%100 ORIGINAL ANTIQUE UNIQUE SILVER ENAMEL OTTOMAN TURKISH LADIES POCKET PENDANT

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%100 ORIGINAL ANTIQUE UNIQUE SILVER ENAMEL OTTOMAN TURKISH LADIES POCKET PENDANT:
$5000.00

%100 ORIGINAL ANTIQUE UNIQUE SILVER ENAMEL OTTOMAN TURKISH LADIES POCKET PENDANT
A Collectors Piece with decorated Pearls around the case
Silver Case
Enamel Ottoman Coat of Arms with white background on Porcelain,
In great condition
Explanation of the Ottoman Coat of Arms:
The design of the Ottoman Coat of Arms was a result of the efforts of Abdulhamid II. This Sultan wanted to make the Ottoman Empire a member of the Great States during the last quarter of \"The Longest Century of the Empire\", a time in which he remained in power. Despite political, economic and social difficulties, Sultan Abdülhamid II, had exerted all efforts to prove to Europe that the Ottoman Empire was a great state of the world.
The Ottomans rivalled the coat-of-arms formed with rich components of the European monarchies with the mysterious appearance of \"tugras\"(the seals of the sultans). The difficulty in analyzing the magic and mystery in its vision, the unexplicability of it as a symbol, and a sign was the reason why it was produced. Contrary to the western coats-of-arms which have a long history, and are composed of simple symbols and shapes, the tugras remain as symbols difficult to understand.
Therefore, the necessity to create a coat-of-arms, the symbols of which, could be easily understood by westerners was imperative. The Ottoman coat-of-arms which was clearly inspired by the Medal of Tanzimat (Reform) and the French `Sun King´ medal obtained its final shape with the orders of Sultan Abdülhamid on 17 April 1882. The most important characteristic of the Ottoman coats-of-arms made in conjunction with the reforms implemented towards the end of the 18th century was its militaristic appearance.
The first message desired to be conveyed to western states was the image of a great state with a powerful and traditional army.
It is an undeniable fact that while putting the final touches on the Ottoman coat-of-arms, the ideas of Sultan Abdülhamit II were taken into consideration. Most probably Abdülhamid gave orders to the artists in the palace and Mint to prepare a new coat-of-arms and approved the one he liked best among the many drawings.
The coat-of-arms was designed to show the West that the Ottoman Empire was a strong State, which also had aimed at lifting the moral values of the Ottoman people. The years during which the work on the coat-of-arms was carried out were the most difficult years of the Empire both politically and economically.
The reason why many weapons are seen together in the Ottoman coat-of-arms is to stress the military power of the State. As a simple explanation, weapons bring to mind the army and the military. The presence of many weapons together represent a strong army with high military capability. The Ottoman Empire which was left to face defeat and loss of territory, wanted to refer to its glorious and thought it would be best to place as many weapons on its coat-of-arms as possible.
There are 37 symbols, shapes and objects included in the Ottoman coat-of-arms. Most of them are symbols seen in daily life, etched in the memories of society for hundreds of years. The Ottoman identity is reflected in its coat-of-arms and this is why it was accepted and widely used by Ottoman society. The Ottoman coat-of-arms has a symmetrical graphic structure as a whole and in the upper central part there is the ÔEl Gazi’ tugra of Sultan Abdülhamid. That is why the Ottoman coat-of-arms was adopted and respected by all of society. The Ottoman Sultan was placed in the seat of honour above the State and his subjects. He creates an awesome effect mixed with mystery. A coat-of-arms without a tugra would not create such an impact and would be left void of any meaning. Naturally, the Ottoman Sultan would sit in the seat of honour with his signature. The tugra, that is to say, the sultan, as seen in the coat-of-arms is the sun lighting up the Ottoman territories. The sun is a sign of daylight and life as opposed to darkness. It is the reason for life.
Due to the tugra on the Ottoman coat-of-arms, it was continually renewed. Certainly, Sultan Abdülhamid II who designed the Ottoman coat-of-arms knew that his tugra would be replaced by another. The tugra of the Sultan to succeed him on the throne would be etched on the coat-of-arms. However this would not change the image since all the tugras of the Ottoman sultans seemed quite similar.
On the Ottoman coat-of-arms there is an Arabic inscription: “The ruler of the Ottoman Empire, Sultan Abdülhamit who puts his trust in God”.
The reason for the inscription being in Arabic is because the Ottomans would use the coat-of-arms not only in the country but abroad as well. It could well be that it was considered more proper to write it in Arabic since it is a prayer, in line with traditions. Sultan Abdülhamid II who followed an Islamic policy, may have ordered it to be written in Arabic. Although the coat-of-arms was made to represent the Ottoman Empire, the Sultan left his imprint with all his grandeur on it for the second time with this prayer.
Towards the final years of the reign of Abdülhamit, this prayer was placed on the upward-looking crescent under the tugra. On the edges of the shield twelve stars were depicted. In later years, these stars were placed between two crescents and there were twelve stars between a double-crescent on the shield. These twelve stars may have two meanings. First of all, they may symbolize the “Twelve Imams”. The Master of the Janissaries was Hacı Bektaş Veli. Therefore these stars may be a reflection of the Twelve Imams cult in Bektaşi belief. However, the fact that the Janissary system had been abrogated and the Bektaşi sect crushed in 1826 undermines this assumption.
