيل أُرسل هدية ، لنعيش حياة الفيل كاملة ونحضر تطورات حياة الصبي بكل تفاصيلها وأحداثها ، نحضر اقترابه من سنان باشا ، أعظم معماري الحضارة العثمانية ومؤسس مبانيهم الضخمة من مساجد قبور لقصور ، رجل عاش من العمر قرن كامل ، شيد خلاله المئات من المباني العظيمة التي حملت توقيعه وبقيت شاهدة على دولة بلغت من المجد أوجه.
جاهان : صبي ، ولص ، وسائس فيل ، ومعماري تتلمذ على يد سنان واحبه كأبيه ، عاشق لابنة السلطان وأقوى حريم السلطنة ،وكانت هي تراه مغفلها العزيز ، عاش في كنف القصر وبين مروضي الحيوانات و عمال البناء ، وفي النهاية خُدع فهرب من حياته كاملة ليبني حياة أخرى.
تبدأ الرواية من عصر السلطان سليمان أعظم خلفاء العثمانيين عبر تاريخهم الطويل ، وواحد من أقوى حكامهم ، صاحب المعارك الدامية والطموح اللانهائي ، بدأت الرواية بفترة قوة السلطنة ليعيش الفتى وفيله خلالها وتتوطد علاقته بأعظم معماريها ، وعندما يموت السلطان يتتابع خلفاءه ، بين قوي وضعيف لتعيش السلطنة فترة ضعف ولكنها تظل محافظة على قوامها الرئيس.
البراعة في الرواية هي قدرة الكاتبة على أن تنقلك لتعيش في زمنها ، فالكاتبة بكل نجاح استطاعت أن تنقل العصر لك كاملًا ، لترى بعينك عظمة السلطنة وقوة الحكام ، لترى براعة المعمار وتطاول البنيان ، لترى أسلوب معيشة كامل وتعايش معه ، بكل حسناته وسيئاته.
وتفيض الكاتبة في وصف مدينتها الأثيرة : اسطنبول ،العظمة مجسدة ، عظمة التاريخ ، وعظمة السكان ، المديتة المبتلاة بالمصائب دائمًا القادرة على البقاء في وجهها ، والكاتبة تهيم بها عشقًا ، عشقًا ترجمته بكل نجاح لأعمال أدبية بديعة.
الكاتبة تحب المدينة ، تكره حكامها ، تصف عظمتها ، تنقد تاريخها الأسود ، تقدمها بكل صدق ، لتترك للقارئ حكمه الشخصي البحت.
تفاصيل السرد ممتعة ، تفاصيل مبهجة، الكاتبة لم تترك شاردة أو واردة إلا وألقت عليها الضوء ، والوصف كان جميل مبهج ، كبهجة الزمن المراد من العمل .
الترجمة عظيمة ، والنسخة العربية في غاية الجودة.
August 3, 2025
Un roman greu de rezumat în două cuvinte. Nu poți spune că este romanul unei iubiri interzise (deși e și asta), nici romanul unei ucenicii (deși e și asta), nici romanul soluționării unor întîmplări enigmatice (deși e și asta). Modelul lui a fost, probabil, Mă numesc Roșu, capodopera lui Orhan Pamuk. Din păcate, Ucenicul arhitectului nu are strălucirea literară a modelului. În plus, îi lipsește aproape cu desăvîrșire tensiunea. Acțiunea lîncezește. Nu-l poți citi cu sufletul la gură.
Ca să vorbesc franc, acesta e principalul meu reproș. Rămîi mereu cu impresia că Jahan e privegheat de un destin binevoitor și că toate peripețiile prin care trece nu-i pun, de fapt, viața în primejdie. Prietenii îl salvează exact cînd trebuie și de cîte ori trebuie. Cînd ajunge la ananghie, destinul (care aici poartă numele nomadului Balaban) îl apucă de ciuf și-l trage afară din groapă. Mai mult, Jahan nu are vreo însușire ieșită din comun, e un ins mediocru, șters. Măcar Yusuf (e femeie) îl iubește pe marele arhitect al seraiului, Mimar Sinan, cu o iubire disperată. Yusuf riscă. În schimb, Jahan iubește modic, ia totul așa cum e (ah, destinul!) și, cînd e deprimat (fiindcă prințesa Mihrimah se mărită), pornește într-o scurtă călătorie la Roma, să-l întîlnească pe Michelangelo și să-i înmîneze o scrisoare, primește răspunsul și se liniștește. Altfel spus, iubirea lui e sălcie. Nu-l face nici mai bun (oricum e bun), nici mai ambițios, nici mai îndrăzneț. Cînd accepți totul fără să clipești, nu poți trezi simpatia cititorilor.
Singurul personaj aprig e temuta Hürrem (Roxelana), dar împărăteasa apare de prea puține ori în paginile romanului. În 2014, era la modă din pricina serialului despre Soliman Magnificul. Mult mai interesantă e doica prințesei Mihrimah, dada Hesna Khatun, cea care, dintr-un devotament orb, fanatic față de Mihrimah, trage sforile acțiunii fără s-o determine decisiv. Mi-aș fi dorit un erou mînat de exces. Nu l-am găsit...
În schimb, am găsit cîteva fraze care mi-au plăcut. Cea dintîi: „Leul privea dintr un colţ, cu ochii ca două aşchii de citrin întunecat”. Și încă una: „Jahan înţelese că viaţa e suma alegerilor pe care nu le faci”.
Un roman acceptabil, dar nu mai mult...
Ca să vorbesc franc, acesta e principalul meu reproș. Rămîi mereu cu impresia că Jahan e privegheat de un destin binevoitor și că toate peripețiile prin care trece nu-i pun, de fapt, viața în primejdie. Prietenii îl salvează exact cînd trebuie și de cîte ori trebuie. Cînd ajunge la ananghie, destinul (care aici poartă numele nomadului Balaban) îl apucă de ciuf și-l trage afară din groapă. Mai mult, Jahan nu are vreo însușire ieșită din comun, e un ins mediocru, șters. Măcar Yusuf (e femeie) îl iubește pe marele arhitect al seraiului, Mimar Sinan, cu o iubire disperată. Yusuf riscă. În schimb, Jahan iubește modic, ia totul așa cum e (ah, destinul!) și, cînd e deprimat (fiindcă prințesa Mihrimah se mărită), pornește într-o scurtă călătorie la Roma, să-l întîlnească pe Michelangelo și să-i înmîneze o scrisoare, primește răspunsul și se liniștește. Altfel spus, iubirea lui e sălcie. Nu-l face nici mai bun (oricum e bun), nici mai ambițios, nici mai îndrăzneț. Cînd accepți totul fără să clipești, nu poți trezi simpatia cititorilor.
Singurul personaj aprig e temuta Hürrem (Roxelana), dar împărăteasa apare de prea puține ori în paginile romanului. În 2014, era la modă din pricina serialului despre Soliman Magnificul. Mult mai interesantă e doica prințesei Mihrimah, dada Hesna Khatun, cea care, dintr-un devotament orb, fanatic față de Mihrimah, trage sforile acțiunii fără s-o determine decisiv. Mi-aș fi dorit un erou mînat de exces. Nu l-am găsit...
În schimb, am găsit cîteva fraze care mi-au plăcut. Cea dintîi: „Leul privea dintr un colţ, cu ochii ca două aşchii de citrin întunecat”. Și încă una: „Jahan înţelese că viaţa e suma alegerilor pe care nu le faci”.
Un roman acceptabil, dar nu mai mult...
Read
May 24, 2016عندما يغتال المترجم النص...
طيب
أنا بدأت في الراوية دي تحديدا عشان أبتهج
ولكن وبعد كام صفحة
محستش بكده إطلاقا
ومش في مزاج أصبر عليها حاليا
فالرواية هتتأجل دلوقت
ولكن علشان البهجة
فأنا هسيبكوا مع التشكيلة دي من ال
elephant art
لأني بيتهيألي إن الفيل هو اللي هيفضلي م الراوية دي
:D
وإلى قراءة ثم مراجعة قريبة
:
:
April 15, 2018
Episodic. Informative, often fun, but still episodic
My wife, who has been reading this in tandem with me for a book club, made the most generous and perceptive remark. “Shafak is obviously channeling an earlier tradition of oral storytelling,” she said, “and her book should be judged accordingly.” She is right. This sprawling story of Jahan, an Indian boy who arrives in Istanbul at the height of the Ottoman Empire as the mahout for a white elephant and stays to become a favored apprentice of the leading architect of the time has something of the fascination of the Arabian Nights. It is easy to read, and rich in the detail of sights, sounds, tastes, and smells. There are dangers and intrigues, calamities and lucky escapes. It should have been a breeze to get through its 400-plus pages. Only it wasn’t. Well before the quarter-way mark, it had become a slog.
The reason is just what my wife says. As in the oral tradition it imitates, or like Scheherazade’s Thousand and One Nights, the book is made up of numerous separate episodes that each occupy a dozen pages or so, but barely connect into a larger whole. Scheherazade at least kept her Sultan waiting on a cliff’s edge before resuming the next night. Shafak does not even do that; each episode is wrapped up neatly at the end of its section. Go on to the next—why not? But then again: why? The book can give much pleasure while you are actually reading, but it offers little incentive to keep going. It simply lacks momentum—and in a novel, this is a fatal flaw.
As a case in point, a third of the way into the story, the Royal Architect sends Jahar and another apprentice to Rome. While there, they make drawings of the construction of St. Peter’s and many other buildings, and after many failed attempts finally get in to see the great Michelangelo, who writes a letter to their master. But on the way home, they are robbed; their drawings, books, and the precious letter are stolen. And that’s all, except for a brief mention at the end of the book. This is one of the richer, better-developed episodes, but it is as though it had never been. Time passes, and we move on to other things—and others, and still others.
Jahan falls in love with a princess, far beyond his reach; he finds favor with the Sultan, then loses it; he rides into battle on his elephant, Chota, and experiences defeat; he helps in the construction of magnificent buildings; he is thrown into prison; he has more lucky escapes than Aladdin. To describe a small portion of the book is to whet the literary taste buds. But that takes no account of indigestion. The novel is like a kebab with too many flavorsome tidbits threaded on too long and far too thin a skewer.
Nonetheless, there were two things that kept me going. One was the colorful quality of Shafak’s writing and her sense of place; there is no mention of a translator, so I assume that the English is her own. Here is Jahan’s arrival in Istanbul, leading his elephant:
Suleiman I, with his elephant and Sinan’s Süleymaniye mosque. Engravings by the Danish artist Melchior Lorck or Lorichs, who appears as a character in the novel.
The other element to capture my interest was the way Shafak weaves true history into her imagined tale (although she admits in an afterword to switching a few things around). Her inspiration, she tells us, was a portrait engraving of Sultan Suleiman I (reigned 1520–66), with an elephant in the background (see above). Mimar Sinan, the Royal Architect, was also a real figure, living from 1488 to 1588 (yes), and designing over 300 major buildings. Two of them play an important part in the story, the Süleymaniye and Sokollu Mehmed Pasha mosques in Istanbul and the lovely Selimiye mosque In Edirne. The ability to look at photos of these while reading only enhances the color of Elif Shafak’s words.
Sinan’s Sokollu Mehmed Pasha mosque in Istanbul.
Dome and . . .
. . . interior of Sinan’s Selimiye mosque in Edirne.
Though he is not a demonstrative figure, the reader’s growing awareness of Sinan’s kindness and paternal concern for his apprentices is one theme that does maintain a steady development throughout the book. Much more so than the thin threads of mystery such as various unexplained accidents and the theft of Michelangelo’s letter, which neither build much tension nor reach a satisfactory conclusion.
It stretches belief a little that a young architect with increasing responsibilities should also be working as a trainer in the royal menagerie. But the multifaceted variety is essential to Shafak’s method. A reader who can’t accept things like that will not get much out of her book. Probably, I was not that reader; in terms of my own absorption, the book was barely three stars. But with an eye to the pleasures on offer to readers who care less about tight structure in a novel, I will happily round that up.
