The musical instruments used by Turks are of three main groups: stringed, wind and percussion instruments. Turkish musical instruments were produced by the master-apprentice method in the Ottoman period. Traditional Turkish music is monophonic. Even though many instruments are used, they all play the same melody. The music reflects different emotions, mainly unrequited love and when it is sad it may sound depressing, but when expressing joy, happiness or pleasure you will find yourself dancing to the rhythm. The main instruments used in Turkish music show a great diversity. In classical Turkish music the zither, tambur, lute, tef (tambourine), darbuka and ney (reed flute) are some of the instruments used, besides the well-known ones also used in the west, including the piano, violin, viola and clarinet. The zither is called 'kanun' in Turkish. It is a stringed instrument played on the lap and the strings are stretched across the upper surface of a wooden box. Skilled craftsmen may use seven kinds of wood in making one zither. The upper surface is made of sycamore wood, the lower surface of pinewood, the bridge is of maple. The design on the sides and the upper surface is cut out of rose wood and white pine. The soundboard is completed by using calf leather giving the zither its rich resonance. The tuning pegs and the peg locks are made of hardwood, either rose or ebony. The small tuning levers or tuning keys, are called 'mandal'. It is played with the help of a plectrum, one fastened to each index finger by an adjustable metal ring. It would not be wrong to say that if a single instrument were to represent Turkish folk music it would have to be the baglama. The baglama was developed from another instrument called the kopuz, which is also used today. There are different kinds of baglama, like the çögür, cura, divan, tambura and kopuz. The kopuz, also a stringed instrument, was used in Central Asia by Turkish tribes about two thousand years ago and is mentioned in the tales of Dede Korkut (a sage, the mentor of the Turkish Oguz tribe who narrates moralistic epic tales to a chieftain of the tribes). We come across the belief among the shamanist Turks that a warrior with a kopuz at his waist was protected in battle from injury at enemy hands. Turkish strolling minstrels brought the baglama to Anatolia and in fact, everyone knew how to play this instrument. The baglama is so-to-say a friend of the minstrels who at certain times of the year gather at contests and song festivals. Accompanied by music, repartee between the contestants is sometimes satirical, sometimes filled with irony but never insulting and is fun to listen to. Then we have the lute which is a little different to those seen in Europe. The lute is called 'ud' in Turkish. Lutes, also stringed instruments, have a sound box terminating in a neck which serves both as a handle and a device for extending the strings beyond the sound box. The masters of the lute were revered by those interested in music. Today there are various trends in Turkish pop music and the lute is one of the main instruments accompanying the soloist both in classical Turkish music, popular mainstream music and folk songs. In Turkey there are singers who use the lute, just as their counterparts in the West use the guitar. There are also reed instruments pipes equipped with a double reed or with a single reed. To name a few, we can give the examples of the zurna, ney, and shepherd's pipe. Among them the ney is mostly used in mystic and religious music. Drums and the zurna go together and are mostly used in folk music and they are an indispensable part of wedding or circumcision festivities. In Turkish music rhythm is of utmost importance. Therefore percussion instruments used for this purpose apart from drums, include 'kudüm' (small double drums used in mystic religious music) and the darbuka. Percussion instruments were first brought to Europe after being seen in the Mehterband of the Turkish army around the sixteenth century. At first only a king or high nobleman was allowed to have one. For many years drums were "aristocratic" instruments, primarily used with trumpets to sound fanfares as the king entered a theatre or throne room. The def (tambourine), is also a popular instrument used for rhythms. It is like a handheld frame that usually has rattles attached to the side. It is both struck and shaken and sometimes used by young ladies dancing to a melody, in addition to its place in the orchestra.
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Backgammon is a board game of luck and acquired skill. It is known as the oldest recorded game in history. His roots originated thousands of years BC. The ancient Greeks played it and so did the Romans, the Persians, the Sumerians and the Egyptians. Back than, it was typically played by both aristocrats as well as the common people, on surfaces like wood, using stones as markers, and dice which were made from stones, pottery, wood and even bones. The church didn't approve of the game and unsuccessfully tried to forbid it. A set of rules for the game played at that time was found on some cuneiform tablet dated at about 177BC in the royal tomb of the Ur al Chaldees. The rules of Backgammon have been modified many times in history, creating different new variations of the game. The evolution of Backgammon went through changes that contributed to the game as being played today. It was modernized in England in the seventeenth century and That's when it was given the name Backgammon Today Backgammon made its way to becoming one of the most popular games in the world. Its most common name is backgammon but is called many other names in different cultures: Turkish - tavla Greek - tavli Arabic -tawla French - tric trac Hebrew - shesh- besh
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Turkish fabrics are unique in weaving features, materials used and designs reflecting Turkish taste. Research on the subject identified about six hundred and fifty names such as Kadife, Atlas, Gezi, Canfes, Selimiye, Hatayi, Catma, Seraser, Sevayi, etc. The main material was silk with gold and silver threads, rich in motifs such as flowers (tulips, carnations, roses, spring blossom, and hyacinth), trees (apple, date palm, cypress), animals (peacock, deer), crescent moon, star motifs, fruit (pomegranate, apple, date, artichoke, pineapple), etc. An excellent reference on the subject is "The Art of Turkish Weaving", by Nevber Gurusu, Redhouse, Istanbul, 1988 with an extended list of additional resources.The geographical situation of Ottoman territory has always made it a natural trade route for merchants plying between the East and West, and from the very earliest times Bursa has remained a lively centre of trade and commerce. Textiles were given great importance in the Ottoman court and were registered as belonging to the treasury. The demand by members of the court for luxury fabrics was an influential factor in the increase in production and rise in quality. It was from the Palace that all the arts were orientated and retained under the control of a single centre. The principles to be obeyed by all groups of tradesmen were contained in the regulations in the Bursa, Edirne and Istanbul laws governing trades and markets ((Ihtisab kanunameleri) of 1502. A very large section of these laws applied to weavers, and to silk weavers in particular. The methods and the standards to be applied in obtaining the raw material, in spinning the thread and dyeing the material were clearly laid down. The number and weight of the warp threads, the main factors by which the quality of the fabric was determined, were also clearly established. Craftsmen failing to comply with the required standards were liable to punishment. Moreover, the gold and silver threads used in textiles had to be drawn in workshops (simikeshaneler) under direct state control and bear the official control seal. The state was responsible for pressing the cloth after it had been removed from the loom. The cloth was finally measured, its length checked and stamped, and permission was given for its sale. All this was carried out by officials (muhtesip) under state supervision. The state was also assisted in this work by the control exercised by the guilds over their own members. There can be no doubt that these various controls provided the basis for the excellence achieved in 16th century fabrics. Textiles were divided into three categories-cotton, wool and silk. Although a great deal of cotton was produced in Anatolia, it was not sufficient to meet the demand and cotton was also imported from the East, India in particular. The same applied to wool supplies. Broadcloth was manufactured in Salonica from the 15th century onwards, but as this was used in both civilian clothes and military uniforms local supplies proved insufficient and cloth always had to be imported from western countries such as France, England, Italy, Holland and Hungary. On the other hand, the mohair produced from the 16th-17th centuries onwards in the Ankara region, a type of cloth that was always very eagerly sought after, not only satisfied the local demand but was also exported in very large quantities. An inferior type of cloth of rather cheap affinity to European serge, was very popular among the common people. Silk is a costly fabric which requires a great deal of labour, the raw materials for which are very difficult to obtain. There is documentary evidence to prove that the silkworm was being cultivated in Bursa and the surrounding countryside long before the arrival of the Ottomans. Bursa was thus an important commercial centre in which silk thread was both produced and woven in quantities sufficient to meet the requirements of both the domestic and foreign markets. Bursa was the most important of all the centres of the silk-weaving industry, including Istanbul. The main types of silk fabric can be classified as taffetas, satin velvets, brocades, kemhas, dibas and serasers. Among other types of more lightly woven silks canfes (a fine taffeta) and burumcuk (a kind of silk crepe) may be cited.The Turks were superior in weaving of silk fabrics, in which the colours, motifs and compositions employed resulted in productions of quite incredible beauty. The favourite colour was a dark crimson known as guvezi. This colour was used mainly as a ground, in perfect harmony with the blues, creams, greens and black fibres with which it was woven. An incredible harmony was produced between strongly contrasting colours. Turkish designs are most clearly distinguished from Iranian in particular by the sharp contours and ornamental patterns around the motifs . Natural motifs such as tulips, carnations, hyacinths, roses, hatayis, pomegranate blossoms, spring blossoms, pine cones, the sun, the moon, clouds and stars are naturalistically rendered and clearly-recognizable, creating a very lively and attractive composition. The brocade cushion covers of the 16th-17th centuries and the 18th century embroidered cushions displaying the same designs arouse the interest and admiration of all who see them. As many varieties of silk fabrics as possible are displayed in both the permanent and temporary exhibitions at Topkapi Saray. The exhibits are selected mainly from the collections of catmas, silk velvets, serasers, serenks, satins, velvets, kutnus, canfeses and burumcuks. Catma is a kind of velvet fabric with a double ground and raised design. In the 16th century the fame of Bursa catmas spread far beyond the confines of the Empire, Although a very costly fabric, it was in great demand in foreign markets and was one of Bursa’s most important exports. It was also very popular on the domestic market and occupied an important place among the gifts presented to foreign heads of state by envoys and ambassadors. This is the reason for the large number of catma cushion covers in European and American museums. The Ottoman kemha fabric known to westerners as “brocade”, was also very popular abroad. It was a silk fabric with a double ground very often with an admixture of wire thread. In the 16th century, orders were placed for this type of fabric for use in papal robes and the ceremonial apparel worn by the imperial entourage. Papal costumes made from Ottoman brocades are found in museums and church treasuries. There were large numbers of kemha and catma weaving workshops in both Istanbul and Bursa, and a plan of a workshop specializing in the production of these particular fabrics is found in the palace archives. From the 17th century onwards, Ottoman art began to reveal a growing Western influence. This period is characterized by compositions consisting of large and small fan-shaped carnations and sprays of flowers covering the whole of the surface.
