Page 139 - The Age of Sultan Suleyman the Magnificent

One of the earliest Ottoman mirrors is a circular example
(72) made of blackened steel, inlaid with gold, set with ru-
bies and turquoises, and attached to an octagonal dark green
jade handle. The back has a large medallion with gold-inlaid
cartouches bearing cloud bands executed in reserve; the in-
terstices are filled with gold-inlaid rumi scrolls. In the center
is a six-pointed star with a ruby core, surrounded by ovoid
cartouches. The band encircling the medallion contains six
lines from a Persian poem, written in gold-inlaid talik and
separated by rumis executed in reserve. The lobes on the edge
are embellished with gold rumis. Turquoise stones are set just
beyond the points of the central star, while turquoises or em-
eralds appear between the verses.
The verses are from a mystical poem in which the mirror is
compared to the beloved. By looking at the beloved a person
sees himself, just as he sees his reflection in the mirror.
The face of the mirror is framed by a gold band decorated
with reserved rumis, alternately set with rubies and tur-
quoises. The large reflective surface in the center is metal,
probably bronze, which is now oxidized. The head is attached
to the jade handle with a gold palmette and faceted ring, em-
bellished with nielloed rumis and gems. The handle termi-
nates with a fluted knob, at the end of which is a blossom.
The stones, both natural and cabochon-cut, are set into
round collars and are held by prongs, a feature seen on other
early-sixteenth-century pieces (see 56, 57, and 63). The deco-
ration of the mirror demonstrates the influence of the nakka§-
hane; almost identical designs were used on lacquered book-
bindings dating between 1520 and 1540 (see 18a). They, in
turn, were influenced by late-fifteenth-century examples pro-
duced in Herat.
There is a similar gold-inlaid steel mirror in the Metropoli-
tan Museum of Art that appears to have been produced in
the same workshop. 53 It has an ivory handle and a metal
face. The back contains a central medallion with a radiating
72. Jeweled and gold-inlaid steel mirror with jade handle, second quarter design composed of floral scrolls and rumis, encircled by a
sixteenth century (Istanbul, Topkapi Sarayi Miizesi, 2/1801)
band with the same elements.
Another mirror in the Topkapi Palace (73), made for Sü-
leyman by an artist named Gani in 1543/1544, employs dif-
ferent materials, techniques, and style of decoration. It is
constructed of three pieces of deeply carved ivory; two super-
imposed panels are used on the back and one on the face,
affixed to an ebony core with a series of gold nails worked
this piece employed the decorative repertoire of the second into the design. The ebony handle is fluted, with the grooves
half of the sixteenth century to convert a broken vessel into a in the center placed diagonally, producing a twisted effect; a
typical Ottoman matara. 52 ribbed ring joins it to the ivory stem of the head, and a
The precious objects discussed above were used by the sul- ribbed elongated globe appears at the end.
tans during official and ceremonial activities as well as on a The lobed ovoid head rising to a palmette finial has a cop-"
daily basis when dining or writing. Another group of equally tinuous inscription around the edge, written in sülüs and
sumptuous but more personal pieces, including hand mirrors, placed over a scroll with hatayi blossoms and leaves. At-
belts, and turban ornaments, belonged to their wardrobes. tached to its center is the second smaller lobed oval, its bor-
Produced in gold, steel, ivory, and mother-of-pearl, they were der filled with saz scrolls and cloud bands. This plaque,
inlaid with precious metals and set with gems. which is higher than the first, has a raised central panel deco-

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