grube, ernest j. - threasure od turkey-the ottoman empire (the metropolitan museum of art bulletin,...

7/30/2019 Grube, Ernest J. - Threasure Od Turkey-The Ottoman Empire (the Metropolitan Museum of Art Bulletin, V. 26, No. 5, January, 1968).

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6 Theblueandwhite ashion,ong raditionaln Mus-lim ceramics,ada moment f great loweringn Tur-keyduringhe ifteenthnd ixteenthenturies,nspiredby thecontemporarylueandwhiteporcelainf MingChina.This tazzabelongso a groupof Ottoman e-ramicshat ollow heirFarEasternmodels articularlyclosely,n thechoice f thedeepblue olor nd he typeandorganizationf thedecoration.Diameter4 inches.HarrisBrisbane ict Fund, 6.4.2

7 Thedecorationfthisplate, notherxamplef theblue ndwhite ashion,emonstratesheoriginalityithwhichTurkish ottershandledheirChinesemodels.Eventhough he floralmotifson the rim,both nsideandoutside, reclosely elatedo decorativeaintingnMingporcelain,here rea greatmany ypicallyslamicelementsn thehandlingf theallover esign,speciallyin thedecorationf thecenter f theplate,whichs basedon theIslamicraditionf the nfinite eometricattern.Diameter 5 inches.Bequestof BenjaminAltman,I 4 .40.727

8 Tiles orarchitecturalecorationeremaden Tur-key romhetwelfthenturynandawidevariety avebeenpreserved,utalthoughmanyareof greatbeauty,Ottomanilework onstituteshe supremechievementof thisart form,outshiningverythinglseof the kindthathasbeen reatedn otherparts f theMuslim orld.Thistile belongso the traditionf blueandwhitece-ramic ecoration,hichalsohadan impact n the tilepainters.n fact,someof thefinestworkeverdone ntheroyal actoriesf Isnikwasn the blueandwhite ile-svorkmade uringhesixteenthenturyor heentrancewallof the SunnetOdasi Circumcisionoom) nd heBaghdadioskn thesultan'salacen Istanbul,he fa-mousTopkapiarayi. hisparticularilemusthavebeenmadeorthe roomprecedingheSunnetOdasi, utnotused;t is identicalnsizeanddecorationo someof thetiles here.WidthI inches.Giftof HoraceHa?vemeyer,0.I8I.II

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THE OTTOMANEMPIRE

Ottoman Turkishpotteryof the fifteenthandsixteenthcenturiesbelongs o the finestthe Muslimworldhaspro-duced.Its influencewasfelt both in theNtiddleEastandin Europe, where a variety of imitationswere made,hich, however,nevergot anywherenear the brillianceof glazeand color that distinguishessnikpottery.Isnikis nowgenerally onsideredo have beenthe maincenterof production, s it was the seat of the royalworkshopsandproducedmost,if not all, of the tiles for the decora-tion of the Ottomanmosquesof sixteenth-and seven-teenth-centurystanbul.The Museum's ollectioncon-tainsa representativeelectionof all typesof Isnikwares,andof severalvarieties t hassomeof the bestpieces.


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This bowl-oneof a smallgroup-dates romtheearly ixteenthentury, utthedecorationf theexte-riortillreflectsheparticularariety fhatayi "China")patterndoptednTurkeynthemiddle f thefifteenthcentury,probably fterthe courtmovedto recentlyconqueredonstantinoplen I454. Someof thedesignelements, otably heorganizationf theinteriorntopanelsandthe useof cypress-tree otifs,are totallyIslamicn tradition,ddingo the trulyoriginal, on-Chineseharacterf thesewares.Diametero inches.Rogers und,32.34