My wife, who has been reading this in tandem with me for a book club, made the most generous and perceptive remark. “Shafak is obviously channeling an earlier tradition of oral storytelling,” she said, “and her book should be judged accordingly.” She is right. This sprawling story of Jahan, an Indian boy who arrives in Istanbul at the height of the Ottoman Empire as the mahout for a white elephant and stays to become a favored apprentice of the leading architect of the time has something of the fascination of the Arabian Nights. It is easy to read, and rich in the detail of sights, sounds, tastes, and smells. There are dangers and intrigues, calamities and lucky escapes. It should have been a breeze to get through its 400-plus pages. Only it wasn’t. Well before the quarter-way mark, it had become a slog.
The reason is just what my wife says. As in the oral tradition it imitates, or like Scheherazade’s Thousand and One Nights, the book is made up of numerous separate episodes that each occupy a dozen pages or so, but barely connect into a larger whole. Scheherazade at least kept her Sultan waiting on a cliff’s edge before resuming the next night. Shafak does not even do that; each episode is wrapped up neatly at the end of its section. Go on to the next—why not? But then again: why? The book can give much pleasure while you are actually reading, but it offers little incentive to keep going. It simply lacks momentum—and in a novel, this is a fatal flaw.
As a case in point, a third of the way into the story, the Royal Architect sends Jahar and another apprentice to Rome. While there, they make drawings of the construction of St. Peter’s and many other buildings, and after many failed attempts finally get in to see the great Michelangelo, who writes a letter to their master. But on the way home, they are robbed; their drawings, books, and the precious letter are stolen. And that’s all, except for a brief mention at the end of the book. This is one of the richer, better-developed episodes, but it is as though it had never been. Time passes, and we move on to other things—and others, and still others.
Jahan falls in love with a princess, far beyond his reach; he finds favor with the Sultan, then loses it; he rides into battle on his elephant, Chota, and experiences defeat; he helps in the construction of magnificent buildings; he is thrown into prison; he has more lucky escapes than Aladdin. To describe a small portion of the book is to whet the literary taste buds. But that takes no account of indigestion. The novel is like a kebab with too many flavorsome tidbits threaded on too long and far too thin a skewer.
Nonetheless, there were two things that kept me going. One was the colorful quality of Shafak’s writing and her sense of place; there is no mention of a translator, so I assume that the English is her own. Here is Jahan’s arrival in Istanbul, leading his elephant:
In every street through which they passed, people moved aside in fright and delight. Women drew their babies close; mendicants hid their begging bowls; old men grabbed their canes as though in defence. Christians made the cross; Muslims recited surahs to chase Sheitan away; Jews prayed benedictions; Europeans looked half amused, half awed. A big brawny Kazakh went pale, as though he had just seen a spectre. There was something so infantile in the man’s fright that Jahan could not help but chuckle. Children, only they, stared up with sparkling eyes, pointing at the white beast.
Suleiman I, with his elephant and Sinan’s Süleymaniye mosque. Engravings by the Danish artist Melchior Lorck or Lorichs, who appears as a character in the novel.
The other element to capture my interest was the way Shafak weaves true history into her imagined tale (although she admits in an afterword to switching a few things around). Her inspiration, she tells us, was a portrait engraving of Sultan Suleiman I (reigned 1520–66), with an elephant in the background (see above). Mimar Sinan, the Royal Architect, was also a real figure, living from 1488 to 1588 (yes), and designing over 300 major buildings. Two of them play an important part in the story, the Süleymaniye and Sokollu Mehmed Pasha mosques in Istanbul and the lovely Selimiye mosque In Edirne. The ability to look at photos of these while reading only enhances the color of Elif Shafak’s words.
Sinan’s Sokollu Mehmed Pasha mosque in Istanbul.
Dome and . . .
. . . interior of Sinan’s Selimiye mosque in Edirne.
Though he is not a demonstrative figure, the reader’s growing awareness of Sinan’s kindness and paternal concern for his apprentices is one theme that does maintain a steady development throughout the book. Much more so than the thin threads of mystery such as various unexplained accidents and the theft of Michelangelo’s letter, which neither build much tension nor reach a satisfactory conclusion.
It stretches belief a little that a young architect with increasing responsibilities should also be working as a trainer in the royal menagerie. But the multifaceted variety is essential to Shafak’s method. A reader who can’t accept things like that will not get much out of her book. Probably, I was not that reader; in terms of my own absorption, the book was barely three stars. But with an eye to the pleasures on offer to readers who care less about tight structure in a novel, I will happily round that up.
February 10, 2017
The Architect's Apprentice is the latest historical novel by Turkish author Elif Shafak The author said that that a 1559 painting of Sultan Sulieman standing, an elephant in the background was the inspiration of the novel.
The story goes as the indian boy Jahan sneaks into a ship that traveled to istanbul to deliver an "elephant" a gift from the Maharaja to the Sultan. Then he became the tamer of the elephant at the Sultan's Palace.
The elephant then joins the chief Ottoman Architect Sinan, to transfer the tools in construction sites. The elephant becomes the reason of the friendship between Jahan and Sinan.
Jahan is a fictional character, however Sinan was the most famous and iconic architects's in the ottoman era. He lived in the 16th century and served successively three Sultans in 50 years.
In his time, his work has been compared to the genius work of Italian architect and engineer Michelangelo.
Sinan, better known Mimar Sinan (meaning the architect Sinan) created the first multi-dome mosques. His most important works are: the Selimiye Mosque, Suleymaniye Complex, Mihrimah Sultan Mosque, Church of the Assumption in Uzundzhovo and the bridge on the Drina River in Bosnia and Herzegovina.
Mimar Sinan also contributed in renovating Al-Masjid Al-Haram in Mecca and also the designs of Taj Mahal in India.
The novel pace is fast, it's a mixture of Suspense, romance, spirituality, and adventure.
My rating is 4/5
"تلميذ المعماري" أو "صبي المعماري" هي أحدث رواية تاريخية صدرت للكاتبة التركية أليف شافاق.
تذكر الكاتبة أن مصدر الهام الرواية جاء عندما رأت لوحة للسلطان سليمان يقف وخلفه فيل هندي. تعود اللوحة لعام ١٥٥٩م.
تتناول الرواية قصة صبي هندي يقوم مصادفةً برحلة لإسطنبول لإيصال "فيل" هدية من المهراجا إلى السلطان سليمان، ثم يصبح الصبي مروض الفيل في قصر السلطان.. بعد ذلك ينضم الصبي إلى كبير المعماريين "سنان آغا" حيث يتخذ الفيل وسيلة لنقل أدوات البناء. ويكون الفيل سببًا في الصداقة التي تنشأ بين الصبي وسنان.
القصة خيالية ولكنها ممزوجة بأحداث وشخصيات تاريخية عريقة، فالمعماري "سنان آغا" يعتبر من أهم المهندسين المعماريين في عهد الدولة العثمانية. عاش "سنان آغا" خلال فترة ازدهار اسطنبول في القرن السادس عشر، وخدم الإمبراطورية العثمانية تحت ظل حكم ٣ سلاطين وعلى مدار ٥٠ عامًا.
كانت أعماله المعمارية تقارن بالايطالي مايكل أنجلو صاحب أكبر اسم فني في الحضارة الاوروبية، بل كانت تفوق هندسته أي معماري في ذلك الزمان.
بدأ "سنان" دراسة زيادة عدد القبب في المباني (والمساجد)، في ذلك الوقت لم يتمكن أي معماري من بناء مبنى ذو قبب متعددة. في النهاية تمكن من بناء مسجد بقبب متعددة.
من أهم أعماله: مسجد السليمانية، مسجد سليمان القانوني (الذي يطل على البوسفور)، جسر محمد باشا، جسر نهر درينا في البوسنة والهرسك، وتوجد له كذلك عدة مباني في دمشق.
وكله السلطان سليم الثاني بتجديد صحن الحرم المكي، فكان الرواق العثماني من أبرز التغييرات، والذي تميز بتعدد القبب.
ومن أهم وآخر أعمال المعماري "سنان آغا" المشاركة في تصميم "تاج محل" في الهند.
تتسم الرواية بتسارع الأحداث، وتحدث في داخل القصر، في مواقع البناء، في أرض الحروب وكذلك تنقلنا الكاتبة لإيطاليا حيث يقابل مساعدوا "سنان" المهندس المعماري الايطالي مايكل أنجلو.
تقييمي للرواية ٤/٥
لم تتم ترجمة الرواية للعربية، ومن المتوقع أن تصدر عن دار الآداب والتي نشرت ٤ روايات سابقة للكاتبة.
The story goes as the indian boy Jahan sneaks into a ship that traveled to istanbul to deliver an "elephant" a gift from the Maharaja to the Sultan. Then he became the tamer of the elephant at the Sultan's Palace.
The elephant then joins the chief Ottoman Architect Sinan, to transfer the tools in construction sites. The elephant becomes the reason of the friendship between Jahan and Sinan.
Jahan is a fictional character, however Sinan was the most famous and iconic architects's in the ottoman era. He lived in the 16th century and served successively three Sultans in 50 years.
In his time, his work has been compared to the genius work of Italian architect and engineer Michelangelo.
Sinan, better known Mimar Sinan (meaning the architect Sinan) created the first multi-dome mosques. His most important works are: the Selimiye Mosque, Suleymaniye Complex, Mihrimah Sultan Mosque, Church of the Assumption in Uzundzhovo and the bridge on the Drina River in Bosnia and Herzegovina.
Mimar Sinan also contributed in renovating Al-Masjid Al-Haram in Mecca and also the designs of Taj Mahal in India.
The novel pace is fast, it's a mixture of Suspense, romance, spirituality, and adventure.
My rating is 4/5
"تلميذ المعماري" أو "صبي المعماري" هي أحدث رواية تاريخية صدرت للكاتبة التركية أليف شافاق.
تذكر الكاتبة أن مصدر الهام الرواية جاء عندما رأت لوحة للسلطان سليمان يقف وخلفه فيل هندي. تعود اللوحة لعام ١٥٥٩م.
تتناول الرواية قصة صبي هندي يقوم مصادفةً برحلة لإسطنبول لإيصال "فيل" هدية من المهراجا إلى السلطان سليمان، ثم يصبح الصبي مروض الفيل في قصر السلطان.. بعد ذلك ينضم الصبي إلى كبير المعماريين "سنان آغا" حيث يتخذ الفيل وسيلة لنقل أدوات البناء. ويكون الفيل سببًا في الصداقة التي تنشأ بين الصبي وسنان.
القصة خيالية ولكنها ممزوجة بأحداث وشخصيات تاريخية عريقة، فالمعماري "سنان آغا" يعتبر من أهم المهندسين المعماريين في عهد الدولة العثمانية. عاش "سنان آغا" خلال فترة ازدهار اسطنبول في القرن السادس عشر، وخدم الإمبراطورية العثمانية تحت ظل حكم ٣ سلاطين وعلى مدار ٥٠ عامًا.
كانت أعماله المعمارية تقارن بالايطالي مايكل أنجلو صاحب أكبر اسم فني في الحضارة الاوروبية، بل كانت تفوق هندسته أي معماري في ذلك الزمان.
بدأ "سنان" دراسة زيادة عدد القبب في المباني (والمساجد)، في ذلك الوقت لم يتمكن أي معماري من بناء مبنى ذو قبب متعددة. في النهاية تمكن من بناء مسجد بقبب متعددة.
من أهم أعماله: مسجد السليمانية، مسجد سليمان القانوني (الذي يطل على البوسفور)، جسر محمد باشا، جسر نهر درينا في البوسنة والهرسك، وتوجد له كذلك عدة مباني في دمشق.
وكله السلطان سليم الثاني بتجديد صحن الحرم المكي، فكان الرواق العثماني من أبرز التغييرات، والذي تميز بتعدد القبب.
ومن أهم وآخر أعمال المعماري "سنان آغا" المشاركة في تصميم "تاج محل" في الهند.
تتسم الرواية بتسارع الأحداث، وتحدث في داخل القصر، في مواقع البناء، في أرض الحروب وكذلك تنقلنا الكاتبة لإيطاليا حيث يقابل مساعدوا "سنان" المهندس المعماري الايطالي مايكل أنجلو.
