First impressions of Turkey reveal a society much more European than one expects, but echoes of a strong, proud, and decidedly Oriental heritage shine through in the arts, culture, music, and folklore. Tourists flock to those "Turkish Nights" shows, expecting to cram in a few hours' worth of "authentic" folklore. But while a belly dancer in a glittery harem hat may seem the epitome of exoticism, this ritual crowd-pleasure is anything but a Turkish invention.
Turkish culture developed by absorbing the artistic traditions of conquered lands, so more than any one defining style, the Turkish arts are characterized by layers and layers of complexity. From the time the Turkish tribes spread through Anatolia in the 11th century until the end of the Ottoman Empire, the Turks had incorporated decorative and architectural styles from the Sassanids (a pre-Islamic Persian dynasty), the Romans, the early Christians, the Byzantines, and Renaissance-era Europeans.
The architectural and decorative arts of Turkey are closely linked to the Islamic faith, which gave major importance to mosques, medreses (theological schools), and mausoleums. Almost all mosques follow the plan of Mohammed's house, which was composed of an enclosed courtyard surrounded by huts, with a building at one end for prayer and an arcade to provide shade. Whereas in Mohammed's time the call to prayer was sung from the rooftops, minarets were added later for convenience and style.
The main objective reflected in Selçuk architecture was the proliferation of the purist Sunni orthodoxy, which was achieved by concentrating its efforts on the construction of medreses and other public works such as mosques and baths. To provide a means of safe passage for trade as well as the means for communication from one end of the empire to another, the Selçuks built a network of fortified caravansaries. Although Rum Selçuk architecture at first reflected the influences of the Iranian Selçuks, over time they developed a distinct style, incorporating features such as pointed arches from the Crusaders and lofty arched spaces from Christian Armenians and Syrians employed under the sultan. They also developed the squinch, a triangular architectural device that allowed the placement of a circular dome atop a square base, laying the groundwork of what was later to become an outstanding feature of Ottoman mosque architecture. The Selçuks also combined traditional arabesque styles with indigenous Anatolian decorative motifs that literally flowered into a unique style of geometric architectural ornamentation.
A defining feature of Ottoman architecture became the dome, a form that expanded on earlier Turkish architecture but was later haunted by the feat of superior engineering accomplished in the soaring dome of the Ayasofya. As the Turks conquered Christian lands and churches were converted into mosques, traditionally Byzantine ideas were crossing cultural barriers and finding their way into the Selçuk and Ottoman vocabulary.
Ottoman architecture reached its zenith in the 16th century under Süleyman the Magnificent, in the expert hands of his master builder, Sinan. In the service of the sultan, Sinan built no fewer than 355 buildings and complexes throughout the empire, including the Süleymaniye, whose grand and cascading series of domes has become not only a defining feature of the Istanbul skyline but also a pinnacle in Ottoman architecture. (Sinan succeeded in surpassing the Ayasofya with the Selimiye in Edirne, a destination not covered in this guide.)
Whereas Byzantine art featured elaborate religious interiors and the use of luxury materials such as gold and silver, Islamic hadith frowned on the use of luxury items in its mosques, favoring instead unpretentious items such as ceramics, woodcarvings, and inlay. Additionally, because of the Islamic prohibition against religious images of living creatures, Turkish decorative arts were channeled into such alternative features as flowers, geometric forms, and Arabic script.
The Selçuks introduced the use of glazed bricks and tiles in the decoration of their mosques, and by the 16th century, the Ottomans had developed important centers of ceramic production at Iznik and Kütahya. Ottoman tiles incorporated a new style of foliage motif and used turquoises, blues, greens, and whites as the dominant colors. Spectacular uses of tile can be seen all over the country, in mosques, palaces, hamams (Turkish baths), and even private homes.
Woodworking and mother-of-pearl or ivory inlay were primarily used in the decoration of the minbar (pulpit), but this craft extended to the creation of Koran holders, cradles, royal thrones, and even musical instruments.
