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Professor
Nurhan Atasoy, Istanbul
Research Associate,
Turkish Cultural Foundation
Ottoman Sultans
and their courts used tents during state ceremonies, daily outings or
picnics, and especially during their extensive military campaigns of
invasion and battle. Imperial Ottoman tents copied the general system or
plan of an Ottoman palace, and the
sultan's tent complex included everything he needed in his palace, including
a tower, in function resembling the Tower of Justice, a tent for the
treasury, a tent for the holy relics, a tent for the Council of State, a
tent of solidarity, a kitchen tent, and more. The imperial tent complexes
were viewed as mobile palaces, and the Ottoman tent-makers took the palace
architecture as models for their tents. The walls were based on
column-arch system, and the roofs were based on conical, pyramid or vault
systems. The interiors of imperial tents were decorated with
incredible embroideries copying the beautifully decorated palace buildings,
and Dr. Atasoy’s lecture will describe how these tents had the same
functions as Ottoman palaces, and reflected a very highly civilized
lifestyle.
Prof. Dr. Nurhan Atasoy
is one of the world’s pre-eminent scholars of Islamic and Turkish art, and
is currently a Resident Scholar at the Turkish Cultural Foundation. In
addition to teaching art history at Istanbul University, Prof. Atasoy was
the head of many university departments, including President of the
Department of Fine Arts, and the Dean of the Faculty of Letters. She has
organized, attended and lectured at many international conferences and
symposia on Ottoman Turkish and Islamic art. Prof. Atasoy has also curated
numerous national and international exhibitions, and has been the recipient
of many prestigious awards, including for outstanding performance in Turkish
Museum Studies and Archaeology, Ministry of Culture of the Republic of
Turkey, and the State “Award for Superior Achievement" in 2006. She has
published more than 100 articles and 21 books, among them IPEK, The Cresent and
the Rose: The Art of Ottoman Silk Weaving,
London 2001 ( with W. Denny,L. Mackie, H. Tezcan,) and the exhibition
catalog for
Ottoman Tents,
at the Topkapı Palace Museum Imperial Stables in Istanbul.
Although you may not have examples of
Ottoman imperial tents, Prof. Atasoy invites TMA/SC members to bring
examples of Ottoman-era textiles and costumes for show & tell.
Professor Atasoy’s
introduction to Ottoman Imperial Tents took place as she examined miniature
paintings that recorded the lives of the Sultans. These miniatures date from
the 16th century, and were her first focus within the study of
Islamic arts. It was not until many years later that she began scholarly
work on the tents themselves. Like all the Sultans’ possessions, the tents
were stored away at Topkapi Palace in Istanbul. However, getting to actually
see them was difficult. Professor Atasoy had to wait until the scheduled
inventory of the Military Museum took place
Seeing a folded up
tent was one thing; viewing on set up as when in use was quite another.
In1982 Professor Atasoy finally got her chance to see the tents when she was
put in charge of twelve exhibitions for the Council of Europe Meetings. She
decided that one of the exhibits would be an Ottoman Imperial Tent set up in
all its glory in the Military Museum. The first step before even unfolding
and organizing the tent pieces was to get the help of a textile conservator.
The commanders at the museum, after some initial education by Professor
Atasoy, became very excited about this erection. An expert came from Germany
to establish a textile conservation lab that is still in operation today.
After this first exhibition, she was able to investigate more tents, find
sponsors to pay for travel to other museums and always to make notes. The
note collection grew and grew and finally became Ottoman Tents, the
catalogue of the 2001 exhibition of twelve tents at the Topkapi Palace
Museum Imperial Stables. Many of the photos in Professor Atasoy’s lecture
were from this exhibit and catalogue.
Perhaps surprisingly
many European museums have examples of Ottoman Imperial tents in such
far-flung countries as Hungary, Germany, Poland and Sweden. These tents came
into European hands usually as war trophies and sometimes as gifts. For
example, after the Turks gave up on the Siege of Vienna in 1683, they
abandoned some heavy baggage behind in the snow. A few tents were left and
were subsequently divided among the defending European armies. One tent was
taken to Poland but later was captured by Sweden in a different military
engagement. It now resides in a Swedish museum.
Revue by Marjorie Franken
Professor Atasoy
recalls that these European investigations of museum pieces was hard work.
The tents were always folded up, sometimes in boxes, sometimes in cupboards,
and while she was given access to them, she was seldom given assistance in
the physical labor. After great effort she and her Turkish assistant,
described as a very small woman, would drag the tents out onto a floor where
the pieces could be stretched out and measured. The goal was to have the
exact shape and size of each tent panel recorded. Back in Istanbul scale
models of paper were constructed, and in this way Professor Atasoy was able
to discover the various shapes and sizes of Ottoman tents over four
centuries. This was the only way to appreciate the volume of space a tent
enclosed, and the architecture of their construction, as no museum ever had
enough manpower or space to actually erect them.
The tents that
remained in Turkey had been divided into two storage places. Those in the
Military Museum were in better condition than the others elsewhere in
Topkapi. The latter group were covered with the dust of centuries, and were
too fragile to do more than unfold, photograph while wearing masks, and put
back. The ones that were strong enough to erect fit into the Imperial
Stables where the high ceiling accommodated them. These were photographed
when set up, but even in this space it was impossible to photo some of the
tents in their entirety. After conservation and exhibition the tents are now
rolled in paper, requiring as much as 300 kilos of paper, and stored
properly.