تقييمي للرواية ٤/٥
لم تتم ترجمة الرواية للعربية، ومن المتوقع أن تصدر عن دار الآداب والتي نشرت ٤ روايات سابقة للكاتبة.
August 15, 2022
This story is set during the Ottoman Empire, bringing the opulence as well as barbarism of the time. The architect of the story is Mimar Sinan, who created some of the most magnificent buildings in history. His apprentice is a fictional character.
The times are very complicated. There is a lot of intrigue, jealousy, and adventure. Not necessarily something that engrosses me.
The detailed descriptions are overwhelming the story, slowing the pace tremendously. There is a lot going on, and before the plot moves forward, it makes the story stand still for a long time of periods.
The sense of place is very rich. The story telling is very authentic, and at the same time not easy to read. The story is more of a plot-driven, but with those rich descriptions the tensions seem to be lost.
I loved the Forty Rules of Love by this author, which was much more to the point story. The Architect’s Apprentice is very atmospheric and highly imaginative. Even though, I like philosophical approach, this story lost me.
The times are very complicated. There is a lot of intrigue, jealousy, and adventure. Not necessarily something that engrosses me.
The detailed descriptions are overwhelming the story, slowing the pace tremendously. There is a lot going on, and before the plot moves forward, it makes the story stand still for a long time of periods.
The sense of place is very rich. The story telling is very authentic, and at the same time not easy to read. The story is more of a plot-driven, but with those rich descriptions the tensions seem to be lost.
I loved the Forty Rules of Love by this author, which was much more to the point story. The Architect’s Apprentice is very atmospheric and highly imaginative. Even though, I like philosophical approach, this story lost me.
June 26, 2015
هنا ملحمة الحب : حب التعلم وتعلم الحب .
رواية خلابة ، بـ حكايا متعددة سردت بـ شكلٍ ممتع ..
ذات صباح في اسطنبول القرن السادس عشر وصل جهان صبي هندي وبصحبته فيل أبيض هدية من سلطان الهند المغولي همايون .
في اسطنبول أصبح مروضاً للفيل وتلميذاً للمعلم والمعماري سنان وعقد صداقة غريبة مع زعيم الغجر ووقع في الحب ..
في قواعد العشق الأربعون نفذت الرواية الى الروح وسكنت القلوب بشكل فوري لكن هنا تسللت ببطء وتسربت بهدوء ..
هنا تعددت القصص والحكايا : المعماري سنان ، جهان الفتى الهندي ، يوسف التلميذ الصامت ، وخيانة لن تكشف بسهولة ..
في موضوع جانبي لكنه يسيطر على تفكيري لمَ ينتصر الجهلة في الغالب ؛ في أزمنة سابقة وصف الرازي وابن سينا بالملحدين وحتى تم تكفيرهم ، أحرقت كتب ابن رشد وسجن جاليلو وأحرق كوبرنيكوس وقتل العشرات بتهم واهية كالزندقة والهرطقة ... إلخ
هنا حورب رئيس المعماريين الملكي سنان لسنوات طوال خربت المشاريع واستخدمت جميع أساليب التهديدات ، اﻻتهامات والشائعات حورب من قبل شخصيات معروفة وآخرين مجهولين .. لكنه خرج منها بأقل الخسائر لكن الجميع لم يكونوا محظوظين مثله ، تقي الدين رئيس الفلكيين الملكي خسر كل شيء كتبه ومرصده وخريطته التي أفنى عمره في العمل عليها .
قوة في السرد ووضوح في الرؤية تميز الفتى المتيم والمعلم رغم كثرة القصص والحكايا والتنقلات الزمنية ويجمعها عبق صوفي ..
حتى الصفحات الاخيرة كنت على يقين أنني سـ أمنح الرواية 4 نجمات لكن يمكن للصفحات القليلة في نهاية قصة جهان أن تغير كل شيء محولة عملاً كان جيداً وعلى عتبات الروعة إلى عمل استثنائي .
للمرة الثانية شكراً إليف .
رواية خلابة ، بـ حكايا متعددة سردت بـ شكلٍ ممتع ..
ذات صباح في اسطنبول القرن السادس عشر وصل جهان صبي هندي وبصحبته فيل أبيض هدية من سلطان الهند المغولي همايون .
في اسطنبول أصبح مروضاً للفيل وتلميذاً للمعلم والمعماري سنان وعقد صداقة غريبة مع زعيم الغجر ووقع في الحب ..
في قواعد العشق الأربعون نفذت الرواية الى الروح وسكنت القلوب بشكل فوري لكن هنا تسللت ببطء وتسربت بهدوء ..
هنا تعددت القصص والحكايا : المعماري سنان ، جهان الفتى الهندي ، يوسف التلميذ الصامت ، وخيانة لن تكشف بسهولة ..
في موضوع جانبي لكنه يسيطر على تفكيري لمَ ينتصر الجهلة في الغالب ؛ في أزمنة سابقة وصف الرازي وابن سينا بالملحدين وحتى تم تكفيرهم ، أحرقت كتب ابن رشد وسجن جاليلو وأحرق كوبرنيكوس وقتل العشرات بتهم واهية كالزندقة والهرطقة ... إلخ
هنا حورب رئيس المعماريين الملكي سنان لسنوات طوال خربت المشاريع واستخدمت جميع أساليب التهديدات ، اﻻتهامات والشائعات حورب من قبل شخصيات معروفة وآخرين مجهولين .. لكنه خرج منها بأقل الخسائر لكن الجميع لم يكونوا محظوظين مثله ، تقي الدين رئيس الفلكيين الملكي خسر كل شيء كتبه ومرصده وخريطته التي أفنى عمره في العمل عليها .
قوة في السرد ووضوح في الرؤية تميز الفتى المتيم والمعلم رغم كثرة القصص والحكايا والتنقلات الزمنية ويجمعها عبق صوفي ..
حتى الصفحات الاخيرة كنت على يقين أنني سـ أمنح الرواية 4 نجمات لكن يمكن للصفحات القليلة في نهاية قصة جهان أن تغير كل شيء محولة عملاً كان جيداً وعلى عتبات الروعة إلى عمل استثنائي .
للمرة الثانية شكراً إليف .
July 4, 2020
Wow, how to best describe his book?!
This book is special. It has:
-stunning writing that stretches how you see the world around you. It gets you thinking in new ways, comparing Eastern versus Western modes of reasoning.
-exciting events. I thought the book was going to end and then realized there were three hours left. There was much more to what had happened than I had realized! I came to understand I needed to know much more.
-the feel, it captures the atmosphere, of Istanbul in the 1500s. A world that I don't know but which felt real, intriguing and filled with magic. Magical in other words.
-extremely interesting details about elephants, gypsies, Ottoman Istanbul, Turkish customs and about the famed Royal architect Mimar Sinan (https://en.wikipedia.org/wiki/Mimar_S...) and the three sultans he worked under Suleiman the Magnificent (https://en.wikipedia.org/wiki/Suleima...), Selim II (https://en.wikipedia.org/wiki/Selim_II) and Murad III (https://en.wikipedia.org/wiki/Murad_III).
You end up with a delightful mix of fact and fiction. There is an author’s note at the end that specifies how and why the author has changed some of the historical facts. You are delivered an engaging story that captivates, intrigues and informs.
The audiobook read by Grant Cartwright is very good. Easy to follow and not over-dramatized. The performance is low-key, which I found perfect since the events in this way speak for themselves.
********************
You like books about elephants? Read this too:
Modoc: The True Story of the Greatest Elephant That Ever Lived
This book is special. It has:
-stunning writing that stretches how you see the world around you. It gets you thinking in new ways, comparing Eastern versus Western modes of reasoning.
-exciting events. I thought the book was going to end and then realized there were three hours left. There was much more to what had happened than I had realized! I came to understand I needed to know much more.
-the feel, it captures the atmosphere, of Istanbul in the 1500s. A world that I don't know but which felt real, intriguing and filled with magic. Magical in other words.
-extremely interesting details about elephants, gypsies, Ottoman Istanbul, Turkish customs and about the famed Royal architect Mimar Sinan (https://en.wikipedia.org/wiki/Mimar_S...) and the three sultans he worked under Suleiman the Magnificent (https://en.wikipedia.org/wiki/Suleima...), Selim II (https://en.wikipedia.org/wiki/Selim_II) and Murad III (https://en.wikipedia.org/wiki/Murad_III).
You end up with a delightful mix of fact and fiction. There is an author’s note at the end that specifies how and why the author has changed some of the historical facts. You are delivered an engaging story that captivates, intrigues and informs.
The audiobook read by Grant Cartwright is very good. Easy to follow and not over-dramatized. The performance is low-key, which I found perfect since the events in this way speak for themselves.
********************
You like books about elephants? Read this too:
Modoc: The True Story of the Greatest Elephant That Ever Lived
May 30, 2022
Voando e Deambulando...
Recostada no meu sofá de leitura sobrevoo palácios, princesas, sultanas e sultões, homens rudes e perigosos, ciganos, elefantes guerreiros, tigres, ursos...e não me apetece aterrar!
Nota: Esta foi uma resenha sentida, mas algo preguiçosa. Segue-se uma nova resenha igualmente sentida mas não tão preguiçosa:
Irmãos de Leite
Era uma vez um elefante branco anão chamado Chota, que tinha por irmão de leite, um rapaz indiano de nome Jahan...
Irmãos de Leite?!
Um rapaz e um elefante?
Terão partilhado a mesma ama?
Ou será que Jahan foi adoptado por uma "Elefanta"?
Não! Nada disso!... Eu vou contar:
Ainda por nascer, Chota não fazia menção de abandonar o ventre materno! Refugiado nas entranhas da mãe, sentia-se seguro e confortável. Só um ato de magia mística o arrancou quase à força!
Uma vez cá fora, o minúsculo elefante não tinha altura suficiente para sorver o leite materno.
Se não fosse Jahan, que sugando e cuspindo esse liquido precioso lho alcançou num balde, Chota não teria sobrevivido.
Depois desse episódio, Jahan e Chota cresceram inseparáveis!...
E aqui têm como um jovem indiano e um elefante branco anão se tornaram Irmãos de Leite.
É claro que a estória continua. Só que mais… eu não vou contar!
Estas estórias do Oriente têm sempre um travo exótico que nos põe a flutuar!... 😉🧚🏽♀️
São 4 estrelas cintilantes ❤️🌟🌟🌟🌟❤️
Recostada no meu sofá de leitura sobrevoo palácios, princesas, sultanas e sultões, homens rudes e perigosos, ciganos, elefantes guerreiros, tigres, ursos...e não me apetece aterrar!
Nota: Esta foi uma resenha sentida, mas algo preguiçosa. Segue-se uma nova resenha igualmente sentida mas não tão preguiçosa:
Irmãos de Leite
Era uma vez um elefante branco anão chamado Chota, que tinha por irmão de leite, um rapaz indiano de nome Jahan...
Irmãos de Leite?!
Um rapaz e um elefante?
Terão partilhado a mesma ama?
Ou será que Jahan foi adoptado por uma "Elefanta"?
Não! Nada disso!... Eu vou contar:
Ainda por nascer, Chota não fazia menção de abandonar o ventre materno! Refugiado nas entranhas da mãe, sentia-se seguro e confortável. Só um ato de magia mística o arrancou quase à força!
Uma vez cá fora, o minúsculo elefante não tinha altura suficiente para sorver o leite materno.
Se não fosse Jahan, que sugando e cuspindo esse liquido precioso lho alcançou num balde, Chota não teria sobrevivido.
Depois desse episódio, Jahan e Chota cresceram inseparáveis!...
E aqui têm como um jovem indiano e um elefante branco anão se tornaram Irmãos de Leite.
É claro que a estória continua. Só que mais… eu não vou contar!
