Ottoman-Cloth-art - 9/11/09
਀ഊ"Ottoman Costume - An Overview of 16th Century Dress" by Master Giles de Laval. 
਀ഊNOTE: See also the files: cl-Mid-East-msg, cl-Byzantine-msg, turbans-msg, Turkey-msg, fd-Turkey-msg, cotton-art, silk-msg, velvet-msg.
਀ഊ************************************************************************
਀一伀吀䤀䌀䔀 ⴀഊ
਀吀栀椀猀 昀椀氀攀 椀猀 愀 挀漀氀氀攀挀琀椀漀渀 漀昀 瘀愀爀椀漀甀猀 洀攀猀猀愀最攀猀 栀愀瘀椀渀最 愀 挀漀洀洀漀渀 琀栀攀洀攀 琀栀愀琀 䤀  栀愀瘀攀 挀漀氀氀攀挀琀攀搀 昀爀漀洀 洀礀 爀攀愀搀椀渀最 漀昀 琀栀攀 瘀愀爀椀漀甀猀 挀漀洀瀀甀琀攀爀 渀攀琀眀漀爀欀猀⸀ 匀漀洀攀 洀攀猀猀愀最攀猀 搀愀琀攀 戀愀挀欀 琀漀 ㄀㤀㠀㤀Ⰰ 猀漀洀攀 洀愀礀 戀攀 愀猀 爀攀挀攀渀琀 愀猀 礀攀猀琀攀爀搀愀礀⸀ഊ
਀吀栀椀猀 昀椀氀攀 椀猀 瀀愀爀琀 漀昀 愀 挀漀氀氀攀挀琀椀漀渀 漀昀 昀椀氀攀猀 挀愀氀氀攀搀 匀琀攀昀愀渀✀猀 䘀氀漀爀椀氀攀最椀甀洀⸀ 吀栀攀猀攀 昀椀氀攀猀 愀爀攀 愀瘀愀椀氀愀戀氀攀 漀渀 琀栀攀 䤀渀琀攀爀渀攀琀 愀琀㨀 栀琀琀瀀㨀⼀⼀眀眀眀⸀昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ
਀䤀  栀愀瘀攀 搀漀渀攀  愀 氀椀洀椀琀攀搀 愀洀漀甀渀琀  漀昀  攀搀椀琀椀渀最⸀ 䴀攀猀猀愀最攀猀 栀愀瘀椀渀最 琀漀 搀漀  眀椀琀栀 猀攀瀀愀爀愀琀攀 琀漀瀀椀挀猀  眀攀爀攀 猀漀洀攀琀椀洀攀猀 猀瀀氀椀琀 椀渀琀漀 搀椀昀昀攀爀攀渀琀 昀椀氀攀猀 愀渀搀 猀漀洀攀琀椀洀攀猀 攀砀琀爀愀渀攀漀甀猀 椀渀昀漀爀洀愀琀椀漀渀 眀愀猀 爀攀洀漀瘀攀搀⸀ 䘀漀爀 椀渀猀琀愀渀挀攀Ⰰ 琀栀攀  洀攀猀猀愀最攀 䤀䐀猀  眀攀爀攀 爀攀洀漀瘀攀搀 琀漀 猀愀瘀攀 猀瀀愀挀攀 愀渀搀 爀攀洀漀瘀攀 挀氀甀琀琀攀爀⸀ഊ
਀吀栀攀 挀漀洀洀攀渀琀猀 洀愀搀攀 椀渀 琀栀攀猀攀 洀攀猀猀愀最攀猀 愀爀攀 渀漀琀 渀攀挀攀猀猀愀爀椀氀礀 洀礀 瘀椀攀眀瀀漀椀渀琀猀⸀ 䤀 洀愀欀攀  渀漀 挀氀愀椀洀猀  愀猀  琀漀 琀栀攀 愀挀挀甀爀愀挀礀  漀昀  琀栀攀 椀渀昀漀爀洀愀琀椀漀渀  最椀瘀攀渀  戀礀 琀栀攀 椀渀搀椀瘀椀搀甀愀氀 愀甀琀栀漀爀猀⸀ഊ
਀倀氀攀愀猀攀  爀攀猀瀀攀挀琀 琀栀攀 琀椀洀攀  愀渀搀  攀昀昀漀爀琀猀 漀昀  琀栀漀猀攀 眀栀漀 栀愀瘀攀 眀爀椀琀琀攀渀  琀栀攀猀攀 洀攀猀猀愀最攀猀⸀ 吀栀攀  挀漀瀀礀爀椀最栀琀 猀琀愀琀甀猀  漀昀 琀栀攀猀攀 洀攀猀猀愀最攀猀  椀猀  甀渀挀氀攀愀爀  愀琀 琀栀椀猀 琀椀洀攀⸀ 䤀昀  椀渀昀漀爀洀愀琀椀漀渀  椀猀  瀀甀戀氀椀猀栀攀搀  昀爀漀洀  琀栀攀猀攀  洀攀猀猀愀最攀猀Ⰰ 瀀氀攀愀猀攀 最椀瘀攀 挀爀攀搀椀琀 琀漀 琀栀攀 漀爀椀最椀渀愀琀漀爀⠀猀⤀⸀ഊ
਀吀栀愀渀欀 礀漀甀Ⰰഊ    Mark S. Harris                  AKA:  THLord Stefan li Rous
