Culture of the Ottoman Empire

The Ottoman ruling administration assimilated, adapted, and transformed the diverse original cultures of conquered regions and their peoples throughout several centuries, resulting in Ottoman culture. The Ottomans' forebears, the largely Persianized Seljuq Turks, substantially influenced Islamic cultures' customs and languages, particularly Arabic. In contrast, Persian culture had a significant contribution through the heavily Persianized Seljuq Turks. Despite later amalgamations, the Ottoman dynasty, like their forefathers in the Sultanate of Rum and the Seljuk Empire, was profoundly Persianized in their culture, language, habits, and customs. Thus, the Empire was dubbed a Persianate empire. In addition, the Ottoman Empire featured significant subject populations of Orthodox subjects, Armenians, Jews, and Assyrians throughout its history, who were given some autonomy under the confessional millet system of the Ottoman government and whose different cultures enriched the Ottoman empire. As the Ottoman Empire grew, it absorbed the culture of the various territories under its control and beyond, with Byzantium, the Arab culture of the Islamic Middle East, and Iran's Persian culture having a significant influence.

Poetry

Poems written for the Ottoman court circle, like many other Ottoman Turkish art forms, were heavily influenced by classical Persian traditions; many Persian loanwords entered the literary language, and Persian meters and styles (such as Ghazal) were used. By the 19th century, during the Tanzimat reforms, Turkish folk literature, which had previously been mostly oral, had begun to appear in Turkish poetry. In addition, there was a growing influence from European literature; classical court poetry had declined as a result. Tevfik Fikret, a Turkish poet, born in 1867, is often regarded as the father of contemporary Turkish poetry.

Prose

Ottoman prose was purely non-fictional before the 19th century. It was far less developed than Ottoman poetry because it followed the conventions of the initially Arabic tradition of rhymed prose. Nonetheless, several genres were popular, including travelogues, political treatizes, and biographies. Beginning in the nineteenth century, the European novel, notably the French novel, began to exert a growing effect. In 1872, Şemsettin Sami published Taaşuk-u Tal'at ve Fitnat, usually regarded as the first Turkish novel; other significant Ottoman prose writers include Ahmet Mithat and Halit Ziya Uşaklıgil.

The Ottoman architecture was a combination of Iranian-influenced Seljuk architectural traditions, as evident in the Konya buildings, Mamluk architecture, and Byzantine architecture; it reached its pinnacle in the 16th century with huge public structures, mosques and caravanserais. The most important figure in the area, Mimar Sinan, a 16th-century architect and engineer of Armenian origin with a history in the Janissaries, was a Muslim convert of Armenian heritage with a background in the Janissaries. Two of his most notable masterpieces are the Selimiye Mosque in Edirne and the Suleiman Mosque in Constantinople. Sedefkar Mehmed Agha, one of his students, created the Blue Mosque in the early 17th century, which is regarded as the final outstanding building of classical Ottoman architecture.

Calligraphy

Under the Ottomans, calligraphy held a distinguished standing, thanks to the work of Abbasid calligrapher Yaqut al-Musta'simi of Baghdad, whose influence had spread over the Islamic world, and al-Musta'simi himself, who was perhaps of Anatolian descent. The Diwani script is an Ottoman-style cursive Arabic calligraphy established in the 16th and early 17th centuries. It was created by Housam Roumi and developed to its full potential by Süleyman I the Magnificent (1520–66). The intricate linework and intimate juxtaposition of letters within words marked the extremely ornate script. The flowing, rounded Nashki script, devised by the Abbasid calligrapher Ali Muhammad ibn Muqlah in the 10th century, and Ta'liq, based on the Persian Nastalq style, were two other styles. Famous Ottoman calligraphers include Seyyid Kasim Gubari, Şeyh Hamdullah, Ahmed Karahisari, and Hâfiz Osman.

Miniatures

The Persian art form impacted the Ottoman practice of painting miniatures, which were used to illustrate manuscripts or dedicated albums. It also featured elements of the Byzantine tradition of illumination and painting. In the 15th century, the Nakkashane-i-Rum, a Greek academy of painters, was created in the Topkapi Palace, followed by the Nakkashane-i-Irani, a Persian academy early 16th century.

Carpet-weaving and Textile Arts

The technique of carpet weaving was particularly important in the Ottoman Empire, with rugs serving as both artistic and practical considerations, as it was common to remove one's shoes in living quarters. The weaving of such carpets began in Central Asia's nomadic tribes (carpets being an easily transportable type of furniture) and subsequently migrated to Anatolia's stable populations. Carpets, rugs, and patterned kilims were utilized not only on the floors of rooms but also as wall hangings and doors to give additional insulation. They were also frequently given to mosques, which accumulated enormous collections of them. Hereke carpets, composed of silk or a blend of silk and cotton and elaborately knotted, were of particular high prestige. Carpets with the designs "Palace," "Yörük," "Ushak," and Milas or "Türkmen" were also popular. "Yörük" and "Türkmen" had more stylized motifs, and "Palace" featured more naturalistic designs.