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The Kilim is a truly remarkable tradition maintained by women of Anatolia for hundreds of generations, dating back nine thousand years. Turkish mothers and daughters maintained this mysterious tradition for the last thousand years as Turkish tribes settled in Anatolia and intermingled with the local population. The oldest record of kilims comes from Catal Hoyuk Neolithic pottery circa 7000 BC, the oldest settlement ever to have been discovered. It is located south east of Konya in the middle of the Anatolian region. The excavations to date (only 3% of the town) not only found carbonized fabric but also fragments of kilims painted on the walls of the houses. The majority of them represent geometric and stylized forms that are similar or identical to other historical to contemporary designs.
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It is hard to imagine breakfasts, social gatherings, business meetings, negotiations for carpets in the Grand Bazaar, or ferry rides across the Bosphorus in Turkey without the presence of tea. With tea servers in streets, shopping malls, and parks shouting, “ÇAY!” (chai) the beverage is always within shouting distance. It is fundamental to Turkish social life and plays a large role in Turkey’s domestic economy. Tea in Turkish Social Life Although tea passed through Turkey as part of the Silk Road trade in the 1500s, it did not begin to become a part of daily life until nearly four centuries later. In 1878 Mehmet Izzet, the then governor of Adana, published the Çay Rişalesi (Tea Pamphlet), touting the health benefits of drinking tea. Although coffee was still the preferred hot beverage during this period, the consumption of tea began to spread as tea houses opened in the Sultanahmet area of Istanbul. Also, tea became a cheaper alternative to coffee; one could purchase four glasses of tea for the price of one cup of coffee. Today, Turks have one of the highest per capita consumption rates of tea, averaging about 1,000 cups per year. This high rate owes itself to the availability of places to consume tea, social customs and traditions, and domestic production along the Eastern Black Sea coast. Travel to any town in Turkey and you are sure to find a tea house or a tea garden. In smaller towns and rural areas, tea houses are the preferred social hub where news and gossip are exchanged. In the larger cities and touristy regions, tea houses welcome the young and old, as well as many foreigners. Tea gardens, another social venue for drinking tea, gained popularity in the 1950s, especially in Istanbul, and were the place where families went for their social outings. It is important to note that the Turkish tea garden is very different from a Japanese tea garden. Whereas the latter is quiet and serene and was developed in conjunction with the Japanese tea ceremony, Turkish tea gardens are hubs of social activity with kids running around, music playing, and lively conversation among various groups from students, to businessmen to retirees and foreigners. In the rural areas of Turkey, tea takes center stage at social events. A Turkish Bridal Shower, sometimes referred to as a gelin hamami because it is held in a Turkish bath, involves taking samovars of tea and pastries for all to enjoy. Five o’clock tea time is also observed in Turkey, particularly among house wives. Preparation and serving Turks prepare tea using a double tea pot. Water is boiled in the lower (larger) pot and the loose-leaf tea is steeped in the top (smaller) pot. This method allows each person to drink the tea as they desire: strong and steeped, or light with lots of water added. In central Anatolian towns such as Amasya, and in Eastern Turkey, tea is prepared in a samovar. Turks prefer to drink tea in small tulip-shaped glasses. Though the origins of this shape are not known, the clear glass allows the drinker to appreciate the crimson color of the tea. The tea glass is so important in Turkish life it is used as a measurement in recipes. As you pass tea gardens and tea houses you will hear the clinking of tiny tea spoons in the tea glasses. In large cities like Istanbul, and the capital Ankara, tea may be served in porcelain cups and mugs as in England and the United States, but the small tea-glass is by far the container of choice. Generally, two small sugar cubes will accompany tea that is served in public. In Erzurum and other towns in Eastern Turkey, tea is taken in the “KITLAMA” style, where a lump of sugar is placed between the tongue and cheek. Turks never add milk to their tea; sometimes lemon may be preferred Production Turkey’s serious attempts at cultivating tea began in 1917 in the Eastern Black Sea town of Rize. However, due the Turkish War for Independence, it was difficult for the Government-appointed agricultural engineers to gain the residents’ support, which was critical to the endeavor’s success. In 1924 the Government passed a law stating that tea, oranges, and filberts would be raised in Rize. However, it was not until the mid- to late-1930s that the Government placed a strong emphasis on cultivating tea. The first large scale cultivation occurred in 1937 when 20 tons of seeds were brought from Batum in the Georgian Republic, and planted at the central green house in Rize, yielding 30 kilos of tea. Tea cultivation began to spread and become an inextricable part of economic life along the Eastern Black Sea Coast, so much so that towns began to change their names to have the word “Çay” in them: the town of Mapavri became Çayeli and Kadahor became Çaykara. By 1965, the production of tea had satisfied the domestic market and Turkey began to export its tea. Çay-Kur, the Directorate of Tea Establishments was founded in 1971 to coordinate both the cultivation and processing of tea, and in 1973 it went into active operation. Çay-Kur aimed to expand tea cultivation, stay abreast of innovations in tea processing technology, and import and export tea as necessary. Çay-Kur enjoyed a monopoly over Turkish tea until 1984, when tea processing and packaging were opened to private enterprise. Today, Turkey is the world’s fifth largest producer of tea, behind India, China, Kenya and Sri Lanka. Along Turkey’s Eastern Black Sea Coast tea bushes stretch from the border with the Georgian Republic to the town of Rize, Turkey’s ‘tea capital’, and extend farther westward toward Trabzon. Over 200,000 families are involved in the cultivation of tea either as owners of tea “plantations”, sharecroppers, or employees in the nearly 300 tea producing factories. All tea is produced from the same plant, Camellia Sinensis; it is the amount of fermentation that determines whether the tea turns out to be black, oolong (semi-fermented) or green (unfermented). A unique feature of Turkish tea is that no chemical substances or additives are used in the production process. Although black, loose-leaf tea is preferred in Turkey, green tea is slowly gaining in popularity due to its health benefits.
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From the days of the Ottoman Empire through to the present, coffee has played an important role in Turkish lifestyle and culture. The serving and drinking of coffee has had a profound effect on betrothal and gender customs, political and social interaction, prayer, and hospitality traditions throughout the centuries. Although many of the coffee rituals are not prevalent in today's society, coffee has remained an integral part of Turkish culture. First brought to Istanbul in 1555 by two Syrian traders, coffee became known as the "milk of chess players and thinkers." By the mid-17th century, Turkish coffee became part of elaborate ceremonies involving the Ottoman court. Coffee makers with the help of over forty assistants, ceremoniously prepared and served coffee for the sultan. Marriage customs and gender roles also became defined through coffee rituals. In ancient times, women received intensive training in the harem on the proper technique of preparing Turkish coffee. Prospective husbands would judge a woman's merits based on the taste of her coffee. Even today, when a young man's family calls to ask a girl's parents for her hand in marriage, a formal coffee is served even in the most modern households. For both men and women, coffee has been at the center of political and social interaction. During the Ottoman period, women socialized with each other over coffee and sweets. Men socialized in coffee houses to discuss politics and to play backgammon. In the early 16th century, these coffee houses played host to a new form of satirical political and social criticism called "shadow theatre" in which puppets were the main characters. Over the years, Turkish coffee houses have become social institutions providing a place to meet and talk. Today, Turkish coffee houses continue their role in society as a meeting place for both the cultured citizen and the inquisitive traveler. Istanbul offers many new and delightful cafe-restaurants where friends and family meet to discuss topics of the day over a cup of traditional Turkish coffee. Derived from the Arabica bean, Turkish coffee is a very fine, powder-like grind. An aromatic spice called cardamom is sometimes added to the coffee while it is being ground. One can also boil whole seeds with the coffee and let them float to the top when served. Turkish coffee has various levels of sweetness ranging from bitter to very sweet. Because sugar is not added to the coffee after it is served, spoons are not needed. As the coffee begins to heat, it begins to foam. A rule of the Turkish coffee ceremony dictates that if the foam is absent from the surface of the coffee, the host loses face. Turkish coffee is served hot from a special coffee pot called a cezve. Tradition states that after the guest has consumed the coffee and the cup is turned upside down on the saucer and allowed to cool, the hostess then performs a fortune reading from the coffee grounds remaining in the cup. Rich in tradition and flavour, Turkish coffee remains a favourite today, not only in Turkey, but also among discriminating coffee drinkers around the world
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Floral patterns were especially favored for the decoration of interiors in Ottoman architecture and the most important area of their application was wall tiles. Tiles manufactured in Iznik between the 16th and late 17th centuries embellished the walls of not only mosques and tombs but also of place buildings.
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There is a widely held but quite erroneous belief that figurative painting, is not found in Islamic art due to prohibition by the Koran. Religious rulings issued only in the ninth century discouraged the representation of any living beings capable of movement but they were not rigidly enforced until the fifteenth century. Figural art is especially rich in tiles as well as stone and stucco reliefs of the Seljuk period, adorning both secular and religious reliefs monuments. The subjects included nobility as well as servants, hunters and hunting animals, trees, birds, sphinxes, lions, sirens, dragons and double-headed eagles.
