|Years active||c. 1517–1920s|
Turquerie (anglicized as "Turkery"), or Turquoiserie,  was the Turkish fashion in Western Europe from the 16th to 18th centuries for imitating aspects of Ottoman art and culture. Many different Western European countries were fascinated by the exotic and relatively unknown culture of the Ottoman ruling class, which was the center of the Ottoman Empire. This fashionable phenomenon became more popular through trading routes and increased diplomatic relationships between the Ottomans and the European nations, exemplified by the Franco-Ottoman alliance in 1715. Ambassadors and traders often returned home with tales of exotic places and souvenirs of their adventures. 
The movement was often reflected in the art of the period. Music, paintings, architecture, and artifacts were frequently inspired by the Ottoman styles and methods. Paintings in particular portrayed the Ottomans with bright colours and sharp contrasts, suggesting their interesting peculiarity and exotic nature. 
In the wake of the Age of Exploration, roughly between the 15th and 18th centuries, there was an explosion in the number of commodities and availability of products. People were using newly created cartography and using these maps to explore the world on paper. There was an accumulation of more objects and a desire for more acquisitions. Coupling this, there was the value of exoticism, valuing things that came from a great distance. Europeans and Ottomans alike were developing a consciousness of themselves in relation to the broader world.  At the same time the Ottomans were slowly ceasing to be regarded as a serious military threat to Western Europe, despite their continuing occupation of the Balkans, and campaigns such as that ended by the Battle of Vienna as late as 1683.
New patterns of consumption were arising, especially with trading ships being able to navigate around Africa. Commodities that were once expensive were becoming more affordable. Products often define people in terms of gender, age, and availability of access. This notion of social definition outlines the main theme of the explosion of commodities from 16th century and onwards. The exchange system had to do precisely with accessibility and availability of commodities on a grand scale.  It is important to note that this was not just a European phenomenon. The Europeans were not the only people who developed a sensibility of how consuming different things could define their relationships domestically and abroad. In this context, there was a broader view of consumption and one's place within the world. A person would consume in order to show off their financial position and their social location. 
When coffee was first imported to Europe, locals looked to its place of origin to better understand the new phenomenon. Ottoman scholars—who had been studying the plant for centuries and were producing relevant, new sources—became the main reference for Edward Pococke and Antoine Galland’s written works on coffee.  Academia, such as this, was a key component within coffeehouse culture. The history of coffee in Europe as a product was inextricably linked to this culture. It was “an institution and a set of customs…transferred from one region to another,” in this case from the Ottoman Empire to western Europe.  The introduction of coffee to the European scene was neither new nor just a common consumable good; it was a direct result of “Ottoman mediation.” 
Visiting elites from high-class European circles were frequently exposed to the drink through Ottoman elites and diplomacy, complete with porcelain, embroidered napkins, and special etiquette.  Furthermore, visiting Ottoman military or diplomatic officials would serve coffee in similar ways within European cities. Adhering to strict instructions, sequences, and measures, good coffee had to be prepared with a precision that the Ottomans had perfected, a skillset that Europeans had yet to learn to apply to their version of the bitter, crude drink.
Europeans developed an appetite for exoticism as greater emphasis was put on empire building and colonization in other nations. There was a growing fashion for Turkish styles in Europe in the 15th and 16th centuries. Europeans did not regard Ottomans as rivals that they had to contend with and imitate militarily, politically, or diplomatically, but rather as an exotic foreign people possessing quaint and strange fashions that could be consumed. Consuming these exotic fashions would show one's elite place in society as well as display their open-mindedness and interest in the world.  These "obsessions" with Turkish aesthetics were in part brought on by the presence of Europeans in the Ottoman Court and the acts of bringing back their products to Europe.  The increased mercantile relationships between the Turkish people and the Europeans aided this process; the continuation of these trading systems helped to spread new fashions quickly in Europe. 
