Satin with satin inlays Length 166 cm \ Topkapi Palace Museum, Istanbul 13/486
Distinguished by their bold designs, breathtaking colors, and technical complexity, Ottoman imperial silks are among the most extraordinary works of art ever produced. These vibrant silk textiles were fashioned into clothing for adults and children, furnishings, and movable architecture, such as floor covers. In addition, they denoted rank and privilege and played important economic, political, and ceremonial roles during the Ottoman Empire (1342–1924). Most raw silks came from neighboring Iran, which from 1501 to 1722 was under the control of the Safavids, the Ottoman’s most persistent political, military, and ideological rival. By the late fifteenth century, Bursa in northwestern Turkey was the main center of the Ottoman silk industry, and as a result was one of the richest cities in the world. Both raw and woven silk, including velvets and brocades, as well as cloths of gold and silver thread, were exported to Europe, the Balkans, and to Russia—the Ottoman Empire’s largest market. Some exported fabrics were fashioned into ceremonial robes or hangings, but most became luxurious items for use in churches outside the Ottoman Empire. The artistic influence of Ottoman textiles had a profound effect on European design, inspiring nineteenth-century English designer William Morris and other artists to incorporate Ottoman motifs into their textiles and wallpapers.
Source: FREER AND SACKLER, WASHINGTON DC
STYLE AND STATUS IMPERIAL COSTUMES FROM OTTOMAN TURKEY OCTOBER 29 , 2005 – JANUARY 22 , 2006
Cintemani is a design consisting of three spots and pairs of flickering stripes as seen at the rim decorations of this Iznik Porcelain Cup.
This is a popular motif for 15th and 16th century Turkish cloth, sometimes it is also shown as three crescents facing inward. This triple ball motif is called cintemani (the c has a squiggle at the bottom making the prononciation "chintemani" and is often combined with squiggle line pairs or chinese clouds. In most of the fabrics, it was either woven, embroidered, or appliqued. Many of the existing pre-17th c. Ottoman garments in the Topkapi exhibit had applique'd silk satin on silk satin, often with embroidered outlines.
Cintemani is rerely seen in folk art. Kirsehir carpets have a similar design called "sinek" (fly) and are called "Sinekli Kirsehir. Similarly there are Sinekli Kula and Sinekli Gordes carpets. It's quite possible that they derive from early Buddhist symbolism, but so far, no one has come up with a definitive point of origin. When used by Buddhist artists, the stripes might have connoted clouds, or even tiger stripes when used by the Ottomans. If you see it on textiles or ceramics it is a real give-away that it is Ottoman.
In Hinduism, cintamani is a magical jewel that is believed to possess the power to grant every wish, hence an epithet of God. In Buddhism, cintamani, the same jewel, is an attribute of the Buddhas and bodhisattvas, hence a symbol of a mind that has attained its proper desire.
Mavi Boncuk
ca. 1575–90
The pattern of this charming dish is a variant of the so‑called chintamani (Sanskrit for "auspicious jewel") design. Appearing on ceramics as well as on carpets and textiles, this pervasive design originated in Buddhist iconography. Originally, the circles and wavy stripes represented auspicious flaming pearls, but in the Ottoman context this significance was transformed through their association with tiger stripes and leopard spots, symbols connoting strength and courage.
On view at The Met Gallert 460
Ottoman silk textiles are among the most elegant textiles produced in the Islamic world. They are characterized by large-scale stylized motifs often highlighted by shimmering metallic threads. Executed in a range of woven techniques including satin and velvet, these silks were produced for use both within the Ottoman empire and for export to Europe and the Middle East, where they were considered among the most prized luxury objects.
Silk Trade and Production
Bursa was the first capital
of the Ottoman state (1326–65) and already an important entrepôt on the
Eurasian trade route, allowing the Ottomans to function as middlemen in the
trade of raw silk. Cocoons or undyed silk thread produced in Safavid Iran’s northern
provinces of Gilan and Mazandaran passed through these territories; they were
weighed on government-controlled scales and a further tax was levied on
materials purchased by European merchants (who were mostly Italian). A decline
in the export of Iranian raw silk in the mid-sixteenth century due to political
strife instigated the beginnings of domestic sericulture in the Ottoman state,
and from that point onward there was a larger variety of the quality of silk
and fiercer competition for the European market.
Ottoman weaving workshops in Bursa were well established by the fifteenth century, producing the majority of Ottoman luxury velvets (çatma) and metal-ground silks (seraser or kemha) for export as well as for domestic markets. Compound weave structures consisting of two warps and two or more complementary wefts (seraser, or taqueté) continued to be a preferred pattern structure, while structures such as lampas (kemha), combining twill and satin weaves, were added to the repertoire. Textile workshops under court control in Istanbul were focused on producing cloth of gold and silver (seraser) for use as clothing and furnishings in the imperial palace and honorific garments (hil‘at) (2003.416a-e) given to courtiers and foreign ambassadors. Woven silks purchased by European merchants often ended up in palaces or churches throughout Europe as secular or ecclesiastical garments (06.1210) worn by high-ranking officials or used to encase relics.
