Depicting the Ottoman Empire from the perspective of a Japanese artist — Interview with Aoi Momoyama

Imagine a manga set not in Tokyo, not about samurai, and not centered on a school setting. Instead, it portrays the Ottoman Empire in the 16th century. The Ottoman Empire is not merely a historical backdrop; it is a world of beauty where patterns, colors, and forms intertwine. This world, after centuries, has been reimagined by a Japanese artist. I first learned ofMomoyama Aoinot in Japan, but through a news report in Türkiye. It mentioned that a Japanese manga artist was creating works based on the Ottoman Empire. I found this deeply intriguing. While it was surprising that a Japanese creator would choose the Ottoman Empire as a subject, it also felt somehow natural. Looking back at history,friendly relations have long existed between the Ottoman Empire and Japan. Inspired by this, I became determined to interview this artist. However, establishing contact was not easy. Although I found their social media account, the messaging function was disabled. I therefore sent a request for an interview through the “fan letter” section of the website where their work was published. Honestly, I did not expect a response. Yet, to my surprise, one arrived. Thus, the interview took place online, due to the geographical distance. Throughout our exchange, the communication remained warm and candid, and this tone is clearly reflected in every answer. In her work *The Crescent Kingdom: Ottoman Thousand and One Nights*, Momoyama Aoi portrays the Ottoman Empire not through war or politics, but through art, daily life, and individual experiences. Unlike school stories set in Tokyo or tales of samurai, this manga unfolds from the perspective of a young apprentice in a 16th-century Ottomanminiature paintingatelier—someone who grinds pigments, prepares gold leaf, and draws intricate patterns. In this way, the Ottoman Empire is depicted not as a heroic epic, but as a world of craftsmanship, beauty, and creation. Beyond the story of one artist’s growth, the work carefully portrays the social and cultural landscape of the time. Particularly sensitive themes such as the harem are rendered with greater realism through the lens of everyday life. Additionally, one of the work’s distinctive charms lies in the visual parallels between Ottoman miniature painting and manga: flat compositions, vivid colors, and meticulous attention to detail. Through this, the Ottoman Empire is reimagined not as a mere historical entity, but as a rich visual world. This interview emerged from these very interests. Through Momoyama Aoi’s words, I hope readers will come to understand how she perceives the Ottoman Empire, how she brings this world to life, and what it means to speak of a different culture through one’s own artistic expression. --- **Interview Text** **1. What inspired you to create a manga based on the Ottoman Empire?** I did not originally intend to make a manga about the Ottoman Empire; it was simply one of many ideas I proposed during pre-series meetings. Other concepts included a historical drama set in Edo-period Japan, a story about a Prussian landowner defeated by an Austrian wizard, a Tibetan monk living in the utopia of Shambhala who defeats a monster from the Ganges, and a tough Western female mercenary who enters the Ottoman harem and struggles to adapt. Among these ideas, the Ottoman-themed proposal received the highest praise from the editorial team for its visually rich and appealing aesthetic. Based on this feedback, I created a one-shot titled *The New Moon Prince and the War Slave*, which was well received, leading to the serialization of *The Crescent Kingdom* in the same universe. Although I had no deep knowledge of the Ottoman Empire at the start, the more I researched to create the work, the more I became captivated by its depth and beauty—and now I am a devoted fan. **2. From a Japanese perspective, what aspects of the Ottoman Empire first attracted you?** I was drawn to its luxurious art, formidable military, and the diverse cultures gathered from three continents. Of these, the splendor of its art was most crucial. This was precisely why the Ottoman idea stood out among all the proposals during editorial meetings. The editorial team emphasized that a new series must be enjoyable even for readers unfamiliar with its subject, and the Ottoman Empire is filled with beauty that immediately captivates newcomers—architecture, decoration, clothing, and more. The Turkish tiles featured in the “Leo” arc are one such example. **3. Did you have any prior connection to Ottoman history or art before starting this project?** Actually, none at all. I had only learned about it briefly in school world history classes. I have been researching and drawing this manga almost from scratch. **4. In your work, you focus on art and daily life rather than war or politics. Was this a deliberate choice?** Yes, absolutely. Initially, I planned to include war and politics—I do touch on war slightly in the second chapter, “Faisal,” and touch on politics a bit in the third chapter, “Lucia.” However, my editor cautioned me: “Many existing Ottoman works already focus on war and politics. If you follow the same path, your work will be lost among them.” The editorial team also advised: “Since this is a mature audience publication, we want you to create something more refined—a work about craftsmanship. Focus on art and ordinary people.” As a result, the story came to center on the lives of various professionals within the empire. **5. How would you like Japanese readers to understand the Ottoman Empire?