Ottoman Turkish Language

Old Ottoman turkish Music - 17th Century - Murabba Düyek Eğer by Ali Ufki *1600 1600

Order: Reorder
Duration: 1:35
Updated: 16 Dec 2013

Wojciech Bobowski or Ali Ufki (also Albertus Bobovius, Ali Bey, Santurî Ali Ufki; 1610[1]--1675) was a Polish musician and dragoman in the Ottoman Empire. He translated the Bible into Ottoman Turkish, composed an Ottoman Psalter, based on the Genevan metrical psalter, and wrote a grammar of the Ottoman Turkish language. His musical works are considered among the most important in 17th-century Ottoman music. Bobowski was born as a Pole in Bobowa near Gorlice He was raised in a Protestant family[1] and started a career as a church musician. At some point[2], he was taken as a worker by a Turkish Prince as his sister was married by an Ottoman king. Because he had enjoyed musical training and was capable of reading and notating music [3], he was sold to the court of sultan Murad IV (and later Ibrahim I and Mehmed IV), where he converted to Islam and became known as 'Alī Ufqī.[2] At the court he served as an interpreter, treasurer and musician in the sultan's seraglio. He was also known to master sixteen languages, next to Polish and Turkish also Arabic, French, German, Greek, Hebrew, Italian, and Latin. Around 1657, approximately 19--20 years after he was captured[4], when on a voyage to Egypt, he regained his liberty, after which he lived in Egypt for some time. It is also likely he travelled on a pilgrimage to Mecca. After he gained his freedom he became one of the most important dragomans in the Ottoman Empire.[5] Bible translation Bobowski, or now Ufki, having been raised as a Christian and now being a convert to Islam, became deeply interested in religious issues. He translated the Anglican catechism into Ottoman Turkish, and wrote an explanation of Islam in Latin, in an attempt to increase the mutual understandings of both cultures. Bobowski's translation of the Bible into Turkish, known as the Kitabı Mukaddes ("Holy Book") has for long been the only complete Turkish Bible, and is considered one of his greatest achievements. In 2002, a new translation was published, but the 17th century translation, now written in the Latin alphabet, is still used by some. Psalter Having been raised in a Protestant family, Bobowski was familiar with the singing of the Genevan Psalms. This experience has been a great influence on his composition of fourteen Turkish psalms. In this small collection of psalms, known as Mezmurlar and released in 1665, Ali Ufki used original melodies from the Genevan Psalter, an early Calvinist hymnbook. He classified them using the Turkish modal system and translated the texts into the Ottoman Turkish. Because of certain features of French prosody, the Genevan melodies tend to be in asymmetrical meters, which makes them more similar to Middle Eastern music than much of other European music. Rhythmical intensity is likely one of the most important shared features, and their modal character facilitates their transformation into Turkish modes, as this can be done with only light changes in intonation. Ali Ufki's versions of the psalms are relatively simple; with careful attention paid to ensuring words are easy to understand and music is only the background. In 2005, the King's Singers together with Sarband released a CD titled Sacred Bridges which includes recordings of Psalms 5, 6, and 9 from Ali Ufki's psalter. Musical anthologies Among his achievements was the release of two manuscript anthologies of Ottoman music, known as Mecmûa-i Sâz ü Söz ("Collection of Instrumental and Vocal Works"). These anthologies contained both sacred and secular pieces, instrumental and vocal music, art music as well as traditional Turkish songs. Only two manuscript copies survive: in the British Library and the Bibliothèque Nationale [6]. This work preserved for modern times several hundred classical Ottoman songs and instrumental pieces and is the first instance in which western staff notation was applied to Turkish music. Other works In 1666 Bobowski also wrote a grammar of the Ottoman Turkish language. He also translated works of Hugo Grotius and Comenius into that language.[7]

http://wn.com/Old_Ottoman_turkish_Music_17th_Century_Murabba_Düyek_Eğer_by_Ali_Ufki_*1600_1600

Venice and the Ottoman Empire: Crash Course World History #19

Order: Reorder
Duration: 10:12
Updated: 19 Aug 2013

In which John Green discusses the strange and mutually beneficial relationship between a republic, the citystate of Venice, and an Empire, the Ottomans--and ...

http://wn.com/Venice_and_the_Ottoman_Empire_Crash_Course_World_History_19

Old Ottoman turkish Music - 17th Century - Hüseynî 'Murabba' by Ali Ufki * 1600

Order: Reorder
Duration: 1:47
Updated: 16 Dec 2013

Wojciech Bobowski or Ali Ufki (also Albertus Bobovius, Ali Bey, Santurî Ali Ufki; 1610[1]--1675) was a Polish musician and dragoman in the Ottoman Empire. He translated the Bible into Ottoman Turkish, composed an Ottoman Psalter, based on the Genevan metrical psalter, and wrote a grammar of the Ottoman Turkish language. His musical works are considered among the most important in 17th-century Ottoman music. Bobowski was born as a Pole in Bobowa near Gorlice He was raised in a Protestant family[1] and started a career as a church musician. At some point[2], he was taken as a worker by a Turkish Prince as his sister was married by an Ottoman king. Because he had enjoyed musical training and was capable of reading and notating music [3], he was sold to the court of sultan Murad IV (and later Ibrahim I and Mehmed IV), where he converted to Islam and became known as 'Alī Ufqī.[2] At the court he served as an interpreter, treasurer and musician in the sultan's seraglio. He was also known to master sixteen languages, next to Polish and Turkish also Arabic, French, German, Greek, Hebrew, Italian, and Latin. Around 1657, approximately 19--20 years after he was captured[4], when on a voyage to Egypt, he regained his liberty, after which he lived in Egypt for some time. It is also likely he travelled on a pilgrimage to Mecca. After he gained his freedom he became one of the most important dragomans in the Ottoman Empire.[5] Bible translation Bobowski, or now Ufki, having been raised as a Christian and now being a convert to Islam, became deeply interested in religious issues. He translated the Anglican catechism into Ottoman Turkish, and wrote an explanation of Islam in Latin, in an attempt to increase the mutual understandings of both cultures. Bobowski's translation of the Bible into Turkish, known as the Kitabı Mukaddes ("Holy Book") has for long been the only complete Turkish Bible, and is considered one of his greatest achievements. In 2002, a new translation was published, but the 17th century translation, now written in the Latin alphabet, is still used by some. Psalter Having been raised in a Protestant family, Bobowski was familiar with the singing of the Genevan Psalms. This experience has been a great influence on his composition of fourteen Turkish psalms. In this small collection of psalms, known as Mezmurlar and released in 1665, Ali Ufki used original melodies from the Genevan Psalter, an early Calvinist hymnbook. He classified them using the Turkish modal system and translated the texts into the Ottoman Turkish. Because of certain features of French prosody, the Genevan melodies tend to be in asymmetrical meters, which makes them more similar to Middle Eastern music than much of other European music. Rhythmical intensity is likely one of the most important shared features, and their modal character facilitates their transformation into Turkish modes, as this can be done with only light changes in intonation. Ali Ufki's versions of the psalms are relatively simple; with careful attention paid to ensuring words are easy to understand and music is only the background. In 2005, the King's Singers together with Sarband released a CD titled Sacred Bridges which includes recordings of Psalms 5, 6, and 9 from Ali Ufki's psalter. Musical anthologies Among his achievements was the release of two manuscript anthologies of Ottoman music, known as Mecmûa-i Sâz ü Söz ("Collection of Instrumental and Vocal Works"). These anthologies contained both sacred and secular pieces, instrumental and vocal music, art music as well as traditional Turkish songs. Only two manuscript copies survive: in the British Library and the Bibliothèque Nationale [6]. This work preserved for modern times several hundred classical Ottoman songs and instrumental pieces and is the first instance in which western staff notation was applied to Turkish music. Other works In 1666 Bobowski also wrote a grammar of the Ottoman Turkish language. He also translated works of Hugo Grotius and Comenius into that language.[7]

