Page 191 - The Age of Sultan Suleyman the Magnificent

117. Kemha kaftan with star pattern, mid-sixteenth century (Istanbul,
Topkapi Sarayi Miizesi, 13/21 )

tans that displays them is a cream-ground kemha boldly pat- wide bands of the ogival medallions are overlaid with floral
terned with double-wavy lines that form large lozenges branches; the connecting ovals have sprays of tulips, pome-
around stars (117). In the center of each star is a hexagon granates, and other flowers; and the central roundel contains
enclosing a multipetaled blossom with tulips and carnations tulips, rosebuds, and tiny blossoms. The second lattice is less
radiating from its edges. A large tulip, flanked by blossoms, conspicuous and composed of a thin yellow branch that
grows from the upper point of the star and sprouts branches forms both complete and incomplete ogival medallions; it
with rosebuds that flow into the adjacent zones; at the bot- bears hatayi blossoms, flowers with swirling petals, buds, and
tom of the lozenge is a double-handled vase with a bunch of leaves. Although its owner is not recorded, the pattern is ex-
carnations. This collarless kaftan with elbow-length sleeves, tremely close to that of the kaftan worn by Selim II in the
two pockets, and side slits is fastened with corded silver but- portrait made by Nigari (see fig. 11) and must date from the
tons and loops attached to silver braids woven with red stars, middle or third quarter of the sixteenth century. 50
hexagons, and hyacinths, repeating the design of the silk. The Serenks, woven without metallic threads, were favored in
combination of geometric and floral motifs with double-wavy the court as much as kemhas, especially those with intricate
lines suggests a mid-sixteenth-century date. The motifs are designs. This example is unusual in its wide range of colors:
rendered in gold and two colors—bright blue and ruby red— blue, green, red, white, and yellow. Most serenks have only
which, against the cream ground, create a sumptuous effect. two colors, usually blue and red, in addition to yellow. One
Ogival patterns were by far the most popular, their designs slightly earlier but equally refined example was made into a
creating an intricate latticework with two or more superim- short kaftan or jacket worn over §alvars for riding. 51
posed connected ogival medallions. One of the more complex The most treasured Ottoman fabric was seraser, which was
patterns is found on a serenk ceremonial kaftan lined with woven with gold and silver threads. Some examples are
sable (118). The fabric, with a ruby red ground, employs two plain, others decorated with bold motifs rendered in two or
alternating ogival scrolls. One is rendered in blue and has at three colors. Seraser was so valued that it was used to line a
the intersecting points of the medallions four large ovals that gold Koran bookbinding and appliquéd on a velvet portfolio
sprout a pair of tulips and rumis, which transgress into the (see 9b and 139). Patterned examples were made into cere-
adjacent zones; between the tulips is a central roundel. The monial kaftans and cushions used on thrones (see 156).

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