Europe and the Ottomans: Interactions in Art Giinsel Renda The cultural relations between the European countries and the Ottoman State, which renewed its borders with the European states since its formative years and gradually expanded into Central Europe, followed a Tine dependent on political events and left significant traces in art. ‘The Ottoman Empire’ relations with the West throughout the certuries were mainly teated in 4 politica! context and the impact of the Ottoman culture on this extensive geography was not studied extensively by the researchers. How the cultural exchange between the West and East was reflected in art and culture in the two milieus started to acquire clarity with the research cartied on in both Turkey and in Europe in recent years and with the exhibitions and cultural activities organized. ‘The spread of Islam in the Near East and Mediterranean during the Middle Ages brought the Islamie world into contact with Christian Europe. In a short period of time, the Europeans start- ed the Crusader campaigns against the Islamic countries, which were directed by a religious dogma that was contrary to Catholicism. However, after the eleventh century the Turks spread in the Near East, subsequently estabished the Ottoman State, seized the Byzantine territories and settled in Anatolia and the Balkans. This not only changed the geography of the Eastern ‘Mediterranean, but brought the Europeans face to face with a much mare crushing power. I response to the continuing Crusader threat by the Europeans, the conquest of Istanbul and its ‘becoming the capital city of the Ottoman Empire has provided an unimpeded Ottoman sover- eignty in the Black Sea, Eastern Mediterranean and Near Eastern geography. In the following centuries, the Western world would confrant the Ottoman culture in different geographies and different conditions and the rulers and art patrons, as much as the political, diplomatic and trade relations, would have 2 great role in this cultural exchange, Sultan Mehmed the Conqueror and the west The cultural identity and the art patronage of Sultan Mehmed the Conqueror, who was one of the rare rulers who changed the course of world history, left deep traces in the Western and Eastern world. The relations with Europe of Mehmed Il, who was interested in ancient history and the Western culture from an early age, did not remain only in a politica framework; he was also the first Ottoman ruler who entered into a cultural exchange with the West. A short peri~ (d after his conquest of Istarbul and making it the capital city of the Ottomans, he settled at ‘the new Topkap: Palace and he enriched the library witha great number of scientific books writ, ten in various languages inthe fields of geography, medicine, history and philosophy. Among these were Bibles and the works of Homer. He benefited from Georgios Amirutze, the scholar from Trabzon, in the fields of philosophy and geagrapms. He even ordered a translation of the Bible from him and Amirutzes, by making use af a geography book called Geogrophite by Ptolemy, produced a map of the world! In the Topkapi Palace, these is a Latin copy of the "The 1973 New Yor 1989 Vienna and Manse, 1982 bn 0s Breden ex bore an the clog fonstiute De mast mporar sources an his subject AWS Ca The moge of heft in urape ew Sore The Mevonal ae Rtseum of 1971); De Jurke vor Wien, Europe urd de Eatscheiaarg o 3 Doray 18 Hitosches Muse ot Sto Men (vera, 180); Ostrich an Osmamen [Gterecnsches Havens ter und recite ‘Stostarhiv Werina, 1983), Reais Tuten 1089 Overechches Zmtgurermaseur sm Schl Ptterdnunn St Pete, as von den Tirken Be Peretaldedrt, 121; Munster en und he Trden 1683-7989 (inser, 183], Eurpo un der ‘Oren 80-1900 Geri, 198 ict des ‘ltmonds Das Atendland und der tute ve (Dees, 195) 2 mpatat ifaymaton given abut Mehdi leafy and te sce Feces iy to Se Ra, ‘ened te Conquerors Grek Sengto um” rat Ook Popes 37 (1283): 75-34"708 The iad by Homer amang the geoaraphy, medical, history and phissaghy Wook inthe library of Sultan Mehmed il, the Conqueror. Thirtenth century TSM G2, p. 3. 706~ The map of Europe from the werk called Geogrophike Hyphegeness I, DonysiosPeiegess by Dionysos Claudius Ptolemaeus. TWanslatea into Arabi by Georgios Amivutzes, Wabran, Era of fourteenth century. TSM G27. Tols B3V-Br, “Fay ne mas tat came 0 me galae'e tn pees cent Fpl Soroy Macc ve Vere Cer ey Kotesyonlornaa XV-2VM aay Pttalon se Dene Harter Portion ¢ Cote Neste KV 110 ‘Steoo dae Cali ge sea Cerer-Venena Bse0 Top Stanbu ar, 14) Nos 4,6 8 1 ta, Memes te Conquers Gee Sree see lovtote? Roby “Mehra Fath snd the Fath Aun? Wren 1196 42-48 "the Tus mete the saeco many teeny wer For exp naerisehy aes te eiges ‘signs ere lay cle Teenfostease titer iy Wumera en the bie 0 We Tare Revie pit Dea “Has Rosen Tok arn (yunuads Tr ngs Tonh we fpr 210 ure 201-972-277; aton see AN. St Ca, “Tuskengeranc omic Art nthe Retain Atseue ‘oF AAR Einpauaen Wes Yrs 1872) 18-559, 71 tasine and Baton, lo! nents Renossence aitoetwen Fost ad estes Ye, Corel Us Press 200) 7838 Geoaraphike and an Iaian trarsiation by Berlinghieri Forentino, Beringer prepared this work and dedicoted it to Mehmed I (TSM Gi}. aan and Catalan maps and portolan charts aso reached the palace in ths periag. The most interesting among these is map showing the Cetailed topography, bridges and fortresses of Venice snd Northern Italy (TSM H1829)"I: was knawn that the Sutan had close reations with the nan-Moslem and Eurogean scientists and jenedetto De from Florence, 3 merchant ving t Galata, had been the intermediary for the Geogrophike translation that Bevlingieri prepared to deei- cate to Mermed il Suitan Mehmed and the scientists in 8s circles frequently refered 10 the foreign scientific sources i the rch library he formed However, scenic baaks and mans 3 well as talon engravings depicting mytnalogical and reigious scenes came to the Sultan's library. Such engravings are ound in te alours compiles atthe time of Mehmed I kept in the Sbraies atthe Topkapi Palace ard the Istanbul University (ISM H2183, {UK F14z3)" Mehmed t's personality, ooites and his interest in the Western wold, besides his politica he image of the Turks in European art! Mehmed, the developments in the Renaissance art and science, wanted to immortalize his own image with medals and portraits, ke the ancient period rulers and the Renaissance humanists did Mecals with porsaits have become a sign of the dilomatic and cultura exchange inthe fif teenth and sixzeenth century Reraissance Europe. The Renaissance humanists inspite ty the Coins and portrait medals that circulated inthe ancient word, had similar ones made for them selves. They ever hat copies made of the medals that had the portaits of Corstantine and Vieracivs? The oldest dated medal of this kind cast in the fifteenth century is that of the Byzantine emgeror Jahn Vil Pajaeologus by Antonio Pisanello I is interesting that this medal \w9s cast during the cour that convened in Florence in 1438 with the abject ve of writing the merchants ving in Istanbul. in tac, identity, led to the spread 10 followed PRREIEED «roe ors reo10mon eats in se toe'707~ Tne portait af Sultan Mehmed Il titled E)Gron Turco, painted by making it resemble the Byzantine ruler John Vil Palaeologus, ca. 1460. [SM 2183, fl. 1441, Eastern and Western Christan churches against the gratually growing Ottoman Empire, There '5 a profile bust portrait of the ruler on one side of this medal and on the back side the emper- ‘oF appears on horseback. Pisanelio' image of an oriental ruler was found suitable for Mehmed las well and he was portrayed in the atte of John Vl! Palaeologus. Nevertheless, Mehmed I's portrait, now in the Topkay Palace, with the inscription “El Gran turco* on it, resembles the por= Uait of the Byzantine rule {TSM H2153, 14a)" The cultural relations with the West increased even mare in the 14605 and 1470s Mehmed I requested artists from several rulers in Italy” He asked Sigismondo Malatesta, the lord of turn he House of Ban The Suton ota (arcu 7600, 6. hemes is potronae ofthe European ass isescused deta by 1 Raby “Opaing BaP" The Son's Porta 68.72,Foitical and Cultura Te fuerees Between Eorope a ye ee 3, TOAD. § a cr dl Mes wr xt "foie ht 81 (Marien, 1963) 1-53, rope and the Oxiomans interactions 708~ A bronze medal of Sultan Mehmed I dated 1481. “Svitani Monammeth Octhmani gull Bizani Inperators 1481” is written on the front and “Mohameth Asie et Grete Inperators Ymage Equestis in Exercitus is written on the back Costanza de Ferrara ‘Oxford Ashmolean Museum, Heberden Coin Roam, Pirin ous gifts and a | to send a medalist and he respanded by sending Ma” er addressed to the Sultan. Valturi’s book called maps were included among the gifts. However, the Pope, it 0 del Past istanbul with var re militar and several med of Matt 1205 vis, had him arrested on the island of Crete on charges of espionage, Costanzo da Ferrara was the frst Italian artist who came to the Ottoman palace, Upon Sultan Mehmed's reauest, Ferrante Ul, the King of Naples, sent te istanbul Costanzo da Ferrara, the Venetian medalist, who was 3 foliow er of Pisane io, Ibis thought tha cetanzo stayed in Istanbul for some years in the mid 1470s and struck medals with portraits of the Conguera: and produced 2 large number of drawings wh he took th im when returning to tay Sultan Mehmed the Conqueror alsa established connettion with Florence, When Me started the wer against the Venetians, he gave the trade rights and capituations to the Florentines for the Ottoman-Italian trade, which had been under the domination of the Venetians, This accelerated the trade with Fiorence.! Mehmed Il supported the Meticis of Florence by ordering the acest in Istanbul of Bernardo Bandini, the leader of the Pazzi uprising ‘against thers in 1479," Ir is known also that Mehmed requested trom Florence a sculptor, fur riture matet, woodwork ma ean organ artist. On the other hand, after the peace made with Ven 479, political and cultural exchanges with the Venetians increased, The sultan asked from the doge of Venice fora bronze caster who cout emake medals, ‘nd a sculptor. itis stated in the sources that in 1473-1480 Paduan sculptor Bartolomeo Beltannand the Venetian artist Gentile Bellini came to Istanoul. However, there is mare definite information about Gentile Belin’s work in Istanbul. Actually, Bellini was not 3 medalist, but he produced a portrait medal of the Sultan, Moreover, its thought that the Sultan sent this medal to Lorenzo dei Medici and that he had a copy of ths ‘made by Giovanni Bertoldo, his own palace artis.” Besides his por traits, the Sultan also