Procession of Sultan Süleyman through the Atmeidan from the frieze Ces Moeurs et fachons de faire de Turcz (Customs and Fashions of the Turks) 1553

Editor: Here we have Pieter Coecke van Aelst’s "Procession of Sultan Süleyman through the Atmeidan," a woodcut from 1553. It has a panoramic quality, filled with so many details… I'm curious about how this type of image functioned at the time it was created. What stands out to you? Curator: It's crucial to acknowledge that this image comes from a moment of intense cultural exchange, but also significant power imbalances between Europe and the Ottoman Empire. Van Aelst never actually traveled to Istanbul. So, we have to ask: whose perspective is really being represented here? Editor: You mean, the image might reflect more about the West's perception of the East than actual Ottoman culture? Curator: Exactly. The "exotic" details – the elaborate costumes, the bustling cityscape – are presented for a European audience hungry for knowledge of the "other." Consider also the title, from the frieze “Customs and Fashions of the Turks.” What underlying assumptions are at play? Editor: So it's not just a neutral depiction, but an interpretation loaded with its own biases. The artist includes Roman ruins and obelisks next to mosques…Was there a suggestion about linking the Ottoman empire to the Roman empire and its ultimate demise? Curator: Precisely! Think about the power dynamics embedded in visual representation. By placing Süleyman's procession within a framework familiar to European viewers, Van Aelst subtly asserts a sense of Western cultural dominance. What effect do you think such depictions might have had? Editor: It could have solidified stereotypes, created distance and reinforced a sense of European superiority. Thanks. Now, I understand more about how the image's meaning is so much more intricate, laden with social and cultural meaning.