http://wn.com/Old_Ottoman_turkish_Music_17th_Century_Hüseynî_'Murabba'_by_Ali_Ufki_*_1600

Ottoman Sufi Music Sultan Composers: Songtext: Sultan Murad III. Music by Ali Ufki *1600

Order: Reorder
Duration: 4:31
Updated: 03 Mar 2014

Wojciech Bobowski or Ali Ufki (also Albertus Bobovius, Ali Bey, Santurî Ali Ufki; 1610[1]--1675) was a Polish musician and dragoman in the Ottoman Empire. He translated the Bible into Ottoman Turkish, composed an Ottoman Psalter, based on the Genevan metrical psalter, and wrote a grammar of the Ottoman Turkish language. His musical works are considered among the most important in 17th-century Ottoman music. Bobowski was born as a Pole in Bobowa near Gorlice He was raised in a Protestant family[1] and started a career as a church musician. At some point[2], he was taken as a worker by a Turkish Prince as his sister was married by an Ottoman king. Because he had enjoyed musical training and was capable of reading and notating music [3], he was sold to the court of sultan Murad IV (and later Ibrahim I and Mehmed IV), where he converted to Islam and became known as 'Alī Ufqī.[2] At the court he served as an interpreter, treasurer and musician in the sultan's seraglio. He was also known to master sixteen languages, next to Polish and Turkish also Arabic, French, German, Greek, Hebrew, Italian, and Latin. Around 1657, approximately 19--20 years after he was captured[4], when on a voyage to Egypt, he regained his liberty, after which he lived in Egypt for some time. It is also likely he travelled on a pilgrimage to Mecca. After he gained his freedom he became one of the most important dragomans in the Ottoman Empire.[5] Bible translation Bobowski, or now Ufki, having been raised as a Christian and now being a convert to Islam, became deeply interested in religious issues. He translated the Anglican catechism into Ottoman Turkish, and wrote an explanation of Islam in Latin, in an attempt to increase the mutual understandings of both cultures. Bobowski's translation of the Bible into Turkish, known as the Kitabı Mukaddes ("Holy Book") has for long been the only complete Turkish Bible, and is considered one of his greatest achievements. In 2002, a new translation was published, but the 17th century translation, now written in the Latin alphabet, is still used by some. Psalter Having been raised in a Protestant family, Bobowski was familiar with the singing of the Genevan Psalms. This experience has been a great influence on his composition of fourteen Turkish psalms. In this small collection of psalms, known as Mezmurlar and released in 1665, Ali Ufki used original melodies from the Genevan Psalter, an early Calvinist hymnbook. He classified them using the Turkish modal system and translated the texts into the Ottoman Turkish. Because of certain features of French prosody, the Genevan melodies tend to be in asymmetrical meters, which makes them more similar to Middle Eastern music than much of other European music. Rhythmical intensity is likely one of the most important shared features, and their modal character facilitates their transformation into Turkish modes, as this can be done with only light changes in intonation. Ali Ufki's versions of the psalms are relatively simple; with careful attention paid to ensuring words are easy to understand and music is only the background. In 2005, the King's Singers together with Sarband released a CD titled Sacred Bridges which includes recordings of Psalms 5, 6, and 9 from Ali Ufki's psalter. Musical anthologies Among his achievements was the release of two manuscript anthologies of Ottoman music, known as Mecmûa-i Sâz ü Söz ("Collection of Instrumental and Vocal Works"). These anthologies contained both sacred and secular pieces, instrumental and vocal music, art music as well as traditional Turkish songs. Only two manuscript copies survive: in the British Library and the Bibliothèque Nationale [6]. This work preserved for modern times several hundred classical Ottoman songs and instrumental pieces and is the first instance in which western staff notation was applied to Turkish music. Other works In 1666 Bobowski also wrote a grammar of the Ottoman Turkish language. He also translated works of Hugo Grotius and Comenius into that language.[7]

http://wn.com/Ottoman_Sufi_Music_Sultan_Composers_Songtext_Sultan_Murad_III_Music_by_Ali_Ufki_*1600