commissioned city views and iandscapes from Belini, However, his most important work is the oll portrait that is ‘now at the National Gallery in London, both for Ottoman and European painting. la this portrait, Bellin used the Renaissance portrait model but stl folomed an oriental iconography. According to recent research, the e-owns on both sides of the arch in the por= trait symbolize the Ottoman sultans preceding Mehrted I, The sev tenth crown, that of the reigning Sultan Mehmed is found on the embroidered cover, The colors and the numbers of the precious ‘gems on this hanging fabric are thought to be connected to the symbolism of the oriental world, Thus in this portrait, @ Western painter succeeded in creating the realistic image of the emperor with oriental syrnbols* The important point is that Mehmed obtained what he wanted and the portrait medals he commissioned and their copies made in Europe provided for the spread of the image of the sultan in Europe. Certain sources indicate that in this period portrait medals ofthe Sultan circulated in Italy. Undoubtedly, the impact made in Eurage by the painters who came to Mehmed's court was not limited to these, Both Costanzo and Bellini during their stay in Istanbul produced many paintings about Turkey and the Ottomans and in particular, they documented various Turkish costumes. In fact, Bellini placed figures in Turkish costumes in many of his paintings after returning to Italy Bellini a5 well as many other fifteenth and sixteenth century painters, ed by the Venetian painters, used figures dressed in Turkish costumes in their paint’n9s depicting scenes from the Bible. For exarn- ple, atists such as Antonio Pisanelo, Vitore Carpaccio and Bernardino Pinturrichio placed rather realistic Turkish figures, Turkish costumes and Turkish carpets in some of their paintings, It's known that in this period the Ottoman fabrics and carpets were imported to Italy by Italian mer- chants, Moreover, fabrics similar to these wete produced in some of the Italian cities.” Turkish carpets depicted in fifteenth century Eurapran paintings are proof of their popularity’® ‘Sultan Bayezd I €id not seem to share his father's interest in European painting, but he was ‘aware of the activities of Italy's masters and requested architectursh and engineering services from some of them. For example, there is a letter Leonardo da Vine! wrote to Sultan Bayezid I, making 2 proposal for a floating bridge on the Goiden Horn, In fact, the drawing of such a bridge project found in Leorardo’s notebooks" Michelangelo also prepared a model for the M5 yeh Tish 709 The istanbul bridge project from the sketchbook of Leonardo da Vinci named Codex Leicester. See Notebooks of Leanardo do Vine, vl. 1 p. 387. at, [see he chile Seresny 34. Raby. "Opening Gams? Tne Salon's ota 68 4, dana, Te Prat of Neneh Sete Belg The Mling of an ret tage” Ae Tu Tush A, rh interno Congres of Trt Ar Geneva, 17-23 Spt. 1895 AtesPrecesings Wee a0) 355-550 ° avepres Ware Boss saw the med with ora ofthe Conqueror: Moreover when Ne met (Ger uta, the Conauerar's son in Rone, be tated ‘hate wondered wnerne er not there #2 a esamtlarce See! Raby,"Opeing Gams? The Suton Port 69 footnote 28 See Meyer ue Capen, Genie ein tutor, 1385 As de he catioge at wos pubs non rection withthe Beli gota existed at he Yas ve es Bank ran 1898 Resa, Sulton ve Foes: Tears te Suton ona bs ara? al, 199) Hine, Has id The Oxoman Erg” Foyt. peda oI lleger ara Lorde, 1971, 21-218 rio Covet (stan, 188), 4,6, 7,72 Leora goject nd ths ter Pow kat inthe Tpkap Place were pulses by F Singer: "ier Bauworchiage Londo "ini 3° Satan Saez I 1502-3" Nocnehten er date der Wisserschaten ‘Gatien! Pilogan-Metarsche Kiss. |(1852) 1-20, the stn deserting the Sst Othe Ne erancan I Leora raroois tere at notes late f the Taurus Mounties rd even tne Boson, However, snot cole whether or rot He ever wen hee himele 1 Rete, Te fsbo of Leonor Vn aang 3d tendered nt Engl a traed by Ear Me Cid, 01 New Yor, 1888).215, 387TO The arial of Aenea: Piccolomini in Ancona. Its thought thatthe figure ‘on the right bottom is Cem Sultan. Bernardino Pinturicchio, 1802-1508. Siena Cathedral, Piccolomini Libray. Pana wie wate the ogre of the Forassanee rae tomats the end of the Ser fentary in hs Leite aoestes tat Mehesrgets bianred to gote ltr Rasy, “Daeg Gembis” {he Sains Porto, 72 asta 4, 2 sel gna thse a he Budge Noten! Lary sn Made se eSutan' Peat, Ne 7 For these winiaures the Nurberg Ste see the Sut’ Poa, tat 12 23 for deta nformatin late i Con Son Scena, Mtl Piet and Catra nzrces Betscen Europe andthe Otome v2 1048-1083 For the potas of em Sutan moe ty Evjopears see pce, Suan Chern prices ratings” Becten 17/145 1973): 2537 251 Meyer au Capelen and S, Bt, “The Ae of ‘Magnstence te Suton tat 535 foo sate Gin tus rte. tre rstunasof Tai women and me are lecadedn te bots Port Syn sn Feanslcquestassar punehed 1B See CO. Rui, Te fo Fen hte !rooghs nd terre (1520-1600 Pars SEE, 278 Tee Serond a2 extent Eaut at atte Viera Natonal Litany. Rathore, ser exons ae atthe Maye ema seu in Jerascle a the Boil ary n Oxi, 3 te sre Mn 16 Vy total Sr, 193, same bridge and he even considered coming to Istanbul id not have an interest in portraits, Hower itis interesting torte the first series of Ottomar sultan portraits was produced in Europe during his reign, This series of portraits, attributed to Felix Petancius, wo painted the portalls by relying am the information provided by the Hungarian Embassy delegation that care to Istanbul in 1495, was dedicated ta the Hunganion King Wladislas IL n this series in scroll form, portraits of the frst seven Ottoman sultans us Lunt Sultan Bayezid Ml are placed in medallions” In another manuscript inspired by the Petancius serol, there are also war or harem scenes telated ta each sultan portrayed,” Such ‘examples prove the growing interest in Euroge in the Ottoman sultan portraits after Sultan Mehmed the Conquerar Cem Sultan, Mehmes's son, also was 2 point of interest for the Eurapean in this period. Cem, who came to Bursa with the purpose af sharing the empire with his brother Sultan Bayezié Vl, was forced to escante to Rhodes, However, some time lates, he was delivered to the French king by the knights of Rhodes. Intense ciplomatic relations were expe- rienced between the Ottomans and the European states because of Cem, who was initiaty imprisoned in France and later at the Vatican” There are books and paintings about Cem Sultan, who lived an adventurous life in Europe for approximately thirteen years, For example, Guillaume Caoursin, the Vice Chancellor of the Knights of St.John, added a section about the life of Cem Sultan to fis book about the siege of Rhodes by the Ottomans, Inthe original copy cof Caoursir’s book in te Bibliathegue Nationale in Paris there are miniatures showing the siege lf Rhodes and depicting Cem Sultan with the knights af Rhodes (PBN, Latin 6067). The tur bane. figure frequently encou Cathedal Library and the Vatican is also thought to be a portrait of Cem Sultans Sultan Bayezi I, unlike his father, fed in the frescoes painted by Pinturiechio at the Siena The Ottoman image in sixteenth century Europe The expansion of the Otioman Empire in the sixteenth century as far as Centval Europe and the important role the Ottomans played in the European balance of power caused an increase in Interest 2s well as anxiety towards Turkey and the Turks, Actually this century was 2 peri 1d of conflict between Europe and Ottomans. However, especially during the forty-six year is observed that there was an increase in cul- tural exchange duc to political and commercial relations, Two different approaches towards reign of Sultan Suleyman the Magnificen, the Ottomans were encoustered in the sixteenth century European art and culture, The frst group were the books and materials produced with the reaction and fear against the crust ing, threatening power af the Turks {Ti {ergefah). Propagaruta publications were prepared against the expansion policy of the Ottomans, In the newspapers and butting published In the Germanic countries under the titles such as Turkenzertung and Flugblotter there were portraits of the sultans as well as pictures with a poiiical content carrying negative images of the Turks” The second graup was compased of more scientific and objective publications and works of hat were prepared with the adjective of becoming better acquainted sith the Ottoman country and culture, Not only the sultans, but various subjects related to the “sts included in the costume books prepared in Eurane, The policies applied to the Euroyean counties by Sultan Suleyman the Magnificent and the trade privileges granted to them increasee the cultural selations in both directions, While trade privileges were granted to France, England ard Holland, the Venetian-Qttoman trace, that hac would now be depicted. Turkish costumes drevr special attention and they were alwaysbeen effective for ng time, inereased even mare A eeoter called Fondaco dei Furch formed in Veni or the Ottoman merchants.” While the Ottomans purchased weapons and ‘atmaments from Europe, the Ottoman carpets, fabrics, ceramics, marbied paper ana feather bindings found customers in Europe. In a short period of time, local ateliers were formed in Europe to copy the Ottoman carpets and cl Its sufficient to look at the works of the sixteenth century painters such as Hans Hol Lotto, Bernardino Pinturicehio and Seuastiano de! Piombo fo observe to what an extent the Ottoman carpets had become wide spread, Moreover, the carpets depicted in these paintings have caused the Ottoman carpets to be classified as Holbein, Memling or Lotto carpets Far example, the carpets observed! in /escaes atthe cathedral lioray in Siena by Pintuiechio In thesix classified 2s Holbein t under the name of Turkey carpe Liguria and Padua in Italy The Eurapeans, who h and seventeenth centuries, the Usak carpets were produced in England and Belgium 'S®" Copies ofthe lank ceramics were made in centers such as ‘ame to the Ot .05es dung the time af Suleyman, wrote books abou Wry with various political ané diplomatic 1¢ Ottoman Empire and illustrated their books with paintings done by the artists who accompanied them ar by the local artists 'A Holbein carpet inthe panting depicting Cardinal Bandinello Sali, his secretary and two geographers, Washington National Gallery of Ar. Sebastiano de! Prombo. 