Estas estórias do Oriente têm sempre um travo exótico que nos põe a flutuar!... 😉🧚🏽♀️
São 4 estrelas cintilantes ❤️🌟🌟🌟🌟❤️
April 29, 2017
I cannot even begin to express how absolutely beautiful this book is. Everything, from the writing to the historical background, is so sublimely put to paper, it touches the reader so many times, that this has become one of those works for which I find myself incapable of conjuring enough words of praise. I have cried two times during the story, which says a lot about how delicately it tugs at your heartstrings making beauty out of every ugly feeling that it touches. I wish I could retain every word out of it and keep it forever inside of my heart. This is truly one of those pieces of fiction that deserves love - the kind of love you also give to people.
June 27, 2015
قرأت الرواية لأنها لإليف وإليف لا تجعلك تندم على قراءتها ابداً ..
من اروع الروايات التي صادفتني ، مزجت شافاك كل شيء معاً بطريقة ساحرة وانيقة ..
من النادر جداً ان تقرأ رواية بـ600 صفحة ذات خط صغير جداً دون أن تشعر ولو للحظة بالملل ودون أن تحاول الهروب من الرواية بكتابٍ آخر .
الرواية لا تحتمل أن تتركها ولو ليومٍ واحد وإلا فسوف تتوه في احداثها وشخصياتها .
اكثر نقطة اثبتت فيها الكاتبة احترافيتها هي ربط الأحداث بهذه الطريقة الذكية وخلال 500 صفحة رسمت حبكة درامية مشوقة ثم فتتها بسرعة خلال الـ 100 صفحة الأخيرة وبشكل غير متوقع ونهاية غير متوقعة - كما اعتادت في كل نهايات رواياتها - .
إليف قدمت كما في قواعد العشق الاربعون شخصيات حقيقية واحداث حقيقية وربطتها بشخصياتها الخيالية لتقدم عملاً ادبياً من الطراز الأنيق .
الرواية تتجاوز كونها مجرد قصة عن شخصية حقيقية ، إليف مزجت التاريخ ،العمارة الاسلامية ، الفن ، الحب ، الخيانة والحكمة في اطارٍ واحد .. في بعض المقاطع تشعر بالارتباك وتحتاج لاعادة قراءة الصفحة مرة اخرى بسبب الكمية الهائلة من الاحداث التي صبتها إليف بشكل متراكم ودون توقف ، وقد تبدو بعض الأحداث لا داعي لها لكنها لم تؤثر سلباً على الرواية .
الوصف الدقيق لكل شيء في الرواية يجعل القارئ يتخيل كل تفاصيل الرواية كالصورة امام عينيه .
وصف المساجد مُتقن جداً لدرجة تشعر وكأنك سبق وشاهدت البناء .. مذهل جداً اهتمام الكاتبة بابسط الامور فيبدو وكأنها قد عاشت كل تفاصيل الرواية وشهدتها بنفسها لتستطيع ان تصورها بهذه الطريقة الرائعة .
تساءلت في البداية عن سبب استخدام صورة الفيل كغلاف للرواية لكن اتضح فيما بعد أن الفيل (شوتا) هو من ابرز الشخصيات واستخدمته الكاتبة ببراعة لربط الهند بتركيا ونقل الشخصيات بينهما .
احببت شخصية المعماري سنان فهي تجمع بين الحكمة والقوة، كما انه كان ذكياً وحليماً ويتعمد على ارتكاب خطأ بسيط في البناء لأيمانه أن الكمال لله وحده .
التفاصيل المعمارية التي وردت في الرواية مذهلة جداً، استمتعت بها خصوصاً أنها ترتبط بشكلٍ ما باختصاصي الدراسي .
من المستحيل أن اختصر قصة الرواية والخصها في هذا الريفيو فما ورد فيها غير قابل للأختصار ابداً .
ترددت كثيراً في عدد النجوم ..
عادة لا امنح الـ٥ نجمات لرواية الا اذا كنت قادرة على قراءتها مرة اخرى فبرأيي افضل الادب هو ما تستطيع قراءته اكثر من مرة .
لكن المشكلة هي ان رائعة اليف قواعد العشق تجعل كل اعمالها اقل شأناً منها لهذا يصعب علي ان اقول أنني استمتعت بالرواية بقدر قواعد العشق .
*اربع نجمات ونصف .
ربما بعد سنوات سأقرأها مرة اخرى وسامنحها الـ٥ نجمات التي تستحقها .
# للذكرى
قرأت هذه الرواية مع مجموعة القراءة الخاصة التي تم اختيارها من حساب ketab_n@ بشكل عشوائي من بين اكثر من ١٥٠ شخص .. والتي تقرأ الكتاب قبل نشر نسخته الالكترونية .
وكانت تجربة قراءة مميزة ومنفردة استمتعت بها جداً .
◀ لا تكمل الريفيو اذا لم ترغب في حرق قصة الرواية.
• قصة الرواية:
جهان صبي هندي يهرب مع الفيل الصغير شوتا من منزله بسبب قسوة زوج امه الذي هو عمه ايضاً بعد ان يضرب والدته وهي حامل ويتسبب في وفاتها .
يسافر على متن سفينة الى تركيا وهناك يلتقي القبطان غاريث الذي يشترط عليه أن يساعده مقابل ان يسرق من اجله بعد ان يدخل قصر الملك .
يلتقي جهان المعماري سنان (شخصية حقيقية) ويصبح احد تلامذته الاربعة المقربين و شوتا يصبح فيلاً ملكياً .
يقع جهان في غرام مهرماه الاميرة الجميلة شقيقة السلطان سليم والتي كانت تواضب مع مربيتها حسنة خاتون على زيارته مع فيله والاستماع لحكاياته .
تمر الاحداث ويكبر جهان ويصبح التلميذ الأقرب لسنان الذي يرعاه ويهتم به وتواجهه عدد من المخاطر ولكن في كل مرة كان ينقذه صديقه لابان بالمصادفة .
يموت السلطان سليم ويستولي السلطان مراد على الحكم بعد ان يقتل اخوته الخمسة وتتزوج مهرماه من رستم باشا الذي يقوم بسجن جهان.
تلامذة سنان كانوا يوسف ونيقولا وداوود
يوسف كان اصماً ويتضح فيما بعد انه فتاة ذكية تضعها الصدفة مع سنان الذي يخلصها من حياة المحظيات ويسكنها منزله ولانها ارادت العمل معه قصت شعرها وتنكرت كصبي لتتمكن من العمل معه ولهذا هي لا تنطق بسبب صوتها الانثوي ، تبوح بهذا السر لسنان بعد ان يكتشف حقيقتها وبعد وفاة سنان الذي كانت تعشقه يساعدها للعودة الى ديارها.
نيقولا يموت بعد وفاة المعلم سنان بسبب المرض
اما داوود فهو الشخصية التي جسدت الشر في الرواية اذ يتضح في النهاية انه وبمساعدة حسنه خاتون وبامر من مهرماه يقوم بالتسبب ببعض الحوادث العشوائية التي تكون سبباً في وفاة صلاح الدين ( صديق المعلم سنان) وعدد من العمال وتأخير اتمام البناء .
تقوم مهرماه بهذا العمل لأنها كانت تريد ان تضر والدها الذي انشغل عنها فارادت ان تنتقم منه لكن داوود تمادى كثيراً رغم انهم امروه بالتوقف .
وبعد وفاة المعلم الذي كان يعلم كل شيء اخبرهم انه كتب في وصيته من يستحق ان يأخذ مكانه وبالطبع كان يقصد جهان لكن داوود يسرق الوصية وياخذ مكان المعلم ويرسل سنان مع الصدر الاعظم فيبالغ في الشرب ويتسبب بقتل عشيقة الصدو الاعظم بالخطأ فيهرب الئ داوود ليحيمه وحين يحال داوود ابعاده يكتشف جهان الحقيقة بعد ان يقابل صاحب الحانة الذي يقص عليه ما حصل عندما سافر جهان مع داوود الى روما بعد زواج مهرماه حيث التقوا هناك معماري مشهور ودون سنان العديد من الملاحظات والرسوم لكن داوود مزق دفتره وسرقه ماله وصور الموضوع وكأنه حالة سرقة .
بعد ان اكتشف جهان الحقيقة ربط الاحداث ببعضها وواجه داوود الذي قام بسجنه ولكنه هرب بمساعدة لابان ..
في النهاية تتضح الامور عندما يلتقي جهان بحسنة خاتون والتي تقص عليه كل شيء فيفهم جهان سبب ما قالته له مهرماه وهي على فراش الموت .
يموت شوتا ويدفنه جهان ويودع صديقة لابان بعد ان يعلم ان لشوتا ابن صغير انجبه من فيلة لابان .
وحين يرحل سنان يظل بلا زواج عدداً من السنين وتحل عليه لعنة العمر الطويل ويصبح من افضل المعماريين في الهند وفي النهاية يتزوج فتاة تصغره ب٦٦ عاماً وينجب منها صبياً يسميه جوزيف سنان وتتختتم اليف ببناء جهان لاروع المباني (تاج محل) بطريقة تجعلني اتساءل هل حقاً هناك ارتباط بين تاج محل والمعماري سنان ام انه مجرد خيال الكاتبة.
من اروع الروايات التي صادفتني ، مزجت شافاك كل شيء معاً بطريقة ساحرة وانيقة ..
من النادر جداً ان تقرأ رواية بـ600 صفحة ذات خط صغير جداً دون أن تشعر ولو للحظة بالملل ودون أن تحاول الهروب من الرواية بكتابٍ آخر .
الرواية لا تحتمل أن تتركها ولو ليومٍ واحد وإلا فسوف تتوه في احداثها وشخصياتها .
اكثر نقطة اثبتت فيها الكاتبة احترافيتها هي ربط الأحداث بهذه الطريقة الذكية وخلال 500 صفحة رسمت حبكة درامية مشوقة ثم فتتها بسرعة خلال الـ 100 صفحة الأخيرة وبشكل غير متوقع ونهاية غير متوقعة - كما اعتادت في كل نهايات رواياتها - .
إليف قدمت كما في قواعد العشق الاربعون شخصيات حقيقية واحداث حقيقية وربطتها بشخصياتها الخيالية لتقدم عملاً ادبياً من الطراز الأنيق .
الرواية تتجاوز كونها مجرد قصة عن شخصية حقيقية ، إليف مزجت التاريخ ،العمارة الاسلامية ، الفن ، الحب ، الخيانة والحكمة في اطارٍ واحد .. في بعض المقاطع تشعر بالارتباك وتحتاج لاعادة قراءة الصفحة مرة اخرى بسبب الكمية الهائلة من الاحداث التي صبتها إليف بشكل متراكم ودون توقف ، وقد تبدو بعض الأحداث لا داعي لها لكنها لم تؤثر سلباً على الرواية .
الوصف الدقيق لكل شيء في الرواية يجعل القارئ يتخيل كل تفاصيل الرواية كالصورة امام عينيه .
وصف المساجد مُتقن جداً لدرجة تشعر وكأنك سبق وشاهدت البناء .. مذهل جداً اهتمام الكاتبة بابسط الامور فيبدو وكأنها قد عاشت كل تفاصيل الرواية وشهدتها بنفسها لتستطيع ان تصورها بهذه الطريقة الرائعة .
تساءلت في البداية عن سبب استخدام صورة الفيل كغلاف للرواية لكن اتضح فيما بعد أن الفيل (شوتا) هو من ابرز الشخصيات واستخدمته الكاتبة ببراعة لربط الهند بتركيا ونقل الشخصيات بينهما .
احببت شخصية المعماري سنان فهي تجمع بين الحكمة والقوة، كما انه كان ذكياً وحليماً ويتعمد على ارتكاب خطأ بسيط في البناء لأيمانه أن الكمال لله وحده .
التفاصيل المعمارية التي وردت في الرواية مذهلة جداً، استمتعت بها خصوصاً أنها ترتبط بشكلٍ ما باختصاصي الدراسي .
من المستحيل أن اختصر قصة الرواية والخصها في هذا الريفيو فما ورد فيها غير قابل للأختصار ابداً .
ترددت كثيراً في عدد النجوم ..
