Title: Fragmentary Silk Velvet with Repeating Tiger-stripe and ‘Chintamani’ Design
Artist: Unknown
Date: second half 15th century
Dimensions: Textile: H. 29 1/2 in. (74.9 cm)
W. 28 in. (71.1 cm)
Mount: H. 31 1/2 in. (80 cm)
W. 30 11/16 in. (78 cm)
Medium: Silk, metal wrapped thread; cut and voided velvet (çatma), brocaded
Institutional accreditation: The Metropolitan Museum of Art
This fragmentary silk velvet, adorned with a mesmerizing repeating tiger-stripe and ‘Chintamani’ design, captures the lavishness and sophistication of Ottoman textile production. Dating back to the peak of the empire’s power, this piece served not only as a luxurious garment but also as a symbol of the Sultan’s authority and wealth. The tiger motif, evoking strength and nobility, reflects the martial prowess of the Ottoman Empire, while the ‘Chintamani’ design, borrowed from Central Asian culture, emphasizes its role as a cultural melting pot. Despite its fragmentary state, this textile remains a vivid testament to the empire’s mastery of textile arts and its enduring legacy of artistic innovation and cultural exchange.
Title: Mirror with Split-Leaf Palmette Design Inlaid with Gold
Artist: Unknown
Date: early 16th century
Dimensions: H. 9 3/8 in. (23.8 cm)
Diam. 4 3/4 in. (12.1 cm)
D. 1/8 in. (0.2 cm)
Medium: Iron, inlaid with gold; ivory
Institutional accreditation: The Metropolitan Museum of Art
This mirror, adorned with a stunning split-leaf palmette design inlaid with gold, symbolizes the elegant craftsmanship and artistic refinement of the Ottoman Empire. Made during the golden age of Ottoman artistry, this mirror reflects not only the physical beauty of its surroundings but also the spiritual and cultural aspirations of the empire. The intricate floral motifs, carefully crafted and decorated with gold leaf, evoke the splendor of Ottoman courtly life and the empire’s enduring legacy of artistic excellence. As both a functional object and a work of art, this mirror serves as a tangible symbol of the empire’s wealth, prestige, and cultural sophistication. Its intricate design and luxurious materials invite viewers to immerse themselves in the charming world of Ottoman aesthetics and craftsmanship.
Title: Tile adorning the portal of the tomb of Sultan Mehmed I
Artist: Unknown
Date: 824 AH/1421 CE
Dimensions: H. 11 1/2 in. (29 cm)
W. 6 3/4 in. (17.2 cm)
D. 1 1/2 in. (3.8 cm)
Medium: Tempered earthenware; molded; polychrome glazed within black wax resist outlines (cuerda seca technique); gilded
Institutional accreditation: The Metropolitan Museum of Art
This tile, originally adorning the portal of the tomb of Sultan Mehmed I, offers a glimpse into the architectural magnificence and artistic sophistication of the Ottoman Empire. Featuring intricate geometric designs and elegant Arabic calligraphy, it served as both a decorative element and a demonstration of the Sultan’s long-lasting legacy. The inscription, drawn from the Quran, honors the memory of Sultan Mehmed I and stresses the spiritual significance of the architectural space it adorned. Through its excellent craftsmanship and symbolic resonance, this tile reflects the empire’s reverence for Islamic art and culture and its commitment to architectural ornamentation to express a combination of both imperial power and piety. Despite its incomplete state, this tile remains a vivid reminder of the empire’s cultural richness and architectural grandeur.
Title: Khusrau and Shirin
Poet: Hatifi (Iranian, active Istanbul, died 1521)
Artist: Calligraphy, illumination, and painting by Suzi
Date: dated 904 AH/1498–99 CE
Dimensions: H. 9 7/16 in. (24 cm)
W. 6 7/16 in. (16.4 cm)
Medium: Main support: ink, opaque watercolor, and gold on paper; binding: leather
Institutional accreditation: The Metropolitan Museum of Art
This captivating painting depicts the timeless romance between Khusrau and Shirin, drawn from the rich archives of Persian literature and brought to life through the delicate brushwork of Ottoman miniature painting. The legendary tale of love and longing unfolds against a backdrop of lush landscapes and gorgeous courtly settings, capturing the imagination and hearts of viewers across centuries. Through its vibrant colors, intricate details, and emotive storytelling, this artwork exemplifies the Ottoman Empire’s embrace of cultural diversity and its synthesis of Persian artistic traditions. As a visual marker of the power of love and the allure of romance, it welcomes viewers to embark on a journey through the realm of imagination and myth, where the boundaries between reality and fantasy blur and the echoes of ancient tales resonate with timeless resonance.