Islamic Ottoman Music by Ali Ufki *1600 - Teşbh i 'Arabbî Esselâmü aleyke

Order: Reorder
Duration: 3:46
Updated: 18 Dec 2013

Wojciech Bobowski or Ali Ufki (also Albertus Bobovius, Ali Bey, Santurî Ali Ufki; 1610[1]--1675) was a Polish musician and dragoman in the Ottoman Empire. He translated the Bible into Ottoman Turkish, composed an Ottoman Psalter, based on the Genevan metrical psalter, and wrote a grammar of the Ottoman Turkish language. His musical works are considered among the most important in 17th-century Ottoman music. Bobowski was born as a Pole in Bobowa near Gorlice He was raised in a Protestant family[1] and started a career as a church musician. At some point[2], he was taken as a worker by a Turkish Prince as his sister was married by an Ottoman king. Because he had enjoyed musical training and was capable of reading and notating music [3], he was sold to the court of sultan Murad IV (and later Ibrahim I and Mehmed IV), where he converted to Islam and became known as 'Alī Ufqī.[2] At the court he served as an interpreter, treasurer and musician in the sultan's seraglio. He was also known to master sixteen languages, next to Polish and Turkish also Arabic, French, German, Greek, Hebrew, Italian, and Latin. Around 1657, approximately 19--20 years after he was captured[4], when on a voyage to Egypt, he regained his liberty, after which he lived in Egypt for some time. It is also likely he travelled on a pilgrimage to Mecca. After he gained his freedom he became one of the most important dragomans in the Ottoman Empire.[5] Bible translation Bobowski, or now Ufki, having been raised as a Christian and now being a convert to Islam, became deeply interested in religious issues. He translated the Anglican catechism into Ottoman Turkish, and wrote an explanation of Islam in Latin, in an attempt to increase the mutual understandings of both cultures. Bobowski's translation of the Bible into Turkish, known as the Kitabı Mukaddes ("Holy Book") has for long been the only complete Turkish Bible, and is considered one of his greatest achievements. In 2002, a new translation was published, but the 17th century translation, now written in the Latin alphabet, is still used by some. Psalter Having been raised in a Protestant family, Bobowski was familiar with the singing of the Genevan Psalms. This experience has been a great influence on his composition of fourteen Turkish psalms. In this small collection of psalms, known as Mezmurlar and released in 1665, Ali Ufki used original melodies from the Genevan Psalter, an early Calvinist hymnbook. He classified them using the Turkish modal system and translated the texts into the Ottoman Turkish. Because of certain features of French prosody, the Genevan melodies tend to be in asymmetrical meters, which makes them more similar to Middle Eastern music than much of other European music. Rhythmical intensity is likely one of the most important shared features, and their modal character facilitates their transformation into Turkish modes, as this can be done with only light changes in intonation. Ali Ufki's versions of the psalms are relatively simple; with careful attention paid to ensuring words are easy to understand and music is only the background. In 2005, the King's Singers together with Sarband released a CD titled Sacred Bridges which includes recordings of Psalms 5, 6, and 9 from Ali Ufki's psalter. Musical anthologies Among his achievements was the release of two manuscript anthologies of Ottoman music, known as Mecmûa-i Sâz ü Söz ("Collection of Instrumental and Vocal Works"). These anthologies contained both sacred and secular pieces, instrumental and vocal music, art music as well as traditional Turkish songs. Only two manuscript copies survive: in the British Library and the Bibliothèque Nationale [6]. This work preserved for modern times several hundred classical Ottoman songs and instrumental pieces and is the first instance in which western staff notation was applied to Turkish music. Other works In 1666 Bobowski also wrote a grammar of the Ottoman Turkish language. He also translated works of Hugo Grotius and Comenius into that language.[7]

http://wn.com/Islamic_Ottoman_Music_by_Ali_Ufki_*1600_Teşbh_i_'Arabbî_Esselâmü_aleyke

Ottoman Music Sultan Composers: Songtext: Sultan Murad III. Music by Ali Ufki *1600

Order: Reorder
Duration: 4:21
Updated: 16 Dec 2013

Wojciech Bobowski or Ali Ufki (also Albertus Bobovius, Ali Bey, Santurî Ali Ufki; 1610[1]--1675) was a Polish musician and dragoman in the Ottoman Empire. He translated the Bible into Ottoman Turkish, composed an Ottoman Psalter, based on the Genevan metrical psalter, and wrote a grammar of the Ottoman Turkish language. His musical works are considered among the most important in 17th-century Ottoman music. Bobowski was born as a Pole in Bobowa near Gorlice He was raised in a Protestant family[1] and started a career as a church musician. At some point[2], he was taken as a worker by a Turkish Prince as his sister was married by an Ottoman king. Because he had enjoyed musical training and was capable of reading and notating music [3], he was sold to the court of sultan Murad IV (and later Ibrahim I and Mehmed IV), where he converted to Islam and became known as 'Alī Ufqī.[2] At the court he served as an interpreter, treasurer and musician in the sultan's seraglio. He was also known to master sixteen languages, next to Polish and Turkish also Arabic, French, German, Greek, Hebrew, Italian, and Latin. Around 1657, approximately 19--20 years after he was captured[4], when on a voyage to Egypt, he regained his liberty, after which he lived in Egypt for some time. It is also likely he travelled on a pilgrimage to Mecca. After he gained his freedom he became one of the most important dragomans in the Ottoman Empire.[5] Bible translation Bobowski, or now Ufki, having been raised as a Christian and now being a convert to Islam, became deeply interested in religious issues. He translated the Anglican catechism into Ottoman Turkish, and wrote an explanation of Islam in Latin, in an attempt to increase the mutual understandings of both cultures. Bobowski's translation of the Bible into Turkish, known as the Kitabı Mukaddes ("Holy Book") has for long been the only complete Turkish Bible, and is considered one of his greatest achievements. In 2002, a new translation was published, but the 17th century translation, now written in the Latin alphabet, is still used by some. Psalter Having been raised in a Protestant family, Bobowski was familiar with the singing of the Genevan Psalms. This experience has been a great influence on his composition of fourteen Turkish psalms. In this small collection of psalms, known as Mezmurlar and released in 1665, Ali Ufki used original melodies from the Genevan Psalter, an early Calvinist hymnbook. He classified them using the Turkish modal system and translated the texts into the Ottoman Turkish. Because of certain features of French prosody, the Genevan melodies tend to be in asymmetrical meters, which makes them more similar to Middle Eastern music than much of other European music. Rhythmical intensity is likely one of the most important shared features, and their modal character facilitates their transformation into Turkish modes, as this can be done with only light changes in intonation. Ali Ufki's versions of the psalms are relatively simple; with careful attention paid to ensuring words are easy to understand and music is only the background. In 2005, the King's Singers together with Sarband released a CD titled Sacred Bridges which includes recordings of Psalms 5, 6, and 9 from Ali Ufki's psalter. Musical anthologies Among his achievements was the release of two manuscript anthologies of Ottoman music, known as Mecmûa-i Sâz ü Söz ("Collection of Instrumental and Vocal Works"). These anthologies contained both sacred and secular pieces, instrumental and vocal music, art music as well as traditional Turkish songs. Only two manuscript copies survive: in the British Library and the Bibliothèque Nationale [6]. This work preserved for modern times several hundred classical Ottoman songs and instrumental pieces and is the first instance in which western staff notation was applied to Turkish music. Other works In 1666 Bobowski also wrote a grammar of the Ottoman Turkish language. He also translated works of Hugo Grotius and Comenius into that language.[7]

http://wn.com/Ottoman_Music_Sultan_Composers_Songtext_Sultan_Murad_III_Music_by_Ali_Ufki_*1600

