Page 200 - The Age of Sultan Suleyman the Magnificent

Accessories and Embroideries Embroidery techniques included zigzag stitch, satin stitch,
pierced work, and tel kirma, in which metal foils are folded
Another category of imperial Ottoman textiles consists of em- over to create a knotted effect.
broidered silks, velvets, cottons, linens, and wools which A second example (125) also reveals a printed black center
were fashioned into garments, accessories, and furnishings. 57 with black panels in the reserved border. The embroidered
Embroidery using silk and metallic threads was also applied design is composed of two wide intersecting bands decorated
to wicker shields and to leather bookbindings, boxes, con- with geometric motifs with sprays of stylized blossoms placed
tainers, riding and hunting equipment, shoes, boots, caps, in the triangular interstices. The oblongs in the centers of the
jackets, and even floor coverings. Appliquéd and embroidered bands are filled with symbolic kufi inscriptions that repeat elif
tents surrounded by fabric enclosures were part of the sul- and lam, (the letters a and /), which had mystical connota-
tans' campaign regalia, as can be observed in historical tions. These, as well as the squares in the corners, are printed
manuscripts. 58 black. The latter contains four stylized carnations interspersed
Ceremonial kaftans, such as the one made for §ehzade with leaves. A thin cord encircles the embroidery, which is
Mehmed (see 120), handkerchiefs, sashes, portfolios, quivers, stitched in the traditional techniques. This example is unusual
bow cases, and throne cushions and bolsters heavily embroi- in its use of inscriptions.
dered with gold were produced by the society of the zerduz, In a third handkerchief (126) black was used only in the
while garments, accessories, and furnishings used on a daily interstices of the border. This band has lobed medallions en-
basis were made by individuals, mostly by women who be- closing sprays of tulips and carnations that alternate with
longed to the court or worked at home. Domestic embroider- vases containing the same two flowers. A pair of red and
ies ranged from nightgowns and underwear to a variety of black cords finishes the edges. There is also black on the bor-
accessories, such as caps, shoes, handkerchiefs, scarves, head- der of a fourth piece (127), which is embellished with a
bands, and sashes. In addition, embroidery was used for tur- chevron band rendered in reserve. The band is decorated
ban covers, bohças, towels, napkins, quilt covers, sheets, and with a floral scroll, while sprays of two large carnations
pillow cases as well as for prayer cloths and floor coverings. 59 flanked by small tulips and rounded blossoms appear in the
The decorative repertoire used in sixteenth-century em- black-ground triangles. Carnations and rounded blossoms
broideries closely followed the themes initiated by the nakka§- also appear in the corner. A double cord finishes the edges.
hane, relying on rumis, cloud bands, and çintemanis as well The techniques used on these four examples as well as the
as saz-style hatayi blossoms and feathery leaves. In addition, types of embroidery stitches and materials are identical, indi-
there were naturalistic sprays of tulips, carnations, and hy- cating that they were made in the same workshop.
acinths with occasional palms and cypress trees. Colors used Another handkerchief (128) came to the Topkapi Palace
were generally the popular pistachio-green, ruby red, and from the Mausoleum of Hürrem Sultan. Made of ivory-
bright blue, supplemented at times by yellow and white, with colored linen, it is bordered with a lattice pattern that creates
brown and black outlines. Silver and gold were used on cere- a series of lozenges. Each lozenge encloses a star with four
monial and imperial pieces, while polychrome silks decorated tulips radiating from its outer edges. Embroidered with blue,
others. brown, pistachio-green, and ruby-red silks and gold, it dis-
Similar to kaftans, embroidered items owned by the sultans plays the same stitches as the handkerchiefs made for §eh-
and members of their families were traditionally placed in zade Mehmed. Hürrem Sultan's handkerchief is more delicate
their mausoleums. Several handkerchiefs and headbands, than her son's, its colors more suitable for a lady.
found in the mausoleums of §ehzade Mehmed and Hürrem There are no handkerchiefs identifiable with Süleyman.
Sultan, must have been used by them during their lifetimes. The sultans used elaborately embroidered ceremonial hand-
Other items, such as ceremonial kaftans, sashes, and portfo- kerchiefs, similar to the three spectacular examples housed in
lios, were preserved in the palace. the Topkapi Palace that are recorded as having come from
Four handkerchiefs found in the Mausoleum of §ehzade the Mausoleum of Ahmed I. Their wide borders, embroidered
Mehmed reveal an interesting technique. They are made of with gold and silver using the zerduz technique, are so heavy
loosely woven cinnamon-colored linen, partially printed that the central portions of the linens have been torn away
60
black, and decorated with embroidered borders. They are by their weight. The dating of this group of ceremonial
about 52 centimeters (20^ inches) square, and their borders handkerchiefs is difficult to determine, since embroideries
]
are approximately 5 centimeters (2 /2 inches) wide. made in the second half of the sixteenth and first half of the
One of them (124) has a black center with a reserved bor- seventeenth centuries used similar techniques and designs. It
der decorated with interlacing bands that create two rows of is possible that some were made earlier and presented to
hexagons, the centers of which are also printed black. The Ahmed I's mausoleum at the time of his death.
bands and hexagons are embroidered with geometric car- The handkerchief was a traditional Islamic symbol of roy-
touches and stars rendered in polychrome silks and gold. alty and kingship, held by rulers during official functions. The

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