1516 Samuel M Kress collection, 1969.37. jn Istanbul, in fact, travel i illustrated books related to the Ottoman Empire became wi ad in Europe after the period of Sileyman the Magnificent The portraits of the sultans, scenes depicting royal ceremonies, Ottoman dally life and costumes 775. ray Vest Tork Fate Tue Bteten 32126 (19688297 2 5 Yetig us toil Crete starbl,1981, fccximpes found ase Eg rave tat thee earets net po wel Se J Mil Copersin tres. Themes rd Pains the Retina Geter ions, 137 The re Carer nee Pasting of Wes Europe Tats Carpets rte 1-18 Centuries bon eld ot = Muse of Trion an lore stan 26 September 12 November 1296 2 Raby, "Me European Connection’ lnk hg Potey of tamn fry oe N ts aby Uo Ty 268 268 Fondaca2p Coes van Alt, Ces mney ochons de fo¥e de Fires wera? 1983). 22 Hols oe Ncolay Les quates premiers nes enougatianse peregrinavensarentaes ior, 1566) Fora new ection, ee Nala de clay, Dns imine de Soman e Magna, peste eannote pr Mave-Cvsre Gme>-Geraue $d Stephane Yerasnos (is, 989, ™C Verelio, api omen er moseni tuto ‘imund Udo Ho de Tur Nee, 139) Forsome comtume iuststians Vee ee veneia Frei Seonte conor ue evi Wan, 1283), 8-10 toes ised 1 pln te pictures he ew in Istanbul n two aferert boos bt Fs work could iy be poised in 162 afer is cet Ioigersene ona geschntenequren Kupfer un Hole dren den Kureechenweorbten Meret Lerch ur de Manis Shaner unde Kurtebenden an Tog gegen ono 169. The arg ralo hs puniestor (hot ast tt te presen bit egies Fave Been produced 5 Be, “rape br estar goevle Kanan Sultan Suleyman, Konunarmagan: Ankara, 1970), 129-170 € Fhe, Meer ark Drawings fro the Fly Caletion, Storr Pork England, ond fram the Deparment of Pints and Drawings (Copennagen The Royal Museum oF Fine A's, 1962), 20-7. Mesehor Lore Turkey apeage. Tne Ro HMaseu of Fie drs 1990) 2 fay the prrais in he grinras by Rolle ana Sansgao and ‘or he nop 3 Vavssore See The Satan’ Pot 186, £27, Ca Hos 36,53 Forte ete rte to Sleynan che Mager by rans Femoter ar the te the covespon dence on thissubjet ae rss. "Mata Pl fd cual ruenees Between Europea the tomar” bere vo 2, 148-108, Hine, Mutual Plea ae ctr lances Between Euiope a she Otomars Pee 02 1o46- 1082 2 ure, Golden Hemet mae in Vee for Sultan Sutera the Maries Gaze Bs Braue ors 78 {roe 248-254; Neca, Suleyman te Mapnicent ane the Repeseraion of Po nthe Context of Otomar-Rabsoua ly” The Az Buen 71a eptember 1865) 401-827 2 iano! Toptop Soran Mize ve Vere Core dhazelNoietsanlarngen MSV Yep Foran ‘elena Harta Paro’ e Corte Nauti XVM ‘Seco dl oieon det uses Carer Veni ‘ace del Tephoptanbut (sar, 1994, 7, Ottoman capital in 1533 on benalf of the Van der Moyen factory in Brussels 10 sell Gobel tap- estres, stayed in Istanbul fora periad af time and he made a series of drawings related to the Ottomans, which he printed later in his book®* Cosmographer Nicolas de Nicolay, who accom- panied the French ambassador sent to Istanbul in 1853, aso made numerous drawings docu- menting the Ottoman costumes and these paintings printed in his travel book in Lyon in 1868 became a documentary source for many artists in later years In fact, C. Vecellio, in the book he published in 1589, made use of Nicolas de Nicolay for the pictures of Turkish costumes * Melchior Lorichs from Flensburg, who came with the Ambassador Ogier Ghislain de Busbecq, sent by the Holy Roman Empire to the Ottoman court, produced the mast realistic paintings ‘epicting the period of Suleyman the Magnificent. During the five years he stayed in Istanbul, he also prepared a book about the politcal and military ganization during Sileyman's reign Lorichs' Istanbul panorama and his drawings of various districts, strets, monuments in Istanbul and his costumes are important visual documents for the Gttoman Empire in this period* Even the Ottoman family trees are printed in the books related to the Ottoman Empire, They are designed just as the European family tees, which have been quite widespread in Europe since the Middle Ages. In general, the bust portraits of the sultans are placed in medaliions hung on 2 tree. The most well-known are the portrait series in the book called Promptuarium leanum published by Guilaume Roullé in 1953 and the family tree drawn by painter Nicollo Neti in Sommario ef Alboro del Principi Othomani by the historian Francesco Sansovino, dated 1867. Portrait series of the Ottoman sultans were ever included in maps, There are bust portraits of the sultans added to the later copies ofthe bird's eye view of Istanbul drawn around 1820 by ‘Andrea Vavassore, the renowned Venetian cartographer Suleyman the Magnificent is one of the Ottoman rulers most frequently portrayed in Europe. Undoubtedly, this is because of the significant role he played in European polities throughout his reign for forty-six years, Suleyman’ aliance with Frangois |, who was defeated by the Habsburgs in 1826 and his Hungarian campaign against the Habsburgs is the most important political event of this period* In this manner, the Ottoman pressure on the Catholic Habsburgs facilitated the spread of Protestantism and Luther's success.” In fact, the portraits of the sultan became more widespread in Europe after his Mohées campaign and the 1529 ‘Vienna siege. As early 35 1526, Albrecht Durer, the German painter, drew the portrait of the Sultan. Tiziano, the Venetian artist, painted @ bust port'ait of Suleyman, and used images resembling the Sultan in some of his religious paintings. Undoubtedly, a majority of these por- traits were copied from images that already enisted. Most of them used as a model the ‘Sdleyman portrait drawn by Melchior Lorichs while he was in Istanbul The most interesting portrait was executed by Agostino Veneziano in 1535, which shows the sultan with a helmet decorated with precious jewels. This helmet, in the shape af a crown, was a commission made bby the Grand Vizier Ibrahim Pasa in 1532 to the Caorlin’'s,a Venetian jeweller family. Suleyman the Magnificent wanted to wear an imperial crown lke the Westerners to show his supremacy lover the European rulers. In Fact, sources indicate that the sultan wore this crown in a cere ‘mony that was also attended by the Habsburg ambassadors in Nis before the 1532 campaign * There were even illustrated maps in Europe with the portrait ofthe Sultan. For example, Battista [Agnese, the Venetian cartographer, placed a portrait exactly in the center of the map of Anatolia showing Suleyman sitting on his throne The conquests and personal life of the Sultan were the source of inspiration for many literary works, ballets and operas in Europe after the six- teenth century. Not only the sultan himself, but his wife Hurrem Sultan (Roxelana) and his Grand Vizier Ibrahim Pasa were also included in plays and librettos, As early as 1581 Gabriel 1. Europe and te Otani at ls nnBounin, the Srench author, wrote a tragedy called Lo Sultana, which treats the theme of the ‘murder of the Sultan’s son Prince Mustafa. Cervantes an Lope De Vega, two famous Spanish authors, wrote many plays about the Turks. Among these, Cervantes’ Lo Gran Sultana and éf Trato de Constantinop! are amang the most important" Sileyman the Magnificent’s relations and political alliances established with France left deep marks on both sides, The Ottoman-French alliance mentioned above provided for the Ottomans expansion in the Mediterranean and for the Ottoman sovereignty inthe Mediterranean, The sea campaigns of the Ottomans extending from the Mediterranean to the ‘TH2= The map ofthe Ottoman Empire from the atlas dated 1 September 1553 by Batista Agnese Venice Museo Corre, Prt. 1 (detail Red Sea and the Incian Qeean initiated the Ottoman science of geogranhy. Undoubtedly, the Ottomans were also using the Portuguese, Catalan and Italian maps trat reached the Ottoman capital in fact, Pit Rei, the famous cartographer ofthe period, made his world map, which is ‘ow lost, by using Christopher Columbus’ map, and therefore, is an impartant product of the cultural exchange inthe Mediterranean Piri Res prepared his Kitab Bory (Book of siga- tion} in this mile. The city views in Kitob-i Bahriye are the forerunners of Ottoman topo- _aranhical painting that developed as 3 separate genre“ As seen, the developing goltical and trade relations in the sikteenth century left deep Jmptesions onthe Ottoman art and culture, Matrakg Nasu the famous historian and ninis- ture artist of Suleyman's period, in the work called Tavih- Fet-1 Sits Estergon ve stoi Belgrd, describing the Sutar's Hungarian campaign and Admiral Baroarossa's Mediterranean campaign, by drawing the different states in these campaigns, the cites, towns and ports, doc- uumerted the topography oF these regions. In other words, fram then on images elated to Europe were encountered in Ottoman painting. In tis manuscript, great care was displayed in the depictions of both the places caprure in Central Hungary ard the ports besieged in the Mediterranean, Haydar Reis [Nigaf}, srother miniature ats in the same peri, not only por- + for works west the sujet af Suan Suleymas ste Hlageenc tM. Sed, fyo%0, aleve Opt Satine Honan Sula ines aa, 199), hi, 1718 ae maps a ase of Frogs on she “gto Prove see A Onirann,Frsokngen nd Forde Sea: mtenem Verzecans ge {svinachen Honhien is TepkSero sorb? (Gerin ard Lene, 193). H vance aa "lassen Maps in the Totaa Sora Libary i starout Frage Mung 231969) 8-89, Forth seen century Oruman cariaaraphy and topogchic ort pantayas ste ©. Renda, Sinan DDonemde Haran Kx gepry inthe San sev), Usa imo Son Serpaarna Bier, Are 21-27 hin 086 errata Wie Sinan Symposium Papers, Ankara 2427 Otaber 1988 (Retara 1996, 368-370 6 Rerda,"Represenatins Tan's and Sea Chars othe Saeeenm Cosey Er rev Raion i Maseranean Caro phy Soran fe bogotique som eps Aes Cooque Pons, 7-10 Bers 1990 Pas, 1980), 279-708T3-Na~ The min ve portats of Charles V and Francois | pained by Haydar Reis (Nigat, lone of the renowned miniature artists of tne sixteenth century. Beston Fagg Museum, 85.214 ayed the sultans, but also painted portraits of King Charles V and King Francois |, the 2W0 hat Nigari was 3 person painted these portraits he must have made u ° re jeading European rulers, besides the O:toman sultans. Boston Biney, ksh Teese c 1 palace circles and when of a Birney 36 Pot European engravings which wer cates that several E period of Suleyman. The circulation of und in traits are in the form le, tre format most c inthe Furapean portraits This ind ean paintings and engravings were found at the palace during the types of images between the Ottoman Empire and he European countries is a topic yet 10 be BET «ccc: the Ottomans interaetions in or ODE REND researches in detail, Nigar, besides painting single Sultan Suleyman and Prince S im, made a portrait series ofall the 0}tans. In fact, itis believed that such a series reached Stance during the Mediterranean cam= jaign of Admiral