Brightly colored Turkish styles of decoration were used on many types of objects, including timepieces. Many of those imported had the hours and religious names in Arabic characters. A person who owned one of these timepieces was one with an increased social status. 
The Turkish grandeur portrayed by the sultans was attractive to Europeans. Agostino Veneziano made a portrait of Suleyman the Magnificent, sultan of the Ottoman Empire in 1520. He was known as the “grand Turk” and constantly disrupted European balance. The image portrays the sultan as a gentle, yet barbaric person. He was most known for executing the wishes of the sultana, Roxelana, who wanted their children murdered to secure the throne for one of their sons. 
Fabrics were often bright, rich, and embroidered, as depicted in the painting, Himan de la Grande Mosquee by Joseph-Marie Vien in 1748. In the context of turquerie, Turkish textiles were also a luxury in the elitist European homes. They often had velvet grounds with stylized floral motifs. They were often woven in Asia Minor for the European market or, more commonly, as Venetian, under Turkish influence. Italian-styled textiles were often woven by the Ottoman Turks for the Venetians because of their cheap labour and continued business relationships. 
Social position was something very important in the 18th century so things like dress, posture, and props were carefully selected in order to communicate one's status. This need to express status mixed with a new interest for Turkish style allowed for Turkish dress and decorations to become very important props. This included wearing loose, flowing gowns belted with ornate bands of embroidered cloth and ermine-trimmed robes with tasseled turbans. Women even abandoned their corsets and attached strings of pearls to their hair for much more freeing material. 
The loose clothing and the unorthodox styles added to the lewd perceptions of the Ottomans.  This interest was something that motivated the creation of many portraits were Turkish people were often depicted as exotic, and it became rare to see portraits where they were painted without wearing their traditional cultural clothing. Writing also contributed to the visual aspect of Turkish cultural exchange and perhaps the most influential transformation into the turquerie vogue in Europe was done by Lady Mary Wortley Montagu. Montagu went to Turkey in 1717 when her husband was posted as ambassador there. Her collected letters describing Turkish fashion were widely distributed in manuscript form in her social circle and were then printed for the public upon her death in 1762.  Her letters and descriptions helped shape how Europeans interpreted the Turkish fashion and how to dress. This phenomenon eventually found its way across the Atlantic and in colonial America, where Montagu's letters were also published. 
The music in operas that utilized the notion of turquerie was not seriously influenced by Turkish music. Composers in the 18th century were not interested in ethnomusicology, to adopt the style of sound of a particular country or area.  The European audiences were not yet ready to accept the unappealing and what they thought of as primitive musical style of the Turkish people. Traditional Turkish music included wavering pitches, microtones, arabesques, different scale systems, and non-Western rhythmic patterns. Europeans thought of this type of music, as Wolfgang Amadeus Mozart once said, "offensive to the ears."  Having short spurts of it in the operas were common, but just to add comedic affect. 
In music, Orientalism may be applied to styles occurring in different periods, such as the alla turca , used by multiple composers including Mozart and Beethoven. 
European opera was influenced heavily by the idea of turquerie. Mehmed the Conqueror (1432–1481), one of the most prominent sultans of the Ottoman Empire, had many operas written about him. His conquest of Constantinople in 1453 was the basis of the German opera Mahumeth II, composed by Reinhard Keiser in 1693.  In 1820, Gioachino Rossini composed Maometto II , which is set during the Siege of Negroponte (1470) by the forces of the Ottoman Empire, led by Sultan Mehmed II.
Moreover, there were many operas based on the ongoing conflicts between Timur and Beyazid I, including Tamerlano by George Handel. These stories of perseverance and passion appealed to many Europeans and therefore gained popularity. One of France’s most important opera genres was tragédie en musique , depicted by Scanderberg , with music by François Rebel and Francois Francoeur, set to a libretto by Antoine Houdar de la Motte in 1735.  This opera was visually one of the most elaborate of the Turkish operas, with detailed scenic designs for mosques and seraglio courts. Many exotic characters were displayed as well.