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METAL ARTWORK Turkish metal artwork dates as early as the 2nd and 3rd century BC in central Asia. In Anatolia, the oldest existing Seljuk piece of metalwork is a silver tray with the inscription "Alp Arslan is the Greatest Sultan" and a silver candle stick dated 1137. Both pieces are at the Boston Museum of Fine Arts. Metal artwork reached its pinacle in the Ottoman Empire with the making of weaponry, such as swords, helmets, armour, dagger and knives. For domestic ware, copper or copper/zinc (tombac)was the material of choice although bronze, silver and gold were also used. A mass of copper would be beaten with a hammer (dogme) and turned into a slab, which would then be shaped by an artizan to the desired form. The choicest specimens of Seljuk and Ottoman metalwork can be seen at the Museum of Turkish and Islamic Art. Like the other branches of art, the Ottoman art of metal at the outset took over the Seljuk cultural heritage, with the result that it became a melting pot for a variety of trends as befits an empire that combined many lands and peoples. The widespread implementation in the 14th century of the art of repoussé, familiar to us from Seljuk metalwork, is one of the outstanding features of the period The 15th century, when the Ottomans embarked on the path towards becoming a world power, and the conquest of Istanbul in 1453 especially, constituted a turning point in the art of metal as in many other fields. With the conquest especially of the Balkan lands, which were rich in gold and silver, the Ottomans acquired metalworking artists who possessed not only the raw material resources but also a long-standing tradition. Mamluk influence is observed in the oil lamps in the shape of hexagonal pyramids in a group of works typical of the period. The countless examples of such lamps, decorated with openwork, repoussé and intaglio and adorned with rumî and hatayî motifs, that have survived to our day show that they were produced abundantly in the second half of the 15th century. Candlesticks also occupy an important place among the metal work of this period. Among the Ottoman metal work that has survived to our day, a plethora of objects dating to the period of Sultan Bayezid II stand out. Although Bayezid II’s passion for valuable objects has been viewed by historians as prodigal, its impact on art was positive, and it is a fact that the creation of new works was a compelling force in the encouragement and patronage of artists. The Ehli Hiref or craftsmen’s organization, which served as a school for every branch of Ottoman art, was established in this period. Subsumed under it were the coppersmiths (‘kazganciyan’), who made metal objects; the goldsmiths (‘zergeran’), who produced jewelry of all kinds including gold; the gold inlayers (‘kûftgeran’ or ‘zernisan’), who produced gold inlay and other decorations, and the ‘hakkâk’ who cut and set precious stones. All these divisions of the Ehli Hiref had a role to play due to the great diversity of decorative techniques employed in the art of metalwork. As a result of the cooperation and work of the masters who brought diverse traditions and concepts of art to Istanbul from various parts of the Empire following the conquest of Tabriz and Egypt in particular, the Ottoman art of metal was purged of manifest influences in the mid-16th century and found its own unique style. A number of decorative techniques were generally employed on the decorative objects made in this century including intaglio, repoussé, filigree, chasing, niello, embossing and metal plating. But the group that best represents the overall character of the period is without doubt that of the metal objects known as ‘murassa’ (studded with precious stones). It became fashionable in this period to embed precious stones in metal surfaces such as swords, daggers, book covers, slabs of emerald, natural crystal and even porcelain by using the technique of stone inlay. In contrast with the ostentatious style of the 16th century, there are also plain examples which stand out simply for their harmonious proportions and fine workmanship. Flowers also begin to appear alongside the classical 16th century styles in the decorative motifs of the 17th century. Emerging under Western influence, these are composed of floral motifs worked in Turkish style. Besides the traditional motifs such as the plaited frieze, tree of life, Seal of Solomon and fish observed on copper objects of the period decorated mostly using the intaglio technique, naturalistic designs such as tulips and pomegranate blossoms, familiar from silver objects of the period, are also encountered. The Ottoman art of metalwork, which is observed to have remained bound, in part at least, to the traditional forms at the beginning of the 18th century, continued the naturalistic style of the 17th century as well. Besides the western-oriented quest for form and motif, there was also a tendency to maintain the classical tradition. Late 18th century and 19th century metalwork in contrast appears to reflect entirely western taste. The classical Ottoman shapes and motifs of the 16th and 17th centuries eventually gave way to Baroque and Rococo forms and designs imported from Europe. The Ottoman art of metal, which was attempting to emulate Western products in this period, is observed to have been particularly successful in the technique of intaglio, of which it created fine examples in pieces such as the coffee sets, ewers, trays, jugs and mirrors that were so popular during the period. When examining the ‘Turkish Rococo’ products of the Ottoman art of metal, we see a transformation in taste. Pearls and cut diamonds supplant colored stones such as the ruby, emerald and garnet of the classical period in jewelry and inlaid work, and enamelling also becomes popular. Similarly, embossing with a mould replaces the more demanding technique of repoussé using a graver, which requires skill. As for the floral compositions, which are still used, these now take the form of sumptuous baskets with enormous bows and garlands made in keeping with contemporary fashions. The changing political and economic fortunes of the 19th century Ottoman world naturally affected Ottoman art as well. The gradual weakening of the Ehli Hiref organization in the palace and its complete disappearance in the 19th century spelled the end of the brilliant evolution of Ottoman art. As the state, with increasing frequency, sent the gold, silver and even copper objects in the Treasury to the Mint to be melted down, the extant specimens of the Ottoman art of metal, which had been based on the recycling of materials for re-use, began more and more to belie the richness cited in the sources. The objects that were able to be preserved in the Palace Treasury and other extant specimens, most of which survive only because they were donated to tombs and mosques.
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In Turkey, wherever you look, you'll meet plenty of eyes looking at you. Glass evil eye beads. It is common in the Turkish culture to give a gift of a blue nazar Boncugu (nazar boncuk) or the evil eye bead as it is more widely known. People hang a small evil eye amulet from the rear view mirror of their car, keep several small evil eye beads or evil eye charms on hand to give to guests, hang an evil eye near their door in the home or office. Glass evil eyes are worn, in the form of jewelry; evil eye bracelet, evil eye necklace, evil eye anklet, gold or silver evil eye charms and evil eye pendant, evil eye earring - ring and blue evil eye talisman... Here it is a real evil eye bead paradise.
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The court records dating from 1526 indicate that there were 90 jewelry artizans in the service of the Sultan. The art of Ottoman jewelry making reached its peak in the 16th century, with gold and precious stones applied not only to wearable jewelry but also to articles of everyday objects such as bookcovers, utencils, weapons etc. using a variety of materials such as leather, ivory, glass, bone, mother-of-pearl, horn, wood and metals such as zinc. Ottoman jewelry had to be ornate and extremely colourful. Jewellers used a variety of metals in order to fashion a piece of jewelry, which is the main difference from European jewelry where the same metal is repeated. Another feature of Ottoman jewelry is that instead of strict symmetry, the nature of the stone and metal are given prominence. For instance, the natural characteristics of a ruby and emerald reflect the Ottoman feature of jewelry. Jewelry was produced in the palace or in workshops elsewhere. Ottoman jewelry was designed using natural motifs which reflected the prevailing tastes. As the types of stones and the mines increased during the expansion of the Empire, jewelry production increased also. From the 18th century onwards, Western trends led to an exaggerated increase in the size of jewelry. Aigrettes were used both by the Sultan and notable women of the Harem. It was the symbol of power because of its shape and appearance. It is known that Sultans gave the valuable aigrettes as presents or as awards to certain individuals. Jewelled aigrettes also enhanced the heads of horses during equestrian ceremonies. They attracted attention with their simple floral or drop designs and reflected the brightness of the precious gems on them. In later periods, the aigrettes were huge. In portraits the sultans usually wore one aigrette but sometimes they wore three. Women wore more than one aigrette but sometimes they put one on their forehead and another on the back of their head. Pins were important pieces of jewelry in women's head ornaments. These ornaments were pinned to crests or put directly on the hair or sometimes they were put on the brooches of dresses. The "Titrek" or "Zenberekli" are typical Ottoman pins which dangle with each move of the body. Motifs from nature such as the tulip, rose, violet, floral bouquet, bird, butterfly and bee are mostly used in this type of jewelry. Jewelry with flower motifs was used on the hair. Earrings have been widely used for centuries. They have many shapes from small pearl drops to long dangling ones. They have an important place in Turkish jewelry because they emphasized the beauty of the hairstyle and dress of Ottoman women. Earrings are classified according to how they dangle: the double dangling ones "pay-i çift" consist of three drops called the "üç ayakli", (three feet). The simple gold bangles are not only considered to be jewelry but are bought as an investment to be converted into cash by their owners whenever needed. The women of the Ottoman Palace bought these bracelets from time to time. There are many other styles of bracelets which women favoured such as the twisted type. Signet rings encrusted with precious gems like rubies, emeralds and semi-precious germs like carnelian, amythest and jade were favoured by Ottoman women. They wore them on one or more fingers. Solitares and rose shaped diamond rings and 'divanhane çivisi' which has one more diamond layer around the rose shaped ring are Ottoman ring styles. The "Dinahane çivisi" motif is formed by continual rows of diamonds around one large diamond at the top. This design was used in bracelets and necklaces. It was used in silver and gold rings, too. They are depicted in the works of the late 18th and early 19th century famous painters Konstantin Kapidagli and Antoine de Favray. Chokers and long necklaces were used by Ottoman ladies. Gold coins were strung on long gold or silver chains or on a string of pearls. Such necklaces were worn by rich women. The 18th century British Ambassador in Istanbul wrote that Hafize Sultan, the wife of Sultan Mustafa II, wore a string of pearls down to her knees with a diamond as big as a turkey egg and two strings of emeralds. . Jewelled golden, silver, crystal, mother-of-pearl or ivory belts were the essential accessories of the Ottoman woman. Belt buckles with floral or geometric motifs decorated with diamonds, rubies, turquoise, and emeralds were sometimes worn at the waist and other times over the hips.
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The dictionary definition of the Turkish word murakka “patchwork” or “collage” is a thin, stiff, unbendable cardboard obtained by layering a number of sheets of paper with their grains perpendicular to one another, using a technique similar to that of plywood today. The finished paper on which calligraphers produced their work was then affixed on top of this, after which the work was framed and decorated. The term murakka was also employed for albums which consisted of joining together a few small samples of calligraphy know as kit'a (section). Today, the heavy paper known as cardboard was unavailable from paper sellers, and as a result it was prepared with great effort by book binders who were engaged in book crafts. Using a special technique, this cardboard manufactured by layering sheets of paper one on top of another was as flexible and as tense as a bow. Manufacture of cardboard in this way was referred to as “tensing cardboard”.
You can see related products at:Ottoman Calligraphy