Barbarossa in 1543. These portraits must have been given by Barbarossa {0 Virginio Orsini, the French admiral, Paolo Giovio, the Italian historian and collectr, who col- lected the portraits of the famous people of the period at his vila in Coma, wanted to add the Ottoman portraits to his collection and hearing that Orsini had these portraits, he borrowed them from him and had them copied, Later, several copies were made from this sees in oil and became widely spread in Europe. Copies of the Giovio series are found at the Uffizi Museum in Florence and in the collection at the Ambras chateau of the Tirolian Archduke Ferdinand Il, The portraits in the Giavio collection also copied by Tobias Stimmer, the Swiss artist, and the woodcut prints were published in Giovio's book Elogia Virorum Bellco Virtute dustrum. Al of these portraits are in the bust form and were drawn in 3/4 profile. In some of ‘the portraits there are similarities to the Petancius series mentioned above. This brings to mind ‘hat Nigar originals were probably inspired by a European portrait series All f these indi cate that the cultural exchange between Europe and the Ot:aman Empl during the period of Stleyman was more intensive than it was thought to be. In any case, there are many sources stating the deep interest of oath the Sultan and his Grand Vizier, Damat Ibrahim Pasa in European culture and art, For examale, the bronze statues of mythological figures brought from Budapest by Grand Vizier Ibrahim Pasa after the Hungarian campaign were erected at the Sultanahmet Square and remained here for a perid of time. Art and diplomatic relations ‘An interesting example of the cultural exchange with Europe is the order placed by Sokollu Mehmed Pasa through Niccolo Barbarigo, she Venetian batio at the Sublime Porte, dung the reign of Sultan Murad Ill Sultan Murad Ill and his Grand Viale Sokollu Mehmed Pasa commis Sioned Seyyid Lokman Asui, the sehnemeci official court poet who wrote dynastic history) of the period and Osman, the famous miniature artist to prepare a book containing the informa- tion related to all of the Ottoman sultans and their portraits, Sokal, wha must have seen the iustrated dynastic histories in Europe, wished to have a manuscript similar to these produced, However, in order nat to make 2 mistake in the images of the previous sultans, re thought that it would be prover to refer tothe sultan portraits in Europe. In particular, Sokollu Mehmed Pasa, ‘who heard that such a series existed in Venice, asked the Venetian balio to have these brought to Istanbul, When it wae realized that a complete series was not available in Venice, the Venetian senate commissioned these portraits from the atelier of the well-known art Veronese, These oil gortaits, painted after the already existing printed portraits, reached Istanbul in 1573 and most of them are sill kept at the Topkap Palace Museum Seyyid Lokman, in the inttoduction to this manuscript eritled Semaitname (Description of a person's features), indicates that they referred to the European sultan portraits, Nakkas Osman, who painted the portraits, must have used the Veronese series that came to the palace. However, he also referred to historical texts, studied the authentic costumes of the previous Sultans kept at the palace or in their mausolea and then drew the portraits ofthe twelve Ottaman sultans from Sultan Osman through Sultan Murad Il Osman did not use the bust form in these portraits. The sultans sit with their knees bent as in the portrait of the Mehmed Il by Siblzade, hoiding handkerchief or a flower in their hands in the Eastern tradition, However, their common fea~ ture with the European portraits is the 3/4 profile model, In this manuscript, painter Osman oc deta intrmatin about the erat in te Giowo caestin see King ar sand Sinan Aorta ot Twa Otoman Corsa ro the “aarbtossa Coleen of Paso iowa” verevee Drei ei, 22 de arimo congressontesnananae sare Isomice 912.1 1988 ea © Grate (Veit, 1989), 47°59; Bethy "Paolo Govan Doge sve OsmanSutan Porte (Paola Gow interest im the Ofent an he Ottoman sultan potas Aptioh ‘ara gn YaiaEssoys in Honour of Aah Kiran, 65.¢ Kafesong wand Tye Senora story 583), 149-16), in addon" te comectins eeween ine Nigerian Gwa Sees ee) Raby From Europe to ftenbu,” The Salon Para, 8)= 750 4 An 6 Yagil robo, 58 4 Far the ernese series ports ee Te Suton Pano, oe‘15— The painting showing te Virgin Mary in the skies of istanbul, which was painted to commemorate the return of the Austrian King Ferdinana’s Ambassador Kuefstein 1 his country. Anonymous, Seventeenth century. Kuetstein Chateau, Grillenstin + he psintng the Pesheldsort Muecumy nave nen publthedrk, fen, Di karen Grostotsohatt fn Satan Moro i Jove 1038 Des reer Hs Tag vn Ketter fot 1 Hohn Prt ie, 1A7Eh noon trey were cub shed inthe 196) iin eatalogue es so der Been Bib A sr Soro tre Kuen caecton as 230 existed {eto in 1958. Tr pings in he ctsaaue of 5 feiien were aves tothe arts named Fons Hermosa, Hans Grier 28 Vert tet the satine Roe Arbors ote Ottamon Epire 1850-100 (ran: Han, Goede on Fae, 196. Teuton’ Pati Ca No. 78;C Doula, he Tuskin reach eistny Dawah and itera 1157 1060) Pa, 1398, 28-288, formed the iconography for sultan portraits that was used for centuries in Ottoman miniature painting, Infact, the Semailname is the Isiamicized version of the illustrated Western biogra- phical histories; tis the product of areal east-west synthesis, The increase in the diplomatic and commercial relations with Europe after the sixteenth century resulted in cultural interactions, It 's observed that a more vealstic Tusksh image appeared in the European art of the seventeenth century, Tis is especially reflected by t paintings made by the art’sts accompanying the European embassy delegat'ons to the Ostoman court For example, the Austrian artists who came with the embassy delegation sent to Sultan ‘Murad IV by the Austrian King Ferdinand in 1628 under the leadership of Ludwig Kuefstein depicted receptions and audiences attended by the ambassador. They also painted the sultan and his family, various Ottoman costumes and interesting scenes from daily life, These paint- ings are exhibited at the chateau belonging to the Kuefstein Perchtoldsdorf Museum in Vienna. Among the paintings at the chateau, the full-ength or- yily at Grifenstein and at the tral of Sultan Murad IV and his mother Késem Sultan, a weir, a pasa and a Janissary are of Interest. Even more noteworthy is the oll painting showing the Virgin Mary in the skies of Istanbul, no doubt symbolizing an Istanbul under her patranage.”” Jn 1B41, the French amlassador Jean de la Haye was sent to Istanbul to renew the capitu- lations. George de la Chapelle, an artist accompanying him, painted mostly the women in the Ottoman Empire and printed them in 1648 in his book called Receu! de divers portraits de prin cipales dames dela Porte du grand ture. The portraits of Sultan Ibrahim and Sultan Murad IV are placed on the frst page of the book In the background of George ae fa Chapelle's figures are scenery fram Istanbul documenting various districts of the city Many Euronean ambassadors came to istanbul during the second half of the seventeenth century. Jahan Joseph von Herberstein, who accompanied the Austrian Count Walter Leslie in 1665-1666, upon his return to Austria, commissioned paintings related te ‘by making use of various sources, Today, this collection of 47 paintings, including the portraits of Sultan Murad IV ang Sultan Mehmed IV, is at the Pokrainski Museum in the city of Pty Slovenia. Most of the paintings cepicting women in the Ottoman Empire are derived from 1 Ottoman Empire ‘T16— The dinner given by Kuefsten to a delegation of ambassadors. Kuefstein Chateau, Grllenstein rose andthe Gttonins: teractions i at Nee RENO‘George de a Chapelle's engravings A similar callection isin Sweden. A series af 15 paintings ‘raven by the painter in the service of Claes Ralam, who was sent as ambassador to Sultan [Mehmed IV in 1687, is at the Nordiska Museet in Stockholm, These depict Sulten Mehmes IV ‘and his viers, the dignitaries, janissaries and sheikhs during the official processions in the ‘streets of Istanbul. In the backgraurd some masques anc tulldings from Istanbul are depict, ‘The Swedish inscriptions under each panel give the explanations." Some af the European ambassadors visiting the Ottoman capital city personally collected information related to the Ottoman Empire and published books. Sir Paul Rycaut, the English ‘ambassador who came to Istaroul between 1661 and 1668, wrate a book called The Histary of the resent State of the Ottaman Empire about the governmental organization and daily life in the Empire ana published it in London in 1668 with engravings of Ottoman costumes he had drawn in Turkey, The aovtralt of Mehmed IV, the veigning sultan, is also included in his book. In Subsequent years Rycaut’s book Was printed in many languages. For example, the French trans: lation of te book was published under the ttle of Recueil dle diverse figures turques, and it con tained Sebastian Im Clere's engravings of Rycaut’s drawings and also additional engravings based cn ather sources.” ‘The ambassadors sent by the Ortomans to the European capital cities also had 2 share in the cultural relations with the Europeans. Most of these wrote sefaretnames (report written by an Ottoman ambassador on his offical work, experiences and observations} describing what ‘they saw in those foreign countries The visits of the Ottoman emoassy delegations to Europe aroused great interest. For example, the visit to Fontainebleau oF the Ottoman embassy de'e- gation sent to France in 1607 was received with great interest and a few years lat wore Turkisn castumes in the ballet called Bollet de Monseigneur le duc de Vendosme, staged in 1610" The visit of Ambassodar Suleyman Aga, sent in 1669 by Sultan Mehmed IV to King Louls, XIV was even more influential and after ths, Turkish castumes started to be worn at the masted balls organized at the court. Moliére, the renowned glaywright of the period, added a Turkish ceremony t0 the play called Le Bourgeois Gentilhomame and Suleyman Aga was desicted as 2 comical character. There were dancers in Turkish costumes in ths play staged in 1670. André Camora, in nis opera- ballet called l'Furove Galante, he allocated one act for the Ottoman Empire» It is said that Suleyman Aga was accommodated ata palace cec- rated in the Ottoman style and rete the visitors were offered delicious mea's and coffee. This played a role in the affectation for coffee in France, Cafe started to be see In Europe as of the Seventeenth century. Sources: indicate that it reached Venice around 1615 and the first coffeehouse there was opened in 1630 Alter a short while it became widespreac:in London as well. It is believed that coffee became popular in Vienna after ‘the 1683 campaign and that the first coffeehouse there ‘as opened by Count Kolschitzhy, a translator of Polish origin, However, coffee must have been known in 1665. luring the visit of Ambassador Kara Mehmed Aga to Vienna. The embassy delegation of Kara Mehmed Aga hac & great impact on music. The performances in Vienna of the military band, accompanying the delega~ “fora catsone ofthe clestion see Resgaung -snsehen Ore ant Otier® Landes Py 1992 The Son's Poot Cat. Hos. 81,98 29 Some thes fatines et in te zie eshititon nt a Sen 185 tn At ‘Ctr, Sie sore Museum Bec, 1988, 201, 208K Adah “he limo Paras the vor Casing Caiecon at Bei Maer Tush Mis tram tre (70 an 19D centres Sen” ‘Mieterores Tuk Sonat Keres nerationa! ongressoF Furth At vo. 1 eka, 195) 1-17 qui, te Suto Pato 238, Cat. No 9 rs, Go Ye oe aye oyun Boe ‘serine truer ante SAL 14. Dow, Ine Turin enc sty, 628 9, Desmet Otgoice says thatthe vt of Sleynan ‘a saved ne Tota aon (a tea) CeO thogiue Lien utoen France RM sé ts 190 18-19, Fr Trea treme ne an Nes See Ar, Gon Ye tok 3 Brace, e Strartues of Frey fe The Limits ofthe Psa ie York, 198), 296 259, 41 ooo, Cotte The Epcot a Commo Ne Yor, 1985, 4416 77 facia T17= Theater heroine and heroin Turkish costumes. Ladavico Ottavie Burnacini Seventeenth century. ONB, Teatersamnlung Min 20,T1B— Arab coffeehouse keeper Gérome. 