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Istanbul Weddings throughout History

Istanbul was once the center of the world, and to this day is the only metropolis, a sea, not a river, flows through. Sultanahmet, its historical city center, has hosted many important lovers, many weddings, and many celebrations for the past centuries.

In such a unique location, where all religions meet and roads intersect, who were the people getting married centuries ago or in the more recent past? What were their weddings like?

The oldest known wedding ceremonies in the historic city center were recorded during the Eastern Roman-Byzantine period. This was followed by the Ottoman era.

Aristocratic and imperial weddings were most frequently documented in this period, according to written accounts and historical research. During the Ottoman period, the most commonly documented ceremonies were the weddings and circumcisions of the sultan’s children or close relatives, as is clear from annual logs (“Sûrnâme” in Turkish ) and miniatures .

Eastern Roman / Byzantine Empire era wedding ceremonies:

• Antoninus and Fausta Year: 141 (oldest known wedding, special edition money was printed for this occasion)

• Arcadius and Eudoksia Year: 395 • Valentinian III and Eudokia Year: 437 (special edition money was printed for this occasion)• Anastasius I and Ariadne Year: 491 (special edition money was printed for this occasion)

• Emperor Theodosius II and Athenais (Eudokia) Year: 421• İustinianos I and Theodora Year: 525

• Emperor Mavrikios and Aelia Constantina Year: 585 (The was the first wedding ceremony in history to be described in detail by a Byzantine historian, in this case Theophylact Simocatta.)

• Herakleios and Fabia Year: 610• Konstantin III and Gregorya Year: 629• Romanos II and Theophano Year: 995

• Romanus IV and Eudokia Year: 1068 (special edition money was printed for this occasion)

“Marriage in the historic city center during the Eastern Roman Byzantine Empire era”(*)

There is a lot of information about Byzantine women and the topic of marriage between the 4th and 6th centuries, between the 9th and 13th centuries and later. Most of the information pertains to Byzantine women from wealthy families and the aristocracy. In particular, women 1

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from wealthy and ruling class families led busy social lives: they were writers, calligraphers, book lovers, arts patrons and monastery founders who regularly had a hand in politics.

Emperors’ daughters and sisters, even if they were more pampered than their brothers, were only useful for marrying particular smaller heads of state so that the emperor could extend his reach. As with Roman civilization, in Byzantine society the father’s power over his daughter transferred to the husband after marriage. When Byzantine girls married, they came with their trousseau or dowry. Animals, money, and real estate that were part of the trousseau were specified in the marriage contract.

These items were passed down to children in the event of death. Byzantine marriage practices were a collection of Roman and Greek traditions and customs together with Christian beliefs. There was a gradual acceptance of the Christian belief that marriage was a sacred relationship, rather than a physical relationship or a legal arrangement as in Greek and Roman society. As with coronations, wedding customs were also part of the Roman legacy to Byzantium. Commemorative money was printed in memory of the Roman emperors’ weddings. The ritual joining of hands known as “Dextrarum junctio”was used as a symbol of marriage on the commemorative money printed on the occasion of Atoninus marrying Fausta in 141. This tradition continued into the early Byzantine era. In the late Roman period, married couples would exchange anniversary gifts or burial gifts in the form of very valuable glass and gold containers inscribed their names and pictures. The tradition of wearing a wedding crown during the wedding ceremony came from the influence of ancient Greece and in the Byzantine and post-Byzantine eras became an Orthodox Christian tradition.

Christianity brought the consecration of family ties and increased importance to the woman in her role as mother. At the end of the 4 th century, Ioannes Khrysostomos, Patriarch of Constantinople declared that families should waste no time in marrying off their children as a condition of maintaining the sanctity of the family and the continuation of future generations. The poet Dioscorus of Aphrodito emphasized the sanctity of marriage as well as the fact that men and women are under the care of God. Ekloga, the Byzantine civil code published in 740, specified that Adam and Eve were the model Christian family. Simeon of Thessalonica interpreted the marriage of a man and woman as the unification of two into one, not unlike the unity of Jesus with the Holy Father.

A Byzantine writer by the name of Theophylact Simocatta was the first to describe a Byzantine wedding through illustrations. The wedding was that of Emperor Mavrikios and Aelia Constantina in 585.In the first years of the Byzantine Empire, there was an official marriage contract. This was accompanied by a religious ceremony, even if it wasn’t legally recognized. After the 8th century, church weddings gained legal validity.

