94 The Ottoman Empire, 1700–1922
Sultan Ahmet III held a famous sixteen-day holiday for the circumcision
of his sons, celebrated in Istanbul and in towns and cities across the em-
pire. The Istanbul event included the circumcision of 5,000 poor boys as
well as processions, illuminations, fireworks, equestrian games, hunting,
dancing, music, poetry readings, and displays by jugglers and buffoons.
This same sultan, in 1704, held grand festivals to celebrate the birth
of his first daughter, an event that recognized women’s leadership role in
the politics of the royal family.
2
In other ceremonies, the dynasty linked
itself to the spiritual and intellectual elite of the state. For example, in the
late seventeenth century, young Mustafa II’s formal education under the
tutelage of the religious scholars (ulema) was celebrated in a ceremony
that demonstrated his memorization of the first letters of the alphabet
and sections of the Quran. On other occasions, sultans sponsored reading
competitions among leading ulema, thus further associating themselves
with the intellectual life of these scholars.
Other devices weekly and daily reminded subjects of their sovereign
and of his claim on their allegiance. Every Friday, at the noon prayer, the
name of the ruling sultan was read aloud in mosques across the empire –
whether in Belgrade, Sofia, Basra, or Cairo. Thus, subjects everywhere
acknowledged him as their sovereign in their prayers. In the capital city,
Sultan Abd ¨ulhamit II (1876–1909) marched in a public procession from
his Yildiz palace to the nearby Friday mosque for prayers, as his official
collected petitions from subjects along the way. Subjects were reminded of
their rulers in the marketplace and whenever they used money. Ottoman
coins celebrated the rulers, noting their imperial signature, accession date
and, often, the regnal year. During the nineteenth century, new devices
appeared to remind subjects of their rulers’ presence. Postage stamps ap-
peared, imprinted with the names and imperial signatures of the ruler
and even, in the early twentieth century, a portrait of the imperial per-
sonage himself, Sultan Mehmet V Re¸sat (1909–1918). And, after the
appearance of newspapers, large headlines and long stories proclaimed
important events in the life of the dynasty, such as the anniversary of the
particular sultan’s accession.
In earlier times, artists had celebrated a sultan’s prowess in paintings,
depicting his victories in battle or otherwise courageously on the hunt or
in an archery display. While these are familiar motifs well into the seven-
teenth century, the palace workshops producing them vanished, perhaps
because the sultans were less heroic and more palace bound. The purpose
and effect of such paintings, usually placed in manuscripts, is uncertain
2
T¨ulay Artan, “Architecture as a theatre of life: profile of the eighteenth-century Bospho-
rus,” Unpublished Ph.D. dissertation, Massachusetts Institute of Technology, 1989, 74.