1865. Dolmabahe Palace T19 European drinking coe 6.48 a “Dogu-Ba Kade sir Benen" Sona-feetiyor une 137 a 399. see B Lew 198d i ortevn the engravins warn rin ty ned ess ps Yiyisin an abn of Otoman ona trocar seu (6726675 1 ewes eed Nag vig bee inluces bythe Curopean gains see EA “atmet la an elect art the ey 1 century: Fh ntsentanal Congress of Tati me Europe and the Otomans: interactions 1688, Metropolitan Museum of ts W. Whittesey Collection, 67.5595. tion, provided for ths type of usie to become known jn Furage. In fac, after these dates, the European composers occasionally used the melodies of 1 military vand_music” The Seyahatnome {Travel book] by Eviya Celebi, wi 0 accomparied Kara Mehmed Aga to Europe, is considered to be started to be the first book written by a Turk related to 2urage, From then 9 better acquainted with nthe Ottomans n culture and urope and took an Science. In fact, many science baaks of European origin were translated into Turkish in the se~ venteenth century. Katip Celebi translated the book called Atlas Minor written by Je Dutch geographer, He a'so wrate the books called Ciharmiima, which is an itr Bileau, the raphical source, and lesdal-Heyora ile Tein Yunan ve' oro, which 's related and Christian fi In the seventeenth century, a great number of Europea engravings and books came to the Ottornan palace (ISM H2135, 2148, 2153] fe im the albums prepared during Figures wearing European costumes ate encoun reign of Sultan An vealinning of the sev ceateenth century oF in the miniatures of th toman artst Naksi, who made use of Western elements, such as recedin Ksimust have seen the European paintings and cagravings, which had come to the palace.” Illustrated alaums, especialy t 3 in istanbul in ths per 1 with costume studies, started to be produ called Costume Book and introductory tex ations, Mast In these albums, wl the English Trachtenbuch, ther Germans called the illus ugh there are some pain but most of th time there were only brie c under o of these were works of local by"720— The Istanou! Tulip. Conrad Gesner (7). Univesitatsbibliothek, Eiangen 721— Delt ceramic with Turkish Figure European artists. It is evident that these were produced to be sold to the Europeans visiting the Ottoman Emre or given as gifts to official visitors, Ateliers were formed in Istanbul for gro~ ducing such alums and the mass-produced illustrations were compiled in alburns with expla~ nations in italian, Frenci, Engish and saretimes in more than ore language according te the buyers request. These albums seem to have increased in number around the middle and sec~ ond half of the seventeenth century. Aggroximately eleven aloums are krown to have been pro duced during the reigns of Sultan Ibrahim and Sultan Mehmed IV," most of them with expla rations in taian, Many Italian emoassy delegations came to Istareul in this period due to the conflicts between the Venetian Reoublc and the Ottomars over the island of Crete and other islares and itis pradable that these albums were prepared far them, Qther similiar albums were croduced in the second half af the seventeenth century" The books about Turkey and the Turks becoming widespread in Europe sere the sources for the Turk'sh motifs used by several seven teenth century Eurovean artists. For example, Peter Paul Rubens the renowned Flemish artist, used such albums when drawing his Turkish costumes’ The seventeenth century Dutch pant ings abound in Turkish mati. After the Ottomars granted trade rights to the Dutch in 1612, the diplomatic and cultural relations increased between the two counties, For example, itis known that Ambassador Cornelis Haga, who came and stayed in Istangul for @ period of time for these commercial agreements, had brought Dutch mags with hie. This explains the pres: lence of several Duteh maps in the Toptap Palace collections, In the meantime, Ottoman car- pets, metals and ceramics reached Holand and Qttoman motifs started to be used in Dutch art. Tiles and ceramics with Ottoman motifs were oroduced in the Delft ceramic ateliers, Among these, the tulip was the mast popular decorative matif, The dotanist Clusius, @ Dutchman work ing for the Austrian court in Vienna, grew tulips frorm the bulbs, which had been brought 10 Viena oy Ambassador Busbecq in the sixteenth century. Upon his return to Holland, culips 5 Tere te em ents 0m 1 baring (97-67-0191 dates ele ands wend sou 11926 325-046 eongin to ihe Wes ate inthe Brtsh Museu Aprox 1 albus Wade etvee) 1640-1050 have beer abcunere © Rens, “17 Noeyoan Bir Grp Kyat Abu 17. Yao man Katy Sorat 1920 1998 Sempoeyum ‘Bia stonb, 1908, 153-178 1 To albums 103 6 and 1h gresenty ithe slotveeve Nationa Fara oat on Se ust quater of tre veers cry See 5 ever, Genie Wzylea Kipre Resinerinie ora 1288) 99 un “Ie Tush Dresses i re Costume Book ‘of Fuses Hesr0ndsKorshstorch Jarbeoe 23 {7a 295 290.722— Porat of a man in oriental cost 1635, Rijksmuseum become widespread in Holand, Boots were writen about ths Fower andthe slip Became a part of day Mena shor period of time, the passion for tulips, called cuigomania, made te sae reas ae AS re frequent encountered in pairings. Even Rembrandt the wel-snown Dutch gine, ew i Posi ures with Turkish costumes and especialy nthe paintings of th tories, he the prophtsin Ottoman costumes, Sources nat that nthe perio, merchants coming f the Ottoman Empire could beencounteredin the stretsin Leiden and there were Oitoan eo tumes and headgear even n Renova’ own colection « urtme and the Ottomans: interactions in art GiNSEL RENORNew relations in the eighteenth century: The Turquerie in Europe ‘Tne eighteenth century is 3 period of balance, more correctly, balance of power in European history, Both the Ottomans and the Europeans accepted equal terms and consciously wished to acquaint themselves with the cultures of one another after the 1683 Vienna defeat and the Subsequent Karlawitz Agreement signed in 1699, Cultural interactions increased even more, Although the siege of Vienna resulted in a defeat, the Turks left imprints in Austria. Turkish ‘motifs were used in minor arts, architecture and in objects of daily lif. This cultural interaction is best cisplayre by architect JL von Hildebrardt in Vienna at the Belvedere palace, which has corner domes looking like an Ottoman vith tassels or In the towers resembling minarets atthe Karskirche built by the renowmed Austrian architect J. 8. F van Er'ach* The Ottomans after the Vienna defeat, corsciously avened up to the West for the first time, accepted the technical superiority of the West and sent ambassadors to the European counties for longer periods of time, rot only for political cialogve, but also to provide information in the fields of technology, science and culture. As a matter of fact, most of the Ottoman ambassa- dors sent io Europe in the eighteenth ard sineteerth centuries wrote sefaretnames deserising what they sav during their stay. These are important sources related to the West In 1721 "723 An engraving ofthe Versailles Palace included among the various engravings and plans brought from France by Mehmed Celebi, the ambassador of Sultan Ahmed Il. P. Menart. TSM H1974 Sultan Armed il sent Ambassador Mehmed Celebi tothe court of King LaulsXV in Parts Besides, his dislomatic Cuties, Mehmed Celebi abserved the rilitary and technological developments, participated in social and cultural activities and wrote 2 sefaretname ugon his return to Istanbul Mehmed Celebi, a poet in his own right, had served in the Janissary Cores and had various duties at the palace, and in his book written in a beautiful language, he describes the il, giving important techaalog- ical information. Mehmed Celebi aiso brought with him fram France books related to architec: places and gardens, customs and usage in France in great det Te eaiiione organi nna in 98D St fren ing Geet maarer he Onoman-Astian ruta el al inivence See otra 1 che Geli original sfretname nooner cers out hee are many copes Asecton of hs ‘Seturtnome vs publahed Yimisehie hr fo ‘Selgetrame tabu 1976 adden tere als the Perch rariston othe Seoretnare Relation de Pombassade de Mehmed Efe our Ge Farceen 1721 ect porta mee Yas? 1 dutien Galen Consansple ad Pa’ 757 For compreense raorraton telte the setoretnaneswrten oy te Osoman amass ors scictgen ena: Ue Citorean anlageMG Cage have we M6. Caer, the Ottanon Empiein te Etec Cetary (ies York ano Onto 1871 nao on ce Pures i eeth Contry rare and te ost ‘Ucar 198 M for he Tuk affetation Hert see C.D Rare, Te laren ese son Ffezombes, Levene dons on topes Turkish, especially some related to the Versailles palace and ga’ Jens, are now kept in the Topkapi Palace Museum Sources indicate that when Mehmed Celebi was in France he also id artended the 0 100k an interest in musi ‘and con <6 the pain the rom his reception by 's Moreover, he ws ing ateliers and Mi. Coypel, one of the artists of che period, drew a full-length portrait o Ottoman ambassador. P.O. Martin depicted the return of the ambassador ‘the king, Both the visits of Mehmed Efendi and is son Said Hend! nission 20 