Question: What Realist novel did Ahmed Midhat Efendi write in 1881?

Answer: Henüz On Yedi Yaşında

Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. <hl> In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism ( Henüz On Yedi Yaşında , 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). <hl> This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures.

Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (<hl> Henüz On Yedi Yaşında <hl>, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures.

In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism ( <hl> Henüz On Yedi Yaşında <hl> , 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations").

question: What Realist novel did Ahmed Midhat Efendi write in 1881?, context: Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures.


Question: What did writers of the Tanzimat period hope to accomplish with their publications?

Answer: contribute to a revitalization of Ottoman social structures

Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). <hl> This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures . <hl>

Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would <hl> contribute to a revitalization of Ottoman social structures <hl>.

This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would <hl> contribute to a revitalization of Ottoman social structures <hl> .

question: What did writers of the Tanzimat period hope to accomplish with their publications?, context: Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures.


Question: Ottoman artists mixed Chinese art with the art of what else?

Answer: traditional Byzantine art

Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. <hl> The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art. <hl>

Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing <hl> traditional Byzantine art <hl> with elements of Chinese art.

question: Ottoman artists mixed Chinese art with the art of what else?, context: Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.


Question: The ottoman empire built structures in Romania that included Mosques, and Bridges, what else was built?

Answer: fountains and schools

<hl> Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. <hl> The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.

Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, <hl> fountains and schools <hl> were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.

question: The ottoman empire built structures in Romania that included Mosques, and Bridges, what else was built?, context: Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.


Question: Why did the art of the Ottoman empire develop the way it did?

Answer: the wide ethnic range of the Ottoman Empire

Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. <hl> The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire . <hl> The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.

Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to <hl> the wide ethnic range of the Ottoman Empire <hl>. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.

The art of Ottoman decoration developed with a multitude of influences due to <hl> the wide ethnic range of the Ottoman Empire <hl> .

question: Why did the art of the Ottoman empire develop the way it did?, context: Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.


Question: Beside Edirne, Istanbul, and Egypt what other locations can one find the influence of the Ottoman classical period?

Answer: Eritrea, Tunisia, Algiers, the Balkans and Romania

<hl> Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania , where mosques, bridges, fountains and schools were built. <hl> The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.

Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, <hl> Eritrea, Tunisia, Algiers, the Balkans and Romania <hl>, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.

Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, <hl> Eritrea, Tunisia, Algiers, the Balkans and Romania <hl> , where mosques, bridges, fountains and schools were built.

question: Beside Edirne, Istanbul, and Egypt what other locations can one find the influence of the Ottoman classical period?, context: Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art.


Question: Were would one find the sheets where Ottoman's created illuminated decorations?

Answer: muraqqa

<hl> Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. <hl> It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in <hl> muraqqa <hl> or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

question: Were would one find the sheets where Ottoman's created illuminated decorations?, context: Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.


Question: What is another name for an Ottoman miniature?

Answer: taswir

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. <hl> It was a part of the Ottoman Book Arts together with the Ottoman miniature ( taswir ), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). <hl> In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (<hl> taswir <hl>), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

It was a part of the Ottoman Book Arts together with the Ottoman miniature ( <hl> taswir <hl> ), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru).

question: What is another name for an Ottoman miniature?, context: Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.


Question: Ottoman calligraphy can also be referred to as what?

Answer: hat

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. <hl> It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy ( hat ), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). <hl> In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (<hl> hat <hl>), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy ( <hl> hat <hl> ), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru).

question: Ottoman calligraphy can also be referred to as what?, context: Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.


Question: Who commissioned illustrated manuscripts in the Ottoman empire?

Answer: the Sultan or the administrators of the court

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). <hl> In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court . <hl> In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by <hl> the Sultan or the administrators of the court <hl>. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by <hl> the Sultan or the administrators of the court <hl> .

question: Who commissioned illustrated manuscripts in the Ottoman empire?, context: Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.


Question: What palace was the place of creation for illustrated manuscripts?

Answer: Topkapi Palace

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. <hl> In Topkapi Palace , these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. <hl> Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In <hl> Topkapi Palace <hl>, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

In <hl> Topkapi Palace <hl> , these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists.

question: What palace was the place of creation for illustrated manuscripts?, context: Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.


Question: Which art was important in religious symbolism and as a decoration in the Ottoman empire?

Answer: carpet weaving

<hl> The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. <hl> The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The art of <hl> carpet weaving <hl> was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

question: Which art was important in religious symbolism and as a decoration in the Ottoman empire?, context: The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.


Question: What was the custom for those wearing shoes indoors in the Ottoman empire?