Calligraphy is intimately related to the Islamic faith and dates back to the earliest surviving Koran manuscripts. Over the centuries, different styles of calligraphy emerged, with one of the basic requirements being that the text is legible. The Selçuk period brought about a more graceful cursive script, while the earlier Arabic script was more suited to stone carving. The ornamentation of holy manuscripts became an art in itself, as seen in pages that are gilded with gold leaf or sprinkled with gold dust, and in script whose diacritical marks are accented with red ink.
Besides the use of calligraphy in religious manuscripts, under the Ottomans, the application of an imperial seal, or tugra (pronounced too-rah), on all official edicts became customary. The earliest example of a tugra can be traced back to Orhan Gazi, on a 1324 endowment deed, with each successive sultan creating his own distinct and personal representation. Today these seals are significant works of art, bearing price tags that stretch into the hundred- or even thousand-dollar ranges.
The art of marbled paper is another traditional Anatolian art that flourished under the Ottomans. Known as ebru, the art of marbling calls for natural dyes and materials, and a precise hand to create a collection of spectacular, one-of-a-kind designs.
The art of carpet weaving has a complex heritage that goes back for thousands and thousands of years. Based on the necessity of a nomadic existence, carpets had more practical functions: warmth and cleanliness. As tribes migrated and integrated, designs and symbols crossed over borders as well. Carpet designs parallel those of the other artistic media, with geometric patterns a common feature of the 13th century.
Wool carpets provided warmth for the harsh winters, while kilims, also placed on the ground, provided coverings for cushions in a sark-style (or Oriental-style) setting that could later be used to transport the contents of the tent. Prayer rugs, identifiable by a deliberate lack of symmetry (the "arrow" will always be lain in the direction of Mecca), continue to be one of the more beautiful categories of traditional Turkish rugs.
Although Turkish carpets became one of the more coveted trappings of status in Europe, appearing in the backgrounds of many a Renaissance artist such as Giovanni Bellini and Ghirlandaio, the more ornate and sophisticated designs preferred by Europeans were the creation of non-Turkic (mostly Armenian) craftsmen. Today, however, even these stunning pieces are part of the traditional Turkish carpet-weaving lexicon.
Much like the art, architecture, and even food of Turkey, Turkish music blends a wide range of styles and cultures, from Anatolian troubadours on horseback to the commercially successful tunes of arabesque at the top of the charts. Different combinations of styles and genres have given rise to countless new sounds that, despite being modern, still sound unfamiliar to a Western ear untrained in Eastern modes. An irregular meter called aksak, typical to Turkish folk music that originated on the Asian steppes, may sound strange to ears trained on the regular cadences of double, triple, and 4/4 time.
This style was kept alive by lovelorn troubadours singing the poetic and humanistic words of folk icons like Yunus Emre or Pir Sultan; only recently was the music written down. Folk music endures in the rural villages of Turkey and is a regular feature at wedding celebrations, circumcision ceremonies, and as part of a bar or cafe's lineup of canli muzik (live music).
Classical Turkish music began as the music of the Ottoman court, and in an empire composed of a patchwork of cultures, the top composers were Greeks, Armenians, and Jews. Turkish classical music has its origins in the Persian and Arabic traditions, and eventually, the music of the Mevlevi became a major source as well.
Military music had an important role in the successes of the Ottoman Empire, with its thunderous use of percussion aimed at demoralizing an enemy before battle. The Janissary band influenced 18th- and 19th-century European music, in alla turca movements written by Mozart and Beethoven, and operas written by Lully and Handel.
The "Europeanization" of the Ottoman Empire in the 19th century brought many foreign musicians to the court, including Giusseppe Donizetti, brother of the more famous Gaetano Donizetti, who was given the position of head of the Imperial Band in 1831.
Pop music took hold of Turkey in the 1950s and 1960s, much as it swept the Western world. But pop in Turkey took on a different form, first with the popularity of the tango in the 1950s, and then with the re-recording of Western favorites using Turkish lyrics. It wasn't long before Turkish musicians began composing their own forms of pop. In the 1970s, as the rural population began to migrate to the cities in search of their fortunes, a widely disparaged form of music called arabesque swept the nation off its feet, with the sounds of unrequited love, sentimentality, and even fatalism. Arabesque was a fusion of the new pop, folk, and traditional music that developed into a new and highly commercial style; today, these both exotic and catchy phrases blare from every taxicab, long-distance bus, and disco.