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It is necessary to distinguish between aristocratic and folk wedding ceremonies in Byzantine times. More is known about the practices of the aristocracy due to the fact that most of the written, visual and material records describe the practices of that social class.

Aristocratic Weddings

One of the most important duties of the Byzantine palace was the task of marrying emperors and princes. Future “Augustas” and “Basilissas” had to be beautiful, young, virgin, well educated, from a noble family, respectable, and wealthy. When it was time for an emperor to marry, civil servants were sent out to scour the empire for the most beautiful and exceptional candidates. During the 8th and 9th centuries, all of the beautiful contenders were brought to the large palace and participated in a beauty contest, during which the emperor himself would choose his bride. As in Paris’ Three Beauties contest, the future empress was given a golden apple.

If the bride was foreign, envoys were sent to inform the palace before her arrival. There was a bridal procession known as “Despina” from the bride’s land or sea port of entry, where she was brought to the palace in Pigi (Balıklı), outside the golden door, to meet the groom. The bride was typically attired in a red dress for this ceremony. This greeting ceremony was also conducted outside the city walls for foreign grooms assuming the wedding crown (stephanos). If the groom came by sea, prospective fathers-in-law in full palace captain dress would meet him in front of the church in Boukoleon or Blakhernae. The Byzantine ceremony for foreign grooms was never as spectacular as the one for foreign brides. Future brides and grooms received blessings in the church that came from their personal family traditions. After the engagement, during the period known as “sponta”, the bride stayed with her family. The official Byzantine coronation took place after the marriage contract was signed. Emperors were coronated in the Haghia Sophia, and empresses at the Grand Palace.

There are nine wedding scenes in Yannis Skylitzes’ miniature manuscript called Vakainame (kronik), which is housed in the Madrid National Museum. These scenes are important as visual references of wedding ceremonies. One of the scenes depicts the marriage contract ceremony of Theophilos’ sister Theophobos. The church is represented by the patriarch’s hands under the church dome, with the aristocratic couple’s crowned heads to the right and to the left. After the coronation, the bride and groom exchange rings and join their right hands. “Vita” written by Saint Alexis describes the private rooms in which the bride is given a wedding ring and a belt.



(Art Historian Ayşe Başak Akay’s thesis, entitled “Madrid Skylitzes Kroniği’nde Tören Sahneleri” contains a diagram of the locations of the Byzantine ceremonies in the miniature manuscripts. See: (http://www.belgeler.com/blg/1ht7/madrid-skylitzes-kronigi-nde-toren-sahneleri-ceremonial-scenes-in-the-chronicle-of-skylitzes-matritensis#)

The bride who assumes the title of empress, crowned and adorned in valuable jewelry and a Loros, or decorative scarf, made of purple silk and decorated with gold and gems, would proceed past military and religious officials to an elevated location where commoners were situated. She would first bow in the direction of the cross, and then she would greet the people, who were chanting, “May God protect Augusta”. Afterward, the emperor and empress, seated on their thrones, would watch the procession, then retire to specially prepared rooms. There were guards posted at their doors. Imperial weddings lasted one week, or two weeks, or sometimes as long as a month. Weddings were an occasion for the military and the entire population to enjoy. Poor people and orphans were dressed up and prisoners were liberated. During the wedding the emperor’s family, nobility and all of the officials wore their most beautiful and elaborate attire. Military members and religious men wore the attire that was dictated to them by their respective professions, in addition to accessories. The groom’s father wore a gold “sagion” and the emperor wore a “citzakion”.

The bridal hamam visit, which typically preceded commoners’ weddings, took place three days after the aristocratic wedding. A parade was organized to carry the empress and her party to the hamam. Hamam clothing was worn, and women were bathed in an atmosphere of pleasant smells and music.

Folk Wedding

When it was time for Byzantine families to marry their children, they enlisted the help of a matchmaker, known as a Mesazontas or Mesolaboontas. There were also women called Proksenitai, Proksenitria or Kourkourai, who would find prospective brides or grooms for an established fee. The most important characteristics for a prospective bride were her beauty, virginity, age, family history and the worth of her trousseau. It was customary to offer the the prospective bride and her family gifts. A bride price, known as Egkolpia or Ipovolon, was paid to the bride’s family to close the deal.