਀                                          匀琀攀昀愀渀 愀琀 昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ************************************************************************
਀ഊOTTOMAN COSTUME
਀䄀渀 伀瘀攀爀瘀椀攀眀 漀昀 ㄀㘀琀栀 䌀攀渀琀甀爀礀 吀甀爀欀椀猀栀 䐀爀攀猀猀ഊby Master Giles de Laval
਀ഊ
਀匀栀椀爀琀猀 ⠀最洀氀攀欀⤀ഊ• Women's shirts were tunic style, between knee and ankle length. They had long straight sleeves, or long full sleeves, presumably gathered onto the shoulder. They had a round neck with a vertical slit which reached the bust and was closed by three or four small buttons. Shirts were commonly made of a fine, sheer fabric such as a linen or cotton gauze, and were usually white.
ਠ∀ 䴀攀渀✀猀 猀栀椀爀琀猀 眀攀爀攀 猀椀洀椀氀愀爀Ⰰ 栀愀瘀椀渀最 氀漀渀最 猀琀爀愀椀最栀琀 猀氀攀攀瘀攀猀 愀渀搀 昀愀氀氀椀渀最 琀漀 琀栀攀 欀渀攀攀⸀ 䄀氀猀漀 瀀漀猀猀椀戀氀攀 椀猀 愀渀 甀渀甀猀甀愀氀 挀甀琀Ⰰ 瀀爀漀戀愀戀氀礀 䔀最礀瀀琀椀愀渀 椀渀 漀爀椀最椀渀Ⰰ 眀栀椀挀栀 甀猀攀猀 漀渀氀礀 琀眀漀 挀甀爀瘀攀搀 猀攀愀洀猀⸀ഊ
਀吀爀漀甀猀攀爀猀 ⠀猀愀氀瘀愀爀⤀ഊBoth men and women wore trousers of similar cut, loose on the leg and tapering to the ankle. Excessively baggy trousers did not come into fashion until the late 17th century. Trousers were made of satin, silk, or light cotton.
਀ഊCaftan (kaftan, entari)
ਠ∀ 䌀愀昀琀愀渀猀 漀昀 瘀愀爀椀漀甀猀 猀琀礀氀攀猀 眀攀爀攀 琀栀攀 洀愀椀渀 椀琀攀洀 漀昀 搀爀攀猀猀 昀漀爀 戀漀琀栀 洀攀渀 愀渀搀 眀漀洀攀渀⸀ഊ• Caftans are fairly simple in construction and tailoring, using mostly straight seams; it was the quality of the fabric that was intended to impress (although the majority of surviving caftans are of plain material).