years later in 1742, a the 19s sent with the same used great int in Paris with ts they presented, the costumes ey wore and their manne. These wsits caused the Fr inted Turks! Turkish themes became widespread i become more cisely aca with the ture, stage atts, painting and decoration, especially depicting Turkish charac- ters in Fantastic decors followed one after the other. i became the fashion to wear Turkish costumes at re portrait Turkish motifs were used even tall and to ‘made in Turkish costumes. fun ture and porce lain, Thus, this Turks vogue, wh started in France in the eighteenth century and also spread into the ‘ener European centers, 2s called Turgueri The Tusbish affectation was very widely spread in terature’® In 1708 Antoine Galland translated into French and gublshed The Trousard and One Nights Voltaire wrote his book called Essois suc fe Moeurs, 725 he srivalv Vemisekie © ‘Tea Madame Favar: wearing a Hurem Sultan costume. (oi Mehmed Efendi in Pars on 21 March 1721, Charles Parroc ‘citeau de Versailles et des Trianons, MR 2271 Fighteenth century, Musee national dua majrty ofthese saimngs weve athe exiiton neld a the Pos Muse oes ats ecoratfain 191 Exostion oe ls urqvere au Nie wee Caegve Mayctobe, Tat The best source or he European painters who wore instant ihe egret cerry 1 Bopp wo had 3 eiplomatie posit in santa ft thetbegnning ofthe went cerry A Bae, les Pires du Bosphoe ov ahve se Par, 19), 28, 1983 Flowing ns bod tre Toquere exhib tion el in Fars te same yar rvesuces ts utente Furoge Genes 1891 Tuguene Sera Unering Sorat Toning gudon Boye Uso ace ‘Anas Sermpeeyum Bie (stan, 198), 71-80. For the be. source on ths sic te 8 van Lustre Be Turse snigerion an! 8 Vonmouren 2 shod leigen ans wart, 1958); Some Gr varmour'spanings nthe Rikerazeun ere ‘ab tea i trl aka in 198 es Potures Tiraues de ean Bop Yoomoue 1671-1737 nese and anbul, 197) The facsmie eation of eeu Cet FStomoes was prinee ardul 91973, EF Foc, itor Pas, 196. Rena, Tuk Resim dye ann ean Eten Lata Sorat Diryama, 3 (1979 12-2, Els sur [Ade Hed, Dessins de tor Gere, 189) Te “ert the Sultan ond Ye drt ho aucencein Istanbul Ritemuseum Dowitrs Amster, 2003, 7 Te 1988 exibition catalogue compose a his raings te best source Crm Loos Tobrnger fronenexpedtion il rams oenten, 1710-171 (Stoctaim:Natonlmaseury, 1985S Eye, VL uzpid tanbu’s se Cornelis loos ve tabu Resi" 18 ¥an00 Osman Kuta Orta (arb, 1986), 81-130, copies ofthe aro panorama by Guderus ae i he Rariga Bblotnet in Strtholm a the cai Lara in tabu Ths arorama 2s pied ‘the book called Calletion des Habiierents Turquie desnes opr rature pare Soran de Buses et aes oucombossodes qu sot etonteteo Constantinople 6 Renda “ive There Hl {seers Kral Kap RU!Ur ve Sona 21s (Mare 1980-18-25. Boop, les pens de Bosphor, 234-240. i, 274277 © Many af is aitings spout tana found ins MLC Peter, tos des pomenadeseresaue dns Constantngpleet sus ves ao Bosprere (Pars tai Watteau, J M. Nati N. Laneret and ML Latour, the famous rococo painters of the period, drew Turkish figures ana made portraits by clothing their models in Turkish costumes. Moreover, they depicted imaginary Turkish scenes giving them tiles such as Turk in the Horem, Turk in Love and Love of the Pasa. the Turquerie exhibition held in Paris in 191, these were exhibited fr the Fist time and this current, which had beeome widespread in the eighteenth century, was presented to the world” ‘tually, the real representatives of the Turquevie movement in European art are the European atists who came to stanbul in he eighteenth century and lived treve fora period of time These painters, who are refered to as Les peintres du Bosphore, generally waited in the European embassy circis in Istanbul or ilustrated the travel books written by the Europeans* ‘Among these, |B. Vanmour from Valenciennes, who stayed the longest period of time in Istanbul, worked for various European ambassaders, such asthe French Ambassador Marquis de Ferriol, the Dutch Ambassador Cornelius Calkoen and the Swedish Ambassador Gustaf Celsng. H's works are found in various museums and private collections. anmou, who depct- cd the receptions of the ambassadors and painted scenery from various districts of Istanbul, Tuthsh costumes and daylife, is Knawn for his else paintings. n fac, commissioned by the French Ambassador Marquis de Ferriol, he had his castume paintings printed in 1714 withthe tile of Receull de Cent Estompes représentant diferentes nations de Levant, which was a pat- te book for Turkish motifs in the eighteenth and nineteenth century European porcelains The paintings of Vanmour became the soutce of inspiration for many Turkish and foreign arts More correctly, the activities oF the ats in Istantul, where he spent a great part of his ite constituted a painting school that can te called the Vanmour school 4. £. Uiotard is anather painter who was influential in the spread of the Turquere vague in European painting. Liotara was a Swiss painter who lived in Istanbul between 1738-1742; he learned Turkish, wore Turkish costumes and is known for the potilts he made and his paintings that depict Turkish life in a realistic manner. Lotard, who was known in Europe became as peintre ture, made portraits of many Eurepeans with Turkish costumes after he returned from Istanbul” The new relations between the Ottomans and the Europesrs in the eighteenth century brought many diplomats, merchants, ravers and artists te the Ottoman capital. With the rowing interest in history and archaeology inthis century, cllecting antiques and curiosities ita reached it height and many travelers came to the Otioman Empire for research. Arnong these there were architects and painters. The market for travel accounts with engravings grew in Europe. Consequenty, most ofthe artists working in embassy ctces, even the ambassadors themseives often produced such illustrated books. For exemple, architect Cornelius Loos, who accompanied the Swedish King Charles XIl in 1710, made such detailed drawings of the various districts and important monuments in Istanbul, that many buildings which no longer exist today, are documented by nis drawings” Baron Gudenus, a military draftsman, accompanying ‘he Austrian ambassador Cort Ulfeld to Istanbul in 1740, drew a panorama of the city, which stllis ane of the most important documentary sources about Istanbul at that time and specif- ically its vernacular architecture Sir Robert Aisle, tre English Ambassador appointed to Istanbul between 1776-1794, was aso an antique collector, and he nad employed Luigi Maye an artist of tain origin, to make drawings ofthe historical buildings” The succeeding Enlish “Ambassador Lard lain commissioned M. Préaul, the French architect working a the Imperial School of Naval Engineeting at that time, to make documentary drawings ofthe significant monuments Préault’ dranings ofthe dally life in Istanbul were used in many travel books" 1. uope andthe Oxomansnteacion na las nokAon, peres a Bosphae 191; ,Res, ah taraeee Ses Decne pt pe orga atthe Mating trek was pblshed in ars 113. Avacem eon was plies fn enn 1868, tndeplcctanein the nord Fa» competence Sce MAtasay, “The Sih of Costene Books on he Freres Neha lnon Ottaman Cotume Book Fer Ame sr, 1988) 728 A koskon the Bosphorus, Comelus Loos. 1770, Stockholm National Museum, THC 9121 The French artis J. 8. Hila, who wor far the French Ambassador Count Choiseul Goulfiey, fuinted seenery from vatious regions of the Empire in a trip he made with the ambassador in 1776, Most of his paintings were engraved in Voy pittoresque de fo Gréee, the travel boak publishes by Choise 6e | Gouffier between 1778-1782.” Hilsir also made ilustrations for Tableau ral de Empire Othoman writen by Mouradgea D'Onsson, an Armenian fi Istanbul, who 28 a translator ai the Swedish Embassy. One of the most realistic portraits of AbsGhamid I, the suttan of the peviod, was painted by Hila Architect A. | Milling, who was invited by Sultan Selim Il to istanbul araund the end of the century and spent a 20 years in Istanbul, drew the topographical vaws fram various districts of Istan were later publish tellan, was another arch oximately alled Voyage pittoresque et fes rives dy Bosphore™ A. L ct who came to Istanbul with an engineering assignment in 1797 and publisned the paintings he did in Greece and the Morée, Hellespont et Con nt that same of the painters who to the Ottoman Empire in the eighteenth century had an architectural background and mainly painted topographical views, m Ottoman Empire im his book Letéres sur fo TaN? Its ev f which were engraved in travel books, However, besides these illustrated ave! Altho ‘unts, many costume books were also published in this century, igh there are same costume books illustrated by E painters, most of them were produced by local atists, a was the case in the previous centuries The paintings about the Ottoman Empire that have found their way to Euro Ciplomatic relations constitute another group. For exampie, the Ottoman. Swedish relations in 1d the number of Turkish paintings and obj collections The defeat by the Russians of the Swedish King Charles the eighteenth centsry inc sin the Swedish at Poltava in 1709 ane729— Sultan Abdulhamid |. B Hila, Private collection. nt political event. Bot his taking refuge in the Ottoman sides seat ceasion, As indicated before, visits af ambassadors nave aluays been in n27@ wit interest in Sweden and the vas a sign ambassadars on this 19 ambassador to Swe umented by paintings. Kozbekci Mustafa Pasa, the Ottom Mehmed Said Efendi, who nas sent four years later, were m renowned artist G, Schroeder painted several scenes depicting the amoassadors and their entourage, The Swedish Ambassador Gustaf Cesing, sho came ta Istandul in 1713 ta negot a the sit ion of King Charles Xl, took Turkish objects and works of art when he returned 10 Sweden with the King. In ary ¢ase, 2s the result of an agreement signed in 1738, from then fn the Swedes kept a permanent ambassatior in istanbul. The Gustaf and Ulric Celsing brat in Istanbul between 1747-1778, took ack many o 5, who se 1s and paintings related730 Porcelain figure with Turkish costume, Sighteenth century. Private collection. 