Ottoman Music - 17th Century - by Ali Ufki * 1600 - Bayâtî Hanende Semâîsi

Order: Reorder
Duration: 1:48
Updated: 18 Dec 2013

Wojciech Bobowski or Ali Ufki (also Albertus Bobovius, Ali Bey, Santurî Ali Ufki; 1610[1]--1675) was a Polish musician and dragoman in the Ottoman Empire. He translated the Bible into Ottoman Turkish, composed an Ottoman Psalter, based on the Genevan metrical psalter, and wrote a grammar of the Ottoman Turkish language. His musical works are considered among the most important in 17th-century Ottoman music. Bobowski was born as a Pole in Bobowa near Gorlice He was raised in a Protestant family[1] and started a career as a church musician. At some point[2], he was taken as a worker by a Turkish Prince as his sister was married by an Ottoman king. Because he had enjoyed musical training and was capable of reading and notating music [3], he was sold to the court of sultan Murad IV (and later Ibrahim I and Mehmed IV), where he converted to Islam and became known as 'Alī Ufqī.[2] At the court he served as an interpreter, treasurer and musician in the sultan's seraglio. He was also known to master sixteen languages, next to Polish and Turkish also Arabic, French, German, Greek, Hebrew, Italian, and Latin. Around 1657, approximately 19--20 years after he was captured[4], when on a voyage to Egypt, he regained his liberty, after which he lived in Egypt for some time. It is also likely he travelled on a pilgrimage to Mecca. After he gained his freedom he became one of the most important dragomans in the Ottoman Empire.[5] Bible translation Bobowski, or now Ufki, having been raised as a Christian and now being a convert to Islam, became deeply interested in religious issues. He translated the Anglican catechism into Ottoman Turkish, and wrote an explanation of Islam in Latin, in an attempt to increase the mutual understandings of both cultures. Bobowski's translation of the Bible into Turkish, known as the Kitabı Mukaddes ("Holy Book") has for long been the only complete Turkish Bible, and is considered one of his greatest achievements. In 2002, a new translation was published, but the 17th century translation, now written in the Latin alphabet, is still used by some. Psalter Having been raised in a Protestant family, Bobowski was familiar with the singing of the Genevan Psalms. This experience has been a great influence on his composition of fourteen Turkish psalms. In this small collection of psalms, known as Mezmurlar and released in 1665, Ali Ufki used original melodies from the Genevan Psalter, an early Calvinist hymnbook. He classified them using the Turkish modal system and translated the texts into the Ottoman Turkish. Because of certain features of French prosody, the Genevan melodies tend to be in asymmetrical meters, which makes them more similar to Middle Eastern music than much of other European music. Rhythmical intensity is likely one of the most important shared features, and their modal character facilitates their transformation into Turkish modes, as this can be done with only light changes in intonation. Ali Ufki's versions of the psalms are relatively simple; with careful attention paid to ensuring words are easy to understand and music is only the background. In 2005, the King's Singers together with Sarband released a CD titled Sacred Bridges which includes recordings of Psalms 5, 6, and 9 from Ali Ufki's psalter. Musical anthologies Among his achievements was the release of two manuscript anthologies of Ottoman music, known as Mecmûa-i Sâz ü Söz ("Collection of Instrumental and Vocal Works"). These anthologies contained both sacred and secular pieces, instrumental and vocal music, art music as well as traditional Turkish songs. Only two manuscript copies survive: in the British Library and the Bibliothèque Nationale [6]. This work preserved for modern times several hundred classical Ottoman songs and instrumental pieces and is the first instance in which western staff notation was applied to Turkish music. Other works In 1666 Bobowski also wrote a grammar of the Ottoman Turkish language. He also translated works of Hugo Grotius and Comenius into that language.[7]

http://wn.com/Ottoman_Music_17th_Century_by_Ali_Ufki_*_1600_Bayâtî_Hanende_Semâîsi

The Turkish Ottoman Culture Of The Middle East

Order: Reorder
Duration: 34:42
Updated: 02 Feb 2014

The culture of Turkey combines a heavily diverse and heterogeneous set of elements that have been derived from the Greek, Roman, Byzantine, Ottoman, European, Middle Eastern and Central Asian traditions. Turkey's former status as a multiethnic empire which, de facto until the loss of Libya to the Kingdom of Italy in 1912 (and de jure until the official loss of Egypt and Sudan to the British Empire in 1914, as a consequence of the Ottoman government's decision to join the First World War on the side of the Central Powers) spanned three continents: Europe, Asia and Africa. The present-day Republic of Turkey, which succeeded the Ottoman state in 1923, is still a transcontinental country that spans Europe and Asia. The nation was modernized primarily by Mustafa Kemal Atatürk starting from 1923. As he transformed a religion-driven former Ottoman Empire into a modern nation-state with a strong separation of state and religion, a corresponding increase in the methods of artistic expression arose. During the first years of the republic, the government invested a large amount of resources into fine arts such as paintings, sculpture and architecture. This was done as both a process of modernization and of creating a cultural identity. Because of the different historical factors defining the Turkish identity, the culture of Turkey combines clear efforts to be "modern" and Western, with a desire to maintain traditional religious and historical values. Turkish culture has undergone profound changes over the last century. Today, Turkey may be the only country that contains every extreme of Eastern and Western culture (along with many compromises and fusions between the two). The Ottoman system was a multi-ethnic state that enabled people within it not to mix with each other and thereby retain separate ethnic and religious identities within the empire (albeit with a dominant Turkish and Southern European ruling class). Upon the fall of the empire after World War I the Turkish Republic adapted a unitary approach, which forced all the different cultures within its borders to mix with each other with the aim of producing "Turkish" national and cultural identity. This mixing, instead of producing cultural homogenization, instead resulted in many shades of grey as the traditional Muslim cultures of Anatolia collided with (or had imposed upon them) the cosmopolitan modernity of Istanbul and the wider West. Turkish literature is the collection of written and oral texts composed in the Turkish language, either in its Ottoman form or in less exclusively literary forms, such as that spoken in the Republic of Turkey today. Traditional examples for Turkish folk literature include the stories of Karagöz and Hacivat, Keloğlan, İncili Çavuş and Nasreddin Hoca, as well as the works of folk poets such as Yunus Emre and Aşık Veysel. The Book of Dede Korkut and the Epic of Köroğlu have been the main elements of the Turkish epic tradition in Anatolia for several centuries. The two primary streams of Ottoman literature were poetry and prose. Of the two, the Ottoman Divan poetry, a highly ritualized and symbolic art form, was the dominant stream. The vast majority of Divan poetry was lyric in nature: either gazels or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry. The tradition of Ottoman prose was exclusively non-fictional in nature; as the fiction tradition was limited to narrative poetry. The Tanzimat reforms of 1839--1876 brought changes to the language of Ottoman written literature, and introduced previously unknown Western genres, primarily the novel and the short story. Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Nâmık Kemal also wrote the important 1876 novel İntibâh (Awakening), while the journalist Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" (The Poet's Marriage). Most of the roots of modern Turkish literature were formed between the years 1896 and 1923. Broadly, there were three primary literary movements during this period: the Edebiyyât-ı Cedîde (New Literature) movement; the Fecr-i Âtî (Dawn of the Future) movement; and the Millî Edebiyyât (National Literature) movement. The Edebiyyât-ı Cedîde (New Literature) movement began with the founding in 1891 of the magazine Servet-i Fünûn (Scientific Wealth), which was largely devoted to progress (both intellectual and scientific) along the Western model. Accordingly, the magazine's literary ventures, under the direction of the poet Tevfik Fikret, were geared towards creating a Western-style "high art" in Turkey. Poetry is the most dominant form of literature in modern Turkey.