ਠ∀ 吀栀攀礀 最攀渀攀爀愀氀氀礀 栀愀瘀攀 爀漀甀渀搀 渀攀挀欀猀Ⰰ 猀漀洀攀琀椀洀攀猀 眀椀琀栀 愀 猀洀愀氀氀 猀琀愀渀搀ⴀ甀瀀 挀漀氀氀愀爀⸀ഊ• Women's caftans likewise had round necks: styles that had low round or square necklines or even came under the bust date to the late 18th century. 16th century caftans did not expose the bosom.
ਠ∀ 吀栀攀礀 甀猀甀愀氀氀礀 栀愀瘀攀 戀甀琀琀漀渀猀 琀漀 琀栀攀 眀愀椀猀琀Ⰰ 攀椀琀栀攀爀 樀攀眀攀氀氀攀搀 漀爀 挀漀瘀攀爀攀搀 椀渀 琀栀攀 猀愀洀攀 昀愀戀爀椀挀 愀猀 琀栀攀 挀愀昀琀愀渀⸀ 吀栀攀 戀甀琀琀漀渀猀 昀愀猀琀攀渀攀搀 琀栀爀漀甀最栀 氀漀漀瀀猀 爀愀琀栀攀爀 琀栀愀渀 戀甀琀琀漀渀栀漀氀攀猀Ⰰ 漀昀琀攀渀 愀琀琀愀挀栀攀搀 琀漀 昀爀漀最最椀渀最 椀渀 戀爀愀椀搀 漀爀 猀椀洀椀氀愀爀 昀愀戀爀椀挀 愀挀爀漀猀猀 琀栀攀 挀栀攀猀琀⸀ 吀栀椀猀 昀爀漀最最椀渀最 猀攀攀洀猀 琀漀 戀攀 洀漀爀攀 瀀爀攀瘀愀氀攀渀琀 漀渀 洀攀渀✀猀 最愀爀洀攀渀琀猀 琀栀愀渀 眀漀洀攀渀✀猀Ⰰ 愀氀琀栀漀甀最栀 椀琀 昀漀甀渀搀 漀渀 挀愀昀琀愀渀猀 漀昀 戀漀琀栀 最攀渀搀攀爀猀⸀ഊ• Caftans were usually three-quarter to full length, although shorter knee length caftans were worn for sport or battle.
ਠ∀ 圀漀洀攀渀 愀氀猀漀 眀漀爀攀 愀 猀栀漀爀琀攀爀 栀椀瀀 琀漀 琀栀椀最栀 氀攀渀最琀栀 挀愀昀琀愀渀 挀愀氀氀攀搀 愀 栀椀爀欀愀 甀渀搀攀爀 漀爀 猀漀洀攀琀椀洀攀猀 漀瘀攀爀 愀 昀甀氀氀ⴀ氀攀渀最琀栀 挀愀昀琀愀渀⸀ഊ• Sleeves were short, wrist or ankle length. Short sleeves came to the elbow, with a curved cutout in front where the arm would bend. Wrist length sleeves extended just past the fingertips, and were worn bunched up at the wrist and fastened tightly with buttons (This type of sleeve could also be detachable, to mix and match with short-sleeved caftans). Ankle length sleeves were purely decorative, falling empty behind and worn only on the outer garment.