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20 Among he blueandwhitewares f Ottoman ot-teryone ype tands ut.It doesnot follow hegenerallyacceptedChinese epertory f decorativelowers, utsubstituteshin, inearpirals esetwithtinysdelicatelypainted eavesandrosettes.This ware-forsome imeassociated itha presumedactory t theGoldenHorn- is often alledGoldenHornware, ven houghcholarsnowthink t wasmaden the royalworkshopsf Isnik.About s530-Z535.Height 1X6 inches.HarrisBrisbaneDict Fund,66.4.32I Turkish esigns talmost ll periods, utespeciallyin the Ottoman,ncluded greatmany loralorms frelativelyealistic etail.Ottoman ottery ndtileworkareparticularlyoted or theiruseof a widevariety fflowerepresentations:oses,arnations,ulips,yacinths,

andmany thers. hisplate s notonlya fineexample fthe kind,but it is alsoof specialnterestbecause f itsrareuse of animal igures twobirdswithin the floraldesign.The rim s decorated iththe so-calledockandwavepattern, erived romChinesemodels,whichap-pears nmost snikplates.Mosqueampsmadeof potteryand decorated ithbothcalligraphicnd,as in thecaseof the lampat theright,floralpolychrome esignson a brilliantwhiteground rewellknown hroughoutheOttoman eriod,even hough ieces f this ypeandquality requite are.The lampswerealmost ertainly urelydecorative b-jectsgivenascommemorativeokens o mosques y thesultan rhighofficialsf the court, ince,beingmade fpottery,heycouldnotwell erve nypracticalurpose.DiameterZX inches, eight ZS inches.Giftof James .Rorimer,9.69.s, Bequest f BenjaminAltman, 4.40.73I


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22 Thevariety fdecorativeatternsmployedy theIsnik eramic ainterss remarkable,speciallyince hedominantashionhroughouthe sixteenth nd seven-teenthcenturies as he polychromeloral tyle.Eventhoughquiterealisticallyepicted lowersorman im-portant artof thepattern n thisplate,a number felementsreunusual:heuseof a deepbluebackground,the organizationf the floralmotif ntoan almost b-stract attern, nd hedecorationf therimwitha designderived romOttomanloral orms.Pieces uchas thiswere ora timebelievedo havebeenmade t Damascus,in Syria,butnow here s no doubt hattheyareworksof the same snikpotterswhocreated hemore ypicalfloral lates 21) and ilework.DiameterZZ% inches. Bequestof BenjaminAltman,s4.40.732

23 The Turksweregreat ailors;heir leetwasoneoftheirmainassets n the conquestnd, ateron, in thedefense f theirempire. hips lsoplayed n importantrole n daily ife on the Bosphorus.ailsalwayswere(and,happily, till are)partof the city'sskyline.Sail-boatsof all varieties,rom hesultan's leasure oat othebig"battleships"f hisarmada,ecame majormo-tifin Ottoman ainting. hose hatdominatehedeco-ration f thisbeautifulug canbe found n innumerablevariationsn vases ndplates,wers ndbowls, hrough-outthe Ottoman eriod.Firsthayof theXlZII century.Height8h8 nches.RogersFund,Ig.67

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24 Islamicrchitectureasalways oncentratednsur-face decoration.n fact,manybuildingsave becomefamousorthe unparalleledplendor f their ilework,which ftencovers oth he nterior nd heexterior fthe entirebuilding.n OttomanTurkey,however, l-though ileworkwas widelyused n bothsecular ndreligious rchitecture,t occursprincipallyn interiorsand, even there,only in particulararts. n mosques,usually speciallyichlydecorated,ileworks used orthemiArabprayer iche) nd,at times, heentire ibla

wall (the onethat facesMecca), he lowerpartof thecentral oom, nd he walls f the galleries.Magnificentpanels f polychromeloral iles imilaro theoneshownheredecorate any f Istanbul'sreatmosques.ilesarealmost everused n theoutside f buildings,mall ym-panum-shapedanels bovedoorsand windows eingtheonlyexception.hefinest ssemblyf Ottomanile-work s to befound n the sultan's alacenIstanbul.Secondhalf of theXVI century.7 x 48 inches.Gift ofJ. PierpontMorgan, 7.s90.2083


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Turksvery ikely"invented"heknottedpile carpet-oneof themostcharacteristicorms f Islamicrt longbeforehey enteredhe Muslimworldandeven longbeforeslam.Theybroughtt toWestern sia, nd ur-nishedveryoneromCentral siao Spainwith ts basictechniquenddesign. n theheyday f Ottomanulturein thesixteenthentury, othrugs nd extileswerede-signedwith an exquisiteaste or formandcolor,andfollowedhe trend oward ealisticloralmotifs which,however, nderwent change o almost otalabstrac-tionassoonas theyentered he textiledesigners'ork-shop).TheOttomanug, n part ollowingge-oldradi-tions, n partparaphrasingdeasdevelopedn the lateTimurideriod nd n Safavid ersia,s oneof themostfascinatingrtforms f the Muslimworld.