http://wn.com/The_Turkish_Ottoman_Culture_Of_The_Middle_East

Safavid Empire - Turkish Rivals To The Ottoman Empire

Order: Reorder
Duration: 84:00
Updated: 13 Jan 2014

The Safavid dynasty (Persian: سلسلهٔ صفويان‎; Azerbaijani: Səfəvilər, صفویلر) was one of the most significant ruling dynasties of Persia (modern Iran), and is often considered the beginning of modern Persian history. They ruled one of the greatest Persian empires after the Muslim conquest of Persia and established the Twelver school of Shi'a Islam as the official religion of their empire, marking one of the most important turning points in Muslim history. The Safavids ruled from 1501 to 1722 (experiencing a brief restoration from 1729 to 1736) and at their height, they controlled all of modern Iran, Azerbaijan and Armenia, most of Iraq, Georgia, Afghanistan, and the Caucasus, as well as parts of Syria, Pakistan, Tajikistan, Turkmenistan and Turkey. Safavid Iran was one of the Islamic "gunpowder empires", along with its neighbours, the Ottoman and Mughal empires. The Safavid dynasty had its origin in the Safaviyya Sufi order, which was established in the city of Ardabil in the Azerbaijan region. It was of mixed ancestry (Azerbaijani, Kurdish Persian and Turkmen, which included intermarriages with Georgian and Pontic Greek dignitaries). From their base in Ardabil, the Safavids established control over all of Greater Iran and reasserted the Iranian identity of the region, thus becoming the first native dynasty since the Sassanid Empire to establish a unified Iranian state. Despite their demise in 1736, the legacy that they left behind was the revival of Persia as an economic stronghold between East and West, the establishment of an efficient state and bureaucracy based upon "checks and balances", their architectural innovations and their patronage for fine arts. The Safavids have also left their mark down to the present era by spreading Shi'a Islam in Iran, as well as major parts of the Caucasus, South Asia, Central Asia, and Anatolia. The Safavid Kings themselves claimed to be Seyyeds, family descendants of the prophet Muhammad, although many scholars have cast doubt on this claim. There seems now to be a consensus among scholars that the Safavid family hailed from Persian Kurdistan, and later moved to Azerbaijan, finally settling in the 11th century CE at Ardabil. Traditional pre-1501 Safavid manuscripts trace the lineage of the Safavids to Kurdish dignitary, Firuz Shah Zarin-Kulah. According to some historians, including Richard Frye, the Safavids were of Azeri (Turkish) origin: The Turkish speakers of Azerbaijan are mainly descended from the earlier Iranian speakers, several pockets of whom still exist in the region. A massive migration of Oghuz Turks in the 11th and 12th centuries not only Turkified Azerbaijan but also Anatolia. Azeri Turks were the founders of Safavid dynasty. Other historians, such as Vladimir Minorsky and Roger Savory, refute this idea: From the evidence available at the present time, it is certain that the Safavid family was of indigineous Iranian stock, and not of Turkish ancestry as it is sometimes claimed. It is probable that the family originated in Persian Kurdistan, and later moved to Azerbaijan, where they adopted the Azari form of Turkish spoken there, and eventually settled in the small town of Ardabil sometimes during the eleventh century. By the time of the establishment of the Safavid empire, the members of the family were native Turkish-speaking and Turkicized, and some of the Shahs composed poems in their native Turkish language. Concurrently, the Shahs themselves also supported Persian literature, poetry and art projects including the grand Shahnama of Shah Tahmasp, while members of the family and some Shahs composed Persian poetry as well. In terms of identity, it should be noted that the authority of the Safavids were religiously based and they based their legitimacy on being direct male descendants of the Ali, the cousin of the Prophet Muhammad, and the first Shi'ite Imam. Background—The Safavid Sufi Order Main articles: Safaviyya, Safi al-Din Ardabili, and Ideology of Safavids Safavid history begins with the establishment of the Safaviyya by its eponymous founder Safi-ad-din Ardabili (1252--1334). In 700/1301, Safi al-Din assumed the leadership of the Zahediyeh, a significant Sufi order in Gilan, from his spiritual master and father-in-law Zahed Gilani. Due to the great spiritual charisma of Safi al-Din, the order was later known as the Safaviyya. The Safavid order soon gained great influence in the city of Ardabil and Hamdullah Mustaufi noted that most of the people of Ardabil were followers of Safi al-Din. Extant religious poetry from him, written in the Old Azari language—a now-extinct Northwestern Iranian language—and accompanied by a paraphrase in Persian which helps their understanding, has survived to this day and has linguistic importance.

http://wn.com/Safavid_Empire_Turkish_Rivals_To_The_Ottoman_Empire

Ottoman Turkish Music from 17th century - Nikriz Peşrev

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Duration: 5:31
Updated: 17 Aug 2013

Band: Sarband.

