COSTUME, TRADITIONAL ARTS AND CRAFTS, FOLK PAINTINGS
The Main Lines Of Dress From The Selcuks To The Early Ottoman Period
The Costumes Of Ottoman Women
The Main Lines Of Dress From The Selcuks To The Early Ottoman Period
Through the centuries the most important aspect of Turkish female dress is that they maintained traditional lines, and, apart from the materials used, they did not reflect the financial position of the wearer. Information regarding women's dress and head wear of the 12th. to 14th centuries are to be found in examples of tiles, stone carvings, and miniatures of the period.
Seljuk women's housedress consisted of chemise, baggy trousers, and an over dress. The trousers had large gussets, the overdress long and had full sleeves, it was collarless and usually open down the front. Generally the edges of the skirt and split sides, and if open, the front edges, had a wide binding, and the top of the sleeve decorated with a band known as a 'tiraz' taken from Arab culture. The full overdress came down to between knee and ankle length, and they used either a sash or a belt at the waist. The dress was embellished with rich accessories, such as tiaras, earrings, pearl necklaces, and arm and ankle bracelets.
One of the sources giving information about the Selcuk period women's dress is from a plate made by at the prominent center of ceramic's in Rey, Iran in the 12th.to 13th century. On this plate, of the 'perdah' (glazed) technique, which is displayed in The Metropolitan Museum of Arts in New York, the woman depicted has long plaited hair. On her head there is a string of pearls, and in the middle of the forehead there is a round stone forming a diadem. From one of her ears there hangs an earring decorated with three gold rings, and she is wearing an overdress that is open down the front. This forms a V shape from the neck downwards; there is a band at the top of the sleeves.
An important source of Seljuk period costumes is the miniatures included in the 'Romance of Varka and Gulshah' that was produced in Konya at the beginning of the 13th. century. The first thing that strikes the eye as being different between female and male dress is the string of pearls on the woman's head, and the single stone on the forehead forming a crown like diadem. The lovers are both wearing overdresses of the same length; Gulshah's trousers are wide in the leg, and she is wearing small shoes; the neck of her dress is cut in a V-shape, and around her neck are seen a strings of pearls. Ones attention is drawn to a crown with leaf like decoration on her upper forehead. Gulshah, if need be, will dress like a man and go to war. The figures of the women are wearing
revealing clothes, and at the entertainment, groups of women and men are seen together; some of the people are listening to female readers, and watching dancers, so we understand the Seljuk women were allowed a great deal of freedom.
Another book, 'Kitab el-Tiryak' which was produced in Mosul Iraq in the 13th century, show palace scenes with men and women together. In another copy of the same work dated 1199 that is in the Bibliotheque Nationale Paris, the introduction page shows figures of women. The woman with a crown on her head in the center of the composition has plaited hair, and the two plaits are knotted and thrown back. The overdress has banded sleeves, and is open in front to the waist and she is wearing wide legged trousers. On her ears are gold earrings and two gold necklaces round her neck drawing our attention. The angels hovering in the four corners of the scene are wearing similar dress; but instead of crowns they are wearing diadems of precious stones.
From the 13th century onwards, when the Ottomans ruled Anatolia, women's dress can be traced mostly in the palace art of the miniature. In the reign of Fatih Sultan Mehmet (1451-1481) women continued to wear the free styles of the old Anatolian and Mid Asian traditions. To present the style of life and the dress of the Ottoman palace it is important to look at the 'Kulliyat-I Katibi' miniatures produced in Edirne in about 1460 (TSMK R 989). In the miniature depicting young female musicians at the Sultan's Assembly, around the Sultan, servants presenting food and drink, officials, and male and female musicians are seen. From the point of view of official dress the most striking thing is the headgear. These headdresses that are not found elsewhere are clues to the way in which early Ottoman women covered their head, as well as helping to date the work. One of the female musicians is playing a harp, and the other a tambourine; the one sitting at the side keeps time by snapping her fingers. The girl playing the harp wears a head covering thrown back that has a conical hat over it, and around her brow she has tied a tight band. (Kasbasti) The woman who is keeping time wears the same type of headdress. The musician playing the tambourine had no hat, only a tight band around her brow. The overdresses have small collars, and the front has buttons that are open to the waist. Copied in Sultan Mehmet's reign in the Edirne decoration workshops, the 'Dilsuz-name' miniatures dated 1455-56 depict women wearing the same type of headdress. But in the miniatures produced at the end of that century, in the time of Sultan Beyazid the Second (1481-1512) this type of headdress are not seen.
The taking of Istanbul, and the passing into local order, was responsible for the widening of the Empires boundaries, changes in economy, the separation of the lives of men and women, and the passing of laws concerning women's street dress.