25 Political ndreligiousuarrelsept theOttomansin constantonflictwiththe Safavidsf Persia hrough-out thesixteenth entury. abriz,he Safavid apitalnnorthwesternran,was akenbytheOttoman rmy ev-eraltimesduring he firsthalfof that century,whichbroughthe Ottomansnto mmediateontactwithSa-favid rt.Tabrizwasan mportantenter frugweavingat thattime. In contrasto the abstract llover loralmotifs f Turkish ugs,medallionatternsadbeende-velopedn Persia, nd t musthavebeen hroughontactwithSafavidugs hatTurkish eavers egano experi-mentwith thesenew deas.Thestardesign f thisrug,associatedith the city of Ushakn centralAnatolia,wasundoubtedlynspiredy Safavidmedallionatterns.WhilenPersianugs f this ype hepatterns of monu-mental cale,Turkish esignerspplied heirown tasteto themodels ndcameup withsmaller, ighly riginalforms. hestardesignsf suchUshak ugs reamonghemostsuccessfulariationsf thesebasicallyn-Turkishpatterndeas.Endof theXVI century.4 feet 7 inches / Jeet 7 inches.GiJtofJosephV. McMullan, 8.63


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26 Thepattern f thisrug-eventhough f the lateOttoman eriod-representsne of the oldest orms fTurkish ugdesign.The "classical"eriod f this typeof geometricattern eems o havebeen the fifteenthcentury. ot asinglexamplerom hatperiod as omedown o us, but rugsof this and closely elated ypesappearn innumerableimuridminiaturesnd ItalianandFlemish aintingsf thefifteenthentury;heyare,indeed,knownas "Holbein"arpets ecausehey aredepicted ooften n thatpainter's orks.Thisrug s ofparticulareauty n design, ndprobablynique n itsmagnificentseof lightblue or hesecondaryrabesquecartouche otif.

XVI century.o feet x 4 feet 3 inches.Gift of JosephV.McMullan,6z.65

27 Thefascinationf Turkish ugs orthe Westandthe special ppreciationf thisart form n Italy s welldemonstratedy the factthatmanynoble talian am-ilieshadrugsmade or theirpalaces ndchurches. heCenturionendDoria amilies f Genoamusthaveor-dered his one (whichhasa fewcompanionieces nEuropeanollections)s it bears heircoat of arms nits uppereft-handorner. ventuallyt should e pos-sible o date hese ugs uiteaccurately,ince heappear-ance f thecoatof arms fboth amiliesndicatesspecialoccasion,robablymarriageetweenwomembersfthese amousGenoese lans,but so far t hasnot beenpossibleo finda trace f anysuch vent ntheannals ftheir amilyhistory.The Genoese, neshouldbear nmind,wereamong he first o settlepermanentlyn Is-tanbul,making era on theEuropeanideof the city,eastof theGoldenHorn) heirheadquarters.he towerof Pera s still standing s livingtestimony o theirpresence.7 feet 8S inchesx 4 feet 8S inches.Giftof JosephV.McMullan, 2.23I


