Page 232 - The Age of Sultan Suleyman the Magnificent

NOTES of these are published in Warsaw 1983. There is also an extensive collection
in Moscow.
1. For the significance of silk in the Ottoman Empire see inalcik 1971. Com- 26. For two studies of Ottoman-Italian interaction of textile designs see
mercial and industrial developments of Bursa are studied in Dalsar 1960 and Reath 1927 and Schmidt 1933.
Çizakca 1980. Documents related to the status of Bursa in the fifteenth cen- 27. The most famous scenes appear in the c. 1582 Surname with §ehzade
tury are published in inalcik 1960.
Mehmed riding on lengths of brocaded silks on his way to At Meydam; and
2. These decrees are published in Barkan 1942. in the c. 1596 §ahname-i Mehmed HI where officers form barricades for the
3. An important document dated 1502, published in Oz 1950, 48-51, de- procession of the sultan by holding up textiles. See Oz 1950, pis. VII and
scribes in detail the types of materials used and the techniques employed in XVII.
production. Here one thousand weavers were reprimanded for the use of de- 28. For a study of Ottoman banners see Denny 1974b. Although no banners
fective materials; there may have been at least that many more innocent dating from Süleyman's reign have survived, there is a tomb cover in the
artisans. Topkapi Palace inscribed with his name, published in Oz 1950, pi. XXVII.
4. This inventory is published in Istanbul 1940; the section on textiles is dis- 29. Forster 1968, 61.
cussed in Oz 1950, 26-45. For a recent study and the analyses of the termi- 30. For the works attributed to Gentile Bellini as well as other Europeans in
nology see Rogers 1986b. the court during the 1480s see Atil 1973b, figs. 21-23. Pinturrichio's frescoes
5. Oz 1950, 51. in the Borgia apartments in the Vatican, datable to 1492-1494, and those in
6. See, for instance, those published in Geijer 1951. the cathedral of Siena, datable to 1500-1510, are published in Sakisian
7. See Oz 1950, 56-59. Although some of the types, such as seraser, 1925; Babinger 1959; and Denny 1972, fig. 10.
kemha, and atlas, are recognized, the words used for other fabrics are yet to 31. Denny 1982, pi. 126; and Rogers 1983b, no. 83.
be properly interpreted. 32. Kühnel and Bellinger 1957, 57.
8. Published in Barkan 1979, 281-295. The terms used in the 1540/1541 33. London 1983, no. 56.
list are kadife-i benek-i müzehheb, which appears to mean velvet decorated 34. Fifteen were listed in 1526, ten in 1545, six in 1557-1558, and ten in
with spots or medallions; under this heading are do§eme-i ala, high quality 1566. Membership in the society rose to sixteen in 1596. These registers and
upholstery, and do§eme-i bi-zemin, floor covering. Another heading uses ka- artists are studied in Cetinturk 1963.
dife-i catma-i do§eme-i Bursa, which suggests the velvet used in this type of 35. Both documents are published in Barkan 1972-1979, 2: 194, nos. 496
upholstery fabric included gold and silver threads. The following terminology and 497; and discussed in Rogers 1982, 306-308, where possible Safavid
was employed to identify quality, technique, and usage in 1586: ala (high),
Rogers
not
suggests that Küre may
evzai (medium), and edna (low); catrna (woven with gold and silver), benek gifts of rugs are also mentioned. Black Sea, but a city somewhere close be the
the
near Kastamonu on
to Tire
town
(woven with silver ?), and hav (pile or plain velvet); ba-zemin (floor), dómeme in western Anatolia, since the kadi of Tire was asked to supervise the order.
(upholstery), and nümune (sample), which suggests that samples were woven
according to designs provided by the court and sent back for approval before 36. Damsjnan 1969-1971, 2:293.
processing the order. 37. Ellis 1969, fig. 12; and Istanbul 1983, E. 239. It was found in the turbe
9. Dam§man 1969-1971,2:293. of Selim II in 1885, transferred first to the Çinili Kô§k, then to the Topkapi
Palace.
