Imagine a manga: it is not set in Tokyo, it does not tell the story of samurai, nor is it a high school narrative. Its setting is the 16th-century Ottoman Empire.
The Ottoman Empire is not merely a stage of history; it is also an aesthetic world where patterns, colors, and forms intertwine. Centuries later, this world comes to life once again through the lines of a Japanese artist.
I first discovered Momoyama Aoi through a news article published in Turkey. In this piece, I saw that a Japanese artist was depicting the Ottoman Empire in manga form and reinterpreting Ottoman characters in her own unique style. I must admit, I found this quite intriguing. A Japanese artist choosing the Ottomans as a subject was both surprising and thought-provoking; it seemed to echo the long-standing friendly relations between the Ottoman Empire and Japan in a new artistic form.
Driven by this curiosity, I thought, “I must conduct an interview with this artist.” However, reaching her was not as easy as I had expected. She had a social media account, but messaging was not enabled. So I turned to the “send a fan letter” section on the platform where her manga is published and sent my request there. To be honest, I was not very confident that I would receive a response.
Yet, quite unexpectedly, a reply arrived. As a result, due to geographical distance, our interview was conducted online. Nevertheless, throughout our correspondence, the communication remained remarkably sincere and warm. The answers provided clearly reflected this sense of openness.
Land of the Crescent: Ottoman One Thousand and One Nights (Momoyama Aoi)
In her manga Land of the Crescent, Momoyama Aoi shifts the focus of the Ottoman Empire away from war and politics, placing art, everyday life, and individual experience at the center. Rather than a high school story set in Tokyo or a tale of samurai, the work unfolds in a 16th-century Ottoman miniature workshop, seen through the eyes of an apprentice who grinds pigments, prepares gold leaf, and draws intricate patterns. In this way, it moves beyond conventional heroic narratives and reconstructs the Ottoman world through craft, aesthetics, and artistic production.
The work presents not only the story of an artist but also carefully portrays the social and cultural fabric of the period. Spaces such as the harem—often misrepresented or treated superficially—are depicted within the context of everyday life, offering a more grounded perspective. The visual affinity between Ottoman miniature art and manga—two-dimensionality, vibrant colors, and attention to detail—is one of the most striking aspects of the narrative. Through this lens, the Ottoman Empire emerges not simply as a historical power, but as a rich visual universe reimagined through the eyes of a Japanese artist.
The interview you are about to read is the result of this curiosity and effort to connect. Through Momoyama Aoi’s own words, you will be able to follow how she perceives the Ottoman world, how she constructs it, and what it means to portray another culture through her own artistic language.
Initially, we did not specifically plan to create a manga about the Ottoman Empire; it was simply one idea among many. During meetings held before starting the series, we proposed various concepts: a historical story set in Edo-period Japan, a tale in which an Austrian magician punishes a corrupt Prussian landlord, a story about a high-ranking monk living in the utopian land of Shambhala in Tibet who defeats a creature in the Ganges River, and a story about a strong-willed Western female mercenary who is taken into the Ottoman harem and struggles there.
Among these ideas, the one that the editorial team found the most “visually striking and interesting” was the Ottoman concept. As a result, we created the one-shot The Prince of the New Moon and the War Slave. Since it was well received, it led to the serialization of Land of the Crescent, which is set in the same universe.
For this reason, we were not particularly knowledgeable about the Ottoman Empire at first. However, as we researched for the project, we became increasingly fascinated by its richness and depth; today, we have become great admirers of the Ottoman Empire.
Its magnificent and splendid art, its extremely powerful military, and its culturally diverse society brought together from three continents were all very appealing.
In particular, this sense of artistic grandeur was crucial. Among the many ideas we presented during the series meetings, it was the main reason why the Ottoman concept clearly stood out. According to the editorial team, what matters most in a new series is that even readers with no prior knowledge of the subject can enjoy it at first glance. The Ottoman Empire is full of elements that can be perceived as beautiful and impressive even on first encounter: architecture, decoration, and clothing, for example. The Turkish tiles featured in Leo’s chapter are also among these aesthetic elements.
In fact, none at all. I only knew what I had learned in world history classes at school. We approached this manga by researching it almost entirely from scratch.