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28 Prayerrugshavealwaysplayedan important unction nIslam.They symbolize he "cleanplace"a Muslimhas to usefor prayer. n their mostelaborate orm such as this exampleof the so-calledOttoman court-manufacturedugs (possiblymade in Egypt, which in I5IO becamepart of the OttomanEmpire,rather han in Anatolia) they incorporatedn theirdesigns rchitecturallements epresenting,n anabstract ash-ion, the mihrab. n this rug,the usually impleniche has beendeveloped nto a triplearch surmountedby crenelation ndminiaturecupolas, ndicating the place of prayer tself, themosque. (Ottomanmosquesdeveloped a specific design, ofwhichcupolas orma vitalpart.)The rug is not only of great beauty n designand color, butis alsoof the highest echnicalquality,achieving n its exceed-ingly dense knotting the effect of a smooth, brilliantvelvet.About1600. 5 feet 8 inches 4 feet 2 inches.Gift of JamesF.Ballard, 2.soo.sI29 Among he greatvarietyof designs hat thecarpetweaversof Anatoliaproducedduring the sixteenth and seventeenthcenturies,a specialgroup s formedby thosewith an abstractfloralpatternresembling irds hence the name"birdcarpet"commonly iven to theserugs),usually n brightred and blue,on a white ground.The choiceof white for the background fboth the field and the border s without paralleln any othertype of Islamic arpet.The peculiar mbiguity hat led to thealmostcertainly rroneousnterpretation f the floral ormsasbirds s equallyunique n Turkish ug designs,whichgenerallyare clearly floral-abstractnd, in contrast o Persiancarpets,never ncludeany humanor animal orms.

XboutZ600. s4feet 7 inches 7 eet 7 inches.Giftof JosephV.McMullan,63.20730 Whereasmany laterIslamicrugsare judgedaccording owhetheror not they attainedstandards eveloped n the six-teenthand seventeenthcenturies, he classicalperiod of rugmaking, this rug is to be judged apart from its prototypes,which are variedandelusive.The centrallyorganized chemeprobablyderives romPersian ources,while other motifs arespecificallyTurkish.For instance, he rectilinearubdivisionswith floral orms nside the medallions re akin to motifs ofeighteenth- ndnineteenth-centuryGhiordesprayer ugs,andthe angular hapesof the medallions, uggesting iches,are re-lated to shapeson seventeenth-and eighteenth-centuryBer-gamarugs. The Museumowns many finenineteenth-centuryTurkishrugs that are, as in this case,not debasedversionsofearlier ormsbut inventivecombinations nd reinterpretationsof those forms.At times, ndeed, their geometrical onfigura-tions refer to the earliest raditionof rug design, antedatingthe classical eriod,and are therefore f particularnterest.LateXVIII-XIX century. feet 2 inches 4 feet 5 inches.Giftof JamesF. Ballard,2.I 00.25


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Ottomanpaintings unmistakable.riginaln style,color ensitivity,ndiconography,t forms ne of the most nterestinghaptersn the complexhistory f Islamic ainting. ittle s known bout ts earliest hase, uringthe fourteenthnd ifteenth enturies, ut we can ollow ts developmentthroughouthe sixteenth,eventeenth,ndeighteenthenturies.Turkish ainting as ittle to do withanyother slamic ainting.t de-veloped style that is thoroughlynd uniquelyTurkish, ombining nunparalleledense f realitywithan equally nparalleledense f abstractdesign oth n compositionndcolor. t alsodeveloped n originalconog-raphy,based n manycontemporaryistoricalventsand texts,and hashardly ny nterestn lyrical, oetical spects f life.In this t differsunda-mentally romPersian ainting. t is bold,austere, nd of extraordinarypower, ften arge n scale, ndof the highest echnicalndaesthetic ual-ity. It is stillunfamiliarutside urkey, salmost othing bout t hasbeenpublishedn the West,andvery ew paintings aveeverreachedWesterncollections.