Operas using themes from turquerie were in the usual European languages but tried to imitate the Turkish culture and customs. It offered a world of fantasy, splendor, and adventure that was unattainable by the average person.  Audiences would be fascinated with the Turkish and Ottoman institutions depicted. The stories and implications as well as the extravagant costumes and elaborate staging appealed to the people. The Europeans craved reality in their depiction of the Turkish peoples. During performances, females would often be in the latest fashion, where local colour was suggested by foreign attire or numerous ornaments. The males tended to wear more authentic Turkish dress than the female, including a turban, sash, long caftan, and binding with rich material, since authentic Turkish female dress was often restrictive and plain. 
The Ottoman Empire, historically and colloquially the Turkish Empire, was an empire that controlled much of Southeast Europe, Western Asia, and Northern Africa between the 14th and early 20th centuries. It was founded at the end of the 13th century in northwestern Anatolia in the town of Söğüt by the Turkoman tribal leader Osman I. After 1354, the Ottomans crossed into Europe and, with the conquest of the Balkans, the Ottoman beylik was transformed into a transcontinental empire. The Ottomans ended the Byzantine Empire with the conquest of Constantinople in 1453 by Mehmed the Conqueror.
In art history, literature and cultural studies, Orientalism is the imitation or depiction of aspects in the Eastern world. These depictions are usually done by writers, designers, and artists from the Western world. In particular, Orientalist painting, depicting more specifically the Middle East, was one of the many specialisms of 19th-century academic art, and the literature of Western countries took a similar interest in Oriental themes.
Selim III was the Sultan of the Ottoman Empire from 1789 to 1807. Regarded as an enlightened ruler, the Janissaries eventually deposed and imprisoned him, and placed his cousin Mustafa on the throne as Mustafa IV. Selim was subsequently killed by a group of assassins.
A coffeehouse, coffee shop, or café is an establishment that primarily serves coffee of various types, notably espresso, latte, and cappuccino. Some coffeehouses may serve cold drinks, such as iced coffee and iced tea, as well as other non-caffeinated beverages. In continental Europe, cafés serve alcoholic drinks. A coffeehouse may also serve food, such as light snacks, sandwiches, muffins, fruit, or pastries. Coffeehouses range from owner-operated small businesses to large multinational corporations. Some coffeehouse chains operate on a franchise business model, with numerous branches across various countries around the world.
Turkish coffee is a style of coffee prepared in a cezve using very finely ground coffee beans without filtering.
Ottoman culture evolved over several centuries as the ruling administration of the Turks absorbed, adapted and modified the various native cultures of conquered lands and their peoples. There was influence from the customs and languages of Islamic societies, while Persian culture had a significant contribution through the Seljuq Turks, the Ottomans' predecessors. Despite newer added amalgamations, the Ottoman dynasty, like their predecessors in the Sultanate of Rum and the Seljuk Empire were influenced by Persian culture, language, habits and customs. Throughout its history, the Ottoman Empire had substantial subject populations of Orthodox subjects, Armenians, Jews and Assyrians, who were allowed a certain amount of autonomy under the millet system of Ottoman government, and whose distinctive cultures were adopted and adapted by the Ottoman state.
A kaftan or caftan is a variant of the robe or tunic. Originating in Asia, it has been worn by a number of cultures around the world for thousands of years. In Russian usage, kaftan instead refers to a style of men's long suit with tight sleeves. It may be made of wool, cashmere, silk, or cotton, and may be worn with a sash. Popular during the time of the Ottoman Empire, detailed and elaborately designed garments were given to ambassadors and other important guests at the Topkapı Palace. Variations of the kaftan were inherited by cultures throughout Asia and were worn by individuals in Russia, Southwest Asia and Northern Africa.
Turkish music, in the sense described here, is not the music of Turkey, but rather a musical style that was occasionally used by the European composers of the Classical music era. This music was modelled—though often only distantly—on the music of Turkish military bands, specifically the Janissary bands.