ਠ∀ 吀栀攀 猀甀氀琀愀渀 愀渀搀 栀椀猀 挀漀甀爀琀 眀漀甀氀搀 昀爀攀焀甀攀渀琀氀礀 眀攀愀爀 琀栀爀攀攀 挀愀昀琀愀渀猀㨀 漀渀攀 眀椀琀栀 眀爀椀猀琀 氀攀渀最琀栀 猀氀攀攀瘀攀猀 甀渀搀攀爀 愀渀漀琀栀攀爀 眀椀琀栀 猀栀漀爀琀 猀氀攀攀瘀攀猀Ⰰ 甀渀搀攀爀 愀渀漀琀栀攀爀 眀椀琀栀 搀攀挀漀爀愀琀椀瘀攀 愀渀欀氀攀 氀攀渀最琀栀 猀氀攀攀瘀攀猀Ⰰ 猀漀 琀栀攀椀爀 挀漀渀琀爀愀猀琀椀渀最 昀愀戀爀椀挀猀 挀漀甀氀搀 愀氀氀 戀攀 猀攀攀渀 愀渀搀 愀搀洀椀爀攀搀⸀ഊ• Women tended to wear wrist length sleeves, with short sleeves only on the outer garment. They did not seem to wear ankle length sleeves at all. (Early 17th century illustrations depict women with decorative flared turned-back cuffs, which be easily achieved by buttoning the sleeve differently at the wrist; it seems likely this was also a 16th century practice.) Sleeves split all the way to the elbow and hanging open did not come into fashion until the 18th century.
ਠ∀ 圀漀洀攀渀✀猀 挀愀昀琀愀渀猀 搀椀搀 渀漀琀 猀攀攀洀 琀漀 栀愀瘀攀 琀栀攀 漀瘀攀爀氀愀瀀瀀椀渀最 琀爀椀愀渀最甀氀愀爀 昀爀漀渀琀 最漀爀攀猀 漀昀 琀栀攀 洀攀渀✀猀 挀愀昀琀愀渀猀㨀 栀漀眀攀瘀攀爀Ⰰ 琀栀攀猀攀 最漀爀攀猀 愀爀攀 瀀爀攀猀攀渀琀 漀渀 愀 猀甀爀瘀椀瘀椀渀最 漀甀琀攀爀 挀愀昀琀愀渀 昀爀漀洀 琀栀攀 吀漀瀀欀愀瀀椀 匀愀爀愀礀 䴀甀猀攀甀洀⸀ഊ• Women's caftans seem to have been tailored quite close to the body. Several 17th century illustrations depict caftans being worn fastened with only every third or fourth button, so as to gape open and show off the fabric of the hirka underneath; it is probable this was also a 16th century practice.
਀ഊFabrics
ਠ∀ 䘀愀戀爀椀挀猀 爀愀渀最攀搀 昀爀漀洀 氀椀最栀琀 猀椀氀欀猀Ⰰ 猀愀琀椀渀猀 愀渀搀 挀漀琀琀漀渀猀 琀漀 猀甀洀瀀琀甀漀甀猀 瀀漀氀礀挀栀爀漀洀攀 猀椀氀欀猀 愀渀搀 最漀氀搀 琀栀爀攀愀搀攀搀 戀爀漀挀愀搀攀猀 琀漀 䤀琀愀氀椀愀渀 猀琀礀氀攀 瘀攀氀瘀攀琀猀 愀渀搀 瘀攀氀瘀攀琀 戀爀漀挀愀搀攀猀Ⰰ 琀栀攀 洀漀爀攀 挀漀氀漀甀爀昀甀氀 琀栀攀 戀攀琀琀攀爀 ⠀搀愀爀欀 漀爀 猀漀洀戀爀攀 挀漀氀漀甀爀猀 眀攀爀攀 甀渀挀漀洀洀漀渀⤀⸀ഊ• Solid colours, moiré, subtle jacquard patterns, triplet spots, stylised tiger stripes, ogival designs and especially naturalistic and stylised floral patterns were all popular. Checks and stripes are almost never seen.
ਠ∀ 䌀愀昀琀愀渀猀 漀昀 氀椀最栀琀攀爀 眀攀椀最栀琀 洀愀琀攀爀椀愀氀猀 眀攀爀攀 眀漀爀渀 挀氀漀猀攀爀 琀漀 琀栀攀 戀漀搀礀Ⰰ 眀椀琀栀 琀栀攀 栀攀愀瘀椀攀爀 昀愀戀爀椀挀猀 戀攀椀渀最 琀栀攀 漀甀琀攀爀 氀愀礀攀爀猀⸀ഊ• Cotton was the usual lining material, with fur sometimes used to line a heavy outer coat. Silk facing was used at the neck, cuffs, hem and side slits, and was usually a contrasting colour to the caftan and lining fabrics.