The engagement, known as Desmos, was quite important from a religious perspective and created a tie during the pre-wedding period. Engagements, which were only validated through written documents, eventually evolved to recognize the legal validity of the religious ceremony performed in the church. In the case of an absent groom, some engagements were performed with a proxy. Only after the engagement could the fiancé frequent the house of the fiancée.



From the 11th century on, married couples were legally bound either by spoken or written notarized agreements. According to Roman law, the husband had to bequeath the trousseau, or dowry to his heirs.

It was customary to decorate the bride’s room before the wedding ceremony. In the room decorating tradition known as Pastos, the bed was the primary focus. The room was decorated with valuable textiles, artifacts, flowers and little statues of Aphrodite and Eros. If necessary, these items could be borrowed for the occasion.

The Kliturion, or wedding announcement, was proclaimed with the stereotypical prose used in invitations. According to ancient Greek and Roman tradition, gift-bearing attendees and brides were dressed in white from head to toe. The groom would come to the bride’s house accompanied by musicians, would give the bride an apple symbolic of his love for her, and lift her veil. They then proceeded to the church together. The couple was showered with roses and violets along the way. The bride and groom were accompanied by their godfathers, who carried the wedding crowns. After the priest blessed the couple with the father, son, Holy Ghost and wedding prayer, they put on their wedding crowns. After the exchange of rings, the feasting and amusement parts of the celebration began.There were laws that dictated when weddings could happen. For example, weddings were never held on the Pentecost or similar feast days, or between Christmas and Acısu (spring celebration).

Jewelry given as wedding gifts

As with other populations, Byzantine society had a widespread tradition of the groom presenting his intended with gifts. Jewelry was a popular gift in the beginning of the marriage. Earrings, necklaces, collars, hairpins, bracelets, brooches and belts and the like functioned to provide spiritual protection as well as display social status. It was customary for the male to give such presents to his beloved.

This type of jewelry, which can be found in national and international museum and private collections, was decorated with Christian figures next to pagan figures, facing or abutting male and female figures, and inscriptions. The inscriptions might contain the couple’s names, sometimes accompanied by an emotional description, Bible verses, prayers, and the words health, life, and most importantly, harmony. It is indicated that jewelry with such expressions are bridal jewelry, engagement or marital jewelry, which was put in decorative boxes and given to the bride through the mother-in-law.

There is a surviving pair of wedding crowns that date back to Byzantium. The crowns, which are on display at the Byzantium Museum in Athens, consist of bronze bands with an elevated half-circle engraved with small and large crosses.

There is horizontal writing on the flat bands that reads: Lord, please help your servant Spatharokandidatos and his wife and children” and “(Psalms 21:3-4) For thou presents him 5



with the blessings of goodness: thou settest a crown of pure gold on his head. He asked life of thee, and thou gavest it him, even length of days for ever and ever.” Researchers conclude that these crowns are wedding or devotional crowns. They date back to the 10 th or 11th

century.

Small chest-shaped, boxes with lids, called Pyksis, were used for various purposes. The ones used for cosmetics and jewelry can be distinguished from the others by looking at the engraved figures on the surface. In late Roman as well as Byzantine time, there were ivory, bronze and silver jewel boxes. The early examples are covered in veneer, and post- 11th

century ivory boxes were popular. A silver box from the Haskovo region of western Thrace was discovered. It has a rectangular shaped smooth prism lid. The lid and other surfaces have engraved molded figures. The engraved lid has a large Latin cross in the middle with ‘harmony’ (OMONOIA/OMONVA) written above it in Greek, adjacent male and female profiles, and on the sides the Lamb of God, Jesus on the throne and the apostles.

After the 11th century, the use of ivory boxes became fashionable. The boxes, which were not used for religious purposes, were more likely to be decorated with mythological scenes (Bellerophon, the Three Beauties and Paris, the ascension of Alexander the Great, or Dionysus and Ariadne) or the first couple Adam and Eve.

The most commonly worn wedding jewelry was the wedding ring.



