Page 208 - The Age of Sultan Suleyman the Magnificent

140. Embroidered sharkskin box, second half sixteenth century (Istanbul,
Topkapi Sarayí Müzesi, 31/268)

teresting texture that matches the stippled surface of the Their designs fall into three general groups: overall pat-
leather. The palmette-shaped brackets, hinges, and clasp of terns; latticework, generally composed of connected ogival
the box are made of gold. Its interior is lined with ruby-red medallions with rare examples showing a double-ogival de-
silk and contains a removable compartment. This meticu- sign; and vertical-stem motifs with undulating branches bear-
lously designed and executed box must have been made for ing overlapping floral or composite elements.
the imperial wardrobe and used to store precious items, such The decorative themes range from çintemani patterns, pal-
as jewelry. mettes, trefoils, rumi scrolls, cloud bands, and hatayi blos-
soms and leaves to naturalistic flowers. The main themes are
frequently superimposed with additional motifs and, with the
exception of some overall patterns, the design is directional,
Textiles and Furnishings with a distinct source from which the elements spring. Even
though overall, ogival, and vertical-stem patterns as well as
Ottoman textiles were in great demand in Europe, and were certain individual motifs, such as roundels enclosing cres-
purchased in large quantities to be fashioned into royal and cents, rumis, and cloud bands, can be traced to thirteenth-
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ecclesiastical garments or used as decorative wall hangings and fourteenth-century Seljuk and Mamluk silks, these for-
and covers for tables and altars. Some of these, together with mal devices were reinterpreted and combined with native
hilats presented by sultans as gifts, were later cut up and ac- themes, including saz elements and naturalistic flora, to cre-
quired by various collections. ate designs that were unique to the Ottoman world and that
The decorative repertoire of Ottoman weavers can best be characterized its textile production.
studied by the lengths of fabrics preserved in European and Colors used in the kemhas reflect the taste of the age, with
American collections. The majority are kemhas and catmas ruby red being the most popular shade; also included are
made for export, most likely produced in Bursa. A large bright blue, pistachio-green, cream, pink, and brown, at times
number of the kemhas were intended for garments, while the purple and yellow as well, with ample use of gold, gilded sil-
catmas include both dress fabrics and upholstery goods de- ver, or plain silver strips wrapped around yellow silks, pro-
signed to cover bolsters and cushions or to be spread on the ducing shimmering golden tones. The velvets have a more
floor. Although decorations of these export wares are not as limited palette. The majority have a ruby-red-pile ground
refined as those made for the court by the imperial weavers, with the same color and weave used to define the motifs; the
they are of the highest quality and had to meet strict regula- main elements are rendered in pistachio-green (at times pale-
tions imposed by the state before being sold. olive-green or bluish-green) pile as well as ivory, gold, and

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