ISTANBUL, Jan. 19 (Xinhua) -- Hidden behind the palace walls, the Mabeyn Passage of Istanbul's Topkapi Palace once served as a secluded corridor used by Ottoman sultans.
Centuries later, its walls are now pulling back the curtain on the vibrant art of Ottoman tiles, offering the public a rare glimpse for the first time, as part of a broader effort to preserve and sustain traditional ceramic craftsmanship.
Following restoration work, the Mabeyn has recently opened as an art gallery displaying 260 original tile pieces featuring nearly 800 distinct patterns, many of which were once used as wall panels and decorative elements in different sections of the palace.
Ilhan Kocaman, head of the Topkapi Palace Department of the Directorate of National Palaces, said the Mabeyn was chosen as a gallery space for its symbolic and historical significance. "The Mabeyn Passage marked the moment when the sultan left the private world of the harem and entered public life as a ruler," he told Xinhua.
Kocaman noted that the passage runs alongside the area housing relics of the Prophet Muhammad, which contributed to its special status in the palace.
According to Kocaman, the gallery is expected to guide researchers, artists and visitors through the development of Ottoman tile-making from the 16th to the 19th century.
The gallery highlights the palace's intricate tile artistry, which Kocaman described as the most important decorative element of Topkapi Palace.
He explained that "cini," the traditional Ottoman glazed tile and ceramic art, drew early inspiration from imported Chinese porcelains in the 15th century, evolving into a distinctive local art form with production centered in Iznik before spreading to Kutahya and Istanbul.
Drawing inspiration from China and other parts of Asia, Kocaman said, Ottoman tilemakers gradually developed their own visual language, incorporating distinctive motifs such as the tulip, which later became a hallmark of Istanbul's decorative tradition.
Kocaman also highlighted the characteristic Ottoman color palette, marked by Turkish red and indigo blue, combined with blue-and-white designs influenced by China's ceramics artisans and adapted into a distinctly Ottoman aesthetic.
Alp Aksudogan, a national professional tour guide with more than three decades of experience, said the gallery plays a distinctive role in presenting the palace's history in context. "Topkapi is not only a museum but also a space that reflects centuries of Ottoman court life," he told Xinhua.
According to Aksudogan, the tile gallery was curated to preserve the unity and atmosphere of the Harem while displaying key examples of Ottoman ceramic art, allowing visitors to experience the palace as a living historical space rather than a standalone exhibition.
The tile collection at the gallery also complements Topkapi Palace's renowned collection of Chinese porcelain, which is set to be displayed in a dedicated museum within the palace complex.
The possession and display of Chinese porcelain "long symbolized prestige and power for the Ottoman dynasty," Aksudogan said. "Seen together, the tiles and porcelains illustrate the dynasty's artistic taste, economic strength and connections with the wider world."
Beyond preservation, the gallery is also expected to serve as an educational reference point for tile artists, students and workshop practitioners, offering direct exposure to original works that continue to shape contemporary ceramic practice.
Istanbul-based tile artist Metin Orenel said the gallery offers rare access to original works that are essential for professional growth.
"Seeing these tiles in their original form helps us understand technique, proportion and color in a way books cannot," he told Xinhua. "It provides a foundation for improving our own work while staying connected to tradition." ■