The wedding ring, which to this day symbolizes love and eternal togetherness, was the most commonly worn jewelry. Whereas in the late Roman and early Byzantine era, the word “harmony” (“concordia” in Latin, “omonoia” in Greek) was inscribed on the bezel, between the 5th and 7th centuries, rings commonly portrayed the bust of a couple, or the couple in a standing position. Many rings depicted the married couple standing on either side of a large cross. On some rings, Jesus appears between the couple. Jesus was seen as a protector (pronubis) of marriage.

On some rings Jesus has a hand on the head of the bride and groom or he is placing a crown the bride and groom as a symbol of their union.

Octagonal rings depicted one of the seven stages of the life of Jesus on each face (offerings at the shrine, the gospel, the visit, birth, baptism, the resurrection of Lazarus, the crucifix, and women at the grave).

(E.g.: http://museum.doaks.org/Obj27024?sid=933&x=152595&port=2620) The bezel of the octagonal ring had the word “harmony” inscribed on it, and on the band, “Lord, help thy servants, Peter and Theodote” along with “My peace I leave with you, my peace I give unto you” from John 14:27 The octagonal shape of the ring band increased its value and potency as a charm.

In Byzantine times women commonly wore a “uterus amulet” necklace to protect them from female illnesses and miscarriage and also to ensure that they could bear children. There are



wedding rings dating back to the mid-Byzantine era on display at the Istanbul Archeology Museum. These rings have on the round bezel part an inscription written in the style of 5-line cloisonné that says “This ring was given to Eirene by Constantine as a wedding ring.” Rings belonging to the Helena Strathatos Collection in Athens bear the following inscription: “Maria was given the engagement ring of Goudeles...” Additionally, it is possible that the plan gold and bronze bands that are often found in burials are wedding rings.

Byzantine writers make mention of the belt that was given to the bride as a wedding gift. To date only two of these belts have been discovered. One of them is Washington in the Dumbarton Oaks Collection, and the other is housed in the Louvre in Paris. The Dumbarton Oaks Collection belt 23 medallions that are linked by small rings.(See: http://museum.doaks.org/Obj27445?sid=933&x=152592&port=2620)

Every medallion is engraved with figures. Two large medallions contain the clasp. One medallion is engraved with Jesus on the cross, surrounded by two smaller crosses. On the other, the groom on the right side and the bride on the left are joined by their right hands, and Jesus is between them as the protector of marriage.

The inscription found on both medallions, “Health, peace and harmony from God” is the greatest wish for marriages. Harmony and peace are basic conditions for the relationship between man and wife. From the perspective of the Christian Middle Ages, health guarantees the fulfillment of marriage’s main purpose, which is to produce children.

The writings and the amulet shape of Byzantine women’s jewelry suggest that women’s illnesses and miscarriage were common in the Middle Ages. The smaller medallions on the belt there are pagan deity figures holding scepters (thought to be related to the cult of Dionysus, the god of wine). The pagan fertility figures in this belt are combined with the scenes from a Christian wedding. This dilemma is always shows up in Byzantine beliefs as well as Byzantine art.

A belt clasp belonging to the early Byzantine period depicts a 6-armed cross, and the mythical Bellerophon shaking hands with the Lycian princess. Both figures are clothed in aristocratic Byzantine attire. Bellerophon depictions are often found on ivory jewelry boxes. It has been noted that Discorus Bellerophon of Aphrodito is the prototype of the groom and Ariadne, wife of Dionysus, is the prototype of the bride.

Painting: Louvre Museum Collection: http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225354&CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225354&FOLDER%3C%3Efolder_id=9852723696500926&fromDept=false&baseIndex=5&bmLocale=en

Aside from the aforementioned jewelry, crescent moon-shaped earrings had to be given as wedding gifts, especially during the 6th and 7th centuries. It has been said that the association of women with the moon traces back to Hellenistic times. They can be seen in women’s necklace pendants as well as in earring form in the Hellenistic and Roman eras. The moon



has always been associated with the feminine. Its reemergence, and giving moon motif jewelry as wedding gifts in Byzantine times is believed to be a reflection of the mother goddess tradition.

A large number of the flat crescent moon-shaped earrings were works of metal piercing (opus interrasile) adorned with engravures and embossments. There are also examples of earrings adorned using the filigree technique (telkari). They were typically decorated with symmetrically placed bird figures, twisted branches, grapevines, other fruits or fertility horns. There are also examples with crosses, stylized trees of life, possibly a plant or small birds in a nest.

