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Ottoman architecture was influenced by Persian, Byzantine Greek and Islamic architectures. During the Rise period the early or first Ottoman architecture period, Ottoman art was in search of new ideas. The growth period of the Empire become the classical period of architecture, when Ottoman art was at its most confident. During the years of the Stagnation period, Ottoman architecture moved away from this style, however. During the Tulip Era, it was under the influence of the highly ornamented styles of Western Europe; Baroque, Rococo, Empire and other styles intermingled. Concepts of Ottoman architecture mainly circle the mosque. The mosque was integral to society, city planning and communal life. Besides the mosque, it is also possible to find good examples of Ottoman architecture in soup kitchens, theological schools, hospitals, Turkish baths and tombs. Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.[164] Decorative arts Painting by Abdulcelil Levni, early 18th century The tradition of Ottoman miniatures, painted to illustrate manuscripts or used in dedicated albums, was heavily influenced by the Persian art form, though it also included elements of the Byzantine tradition of illumination and painting.[citation needed] A Greek academy of painters, the Nakkashane-i-Rum was established in the Topkapi Palace in the 15th century, while early in the following century a similar Persian academy, the Nakkashane-i-Irani, was added. Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings. The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters.[165] The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.[166] Performing arts Miniature from "Surname-i Vehbi" showing the Mehteran, the music band of the Janissaries. Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. The shadow play Karagöz and Hacivat was widespread throughout the Ottoman Empire The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music. The traditional shadow play called Karagöz and Hacivat was widespread throughout the Ottoman Empire and featured characters representing all of the major ethnic and social groups in that culture.[167][168] It was performed by a single puppet master, who voiced all of the characters, and accompanied by tambourine (def). Its origins are obscure, deriving perhaps from an older Egyptian tradition, or possibly from an Asian source. Cuisine Main article: Ottoman cuisine Turkish women baking bread, 1790 Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine.[169] Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more. Science and technology Main article: Science and technology in the Ottoman Empire Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts.[33] A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.[170] Istanbul observatory of Taqi al-Din in 1577 Taqi al-Din built the Istanbul observatory of Taqi al-Din in 1577, where he carried out astronomical observations until 1580. He calculated the eccentricity of the Sun's orbit and the annual motion of the apogee.[171] His observatory was destroyed in 1580[172] due to the rise of a clerical faction which opposed or at least was indifferent to science.[173] In 1660 the Ottoman scholar Ibrahim Efendi al-Zigetvari Tezkireci translated Noël Duret's French astronomical work (written in 1637) into Arabic.[174] Şerafeddin Sabuncuoğlu was the author of the first surgical atlas and the last major medical encyclopedia from the Islamic world. Though his work was largely based on Abu al-Qasim al-Zahrawi's Al-Tasrif, Sabuncuoğlu introduced many innovations of his own. Female surgeons were also illustrated for the first time.[175] An example of a watch which measured time in minutes was created by an Ottoman watchmaker, Meshur Sheyh Dede, in 1702.[176] In the 19th century, Ishak Efendi is credited with introducing the then current Western scientific ideas and developments to the Ottoman and wider Muslim world, as well as the invention of a suitable Turkish and Arabic scientific terminology, through his translations of Western works. |
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