ਠ∀ 䄀瀀愀爀琀 昀爀漀洀 琀栀攀 焀甀愀氀椀琀礀 愀渀搀 挀漀猀琀 漀昀 琀栀攀 昀愀戀爀椀挀猀Ⰰ 琀栀攀爀攀 眀愀猀 氀椀琀琀氀攀 搀椀昀昀攀爀攀渀挀攀 椀渀 琀栀攀 猀琀礀氀攀猀 漀爀 愀爀琀椀挀氀攀猀 漀昀 搀爀攀猀猀 戀攀琀眀攀攀渀 爀椀挀栀 愀渀搀 瀀漀漀爀Ⰰ 渀漀爀 戀攀琀眀攀攀渀 琀栀漀猀攀 漀昀 䴀甀猀氀椀洀猀 愀渀搀 渀漀渀ⴀ䴀甀猀氀椀洀猀⸀ഊ
਀䈀攀氀琀猀 愀渀搀 猀愀猀栀攀猀 ⠀甀欀甀爀⤀ഊ• The Ottomans were unusual among Islamic cultures for not treating the belt as a symbol of martial power and prestige. Belts are rarely shown in painting before the 17th century, and were not a conspicuous part of male civilian dress.
ਠ∀ 匀愀猀栀攀猀 眀攀爀攀 洀愀搀攀 漀昀 愀 昀漀氀搀攀搀 愀渀搀 猀攀愀洀攀搀 氀攀渀最琀栀 漀昀 氀椀渀攀渀Ⰰ 洀攀愀猀甀爀椀渀最 愀瀀瀀爀漀砀椀洀愀琀攀氀礀 ㈀洀 氀漀渀最 戀礀 ㄀㔀 挀洀 眀椀搀攀⸀ 吀栀攀礀 昀攀愀琀甀爀攀搀 攀氀愀戀漀爀愀琀攀 最漀氀搀ⴀ攀洀戀爀漀椀搀攀爀攀搀 攀渀搀 瀀愀渀攀氀猀Ⰰ 愀爀漀甀渀搀 ㄀㈀ⴀ㄀㔀 挀洀 氀漀渀最⸀ഊ• Several 16th belts in the Topkapi Saray Museum are presumed to be women's. They are of ivory, silver or mother of pearl plaques, joined by links or mounted on leather. The are elaborately decorated with gold or silver scrollwork, and set with jewels. Their length would indicate they were worn around the waist, not the hips. 
਀ഊHeadwear
ਠ∀ 䴀攀渀 眀漀爀攀 愀渀 攀渀漀爀洀漀甀猀 眀栀椀琀攀 琀甀爀戀愀渀 眀爀愀瀀瀀攀搀 漀瘀攀爀 愀 爀攀搀 挀愀瀀 眀椀琀栀 愀 栀椀最栀 挀爀漀眀渀 琀栀愀琀 瀀爀漀樀攀挀琀攀搀 愀戀漀瘀攀 琀栀攀 琀甀爀戀愀渀⸀ 䈀氀甀攀 愀渀搀 戀氀愀挀欀 挀愀瀀猀 愀爀攀 愀氀猀漀 猀漀洀攀琀椀洀攀猀 猀攀攀渀 椀渀 瀀攀爀椀漀搀 椀氀氀甀猀琀爀愀琀椀漀渀猀⸀ഊ•  The turban was sometimes decorated with a spray of peacock, ostrich or highly-prized black heron feathers, set in a tulip shaped ornament and worn on the right hand side. 