Answer: it was customary to remove one's shoes

<hl> The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. <hl> The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as <hl> it was customary to remove one's shoes <hl> in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

question: What was the custom for those wearing shoes indoors in the Ottoman empire?, context: The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.


Question: Where did carpet weaving in the Empire originate?

Answer: the nomadic cultures of central Asia

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. <hl> The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. <hl> Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in <hl> the nomadic cultures of central Asia <hl> (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

question: Where did carpet weaving in the Empire originate?, context: The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.


Question: Where did carpet weaving initially spread to inside of the Empire?

Answer: Anatolia

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. <hl> The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia . <hl> Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of <hl> Anatolia <hl>. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of <hl> Anatolia <hl> .

question: Where did carpet weaving initially spread to inside of the Empire?, context: The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.


Question: Kilims were used by Turks to provide insulation where?

Answer: walls and doorways

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. <hl> Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways , where they provided additional insulation. <hl> They were also commonly donated to mosques, which often amassed large collections of them.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on <hl> walls and doorways <hl>, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on <hl> walls and doorways <hl> , where they provided additional insulation.

question: Kilims were used by Turks to provide insulation where?, context: The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.


Question: The elites of the Ottoman empire found what type of music important?

Answer: Ottoman classical music

<hl> Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. <hl> Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

<hl> Ottoman classical music <hl> was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

question: The elites of the Ottoman empire found what type of music important?, context: Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.


Question: Many of the Sultans of the Ottoman empire were accomplished at being what?

Answer: musicians and composers

<hl> Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. <hl> Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished <hl> musicians and composers <hl> themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

question: Many of the Sultans of the Ottoman empire were accomplished at being what?, context: Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.


Question: The sultan known by what name has compositions which are still performed today?

Answer: Selim III

<hl> Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III , whose compositions are often still performed today. <hl> Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as <hl> Selim III <hl>, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as <hl> Selim III <hl> , whose compositions are often still performed today.

question: The sultan known by what name has compositions which are still performed today?, context: Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.


Question: What rhythmic units does Ottoman classical music use?

Answer: units called usul

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. <hl> Compositionally, it is organised around rhythmic units called usul , which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. <hl>

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic <hl> units called usul <hl>, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Compositionally, it is organised around rhythmic <hl> units called usul <hl> , which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

question: What rhythmic units does Ottoman classical music use?, context: Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.


Question: What are the melodic units used by Ottoman classical music?

Answer: makam

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. <hl> Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam , which bear some resemblance to Western musical modes. <hl>

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called <hl> makam <hl>, which bear some resemblance to Western musical modes.

Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called <hl> makam <hl> , which bear some resemblance to Western musical modes.

question: What are the melodic units used by Ottoman classical music?, context: Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.


Question: What are the three most used Anatolian and central asian instruments in Ottoman Classical music?

Answer: the saz, the bağlama, the kemence

<hl> The instruments used are a mixture of Anatolian and Central Asian instruments ( the saz, the bağlama, the kemence ), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). <hl> Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (<hl> the saz, the bağlama, the kemence <hl>), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments ( <hl> the saz, the bağlama, the kemence <hl> ), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano).

question: What are the three most used Anatolian and central asian instruments in Ottoman Classical music?, context: The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.


Question: Which Middle Eastern instruments can be heard in Ottoman classical music?

Answer: the ud, the tanbur, the kanun, the ney

<hl> The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments ( the ud, the tanbur, the kanun, the ney ), and—later in the tradition—Western instruments (the violin and the piano). <hl> Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (<hl> the ud, the tanbur, the kanun, the ney <hl>), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments ( <hl> the ud, the tanbur, the kanun, the ney <hl> ), and—later in the tradition—Western instruments (the violin and the piano).

question: Which Middle Eastern instruments can be heard in Ottoman classical music?, context: The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.


Question: In late Ottoman classical music one can find Western instruments, what were they?

Answer: the violin and the piano

<hl> The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments ( the violin and the piano ). <hl> Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (<hl> the violin and the piano <hl>). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments ( <hl> the violin and the piano <hl> ).

question: In late Ottoman classical music one can find Western instruments, what were they?, context: The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.


Question: There were two main style of music in the Ottoman empire, what were they?

Answer: classical music, and folk music

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). <hl> Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music . <hl> In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman <hl> classical music, and folk music <hl>. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman <hl> classical music, and folk music <hl> .

question: There were two main style of music in the Ottoman empire, what were they?, context: The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.


Question: What were the most distinctive style of music in the Ottoman provinces?

