Page 174 - The Age of Sultan Suleyman the Magnificent

14. This document, mentioned earlier, has been partially published in Meriç 38. Fehér 1965a, figs. 3-5.
1953, no. LXXIV. The number of artists brought to Istanbul by Selim I, either 39. The lid was most likely a domical one topped by a knob. This type of lid
émigrés from Herat or native Tabrizis, appears to be exaggerated as only a can be seen on a gilded copper tankard decorated with vertical rows of cy-
handful were eventually employed by the court. Of course they could have press trees alternating with large tulips, using only naturalistic themes, as
joined the local guilds, whose products are virtually unknown. well as on one in tinned copper with a similar decorative repertoire. The
15. The works of this artist and his style are analyzed in Çagman 1984. gilded copper example, which is slightly larger, has black organic material
16. The chief in 1606 was another Bosnian by the name of Cafer. applied to the background; it is published in Frankfurt 1985, vol. 2, no. 6/15.
17. Meriç 1963, no. IV. For the tinned copper piece see Sotheby's 1985b, no. 258.
40. One of these lobed plaques from a quiver is published in Skelton 1978,
18. Meriç 1963, no. V.
fig. 2; and Rogers 1983b, no. 413.
19. Close to 150 artists are listed as having presented gifts on different occa-
sions in Meriç 1963, nos. I-III. 41. It is surprising that in the 1558 Süleymanname illustrations the Has Oda
officials, who always accompany the sultan, are not represented with these
20. Several are published in A. U. Pope 1964-1965, pi. 1380; and Kôseoglu two items. Nigari's c. 1560 portrait of Suleyman shows two attendants, one
1980, 7. of whom carries only a sword. The matara began to be depicted in manu-
21. See a few objects illustrated in Istanbul 1983, E. 85, 96, and 215; and scripts produced after the 1568/1569 account of the Szigetvár campaign,
Atil et al 1986, 37-38 and fig. 16. which suggests that the canteen either became a part of the sultan's cere-
22. Allan and Raby 1982, pi. 14. monial effects during the last days of Süleyman's reign or its official usage
23. There is a strange series of small silver- and copper-inlaid brass inkwells was initiated by Selim II and continued by Murad III and his followers.
or containers representing human figures, inscribed with the names of the 42. The inscription is published in Sourdel-Thomine 1971, no. 16.
Ottoman sultans, which appear to have been produced in the nineteenth or 43. For a study of these pieces and their inscriptions see Sourdel-Thomine
twentieth century. The purpose, technique, and provenance of these require 1971.
further study to establish when and where they were made. Several such ex- 44. Sourdel-Thomine 1971, no. 18; and Çagman 1984, fig. 6.
amples were published in Paris 1977, no. 562; and Frankfurt 1985, vol. 2,
nos. 6/6 and 6/8. 45. See Istanbul 1983, E. 95 and 215; and Atil et al 1986, fig. 16.
46. The other jade, called jadeite, is almost emerald-green and was not dis-
24. For a study of Ottoman jades see Skelton 1978. After this publication a
number of other jade vessels, previously thought to be Indian, were identi- covered until the eighteenth century.'Therefore all jade objects produced ear-
fied as Turkish; see, for instance, Sotheby's 1982, nos. 330 and 331. lier in the Ottoman court are nephrite.
47. The other box is published in Istanbul 1983, E. 82.
25. See, for instance, Allan and Raby 1982, pis. 23, 29, 30-33, 35-38, and
40-43. 48. It has also been identified as "black amber," which seems an unlikely
26. Allan and Raby 1982, pi. 6; and Istanbul 1983, E. 21. material to associate with Herat.
27. Allan and Raby 1982, pi. 21; see also Istanbul 1983, E. 23 for a pair of 49. See, for example, Paris 1977, no. 672 for an archer's ring and nos. 674-
676
here. The cups
for three cups,
one
is described
brass candlesticks made for the same sultan. having entered the royal of which collection between 1684 and are recorded as
French
1701.
