By Suraiya Faroqhi
The manufacture and alternate in crafted items and the lads and ladies who have been enthusiastic about this industry--including metalworkers, ceramicists, silk weavers, fez-makers, blacksmiths or even barbers--lay on the social in addition to the industrial middle of the Ottoman empire. This accomplished heritage via prime Ottoman historian Suraiya Faroqhi offers the definitive view of the topic, from the construction and distribution of other craft gadgets to their use and pleasure in the group. Succinct but entire, Artisans of Empire analyzes the construction and alternate of crafts from the start of the 16th century to the early 20th century, concentrating on its background, politics and tradition. construction tools, the association of alternate guilds, spiritual changes, the contribution of ladies and the constitution of the Ottoman financial system all come less than scrutiny during this wide-ranging heritage that mixes willing research with descriptions of the attractive and occasionally unknown works of Ottoman artisans. Faroqhi sheds new gentle on all features of artisan existence, surroundings the troubles of person craftsmen in the context of the wider cultural subject matters that attach them to the broader world. Combining social, cultural, monetary, spiritual and historiographical insights, this can be the authoritative paintings on Ottoman artisans and guilds for a few years to come back.
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Additional info for Artisans of Empire: Crafts and Craftspeople Under the Ottomans (Library of Ottoman Studies)
And if the latter was true, what do we know about the emergence of these groupings, which for the sake of convenience we will call guilds? How these guilds came into being, as well as their early history, is one of the most diﬃcult questions confronting Ottomanists, for sources are at a premium. For readers familiar with the history of artisan and commercial guilds in medieval Europe, this will not come as a surprise. Yet Ottoman guilds emerged within an empire governed by an early modern bureaucracy, whose members produced numerous documents, unlike early feudal society where many important matters never were written down.
Jerusalem turned out to be an interesting and idiosyncratic case, as in this relatively small town the judges’ registers go back to the 1530s and references to artisans abound – court registers in most other towns have far less to oﬀer on this subject. Amnon Cohen therefore was able to show that the local butchers held a special place: prosperous members of the trade might link themselves to families of religious scholars and, if things went well, prepare the ascent of their sons into the Ottoman governing class.
Outside of Cairo the early modern crafts of Egypt rarely have been investigated. 53 From the craft historian’s viewpoint, however, Cairo remains the key site, especially since the city’s houses so often were built in stone and therefore examples of the builder’s and decorator’s art have survived not only from the Ottoman but even from the medieval (Mamluk) period. 54 Some work also has been done on the various and highly skilled crafts that cooperated in the decoration of expensive palatial homes, such as joiners, specialists in mosaics or decorative painters.