One example from the Athens Byzantium Museum contains a figure of Mary with the cross on her head in the middle portion of the earring. The examples can be reproduced. Almost all of the known examples are made from gold. To protect the earring, its outer edges are bordered with gold wire. The examples that could be found of are flat and unadorned earrings show a row of 3,5,7 or more small gold balls.

Byzantine brides also received gifts other than the aforementioned jewelry, which constitutes a special group of pieces that were assessed by a Byzantine jeweler. On most of the jewelry there were all manner of protective symbols and fertility symbols that were a combination of pagan and Christian beliefs. Wishes for the couple’s happiness, peace and harmony were emphasized through the repeated addition of the traditional written passages. As in the poem written by Dioscorus of Aphrodito for Paul and Patricia, health and harmony are the best wishes God can grant for a couple!

(*) Source: 1) Gülgün Köroğlu, Bizans’ta Kadın, “Evlilik ve Evlilik Armağanı olan Takılar” http://www.obmuze.com/2010/metin_240210.asp 2) Art Historian Ayşe Başak Akay: “Madrid Skylitzes Kroniği’nde Tören Sahneleri”

Ottoman Weddings(*)

The first wedding of the Ottoman period was that of Osman Gazi in 1298, and its last was in 1899, recorded in the Abdülhamit II period. Out of 55 total historic weddings, 11 are mentioned in the Sûrnâme. There are also miniatures, artistic illustrations that give visual accounts of these ceremonies and shed a light on earlier practices and their historical significance.The Sûrnâme contain only two illustrated celebrations. The one dating back to 1582 was in honor of III. Murad's son, the documentation of which resulted in a rather thick tome that includes approximately 400 illustrations from the 55-day celebration. The work was written by a poet by the name of İntizami and illustrated by head court painter Üstad Osman and his team.

The second illustrated celebration dates back to 1720, during the reign of III. Ahmed. It was written in the style of Seyyid Vehbi's prose with poetry interspersed. Two copies were 9



produced. One was illustrated by court painter Levnî and presented to the Sultan. The second one was illustrated by court painter Ibrahim and presented to Sadrazam Nevşehirli İbrahim Paşa.

Prof. Dr. Metin And includes Topkapı Palace, the Hippodrome, Incili, Yalı, Alay and Tersane pavilions, Ok Meydanı, Dolmabahçe Palace and Kâğıthane as locations for important celebrations and receptions. Below are some of the ceremonies mentioned in the Sûrnâme:

• 1524- Yavuz Selim’s daughter, Kanuni Sultan Süleyman’s sister Hatice Sultan and İbrahim Paşa (Hippodrome)• 1539- Kanuni Sultan Süleyman’s daughter Mihrimah Sultan and Diyarbakır Mayor Rüstem Paşa (Hippodrome)• 1646- Sultan İbrahim’s Daughter Gevherhan Sultan and Veziriazam Hezarpare Ahmet Paşa

• 1675- IV. Mehmet’s Daughter Hatice Sultan and Muhasip Mustafa Paşa (18 days) –• 1708- II. Mustafa’s daughter Emine Sultan and Çorlulu Ali Paşa, and Ayşe Sultan and Köprülüzade Numan Paşa

• 1709- III. Ahmed’s Daughter Fatma Sultan and Silahdar Ali Paşa (15 days)• 1709- III. Ahmed’s Daughter Ümmü Gülsüm Sultan and Vizier Abdurrahman Paşa’s engagement ceremony• 1710- II. Mustafa’s Daughter Safiye Sultan and Merzifonlu Kara Mustafa Paşa’s son Ali Paşa• 1720- Sultan II. Mustafa’s daughters: Emetullah Sultan and Musul valisi Sırkulu Osman Paşa, and Ayşe Sultan and Ağrıboz guardsman İbrahim Paşa• 1724- III. Ahmed’s daughters: Ümmü Gülsüm and Ali Paşa, Hatice Sultan and Ahmed Paşa and Atika Sultan and Mehmed Paşa

• 1834- II. Mahmud’s daughter Saliha Sultan and Halil Rifat Paşa • 1836- II. Mahmud’s daughter Mihrimah Sultan and Ferik Mehmed Sa’îd Paşa

• 1858- Abdülmecid’s daughters Cemile Sultan and Mahmud Celaleddin Paşa, and Münire Sultan and İbrahim İlhami Paşa

“Sûrnâme” is the name of the written records of Ottoman palace weddings and festivities written during the Ottoman period. Prof. Dr. Mehmet Arslan published a total of six works (Âlî, Nâbî, Rif’at, Es’ad, Hızır ve Tahsîn Sûrnâmeleri under the title “Osmanlı Saray Düğünleri ve Şenlikleri” (**).