Development of the Ottoman Style
The stylized floral designs
now emblematic of the classical Ottoman style were developed during the reign
of Süleyman I, also known as Süleyman the Magnificent (r. 1520–66), as an
alternative to the “International Style” that prevailed in the area during the
early period of rule from the mid-fifteenth to mid-sixteenth centuries. Textile
designs feature iconography shared with other decorative media designed by the
nakkaşhane (royal design atelier) and adapted to the constraints of the loom to
create elegant repeat patterns. The most popular layouts ranged from floral
motifs characterized by wavy vertical stems with blooming palmettes (52.20.21),
carnations, or pomegranate fruit (52.20.19), to large-scale ogival layouts with
delicate peony blossoms creating a lattice pattern (49.32.79). Lattice layouts
became popular during the reign of Süleyman I and may also reflect layouts and
motifs used in architectural tile decoration from Iznik, or earlier Mamluk
silks themselves inspired by Chinese examples.
The so-called saz style (52.20.17) was also incorporated into textile design, featuring the sinuous outlining of motifs and jagged edges on leaves and flowers. Associated with court painter Shah Quli, an émigré from Iran who served at the court of Süleyman I, saz motifs remained in use throughout the sixteenth and seventeenth centuries. Kara Memi, Shah Quli’s top pupil and successor as head of the nakkaşhane, added to the painter’s repertoire by developing a stylized iconography of floral motifs including carnations, roses, tulips, hyacinth, and cherry blossoms. These remained favorite motifs throughout the “Tulip Period” of Ahmet III (r. 1703–30).
Another popular decorative motif reproduced on textiles is the chintamani design (08.109.23), usually depicted as two wavy horizontal bands alternating with three circles in triangular formation. Translated from Sanskrit as “auspicious jewel,” the motif originated in Buddhist imagery, including the paintings at the Central Asian Mogao caves (ca. 1000 A.D.), and may represent pearls and flames. The design elements of chintamani are alternately referenced as “tiger stripes” and “leopard spots.” Similar iconography is found in sixteenth-century Persian manuscript paintings featuring the Shahnama‘s hero, Rustam, who wears a garment of tiger skin and a leopard-skin hat depicted in a similar fashion, and possibly represents the fabric in Ottoman documents called pelengi (leopardlike) or benekli (dotted). Occasionally, chintamani is combined with floral elements (44.41.3) in a delicate balance of the two distinctive styles, or the wavy lines and circular elements are separated to create singular motifs (15.125.7). In any combination, elements of chintamani were believed to protect the wearer and to imbue him with physical and spiritual fortitude.
Silk Textiles in Context
Most Ottoman silks produced
for use within the empire were used either for garments or furnishings. The
outer garments for Ottoman men incorporated trousers and a matching kaftan
(52.20.15), a floor-length crossover robe or sleeveless vest, perhaps adapted
from traditional tribal riding costumes of the Central Asian and Iranian
steppes. The Ottoman sultans were known for their elaborate ceremonies and
parades in the capital of Istanbul, during which every member of the court,
from child princes to Janissaries, would be clothed in a new garment for the
occasion. In this context, the large-scale patterning of ogival lattice designs
and chintamani would have provided maximum impact. Women’s garments were
typically the same style, with more layering, slightly more tailoring, and
smaller-scale patterns. The extensive documentation and storage of Ottoman
garments and hangings in the Topkapi Palace provide historians with contextual
information and extant examples for analysis.
Epigraphic panels were also woven and embroidered with Qur’anic text for use as architectural coverings. The Ottoman sultans produced a new kiswa for the Ka‘ba every year in Mecca during hajj, the month of pilgrimage, which featured large-scale gold embroidery. Textile panels woven with Qur’anic inscriptions were also used as cenotaph covers (32.100.460).
While Ottoman painting workshops produced manuscripts that include figural compositions, the Ottoman textile industry almost never produced figural silks, in sharp contrast to this specialty of the textile industry in contemporary Safavid Iran. Scholars continue to debate the motivation for excluding figures from textile motifs. The arguments range from Sunni debates on figural representation to sumptuary regulations in various firman (edicts) issued by sultans. Unlike Safavid examples that bear designers’ names, Ottoman textiles produced during this period are unsigned; while we have some data about the inner workings of royal or independent workshops that operated under the guild system, we cannot attribute particular textile designs to individuals or workshops.
As the central power of the Ottoman state in Istanbul began to wane in the later seventeenth century, royal workshops and commissions began to falter. Textiles once protected by sumptuary laws and produced solely for use by the court began to appear in the bazaar for sale to anyone who could afford them. The upwardly mobile middle class began appropriating the dress and style of the aristocracy, while private workshops took over much of the production of silks.
Nazanin Hedayat Munroe
Department of Islamic Art, The Metropolitan Museum of Art
November 2012
Citation
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