12). The mausoleums mihrab is composed entirely of black-line tile (Fig. 13).55 The tiles made with this method for the Yeil Klliye are often called cuerda seca (dry cord) tiles, but due to technical differences, black-line is the more appropriate term in the eastern Islamic context.56 In Timurid black-line ceramics from Central Asia, Iran, and Anatolia, the tile is rst covered with a slip to create a uniform background, then red. Black (and sometimes red) outlines are then drawn on the tile and lled with different pigments. During a second ring, those outlines remain visible and the colored sections assume their brilliant glaze.57 Black-line tiles compose a large part of the decoration in the Yeil Klliye, but other tile techniques, including monochrome underglaze, mosaic, and painted terracotta relief were used as well. In the center of the Yeil Trbe, a low platform is covered in monochrome turquoise tiles (Fig. 12). This platform is the

55. Grard Degeorge and Yves Porter, Lart de la cramique dans larchitecture musulmane (Paris: Flammarion, 2001), 24, 196. 56. In cuerda seca tiles produced in Spain, waxed cords are used to separate the different colors. The cords burn during ring, resulting in an unglazed line between elds of different color. Hence, OKane (Tiles of Many Hues, 182) notes that the term cuerda seca is better translated as colorless line. Bernus-Taylor, Le dcor du Complexe Vert Bursa, mentions the technical differences but continues to use the term cuerda seca for the sake of convenience. Michael Meinecke, Fayencedekorationen seldschukischer Sakralbauten in Kleinasien, 2 vols. (Tbingen: Wasmuth, 1976), 1:103, refers to these tiles as Glasurfarbeniesen mit toten Rndern (underglaze tile with dead, i.e., unpainted edges).

57. Aneta Samkoff, From Central Asia to Anatolia: The Transmission of the Black-Line Technique and the Development of Pre-Ottoman Tilework, Anatolian Studies 64 (2014): 199215, at 200201. For the chemical analysis of examples from Bursa and Samarkand, see OKane, Tiles of Many Hues, 200203. Figure 9. Tile mosaic in vault of west iwan, madrasa, Yeil Klliye, 141924, Bursa (photo: author). See the electronic edition of Gesta for a color version of this image.

Other burials in the mausoleum, marked by smaller cenotaphs clustered around the sultans monumental one, include Mehmed Is sons Mustafa (d. 1423), Mahmud (d. 1428), and Yusuf (d. 1428); his daughters Seluk Hatun (d. 1485), Hafsa Sultan, Aye Hatun, and Sitti Hatun; and the sultans wet nurse.58 The cenotaphs are decorated with different types of tiles; the blue-and-white underglaze type that became prominent in the late fteenth and early sixteenth centuries is visible on those of later date (Fig. 14).59 Tile mosaic is also used for the softs of deep window niches inside the mausoleum (Fig. 15). This technique is found in both Timurid and Seljuk architecture, but the color palette of these panels, limited to blues, white, and purple, is closer to the latter. As Michael Meinecke notes, tile mosaict