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In 1899, John Hay, the American Secretary of State, asked the Jewish American ambassador to the Ottoman Empire, Oscar Straus to request Sultan Abdul Hamid II to write a letter to the Moro Sulu Muslims of the Sulu Sultanate in the Philippines telling them to submit to American suzerainty and American military rule (see Philippine–American War).
Criticizing certain predominant ideas among the Ottoman populace regarding the continued existence of the Ottoman state, particularly about favoring being either an American or British protectorate, he explains his rejection to such ideas and puts forward his reasoning for the founding of a Turkish state:
Empire of the Sultans: Ottoman Art of the Khalili Collection was a 1995–2004 touring exhibition displaying objects from the Khalili Collection of Islamic Art. Around two hundred exhibits, including calligraphy, textiles, pottery, weapons, and metalwork, illustrated the art and daily life of six centuries of the Ottoman Empire .
Uprisings in Ottoman territory had many far-reaching consequences during the 19th century and determined much of Ottoman policy during the early 20th century. Many Ottoman Turks questioned whether the policies of the state were to blame: some felt that the sources of ethnic conflict were external, and unrelated to issues of governance. While ...
Osman's Dream is a mythological story relating to the life of Osman I, founder of the Ottoman Empire.The story describes a dream experienced by Osman while staying in the home of a religious figure, Sheikh Edebali, in which he sees a metaphorical vision predicting the growth and prosperity of an empire to be ruled by him and his descendants.
The primary purpose of the Tanzimat was to reform the military by modernizing and taking inspiration from European armies. The traditional Ottoman army, the Janissaries, had fallen from grace in terms of military prestige and a European-inspired reconstruction was a necessary change to be made. [9]
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Reconstruction of an Ottoman style library, in the Topkapı Palace museum. As with many Ottoman Turkish art forms, the poetry produced for the Ottoman court circle had a strong influence from classical Persian traditions; [1] a large number of Persian loanwords entered the literary language, and Persian metres and forms (such as those of Ghazal) were used.