Chinoiserie is the European interpretation and imitation of Chinese and other East Asian artistic traditions, especially in the decorative arts, garden design, architecture, literature, theatre, and music. The aesthetic of chinoiserie has been expressed in different ways depending on the region. Its acknowledgement derives from the current of Orientalism, which studied Far East cultures from a historical, philological, anthropological, philosophical and religious point of view. First appearing in the 17th century, this trend was popularized in the 18th century due to the rise in trade with China and the rest of East Asia.
The köçek was typically a very handsome young male slave or a Romani dancer (rakkas), who usually cross-dressed in feminine attire, and was employed as an entertainer.
The Tulip Period, or Tulip Era, is a period in Ottoman history from the Treaty of Passarowitz on 21 July 1718 to the Patrona Halil Revolt on 28 September 1730. This was a relatively peaceful period, during which the Ottoman Empire began to orient itself outwards.
Ottoman miniature or Turkish miniature was a Turkish art form in the Ottoman Empire, which can be linked to the Persian miniature tradition, as well as strong Chinese artistic influences. It was a part of the Ottoman book arts, together with illumination, calligraphy, marbling paper, and bookbinding. The words taswir or nakish were used to define the art of miniature painting in Ottoman Turkish. The studios the artists worked in were called Nakkashanes.
Ottoman cuisine is the cuisine of the Ottoman Empire and its continuation in the cuisines of Turkey, the Balkans, Caucasus, Middle East and Northern Africa.
Turkish art refers to all works of visual art originating from the geographical area of what is present day Turkey since the arrival of the Turks in the Middle Ages. Turkey also was the home of much significant art produced by earlier cultures, including the Hittites, Ancient Greeks, and Byzantines. Ottoman art is therefore the dominant element of Turkish art before the 20th century, although the Seljuks and other earlier Turks also contributed. The 16th and 17th centuries are generally recognized as the finest period for art in the Ottoman Empire, much of it associated with the huge Imperial court. In particular the long reign of Suleiman the Magnificent from 1520 to 1566 brought a combination, rare in any ruling dynasty, of political and military success with strong encouragement of the arts.
Coffee culture is the set of traditions and social behaviors that surround the consumption of coffee, particularly as a social lubricant. The term also refers to the cultural diffusion and adoption of coffee as a widely consumed stimulant. In the late 20th century, espresso became an increasingly dominant drink contributing to coffee culture, particularly in the Western world and other urbanized centers around the globe.
Orientalism in early modern France refers to the interaction of pre-modern France with the Orient, and especially the cultural, scientific, artistic and intellectual impact of these interactions, ranging from the academic field of Oriental studies to Orientalism in fashions in the decorative arts.
Abdullah Buhari was an 18th-century Ottoman court miniature painter. He is often described as the most important Ottoman artist of his period. Abdullah Buhari was known for making portraits of women, specializing in female figures and floral still-life. He also had an innovative approach to creating three-dimensional paintings which attracted an abundance of attention throughout the Ottoman time period, which ultimately created a strong connection to artistic Western contemporaries.
Sa'dabad Pavilion was a royal Ottoman complex located in the present day Kağıthane district of Istanbul. Built by Grand Vizir İbrahim Paşa during the reign of Ahmed III, the pavilion embodied the period of Ottoman royal indulgence known as the Tulip period. The pavilion no longer exists today after having been mostly destroyed in 1730.
The Ottoman coffeehouse, or Ottoman Café was a distinctive part of the culture of the Ottoman Empire. These coffeehouses, started in the mid-sixteenth century, brought together citizens across society for educational, social, and political activity as well as general information exchange. The popularity of these coffeehouses attracted government interest and were attended by government spies to gather public opinion. Ottoman coffeehouses also had religious and musical ties. Europeans adopted coffeehouses and other Ottoman leisure customs during the early modern period.
The Salimiyya Takiyya is a takiyya in as-Salihiyya, Damascus.