Turkey—rich in musical heritage—has developed this art in two areas, Turkish classical and Turkish folk music. When describing Turkish music today it is generally said that Ottoman composers availed themselves of the rich musical heritage found in the cultural centers of the Abbasid and the Timurogullari, where Turkish, Araband Iranian musicians performed and created music known as Ottoman court music. This music was based on mode and human voices. The mode and musical instruments of Turkish music can be found in all middle-east countries. However, with the passing of time, there have been changes in the mode from region to region. Although written sources indicate 600 modes, only 212 have survived to our day. These can be divided as follows: Simple modes Combined modes Modes with changing pitch Through the centuries many instruments have been used in Turkish music, such as the ud, tanbur, kemence, ney, kanun, kudum, bendir, def, halile, lavta, santur, rebap, musikar, cenk and sinelkeman. The various types of Turkish music differing in modes and pitch include tunes and spirituals and are classified as kar, murabba beste, agir semai, yuruk semai, sarki, pesrev, saz semai, taksim, gazel, ilahi and kaside. Turkish music is also graded under the four headings below: Oud Darbuka Non-religious music (with or without words)Military music Mosque music Islamic mystic music The history of Turkish music, especially in regard to melodic variations, can be divided into four periods. The first is the formation which goes back to the years 1360-1453, when the Turks adopted Islam. After the conquest of Istanbul, but prior to the period of classical music, Ottoman music was influenced by Byzantine music, mainly in the years 1640-1712. The greatest proponents of the Ottoman style after the exemplary classical music created by Itri were Ebubekir Aga, Tab'i Mustafa Efendi, Kucuk Mehmet Aga, Sadulla Aga, Padisha III Selim and Ismail Dede Efendi. The period from 1955 onwards has been designated as the reform period. Kanun Saz Intended reforms in the field of music during the Republican period led to debates on the subjects of European, Turkish, polyphonic and monophonic music. During this period composers who were noted for their work included Refik Fersan, Cevdet Cagla, Sadettin Kaynak, Selahattin Pinar, Suphi Ziya Ozbekkan, Lem'i Atli, Rauf Yekta, Suphi Ezgi, Huseyin Saadettin Arel and others.Currently, three groups represent Turkish music. The first group favors polyphonic music. The second group prefers an individual interpretation of classical music. Numbered among this group were the Nevzat Atlig chorus, Bekir Sidki Sezgin, Meral Ugurlu, Niyzi Sayin, Necdet Yasar, Ihsan Ozgen, Erol Deran, Cinucen Tanrikorur and others. The third group preserves traditional ties coupledwith high quality and includes Yalcin Tura, Mutlu Torun, Ruhi Ayangil and others of the “new wave.” Turkish music is a product of Turkish thoughts and feelings and of migrations and changing geographical positions. It expresses the changes in the ways of life of the Turkish people throughout history. Ballads and songs are especially important. Turkish folk music encompasses all natural and communal events. It branches out into “Kirik Hava” and “Uzun Hava” and makes use of wind, string, and rhythm instruments. From 1926 onwards various state enterprises have conducted research into Turkish folk music.

