Page 28 - The Age of Sultan Suleyman the Magnificent
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saz  style, which  together with  the  naturalistic genre came to
    identify  the  court arts of Suleyman's  era. The naturalistic
    genre,  which  had  a more  popular appeal than  the  esoteric saz
    style,  had  a  stronger impact on  Turkish art  and survived
    much  longer.












    NOTES

     1.  The extent  of the  lands  under direct  control  of the  Ottomans  at  the  death
    of  Siileyman  is generally  accepted  as being  877,800 square  miles,  which  in-
    cluded 462,700 square  miles in Asia, 224,100 square  miles in Europe, and
     191,000 square  miles in  Africa.  In addition, the  Ottomans  controlled  the trib-
    utary  states  in Moldavia,  Walachia,  and  Crimea  with  a total  of some  350,000
    square  miles. Pitcher  1972,  134-135.
    2.  For  a study of Suleyman's  legislation see ínalcik  1969.
    3.  Some  sources  give 27  April  1495 as the  birth date  of Siileyman.  The ear-
    lier date  used  here is accepted  by most  historians.  There  seems  to be  some
    confusion  about  Hafsa's origin  as well.  Some historians  state  that  she was  the
    daughter of Mengili  Giray Han, the  ruler of the  Crimean Tatars. Others  men-
    tion  that  Ay§e, another  wife of Selim I, was  the  Crimean princess  and  give as
    Hafsa's  father a man  named Abdülmümin  or Abdulhay, an unknown  person,
    suggesting  that  she  was  of slave origin.
    4.  This system  was  employed  to  a certain extent by  a number  of earlier Is-
    lamic states, including the Abbasid caliphates and  Mamluk sultanates.
     5.  For an  architectural study of the  palace  see Eldem and  Akozan  1982. The
    fourth  courtyard  and  a major  portion of the  Harem  were built after  Suley-
    man's  reign.
    6.  Only a  few  of the  original buildings of the first courtyard  survive today.
    They  include the  Çinili  Ko§k  (Tiled  Pavilion), built  in  1472;  the  Alay  Ko§kii
     (Procession  Pavilion),  completely  refurbished  in the nineteenth century;  and
    the  sixth-century  Byzantine church  of Aya Irene,  which  was  converted  into
    the  imperial  arsenal.
     7.  This chamber  also housed  the Mukaddes  Emanetler  (Sacred Trusts)—in-
    cluding  the mantle,  bow,  and  standard  of the  Prophet  Muhammed,  the
    swords  of the first four  caliphs,  and  the  earliest  Koran  attributed to the  third
    orthodox  caliph, Osman—brought  back  from Egypt by Selim I when  he  as-
    sumed  the  caliphate  and  became  the  spiritual leader  of Islam.
    8.  Very little is known about  the  sultan's  other offspring. Historians mention
    Mahmud  (1512-1521)  and  Murad  (1519-1521)  in addition to two  un-
     known  daughters  (one  died  in  1521)  whose mothers  were  not  recorded.
     9.  The letters of Busbecq,  who  was  in the  Ottoman  court between  1554 and
     1562,  vividly describe  his impressions  of Istanbul,  cities and  towns on route
     to Amasya,  and  meetings with  the  sultan.  They  are translated  into English in
     Forster  1968.  Busbecq  was  accompanied  by Melchior  Lorichs, an  artist  who
     executed  various vistas of the  capital  and  studies of Ottoman figures, includ-
     ing  portraits  of Siileyman.  See Fischer  1962  and  Eyice  1970  for a study  of his
     works.  The drawings  and  engravings  of Lorichs were  published  several  times.
     Most  of his works  appear  in Oberhummer  1902.
     10.  For the  works  of Sinan  see Goodwin  1971,  196-284;  Sózen  1975;  Ku-
     ran  1978;  and  Bates  1980,  102-123.
     11.  The list  of artists  and  the  expenses of the  Siileymaniye Complex  are  pub-
     lished  in  Barkan  1972-1979. See also  Rogers  1982. The endowment  is stud-
     ied  in Kürkcüoglu  1962.  For the  Korans  commissioned  for the  mosque  see
     Appendix  2b.
     12.  Evliya  Çelebi  listed  hundreds of artisans  and  craftsmen  working  in  the
     city.  See Dam§man  1969-1971, 2:207-334.

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