Answer: Janissary Music, Roma music, Belly dance, Turkish folk music

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. <hl> Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music . <hl>

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: <hl> Janissary Music, Roma music, Belly dance, Turkish folk music <hl>.

Some of the distinctive styles were: <hl> Janissary Music, Roma music, Belly dance, Turkish folk music <hl> .

question: What were the most distinctive style of music in the Ottoman provinces?, context: The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.


Question: The cuisine known as Ottoman cuisine is in reference to the food eaten where?

Answer: the capital, Istanbul, and the regional capital cities

<hl> Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities , where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. <hl> This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of <hl> the capital, Istanbul, and the regional capital cities <hl>, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of <hl> the capital, Istanbul, and the regional capital cities <hl> , where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared.

question: The cuisine known as Ottoman cuisine is in reference to the food eaten where?, context: Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: In what kitchen's was Ottoman cuisine perfected?

Answer: the Imperial Palace's kitchens

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. <hl> This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. <hl> The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in <hl> the Imperial Palace's kitchens <hl> by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

question: In what kitchen's was Ottoman cuisine perfected?, context: Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: What is one type of religious event that the general public may come to experience the creations of the Imperial Palace?

Answer: Ramadan

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. <hl> The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. <hl>

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through <hl> Ramadan <hl> events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

question: What is one type of religious event that the general public may come to experience the creations of the Imperial Palace?, context: Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: Preparing food at the Yalıs of the Pashas was one way Ottoman Cuisine might spread to whom?

Answer: the population

<hl> Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. <hl> This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of <hl> the population <hl> regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

question: Preparing food at the Yalıs of the Pashas was one way Ottoman Cuisine might spread to whom?, context: Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: What did the chefs ingredients in the Imperial Palace's kitchens?

Answer: create and experiment

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. <hl> This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. <hl> The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to <hl> create and experiment <hl> with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

question: What did the chefs ingredients in the Imperial Palace's kitchens?, context: Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: Turkish cuisine originates from what source?

Answer: a shared Ottoman cuisine

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from <hl> a shared Ottoman cuisine <hl>, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from <hl> a shared Ottoman cuisine <hl> , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine.

question: Turkish cuisine originates from what source?, context: Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.


Question: The cuisine of what territories are descended from Ottoman cuisine?

Answer: former Ottoman territories

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of <hl> former Ottoman territories <hl> today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

question: The cuisine of what territories are descended from Ottoman cuisine?, context: Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.


Question: Turkish and Greek cuisine are descended from Ottoman Cuisine, along with the food of what other regions?

Answer: Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine . <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, <hl> Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine <hl>. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, <hl> Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine <hl> .

question: Turkish and Greek cuisine are descended from Ottoman Cuisine, along with the food of what other regions?, context: Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.


Question: Turkish coffee is descended from what?

Answer: Ottoman cuisine

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared <hl> Ottoman cuisine <hl>, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared <hl> Ottoman cuisine <hl> , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine.

question: Turkish coffee is descended from what?, context: Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.


Question: Pita bread descends from what type of cuisine?

Answer: Ottoman cuisine

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared <hl> Ottoman cuisine <hl>, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared <hl> Ottoman cuisine <hl> , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine.

question: Pita bread descends from what type of cuisine?, context: Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.


Question: In what century did the Ottoman's start to desire foreign manuscripts?

Answer: 15th Century

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. <hl> A great part of this desire for local and foreign manuscripts arose in the 15th Century . <hl> Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the <hl> 15th Century <hl>. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

A great part of this desire for local and foreign manuscripts arose in the <hl> 15th Century <hl> .

question: In what century did the Ottoman's start to desire foreign manuscripts?, context: Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.


Question: Which sultan ordered a Greek scholar to do translations of work by Ptolemy?

Answer: Sultan Mehmet II

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. <hl> Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. <hl> Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. <hl> Sultan Mehmet II <hl> ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

question: Which sultan ordered a Greek scholar to do translations of work by Ptolemy?, context: Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.


Question: Who did an Ottoman sultan order to translate work by Ptolemy?

Answer: Georgios Amiroutzes

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. <hl> Sultan Mehmet II ordered Georgios Amiroutzes , a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. <hl> Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered <hl> Georgios Amiroutzes <hl>, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Sultan Mehmet II ordered <hl> Georgios Amiroutzes <hl> , a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy.

question: Who did an Ottoman sultan order to translate work by Ptolemy?, context: Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.


Question: How many years did Ali Qushji spend in Istanbul?

Answer: two or three years

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. <hl> Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul. <hl>

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent <hl> two or three years <hl> before his death in Istanbul.

question: How many years did Ali Qushji spend in Istanbul?, context: Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.