http://wn.com/Ottoman_Turkish_Music_from_17th_century_Nikriz_Peşrev

The Child Of The Ottoman Empire : Republic Of Turkey

Order: Reorder
Duration: 67:52
Updated: 12 Jan 2014

Turkey (Turkish: Türkiye), officially the Republic of Turkey (About this sound Türkiye Cumhuriyeti , is a contiguous transcontinental country, located mostly on Anatolia in Western Asia and on East Thrace in Southeastern Europe. Turkey is bordered by eight countries: Bulgaria to the northwest; Greece to the west; Georgia to the northeast; Armenia, Iran and the Azerbaijani exclave of Nakhchivan to the east; and Iraq and Syria to the southeast. The Mediterranean Sea is to the south; the Aegean Sea is to the west; and the Black Sea is to the north. The Sea of Marmara, the Bosphorus and the Dardanelles (which together form the Turkish Straits) demarcate the boundary between Thrace and Anatolia; they also separate Europe and Asia. Turkey's location at the crossroads of Europe and Asia makes it a country of significant geostrategic importance. The area now encompassing present-day Turkey has been inhabited since the Paleolithic Age, including various Ancient Anatolian civilizations and Thracian peoples. After Alexander the Great's conquest, the area was Hellenized, which continued with the Roman rule and the transition into the Byzantine Empire. The Seljuk Turks began migrating into the area in the 11th century, starting the process of Turkification, which was greatly accelerated by the Seljuk victory over the Byzantines at the Battle of Manzikert in 1071. The Seljuk Sultanate of Rûm ruled Anatolia until the Mongol invasion in 1243, upon which it disintegrated into several small Turkish beyliks. Turkey was a major power in Europe during the early modern period and starting from the late 13th century, the Ottoman beylik united Anatolia and created an empire encompassing much of Southeastern Europe, Western Asia and North Africa. After the Ottoman Empire collapsed following its defeat in World War I, parts of it were occupied by the victorious Allies. The Turkish War of Independence, initiated by Mustafa Kemal Atatürk and his colleagues, resulted in the establishment of the modern Republic of Turkey in 1923, with Atatürk as its first president. Turkey is a democratic, secular, unitary, constitutional republic with a diverse cultural heritage. The country's official language is Turkish, a Turkic language spoken natively by approximately 85% of the population. Turks constitute 70% to 75% of the population. Minorities include Kurds (18%) and others (7--12%). The vast majority of the population is Muslim. Turkey is a member of the Council of Europe, NATO, OECD, OSCE and the G-20 major economies. Turkey began full membership negotiations with the European Union in 2005, having been an associate member of the European Economic Community since 1963 and having joined the EU Customs Union in 1995. Turkey is also a member of the Turkic Council, Joint Administration of Turkic Arts and Culture, Organisation of Islamic Cooperation and the Economic Cooperation Organisation. Turkey's growing economy and diplomatic initiatives have led to its recognition as a regional power. The name of Turkey (Turkish: Türkiye) can be divided into two components: the ethnonym Türk and the abstract suffix --iye meaning "owner", "land of" or "related to" (originally derived from the Greek and Latin suffixes --ia in Tourkia (Τουρκία) and Turchia; and later from the corresponding Arabic suffix --iyya in Turkiyya (تركيا).) The first recorded use of the term "Türk" or "Türük" as an autonym is contained in the Old Turkic inscriptions of the Göktürks (Celestial Turks) of Central Asia (c. 8th century). The English name Turkey first appeared in the late 14th century, and is derived from Medieval Latin Turchia. The Greek cognate of this name, Tourkia (Greek: Τουρκία) was used by the Byzantine emperor and scholar Constantine VII Porphyrogenitus in his book De Administrando Imperio, though in his use, "Turks" always referred to Magyars. Similarly, the medieval Khazar Empire, a Turkic state on the northern shores of the Black and Caspian seas, was referred to as Tourkia (Land of the Turks) in Byzantine sources. However, the Byzantines later began using this name to define the Seljuk-controlled parts of Anatolia in the centuries that followed the Battle of Manzikert in 1071. The Arabic cognate Turkiyya (Arabic: تركيا) in the form Dawla al-Turkiyya (State of the Turks) was historically used as an official name for the medieval Mamluk Sultanate which covered Egypt, Palestine, Syria, Hejaz and Cyrenaica. The Ottoman Empire was commonly referred to as Turkey or the Turkish Empire among its contemporaries.

http://wn.com/The_Child_Of_The_Ottoman_Empire_Republic_Of_Turkey

ARABIC/ISLAMIC CALLIGRAPHY ART IN TURKEY (OTTOMAN STYLE) (الدولة العثمانية)

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Duration: 4:59
Updated: 13 Aug 2013

FACEBOOK SAYFAMIZ:♥♥♥Osmanlı Tarihi Resim Arşivleri♥♥♥ LÜTFEN BEĞ...

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John III Sobieski - Polish Nemesis Of The Ottoman Empire

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Duration: 12:46
Updated: 01 Jan 2014