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31 Ottoman aintersllustratedirdausi'shahNameh,a famouspicdealing ithancient ersian istory, s fittookplace n theirown ime.This s particularlyotice-able n thispainting, here he Turaniansarchenemiesof the Iranians)re representeds OttomanTurks ntheir ypical ress, sing irearmssweaponsa remark-able nstance fanachronism.heuseof the entire ur-face availableo the painters n both pages,and thecompositionhattreats he double-pagepace s a unitarecharacteristicsf the Ottomantyle.The realismfdetail, speciallyn costumendweaponsutalso n ndi-vidual hysiognomy,nd he renderingf the fiercenessand ruelty fbattle re emarkablendareagain ypicalof Ottoman ainting.Secondhalf of the XVI century.Eachpage I7 X Iy/8inches.Purchase,osephPulttzer equest,2.20.ga,b32 A Turkish rmyentering city is shown n thispainting,whichdecorates poem n praise f SultanMuradI574-I595) andprobablyepresentsne of hismilitaryxploits. his s anexamplef theway n whichan Ottoman ainterwill avoid,whenever ossible,herealm f the lyrical-poeticalndconcentraten reality,on the historicalvents f his time.The ivelinessf therepresentation,he imaginativeseof the limited paceto create he impressionf a massive arade, nd thedelicate ut irm seof thebrushmakehisa particularlytypical roductf thestyle n fashionn Istanbul uringMurad'sule.Muradwasnot onlyan mposing oliticalfigure, utalsooneof thegreatpatronsf thearts.Page rom a Diwan of MahmudAMbdl-Bati (Z526-I600). I0 X 6 inches.Bequest f George . Pratt, 5. 74.533 Thispainting,llustratingnepisoden the life ofthe famous haykh f Islam-Abu'l-Su'ud. Muham-madal-Amidi-who eld his position t the Ottomancourt or thirtyyears nd s numberedmong he mostbrilliantmenof his time,presentset another spect fOttoman ourtpainting f SultanMurad'seriod. venthought focusesgain ncontemporaryistory ndpre-sentsa picture f the lifeat the Ottomanourt, t isofan intimate atherhanofficial ature.The shaykhsclearly ngagedn somekindof businessut t seemsotakeplace n hisprivate ouse, pening n a garden. heelaborate arginalecorationn delicate oldpaint ddsto the nonhieraticffect.

TheShaykh f IslamHolding Disputation ithMem-bersof theReligiousCouncil. age roma Diwan of Mah-mudAbdal-Bati.soM x 6 inches.Giftof GeorgeD. Pratt,25.83.9

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36 Calligraphy nd designgo hand n hand n Islamicart, and theOttoman period was no exception.Rather, t createda numberofremarkable alligraphic esigns,both in monumental cale for thedecoration f buildings Ulu Cami,Bursa)and in actualcalligraphy,such as the tughraof Sulayman he MagnificentI520-I566) shownhere.Each imperial dict (firman) as headedby the official ignatureof the ruling ultan. t was this signature, r tughra, xecuted not bythe sultanhimselfbut by a specialofficer n chargeof this function,that made the documentofficial.While the tughra'sparticular ormchanged with each sultan, its basic shape remainedvirtually un-changed hroughout he periodof Ottomanrule.Sulayman'sughrasare among he most elaborate nd monumental. n their magnificentmovementof line and delicacyof floralpattern, hey unite the powerand finesseof Ottoman design.There is nothing comparable o theOttomantughra n other partsof the Aluslimworld: t is one of themost typicaland original reations f Ottomanart.

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37 In some nstances he calligraphiclement hat wasat all timesan important actor n Turkish slamic rt becameof prime mportance or painting. n fact, Ottomanartistshad inheriteda schoolof decorativepainting or drawing- froma long traditionpossiblyharkingbackto the fourteenth enturyand to CentralAsia (Samarkand, erat). Thisschoolfound ardentsupportersn Istanbul.There is evidence that many of these drawingswere made as models ortile and pottery painters, extile weavers, eatherworkers, ood carvers, nd other craftsmen, ince many designs ntheir objects seem immediatelyderivedfrom some of these studies.But a good number-among them this drawingof a dragonboldly prancing hrougha twistedbranch f agitated oliage were undoubtedlymade n their own right,to be appreciated s magnificent alligraphic esigns.The drawing s attributed n the cartouche bove to Shah Qali,an artistwho had come fromTabriz o Istanbul o work for the Ottomancourt in the sixteenthcentury.6 1M6 X I01X6 inches.Bequest f CoraTimkenBurnett,7.5I.26

38 Scribes,painters,poets, courtoicials, and everyonewho couldafford t kept writingtools n special, mall,oftennicelydecoratedwoodenboxescalledqalamdar.Most weredecoratedwith lacquerpainting,but fromthe earlyperiods,only thosemadeof metal survive.Leatherboxessuch as this with an elaborate tampedand gilded design are veryrare.Very unusual, lso, s the size of this box-almost fifteen nches ong: most measured ot more than six to eightinches.There s little question hat this pen box, whichdatesfromabout I600, wasused n the royalhousehold, f notby the sultanhimself.ManyMuslimrulersweregreatbibliophiles nd often among he best calligraphersf theirtime.Length 4h inches.Rogers und,33.72


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In a warlike ation,weaponsrea man'smostprecious ossessions,nd n Turkey hiswasexpressed ot only by the greatcarewithwhich ladesnd unbarrels ere orgedromthe famous watered"teel-produced y acomplicated ethod f heating, ammering,and quenching-but erhapsven morebythe decorationavished n them n gold, il-ver,andprecioustones.