The number twelve implies another alternative: the twelve stars or constellations of the Zodiac. This second meaning seems more reasonable. The stars on the shield place the Ottoman Empire at the center of the universe. Given that the stars were transformed into crescent-stars later, they may also be considered to represent the Ottoman provinces. It is observed that the number of stars changes on some coats-of-arms. Eight or more stars are regarded as a deviation from the norm on the coat-of-arms, usually seen on very small ones or on those carved into stone. Twelve stars were also used on the Tanzimat Medal, by which most late Ottoman tugas were probably inspired. In the center of the shield is a stylized solar symbol.
The crested headgear seen on the upper section of the shield represents Osman Gazi, the founder of the Ottoman State. For Ottomans, headgear was an important symbol, proclaiming the identity of its bearer. On the coat-of-arms it properly corresponds to those royal crowns in the West. While the tugra symbolizes the Sultan on the coat-of-arms, crested headgear represents the Ottoman throne.
The turban on the coat-of-arms is a symbol of world dominion, representing the Ottoman throne and its founder Osman Gazi.
On the right-hand side of the coat-of-arms an Ottoman banner is portrayed with a white crescent-star figure on a red field. The five-cornered star was first used on coins, and then from 1844 onwards on banners. The color of the banners was decided by Admiral Hüseyin in 1793. The Ottoman banner stands for the symbol of independence on the coat-of-arms.
On the left-hand side of the shield there is another banner with a white crescent-star symbol on a green field. The color of this Flag gives the impression that it was the Caliphate banner. Green had been the color of the Flag of Ottoman sailors. Barbaros’ Flag in the Marine Museum is green. Ships sailing on pilgrimages also hoisted a green Flag. The Ottoman army used white, yellow-red, green-red, plain red, and plain green Flags. However, during the reign of Selim III, the color of the banner was changed to red. The Asakir-i Mansure-i Muhammediye army, founded by Mahmud II, used Flags on which the first verse of the Conquest Sura was depicted. Green, symbolizing Islam, had always been the favourite color of Muslims.
The holy nature of the color green is rooted in its symbolism of life and water. Green symbolizing a sacred color is also due to the fact that the green oases in the midst of the yellow-grey Arabian deserts heralded life and water. Indeed, the banner of the Caliphate was black. Only its cover was green. Hence, the color of the Caliphate banner was also mistakenly known as green. The Ottomans adopted green as a holy color, reflecting Islamic tradition.
On the Ottoman coat-of-arms, the green banner was a reflection of the Islamic policies of Abdülhamit II. Since the Caliphate’s banner was black, that must have been black as well. However, the color green had achieved the same meaning among the people.
On the right-hand side of the Ottoman coat-of-arms, the following weapons and symbols were depicted from above, respectively:
- Spear
- Single-bladed hatchet
- Double-bladed hatchet
- Spear
- Sword
- Cannon
- Armor (?), Shield (?), Trumpet (?)
- Sword
- Iron mace
On the left-hand section of the Ottoman coat-of-arms, the following weapons and symbols were depicted from above, respectively:
- Spear
- Bayonet-rifle
- Single-bladed hatchet
- Revolver
- Şeşper (six-fold mace) or scepter
- Balance
- The Holy Koran
- Statute books
- Cornucopia
- Anchor
In the small group below the armor shield, the following symbols were depicted on the shield:
- Zurna (wind instrument)
- Lantern
- Quiver
- Floral motif
- Medals (Nişans): Şefkat Nişanı,
Nişan-ı Osmani,
Nişan-ı iftihar,
Mecidi Nişanı,
Nişan-ı Ali imtiyaz, respectively.
The Ottoman coat-of-arms received remarkable respect from the people and was widely adopted by them, for the Ottoman people saw that their religious and national symbols were prominently displayed on the coat-of-arms. It became the indicator of how the Ottoman state was able to properly evaluate the identity, feelings and aspirations of their society.
These coats-of-arms were widely used in different realms of social life, from clocks to photograph papers, from bonds to cigarettes, from cup holders to Tobacco boxes, furniture, postcards, book covers, and harnesses. Whereas the most beautiful ones were those embroidered on velvet by women which were hung on the walls of homes and villas.
The right to hang tugras on the walls of those firms serving the Palace and the Sultan himself was granted during the reign of Abdülaziz. Similarly, Abdülhamit II bestowed the award of “Master of Profession” on those who were privileged to carry out certain construction and mining activities, to some artists and craftsmen, to those who introduced a new service into the country, to those who provided the equipment needed by the Sultan, the Palace or other departments of state, and to those who contributed funds for public purposes. The underlying logic of this practice was to ensure aid to the state, to encourage production and to support intellectual and technological efforts. Alongside this award, various firms were given the right to use tugras, as well as the Ottoman coat-of-arms.
Those firms who were given the right to hang up the tugra and the Ottoman coat-of-arms achieved a structural competitiveness compared to their rivals and received remarkable benefits by using the coat-of-arms in their advertisements, correspondence, invoices and labels. Other firms which had realized this fact tried to obtain the same right by means of grants to the Ottoman state. This development motivated those corporations exporting to Ottoman lands from European countries as well. Placing the Ottoman coat-of-arms on their products, Western traders were able to trade easily. In this way, even a product from a country out of favor with the Ottoman people could be marketed without any hindrance
The Ottoman capital has always been a commercial center. Every product bearing the name `Istanbul’ and the coat-of-arms of the Caliphate was sold, and was even preferred over products from other cities in Muslim countries.Beware of Fake Enamel Ottoman Tughra Pocket watches made in Bulgaria. All of these enamel pocket watches are FAKE and have been produced recently