Lokum has been produced at first in Turkey in the XVII century and an English traveller has brought it to Europe, where it became well known as Turkish Delight. Also at the present time Turkish Delight is one of the delicious and most popular special characteristic sweet.

The basic characteristics of form, design, colour and representation in Turkish art developed primarily in the realm of miniature painting. The Turkish miniature style was influenced by many trends and developed over the centuries from the empires of Central Asia to the Seljuks and from the foundation of the Ottoman Empire to the conquest of Istanbul and the Tulip era. It was during the Seljuk era that miniature painting attained the stature of national art. It was during this period that Nakishane (schools of embroidery) were established. An exchange of miniature artists about the same time between Turkey and Iran further influenced these arts in both countries. Ottoman Miniature The Ottoman style in miniatures made itself evident in the 15th century, leading to the production of classic examples in the 16th Century. The romantic scenes of landscaping in Persian miniatures were simplified in Ottoman miniature by the reducing detailed landscape scenes to plain backgrounds. Human figures, buildings and other main elements of the subject predominated. In classical Turkish miniatures, lines are straight, colours are vivid and the style is narrative. Miniature art is known for its strongly built heroes, simplicity, selection of themes from real life and the powerful concept of colour. The most important studies on miniature painting after the Republican era began were carried out by Ord. Prof. Süheyl Ünver. Courses are supported by the Ministry of Culture with a view towards popularizing the art. Work on miniatures is carried out in Istanbul, Ankara, Konya, Izmir, and Kütahya provinces. Turks had the tradition to illustrate manuscripts during the cultural periods before Islamic belief. Paper that could be rolled started to be made in China with plant fibers in 105 B.C. No written or illustrated document has yet been found from the time of the Chinese Han dynasty, of Huns and Göktürks. Nevertheless, the large quantities of stone engravings, textiles, ceramics, works of art made of metal, wood, leather which have survived to the present day, prove that the above mentioned cultural circles were quite developed in other fields of art. The oldest examples of Turkish pictures for walls are from the 6th, 7th and 8th centuries. The withering influence of natural conditions have prevented the survival of these first examples. The conquest of Istanbul was the first step into a new phase of the Ottoman cultural life. The characteristics of the period in the field of paintings and miniatures may be summed up as the meeting of the eastern and western painting schools, as the widespread interaction and communication and as the widespread availability of display. While the Italian painters called by Mehmet the Conqueror continued their activities, Turkish artists—on the other hand—carried on the domestic traditions. We can see this dual influence in the works of Sinan Bey from Bursa, who was the pupil of Hüsamzade Sunullah and Master Paoli. Meanwhile, upon closure of the Heart academy for painting in the beginning of the 16th century, its famous instructor Behzat was met with a deserved esteem in Tabriz in 1512. His pupils began to produce works in his style. Their works reached the gates of Istanbul. Sultan Selim Iran and Aleppo to Istanbul after the seizure of Tabriz and he ordered his men to create favourable conditions for those artists' work. Soon after Shah Kulu from Tabriz was leading these artists in an academy which was called by the Turks “Nakkashanei-i Irani” (The Persian Academy of Painting). “Nakkashane-i Rum” (The Ottoman Academy of Painting) was established upon the reaction of the Ottoman painters. It goes without question that the period beginning with Mehmet the Conqueror and ending with Sultan Selim I, was one of the most interesting and important phases in Turkish painting and miniatures. Various styles and ways of expression were searched, the influences were a guide and syntheses were attained. Now we shall take a look at the Turkish Academy during Süleyman the Magnificent reign. Turkish miniature lived its golden age during that period, with its own characteristics and authentic qualities. The most renowned artists of the period were Kinci Mahmut, Kara Memi from Galata, Naksi (his real name Ahmet) from Ahirkapi, Mustafa Dede (called the Shah of Painters), Ibrahim Çelebi, Hasan Kefeli, Matrakçi Nasuh, Nigari (who portrayed Sultan Selim II and whose real name was Haydar: he was a sailor).
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Rugs are named generally by the regions they are weave.

