Page 120 - The Age of Sultan Suleyman the Magnificent

of inlay, one flush with the surface and the other rendered in purely in the Ottoman style. Also included in this group are
high relief. In the first type, frequently observed in rumi brass and gilded copper items revealing the same surface in-
30
scrolls decorating jade objects, thin pieces of gold were ap- terest. The saz style, which developed in the nakka§hane in
plied to shallow grooves, and the inlay lay flush with the sur- the second quarter of the sixteenth century, was popularly
face. In the second, more complicated type, a scroll with employed by the metalworkers. The naturalistic genre was
branches bearing leaves and blossoms was carved into the not as widespread and was used on a limited number of ob-
jade; then twisted gold wire was applied to the branches and jects, mostly arms and armor.
pre-cut gold pieces to the leaves. The blossoms were com- The most exquisite silver and gold objects were produced
posed of scalloped gold settings representing petals, each with in the third quarter of the sixteenth century and decorated
a raised central collar holding a gemstone. The leaves and with saz scrolls, at times inlaid with niello. Frequently the sil-
petals were further enhanced with chased lines and striations. ver was gilded, and in rare cases the pieces were enameled.
The entire scroll stood above the surface, with the blossoms Among the outstanding examples are a small gilded silver
resembling corollate flowers with jeweled centers. These two bowl with enameled motifs; 31 a jade and gold bookbinding
types of inlay, both indigenous to the Ottoman world, were (see 20), a ceremonial canteen (see 54), and the handle and
frequently combined on the same piece, and were applied to scabbard of one of the Prophet's swords attributed to
metalwork as well as jade, rock crystal, and porcelain. Mehmed, the chief goldsmith; and the bookbinding, casket,
Several different metalwork styles appear to have coexisted and Kaaba lock and key signed by the same artist. Mehmed's
at the court. One group includes objects without surface dec- style masterfully combines refined metalworking with gem
oration, relying on the elegance and simplicity of their forms. encrustation, striking a perfect harmony between the arts of
This concept is not found in other Islamic societies and ap- the goldsmith and the lapidary.
pears to be unique to the Ottomans. 25 Included in it are cups, Although a number of imperial items, such as the canteen
bowls, bottles, and candlesticks made of silver, brass, or and sword carried by the Has Oda officials, had ceremonial
copper. significance, they were basically functional objects for use by
A related group is decorated with chased and repoussé de- the sultans, as were the thrones. Even such pieces as locks
signs rendered in relief, employing the decorative repertoire and keys for the Kaaba, which represented the sultans' suzer-
of the age. Although some of the themes recall those found ainty over the holy sites in the Hijaz, had practical uses. Per-
on fifteenth-century Timurid objects, they are essentially haps the only nonfunctional and purely decorative items ,
based on the designs formulated in the nakka§hane, which were the elaborate spherical ornaments that were suspended
were used on a variety of other contemporary arts, such as from ceilings—even above portable and built-in thrones—and
ceramics and architectural decoration. Many items in this employed in both secular and religious settings, such as re-
group were made of silver, and a number were gilded. Exam- ception chambers and mausoleums.
ples produced in the late fifteenth and early sixteenth centu- The majority of the Hazine items was for daily use and in-
ries are decorated with rumi and hatayi scrolls, while those cluded jugs and tankards for drinking; canteens for carrying
made after the second quarter of the sixteenth century fre- purified water; bowls, plates, and trays for serving food;
quently show the saz style that was ubiquitous in all Otto- ewers and bottles for dispensing liquids; boxes for jewels and
man decorative media. One of the earliest pieces embellished other treasured items; and pen boxes. The sultan's table was
with rumis and hatayis is a silver chandelier from the set with silver, gold, and porcelain pieces, the latter of which
Mosque of Mehmed II 26 datable to the 1480s; another is a had been collected since the fifteenth century. Acquired by
gilded silver bowl, its rim decorated with animals, bearing the purchase, as booty and gifts, but mostly through confiscation,
27
stamp of Bayezid II. The latter has a most unusual shape, the Chinese porcelain collection during Süleyman's reign was
with scalloped and fluted walls and a movable central disc. quite extensive and was kept in the kitchens with the other
This particular shape as well as the style of animals decorat- cooking and serving pieces.
ing the rim recall eastern European examples. The bowl was Some porcelain vessels were restored by adding metal rims,
most likely produced by one of the artists from the Balkans caps, and handles (see 70); others were changed to serve the
listed in the document of 1526 as having been registered dur- sultans' needs (see 71). For example, vases or ewers were
28
ing the reign of Bayezid II. This artist combined his native made into canteens by adding a pair of spouts, and pieces
traditions with the decorative features of the Ottoman court. 29 dating from different periods were combined to create cov-
The same combination of rumi and hatayi scrolls appears on ered bowls and incense burners. Certain examples were em-
a silver plate made for Süleyman (see 50) and a series of sin- bellished with gold and silver fittings and encrusted with
gle-handled gilded silver jugs, a few of which have the stamp gems (see 68 and 69), following the techniques employed on
of either Selim I or Süleyman (see 51 and 52). The shape of jade and rock-crystal objects. Most of the decorated pieces
the jugs with dragon-headed handles is directly related to late- were Yuan and Ming dynasty blue-and-whites, although
fifteenth-century Timurid examples, but the decoration is white ware and celadons were also refurbished. 32

119