عادة لا امنح الـ٥ نجمات لرواية الا اذا كنت قادرة على قراءتها مرة اخرى فبرأيي افضل الادب هو ما تستطيع قراءته اكثر من مرة .
لكن المشكلة هي ان رائعة اليف قواعد العشق تجعل كل اعمالها اقل شأناً منها لهذا يصعب علي ان اقول أنني استمتعت بالرواية بقدر قواعد العشق .
*اربع نجمات ونصف .
ربما بعد سنوات سأقرأها مرة اخرى وسامنحها الـ٥ نجمات التي تستحقها .
# للذكرى
قرأت هذه الرواية مع مجموعة القراءة الخاصة التي تم اختيارها من حساب ketab_n@ بشكل عشوائي من بين اكثر من ١٥٠ شخص .. والتي تقرأ الكتاب قبل نشر نسخته الالكترونية .
وكانت تجربة قراءة مميزة ومنفردة استمتعت بها جداً .
◀ لا تكمل الريفيو اذا لم ترغب في حرق قصة الرواية.
• قصة الرواية:
جهان صبي هندي يهرب مع الفيل الصغير شوتا من منزله بسبب قسوة زوج امه الذي هو عمه ايضاً بعد ان يضرب والدته وهي حامل ويتسبب في وفاتها .
يسافر على متن سفينة الى تركيا وهناك يلتقي القبطان غاريث الذي يشترط عليه أن يساعده مقابل ان يسرق من اجله بعد ان يدخل قصر الملك .
يلتقي جهان المعماري سنان (شخصية حقيقية) ويصبح احد تلامذته الاربعة المقربين و شوتا يصبح فيلاً ملكياً .
يقع جهان في غرام مهرماه الاميرة الجميلة شقيقة السلطان سليم والتي كانت تواضب مع مربيتها حسنة خاتون على زيارته مع فيله والاستماع لحكاياته .
تمر الاحداث ويكبر جهان ويصبح التلميذ الأقرب لسنان الذي يرعاه ويهتم به وتواجهه عدد من المخاطر ولكن في كل مرة كان ينقذه صديقه لابان بالمصادفة .
يموت السلطان سليم ويستولي السلطان مراد على الحكم بعد ان يقتل اخوته الخمسة وتتزوج مهرماه من رستم باشا الذي يقوم بسجن جهان.
تلامذة سنان كانوا يوسف ونيقولا وداوود
يوسف كان اصماً ويتضح فيما بعد انه فتاة ذكية تضعها الصدفة مع سنان الذي يخلصها من حياة المحظيات ويسكنها منزله ولانها ارادت العمل معه قصت شعرها وتنكرت كصبي لتتمكن من العمل معه ولهذا هي لا تنطق بسبب صوتها الانثوي ، تبوح بهذا السر لسنان بعد ان يكتشف حقيقتها وبعد وفاة سنان الذي كانت تعشقه يساعدها للعودة الى ديارها.
نيقولا يموت بعد وفاة المعلم سنان بسبب المرض
اما داوود فهو الشخصية التي جسدت الشر في الرواية اذ يتضح في النهاية انه وبمساعدة حسنه خاتون وبامر من مهرماه يقوم بالتسبب ببعض الحوادث العشوائية التي تكون سبباً في وفاة صلاح الدين ( صديق المعلم سنان) وعدد من العمال وتأخير اتمام البناء .
تقوم مهرماه بهذا العمل لأنها كانت تريد ان تضر والدها الذي انشغل عنها فارادت ان تنتقم منه لكن داوود تمادى كثيراً رغم انهم امروه بالتوقف .
وبعد وفاة المعلم الذي كان يعلم كل شيء اخبرهم انه كتب في وصيته من يستحق ان يأخذ مكانه وبالطبع كان يقصد جهان لكن داوود يسرق الوصية وياخذ مكان المعلم ويرسل سنان مع الصدر الاعظم فيبالغ في الشرب ويتسبب بقتل عشيقة الصدو الاعظم بالخطأ فيهرب الئ داوود ليحيمه وحين يحال داوود ابعاده يكتشف جهان الحقيقة بعد ان يقابل صاحب الحانة الذي يقص عليه ما حصل عندما سافر جهان مع داوود الى روما بعد زواج مهرماه حيث التقوا هناك معماري مشهور ودون سنان العديد من الملاحظات والرسوم لكن داوود مزق دفتره وسرقه ماله وصور الموضوع وكأنه حالة سرقة .
بعد ان اكتشف جهان الحقيقة ربط الاحداث ببعضها وواجه داوود الذي قام بسجنه ولكنه هرب بمساعدة لابان ..
في النهاية تتضح الامور عندما يلتقي جهان بحسنة خاتون والتي تقص عليه كل شيء فيفهم جهان سبب ما قالته له مهرماه وهي على فراش الموت .
يموت شوتا ويدفنه جهان ويودع صديقة لابان بعد ان يعلم ان لشوتا ابن صغير انجبه من فيلة لابان .
وحين يرحل سنان يظل بلا زواج عدداً من السنين وتحل عليه لعنة العمر الطويل ويصبح من افضل المعماريين في الهند وفي النهاية يتزوج فتاة تصغره ب٦٦ عاماً وينجب منها صبياً يسميه جوزيف سنان وتتختتم اليف ببناء جهان لاروع المباني (تاج محل) بطريقة تجعلني اتساءل هل حقاً هناك ارتباط بين تاج محل والمعماري سنان ام انه مجرد خيال الكاتبة.
May 27, 2015
First, let's bask in the beauty of the cover:
Quite a sight, isn't it?
Anyway, this book reminded me a lot of The Golem and the Jinni (tGatJ). They are both historical fictions that take place in cosmopolitan cities told through the eyes of immigrants. In this case an Indian elephant trainer, Jahan, arriving in Ottoman Istanbul with a gift for Suleiman the Magnificent from a foreign Shah. We see the fascinating world of 16th and early 17th century Istanbul through his eyes as Jahan is taken under the wing of Mimar Sinan, the Royal architect, as well as presenting the elephant, Chota, in Imperial functions (war, parades, impressing foreign guests, etc..). Jahan interacts with a wide variety of historical figures, but these encounters never felt forced or contrived.
Much like tGatJ the story takes a very meandering pace, letting the reader soak in the settings and get to know the interesting characters Jahan meets. This book takes place over many decades and is told not so much as one coherent plot line, but a big collection of little vignettes. In one section the plague swept through the city, striking down many people can bringing the otherwise bustling metropolis to a halt. Shafak does a splendid job painting a bleak picture of the situation:
What I liked so much about this book was Shafak's gorgeous use of language.
As much as I enjoyed these little slice of life moments, the book did lack a driving force. Jahan was for the most part reacting to thing around him. In tGatJ the action is compressed over a much shorted span of time with indications of a malevolent force lingering int he background. While there was some strange goings on over the course of this book, it did not come to a head until the very end of the book, when these happenings had mostly become moot. Which is a shame because the ideas the end brought up were actually quite interesting and worth exploring further.
In the end this proved to be a very enjoyable read in spite of this shortcoming. If you find the Ottoman Empire fascinating (like me) or just like good historical fiction this is an excellent book to pick up.
Quite a sight, isn't it?
Anyway, this book reminded me a lot of The Golem and the Jinni (tGatJ). They are both historical fictions that take place in cosmopolitan cities told through the eyes of immigrants. In this case an Indian elephant trainer, Jahan, arriving in Ottoman Istanbul with a gift for Suleiman the Magnificent from a foreign Shah. We see the fascinating world of 16th and early 17th century Istanbul through his eyes as Jahan is taken under the wing of Mimar Sinan, the Royal architect, as well as presenting the elephant, Chota, in Imperial functions (war, parades, impressing foreign guests, etc..). Jahan interacts with a wide variety of historical figures, but these encounters never felt forced or contrived.
Much like tGatJ the story takes a very meandering pace, letting the reader soak in the settings and get to know the interesting characters Jahan meets. This book takes place over many decades and is told not so much as one coherent plot line, but a big collection of little vignettes. In one section the plague swept through the city, striking down many people can bringing the otherwise bustling metropolis to a halt. Shafak does a splendid job painting a bleak picture of the situation:
Grief was an indulgence only a few could afford. Death had to stop harassing the living for the dead to be properly mourned. When the plague was gone, only then would kin and kith beat their breasts and shed their tears to their heart's content. For now grief was pickled and preserved, kept next to the salted meats and dried peppers in the cellars, to be partaken of in better times.On another occasion Jahan and another apprentice are sent to Rome by their Master to study the architecture there and communicate with Michelangelo. Jahan must take Chota to war, works on some of the great Ottoman Mosques, and becomes familiar with the royal princess, Mihrimah, to name but a few of the events of his long life.
What I liked so much about this book was Shafak's gorgeous use of language.
The Muslims wore turbans; Jews had red hats; and Christians, black hats. Arabs, Kurds, Nestorians, Circassians, Kazakhs, Tatars, Albanians, Bulgarians, Greeks, Abkhazs, Pomaks... They walked separate paths while their shadows met and mingled.She infuses the story with gorgeous imagery, well developed characters, and elegant prose. Each character had their own unique voice and outlook that flowed naturally from their circumstances and background; every character felt real and alive. It was fascinating to see how characters changed over the course of the story and how their past actions changed when viewed from the perspectives gained at the end of the book.
As much as I enjoyed these little slice of life moments, the book did lack a driving force. Jahan was for the most part reacting to thing around him. In tGatJ the action is compressed over a much shorted span of time with indications of a malevolent force lingering int he background. While there was some strange goings on over the course of this book, it did not come to a head until the very end of the book, when these happenings had mostly become moot. Which is a shame because the ideas the end brought up were actually quite interesting and worth exploring further.
In the end this proved to be a very enjoyable read in spite of this shortcoming. If you find the Ottoman Empire fascinating (like me) or just like good historical fiction this is an excellent book to pick up.
February 9, 2016
”Dacă oamenii ar trăi ca animalele, fără să se gândească la trecut sau la viitor și fără șiruri după șiruri de minciuni și înșelăciuni, lumea ar fi un loc mai pașnic, și, poate mai fericit.”
Un roman frumos ca un basm.
”Fie ca lumea să curgă tocmai ca o apă”, spunea marele ucenic Sinan.
Așa a curs și această minunată poveste în sufletul meu....ca o apă.
Dacă aș fi avut mai multe steluțe...le-aș fi acordat. Pentru magie, pentru povestea minunată pe care am trăit-o timp de trei zile. Și pentru că ”orice minune durează doar trei zile”.....mă trezesc din acest basm....și-mi aleg următoarea lectură!
Un roman frumos ca un basm.
”Fie ca lumea să curgă tocmai ca o apă”, spunea marele ucenic Sinan.
Așa a curs și această minunată poveste în sufletul meu....ca o apă.
Dacă aș fi avut mai multe steluțe...le-aș fi acordat. Pentru magie, pentru povestea minunată pe care am trăit-o timp de trei zile. Și pentru că ”orice minune durează doar trei zile”.....mă trezesc din acest basm....și-mi aleg următoarea lectură!
July 29, 2015
I saw this novel reviewed pretty glowingly, in the New York Times. I love historical fiction and I haven't read much on 16th Century Istanbul, so I was excited to give it a try. I started to read and was immediately captivated by the introduction, where Jahan (our Architect's Apprentice) has witnessed the disposal of a number of bodies at the palace where he lives and works.
There were hints at a great love that went unfulfilled...yay! There was the idea that this man had risen from being an elephant's trainer to rising to work for an important architect...fantastic! I read on. By page 100 of almost 400, I realized that the author was wandering around with no solid plot in sight.
The 'great love' was the only daughter of the Sultan Suleiman, but she only dropped in occasionally to visit Chota, the elephant that Jahan was training. She and Jahan had something that might have been called conversations, but we never see them fleshed out. We don't see the relationship building, but rather, sporadically throughout the book, Mirhimah will wander into the story not to be heard from again for the next 50 pages. Their relationship is never really developed. Highly disappointing...strike one.
Jahan is 12 years old when he is first introduced. Unfortunately, as the book wanders its way through his life, there is nothing to indicate his changing age...till you read that his hair is turning white...wait, what??? How old is he? And, he's still an apprentice when he's an old guy? Strike two.