Regions in Anatolia

Bergama

Bergama is a little town in northwest part of the country; here there are approximately eighty villages which weave Bergama carpets. This ancient city was one of the most powerful and richest region in Anatolia. The history of carpet waving in this region has a very old background. Bergama carpets have always been woven as wool on wool material combination while wefts are all red. Knotting density of these rugs is about 12 knots per square cm. and mostly come in three - four square meter sizes. Those woven in Canakkale are slightly larger. Motifs can be divided by two main groups: as Kozak type and Turkish type. Kozak type rugs have big geometrical designs, these ones remind Kozak - Gendje region rugs. In Turkish type usually designs are very floral and embroidered with leaves of the pine trees. They consist mainly of two colours, the dark reds and blues. In these rugs red color, which is used for dyeing the wool yarns, makes the pile less thick than the rest of the surface after a certain time, so blue motifs appear higher. The evil eyes that you see at the edges give them an exceptionally unusual appearance.

Dosemealti-Antalya

These carpets are made by Yoruk's semi-nomadic tribes who leave near the ocean on the warm plains during the winter months. The villages are around Antalya, on the Mediterranean cost, are the main producing centers of this type of carpets are made with wool and dyes produced by the nomads themselves. The predominant colors are always bright red and dark blue, with a smaller amount of white. Distinctive patterns in the borders are the sheep's eye and knife tip and the "hands on hips" motif, an age old symbol denoting female fertility which dates back to the time when the tribes worshipped mother goddesses. The field are usually are taken up by a large red double mihrab, edged in ram's horn motif. Often the shape of the double mihrap is cut into by two triangles on either side. Ears of grain representing fertility and carnations are frequently seen. If there is a tree of life it's generally made up of carnations, "the flowers of the people". Some times one can see a strange motif, a stylized representation of the human figure which is used to guard against evil. The number of knots in these carpets is equal to 160,000 knots per square meter.

Hereke

A wide variety of types of carpets are produced in Turkey with widely varying degrees of quality. For the discerning buyer or collector there are twelve recognized types of carpets, each type produced in different geographical districts and each having distinctive designs, colors and quality. They are easily noted. Once one learns to "read" or recognize the patterns or designs and colors associated with the geographical area in which produced. The finest contemporary and highest quality of silk and wool carpets currently made in Turkey are produced in town near Istanbul, called Hereke. The Hereke carpets are either woven in pure silk or cotton and wool. The pure silk carpet uses silk from Bursa. In wool and cotton carpets the warps and wefts are cotton and the best quality of wool is used for knots in the pile. The silk Hereke carpets have from 1.0 to 1.2 million knots per square meter. The knot density in the highest quality wool carpets is any where between 360,000 to 400,000 knots per square meter. In second quality wool carpets the knots are around 250,000 to 300,000 per square meter. The dominant colors in Hereke carpets are dark blue, cream and cinnamon and occasionally yellow and green are used. The traditional floral designs are common and each design has its own name, such as : Seljuk Star, Seven Mountain Flowers, Ploneise, 101 Flowers, and Tulip. The flowers in the design and the harmony of colors add warmth to a home.

Kars

Kars located near the Russian border in Turkey, produces carpets designed in the Caucasian style. The main motif used is the large cruciform. The quiet olive-green combined with a dull red-brown and lighter beige tones give the piece enormous warmth. The eight stylized trees of life in the corners are surrounded by a Caucasian calyx-and-leaf border and the guard stripes are called 'running dogs." The extremely valuable hand-spun mountain wool is used in the hand weaving and is especially prized by acknowledged buyers. Natural dyed wool is used with the dominate colors navy blue, red and cream. There are 200.000 knots per square meter in Kars carpet's and for this reason Kars carpets are so noted fine works of art.

Kayseri

The town of Kayseri, situated in central Turkey, has been famous as a carpet making center for centuries. Carpets and Kilims of Kayseri are of various types. Silk carpets and wool ,natural wool (no dyes), and Bunyan carpets are the major categories produced. Kayseri carpets are woven both at the workshops and in the homes. Weavers usually buy yarn from shops and after finishing their carpet would sell it to the same shop in order to buy more yarn. The sizes, designs and number of knots are the same as Bunyan carpets, but the large sizes are rather rare. Cotton is used as warp and weft. These carpets are considered the masterpieces of Kayseri and as such are sought out by dealers to sell to the foreign trade. Kayseri carpets are woven entirely in silk as well and will have 600,000 to 700,000 knots per square meter. Bunyan carpets are often in floral designs of a typical Oriental carpet. The yarn is cotton and wool dyed with vegetable dyes, and about 120,000 to 150,000 knots per square meter. The Kayseri Bunyan carpets are made in different sizes; from pillow sizes of 62 by 100 cm. to the large 16 square meters carpet. Kayseri natural wool carpets have all the properties of Bunyan carpets except there are not as many colors used as in the Bunyan carpets. Colors of white, cream, light and dark brown and sometimes black are used in this types of carpets with the same number knots as in the Bunyan carpets.

Kozak

Kozak carpets are woven by semi-nomadic shepherds who live in the highland regions of the Caucasus Mountains and their environment is reflected in their products. The distinctive designs in Kozak Carpets can be easily recognized. The warp and weft threads are wool with the weft threads always in red or brown colors. The wool pile in these carpets is fairly deep and the yarn used is always of excellent quality. The Kozak carpet has approximately 50 to 100 Turkish knots per square inch. The motifs used in these carpets are, formal, geometric, central medallion, repeated pattern and "Eagle." True Kozak carpets are mostly antique pieces and were produced in the Caucasus Mountains. Currently a limited number of Kozak carpets are produced and are much prized by dealers.

