East Meets West

An exhibit containing both Western European and Turkish artistic representations of the powerful Ottoman Empire opened last weekend at the Sackler Museum.

The Ottomans: Images from the East and West

At the Sackler Museum

Through May 21

Although many of the pieces on display are from Harvard's own Islamic art collection, the Sackler's exhibit combines Harvard museum pieces with those of the Boston Museum of Fine Arts and international private collections to offer a rare glimpse into 16th and 17th century views of the Ottoman Empire. At the time, the empire was centered in what is present-day Turkey and extended west to Vienna, including within its borders Western Iran, Iraq, Arabia, Egypt and Northern Africa; it was considered to be one of the most powerful and influential political forces during what was for Western Europe a time of cultural rebirth and enlightenment.

Many of the pieces on display portray the splendor and glory of the reign of Suleyman I (1520-1566). The collection presents portraits of the emperor as he was perceived by resident European artists in the Turkish court. An anonymous Italian woodcutting shows the ruler's strong profile, adorned by an incredibly ornate hat. Next to the Italian woodcutting are several engravings by the German artist Melchior Lorichs, who lived in the Ottoman court. Like the Italian piece, Lorichs' works show the monarch surrounded by temporal and religious glory. He appears to be grim and strong-willed; in "Suleyman I with a View of Sueymaniye Mosque," the regent stands to the side of an arch which looks over the elaborate Mosque established by Suleyman for his people. Above the arch the name of Allah is inscribed in a testament to the fact that even the Western artists understood the Ottoman ruler's Islamic faith and rejection of personal credit for the glory of Constantinople and the vast empire.

The Sackler exhibit quickly turns to Turkish art and connects the display with two portraits by Ottoman artists of the European monarchs Francis I of France and Charles V of Spain and the Holy Roman Empire. Both men appear remarkably simple in contrast to the usual European portrayal of divine monarchs as surrounded by pomp and glory. They seem grim and powerful, but the festive air which typically accompanies European monarchs of the time period is glaringly absent.

A series of watercolors that follows the European kings' portraits shows the influence Western Europe had on this Eurasian art. While a great many of the geometric patterns and bright colors which distinguish Islamic art are still present, it is evident through the number of scenes of daily life that the Ottoman world's contact with Europe had influenced its culture. Although many of the watercolors do accompany religious texts, they show scenes of bridal gowns, gardeners and poets as well as spiritual situations.

Other pieces show the Turkish empire's contact with Asia. In "Dragon in Vegetation," there is calligraphy similar to that used for Chinese characters, and the trees and plants are elongated, similar to the mythical forests prevalent in Chinese art and literature.

In addition to containing engravings, woodcuttings and watercolors, the Sackler also presents Ottoman cloth and china for viewing. Much of the materials are luxury velvets and silks, and they are embroidered with the most intricate of Islamic symbols and patterns. Like the watercolors, the china is brightly colored and ornate, providing an interesting look at some of the more mundane aspects of Ottoman life.

On exhibit until May 21, "The Ottomans: Images from East and West" is a short but interesting collection of works that represent a multi-ethnic vision of the empire that crossed three continents during the 16th and 17th centuries.