Jewellery

The Ottoman Empire was known for the high quality of its goldsmiths and silversmiths, as well as the jewellery they created. Jewellery was especially important because it was frequently given as a present at weddings and could be utilized as a kind of savings. Silver was the most popular material, with gold reserved for higher-status items; designs featured intricate filigree work and Persian and Byzantine motifs. After the Ottoman loss of Ismail I in the Battle of Chaldiran in 1514, developments in design reflected the tastes of the Ottoman court, with Persian Safavid art, for example, being an influence. Although jewellery was simpler in rural areas of the Empire and frequently included gold coins (the Ottoman altin), the designs of Constantinople expanded throughout the Ottoman territory. They were reflected in the metalwork of Egypt and North Africa. The majority of jewellers and goldsmiths were Christian Armenians and Jews. Still, the Ottomans' interest in the related craft of watchmaking led to the migration of numerous European goldsmiths, watchmakers, and gem engravers to Constantinople, where they worked in Galata, the foreigners' quarter.

Music

The Ottoman Empire developed a distinct type of court music, Ottoman classical music, separate from the music traditions of its constituent peoples. Built on makamlar, a series of melodic systems with a corresponding set of rhythmic patterns called usul, this was primarily a verbal form with instrumental accompaniment. The mehterân, or military bands utilized by the Janissaries and high-ranking officials' retinues, were another characteristic feature of Ottoman music. These bands were the forerunners of modern military bands and brass ensembles used in traditional Balkan music.

Clothing

The style and pattern of clothing used by the Ottoman Turks are known as Ottoman clothing or Ottoman fashion. While the Palace and its court dressed lavishly, the regular people were concerned with keeping their heads covered. Administrators began enacting sumptuary regulations on dress during the reign of Suleiman the Magnificent. The dress of Muslims, Christians, Jewish communities, clergy, merchants, and political and military leaders was strictly regulated under Suleiman the Magnificent's reign. Men wore'mintan' (a vest or short jacket), 'zıbın', 'şalvar' (trousers), 'kuşak' (a sash), 'potur', an entari or kaftan (a long robe), 'kalpak','sarık' on the head; 'çarık', çizme (boots), 'çedik', 'Yemeni' on the feet.  Administrators and the rich wore caftans with fur lining and embroidery, while the middle class wore 'cübbe' (a mid-length robe) and 'hırka' (short robes or tunics) and the poor wore collarless 'cepken' or 'yelek' (vest). şalvar (trousers), a gömlek (chemise) that came down to the mid-calf or ankle, a short, fitted jacket called a zıbın, and a sash or belt knotted at or just below the waist were the common outfits for women. For more formal events, like visiting friends, the woman wore an entari or kaftan, a long robe similar to the zıbın but with a different cut. Both the zıbın and the kaftan had their skirts open in front and were buttoned to the waist. Both garments featured buttons that went all the way to the throat, but they were frequently only buttoned to the bottom of the bust, leaving the garments gaping wide over the bust. These outfits could all be vibrantly coloured and patterned. When a lady left the house, she wore a ferace, a dark, modestly cut robe with buttons that went all the way to the throat. She also wore a pair of shawls to conceal her hair and face. The most powerful indicator of male social rank was headgear. Higher-ranking men wore a variety of turbans, while commoners wore "külahs" covered in 'abani' or 'Yemeni.' Political upheavals in the 17th century were reflected in clothing. The Tulip Era's extremely great compulsion of consuming and showing off persisted until the nineteenth century. The state sector was the first to be affected by Mahmud II's modernizing efforts in the 1830s. People working in the Sublime Porte began to wear trousers, 'setre', and 'potin' as the'sarık' was supplanted by the 'fez.'

Dance

Ottoman culture included folkloric dancing traditions from many different countries and places across three continents, ranging from the Balkan peninsula and the Black Sea regions through the Caucasus, the Middle East, and North Africa. In the Harem of Topkap Palace, dancing was also one of the most popular diversions. The female belly dancers, known as Çengi, were predominantly Roma women. They still dominate traditional belly dance and musical entertainment events throughout Istanbul's traditional taverns, especially in Roma neighbourhoods like Sulukule, Kuştepe, Cennet, and Kasımpaşa. Male dancers known as Köçek performed in the entertainment events and celebrations, accompanied by circus acrobats known as Cambaz, who performed challenging stunts and other acts that piqued interest.