Title: ‘Saz’-Style Drawing of a Dragon Amid Foliage
Artist: Shah Quli (Turkish, born Tabriz, Iran, active ca. mid-16th century)
Date: ca. 1540–50
Dimensions: Painting: H. 6 13/16 in. (17.3 cm)
W. 10 11/16in. (27.2cm)
Mat: H. 16 in. (40.6 cm)
W. 22 in. (55.9 cm)
Frame : H. 17 in. (43.2 cm)
W. 23 in. (58.4 cm)
Medium: Ink, opaque watercolor, and gold on paper
Institutional accreditation: The Metropolitan Museum of Art
This captivating drawing, rendered in the ‘Saz’ style, offers a glimpse into the world of Ottoman artistic imagination. Portraying a dragon amidst lush foliage, the artwork brings a sense of mystery and wonder, enticing viewers to explore the boundaries between reality and myth. The curved lines and dynamic composition characteristic of the ‘Saz’ style fill the dragon with a sense of movement and vitality, while the intricate foliage adds depth and texture to the scene. Drawing inspiration from Far Eastern artistic traditions, this artwork highlights the empire’s engagement with cultural exchange and its embrace of diverse artistic influences. It embodies the spirit of Ottoman ornamental arts with its whimsical portrayal of a legendary creature, allowing spectators to go on a creative and imaginative visual trip.
Title: Tughra (Insignia) of Sultan Süleiman the Magnificent (r. 1520–66)
Artist: Unknown
Date: ca. 1555–60
Dimensions: Tughra:
H. 20 1/2 in. (52.1 cm)
W. 25 3/8 in. (64.5 cm)
Mat:
H. 25 in. (63.5 cm)
W. 30 in. (76.2 cm)
Medium: Ink, opaque watercolor, and gold on paper
Institutional accreditation: The Metropolitan Museum of Art
The Tughra of Sultan Süleiman the Magnificent acts as a majestic symbol of imperial authority and artistic mastery within the Ottoman Empire. Combining intricate calligraphic flourishes with stylized floral motifs, this insignia captures the essence of Ottoman royal power and divine legitimacy. As the personal monogram of Sultan Süleiman, it marked official decrees, architectural monuments, and imperial seals, serving as a tangible representation of his sovereignty and divine mandate to rule. Beyond its practical function, the Tughra also held profound symbolic significance, embodying the Sultan’s connection to the Islamic tradition and his role as the protector of the faith.
Title: Carpet with Triple-Arch Design
Artist: Unknown
Date: ca. 1575–90
Dimensions: Rug: L. 68 in. (172.7 cm)
W. 50 in. (127 cm)
Mount: L. 71 in. (180.3 cm)
W. 53 3/4 in. (136.5 cm)
D. 3 5/8 in. (9.2 cm)
Wt. 120 lbs. (54.4 kg)
Medium: Silk (warp and weft), wool (pile), cotton (pile); asymmetrically knotted pile
Institutional accreditation: The Metropolitan Museum of Art
This wonderful carpet is a masterpiece of Ottoman textile arts and craftsmanship, enhanced with a triple-arch design and brilliant flower designs. Skillfully woven and precisely constructed, it functioned as a floor covering as well as a status symbol for riches, culture, and elegance under the Ottoman Empire. The triple-arch motif, which is reflective of the architectural features present in Ottoman mosque design, represents the empire’s dedication to both architectural magnificence and Islam. The carpet’s visual appeal is further strengthened by the rich floral designs and arabesque motifs around the arches, which portray the greenery and abundant vegetation of the empire’s heartland.
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