Additionally, there is mention of these weddings and celebrations in anonymous “Sûrnâme” as well as in “Sûriyye Kasideleri ve Tarihleri”. Aside from these, Prof. Dr. Metin And’s (ör. “Osmanlı Şenliklerinde Türk Sanatları”, “ Kırk Gün Kırk Gece, Osmanlı Düğünleri, Şenlikleri, Geçit Alayları”) and Prof. Dr. Nurhan Atasoy’s forthcoming work include accounts of Ottoman wedding celebrations in the works of scientists, writers, artists and authors.

The subject has also inspired contemporary artists in works such as “Ve Diğer Şeyler Topluluğu”s performance of “Geçici Heykel Bahçesi olarak bir İstanbul Düğun”, which 10



garnered significant attention from international audiences.

It has been said that Ottoman marriage and circumcision ceremonies, which lasted several days and nights, were essentially society-wide celebrations that gave ruling powers an opportunity to commune with their subjects. The custom of passing out sweets, food and drinks, gifting rituals, circumcision of community children during royal circumcision ceremonies, and visual feasts corroborate this position.

Looking below at the titles of the topics of interest from the Surname, it becomes clear that weddings were significant events in Ottoman times:

• Dates and duration of weddings.• Names and particulars of attire. • Names and particulars of fabrics, furs and upholstery.• Names and particulars of cookware.• Various gifts, with lists detailing the value thereof and the identity of the gift givers.• Names and particulars of food and drink.• Hamam culture and implements used.• Fireworks, armada festivities, oil lamps and illuminated script.• Performing arts, artists, amusement, plays, acting troupes.• Musical scores, instruments, general components of musical performance.• Palace, center, navy, reorganization of sultan’s household troops.• Procession of artisans, their displays, names and particulars of artisans.• Architecture, decor and decorative arts.• Animals, gardens, and other elements made from sugar.• Wish trees, candles and their particulars.• Dramatic war re-enactment.• Types, names and particulars of weapons.• Horses, harnesses, and other details.

• Various sports performances: equestrianism, horse races, archery, wrestling, mace, javelin, etc.

• Seamanship, vessels and various components.• Varieties and values of jewels.• Spices, herbs.• Perfumery and its particulars.• Cradle processions.• Trousseau, bridal and engagement processions.• Circumcision ceremonies and particulars.• Ceremonial procedures.• Ranks, positions, and names of invited national and international state officials.• Itemized costs for weddings.

• Domestic and imported materials and assistants used in wedding preparations.



• Hierarchical seating arrangements at feasts and gift-giving ceremonies.• Folkloric traditions and customs at weddings.• Miniatures.• Shadow puppetry and theatre-in-the-round.• Festivity facilities and how they were decorated.• Swag custom, gold, silver and pottery swag.• Actions and precautions taken to assure peaceful festivities.

As we study the past, we can see that we have let go of many aspects of our wedding customs, whether they are palace weddings or weddings of the general public. Even if wedding candy, henna night, the bridal procession, jewelry, games, and gifts have changed in quality and type, they are still the rituals that preserve past traditions. Some scholars claim that these practices can be traced back as far as the sacred wedding rituals (hieros gamos) of Anatolian and Central Asian populations, which honored the sexual union of mythical Anatolian fertility gods and goddesses.

The first thing that comes to mind when we hear the word “wedding” is the bride, whose special characteristics have evolved from what they were in Ottoman times. Sebahat Gül, Director of Türk İslam Eserleri Museums Ethnographic Department, says the following:

“In Ottoman times silvery, sparkly, ornate clothing was considered shameful for young girls, who generally wore plain clothing. A woman’s opportunity to wear decorative clothing started with the wedding. The bridal gown carried a lot of importance as a woman’s first fancy attire, as it was also important for the bride to distinguish herself from the other women in attendance. Along with the bridal gown, the bride’s hair-do, veil and other accessories completed the look. The style of the times dictated showy and elaborate bridal gowns made from expensive materials. Palace brides wore red bridal gowns, and the general public preferred purple, blue, pink, and other bright colors, in addition to red. The veil that covered the bride’s face was red. After the 1870’s, under the influence of western fashion, brides began wearing lighter colors. The first bridal gown made from white fabric was worn by II. Abdülhamid's daughter Naime Sultan in her marriage to Kemalettin Paşa.”