10. Dam§man 1969-1971, 2:278.
11. Oz 1950, 55-56. 38. These kaftans have not yet been properly studied. Five of them together
with parts of twenty-six others were given to the Royal Scottish Museum in
12. This document and payroll registers related to the court weavers are Edinburgh. A few were published in London 1950, nos. 12 and 13.
published in Oz 1950, 52-54. 39. Many important examples, together with several from the Benaki Mu-
13. One of the longest pieces of velvet, decorated with fan-shaped carna- seum, were published in Oz 1950 and 1951. This study should not be con-
5
tions, is 60 cm (23 /s in.) wide and 279 cm (109 in., or 9 ft. 1 in.) long. This sulted without Denny 1971, where the identifications of a number of early
example may have been made to upholster a divan (Denny 1982, pi. 131). kaftans are questioned and their dating revised.
14. Terms used in costumes, mixed with twentieth-century vocabulary, are 40. Documents list Bursa, Bilecik, Ankara, Karaman, and Denizli, which
published in Koçu 1969. For a study of Ottoman headdress see Kumbaracilar specialized in velvets, silks, wools, and other materials. It is still not possible
n.d. to determine which goods were produced in which cities.
15. See, for instance, the officials represented in the accession ceremonies of 41. This is indicated by a letter sent in 1554 from the Ottoman governor of
the sultan in the Suleymanname published in Atil 1986, 91-93. Cairo to the Venetian representative, which states that the fabrics were to be
16. See, for instance, the one worn by Osman II in the §ekayik-i Numaniye of produced according to the designs provided; see Gókbilgin 1964, 219, no.
c. 1619 reproduced in Atil 1980, pi. 30. 99. In a letter dated 1589 Murad III requested from the doge of Venice 2,000
17. Atil 1986, figs. 29 and 31. Representations of several sixteenth-century pieces of brocaded fabrics of "the same type woven in the past for the Otto-
Ottoman ladies are published in Tuglaci 1984, 97-103. A costume book man court;" see Turan 1968, 252.
dated 1587, which was copied by Rubens, also contains studies of women; 42. Ôz 1950, 16.
see Kurz and Kurz 1973. Many European representations, however, are 43. Ôz 1950, pi. XXV; and Altay 1979, 9.
based on hearsay and therefore fanciful.
44. Ôz 1950, pi. XXVI.
18. Some of these caps, kerchiefs, and headbands were found in royal mau-
soleums, particularly in that of Ahmed I. See Istanbul 1983, E. 126-129. 45. Rogers 1986c, pi. 62.
19. Atil 1986, 149. 46. Ôz 1950, pi. XXII; see also pi. XXIII for a variation of the design in
20. The woodcut showing Siegmund Freiherr von Herberstein in his kaftan, which ogival medallions enclose the triple dots.
identified as being made of Italian velvet, is studied in Wearden 1985. 47. One of the earliest çintemani-patterned velvet kaftans is thought to be
see
II;
Oz
pi. V.
1950,
that
of Mehmed
21. Mackie 1980, ill. 211.
48. Istanbul 1983, E. 116.
22. Meriç 1963, nos. IV and V.
49. It was once thought to have belonged to Mustafa I (1617-1618 and
23. See Çagman 1973. The most interesting painting, showing bolts of bro- 1622-1623) or Mustafa II (1695-1703), the confusion arising from the label
cades and large rugs carried on the shoulders of several men, is in the §ahm- "Sultan Mustafa." The title sultan, however, was used by both the rulers and
cahname of 1581; see Atasoy and Çagman 1974, pi. 18. the princes, as well as by the wives of the monarchs; when used by women
24. London 1976, no. 73. it was placed after their given names, as in "Hürrem Sultan." This extremely
25. One of the largest collections of these vestments is in Poland; a number fragile kaftan has been published a number of times including Oz 1950,
231