The biggest problem is that the story wanders from event to event with nothing to get the reader invested. Yes, there is someone who is trying to bring down the "master" (the architect) and we see an event here and there, with dozens and dozens of pages between. I kept forgetting that there was a threat, because hey...the elephant needed a tooth pulled or the elephant has gotten out of his chains or whatever. No suspense. Strike three.
The saving grace...getting it to 2 stars...was the beauty of the language.
There were hints at a great love that went unfulfilled...yay! There was the idea that this man had risen from being an elephant's trainer to rising to work for an important architect...fantastic! I read on. By page 100 of almost 400, I realized that the author was wandering around with no solid plot in sight.
The 'great love' was the only daughter of the Sultan Suleiman, but she only dropped in occasionally to visit Chota, the elephant that Jahan was training. She and Jahan had something that might have been called conversations, but we never see them fleshed out. We don't see the relationship building, but rather, sporadically throughout the book, Mirhimah will wander into the story not to be heard from again for the next 50 pages. Their relationship is never really developed. Highly disappointing...strike one.
Jahan is 12 years old when he is first introduced. Unfortunately, as the book wanders its way through his life, there is nothing to indicate his changing age...till you read that his hair is turning white...wait, what??? How old is he? And, he's still an apprentice when he's an old guy? Strike two.
The biggest problem is that the story wanders from event to event with nothing to get the reader invested. Yes, there is someone who is trying to bring down the "master" (the architect) and we see an event here and there, with dozens and dozens of pages between. I kept forgetting that there was a threat, because hey...the elephant needed a tooth pulled or the elephant has gotten out of his chains or whatever. No suspense. Strike three.
The saving grace...getting it to 2 stars...was the beauty of the language.
August 16, 2023
Wow! I haven't read such wonderfully detailed and realistic historical fiction in a pretty long time. The Architect's Apprentice follows the story of Jahan, a young boy from India who sets out to escape his stepfather and seek his fortune. He ends up in Istanbul and falls in love - with an elephant, a princess, an architect, and a city.
The narrative flows along delightfully from one story to another, one character to the other. The relationships ebb and flow as Jahan finds one adventure after another. Istanbul under the reign of three sultans: Suleiman, Salim, and Murad, is beautifully depicted. Jahan works as an apprentice to Sinan, the wonderful architect, who built Istanbul's many beautiful structures. As a cultural centre and a military powerhouse, Ottoman Istanbul has a lot to offer in terms of historical storytelling and Shafak makes full use of the opportunity.
I was a little afraid that Jahan's love story would go the way of most silly historical fiction nowadays but Shafak really built on it beautifully. I enjoyed the role of the elephant as I am a sucker for any strong animal character. I loved the intense character sketches - Shafak has a way of bringing in very interesting characters and then gently nudging them away from the main story without the reader getting frustrated.
After a lifetime of building in Istanbul, Jahan ends up back in Agra, building the Taj Mahal for Shah Jahan. I liked the Indian angle and enjoyed the references to Mughal India. I wish there was more of it but you can't have everything!
Every step of the way, I was aware of the excellent research. Some liberties were taken with the chronology and the dates, but that did not interfere with the feel of the times. I hope Elif Shafak writes more historical fiction set in Turkey. I'm sure to devour them all! Definitely an author I'd be looking out for in future.
The narrative flows along delightfully from one story to another, one character to the other. The relationships ebb and flow as Jahan finds one adventure after another. Istanbul under the reign of three sultans: Suleiman, Salim, and Murad, is beautifully depicted. Jahan works as an apprentice to Sinan, the wonderful architect, who built Istanbul's many beautiful structures. As a cultural centre and a military powerhouse, Ottoman Istanbul has a lot to offer in terms of historical storytelling and Shafak makes full use of the opportunity.
I was a little afraid that Jahan's love story would go the way of most silly historical fiction nowadays but Shafak really built on it beautifully. I enjoyed the role of the elephant as I am a sucker for any strong animal character. I loved the intense character sketches - Shafak has a way of bringing in very interesting characters and then gently nudging them away from the main story without the reader getting frustrated.
After a lifetime of building in Istanbul, Jahan ends up back in Agra, building the Taj Mahal for Shah Jahan. I liked the Indian angle and enjoyed the references to Mughal India. I wish there was more of it but you can't have everything!
Every step of the way, I was aware of the excellent research. Some liberties were taken with the chronology and the dates, but that did not interfere with the feel of the times. I hope Elif Shafak writes more historical fiction set in Turkey. I'm sure to devour them all! Definitely an author I'd be looking out for in future.
February 10, 2017
5+
Nemam riječi kojom bih opisala ovaj roman... razmišljam o tome da ga opet krenem čitati:) toliko lijepih misli, odlična rekonstrukcija događaja, priča o životima tri sultana, mimaru Sinanu, njegovim pomoćnicima.. priča o životu jednog dječaka koji iz Indije dolazi u Carstvo i postaje jedan od najboljih neimara.. priča o velikoj ljubavi, velikom prijateljstvu i svim iskušenjima koja život donosi.
Nemam riječi kojom bih opisala ovaj roman... razmišljam o tome da ga opet krenem čitati:) toliko lijepih misli, odlična rekonstrukcija događaja, priča o životima tri sultana, mimaru Sinanu, njegovim pomoćnicima.. priča o životu jednog dječaka koji iz Indije dolazi u Carstvo i postaje jedan od najboljih neimara.. priča o velikoj ljubavi, velikom prijateljstvu i svim iskušenjima koja život donosi.
October 29, 2020
تتحصن الرواية بكم معلوماتي جيد من إرث التراث العثماني الذي هو أصل دراسة الكاتبة , لكن الرواية تتمحور سرديتها حول شخصين ضمن نص طويل ممل في بعض حالاته , لا زلت أعتقد أن ( أليف شافاق ) تمخض إبداعها في رواية ( قواعد العشق الأربعون) ولا يعني هذا أن روايتها هذه لا تستحق القراءة ولكنها ليست مبهرة
June 29, 2025
Interesting
Jahan was a captivating figure, I'll give him that and I really liked the character development that Jahan has, he went from being a naive kid to a full grown man who has a lot of awareness and has control over his life and fate.
But Mimar Sinan, he ignited a fire within me! The sheer love he poured into his work, the unwavering dedication, it was mesmerizing. He wasn't just building structures; he was sculpting dreams, shaping the very future of humanity with kindness, fairness, and a visionary spirit.
The way he chose his students, solely based on their burning passion and insatiable thirst for knowledge was truly inspiring. The man was a real Guru.
As an ardent lover of art and architecture, I felt the writer's own passion radiating from every word.
Sinan didn't just rely on cold, hard mathematics; he infused his creations with the warmth of his heart, the depth of his soul. The result, Masterpieces that transcend time, that evoke emotions, that whisper stories.
In those bygone eras, architects weren't just builders; they were artists.
They crafted spaces that nurtured the human spirit, places where people felt comfortable, complete. A temple, a mosque, a church – each one a sanctuary, a connection to something greater than ourselves.
Alas, today's buildings, Lifeless, soulless shells. Built not for the soul, but for the almighty dollar. Just bricks and mortar, devoid of spirit, devoid of the magic that once breathed life into every stone. Sinan, and those like him, were true artists, their creations a testament to the power of human ingenuity and the enduring beauty of the human spirit.
I must admit, I found the first Sultan and his followers to be greedy, stupid, hypocritical, and shallow minded.I was deeply irritated by their vulgar personalities.
It was really upsetting to see how badly the man and his students were treated. They were smart people who brought knowledge to a world that was mostly ignorant.
It was also very interesting seeing the gap and the difference between each sultan and their way of ruling and viewing the world.
But overall, I truly enjoyed both reading this and the opportunity to share my feelings of love and passion for architecture.
The plot twist which the writer added at the end of the book was good but it was kinda confusing because we suddenly went from historical fiction to thrill , that made me scratch my head as I didn't really know what was happening, but It was a good plot twist.
I also like the religious touch that she tend to add to her book, the pure kind of love to God and the way she just views him, because I personally believe in the same way. I believe in a big hearted, kind and forgiving god.
I've read a lot of books to Elif and she is just one of those writer that you know, they'll never let you down.
She just always deliver.
Jahan was a captivating figure, I'll give him that and I really liked the character development that Jahan has, he went from being a naive kid to a full grown man who has a lot of awareness and has control over his life and fate.
But Mimar Sinan, he ignited a fire within me! The sheer love he poured into his work, the unwavering dedication, it was mesmerizing. He wasn't just building structures; he was sculpting dreams, shaping the very future of humanity with kindness, fairness, and a visionary spirit.
The way he chose his students, solely based on their burning passion and insatiable thirst for knowledge was truly inspiring. The man was a real Guru.
As an ardent lover of art and architecture, I felt the writer's own passion radiating from every word.
Sinan didn't just rely on cold, hard mathematics; he infused his creations with the warmth of his heart, the depth of his soul. The result, Masterpieces that transcend time, that evoke emotions, that whisper stories.
In those bygone eras, architects weren't just builders; they were artists.
They crafted spaces that nurtured the human spirit, places where people felt comfortable, complete. A temple, a mosque, a church – each one a sanctuary, a connection to something greater than ourselves.
Alas, today's buildings, Lifeless, soulless shells. Built not for the soul, but for the almighty dollar. Just bricks and mortar, devoid of spirit, devoid of the magic that once breathed life into every stone. Sinan, and those like him, were true artists, their creations a testament to the power of human ingenuity and the enduring beauty of the human spirit.
I must admit, I found the first Sultan and his followers to be greedy, stupid, hypocritical, and shallow minded.I was deeply irritated by their vulgar personalities.
It was really upsetting to see how badly the man and his students were treated. They were smart people who brought knowledge to a world that was mostly ignorant.
It was also very interesting seeing the gap and the difference between each sultan and their way of ruling and viewing the world.
But overall, I truly enjoyed both reading this and the opportunity to share my feelings of love and passion for architecture.
The plot twist which the writer added at the end of the book was good but it was kinda confusing because we suddenly went from historical fiction to thrill , that made me scratch my head as I didn't really know what was happening, but It was a good plot twist.
I also like the religious touch that she tend to add to her book, the pure kind of love to God and the way she just views him, because I personally believe in the same way. I believe in a big hearted, kind and forgiving god.
I've read a lot of books to Elif and she is just one of those writer that you know, they'll never let you down.
She just always deliver.
May 11, 2016
This novel has poetry under its skin; without being direct about it, Shafak beguilingly invites you to experience life as a poem
The great architect of Ottoman Istanbul, Sinan, gets the historical novel he deserves here in my humble opinion. While the protagonist, Jahan, is a flawed character, often hapless or selfish, whose Bildungsroman this is in part, Sinan is wise, generous, driven, brilliant. Countless chapters end with a quotable comment of his on the nature of the possible and the human. On the other hand, his character can be critiqued The novel thus avoids becoming a praise song for Sinan. I also think viewing a historical figure through the eyes of a fictional protagonist is a good policy; I really dislike when historical fiction feels obfuscating and intrusive. Shafak’s research and imaginative reconstruction of Sinan’s working life is gracefully integrated into Jahan’s story, which is interesting enough to carry the historical freight.
If Jahan himself is unremarkable, that only throws the ‘gypsy’ leader Balaban, Sinan himself, princess Mihrimah and the elephant Chota, the real stars of the show, into sharper and brighter relief. Each of these elements is meticulously realised. Shafak draws attention to racism against Romany people even in extremely cosmopolitan Istanbul, and she neither exotifies nor romantically mythologises them, but gives them a highly positive role. The depiction of Chota and other animals in the menagerie is tender. But the real historical figures and their acts carry such a magical, poetic aura of the past that they are my favourite aspect of the book.