Meddah (one-person show)

The meddah, or storyteller, performed in front of a small audience, such as a coffeehouse. The performance was mainly around a single issue, with the meddah portraying various roles, and it was frequently begun by emphasizing the moral of the story. The meddah was an expert at controlling his voice and imitating numerous dialects. He would employ props such as an umbrella, a handkerchief, or different headwear to convey character change. The shows had no time limit, and a skilful meddah might change the plot based on audience engagement. Meddahs were mainly wandering artists who travelled from one great city to the next, such as along the spice road cities; the tradition dates back to Homer's time. Even though the major stories were now Ferhat ile Şirin or Layla and Majnun, meddahs used the same methods as itinerant storytellers who told Greek epics like the Iliad and Odyssey. True stories were also part of the meddahs' repertoires, which were altered depending on the audience, performer, and political context. The Istanbul meddahs were notable for incorporating musical instruments into their storytelling, which set them apart from the Dengbejin of East Anatolia. The meddahs' work was relisted in the Representative List of Humanity's Intangible Cultural Heritage in 2008.

Karagöz (shadow play)

The Turkish shadow theatre is descended from the Oriental Shadow theatre and is also known as Karagöz ("Black-Eyed") after one of its prominent characters. Today, most historians believe that the practice of a single puppeteer making a speech, narrating a story, and probably even singing while controlling puppets was invented in Indonesia.

Sports Clubs in the Ottoman Empire

The first of Istanbul's sports clubs, the Jewish Gymnastics Club of Constantinople, was created in 1895, followed by the Kurtuluş Sports Club, founded by Ottoman Greeks in 1896. The establishment of these athletic clubs signalled a general increase in Istanbul's athletics and sports culture at the time. Beşiktaş Gymnastics Club, Galatasaray Sports Club, and Fenerbahçe Sports Club Istanbul's "big three" were created in the following years. The majority of these organizations were wealthy. Therefore exercise, football, and gymnastics were popular.

In contrast to the relatively exclusive "big three," Vefa Sports Club was founded after the revolutionary Young Turk revolt in 1908. It served as a people's amateur sports and football club. Clubs were up throughout Istanbul at the turn of the twentieth century, catering to a wide range of young men, whether Muslim, Christian, or Jewish. Even though almost all athletic groups were racially and religiously homogeneous, they all had a physical focus.

Furthermore, these organizations served a purpose beyond athletics, as they taught young men to correct cleanliness, dress, and posture and provide spaces for male dialogue and socialization. The advent of team sports in Istanbul, particularly football, was aided by creating athletic clubs, which contrasted with the more traditional Ottoman games of oil wrestling and archery. Galatasaray, for example, was founded in 1905 with the sole purpose of being a football club. This shift toward team competition was part of an overall modernization of sports in Istanbul, as seen by the Beşiktaş Gymnastics Club's acceptance of new mat technology in traditional Turkish wrestling. As periodicals began to cover club games, athletic clubs transformed sports reporting in the Ottoman Empire. Futbol, first published in Ottoman Turkish in 1910, was Istanbul's first sports magazine, focusing mostly on club football matches. The rise in sports-related readership in Istanbul corresponded to the city's expanding sports-spectating culture. The Constantinople Association Football League was founded in 1905, and it arranged soccer matches between athletic groups while also providing entertainment for thousands of fans. The Union Club, which opened in 1909 with Sultan Abdülhamid II's approval, was the first trustworthy stadium in Istanbul, where tens of thousands of people could watch sports.

In contrast to many clubs' stringent homosocial exclusivity, the Union Club allowed women to watch sporting competitions. Galatasaray and Fenerbahçe, in particular, became known as the city's premier clubs as a result of the increase in attendance. While the Union Club is most known for football, it has hosted a range of activities presented by several Istanbul sports clubs, including racing, gymnastics, and more. The Union Club, for example, hosted the inaugural Armenian Olympics in 1911. However, many of these clubs have only grown in popularity over the last century. The Süper Lig, now governed by the Republic of Turkey, is the region's most popular football league, with Galatasaray and Fenerbahçe as its most popular teams.

The Ottoman court cuisine, which was a highly sophisticated and elaborate fusion of many of the culinary traditions found in the Empire, its predecessors (notably the Byzantine Empire), and the regional cuisines of the peasantry and the Empire's minorities, which were influenced by the produce of their respective areas, can be divided into two categories. Rice, for example, was a mainstay of high-status cookery (Imperial cooks were selected based on their ability to prepare it). Still, it would have been considered a luxury commodity in most of Anatolia, where bread was the basic grain food.

Drinks

Food