John III Sobieski (Polish: Jan III Sobieski, Lithuanian: Jonas Sobieskis; 17 August 1629 -- 17 June 1696) was one of the most notable monarchs of the Polish--Lithuanian Commonwealth, from 1674 until his death King of Poland and Grand Duke of Lithuania. Sobieski's 22-year-reign was marked by a period of the Commonwealth's stabilization, much needed after the turmoil of the Deluge and Khmelnytsky Uprising. Popular among his subjects, he was an able military commander, most famous for the victory over the Turks in the 1683 Battle of Vienna. Following his victories over the Ottoman Empire, he was called by the Turks the "Lion of Lechistan" and held as the saviour of European Christendom by the pope John Sobieski was born on 17 August 1629 in Olesko, a small town near Lwów in Galicia, now Ukraine, then part of the Ruthenian Voivodeship in the Crown of the Kingdom of Poland, Polish-Lithuanian Commonwealth to a notable noble family de Sobieszyn Sobieski of Janina coat of arms. His father, Jakub Sobieski, was the Voivode of Ruthenia and Castellan of Kraków; his mother, Zofia Teofillia Daniłowicz was a granddaughter of Hetman Stanisław Żółkiewski. John Sobieski spent his childhood in Żółkwia. After graduating from the Nowodworski College in Kraków in 1643, young John Sobieski then graduated from the philosophical faculty of the Jagiellonian University in 1646. After finishing his studies, together with his brother Marek Sobieski, John left for western Europe, where he spent more than two years travelling. They visited Leipzig, Antwerp, Paris, London, Leiden and Hague. During that time he met influential contemporary figures such as Louis II de Bourbon, Charles II of England and William II, Prince of Orange, and learnt French, German and Italian, in addition to Latin. Both brothers returned to the Commonwealth in 1648, upon receiving the news of the death of king Władysław IV Waza and the hostilities of the Khmelnytsky Uprising, volunteered for the army. They both fought in the siege of Zamość. They founded and commanded their own banners (chorągiew) of cavalry (one light, "cossack", and one heavy, of Polish hussars). Soon the fortunes of war separated the brothers. In 1649 Jakub fought in the Battle of Zboriv. In 1652 Marek died in Tatar captivity after his capture at the Battle of Batoh. John was promoted to the rank of pułkownik and fought with distinction in the Battle of Berestechko. A promising commander, John was sent by King John II Casimir to Istanbul in the Ottoman Empire as one of the envoys in a diplomatic mission of Mikołaj Bieganowski. There, Sobieski learnt the Tatar language and the Turkish language and studied Turkish military traditions and tactics. It is likely he participated as part of the briefly allied Polish-Tatar forces in the 1655 Battle of Okhmativ. After the start of the Swedish invasion of Poland known as "The Deluge", John Sobieski was among the Greater Polish regiments led by Krzysztof Opaliński, Palatine of Poznań which capitulated at Ujście, and swore allegiance to King Charles X Gustav of Sweden. However, around late March 1656 he abandoned their side, returning to the side of Polish king Jan Kazimierz Waza, enlisting under the command of hetmans Stefan Czarniecki and Jerzy Sebastian Lubomirski. During the three-day long battle of Warsaw of 1656, Sobieski's command of a 2,000-man strong regiment of Tatar cavalry earnt him promotion to the title of Lord Standard-Bearer of the Crown. A strong supporter of the French faction, Sobieski remained loyal to the King during the infamous Lubomirski Rebellion, which further helped his military career. In 1665 he married Marie Casimire Louise de la Grange d'Arquien and was promoted to the rank of Grand Marshal of the Crown, and the following year, to the rank of Field Hetman of the Crown. In 1667 he achieved another great victory over the Cossacks and their Tatar allies in the Battle of Podhajce during the Polish--Cossack--Tatar War (1666--71). On 5 February 1668, by now a famed and esteemed commander, he achieved the rank of Grand Hetman of the Crown, the highest military rank in the Polish--Lithuanian Commonwealth, and thereby the de facto commander-in-chief of the entire Polish Army. On 11 November 1673, during the Polish--Ottoman War (1672--76), Sobieski added yet another major victory to his list, this time defeating the Turks in the battle of Chocim and capturing the fortress located there. The news of the battle coincided with the news of the death of Michael I, King of Poland, who had died the day before the battle. This made Sobieski one of the most leading figures in the state, and on 19 May the following year, he was elected as monarch of the Commonwealth. His candidacy was almost universally supported, with only a dozen or so members of the diet opposing him. Among the most notable backers of his candidacy was his wife. Jan Sobieski was crowned Jan III 2 February 1676.

http://wn.com/John_III_Sobieski_Polish_Nemesis_Of_The_Ottoman_Empire

Timur - Tamerlane - The Turkish Mongolian Nemesis Of The Ottoman Empire

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Duration: 34:51
Updated: 09 Feb 2014

Timur, Tarmashirin Khan, Emir Timur, Timur Beg Gurkhani (Persian: تیمور‎ Timūr, Chagatai: Temür "iron"; 9 April 1336 -- 18 February 1405), historically known as Tamerlane (Persian: تيمور لنگ‎ Timūr(-e) Lang, "Timur the Lame"), was a Turko-Mongol ruler of Barlas lineage. He conquered West, South and Central Asia and founded the Timurid dynasty. He was the grandfather of Ulugh Beg, who ruled Central Asia from 1411 to 1449, and the great-great-great-grandfather of Babur Beg, founder of the Mughal Empire, which ruled parts of South Asia for around four centuries, from 1526 until 1857. Timur envisioned the restoration of the Mongol Empire of Genghis Khan. As a means of legitimating his conquests, Timur relied on Islamic symbols and language, referring to himself as the Sword of Islam and patronizing educational and religious institutions. He converted nearly all the Borjigin leaders to Islam during his lifetime. His armies were inclusively multi-ethnic. During his lifetime Timur emerged as the most powerful ruler in the Muslim world after defeating the Mamluks of Egypt and Syria, the emerging Ottoman Empire and the declining Sultanate of Delhi. Timur also decisively defeated the Christian Knights Hospitaller at Smyrna, styling himself a Ghazi. By the end of his reign Timur had also gained complete control over all the remnants of the Chagatai Khanate, Ilkhanate, Golden Horde and even attempted to restore the Yuan dynasty. Timur's armies were feared throughout Asia, Africa, and Europe, sizable parts of which were laid waste by his campaigns. Scholars estimate that his military campaigns caused the deaths of 17 million people, amounting to about 5% of the world population, leading to a predominantly barbaric legacy. Timur is also recognized as a great patron of art and architecture, as he interacted with Muslim intellectuals such as Ibn Khaldun and Hafiz-i Abru. Timur was born in Transoxiana, near the City of Kesh (an area now better known as Shahrisabz, "the green city"), some 80 kilometres (50 mi) south of Samarkand in modern day Uzbekistan, part of the Chagatai Khanate. His father, Taraqai, was a minor noble belonging to the Barlas tribe. The Barlas, who were originally a Mongol tribe that became Turkified. According to Gérard Chaliand, Timur was a Muslim but he saw himself as Genghis Khan's heir. Though not a Chinggisid, he clearly sought to invoke the legacy of Genghis Khan's conquests during his lifetime. At the age of eight or nine, Timur and his mother and brothers were carried as prisoners to Samarkand by an invading Mongol army. In his childhood, Timur and a small band of followers raided travelers for goods, especially animals such as sheep, horses, and cattle. At around 1363, it is believed that Timur tried to steal a sheep from a shepherd but was shot by two arrows, one in his right leg and another in his right hand, where he lost two fingers. Both injuries caused him to be crippled for life. Some believe that Timur suffered his crippling injuries while serving as a mercenary to the khan of Sistan in Khorasan in what is known today as Dasht-i Margo (Desert of Death) in south-west Afghanistan. Timur's injuries have given him the name of Timur the Lame or Tamerlane by Europeans. Timur was a Muslim, but while his chief official religious counsellor and advisor was the Hanafi scholar 'Abdu 'l-Jabbar Khwarazmi, his particular persuasion is not known. In Tirmidh, he had come under the influence of his spiritual mentor Sayyid Barakah, a leader from Balkh who is buried alongside Timur in Gur-e Amir. Timur was known to hold Ali and the Ahlul Bayt in high regard and has been noted by various scholars for his "pro-Alid" stance.Despite this, Timur was noted for attacking Shiites on Sunni grounds and therefore his own religious inclinations remain unclear. Personality Timur is regarded as a military genius and a tactician, with an uncanny ability to work within a highly fluid political structure to win and maintain a loyal following of nomads during his rule in Central Asia. He was also considered extraordinarily intelligent- not only intuitively but also intellectually. In Samarkand and his many travels, Timur, under the guidance of distinguished scholars was able to learn Persian, Mongolian, and Turkic languages. More importantly, Timur was characterized as an opportunist. Taking advantage of his Turco-Mongolian heritage, Timur frequently used either the Islamic religion or the law and traditions of the Mongol Empire to achieve his military goals or domestic political aims