As Professor Atasoy
classified various tent shapes and styles, she constantly checked and
rechecked against the details of the miniature paintings she had originally
studied. Many puzzles were solved in this way (see below). The uses of the
tents were also revealed, as these miniatures were a method of historical
recording at the time. For example there are a series of miniatures showing
Selim II being installed as the Sultan in a tent while in the city of
Belgrade. The tent was a dome style resembling a Central Asian yurt, and was
a portable Palace tent. A portable throne was always carried with this tent.
The interior decoration and shape served to focus attention and provided a
virtual stage for important events to be showcased.
To that end, the walls of the tent were decorated with embroidery and
appliqué designs to imitate the columns and arches of an actual building.
The earlier tents have quite realistically shaped columns, with capitals and
bases and embroidered lamps “hanging” in the arches. Later tents had more
stylized and ornate representations of these same design elements.
As one would expect
for such complex craftsmanship, there is a whole vocabulary for tent pieces
and hardware. The panels that made up the walls were called hazdeh or
hazineh. The panels had window spaces with embroidered frames, cords
applied in a grid system to look like metal window grills, and “curtains”
embroidered around the frame. The frames changed in shape over time from
arches to rectangles. These windows were in fact functional, constructed as
a flap that could be rolled up in warm weather, creating a real opening to
the outdoors. Still another style of tent had walls that looped over their
slanted tent ropes. The effect was rather like the interior of a fluted cake
mold. The ceiling of this tent was also looped in wedge shapes that met at
the customary central point at the apex
The doors of the tents
were often arch shaped and also could be folded up. A field full of tents
would have fabric walls around it just as a city or palace complex would
have perimeter walls. Each tent usually had a canopy for shade and/or
privacy at the main entrance as well. The outer layer of tent fabric was a
heavy canvas and had comparatively little decoration. It was often a rusty
copper color from an application of jengari, a water proofing
material. The silk satin interior fabric carried the most lavish
decorations. Many kinds of fabrics and materials were used for the
embroidery and appliqué work on the interiors. As many as five to seven
layers on a base fabric went into appliqué construction. The smallest center
pieces were sometimes made of gilded leather, giving the interior a
“jeweled” effect, commented upon by many observers. The appliqués were
outlined in cord to give definition while the embroideries were sometimes
trapunto work with padding inserted underneath. Scenes of gardens and tent
cities were frequent subjects for these embellishments. Some designs seem to
have an Egyptian influence. Interestingly the gold and silver embroidery on
the palace tents seems to have been done in Allepo.
A special military
corps were responsible for the tents—their construction, decoration,
maintenance and repair. No women were involved in any phase. These military
men have left no paper plans of any sort nor their individual names. No
paints were ever used in the decoration, only embroidery and appliqué.
The tent poles are a study in themselves. Historical records indicate the
interior, visible portion of the Palace tent poles were at one time covered
in gold and silver. The surviving 19th century poles do not have
this covering as it was presumably melted and used for coinage.
At the top of the tent
was a heavy leather circle that attached to the tops of the poles. The tent
bands were made of an extremely strong woven hemp. The edges of the panels
had similar hemp bands sewn on to provide a sort of skeleton that carried
the weight of the tent.
The floors of the tents were covered with mats, carpets or kilms. The
furnishings were very simple, consisting of cushions and small tables. The
goal was to recreate a palace setting. Even the interior fabrics were chosen
to replicate the Topkapi palace complex. The question arises, which came
first—portable arrangements of tents imitating the modular pavilions of the
Topkapi complex? Or, was the palace itself a stone replica of an earlier
nomadic tent camp?
The tents were a sort
of portable palace used in fine weather from spring to autumn, the venue for
many sorts of palace activities. An early miniature shows the circumcision
festival in 1720 of the three sons of Sultan Ahmet III. For fifteen days the
entire court lived in tents on an archery field. As mentioned above Mehmet
III’s coronation was in a palace tent. And of course military campaigns used
tents such as those that surrounded Vienna in various siege operations.
Within the tent city
each department of Ottoman government had a tent. There was always a Tower
of Justice tent, a Treasury tent, a Meeting Hall and Kitchen tent, and so
forth, all corresponding to the pavilions of Topkapi.. Surrounding these
official tents were smaller ones for soldiers to live in. Behind the large
tents were tiny latrine tents, decorated on the outside with non-functional
windows
Another necessary sort of accommodation was the bath tents. These had an
exterior of wool fabric and an interior of silk, with wooden floors. The
bath tents were a mystery at first, with one panel seeming to be too big to
button properly to the others. Professor Atasoy finally figured the secret
out; the panel was intended to fold like an envelope and provide a secret
passage into the tent. This sort of examination proved that the miniature
paintings were extremely accurate depictions of tent shape and construction.
Only one inaccuracy was found where the artist painted the entrance of the
tent city wall as the actual stone entrance to Topkapi.
Tents were classified by the number of poles and panels as well as by
function, as in a “twelve pole tent” or a “24-panel tent”. Panels were
approximately 40 inches wide, varying with the weavers’ productions. Tent
fabric was never cut, selvages were always left intact for maximum strength
at attachments. Interior panels could be provided for privacy. Another
mystery was an extremely dirty and dusty panel with no label. It later
turned out to be the entrance panel of the Stable tent for horses. Some
Sultans doted on their horses and took them everywhere.
Tent making was
apparently a continuous process, as there was attrition through military
losses and gifting. With the end of the Ottoman Empire in the early 20th
century, Imperial Tents became the museum pieces of a bygone age. They can
be seen today in photos, notably in Professor Atasoy’s numerous works and in
museums throughout Europe and of course in Topkapi itself.
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