Examination of Ottoman Period paper moneys in terms of decoration

Late period Ottoman art has undergone great changes under the influence of Western art. The turning point of this change is considered to be the return of Yirmisekiz Mehmed Çelebi, who was the ambassador in Paris between 1720-1721, to his homeland. The Ottoman palace and the wealthy became more and more in demand for items made with this different understanding of art and design coming from the West. Western-style comissions began to be given to artists. Western art, the influence of which has been clearly seen since the middle of the 18th century, has been interpreted and adapted within the Ottoman understanding of art. The late entry of baroque, rococo and neoclassical styles into Ottoman art, which we can follow chronologically in Western art, made the boundaries of this chronology in Ottoman art transparent and made it difficult to follow. While baroque mostly represented architecture in Ottoman art, rococo represented book arts. The use of baroque and rococo styles, which are clearly distinguished from each other in Western art, in Ottoman art shows the confusion in late art. An eclectic understanding started with the neoclassical-empire style that we started to see with the period of Sultan Selim III (1789-1807), and late period styles were used together. The Ottoman Empire, which applied to different solutions with its financial problems, printed its first paper money in the first half of the 19th century. Contrary to what is experienced in art, the paper money system was introduced due to necessity. It was thought that the kaimes, which were issued with the logic of borrowing from the public, would close the deficit in the treasury, but this practice led to much more problems in a short time. Debts have increased, the people have suffered. The confusion arising from the lack of cultural infrastructure in art has been experienced due to the lack of system infrastructure in paper money. Banks were established as a solution to the deepening crisis, and the first kaimes were removed with great efforts. With the abolition of kaimes, the first banknote could be printed in 1863, but the State had to return to kaimes every time it got stuck. There are ornaments in rococo and neoclassical styles on the kaime, banknotes and bonds issued in this process. The decorations of the samples selected from the banknotes in the SALT Research archive and the bonds in the Alpay Tarhan collection were examined and compared with the decoration styles of the period. Keywords: Rococo, Neoclassical, Banknote, Kaime, Motif, Design, Ottoman