ਠ∀ 圀漀洀攀渀 洀漀猀琀 瀀爀漀戀愀戀氀礀 眀漀爀攀 瘀攀椀氀猀 漀爀 栀攀愀搀 猀挀愀爀瘀攀猀 ⠀瀀攀攀⤀ 漀昀 氀椀最栀琀Ⰰ 昀椀渀攀 昀愀戀爀椀挀Ⰰ 瀀漀猀猀椀戀氀礀 攀洀戀爀漀椀搀攀爀攀搀⸀ 吀栀椀猀 眀愀猀 栀攀氀搀 椀渀 瀀氀愀挀攀 眀椀琀栀 愀渀 攀氀愀戀漀爀愀琀攀Ⰰ 栀攀愀瘀椀氀礀 攀洀戀爀漀椀搀攀爀攀搀 栀攀愀搀戀愀渀搀 眀栀椀挀栀 琀椀攀搀 愀挀爀漀猀猀 琀栀攀 昀漀爀攀栀攀愀搀Ⰰ 猀甀挀栀 愀猀 猀甀爀瘀椀瘀攀搀 椀渀 琀栀攀 琀漀洀戀猀 漀昀 䠀甀爀爀攀洀 匀甀氀琀愀渀 ⠀搀⸀ ㄀㔀㔀㠀⤀ 愀渀搀 匀愀昀椀礀攀 匀甀氀琀愀渀 ⠀搀⸀㄀㔀㤀㔀⤀⸀ഊ• At no time would a woman ever have appeared in public without her head covered.
ਠ∀ 吀栀攀 礀愀猀洀愀欀 挀漀渀猀椀猀琀攀搀 漀昀 琀眀漀 瀀椀攀挀攀猀 漀昀 昀椀渀攀 洀甀猀氀椀渀Ⰰ 漀渀攀 琀椀攀搀 愀挀爀漀猀猀 琀栀攀 昀愀挀攀 戀攀氀漀眀 琀栀攀 渀漀猀攀Ⰰ 愀渀搀 琀栀攀 漀琀栀攀爀 琀椀攀搀 愀挀爀漀猀猀 琀栀攀 昀漀爀攀栀攀愀搀Ⰰ 搀爀愀瀀椀渀最 琀栀攀 栀攀愀搀⸀ 吀栀椀猀 眀愀猀 挀漀洀洀漀渀氀礀 眀漀爀渀 漀甀琀ⴀ漀昀ⴀ搀漀漀爀猀 愀氀漀渀最 眀椀琀栀 琀栀攀 漀甀琀攀爀 挀愀昀琀愀渀 漀爀 洀愀渀琀氀攀 ⠀昀攀爀愀攀⤀Ⰰ 漀爀 椀渀 琀栀攀 瀀爀攀猀攀渀挀攀 漀昀 甀渀爀攀氀愀琀攀搀 洀攀渀⸀ ⠀吀栀攀 甀猀攀 漀昀 琀栀攀 琀攀爀洀 ∀瘀攀椀氀攀搀∀ 椀渀 琀栀椀猀 椀渀猀琀愀渀挀攀 爀攀昀攀爀猀 琀漀 琀栀攀 礀愀猀洀愀欀㬀 愀 吀甀爀欀椀猀栀 眀漀洀攀渀 眀漀甀氀搀 渀攀瘀攀爀 戀攀 猀攀攀渀 眀椀琀栀漀甀琀 栀攀愀搀戀愀渀搀 愀渀搀 瀀攀攀 攀瘀攀渀 愀琀 栀漀洀攀Ⰰ 愀渀搀 眀漀甀氀搀 愀搀搀 琀栀攀 礀愀猀洀愀欀 昀漀爀 攀渀琀攀爀琀愀椀渀椀渀最 漀爀 瘀攀渀琀甀爀椀渀最 漀甀琀⸀⤀  ഊ• Islamic women were forbidden to appear unveiled before men other than their husbands or immediate relatives; of course non-Muslim ethnic groups (ie Greeks) in Turkish cities were not subject to this law, and so would forgo the yasmak but retain the headband and veil.
