DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29463#0126
spired and governed by a common idea, purpose, and style—by, it
may be added, the wili of style.'
The limits of this chapter preclude a consideration of the sarays in
Bursa, Edirne, and finally Istanbul. Instead, I will describe generally
the dominant style of the Ottoman court and then concentrate upon
some important features of dress and arms, especially those of the
sultan, who stood at the peak of the whole state structure.
Ottoman imperial style was formed in the course of centuries and
was influenced by various factors, the national Turkish tradition
predominating, but inspiration was also derived from some other
highly developed cultures, such as the Chinese, Mongolian, Persian,
and Arab, as well as the Byzantine and, generally speaking, Euro-
pean, mainly Italian, Hungarian, and Austrian. It was at the sultan's
court, a melting pot for all these influences and prescriptions, that a
new style with consistent quality was created.
The development of the Ottoman style can be divided into three
distinct phases: the period of severe style, in the fourteenth and
fifteenth centuries, that lasted until the capture of Constantinople in
1453; the period of classical, or rich, style, from the time of Mehrned
II until the early eighteenth century; and the period of declining
style, with strong European influences, mainly from France, covering
almost the entire eighteenth and nineteenth centuries. The defining
features of each of these style phases can be found in almost all fields
of artistic endeavor, including the arts of costume and arms.
It is well known that several hundred artists and craftsmen resided
in the Istanbul Saray, having their workshops in the First and Second
Courtyards.* But it is also known that many more artisans worked
outside the court of Istanbul, in the cities of Bursa and Edirne and
in some more distant cities of the empire, such as Baghdad, Damas-
cus, and Cairo.
The court craftsmen, who worked under the eye of the sultan,
held a privileged position. They had to submit to rigorous discipline,
but they were safe, well paid, and independent, in that they were
required to be obedient only to officials. When their works pleased,
they were presented with riches; of course, if they lost favor, they
could easily lose their heads as well. This was a "special" democracy
of the Ottoman Empire: not anyone could be sure of his fate. One
could achieve the highest position and honors or, by an unfortunate
102
may be added, the wili of style.'
The limits of this chapter preclude a consideration of the sarays in
Bursa, Edirne, and finally Istanbul. Instead, I will describe generally
the dominant style of the Ottoman court and then concentrate upon
some important features of dress and arms, especially those of the
sultan, who stood at the peak of the whole state structure.
Ottoman imperial style was formed in the course of centuries and
was influenced by various factors, the national Turkish tradition
predominating, but inspiration was also derived from some other
highly developed cultures, such as the Chinese, Mongolian, Persian,
and Arab, as well as the Byzantine and, generally speaking, Euro-
pean, mainly Italian, Hungarian, and Austrian. It was at the sultan's
court, a melting pot for all these influences and prescriptions, that a
new style with consistent quality was created.
The development of the Ottoman style can be divided into three
distinct phases: the period of severe style, in the fourteenth and
fifteenth centuries, that lasted until the capture of Constantinople in
1453; the period of classical, or rich, style, from the time of Mehrned
II until the early eighteenth century; and the period of declining
style, with strong European influences, mainly from France, covering
almost the entire eighteenth and nineteenth centuries. The defining
features of each of these style phases can be found in almost all fields
of artistic endeavor, including the arts of costume and arms.
It is well known that several hundred artists and craftsmen resided
in the Istanbul Saray, having their workshops in the First and Second
Courtyards.* But it is also known that many more artisans worked
outside the court of Istanbul, in the cities of Bursa and Edirne and
in some more distant cities of the empire, such as Baghdad, Damas-
cus, and Cairo.
The court craftsmen, who worked under the eye of the sultan,
held a privileged position. They had to submit to rigorous discipline,
but they were safe, well paid, and independent, in that they were
required to be obedient only to officials. When their works pleased,
they were presented with riches; of course, if they lost favor, they
could easily lose their heads as well. This was a "special" democracy
of the Ottoman Empire: not anyone could be sure of his fate. One
could achieve the highest position and honors or, by an unfortunate
102