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Beginning in the early 19th century, society, government, and religion were interrelated in a complex, overlapping way that was deemed inefficient by Atatürk, who systematically dismantled it after 1922. In Constantinople, the Sultan ruled two distinct domains: the secular government and the religious hierarchy. Religious officials formed the Ulama, who had control of religious teachings and theology, and also the Empire's judicial system, giving them a major voice in day-to-day affairs in communities across the Empire (but not including the non-Muslim millets). They were powerful enough to reject the military reforms proposed by Sultan Selim III. His successor Sultan Mahmud II (r. 1808–1839) first won ulama approval before proposing similar reforms. The secularisation program brought by Atatürk ended the ulema and their institutions. The caliphate was abolished, madrasas were closed down, and the sharia courts were abolished. He replaced the Arabic alphabet with Latin letters, ended the religious school system, and gave women some political rights. Many rural traditionalists never accepted this secularisation, and by the 1990s they were reasserting a demand for a larger role for Islam. |
The Janissaries were a highly formidable military unit in the early years, but as Western Europe modernized its military organization technology, the Janissaries became a reactionary force that resisted all change. Steadily the Ottoman military power became outdated, but when the Janissaries felt their privileges were being threatened, or outsiders wanted to modernize them, or they might be superseded by the cavalrymen, they rose in rebellion. The rebellions were highly violent on both sides, but by the time the Janissaries were suppressed, it was far too late for Ottoman military power to catch up with the West. The political system was transformed by the destruction of the Janissaries, a powerful military/governmental/police force, which revolted in the Auspicious Incident of 1826. Sultan Mahmud II crushed the revolt, executed the leaders and disbanded the large organization. That set the stage for a slow process of modernization of government functions, as the government sought, with mixed success, to adopt the main elements of Western bureaucracy and military technology. |
The Janissaries had been recruited from Christians and other minorities; their abolition enabled the emergence of a Turkish elite to control the Ottoman Empire. A large number of ethnic and religious minorities were tolerated in their own separate segregated domains called millets. They were primarily Greek, Armenian, or Jewish. In each locality, they governed themselves, spoke their own language, ran their own schools, cultural and religious institutions, and paid somewhat higher taxes. They had no power outside the millet. The Imperial government protected them and prevented major violent clashes between ethnic groups. |
Ethnic nationalism, based on distinctive religion and language, provided a centripetal force that eventually destroyed the Ottoman Empire. In addition, Muslim ethnic groups, which were not part of the millet system, especially the Arabs and the Kurds, were outside the Turkish culture and developed their own separate nationalism. The British sponsored Arab nationalism in the First World War, promising an independent Arab state in return for Arab support. Most Arabs supported the Sultan, but those near Mecca believed in and supported the British promise. |
At the local level, power was held beyond the control of the Sultan by the ayans or local notables. The ayan collected taxes, formed local armies to compete with other notables, took a reactionary attitude toward political or economic change, and often defied policies handed down by the Sultan. |
After the 18th century, the Ottoman Empire was shrinking, as Russia put on heavy pressure and expanded to its south; Egypt became effectively independent in 1805, and the British later took it over, along with Cyprus. Greece became independent, and Serbia and other Balkan areas became highly restive as the force of nationalism pushed against imperialism. The French took over Algeria and Tunisia. The Europeans all thought that the empire was a sick man in rapid decline. Only the Germans seemed helpful, and their support led to the Ottoman Empire joining the central powers in 1915, with the result that they came out as one of the heaviest losers of the First World War in 1918. |
Culture |
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The Ottomans absorbed some of the traditions, art, and institutions of cultures in the regions they conquered and added new dimensions to them. Numerous traditions and cultural traits of previous empires (in fields such as architecture, cuisine, music, leisure, and government) were adopted by the Ottoman Turks, who developed them into new forms, resulting in a new and distinctively Ottoman cultural identity. Although the predominant literary language of the Ottoman Empire was Turkish, Persian was the preferred vehicle for the projection of an imperial image. |
Slavery was part of Ottoman society, with most slaves employed as domestic servants or in the case of female slaves as concubines (sexual slaves). |
Agricultural slavery, like that in the Americas, was relatively rare. |
The child of a slave was born a slave, unless the male slave owner acknowledged the child of his female slave as his, in which case the child would be automatically free by law. |
Female slaves were still sold in the Empire as late as 1908. |
During the 19th century the Empire came under pressure from Western European countries to outlaw the practice. Policies developed by various sultans throughout the 19th century attempted to curtail the Ottoman slave trade but slavery had centuries of religious backing and sanction and so was never abolished in the Empire. |
Ottomans adopted Persian bureaucratic traditions and culture. The sultans also made an important contribution in the development of Persian literature. |
Language was not an obvious sign of group connection and identity in the 16th century among the rulers of the Ottoman Empire, Safavid Iran and Abu'l-Khayrid Shibanids of Central Asia. Hence the ruling classes of all three polities were bilingual in varieties of Persian and Turkic. But in the century's final quarter, linguistic adjustments occurred in the Ottoman and Safavid realms defined by a new rigidity that favoured Ottoman Turkish and Persian, respectively. |
Education |
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In the Ottoman Empire, each millet established a schooling system serving its members. Education was therefore largely divided on ethnic and religious lines: few non-Muslims attended schools for Muslim students, and vice versa. Most institutions that served all ethnic and religious groups taught in French or other languages. |
Several "foreign schools" (Frerler mektebleri) operated by religious clergy primarily served Christians, although some Muslim students attended. Garnett described the schools for Christians and Jews as "organised upon European models", with "voluntary contributions" supporting their operation and most of them "well attended" and with "a high standard of education". |
Literature |
