Page 28 - The Age of Sultan Suleyman the Magnificent

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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