The Janissaries were established in the late 14th century, during the reign of Sultan Murad I (r. 1362–1389), though the exact date is debated among historians. The corps was initially formed through the devshirme system, a practice where boys, primarily from the Balkans, were taken from their families and trained to serve the Ottoman state. This system ensured loyalty to the sultan, as these recruits had no ties to the Ottoman aristocracy or local power structures.

Originally, the Janissaries were elite infantry armed with spears, swords, and bows, but they quickly adapted to new military technologies, becoming some of the earliest adopters of firearms in the Muslim world. By the 15th and 16th centuries, they were renowned for their discipline, skill with muskets, and effectiveness in sieges and pitched battles. They played a key role in major Ottoman victories, such as the conquest of Constantinople in 1453 under Mehmed II, the Battle of Mohács in 1526, and the expansion into Europe and the Middle East.

At their peak, the Janissaries were more than just soldiers—they were a privileged class with significant political influence. They lived in barracks, were forbidden from marrying (until later reforms), and received regular salaries, which was unusual for the time. Their loyalty to the sultan made them a powerful tool for centralizing authority, often acting as his personal guard and enforcers.


However, by the 17th century, the Janissaries began to decline. The devshirme system was phased out, and the corps started recruiting from within the Ottoman population. This eroded their elite status and discipline. They became embroiled in politics, staging rebellions and coups when their privileges were threatened, such as during the 1622 assassination of Sultan Osman II. Their resistance to military modernization—particularly their refusal to adopt European-style reforms—further weakened their effectiveness.

The end came in 1826 under Sultan Mahmud II, in an event known as the "Auspicious Incident." After years of corruption and insubordination, Mahmud provoked the Janissaries into revolt, then crushed them with loyal forces, including the modernized army he had secretly built. Thousands were killed or executed, and the corps was abolished, marking the end of a centuries-long institution.

The elaborate hats often seen in paintings of the Janissaries are a reference to their iconic headgear, known as the börk (sometimes spelled bork), a distinctive element of their uniform that went far beyond mere fashion. The börk was a powerful symbol of the Janissaries’ identity, deeply rooted in the traditions, symbolism, and cultural pride of this elite infantry corps within the Ottoman Empire. More than just a piece of clothing, it represented their status, their history, and their unique role as the sultan’s most loyal and formidable soldiers.

The börk itself was a striking piece of headwear, typically crafted as a tall, cylindrical cap made of white felt, with a wide, folded brim that gave it a structured, imposing look. One of its most distinctive features was a large, curved flap or sleeve that extended down the back, often reaching the shoulders or even lower. This flap wasn’t just decorative—some historians suggest it symbolized the sleeve of Haji Bektash Veli, a 13th-century Sufi mystic who, according to legend, blessed the Janissaries during their formation. The Bektashi order, a Sufi group with a profound influence on the Janissaries, played a significant role in shaping their cultural and spiritual identity, and the börk became a tangible emblem of this connection. The cap was often adorned with additional ornaments, such as tall plumes, jewels, or metal insignia, which varied depending on the wearer’s rank, regiment, or the occasion. These embellishments made the börk a canvas for displaying prestige, turning a functional piece of military gear into a statement of power and privilege.


The crazy objects like ships that appear in some paintings and depictions of the börk are likely a mix of artistic exaggeration and rare ceremonial flair. While there’s no concrete evidence that Janissaries wore hats topped with objects in battle, such motifs may have appeared in highly ornate, parade-specific versions of the börk. Officers or members of elite Janissary subgroups often wore more extravagant headgear during formal events, such as victory celebrations or imperial ceremonies, where they might add feathers, gold embroidery, or symbolic ornaments to signify their rank, wealth, or regiment’s achievements. The ship motif, in particular, could have been a nod to the Ottoman Empire’s naval dominance, especially during the 16th century when the empire controlled vast swathes of the Mediterranean. However, these elaborate designs were likely amplified by European artists who, captivated by the Janissaries’ mystique, took creative liberties to enhance their exotic appeal. Paintings from the 16th and 17th centuries, such as those by Venetian artist Gentile Bellini or later Orientalist works by European painters like Jean-Léon Gérôme, often portrayed the börk with theatrical flourishes—sometimes impossibly tall, adorned with improbable objects like ships or oversized plumes—to captivate Western audiences and feed into the era’s fascination with the “mysterious East.”

This artistic exaggeration was part of a broader cultural phenomenon known as Orientalism, where European depictions of the Ottoman Empire prioritized drama and spectacle over accuracy. The Janissaries, as the empire’s most visible and feared military force, became a favorite subject for such portrayals. Their börk hats, already striking in their real form, were transformed into symbols of the “otherness” that European audiences craved. For example, a painting might show a Janissary with a börk towering a foot high, topped with a miniature galleon, even though such a design would be impractical for combat or daily wear. These artistic liberties weren’t entirely baseless, though—ceremonial börks could indeed be extravagant. Historical records and Ottoman miniatures from the period show Janissaries wearing börks with large feathers, metal ornaments, or even small banners during parades, reflecting their status as an elite, privileged corps with the resources to indulge in such displays.


In everyday use, however, the börk was far more practical. The standard version was simpler, made of sturdy felt to withstand the rigors of military life, with a shorter flap and minimal decoration. It was designed to be functional—keeping the sun off a soldier’s face during long marches or providing some protection in the field—while still marking the wearer as a Janissary. The contrast between the everyday börk and its ceremonial counterpart highlights the dual nature of the Janissaries themselves: disciplined warriors on the battlefield, but also a proud, privileged class eager to flaunt their status in the capital.

The börk’s evolution over time mirrors the Janissaries’ own trajectory. In their early years, during the 14th and 15th centuries, the headgear was likely more uniform and utilitarian, reflecting the corps’ focus on discipline and martial prowess. But as the Janissaries grew in power and influence, especially by the 16th century, their börk became a canvas for self-expression. Different regiments might adopt unique styles—some favoring red accents, others adding specific types of feathers—to distinguish themselves. High-ranking officers, known as agas, often wore the most elaborate versions, with gold thread woven into the felt or gemstones pinned to the brim, signaling their authority within the corps.

The börk also served a psychological purpose. Its height and distinctive shape made Janissaries instantly recognizable, both to their allies and their enemies. On the battlefield, this could intimidate opponents, reinforcing the Janissaries’ reputation as an elite, unyielding force. In the streets of Constantinople, it set them apart from the general population, a constant reminder of their special status and their direct loyalty to the sultan. This visibility was a double-edged sword, however—by the 17th and 18th centuries, as the Janissaries became more corrupt and rebellious, the börk also became a symbol of their arrogance and resistance to reform, making them a target for resentment among the empire’s subjects.

When the Janissaries were finally abolished in 1826 during the “Auspicious Incident,” the börk disappeared along with them, its once-proud symbolism reduced to a historical footnote. Yet its legacy endures in art and historical records, where it remains one of the most iconic elements of Janissary culture. Whether topped with a ship in a European painting or simply adorned with a single feather in an Ottoman miniature, the börk encapsulates the Janissaries’ blend of military might, cultural pride, and a flair for the dramatic—a fitting emblem for a corps that was as much about spectacle as it was about strength.