਀ഊFootwear
਀䘀漀漀琀眀攀愀爀 爀愀渀最攀搀 昀爀漀洀 昀攀氀琀 愀渀搀 欀椀搀 猀氀椀瀀瀀攀爀猀 琀漀 氀漀眀 氀攀愀琀栀攀爀 猀栀漀攀猀 琀漀 栀椀最栀 戀漀漀琀猀Ⰰ 愀渀搀 挀漀甀氀搀 戀攀 瀀氀愀椀渀 漀爀 搀攀挀漀爀愀琀攀搀 眀椀琀栀 愀瀀瀀氀椀焀甀搀 愀爀愀戀攀猀焀甀攀猀⸀ 䄀氀氀 猀琀礀氀攀猀 眀攀爀攀 眀漀爀渀 戀礀 戀漀琀栀 猀攀砀攀猀 愀挀挀漀爀搀椀渀最 琀漀 渀攀挀攀猀猀椀琀礀 ⠀愀氀琀栀漀甀最栀 眀漀洀攀渀 眀漀甀氀搀 渀漀琀 甀猀甀愀氀氀礀 渀攀攀搀 琀漀 搀漀渀 栀椀最栀 戀漀漀琀猀⤀⸀ 吀漀攀猀 眀攀爀攀 渀漀琀 猀栀愀爀瀀氀礀 瀀漀椀渀琀攀搀Ⰰ 渀漀爀 挀甀爀氀攀搀 甀瀀眀愀爀搀猀⸀ഊ
਀倀甀爀猀攀猀ഊPurses do not appear in period illustrations. It is likely they were worn beneath the outer clothing, or that valuables were tucked in a folded "pocket" in the sash. 
਀ഊJewellery
ਠ∀ 伀琀琀漀洀愀渀 眀攀爀攀 爀攀猀琀爀愀椀渀攀搀 椀渀 琀栀攀椀爀 甀猀攀 漀昀 樀攀眀攀氀氀攀爀礀⸀ ㄀㘀琀栀 挀攀渀琀甀爀礀 椀氀氀甀猀琀爀愀琀椀漀渀 搀攀瀀椀挀琀 洀攀渀 漀挀挀愀猀椀漀渀愀氀氀礀 眀攀愀爀椀渀最 琀甀爀戀愀渀 漀爀渀愀洀攀渀琀猀 愀渀搀 ⠀琀栀甀洀戀⤀ 爀椀渀最猀Ⰰ 戀甀琀 洀漀爀攀 昀爀攀焀甀攀渀琀氀礀 渀漀琀 眀攀愀爀椀渀最 愀渀礀 樀攀眀攀氀氀攀爀礀 愀琀 愀氀氀⸀ഊ• It is difficult to determine whether this restraint extended to Ottoman women, although contemporary Persian illustrations show women wearing simple pendant pearl earrings and a simple necklace. Much of a woman's wealth would have been displayed in fine fabrics and embroideries, and intricately inlaid and jewelled belts.