39 Domed ikethe cupola f a mosquendcovered ithpiousnscriptions,his ifteenth-century elmet erivestsstrikingffect romthecontrastf itssilvernlay gainsthedarksteelbackground.t is surprisinglyarge,be-causet wasmadeo beworn ver turban;hedrapedolds f the urbanpparentlynspiredthedecorativelutingypical f these elmets.Height 3h inches.Anonymousift, 50.87


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- 40 Originallyterrible,armor-shatteringvveapons,macesl_ _ becameymbolsf rank ecausef their erypower. his_ _ one must have beenmade or an exaltedpersonwho

made n Persia,had ts gold scabbardreelygarnishedwith emeraldsndrubies ccordingo Turkishaste._ XVIII andXVII centuries. ace I inches, agger8%t _ inches. eqxestf George . Szone,6.25.I884, 994t _ 5


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- - -t--41Goldnlay etwithturquoisesecorateshesteelofthiseventeenth-centuryattlehield. hepracticalur-posef thefourdecorativeosses n thefrontwastosecurehefasteningsf thehandgrips.heshield tillretainstsoriginalining fredvelvet ichlymbroideredwithold hread.Diameter2snches. equestfGeorge .Stone, 6.25.597

42Althoughhegunat thetophasafinedamascenebarrelnd lintlockthe atterprobablymportedromFrance),tsdainty ecorationsapphires,iamonds,ndthousandsf seedpearlsindicateshat t wasa paradearm,erhapsf a commanderf thepalace uard.Thegunelow,however,with ts typicalTurkishmiqueletlock,s decorated ithboldsilverappliquehataddsluxuryithoutnterferingithits deadlypurpose.tmustave een ctionntheGreekWar fIndependence:itsdated8I4/I5, andtwas nceowned ythe amous

Aliashaf Janina,nowno WesternershroughDu-mas'sount f MonteCristo.DatefJ!intloctXVII-XVIII century. engths 2H and67nches.Bequestof GeorgeC. Stone,36.2s.22Ig, andGiftfMrs.WilliamE. S. Griswold,Mrs.William loane,andohnSloane,43.82.4

43 hescimitar as heweaponf thefabledTurkishcavalrymen,utwarriorsnfoot,suchasthecelebratedJanissaries,avoredhe yataghan-aongknifewithawickedouble-curvedlade.Thecharacteristicormoftheilt scarriedver romprehistoric

imes,when hegripasmade rom heupperpartof a shinbone. hisone,y contrast,s of heavy ilver tuddedwithcoral.Thenscriptionnthebladencludeshedate .H. I238,equivalentoourA.D. I822/23.Length 9S inches.Bequest f GeorgeC. Stone,36.25.s6Z7

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44 It is in velvetsand brocades, ainlyproducedntheroyal ooms f Bursathe astOttomanapital eforetheconquestf Constantinople),hatthe peculiar,on-trasting astefor naturalisticnd abstract esign hatcharacterizeso muchof Turkish slamic rt finds tsmost mmediatexpression.he large"fan-shapede-vices," s the mainmotifof the fabric t theupperefthasbeencalled, re,of course, othing utmonumental-izedcarnationlossomseen lattenedut, in profile sit were, etin alternatingtaggeredows gainst deepredground. heuseof red or hegroundnd ilverbro-cade or he lowersatherhanviceversas anadditionalelement f abstractionn thisdesign,which sprincipallybased n anastonishinglyccurateepresentationf anexisting,ecognizablelower.Velvet rocade. arly vIs sentury. ogers und, 7.29.ZZ