28. The men from the Balkans are listed as Kasim Bosna, Hizir Akkerman,
Hasan Arnavud, all master goldsmiths; see Çagman 1984, 68. 50. This type of ewer was produced in China since the Yuan period, dating
back to the first quarter of the fourteenth century.
29. For other similar pieces in Hungarian collections see a bowl dated 1537
(Fehér 1975, ill. 16) and two daggers made in 1543 and 1549 (Allan and 51. This bookbinding, attributed to the chief goldsmith Mehmed, is pub-
Raby 1982, pi. 8a; and Sarre and Martin 1912, pi. 242). lished in Istanbul 1983, E. 202; and Çagman 1984, fig. 8.
30. Atil et al 1985, no. 27. 52. A white porcelain vessel was also converted to a canteen by using gilded
31. Allan and Raby 1982, pi. 5. silver components; see Istanbul 1983, E. 130.
53. Berlin 1982, no. 109.
32. For a study of this practice see Ünal 1963, where 269 pieces are listed as
having been decorated in the court. See also Istanbul 1983, E. 255 and 271. 54. See Rogers 1983a, pi. 61.
33. One example in the British Museum, decorated with rumi scrolls, was 55. This subject is discussed in Rogers 1983a; see also Rogers 1982, 292-
294,
where the
glassmakers
employed
in the
described.
Süleymaniye are
published in Frankfurt 1985, vol. 2, no. 11/4. Rogers suggests that the Venetian ship that was wrecked in 1583 off the Dal-
34. For a study of Timurid brass jugs see Atil et al 1985, no. 25, where sev- matian coast was headed for Istanbul with a cargo consisting mostly of glass
eral pieces are illustrated and references to other publications are given. window panes, vessels, and mirrors.
Ulugh Bey's jade jug, now in the Gulbenkian Foundation in Lisbon, might
have also been a part of the Timurid collection in Istanbul; see Grube 1974, 56. See Meriç 1953. It is interesting to note that the kundekari also pre-
fig. 107. sented items such as spoons and archer's rings made from other materials—
mother-of-pearl, tortoiseshell, and rare woods—that they themselves may
35. In addition to the two examples discussed here, there is a lidded jug in have produced.
the Hermitage, published in Miller 1959; and Allan and Raby 1982, pi. 7c.
In Sotheby's 1985c, no. 126, there are references to others in the Serbian 57. An identical buckle with matching plaques is published in Istanbul 1983,
Monastery of Visoki Decani, Old Orthodox Church in Sarajevo, and Benaki E. 86. See also Istanbul 1983, E. 90 and 91 for other ivory buckles and
Museum in Athens. Another example was recently auctioned in London plaques.
(Sotheby's 1986, no. 73). 58. The production of small ivory vessels appears to have continued in
Egypt, as observed on several examples dating from the sixteenth century,
36. See, for instance, a group of similar sixteenth-century silver objects in
Hungarian collections discussed in Fehér 1965b. including a beaker made in Cairo in 1520/1521 by Muhammed or Mehmed
Salih, now in the Victoria and Albert Museum. The same stylistic features
37. It is identified as Selim b. Suleyman in Miller 1959 and as Siileyman b. appear on a portable pen case, called divit, its inscription stating that it was
Selim in Allan and Raby 1982, 218, n. 40. One of the more unusual gilded made in Egypt in 1671/1672 by the same artist. There is obviously something
silver pieces, recently published in Sotheby's 1986, no. 128, is an ewer with wrong in the dates on these two objects, which were made by the same man
a domical lid, single handle, dragon-shaped spout, and a high flaring foot; in in the same style, but one hundred and fifty years apart. Further research is
addition to rumi, hatayi, and cloud band scrolls that decorate its surface, fan- required to identify the production of ivory vessels in Egypt during the Otto-
tastic birdlike creatures with knotted tails appear on the handle; the neck man period and to determine which date is correct.
and foot contain enameled cartouches. The vessel appears to be an experi-
mental piece with odd proportions, as if the maker used the shape of a jug, 59. Several of these ladies appear in an album, now in Vienna, published in
to which he appended a high foot and an elaborate sculptural handle. Tuglaci 1984, 101.
173