਀ഊReferences
਀䈀愀欀攀爀Ⰰ 倀愀琀爀椀挀椀愀Ⰰ 䤀猀氀愀洀椀挀 吀攀砀琀椀氀攀猀Ⰰ 䈀爀椀琀椀猀栀 䴀甀猀攀甀洀 倀爀攀猀猀 ㄀㤀㤀㔀ഊ
਀䜀氀愀猀猀攀Ⰰ 䌀礀爀椀氀Ⰰ 吀栀攀 䌀漀渀挀椀猀攀 䔀渀挀礀挀氀漀瀀愀攀搀椀愀 漀昀 䤀猀氀愀洀Ⰰ 䠀愀爀瀀攀爀 䌀漀氀氀椀渀猀 ㄀㤀㤀㄀ഊ
਀䤀瀀猀椀爀漀最氀漀甀Ⰰ 䴀愀稀栀愀爀 匀Ⰰ 䴀愀猀琀攀爀瀀椀攀挀攀猀 昀爀漀洀 琀栀攀 吀漀瀀欀愀瀀椀 䴀甀猀攀甀洀㨀 瀀愀椀渀琀椀渀最猀 愀渀搀 洀椀渀椀愀琀甀爀攀猀Ⰰ  吀栀愀洀攀猀 ☀ 䠀甀搀猀漀渀Ⰰ 䰀漀渀搀漀渀Ⰰ ㄀㤀㠀　ഊ
਀䰀攀眀椀猀Ⰰ 䈀攀爀渀愀爀搀 ⠀攀搀⤀Ⰰ 吀栀攀 圀漀爀氀搀 漀昀 䤀猀氀愀洀Ⰰ 吀栀愀洀攀猀 ☀ 䠀甀搀猀漀渀 ㄀㤀㤀㈀ഊ
਀刀椀挀攀Ⰰ 䐀愀瘀椀搀 吀愀氀戀漀琀Ⰰ 䤀猀氀愀洀椀挀 䄀爀琀Ⰰ 倀爀愀攀最攀爀 倀甀戀氀椀猀栀攀爀猀 䤀渀挀Ⰰ 一攀眀 夀漀爀欀 ㄀㤀㜀㔀ഊ
਀刀漀戀椀渀猀漀渀Ⰰ 䨀甀氀椀愀渀Ⰰ 䈀漀搀礀 倀愀挀欀愀最椀渀最㨀 䄀 䠀椀猀琀漀爀礀 漀昀 䐀爀攀猀猀Ⰰ 䴀愀挀洀椀氀氀愀渀 ㄀㤀㠀㠀ഊ
਀刀漀最攀爀猀Ⰰ 䨀 䴀 ☀ 圀愀爀搀Ⰰ 刀 䴀Ⰰ 匀甀氀攀礀洀愀渀 琀栀攀 䴀愀最渀椀昀椀挀攀渀琀Ⰰ 圀攀氀氀昀氀攀攀琀 倀爀攀猀猀 ㄀㤀㠀㠀ഊ
਀刀漀最攀爀猀Ⰰ 䨀 䴀Ⰰ 䠀甀氀礀攀 吀攀稀挀愀渀 ☀ 匀攀氀洀愀 䐀攀氀椀戀愀猀Ⰰ 吀栀攀 吀漀瀀欀愀瀀椀 匀愀爀愀礀 䴀甀猀攀甀洀㨀 䌀漀猀琀甀洀攀猀Ⰰ 䔀洀戀爀漀椀搀攀爀椀攀猀 ☀ 伀琀栀攀爀 吀攀砀琀椀氀攀猀Ⰰ 吀栀愀洀攀猀 ☀ 䠀甀搀猀漀渀 ㄀㤀㠀㘀ഊ
਀吀栀攀 䄀最攀 漀昀 匀甀氀琀愀渀 匀甀氀攀礀洀愀渀 琀栀攀 䴀愀最渀椀昀椀挀攀渀琀 ⠀攀砀栀椀戀椀琀椀漀渀 挀愀琀愀氀漀最甀攀⤀Ⰰ 䤀渀琀攀爀渀愀琀椀漀渀愀氀 䌀甀氀琀甀爀愀氀 䌀漀爀瀀漀爀愀琀椀漀渀 漀昀 䄀甀猀琀爀愀氀椀愀 ㄀㤀㤀　ഊ
਀ⴀⴀⴀⴀⴀⴀഊCopyright 2001 by Mark Calderwood. <giles at sca.org.au>. While permission for republication is usually granted, permission to republish this article, in part or in full, requires the explicit permission of the author.
਀ഊIf this article is reprinted in a publication, I would appreciate a notice in the publication that you found this article in the Florilegium. I would also appreciate an email to myself, so that I can track which articles are being reprinted. Thanks. -Stefan.
਀ഊ<the end>
਀䔀搀椀琀攀搀 戀礀 䴀愀爀欀 匀⸀ 䠀愀爀爀椀猀ऀ伀琀琀漀洀愀渀ⴀ䌀氀漀琀栀ⴀ愀爀琀ऀ倀愀最攀 ㌀ 漀昀 㐀ഊ
ਊ