731= The portrait of Sultan Abdilhamid | on the wal of the Griosholm Chateau in Sweden, ca. 1770. to the Ottomans and cisplayed them in ther rransions. The caftans, carpets, embroideries and especially the collection of paintings, including the reception scenes, single figures with Ottoman costumes and landscapes, that were brought by Gustaf Celsing, the frst member of the Celsing family who came to Istanbul in 1713 and his two teothers who followee, are now kept at the Celsing manor in Sweden and are invaluable pictorial documents ofthe eighteenth * paar ta rs 6. een, century Ottoman word Another interesting example in Sweden isthe portrait of Suton “Gs ltr rt erry 198 Abdilhamia | paced onthe wal ofa hall added by King Gusta Il in 1770 to the Gipsolm 1 tenga "Anga Somes Tu Hoes Somat Chateau near Stockholm. The King, wo wished to portray himself together sth we great serine ar, 185) 3 8. Lews The Musi Discvery 88-103; FM, Cact, fost Encounters Hes 6 European rulers of the period also included the Ottoman ruler” Westernization in the Ottoman Empire ‘The new diplomatic, trade ard cultural relations established with the European countries in the eighteenth century left profound imprints in the Ottoman artistic milieu. As mentioned befor, tone ofthe most important reforms inthe Ottoman Empire, was the arival ofthe printing press after the visits of ambassadors Mehmed Celeb’ and Said Efendi in Paris In 1726 Said Efendi had Ibrahim Muteferrika establish the printing press and started the printing of Turkish books, The first book printed was Nehmed Efend'’s dictionary known 3s Varkulu Lugati and the second was Katip Celeb's ihonnuma" All ofthese elations also brought inrovations to eighteenth century Ottoman architecture Many books and objects of European origin had already reached the palace. Besides various aifts, engravings, plans and architectural drawings were brought from France by Mehmed Celebi and Said Efendi. Grand Viier Ibrahim Pasa requested the Frerch Ambassador Marquis de Bonnac to acquire fram France clocks, telescopes and microscopes that displayed the new tech- 4 Eulope an the Otomansnterctins ina ei wannology: Infact, Lenoie who was assigned Yo gravide these brought to the palace various clocks, instruments, furniture, textiles and gobelins. These must have been used in the recently built Sadabad Palace" The engravings ard archi ‘versailles Palace, have been influential in the buildings constructed during the Tulip Period. The Sadabad Palace, which started bo be constructed at the Golden Horn in 1722, with is springs, fountains and cascades, could val the French palaces This palace drew the attention of all the travelers throughout the century and the palace and its gardens were compared to Versailles. No doubt, the European influence on Ottoman architecture increased even more afte the Tulio Period However, the traces of the haroque and rococo styles prevalent in Europe, appeares! mainly in aicitectural decoration, For example, the painted decoration in the pavilions added to the Topkapi Palace by Sultan Ahmed Il, cisplay vases with flowers andor bows filled with fruit. The floral matifs usecin previaus centuries raw attained a more voluminous aopeararce, For example, on the fountain of Sultan Ahmed Il the same matifs are carved in high reli Similar reliefs are encountered at ather foustains and sebib, After the Tulip Period there were changes in the decorative program and landscape compositions painted on the walls replaced vases with flawers or stil ies «tural drawings, most of which were related to the "732 Sultan Musafa Il receiving the Swedish Ambassador UlicCelsng, Celsing Manor, Sweden, There were na major alterations in mosque architecture, More accurately, the plans did nat Change, but on the exterior facades, daors and windows, on the niches and mimbars in the nte- ‘ior curving motifs in the baroque and racoco styles, seashelis and cartouches are encountered The Nuru-u Osmaniye Mosque [1748-1755) 's the only example among the mosques. which shows the European influence structurally with its courtyard in the shape of a horseshoe. The monumental entrance stairs on the exterior facade ang protruding niche mihran are new ele iments. The Avazma (1760), Lalel (1783) and Beylerbeyi (178) mosques following it, display this style, most often calied the “Ottoman Baroque" with undulating multif't acres, masses and °F. Goel Fos Encounters Hes 7980, For the Lope infunecsezered in Otomo arenteaue se B. Kuba, 1a Bard Minors Hocus tr Deven stab 1854; 8 Ars, 1 Yl ‘ont Mimors ne Bag Sire eeu 1575); Kure, “sta CentryOrtman eect Sues in 18th Century ome History, eT at 30 8 Ose (Souther Minin, 1977), 169189; ‘Bend, “Eutope at ie Oona” Fao sande fest som 13 bs 18 Joba ner, Irterstonlr Ronee ue Furstgesence-Cna ‘enn, &1 Segtenes 1980592. F Yengen "Western influence: on Otoman Achiteue” ‘as Osmensohe Rc ye Farag 183 0 1758 (Mirna 1983), 153-175For the devclopmens in the eighteen eersy a etn se 6 Reda, “Otonon Parteg ra Sculpture nee vl 2 987967 Proaaatng te spe Image Ts 1809-1902" re Suifons Poa, 4 ‘Ottoman Painting and Selmar ee, vo 2 912-86, 733 Ring witha portrait of Napoleon. TSM 2/3683, comices, high portals, capitals with baroque motifs and minarets with bulbous feet. Ths style ve (186 (1822-1828) masaues. This shows that the eighteen century Ottoman a was favored at the beginning of the nineteenth century at the Sel } and Nusretiye chitects, rather tt bringing a svuctural change to architecture, adopted new features in the decorative program, No doubt a certain peri of time was needed for any structural change in Ottoman architec ture, whieh had such a long tradition. A rsition was also needed for the Ottoman art painting, The new J developed with the interest arouse European art in mands and tastes, fe Ottoman palace circles, brought a new flavar tothe art of painting established 1 influential in creating @ new artistic milieu. Technique anc « Undoubtedly, the European artists who errselves in the Ottoman capital were hanged in painting, Miniature paintings were gradually replaced by watercolor paintings and what is more im rant, persnective entered into miniatures. The subjects were also changed. The miniatures with Fistorical theres laced by stories with alight content, scenes from dally life, portraits and floral compositions. The costume paintings that the Europeans drew with much delight also became widespread among the local miniature artists, For example, the poet Faz Enderuni wrote @ book describing the beauties of the women and men of the world and its illustrated copies were te like an album of costumes documenting both tl Around the mi-eight intod that can be called wall paintn tury, the architectural dec ve iogram, changing with the ion of th lements, paved the way for the development af a painting genre The landscape paintings placed among baroque and rococo motifs replacing the waditional kafemis (painted deco ation] are marked by the use of certain Nestein painting techniques, such as perspective and light and shade, Dacumenting various, and buildings in Istanbul, they seem to ha followed rit 1 approach of the Fu sts who care to Istanbul in the eighteenth century. In other words, these w of the new art milieu 0 fe the products 1 now was formed in Istanbul, This new cance d ‘opment observed in the 0: inting, which also in spread to the other regions of the Empire in a sh ime, shows that it was 2is0 ado: outside the capital city The most impor painting in this century is the intraduction of canvas paintings. All oF the sultans who reigned during the second half of the eighteenth century hac their port Moreover, starting with Sultan Selim II the sultans distri who realized that the lets in Euroge exchanged the trait engraved and distributed it co the high dignitaries ambassadors. As trait and 2 ring with Napoleon's portrait on it, sent to Suitan Selim Il, are kept in the Palace collect in the Empire, the European rulers and matter of fact, copy of this portrait was sent t lapoleon. Bath this por- pha his izing the costume reform he Sultan Mahmud Il, who succeeded Sul in Il had medals made wit showing him wearing a jacket, trousers and a fez, symbol ese were also produced for distribution, Orientalism in the West ~ institutionalized westernization in the Ottoman Empire The lowed a differen ine in the nineteenth century While fur- ther achievements were gradually industri ing place in science and culture in t Europe, she O:toman Empire cantinued its significance asa profitable market for the Euro ins ds of governmental arganization, education and * This was a period in which Westernization in the Empire becar ionalzed, The efor introduced in th military were exterd-ed to the public services. The Ottomans, who had established permanent embassies in Europe after Sultan Selim Il, improved their diplomatic and commercial relations. Especially after the 1839 Tanzimat Firman [Noble Reforrn Script), it's observed that Europeans and non-Muslims became influential in commercial and cultural life in the Ottoman capital city and the major cities in the provinces. All the European styles were now adapted, both in architecture and in the art of painting, The palaces constructed in Istanbul one after the other such as the Dolmabatice, Beylerbeyi, Gdksu, Cradan and Vildz, which the sultans wished ta see as the sym- bols of westernization, ate quite different from the traditioal palaces. These buildings display an eclectic style, a blend of the neo-baroque, neo-classical or even neo-gothc styles in the nineteenth century European architecture, These palaces were composed of various quarters Topkapi Palace where pavilions are collected around courtyards. These palaces are marked by their monumental gates and intersive decoration on ther fagades. Their interiors are dazzling with gilded reliefs, carved wooden and cartan-pierre decorations, panoramic Wall paintings, European-made furniture and porcelains The Ot:oman elite, who adopted westernization, used the same styles and dec rations in the mansions they builtin the capital city and the provinces Even though the plans in mosque architecture stil did not change, the mosque entrances were now similar to the European palaces and wider windows, European style capitals were used as at the Dolmavatce, Ortaktiy, Aksaray Valide and Yildiz Hamidiye mosques in Istanbul, Wall paintings decorating late nineteenth century buildings favored romantic landscapes or hunting scenes, Similar to the works of the European Orientalist painters While westernization was becaming a lifestyle in the Ortoman palace cieles and the elite class throughout the nineteenth century: for the Europeans, the exatic and navel layin the East. This was reflected in the wave of arientaism, which spread in France, England, Germany, Austria and Italy. Actually, orientalism, which is @ concept created by Europe nourished by imperialism ‘and colonialism as a result of the industrial revolution, has manufactured an exatic, mystical, “Oriental” image filed with unknowns® In ar=it developed together with the