Ethnic minority weddings were also significant cultural events in the life of Ottoman Istanbul. Until the beginning of the 20th century, Muslims, Greeks, Armenians, Jews, Levantines and resident Europeans lived together in Istanbul. These inhabitants offered a lot to Istanbul’s multicultural, multilingual, multi-faith city cultural context. Christian Greeks married in churches. And while it was forbidden for a Muslim woman to marry a Christian man, Muslim men were allowed to marry Christian women.



The marriage customs of Ottoman Armenians varied depending on where they were living. For example ceremonies to promise the hand of one’s child in marriage in some places happened when the future bride and groom were children, or even in their cradles, and in other places these ceremonies took place only after puberty. Priests participated in engagement ceremonies and gave their blessings. Armenian weddings generally happened on Saturday. During the 19th century of the Ottoman Empire, there was increased interest in photographic arts among Armenian photographers. Their collections reveal rich and important information regarding Armenian wedding ceremonies.

Within Jewish religious culture and social structure, marriage practices are comprised of two intertwined and integrated parts. The first part, called “Eruşin” or “Kiduşin” corresponds with the contemporaneous practices of promising one’s hand and engagement. “Nisuin”, the second part, which takes place under the “Hupa” is the actual wedding ceremony. The wedding ceremony, which includes a hupa symbolizing a happy home, or a marriage dome, takes place in the synagogue. At the end of the ceremony, a relative of the groom smashes a glass with his foot to symbolize the lamenting of the destruction of the Temple of Jerusalem and the dispersal of the Jewish people.

Early 20th century Jewish brides started to wear European-style white bridal gowns, whereas brides in the earlier periods wore velvet or silk gowns with silver threading and other decorative features.

This gown was called “primer uestido”. Bridal gowns were typically decorated with floral motifs. Jewish women typically bought their wedding gown along with their trousseau, which contained pieces in it that resembled the bridal gown: covers, tablecloths, pillowcases and the like. These valuable pieces were usually later given to the synagogue as a gift, where they were cut up and re-sewn when they were to be used again. The curtains of the arc as well as pulpit covers were sometimes made from bridal trousseau pieces. The inscriptions on the fabrics used in the synagogue were added later. This means that an object can be much older than the inscriptions on the fabric.

In addition to the bridal gown, the trousseau included clothing that a woman would use all her life, as well as underclothes and house textiles. Many people traveled from rural areas to prepare the trousseau. A few days before the wedding, the trousseau would be on display at the bride’s house and friends and relatives would come to see it. Also, two or three respected people would come together and calculate the value of the trousseau and itemize its contents (aşugar or presyado). In some communities, this itemized list was recorded in the archives. (E.g.: http://kitap.antoloji.com/osmanli-da-yahudi-kiyafetleri-jewish-costumes-in-the-ottoman-em-kitabi/ )



In trying to keep the spirit of quintessential Istanbul life alive, we at Armada always use the same yardstick: “If Istanbul’s traditions had been properly preserved, what would still remain?” (See: http://armadahotel.com.tr/pg_en/istanbul-ve-armada.asp )

Of course, we asked the same question regarding Armada weddings. What we present to you is a contemporary interpretation of the traditions we found.

For example, we believe that the wish tree (“Nahıl”) tradition, even if slightly modified, would have stayed with us through the years. Consequently, we brought back the wish tree in the form of the two trees that were originally brought in as a symbol of World Day in 2002. The same wish tree began to play a role in our weddings and nuptials. Likewise the bridal procession and henna nights are other examples of traditions that Armada organizes with great care.

Judging from what we learned in our research of weddings in Istanbul’s historic city center, we can say that our efforts weren’t in vain…

(*) Prof. Dr. Mehmet ARSLAN, “Osmanlı Saray Düğünleri ve Şenlikleri”, Volume 8, (Manzum Sûrnâmeler), Çamlıca Basın Yayın, İSTANBUL



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