Page 203 - The Age of Sultan Suleyman the Magnificent

129 (above) and 130 (center). Embroidered headbands made for Hiirrem
Sultan, second quarter sixteenth century (Istanbul, Topkapi Sarayi Miizesi,
31/1478 and 31/1480)

131 (below). Embroidered headband, second half sixteenth century (Istanbul,
Topkapi Sarayi Müzesi, 31/1477)

slightly smaller and has a pair of strips extending from its ta- mately 12.5 centimeters (5 inches) high. Their lengths vary
pered ends. The design consists of a series of intersecting and from 180 to 500 centimeters (71 to 200 inches, or 6 to 17
connected squares that form eight-pointed stars and enclose feet), which indicates that they were wound several times
tulips or other blossoms. Additional tulips and hyacinths ap- around the waist. The designs on the bands are mirror images
pear in the interstices. Embroidered on beige linen in black, so that when the sashes are folded in half the same decora-
blue, cream, and ruby-red silks and gold, it is backed with tion shows on both sides of the loose ends. Similar sashes
plain cloth. were worn by high palace officials, including the members of
The largest group of ladies' caps, scarves, and headbands the Has Oda, as represented in Nigari's portraits of Süleyman
owned by the Topkapi Palace came from the Mausoleum of and Selim II (see figs. 10 and 11).
63
Ahmed I, where his wife Kósem Sultan is also buried. A One of the sashes (132) is embroidered with six pastel
number of similar items were found in the Mausoleum of colors, using heavy blue, green, pink, tan, white, and yellow
Murad III, including a headband (131) covered with gold and silk thread on a gold ground. Its design is based on saz scrolls
silver. The design consists of connected gold octagons, each with large hatayi blossoms, buds, and leaves intermingled
decorated with a central blossom that sprouts swirling with cloud bands. The zerduz-embroidered ground creates a
branches bearing flowers, buds, and leaves. The silver trian- shimmering texture against which the motifs are rendered in
gles between them have additional blossoms and leaves. This satin and stem stitches. This example, which must be the ear-
example is embroidered with black, blue, pistachio-green, liest in the series, is remarkable for its wide range of colors.
and ruby red, the most popular colors of the age. It may have A second sash (133) employs the same stitches in blue,
belonged to the wife of Murad III, Safiye Sultan, who was pistachio-green, and ruby red with a limited use of brown.
also buried there. The design is in the naturalistic genre, with two large palm
The Topkapi Palace owns four embroidered sashes in the trees growing from pots amid bunches of flowers; on either
superb zerduz technique that date from the mid-sixteenth side of the palms are vases with tulips and carnations, below
century. These sashes, made of lightweight pale-cinnamon- which are sprays of diverse blossoms.
colored linen, are about 28 centimeters (11 inches) wide, A third sash (134) has bands of ruby-red silk sewn onto its
their ends embroidered on one side with bands approxi- edges. These bands are embroidered with blue, pale green,

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