The style is easy, not ornate, but some of Shafak’s descriptions pulled me up short with delight: “the wine taste of tree bark and roses left to dry”. The elegance, directness and tenderness of Sufi poetry infuses the language. I love the headstone:
When you do things from your soul, you feel a river moving in you, a joy -RumiThis subtle narrative sensibility transforms events into gestures behind my eyes like a dance. Poetry is a retreat for me, a consolation, and so I found this book, reassuringly long, consoling, passing-sweet like the cherry blossoms that opened and fell around London while I was reading it. The retreat to the past, to love and life as a poem, a series of word-gestures coalescing into a dance, soothed me, and gave me an image of Istanbul to hold through the turbulent present.
The great architect of Ottoman Istanbul, Sinan, gets the historical novel he deserves here in my humble opinion. While the protagonist, Jahan, is a flawed character, often hapless or selfish, whose Bildungsroman this is in part, Sinan is wise, generous, driven, brilliant. Countless chapters end with a quotable comment of his on the nature of the possible and the human. On the other hand, his character can be critiqued The novel thus avoids becoming a praise song for Sinan. I also think viewing a historical figure through the eyes of a fictional protagonist is a good policy; I really dislike when historical fiction feels obfuscating and intrusive. Shafak’s research and imaginative reconstruction of Sinan’s working life is gracefully integrated into Jahan’s story, which is interesting enough to carry the historical freight.
If Jahan himself is unremarkable, that only throws the ‘gypsy’ leader Balaban, Sinan himself, princess Mihrimah and the elephant Chota, the real stars of the show, into sharper and brighter relief. Each of these elements is meticulously realised. Shafak draws attention to racism against Romany people even in extremely cosmopolitan Istanbul, and she neither exotifies nor romantically mythologises them, but gives them a highly positive role. The depiction of Chota and other animals in the menagerie is tender. But the real historical figures and their acts carry such a magical, poetic aura of the past that they are my favourite aspect of the book.
The style is easy, not ornate, but some of Shafak’s descriptions pulled me up short with delight: “the wine taste of tree bark and roses left to dry”. The elegance, directness and tenderness of Sufi poetry infuses the language. I love the headstone:
Pray for the soul of one whose name was not discoveredWhile most of the central characters are men, the plot still revolves around women in some ways, and there are some excellent female characters, whose lives reflect local partriarchy and their own suppressed brilliance. For them, I round up my stars.
Loved by the Almighty, He hath known her always.
September 10, 2019
We live, toil and die under the same invisible dome. Rich and poor, Mohammedan and baptized, free and slave, man and woman, Sultan and mahout, master and apprentice … I have come to believe that if there is one shape that reaches out to all of us, it is the dome. That is where all the distinctions disappear and every single sound, whether of joy or sorrow, merges into one huge silence of all-encompassing love. When I think of this world in such a way, I feel dazed and disoriented, and cannot tell any longer where the future begins and the past ends; where the West falls and the East rises.
December 14, 2020
Ιστανμπούλ 16ος αιώνας. Μια ιστορία για ένα αγόρι κι έναν ελέφαντα. Ένα βιβλίο με σουλτάνους, χαρέμια, θηριοδαμαστές, ναούς, δολοπλοκίες.
Δεν θα γράψω για την υπόθεση γιατί μπορεί εύκολα κάποιος να τη διαβάσει στο οπισθόφυλλο. Πρέπει να πω όμως πως δεν είναι απλά μια ιστορία που μας μεταφέρει σε έναν κόσμο που θυμίζει τις Χίλιες και μια νύχτες. Είναι κάτι παραπάνω. Πέρα από την πλοκή που κράτησε αμείωτο το ενδιαφέρον μου, αυτό που με μάγεψε ήταν η γραφή της Σαφάκ. Λυρική, ποιητική. Γλύκανε το μέσα μου.
Ο έρωτας του Τζαχάν για τη Μιχριμάχ με συγκίνησε. Η αγάπη του παιδιού για τον Τσότα, τον ελέφαντα, θα μου μείνει αξέχαστη. Αυτό που επίσης με εντυπωσίασε σε αυτό το βιβλίο είναι οι δευτερεύοντες χαρακτήρες. Ή μήπως δεν υπάρχουν τελικά δευτερεύοντες χαρακτήρες; Η Σαφάκ τους μετατρέπει όλους σε πρωταγωνιστές κι αυτό δείχνει πόσο τους αγαπά και πόσο τους έχει δουλέψει.
«Είναι παράξενο πώς τα πρόσωπα, όσο σταθερά και ορατά κι αν είναι, εξατμίζονται, ενώ οι λέξεις, καμωμένες από ανάσες, παραμένουν».
Κι είναι μεγάλη αλήθεια αυτό. Ακόμα κι αν ξεθωριάσουν στο μυαλό μου κάποια στιγμή οι ήρωες της Σαφάκ, οι λέξεις της θα με συντροφεύουν για καιρό.
Εξαιρετική η μετάφραση!
Δεν θα γράψω για την υπόθεση γιατί μπορεί εύκολα κάποιος να τη διαβάσει στο οπισθόφυλλο. Πρέπει να πω όμως πως δεν είναι απλά μια ιστορία που μας μεταφέρει σε έναν κόσμο που θυμίζει τις Χίλιες και μια νύχτες. Είναι κάτι παραπάνω. Πέρα από την πλοκή που κράτησε αμείωτο το ενδιαφέρον μου, αυτό που με μάγεψε ήταν η γραφή της Σαφάκ. Λυρική, ποιητική. Γλύκανε το μέσα μου.
Ο έρωτας του Τζαχάν για τη Μιχριμάχ με συγκίνησε. Η αγάπη του παιδιού για τον Τσότα, τον ελέφαντα, θα μου μείνει αξέχαστη. Αυτό που επίσης με εντυπωσίασε σε αυτό το βιβλίο είναι οι δευτερεύοντες χαρακτήρες. Ή μήπως δεν υπάρχουν τελικά δευτερεύοντες χαρακτήρες; Η Σαφάκ τους μετατρέπει όλους σε πρωταγωνιστές κι αυτό δείχνει πόσο τους αγαπά και πόσο τους έχει δουλέψει.
«Είναι παράξενο πώς τα πρόσωπα, όσο σταθερά και ορατά κι αν είναι, εξατμίζονται, ενώ οι λέξεις, καμωμένες από ανάσες, παραμένουν».
Κι είναι μεγάλη αλήθεια αυτό. Ακόμα κι αν ξεθωριάσουν στο μυαλό μου κάποια στιγμή οι ήρωες της Σαφάκ, οι λέξεις της θα με συντροφεύουν για καιρό.
Εξαιρετική η μετάφραση!
April 26, 2021
১৫৪০ এর ইস্তানবুল শহর। ছোট্ট জাহান, হাতি ছোটার সাথে পা রাখে অটোম্যানদের রাজ্যে। অটোম্যানদের তখন রমরমা অবস্থা। শাসনে আছেন সুলতান সুলেমান। হাতি ছোটার জায়গা হয় সুলতানের প্রাসাদের চিড়িয়াখানায়, আর জাহানের দায়িত্ব আরও বেশি। সে মাহুত যতো না তার চেয়ে বেশি ছোটার বন্ধু, ভাই। অপরিচিত এই শহরে আস্তে ধীরে আরও অনেকের সাথে পরিচিত হয় জাহান, জুটে যায় অনেক বন্ধু, সুহৃদ, জীবনে আসে প্রথম ভালোবাসা... রাজকুমারী মেহরিমা। ঘটনাক্রমে ছোটার কল্যাণে জাহান পরিচিত হয় রাজ্যের প্রধান স্থপতি মিমার সিনানের সাথে। জাহান বনে যায় সিনানের শিষ্য। দাউদ, ইউসুফ, নিকোলা আর জাহান এই চার শিষ্যকে নিয়ে স্থপতি গড়তে থাকেন একের পর এক ইমারত, স্থাপনা।
জীবনে চলার পথে আসে নানা ঘাত প্রতিঘাত। বন্ধুত্ব, বদান্যতা আর ভালোবাসার পাশাপাশি হাত ধরাধরি করে আসে ঈর্ষা, ঘৃণা, বিদ্বেষ আর বিশ্বাসঘাতকতা। তবুও জীবন চলে। চলতে চলতে পথ থেকে খসে পড়ে একে একে আপনজন। কেউ কেউ বেঁচে থাকে। বেঁচে থাকে গল্পগুলো আর মানুষের আশা।
জাদুর শহর ইস্তানবুল নিয়ে এলিফ শাফাকের আরেকটা চমকপ্রদ উপন্যাস দ্য আর্কিটেক্ট'স আ্যপ্রেন্টিস।
বি.দ্র. অনুবাদ ভালো ছিল, রাতুল ভাইয়ের আরও দুইয়েকটা বই পড়েছি সেগুলোর মতোই স্মুদ অনুবাদ। কিন্তু এই বইয়ে আমার মনে হয়েছে ঠিকঠাক সম্পাদনার অভাব ছিল। এক জায়গায় গোটা প্যারাটা রিপিট ছিল (রিপিট বলতে অনুবাদক একই প্যারা দুইভাবে অনুবাদ করেছেন এবং এবং কোনটা ভালো সে সিদ্ধান্ত নিতে না পেরে দুটোই রেখে দিয়েছেন) 😛 যাকগা! এটাও ছাড়াও টুকটাক কিছু অসঙ্গতি চোখে পড়েছে। ভবিষ্যতে পুনর্মুদ্রণ হলে আশা করি সেসব ঠিক হয়ে যাবে।
জীবনে চলার পথে আসে নানা ঘাত প্রতিঘাত। বন্ধুত্ব, বদান্যতা আর ভালোবাসার পাশাপাশি হাত ধরাধরি করে আসে ঈর্ষা, ঘৃণা, বিদ্বেষ আর বিশ্বাসঘাতকতা। তবুও জীবন চলে। চলতে চলতে পথ থেকে খসে পড়ে একে একে আপনজন। কেউ কেউ বেঁচে থাকে। বেঁচে থাকে গল্পগুলো আর মানুষের আশা।
জাদুর শহর ইস্তানবুল নিয়ে এলিফ শাফাকের আরেকটা চমকপ্রদ উপন্যাস দ্য আর্কিটেক্ট'স আ্যপ্রেন্টিস।
বি.দ্র. অনুবাদ ভালো ছিল, রাতুল ভাইয়ের আরও দুইয়েকটা বই পড়েছি সেগুলোর মতোই স্মুদ অনুবাদ। কিন্তু এই বইয়ে আমার মনে হয়েছে ঠিকঠাক সম্পাদনার অভাব ছিল। এক জায়গায় গোটা প্যারাটা রিপিট ছিল (রিপিট বলতে অনুবাদক একই প্যারা দুইভাবে অনুবাদ করেছেন এবং এবং কোনটা ভালো সে সিদ্ধান্ত নিতে না পেরে দুটোই রেখে দিয়েছেন) 😛 যাকগা! এটাও ছাড়াও টুকটাক কিছু অসঙ্গতি চোখে পড়েছে। ভবিষ্যতে পুনর্মুদ্রণ হলে আশা করি সেসব ঠিক হয়ে যাবে।
July 24, 2023
"كان يؤمن بأن في الحياة نعمتين: الكتب والأصدقاء، وعلى المرء أن يمتلك هذين الشيئين على نحو مختلف: أكبر عدد من الكتب وقلة قليلة من الأصدقاء".
من خلال حكاية فيل أبيض مع مروضه الصبي اليتيم تأخذنا أليف شافاق إلى الدولة العثمانية، أيام خلافة السلطان سليمان القانوني ومن بعده أبنائه سليم ومراد، نشاهد الحروب والمؤامرات، التي تصل لقتل الأبناء والأخوه للانفراد بالعرش، كذلك نتعرف على المعماري سنان بشخصيته الفريدة ومبانيه المذهله، وفلسفته العميقة.
علاقات مميزة تربط بين الصبي جهان وفيله من ناحية، وبينه وبين معلمه سنان من ناحية أخرى، وعلاقة حب مستحيلة يظل متعلقا بها طوال حياته.
للفيل نصيب كبير في الرواية، اتخذه الفتى صديقا وقريبا ومرشدا، علمه وتعلم منه.