http://wn.com/Timur_Tamerlane_The_Turkish_Mongolian_Nemesis_Of_The_Ottoman_Empire

300 türk turkısh ottoman part 1

Order: Reorder
Duration: 3:45
Updated: 17 Apr 2013

bir gurup yeniçeri askerinin haçlı ordusuna meydan okuyuşu.

http://wn.com/300_türk_turkısh_ottoman_part_1

Sultan Osman II - The 15th Sultan Of The Ottoman Empire

Order: Reorder
Duration: 3:23
Updated: 04 Jan 2014

Sultan Osman II or Othman II (commonly known as Genç Osman -- meaning Osman the Young -- in Turkish) (Ottoman Turkish عثمان ثانى 'Osmān-i sānī) (November 3, 1604 -- May 20, 1622) was the Sultan of the Ottoman Empire from 1618 until his death on 20 May 1622. Osman II was born at Topkapı Palace, Constantinople, the son of Sultan Ahmed I (1603--17) and his wife Mâh-Firûz Hatice (Khadija) Valide Sultan, originally named Maria, a Greek. At a young age his mother paid a lot of attention to his education, as a result of this Osman II was a known poet and had mastered many languages, including Arabic, Persian, Greek, Latin, Italian, and the court sign language. He ascended the throne at the early age of 14 as the result of a coup d'état against his uncle Mustafa I (The Intestable) (1617--18, 1622--23). Despite his youth, Osman II soon sought to assert himself as a ruler, and after securing the empire's eastern border by signing a peace treaty (treaty of Serav) with Safavid Persia, he personally led the Ottoman invasion of Poland during the Moldavian Magnate Wars. Forced to sign a peace treaty with the Poles after the Battle of Chotin (Chocim) (which was, in fact, a siege of Chotin defended by the Polish hetman Jan Karol Chodkiewicz) in September--October, 1621, Osman II returned home to Constantinople in shame, blaming the cowardice of the Janissaries and the insufficiency of his statesmen for his humiliation. Probably the first Sultan to identify and attempt to tackle the Janissaries as a praetorian institution doing more harm than good to the modern empire, Osman II closed their coffee shops (the gathering points for conspiracies against the throne) and started planning to create a new, loyal and ethnic Turkic army consisting of Anatolian, Mesopotamian and Egyptian Turks and Turkmens. The result was a palace uprising by the janissaries, who promptly imprisoned the young sultan. When an executioner was sent to strangle him at Yedikule, Constantinople, Osman II refused to give in and started fighting the man and was only subdued when he was hit on his back with the rear end of an axe by one of his imprisoners. After that he was strangled with a bowstring. A combination of these stories is given by the French traveler Pouqueville, who writes that when the cord was thrown over his neck, Osman 'had the presence of mind to slip it with his hand, and knock down the principal executioner; on which his grand vizier seized him by the most sensible part of his body, when Osman fainted with pain, and was strangled.' II Osman.jpg Family Life Osman II had three consorts. Ayşe Hanım (m.1620), grand daughter of Pertev Paşa Akile Hanım (m.1622), daughter of Şeyhülislam Esad Efendi Ayşe Haseki He had two sons, Şehzade Mustafa and Şehzade Omer and one daughter Zeynep Sultan.

http://wn.com/Sultan_Osman_II_The_15th_Sultan_Of_The_Ottoman_Empire

Ottoman Turkish Classical Music by Burhan Öcal - Sultans Choice

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Duration: 4:03
Updated: 03 Aug 2013

Ottoman Turkish Classical Music by Burhan Öcal Ottoman classical music (Klâsik Türk Mûsikîsi, Sanat Mûsikîsi) developed in Istanbul and major Ottoman towns f...

http://wn.com/Ottoman_Turkish_Classical_Music_by_Burhan_Öcal_Sultans_Choice

Review: MountainBOWorks Ottoman Turkish Bow

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Duration: 18:59
Updated: 14 May 2013

A few days ago, Jacob from MountainBOWorks suggested I review one of his bows - after it arrived yesterday morning, this is the first result! The bow is a 41...

http://wn.com/Review_MountainBOWorks_Ottoman_Turkish_Bow

Unboxing the Golhan Sipahi Bow - Ottoman Turkish Horsebow

Order: Reorder
Duration: 8:10
Updated: 18 Aug 2013

Shooting Video: http://youtu.be/piFmFKMJ4a8 Bowyer: Mehmet Askim Golhan (missing diacritics, special characters, etc.) Website: http://www.ottomanturkishbows...

http://wn.com/Unboxing_the_Golhan_Sipahi_Bow_Ottoman_Turkish_Horsebow

Build-Along: The PVC Ottoman Turkish Warbow pt.1

Order: Reorder
Duration: 26:33
Updated: 17 Jun 2013

Since the completed video I was working on was approaching 40 minutes in length, I decided to break this video into two halves. Let me know what you guys thi...

http://wn.com/Build-Along_The_PVC_Ottoman_Turkish_Warbow_pt1

Palestinians are Fake Canaanites and descend from Ottoman Turks

Order: Reorder
Duration: 10:42
Updated: 26 Aug 2012

Two professors in this video speak about the history all Palestinians don't want you to see or the Zionists. It explains how the real Canaanites were Black, ...

http://wn.com/Palestinians_are_Fake_Canaanites_and_descend_from_Ottoman_Turks