Kula

Kula is the name of a town in Western Anatolia where these wool carpets are made. The village carpets of Kula are woven on a woolen warp and weft and for the most part have strong geometric designs. The colors are rich but soft with earth tones of rust, green, gold, and blue being common, however, the dominant colors are pastel. The most important characteristics of these carpets are that they are woven with 100% wool yarn and have varying patterns, colors and sizes. Kula carpets contain 160,000 knots per square meter. Along with all Kula patterns various Anatolian patterns are frequently seen in Kula carpet. Kula carpets resemble those of other Western Anatolian products like, Ushak and Gordes, with their wide borders restrained colors. They also tend to have a short and somewhat lusty pile. Borders usually consist of a number of stripes of about equal width decorated with little stars and flowers. The earliest patterns of Kula carpets were either geometrical or composed of highly stylised nomadic forms. In the last century Kula carpets often had richer and more imaginative floral designs. At the end of the 19th century they were exported to Europe by the thousands, often under the name of Ushak and Gordes carpets. The typical features were a light grey or cream background with floral patterns in pink and blue. Kula carpets which have furnished many homes are very elegant. They were particularly favored for the dining room and libraries.

Kulluce

Kulluce carpets are produced in a town between Afyon and Denizli. The people of this area are mostly Caucasian immigrants who have been weaving their geometric and Caucasian designs for years. Undyed natural color of shop wool used creates tones such as: Beige, dark brown, cream, light brown, black and grey. The number of knots in Kulluce carpets is approximately 140.000 to 160.000 per square meter. These carpets are made in workshops and they are very precise.

Ladik

Ladik is a town located north of Konya in the hearth of Anatolia. The main sources of income in this area are animal husbandry, agriculture and carpet production. Konya and Ladik are the oldest carpet making centers in Turkey. Even during the 15th. center the art of carpet weaving flourished in Konya because it was the capital of the Seljuk Empire and a very important communication and political center. There are many notable at works in Konya and perhaps the most famous in the Green Mosque. From Arabia, Iran and other countries many artists came to Konya to practice their crafts. The surviving carpets of this era offer ample evidence of the Turkish character. During this same period carpet weaving skill spread from Konya to other parts of Anatolia. The colors in Ladik carpets are very vivid and well matched. After Kula carpets, Ladik carpets, with their 250,000 knots per square meter, are considered just as fine.

Milas

Milas is the center of a weaving area in Western Turkey near Izmir. It gives its name to all the carpets produced in the region. Those made in the immediate area of Milas are different in style to those made in the South-west Peninsula, around the center of Karaova. There are four sub-types which constitute the Milas family,' the prayer carpet with the lozenge shaped niche, the bright red medallion Milas, the antique Milas which is woven in shades of red-brown and yellow and the Ada Milas which is quite restrained in design. The prayer rugs are the most important sub-type, with their unusual shaped Mihrab, elongated, terminating in a lozenge, representing the immortality of the soul. Carpets from no other region have Mihrabs in this shape. There are approximately 160.000 knots per square meter in the Milas carpets.
Milas colors mostly include earth shades of rust red, brick red, and tawny yellow and Brown, along with a characteristic subdued mauve. The range of major and minor border stripes is narrow, with the same elements remaining unchanged for the last 100 years more.
With its pastel colors, it is a quite decorative rug.

Taspinar

Taspinar is a small hamlet in the carpet weaving areas of the Nigde. Nigde is one of the main roads that cross the Taurus Mountains. Taspinar produces excellent carpet of a thick pile, knotted in high quality wool. They have a predominantly blue and red field enlivened by delicate motifs in lighter shades. The yarn is dyed with natural vegitable dyes by the Caucasian methods. Taspinar carpets are among the most beautiful of all Anatolian carpets. In the old Taspinar's carpets the Persian influence can be seen which are plant figures and geometric designs used simultaneously. However, the rich colors and beautifully proportioned somewhat formal design prevent this unusual mixture from this pleasing the eye. Well cared for, old Taspinars have a wonderful silk like quality. As the lanolin in the wool rises to the surface it gives the pile a soft rich velvety sheen. New Taspinars are made in the same rich colors as old ones, but the designs are becoming more varied. Caucasian and nomadic pattern have become more regular in recent years. The knot density of Taspinar carpets are 140,000 per square meter.

Ushak

Ushak is a small city located in west-central Anatolia. Since the 15Th century it has been an important carpet weaving center. Its importance comes from the revolutionary change on the design of the carpets. Normally most Anatolian carpets have classical tribal motifs which are generally geometric but on Ushak carpets it had shift to curvilinear and decorative motifs. This happened due to demand of Ottoman Palace. Unlike tribal carpet they were produced on workshops and special designers made the designs. That resulted on wider range of design and size. At the beginning, they were woven wool on wool foundation but as the sizes increased , wool on cotton foundation production started because on oversize carpets wool foundation is not strong enough.

Yahyali

These carpets, made in the vicinity of Kayseri are of a very fine quality and are considered very attractive. A rich red with indigo colored blue is used throughout the field with a border of brilliant shades of yellow and gold. This carpets are very popular, because of the traditional flawless workmanship of the Yahyali weavers. The main ornamental motif of a contemporary and antique Yahyali is the hexagon which is similar to those of the Yoruk carpets, but they are more linear in execution. A double hexagon encloses a light blue centerpiece. The hexagon may be single, double or triple. Most Yahyali carpets have these common characteristics. A main border with stylized flowers and an "old gold" ground, surrounded by two lesser borders with a dark blue ground. The main field is nearly always red, with a blue medallion and corner pieces, which have stepped edges. The warm color harmony and beautiful designs along with good quality make the Yahyali carpets one of the most popular carpets of Anatolia. The number of knots in Yahyali carpets are equal to the number of Milas carpets (140,000 knots per square meter).

Yagcibedir

Yagcibedir carpets are produced in the mountainous areas of the Aegean regions, in the nomad inhabited villages of Mazilar, Islamlar, Karakecili, Yenikoy, Karaoba and Kocaoba (the oba ending means 'nomad tent"). According to the legend Yagcibedir was a butter seller from Kayseri who made excellent quality carpets to supplement his income. He shared his skills with the people of the villages he visited, so when they started to produce, they named their carpets after him. The warp, weft and knots are made of pure lamb’s wool, and the pile is clipped short to allow the pattern to be clearly seen. The dominant colors are dark indigo blue and rich madder red, sometimes with the inclusion of cream, brown, softer shades of red and pinks. As the carpets age they become more and more lovely, as the dark reds fade to a beautiful soft red-brown. The colors and patterns of Yagcibedir carpets have remained the same for countless generations. They are very distinctive and easy to recognize. The dark blue ground is patterned with geometric forms: stars, flowers, stylized birds and numerous stars of Suleyman.
The field is framed by a border of five or seven bands. The double ended prayer niche, which indicates that the weavers were Shi-ite Moslems, is very distinctive with an edge of three stepped lines, ending in a ram's horn motif. These carpets are often the favorites of male carpet lovers, due to the masculine colors and simple geometric designs. The knots density in these carets are 160.000 per square meter.