ربما يتعجب البعض من العلاقات القوية بالحيوانات ويراها الآخرون بديلا عن علاقات افتقدوها أو أجبروا على فقدها.
حولت أليف شافاق الفيل من حيوان إلى شخصية رئيسية، فيها العطف والاحتواء، بذل الجهد مع الكثير من الظرف واللطف.
"ففي حين كان يركض وراء أشياء ليس مقدرا لها ان تحدث ابدا، ويستاء من الحياة بسبب حرمانه من نعمها، كان ثمة اشخاص يساندونه من دون أن يثيروا الانتباه لأنفسهم. كانوا يجزلون له العطاء ولا يتوقعون شيئا لقاء ذلك".
الفكرة لطيفة بس لو كانت اتكتبت في ٣٠٠ صفحة مثلا أعتقد كانت هتبقى أفضل بكثير، بس الكاتبة يمكن كانت عاوزة تمشي مع فترة زمنية طويلة حوالي 100 فعشان كده كانت محتاجة المط والتطويل ده.
من خلال حكاية فيل أبيض مع مروضه الصبي اليتيم تأخذنا أليف شافاق إلى الدولة العثمانية، أيام خلافة السلطان سليمان القانوني ومن بعده أبنائه سليم ومراد، نشاهد الحروب والمؤامرات، التي تصل لقتل الأبناء والأخوه للانفراد بالعرش، كذلك نتعرف على المعماري سنان بشخصيته الفريدة ومبانيه المذهله، وفلسفته العميقة.
علاقات مميزة تربط بين الصبي جهان وفيله من ناحية، وبينه وبين معلمه سنان من ناحية أخرى، وعلاقة حب مستحيلة يظل متعلقا بها طوال حياته.
للفيل نصيب كبير في الرواية، اتخذه الفتى صديقا وقريبا ومرشدا، علمه وتعلم منه.
ربما يتعجب البعض من العلاقات القوية بالحيوانات ويراها الآخرون بديلا عن علاقات افتقدوها أو أجبروا على فقدها.
حولت أليف شافاق الفيل من حيوان إلى شخصية رئيسية، فيها العطف والاحتواء، بذل الجهد مع الكثير من الظرف واللطف.
"ففي حين كان يركض وراء أشياء ليس مقدرا لها ان تحدث ابدا، ويستاء من الحياة بسبب حرمانه من نعمها، كان ثمة اشخاص يساندونه من دون أن يثيروا الانتباه لأنفسهم. كانوا يجزلون له العطاء ولا يتوقعون شيئا لقاء ذلك".
الفكرة لطيفة بس لو كانت اتكتبت في ٣٠٠ صفحة مثلا أعتقد كانت هتبقى أفضل بكثير، بس الكاتبة يمكن كانت عاوزة تمشي مع فترة زمنية طويلة حوالي 100 فعشان كده كانت محتاجة المط والتطويل ده.
June 14, 2016
I’ve challenged myself to read more books by International authors, I think it makes my world more expansive, it requires a certain sensibility. And not just Irish mysteries or Swedish stories about quirky geriatrics, though they are highly entertaining, but more literature with a capital L. So when The Architect’s Apprentice started popping up on must read lists, I stepped right up. I like my history with a side of fiction and given architecture is at this novel’s heart, I was sold.
What I found is that this story required a different kind of reading as it was highly imaginative, atmospheric and more philosophical than I’d anticipated, this isn’t a book you read quickly. The author gives us the opulence of the Ottoman Empire, while also the barbarism. At times the prose was overwhelming and, truthfully, I wasn’t always too keen on returning to it, but forge on I did and I’m happy for the experience. The writing is languid and other-worldly, the truths it reveals take a bit more focus to fully grasp.
The architect to which the title alludes is Mimar Sinan who has been credited with more than 300 glorious structures and served under three Sultans. The fictionalized portion introduces us to an apprentice, Jahan, who receives not only an architectural education, but a spiritual one as well. The narrative follows an episodic construct, think Turkish Pillars of the Earth, though characterization only scratches the surface. This makes some sense, it’s a cast of many, but when Chota the elephant and the Gypsy Balaban are the most clearly wrought characters, you have to wonder why you never get a deeper sense of the protagonists.
That said, Shafak has written a beautiful ode to 16th century Turkey, to a master of architecture and the cultures that built Turkey’s magnificent domes. We also glimpse the clash between science and the Muslim faith and are presented a philosophical view of life that is not common to Western culture. This isn’t for everyone (as my book club can attest), but for those that choose to read it, its beauty will not disappoint.
What I found is that this story required a different kind of reading as it was highly imaginative, atmospheric and more philosophical than I’d anticipated, this isn’t a book you read quickly. The author gives us the opulence of the Ottoman Empire, while also the barbarism. At times the prose was overwhelming and, truthfully, I wasn’t always too keen on returning to it, but forge on I did and I’m happy for the experience. The writing is languid and other-worldly, the truths it reveals take a bit more focus to fully grasp.
The architect to which the title alludes is Mimar Sinan who has been credited with more than 300 glorious structures and served under three Sultans. The fictionalized portion introduces us to an apprentice, Jahan, who receives not only an architectural education, but a spiritual one as well. The narrative follows an episodic construct, think Turkish Pillars of the Earth, though characterization only scratches the surface. This makes some sense, it’s a cast of many, but when Chota the elephant and the Gypsy Balaban are the most clearly wrought characters, you have to wonder why you never get a deeper sense of the protagonists.
That said, Shafak has written a beautiful ode to 16th century Turkey, to a master of architecture and the cultures that built Turkey’s magnificent domes. We also glimpse the clash between science and the Muslim faith and are presented a philosophical view of life that is not common to Western culture. This isn’t for everyone (as my book club can attest), but for those that choose to read it, its beauty will not disappoint.
November 27, 2019
دوروز قبل تمومش كردم ولي دسترسي به اينترنت نداشتم:)
بايد راجعش بگم يه دوره ي صدساله از امپراتوري عثماني رو تعريف ميكنه از زمان سلطان سليمان وبعدش سلطان سليم راحت طلب وبعدش سلطان مراد،مود سلطان سليم به رياست وسلطان بودن نميخورده ولي مث خيلي ازما دير استعداد وعلايقشو ميشناسه!
خرافات اهالي كشورشون رو ميگه وعاشق شدن جهان رو...
عاشق مهرماه دختر سلطان سليمان ميشه،راجع زندگي اين ادم صد ساله ميگه وراجع معماران دربار!
هيچوقت دوس نداشتم توي قصر باشم ويكي ازاهاليش!
بااينكه تيزم ولي حوصله ي نقشه كشيدن ودفع حيله رو ندارم؛)
بايد راجعش بگم يه دوره ي صدساله از امپراتوري عثماني رو تعريف ميكنه از زمان سلطان سليمان وبعدش سلطان سليم راحت طلب وبعدش سلطان مراد،مود سلطان سليم به رياست وسلطان بودن نميخورده ولي مث خيلي ازما دير استعداد وعلايقشو ميشناسه!
خرافات اهالي كشورشون رو ميگه وعاشق شدن جهان رو...
عاشق مهرماه دختر سلطان سليمان ميشه،راجع زندگي اين ادم صد ساله ميگه وراجع معماران دربار!
هيچوقت دوس نداشتم توي قصر باشم ويكي ازاهاليش!
بااينكه تيزم ولي حوصله ي نقشه كشيدن ودفع حيله رو ندارم؛)
April 3, 2021
I loved many parts of this novel, especially in terms of Jahan's relationship with his elephant. I was truly immersed in the first third, but the story began meandering and I felt like I following Jahan through an Ottoman Empire labyrinth. Shafak's writing is elegant, so I was willing to take this journey. However, I was too often disconnected from Jahan in the process. Still provides an illuminating glimpse into this fascinating place and period of history.
May 14, 2020
I had heard a lot of good things about Elif Shafak, and my first experience of her writing confirmed that she is a proper wizard with words, atmosphere and settings. “The Architect’s Apprentice” took me on a journey through 16th century Istanbul, a bustling, cosmopolitan city where many worlds seem to intersect. I had visited that place with Pamuk’s “My Name is Red” (https://www.goodreads.com/review/show...), but I hadn’t been crazy about that trip. Shafak, however, completely seduced me with Jahan’s story, and I was sad to leave him when I flipped the last page.
Jahan arrives in Istanbul under rather unusual circumstances: officially, he is the trainer and minder of a gorgeous white elephant he has cared for since the creature’s birth, but the captain of the ship on which he travelled has different plans for him. While tending to both his official duty and secret activities, he will meet the Royal Architect, Mimar Sinan, who sees potential in the young Indian boy and decides to take him on as an apprentice. The novel follows Jahan’s life, his work, his travels and his loves, and draws an amazing portrait not only of the character, but of a very unique time and place in history. It’s hard to summarize in more details, because to be honest, the narrative meanders: there is no structured plot in “The Architect’s Apprentice”, we simply follow Jahan’s footsteps, but that’s the beauty of the story, it grows with him.
I wasn’t expecting to adore Chota the elephant as much as I did, but of course, I ended up as attached to him as Jahan is. Shafak did a wonderful job of making him just as much of a character as the humans are. And of course, the city of Istanbul is a character in and off itself too: through Jahan’s apprenticeship, he helps build some amazing and famous buildings, mosques, observatories and palaces that we get to see through their builders’ eyes. If you have never given much thought to visiting Istanbul before reading this book, it will definitely make you want to travel and see those marvellous monuments with your own eyes.
It’s not a perfect book because it doesn’t go quite as deep as I would have liked on many aspects of Jahan’s story. I think I would have liked it even more if it had been a bit longer and explored his relationship with his master, the other apprentices and the gypsies more fully. But do not let that small complaint deter you from reading Jahan and Chota’s story. It is still lush with dream-like beauty and wonders.
Jahan arrives in Istanbul under rather unusual circumstances: officially, he is the trainer and minder of a gorgeous white elephant he has cared for since the creature’s birth, but the captain of the ship on which he travelled has different plans for him. While tending to both his official duty and secret activities, he will meet the Royal Architect, Mimar Sinan, who sees potential in the young Indian boy and decides to take him on as an apprentice. The novel follows Jahan’s life, his work, his travels and his loves, and draws an amazing portrait not only of the character, but of a very unique time and place in history. It’s hard to summarize in more details, because to be honest, the narrative meanders: there is no structured plot in “The Architect’s Apprentice”, we simply follow Jahan’s footsteps, but that’s the beauty of the story, it grows with him.
I wasn’t expecting to adore Chota the elephant as much as I did, but of course, I ended up as attached to him as Jahan is. Shafak did a wonderful job of making him just as much of a character as the humans are. And of course, the city of Istanbul is a character in and off itself too: through Jahan’s apprenticeship, he helps build some amazing and famous buildings, mosques, observatories and palaces that we get to see through their builders’ eyes. If you have never given much thought to visiting Istanbul before reading this book, it will definitely make you want to travel and see those marvellous monuments with your own eyes.
It’s not a perfect book because it doesn’t go quite as deep as I would have liked on many aspects of Jahan’s story. I think I would have liked it even more if it had been a bit longer and explored his relationship with his master, the other apprentices and the gypsies more fully. But do not let that small complaint deter you from reading Jahan and Chota’s story. It is still lush with dream-like beauty and wonders.
December 21, 2020
Είναι ένα αξιολογότατο βιβλίο. Διαβάζεται πολύ εύκολα, σαν παραμύθι, χωρίς όμως η απλότητα της γραφής του να απομειώνει την αξία του. Περιλαμβάνει πολλά ιστορικά στοιχεία, κυρίως όσο αφορά την ιστορία της αρχιτεκτονικής της Κωνσταντινούπολης, αλλά παράλληλα ο αναγνώστης διεισδύει στα ήθη και τα έθιμα της Οθωμανικής Αυτοκρατορίας και γεμίζει με στοχασμούς που αφορούν τη διαφορετικότητα, την ελευθερία, τη συλλογικότητα, τη φιλία, την ανάγκη για επιβίωση και κυρίαρχα την αγάπη του ανθρώπου για τα ζώα.
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