DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29463#0128
at the time of annua) feasts, in corteges, or for court audience.*'
Tradition was respecter) in terms of form and co)or, and it is amazing
that some types were kept unchanged between the sixteenth and
nineteenth centuries.
The Ottoman love for splendor and pomp in dress was motivated
by a genera) admiration for precious fabrics. Through close contacts
with China the Turks could acquire silk and gold threads. In this
area the impact of Persia and Byzantium was also important. China,
Sasanian Persia, and the Byzantine Empire created a system of court
and state ceremony in which sumptuous textiles, dress, and accesso-
ries played a prominent role. The Seljuk rulers indirectly took some
ideas from these centers, and their capital, Konya, soon became an
important site of textile production, which even included such mate-
rials of fine quality as purple brocaded Some workshops (hruzAawg),
organized after Persian or Byzantine models, produced only for
court needs. Fabrics with the two-headed Seljuk eagle were reserved
for sultans. The ceremonial dress belonging to the famous mystic
and poet, Jalal ad-Dln Rumi, called Mevlana (1207—12*73), survives
in Konya and is surely of Seljuk fabric.^ The custom of preserving
the dress of sultans, holy men, and high dignitaries, like the custom
that made a relic of Muhammad's caftan and probably deriving from
it, was already practiced at this early date.
The early Ottoman art of fabric design and dress differed from
the Seljuk both in technique and types. There must have been an
intermediary phase at the courts of the Turcoman emirates, but
there is practically no information about them. Ottoman textiles were
fully developed by the Bursa period of the late fourteenth century.
They included patterned velvets, brocades, taffetas, and satins, and
this production of luxurious fabrics continued successfully in Istan-
bul. Various examples of this production demonstrate Persian-Sel-
juk, Byzantine, and even Italian motifs, but the Ottoman style soon
crystalized. Thanks mainly to the researches of a group of young
Turkish scholars as well as scholars of Great Britain, Germany, and
the United States, there are few problems in establishing the textiles
and costume typical of the Ottoman court.^ Originality, stylistic and
programmatic unity, expressive forms, and ornament design, to-
gether with great technical skill, place Ottoman products in the
highest class of human accomplishment.
The motifs of living beings, animal or human, so often observed
104
Tradition was respecter) in terms of form and co)or, and it is amazing
that some types were kept unchanged between the sixteenth and
nineteenth centuries.
The Ottoman love for splendor and pomp in dress was motivated
by a genera) admiration for precious fabrics. Through close contacts
with China the Turks could acquire silk and gold threads. In this
area the impact of Persia and Byzantium was also important. China,
Sasanian Persia, and the Byzantine Empire created a system of court
and state ceremony in which sumptuous textiles, dress, and accesso-
ries played a prominent role. The Seljuk rulers indirectly took some
ideas from these centers, and their capital, Konya, soon became an
important site of textile production, which even included such mate-
rials of fine quality as purple brocaded Some workshops (hruzAawg),
organized after Persian or Byzantine models, produced only for
court needs. Fabrics with the two-headed Seljuk eagle were reserved
for sultans. The ceremonial dress belonging to the famous mystic
and poet, Jalal ad-Dln Rumi, called Mevlana (1207—12*73), survives
in Konya and is surely of Seljuk fabric.^ The custom of preserving
the dress of sultans, holy men, and high dignitaries, like the custom
that made a relic of Muhammad's caftan and probably deriving from
it, was already practiced at this early date.
The early Ottoman art of fabric design and dress differed from
the Seljuk both in technique and types. There must have been an
intermediary phase at the courts of the Turcoman emirates, but
there is practically no information about them. Ottoman textiles were
fully developed by the Bursa period of the late fourteenth century.
They included patterned velvets, brocades, taffetas, and satins, and
this production of luxurious fabrics continued successfully in Istan-
bul. Various examples of this production demonstrate Persian-Sel-
juk, Byzantine, and even Italian motifs, but the Ottoman style soon
crystalized. Thanks mainly to the researches of a group of young
Turkish scholars as well as scholars of Great Britain, Germany, and
the United States, there are few problems in establishing the textiles
and costume typical of the Ottoman court.^ Originality, stylistic and
programmatic unity, expressive forms, and ornament design, to-
gether with great technical skill, place Ottoman products in the
highest class of human accomplishment.
The motifs of living beings, animal or human, so often observed
104