Regions in Caucasus

Kuba

The unique beauty and grandeur of Shakdag and Tufandag, the snow-capped peaks of spurts of the Greater Caucasus Range, spreading out into the Caspian…
The forests running right down to the golden sands of the Caspian shores the orchards spreading out beyond the horizon, the rich soil of the valleys, the Samur - Divinchinska lowland…
The country spreading westward of the Apsheron peninsula, from the ancient Shemakha up to the Derbent barrage, for centuries waging the struggle, repulsing the foreign invasions…
The legendary Derbent of Beireklers and Banuchichens, Dede Korkud and Fatali Khan… The beautiful country of Kuba is lying here. Sheer rocks, rapid mountain streams, multicolored valleys, all these gifts of Kuba were handed over in the wealth of their unique hues to the popular arts - i. e. carpet-making, poetry and metalwork(copper items).

Shirvan

Shirvan means high mountains, boundless forests, ancient strongholds, the voice whispering thousands of legends… The name Gyulistan, which means “flower garden” can be given not only to the capital of Shirvanshaks but to the whole Shirvan region. In truth , Shirvan is the flower garden of Azerbaijan. Not only Diri Baba and Djavanshir strongholds, but every cemetery keeps still unread stone pages of the chronicle of the history of our Motherland. From Kobystan preserving the traces of great art of our people for ten thousand years up the eyes of Shirvan, which are piercing the sky, through the Pirkuli observatory, along the old caravan route passing through ancient towns and villages disappeared in the past, up to now, as it was many centuries ago, numerous springs gust out from the rocks, like Goch-bulag, as an embodiment of the inexhaustible source of people’s inspirations. Home country of Djavanshir and Khagani Shirvani. Imadedin Nasimi, and Rasul Riza… In the daytime and at night one can hear the tapping sound of the copper-smiths of Lagich. The flowers give their colors Shemakha Kelagais, the crimson blood of the pomegranate is mingled with a pure song of the green trees, tipping out onto the silks of Shirvan, onto its carpets and articles of its jewelers.

Gonja

Historians cannot give the exact age of the old Ganja. But about a thousand years ago Ganja was the largest town in Transcaucasia, its population being a half million people.
For many years old Ganja was the capital of Northern Azerbaijan. Now Ganja is one of the largest centers of culture and arts in this country. It carefully preserves the fine ancient architectural monuments of the past… The indelible traces of Ganja’s wisdom will live in the Ganja carpets forever.

Kazak

Kazak occupies an honorable place in the economic and cultural life of the republic due the famous horses of the Dilboz stock and the flocks of sheep, the saz and poetry, the ashug (popular bards) and the carpets.
Every inch of the land is the history alive, and those who live on the land of Kazak now, the heirs of this history, preserve and further promote the creative work of people, thorough whose efforts Kazakh has acquired its frame.

Karabagh

On the plains of Karabagh the herds of horses are prancing, the stocks of Karabagh horses being world renown; on the Karabagh Mountains the flocks of famous sheep is indispensable in making carpet woolen yarn.
The carpets woven in Karabagh in the 16th-17th centuries are now on display in the Berlin Arts Museum, the New York Metropoliten Museum and other museums of the world, as many a time these carpets decorated the exhibitions of art works in Paris, Vienna, Berlin, Petersburg and Moscow.

A dirty or stained carpet should be washed with soft soap, without delay, rinsed with clean water and dried. A Turkish carpet is made to last and, therefore, requires certain care. The worst enemy of a carpet is damp.Therefore, it should not be left in a damp environment over a long period. There is no harm in washing and immediately drying a carpet. However, it should not be laid on the floor before it is well dry, and it should never he kept damp on the floor.

Carpet naturally collects dust when laid on the floor for a long time. Therefore, it should frequently be vacuum cleaned. In spite of this, when laid on the floor over a long time, dust may collect at the bottom of its knots, and the carpet should be laid on the floor face down for several days in each year, walking on it frequently, pal1 to get rid of the accumulated dust. This action causes the dust accumulated at the bottom of the knots to fall off. Later the carpet should be laid face up again and vacuum cleaned.

Nomads use a more practical method. They lay the carpet face down on snow and cover it with a layer of snow. During this process the melting snow removes the accumulated dust like a filter and polishes the carpet.

Fading colors may be shined with vinegar: adding a glass of vinegar into a bucket of water, the pile of carpet is wiped with a sponge in the direction of the weave, and the carpets is left to dry. As a result, the carpet regains its shine.

As removing .stains may not always be easy, carpet needs good care. A specialist should be consulted for stubborn stains. The following points should be remembered for good carpet care:

During cleaning refrain from rubbing the carpet knots in the reverse direction. Take care not to wet the whole carpet. Never use any chemicals, including ammonia, to clean silk carpets.

SOME HINTS TO REMOVE STAINS

ANY ALCOHOLIC DRINK: Lightly wet with warm water and use 90 % alcohol to clean

MUD: Dry well and vacuum clean.

CHOCOLATE: Use a sponge damped with ammonia to wipe.

SWEETS: Lightly wipe with warm water.

INK: Damp sponge with a mixture of water, soap and alcohol, and wipe. Take care to prevent the cleaning mixture from dripping down to the reverse of the carpet.

FRUIT: Damp sponge with a mixture containing 3 parts white vinegar or lemon juice and 1 part ammonia, and wipe.

EGG: Never use hot water. Wipe with an ammonia and water mixture, failing that, use an alcohol and water mixture.

BLOOD: Never use hot water. After cleaning the stain well with a damp sponge, wipe with cold salty water. If unsuccessful, wipe again with pure white wine. If the stain is dry, brush it and clean with water containing a small amount of ammonia.

MAKE-UP MATERIALS AND PERFORMERY: Wipe with alcohol.

PET URINE: Wipe with a sponge while the stain is damp, and leave to dry. Later wipe with white wine vinegar. If unsuccessful, wipe again with a mixture of 3 parts alcohol and 1 part ammonia.

RED WINE: Clean with white wine, wipe with water.

These instructions are to be used as a reference only. YURDAN.com is not responsible for any damage, fading, and or changes in your rugs or carpets due to following these instructions. Please call a professional for assistance prior to using these instructions. By using this reference, it is understood that Yurdan.com relinquishes all responsibility.

‘The smoke of my nargile!’ The term nargile (hookah ,or water _pipe ) comes from the persian word nargil , which means coconut . Nargiles play an important part in many Eastern cultures , and first became a part of Turkish culture in the 16 th century , during Ottoman times. The nargile is a crucial aspect of deep conversations in our own time. Nargile cafes are certainly prominent in many areas of İstanbul.Above all . a large number of nargile cafes are found in the neighborhoods of Tophane,Çemberlitaş,Beyoğlu and Kadıköy. A nargile consists of sevaral different parts:The marpuç (the section from which smoke is inhaleed) ,the lüle (the bowl into which yobacco is placed),the tepsi (tray) and the rüzgarlık (a metal partition to prevent the tobocco ashes from blowing away).Additionally , a mouthpiece known as sipsi is attached to the tip of marpuç. A special type of oak coal is used to light the nargile , which gives it a unipue. aromatic taste . Nargile tobacco goes by the special name of tömbeki. In addition tömbeki, you might try one of the many different fla voured tobaccos with your nargile.