romantic move- iment and it was frst observed in the field of romantic literature. The "Oriental" image created by the heroes of the storie, novels or plays were most often an Ottoman image. Such images found in the works of authars such as Lord Byron and Vietor Hugo in the first raf ofthe nine- teenth century also influenced other tranches of art For example, Byron, in nis book called Childe Harale's Pilgrimage, narrates his hero's journey to the east. Actually, this can be ident ‘ied with Byron's own journey in 1809. The oriental image created by Byron in this book is a strong but merciless, ysterious character, The oriental heroes in Byror's Turkish Tales are also similar#® These are often the merciless male characters for whom women oecome slaves. Infact, E Delacroix, the farnous French artist, who was inspired by Byran, in t's painting called the Death of Sardanapal shows his hero together with the women of his harem who do not aban don him at the moment of disaster. Byron, who was a quest at Ali Pass's palace in Yannina assumed an attitude against the Ottomans after the murder of the Ottoman Paga in 1822 and actually died during the Greek war of independence, Delacroix’ painting called Massacre in (Chios w2s also derived fram Byron. Ibis evident that the romantic authors wanted to show the Ottomans as “oriental” and “different’ Especially after the 1827 Navarino defeat, they saw the Ottomans as @ state that had lost its political ower. Vietor Hugo, in his ook called Les Orientales, exalts the Greek war of independence. Moreover, iti interesting ta note that the European orientalists were disappointed at the Ottoman westemization, because the western ized Ottoman image did not fit the concept of the “Oriental” they had created. For example unified behind a long facade, like the palaces in Europe, and unlike * For gener intormation etd tthe nnerent sentry pacers Sen Devon Br Soy itn, 1965, aba, Oroman Acheter vol 6-97 6 herd, “Osama Painting ard Septet vo Seer ‘For veaer of he tea an suivop foc nr loematon at coe the nineteen century nthe ost compreerse mane Sev Eom Sn, Cretan New Yer 378 Is union wandavon wos to pune So ‘rato Smug ep Ros ae (sto 2 Inet mybin ant says ara Sen aot Re istare,13agacs Nave been pulses on ereratse fn European at The flowing are he mporant one: P dua The Ovientts fropron Pantera ose Scenes Oxfrs, 1977: bert, The Orentns Pe York and anon, 197) Fad Bho, re ts Pointe Travelers 1826-1908 ed Sweetman, Drentl Obsession ie. 988) 5 Gerster and Zu ar Tukey stars, 989, In rece yeas ns rave ben els cle) teat oncalalguis have Pointers ofthe Nineteenth (Cenuryoedn, 1978, Teves beyond he Grond Teor ond, 980), Ovens, Ine er Es! intone Ping 1800-1200 aches 282 ‘he Drentlsts Ono to Water Tie Mure ‘oF Nort Atco and te io: Est Wastinten, OC "9p; orp under ere Bei, 123) tral Vion Nineteenth Century European ise 0 he Mie fos Leeaon and Was nto 19981 B Passe, By he La of te ser Taa0. 1675 Copenhagen. 1900 Petre, Crem sna ies Yor enn ans, 998). Geers 2 ana Orentlstier toners hr, 206 ‘T34— The Death of Sardanapal.E Delacroix. 1827. Ot on canvas. Musée du Louvre, Pais 6. de Nerval, in his book callee Voyage en Orient. when he was desc tong th Abculmecid in European attire, almost criticized the sultan, When describing the streets o Istanbul he said thatthe oriental traces no longer remained in the wi ernized a iteetu The same approach s also observed inthe art of painting2” These painters who depicted the orient following the arientalsm in literature, created the same mysterious, dramatic, pictur esque oriental image. Some of these artists had never vis the Ottoman Empire. They paint 1 travel books, The most 1¢ harem, which even if they tray- 6 the orient they themselves imagines by ing use ofthe illst Favorite themes were the scenes of the oriental bath ard t cled in the East would be unable to see, Some of the orientalst painters even delineated the opography to create a pictorial and dramatic effect. Well-known orientalist painters such as Wo. Hunt have attempt net J igh they traveled in the Orient, presented exaggerated sce Delaroix J. A. D and L. Deuteh, ath 9 3€3, Because when they exhibited the thi, Moreover, H 1s and topo. 1 Pars Salon, the viewer was paintings in iat “oriental” image manufactured by the west. Inf these painters were forced mpete with the ahotographs that On the other ‘he Ottoman Empire with a curiosity about history and archaeology and who documenteo ‘become widespread in Europe id, there svere Furopean artists in the nineteenth century who came to what they sew with scholarly rawings. They painted the orient, ut they were not orientalis in the concept described above. Especially inspired by the archaeologics research started in Egypt by Napoleon, these artists came an scholarly journeys, made accurate topo: ‘graphical drawings and costume paintings. T. Allom and W. Bartlett, who bot’ had started their careers as arch ke Melling, a those who drew the topography and t'735— Sultan Suleyman the Magnificent. Chlebowsk monuments in the most correct ma +. Allom worked together with the clergyman Robert fish at the British Embassy in 1896-1838 and they published the illustrated work Constantinople and the Scenery of Seven Churches of Asia Minor. Bartlett, wher he came to Istanbul in 1838, made ilustrations for the book called The 8 vwas published in 1839 by Jula Pardot The orientalist movernent a ¥. Buildings were inspired by the Islamic architecture in an extersive geoara shy from North Africa to India, with the Ottoman Empire in the lead, The participation of the Ottomans in the world exhibitions and fairs organized one after another in Europe ard the United States had a role in this Sultan Abdilaziz, who attended tre 1867 Paris Universal Exposition, had Ottoman architectural drawings prepared for the Universal Exposition in 1873, invi the Ottoman bulldings were built at the far grounds, These drawings ‘arg mode's were copied in many European count Turkish fountains in the parks and Turkish rooms in the homes: In the sam€ period, in some of the bullings built by the Eurapear of the Basphorous that nfluenced European architecture in the second half of the nineteenth cent ienra, The From then on, it was possible to find hiteets in 1 Ottoman Empire, rientaist elements of ean architecture were used. For example, motifs ofthe North African Islam were used on the entrance gates built by the French architect Bourgeois at 1! of Def traces of the North African and Mamluk architecture at the Sirkeci train station built by the faceted character of the east- tury A large number of European architects and artists worked for the Ottoman sultans during the secord half af the nineteenth century and they made projects for the Ottoman sultans who commissioned them, satisfying the d tastes of the sultans. The same was true for the art of painting, Sultan Abdillaziz ane Sultan building in Beyazit Square, that is voul University. There are German architect Jachmund in 1899, These incicate the rul west interactions in the nineteenth Gel, Dsioying re tenth Century oe Fo Oxford 19021 Sane 19 Fy Ovens Architect isa 1998Abdllhamid not only commissioned the painters they summoned to the court, but also formed 2 collection of European paintings atthe palace, Moreover, Sultan Abdulramid even established ‘2 museum at the Yildi Palace and displayed the paintings. Operas of the European composers were staged at the Yili2 Palace theater. The Ottoman palace and the Ottoman capital had ‘become an imporzant center for European culture and art as well® ‘A look at the European-Ottoman relations throughout the centuries clearly indicates that the cultural relations stayed firmly behind political and economic developments, Among the Islamic communities, the Turks have always had the closest relations with the Western Christian world. The way these relations were reflected in art and culture from the fifteenth century up until the present shows variations according to political aliances, victories and defeats, diplomatic relations, and even the personalities of the art patrons. While in the eatli- cer years the Turkish image in Europe carried an exoticism brought by the unknown, for the Europeans in the sixteenth century, the Ottoman Empire was a state administered by power ful rulers, having great politica significance for Europe. In this connection, the powerful rulers cof this empire, the pompous ceremonies ofthe Ottoman court and the elabarate Ottoman cos~ umes were reflected in European art, No doubt, the unique topography and interesting mea- ‘uments of Istanbul, the capital city ofthe empite, were drawn by almost every artist, HOWever, during these centuries the European-Ottoman cultural relations preserved their unilateral character. More accurately, a profound European influence was nat encountered in the Ottoman culture and art until the eighteenth century. However, after the eighteenth century, both the Ottomans and the Europeans attempted to become more closely scquainted with ech other under equal terms and have been even more inspired from each other. The European influence penetrating into Turkish art in parallel with the Turauerie fashion devel ‘oping in Europe is a conerete indicator af these relations, The politica! balances in the nine teenth century pushed the Ottomans into an intensive westerizatio” and the European cul- ture was much more influential. It is a fact that Ottoman-European cultural interactions developing throughout history have cantrieuted a rich cantent to both European and Ottoman art and indicate that different cultures can create powerful syntheses. °c. Rendo,"Popegting he peril age: Tse Humayun 01822" Me alton’ Porta 82-463, cat No.7ABBREVIATIONS a Eveyciopesie de sim Mes Intenationa! urea of Mile Es a Jatin Arsiktopects (neycopedi of Iam) Jee 4ourna of EuropranFeonomic History Tova rhe Divot Vt sii Anshiopets Reigious Foundation of Tukey Encycopedi of am) ™% Turk Torn Kurume tis Wistory Association, Ankara BIBLIOGRAPHY Ada he Ralamb Partngs and the von Ceing Calton at Bi Maror Turkish Ma rom the 171h and 18th centuries in Sweden, Miletierras Tuk Sanat Kongres/ 9th irternatonai Congress a Turkish At YO 8 ear, 1995, Ada, AR La Science chez les Tur romans Pais, 1919 pyc ori Muteferica” TOWA, aa ‘Ottoman artery and Eurouean M itary Teeholgy inthe Fifteenth and Severeenth Centuries’ AOASH 4 (196), ‘ku, -Agina, Neve Dl ier, Avert EM. Ale, WE ar “Mus-Cnrsian Aceutwation: ttrrans a Hurgaians from Fifteenth tothe Seventeenth Centuries” Ohrtins| er suimans la Renaissance fds. B Benrasar and R. Suuzel. 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