** I hope readers come to know that the Ottoman Empire was once the most technologically advanced nation in the world, admired and emulated by other countries. I also wish for greater awareness of the close and friendly relationship that existed between the Ottoman Empire and Japan—centuries after the period depicted in this manga. **6. Why did you choose an apprentice in a miniature painting workshop, rather than a sultan, as the central character?** By making the protagonist a humble apprentice artist, I aimed to foster empathy among general readers, especially young people aspiring to be artists. I also believed that if the main character were an artist, I could draw upon my own experiences as an artist. Indeed, the interactions between Master Şakir and Leo, as well as the selection process scenes, are based on my past work experiences and guidance I received from editors. Historically, Ottoman miniature workshops did not encourage individuality among newcomers; loyalty to the master’s instructions was prioritized. However, to resonate with modern readers, I deliberately introduced a selection competition in the story to highlight each artist’s unique style. **7. Through the character of Leo, what kind of personal growth or inner journey did you aim to portray?** I depicted Leo, initially immature and self-absorbed, gradually growing humble through the guidance of those around him, until he awakens to the realization that he can create something only he can create. Another form of growth is learning to be grateful to his master and fellow apprentices, and letting go of the arrogance of believing he is the best. **8. What connections do you see between the aesthetic expressions of Ottoman miniatures and Japanese manga?** Ottoman miniatures depict dynamic action scenes in a flat, two-dimensional style, which reminds me of manga. For example, the miniatures accompanying the *Iskendername* show heroes battling dragons—such vivid depictions of riders and horses defeating monsters are essentially ancient manga panels. Additionally, the Ottoman technique of simplifying elements not central to the subject, along with the clear outlines and bold colors, closely resemble modern manga styles. **9. How has your work been received in Japan and abroad? Have any reader reactions stood out to you?** Both in Japan and abroad, readers have remarked that works focusing on Ottoman art are rare. Moreover, while later chapters shift focus from art to cuisine, war, and the harem, each chapter has received praise from Turks and Muslims living in Japan for its accurate and thoughtful depiction of Ottoman and Islamic culture—making all my research worthwhile. One of the most memorable reader reactions was when the Turkish tile artist Yumiko Kubota actually created Leo’s lion tile in real life, using traditional Iznik-style techniques. The craftsmanship and vibrant coloring gave the work a powerful authenticity—this is what the tile truly looked like. **10. In your opinion, why can people sometimes understand their own national history more deeply by viewing it through the perspective of others?** People often cannot see their own culture clearly. There are undoubtedly aspects of Ottoman beauty that Turks themselves overlook, and everyday beauties of Türkiye that become invisible through familiarity. By rediscovering these through my perspective as a Japanese person, I hope Turks themselves will realize: “Our country had such beautiful things after all.” *The Crescent Kingdom* is a *Thousand and One Nights* tale—so it contains many fictional elements that differ from historical fact. Yet I have remained consistent in its core purpose: to convey the beauty of Ottoman culture. I hope this work enables more people to discover that beauty. --- **About Momoyama Aoi** Momoyama Aoi is a manga duo composed of a married couple, with separate roles for writing and illustration. In this team, Momoyama (male) handles the script, while Aoi (female) is responsible for visual expression. Together, they combine their expertise from different fields to create works where narrative and visuals are harmoniously integrated. The writer, Momoyama, studied Indian philosophy and Buddhist studies at Ryukoku University, where he developed an interest in traditional religions such as Buddhism and Islam. He later met Aoi at a hobby event, recognized her talent, and began collaborating. This encounter evolved into a lasting creative partnership. The illustrator, Aoi, graduated from the Department of Design at Osaka University of Arts and joined Universal Studios Japan (U.S.J. Co., Ltd.), where she worked on character design and illustration for various characters. She later contributed to book illustrations and manga for Takarajima Publishing, and now applies this experience to her manga work with Shinchosha. **Major Works** - **2017** — *Miss, “Understood” Is Not Acceptable to Your Boss: A Master Butler’s Manners Class* (Illustration) - **2018** — *Manga Guide: Techniques to Never Make Mistakes at Work* (Illustration) - **2023** — One-shot: *The New Moon Prince and the War Slave: ~Da Vinci’s Granddaughter~* - **2025–present** — *The Crescent Kingdom: Ottoman Thousand and One Nights* (Serialized) **Awards** - **2017** — SILENT MANGA AUDITION Runner-up Prize *Ninbe! Kumamoto Castle* - **2018** — SILENT MANGA AUDITION Excellent Prize *Seven-Colored Wings* - **2022** — 18th Kuraige Manga Award Encouragement Prize *Mononoke Enman Shiori* **Turkish Text Link:** [Osmanlı’yı Bir Japon Sanatçının Gözünden Çizmek: Momoyama Aoi ile Röportaj | KÜRE Ansiklopedi](LINK[osmanliyi-bir-japon-sanatcinin-gozunden-cizmek-mom]) **English Text Link:** [Drawing the Ottoman EmpireThrough the Eyes of a Japanese Artist: Interview with Momoyama Aoi](https://kureansiklopedi.com/tr/detay/drawing-the-ottoman-empire-through-the-eyes-of-a-3)