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The two primary streams of Ottoman written literature are poetry and prose. Poetry was by far the dominant stream. The earliest work of Ottoman historiography for example, the İskendernâme, was composed by the poet Taceddin Ahmedi. Until the 19th century, Ottoman prose did not contain any examples of fiction: there were no counterparts to, for instance, the European romance, short story, or novel. Analog genres did exist, though, in both Turkish folk literature and in Divan poetry. |
Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. But there were other common genres, especially the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzuli and the Hüsn ü Aşk of Şeyh Gâlib. The Seyahatnâme of Evliya Çelebi (1611–1682) is an outstanding example of travel literature. |
Until the 19th century, Ottoman prose did not develop to the extent that contemporary Divan poetry did. A large part of the reason was that much prose was expected to adhere to the rules of sec (سجع, also transliterated as seci), or rhymed prose, a type of writing descended from the Arabic saj' that prescribed that between each adjective and noun in a string of words, such as a sentence, there must be a rhyme. Nevertheless, there was a tradition of prose in the literature of the time, though it was exclusively nonfictional. One apparent exception was Muhayyelât (Fancies) by Giritli Ali Aziz Efendi, a collection of stories of the fantastic written in 1796, though not published until 1867. The first novel published in the Ottoman Empire was Vartan Pasha's 1851 The Story of Akabi (Turkish: Akabi Hikyayesi). It was written in Turkish but with Armenian script. |
Due to historically close ties with France, French literature constituted the major Western influence on Ottoman literature in the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period had Ottoman equivalents; in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, the influence of the Symbolist and Parnassian movements was paramount. |
Many of the writers in the Tanzimat period wrote in several different genres simultaneously. This diversity was, in part, due to Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures. |
Media |
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The media of the Ottoman Empire was diverse, with newspapers and journals published in languages including French, Greek, and German. Many of these publications were centered in Constantinople, but there were also French-language newspapers produced in Beirut, Salonika, and Smyrna. Non-Muslim ethnic minorities in the empire used French as a lingua franca and used French-language publications, while some provincial newspapers were published in Arabic. The use of French in the media persisted until the end of the empire in 1923 and for a few years thereafter in the Republic of Turkey. |
Architecture |
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The architecture of the empire developed from earlier Seljuk Turkish architecture, with influences from Byzantine and Iranian architecture and other architectural traditions in the Middle East. Early Ottoman architecture experimented with multiple building types over the course of the 13th to 15th centuries, progressively evolving into the classical Ottoman style of the 16th and 17th centuries, which was also strongly influenced by the Hagia Sophia. The most important architect of the Classical period is Mimar Sinan, whose major works include the Şehzade Mosque, Süleymaniye Mosque, and Selimiye Mosque. The second half of the 16th century also saw the apogee of some types of decoration, most notably in the production of Iznik tiles. |
Beginning in the 18th century, Ottoman architecture was opened to external influences, particularly from Baroque architecture in Western Europe, which eventually gave rise to the Ottoman Baroque style that emerged in the 1740s. The Nuruosmaniye Mosque is one of the most important examples from this period. During the 19th century, influences from Western Europe became more prominent, brought in by architects such as those from the Balyan family. Empire style and Neoclassical motifs were introduced and a trend towards eclecticism was evident in many types of buildings, such as the Dolmabaçe Palace. The last decades of the Ottoman Empire also saw the development of a new architectural style called neo-Ottoman or Ottoman revivalism, also known as the First National Architectural Movement, by architects such as Mimar Kemaleddin and Vedat Tek. |
Ottoman dynastic patronage was concentrated in the historic capitals of Bursa, Edirne, and Istanbul (Constantinople), as well as in several other important administrative centers such as Amasya and Manisa. It was in these centers that most important developments in Ottoman architecture occurred and that the most monumental Ottoman architecture can be found. Major religious monuments were typically architectural complexes, known as a külliye, that had multiple components providing different services or amenities. In addition to a mosque, these could include a madrasa, a hammam, an imaret, a sebil, a market, a caravanserai, a primary school, or others. These complexes were governed and managed with the help of a vakıf agreement (Arabic waqf). Ottoman constructions were still abundant in Anatolia and in the Balkans (Rumelia), but in the more distant Middle Eastern and North African provinces older Islamic architectural styles continued to hold strong influence and were sometimes blended with Ottoman styles. |
Decorative arts |
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The tradition of Ottoman miniatures, painted to illustrate manuscripts or used in dedicated albums, was heavily influenced by the Persian art form, though it also included elements of the Byzantine tradition of illumination and painting. A Greek academy of painters, the Nakkashane-i-Rum, was established in the Topkapi Palace in the 15th century, while early in the following century a similar Persian academy, the Nakkashane-i-Irani, was added. Surname-i Hümayun (Imperial Festival Books) were albums that commemorated celebrations in the Ottoman Empire in pictorial and textual detail. |
Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also, sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings. |
The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and eventually spread to the settled societies of Anatolia. Turks used carpets, rugs, and kilims not just on the floors of a room but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them. |
Music and performing arts |
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Ottoman classical music was an important part of the education of the Ottoman elite. A number of the Ottoman sultans have accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organized around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. |
The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary music, Roma music, Belly dance, Turkish folk music. |
The traditional shadow play called Karagöz and Hacivat was widespread throughout the Ottoman Empire and featured characters representing all of the major ethnic and social groups in that culture. It was performed by a single puppet master, who voiced all of the characters, and accompanied by tambourine (def). Its origins are obscure, deriving perhaps from an older Egyptian tradition, or possibly from an Asian source. |
Cuisine |
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Ottoman cuisine is the cuisine of the capital, Constantinople (Istanbul), and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. |
Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish, and including Greek, Balkan, Armenian, and Middle Eastern cuisines. |
Sports |
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