46 Turkishrocadesike heoneatthe owereft,withtheir arge-scaleloral atternsn bright rimson, lue,andgold,hada particularascinationor theEuropeantravelerndmerchant.ieces f this ypewerebroughtin greatquantity oItalybytheVenetiansndGenoese.Fromhe ifteenthenturyn,theirmpact nEuropeandecorativeesignwasextraordinary,ndmanyof thebrocadesand elvets)wovennItaly n the ate ifteenthandsixteenthenturiesollow heirTurkishmodels ocloselyhatat timest is noteasy o recognizehemasEuropeanork.Thispiece s of unusualnterestbecausef its denseandpowerfulesign.The contrast etween attern ndground, sually nimportanteature f Ottomanex-tiles, s almost ompletelybandonedor thesumptuouseffectof nearly olidlydecoratedurface.Equallyre-markables the extreme bstractionf thefloral orms,which gain rovidehe basic ecorative otifs.Silkbrocade.tI senturyPurchase,osephPulitzerBe-quest, 2.20.I8

45 The designersmployedn the palaceateliersnIstanbul orkedorallbranchesf thevastroyalwork-shop rganization.t is for hisreasonhatbookbindings,marginallluminationsn manuscripts,iles,woodcarv-ings,metalornaments,nd textiles reoftendecoratedwith almostdentical atterns. ven thoughnonehassurvived,heremusthavebeenpattern ooks roducedby thedesignersromwhich llotherartistsworked.Thedesign f the textile t theupper ight of extra-ordinaryppealn itspowerfullyuggested ovement-is repeatedn manymonumentalile panels, nd s afavorite evice or decoratinghe long,narrow ordertiles hat rame anels fa differentattern.Noteworthyis thecurious ut highlycharacteristicseof naturalis-tically epresentedlowers,speciallyhecarnationndtulip,as fillerornamentsithin he stylizedpalmettesand leavesattachedo the heavy,undulatingstems'thatprovide hemainmotifof the pattern.Silt brocade. VI sentury. urchase,osephPulitzerBe-quest, 2.20.2I

47 Thepanel t the ower ights yetanotherxampleof the Ottoman extiledesigners'ove of sumptuouseffect, bstractattern ased nnaturalistic otifs, ndgreat echnicalkill.Almost ll the favoritelowersfOttoman ecorationre ncorporatednto thedesign-the tulip, he carnation,he rose, nd hehyacinth. heuseofa "field nd rame'deviceortheorganizationfthesurfaces quitecommonnlateOttomanextiles.tgives hedesignerheopportunityo apply ifferentat-terns othe textile, speciallyincehe generallyoesnottreat itherheframe rfieldasa single, niformntity,but as repeatedreas o be decorated ith continuousdesigns. his sshown n theway the patterns carriedbeyondhe edgeaboveand below, ontinuingn intoa greater esignromwhich hispiecehasbeencut toform hepresentnitthatremindsneof rugpatterns-withwhich t, however,asnothingncommon.Velretbrocade.Beginning f the XVII sentury.RogersFund og.gg

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1w] ^ _ 49 Thisgroupof Turkishnstrumentsonsists f a; n , -_ threenstrumentsf thelutefamily twotanboursnd< | |?> 5 a smalleraz)characterizedy long,thinnecks. t hasi ?S Z | ^ < beenpointedout tha the shapeof the tanbour,ikez .$ | | ^ 1 thatof other ong-neckedutesof theNearEast,has8 s g t g X been nheritedrom at of theancientutesof Egypt

0 1xa K \ _ g ^ Thekanoon,r nArabiqanunfromheGreekanon),1 ! % 1 1^ _ Z w is entionednoneof t e storiesf TheAtrabianights.! 1 4 B ThroughMuslimSpain he kanoonnfluenced,y its!F1 lst'1 N ^ shae andplayingec ique, the laterEuropeanorm0X' '+;> !X k * of hezither.11lll:lq * ; lla s ength f tanbour rzght feet lo znches. iftof At.i11 ;t 1 t - _ z I Getty, 6.34.69.Secondanbour,anoon, ndsaz: The!S . fll s ^ Crsby Brown C >MuszcalInstruments,9.4.

grube, ernest j. - threasure od turkey-the ottoman empire (the metropolitan museum of art bulletin,...

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