Land of the Crescent: Ottoman One Thousand and One Nights (Momoyama Aoi)
Yes, it was. At first, I had also planned to deal with war and politics. In fact, we touched on war in the second chapter, the Faysal arc, and briefly addressed politics in the third chapter, the Lucia arc. However, Aoi, who is responsible for the artwork, pointed out that “previous works about the Ottomans have already focused heavily on war and politics; if we make that the main theme, the work will get lost among others.”
We also received feedback from the editorial team that “since this magazine targets an adult audience, it would be better to develop it as a more mature, profession-oriented manga, focusing on art and the lives of ordinary people.” Following this advice, we decided to depict people from various professions living within the empire.
I would like them to know that, in the past, the Ottoman Empire was one of the most technologically advanced states in the world and served as a model for other countries. Additionally, although it is from a period several centuries after the time depicted in this work, I would also like more people to be aware that there were very friendly relations between the Ottoman Empire and Japan.
Land of the Crescent: Ottoman One Thousand and One Nights (Momoyama Aoi)
We aimed to create a character that general readers—especially young people interested in art—could relate to by making the protagonist an ordinary apprentice painter. At the same time, by choosing a painter as the main character, we thought we could also draw on Aoi’s own experiences as the illustrator. In fact, the dialogues between Master Shakul and Leo, as well as the episodes related to artwork selection, were based on our past professional experiences and the guidance we have received from editors.
Historically, individuality was not particularly expected from newcomers in miniature workshops; rather, faithfully carrying out the master’s instructions was considered more important. However, in order for contemporary readers to connect with the characters, we deliberately introduced a selection process within the story to allow each character’s individuality to emerge.
We wanted to depict the growth of Leo, who starts off immature and self-centered, as she gradually becomes more humble through the guidance of those around her. At the same time, we focused on her journey toward discovering what she alone can express as a professional artist. Recognizing the support of her master and senior apprentices, and letting go of the arrogance of thinking “I am the best,” is also an important part of her development.
Miniatures often depict dynamic scenes in a flat, two-dimensional manner, which I believe shares similarities with manga. For example, in the miniatures accompanying the Iskendername, there are scenes of a hero fighting a dragon. The way humans and horses vividly overcome a creature in these scenes resembles a panel from an ancient manga.
In addition, techniques such as simplifying elements that are not central to the main subject, and the use of clear outlines and bold colors, are also features that resemble contemporary manga.
Land of the Crescent: Ottoman One Thousand and One Nights (Momoyama Aoi)
Both in Japan and abroad, we received feedback noting that works focusing on Ottoman art are quite rare. From the second chapter onward, although the themes expand from art to include food, war, and the harem, we received praise from people in Turkey and Muslims living in Japan, who commented that “the Ottoman and Islamic culture has been carefully researched and depicted.” This made us feel that our research efforts were worthwhile.
Among all the reader responses, what impressed me the most was that Turkish ceramic artist Yumiko Kubota actually created Leo’s lion-motif tile as a real piece. It was beautifully colored in the traditional Iznik style, and seeing it gave a strong sense of authenticity—almost as if to say, “This is exactly how it would look in reality.”
People often struggle to see what is already familiar to them. I believe that there are aesthetic aspects of Ottoman culture that people living in Turkey may overlook because they have become part of everyday life. If, through my perspective as a Japanese artist, I can rediscover these elements and help Turkish readers realize, “Our culture has such beauty,” that would make me very happy.
Land of the Crescent is inspired by the tradition of One Thousand and One Nights, and therefore it has a somewhat fairy-tale-like narrative. For this reason, it includes many depictions that differ from historical reality. However, we strive to remain consistent in our core aim of conveying the aesthetic beauty of Ottoman culture. Through this work, I hope more people will come to appreciate that beauty.
Land of the Crescent: Ottoman One Thousand and One Nights (Momoyama Aoi)
Momoyama Aoi is a manga artist duo formed by a married couple, in which the scriptwriting and visual production are undertaken by different individuals. In this collaboration, Momoyama (male, scriptwriter) is responsible for the narrative, while Aoi (female, illustrator) handles the visual storytelling. By bringing together their backgrounds from different disciplines, the duo has developed a creative practice in which narrative and visual elements are harmoniously integrated.
Momoyama, the scriptwriter, studied Indian philosophy and Buddhism at Ryukoku University. During this period, he developed an interest in traditional religions such as Buddhism and Islam. He later met Aoi at an event, and recognizing each other’s talents, they began working together. Over time, this collaboration evolved into a lasting artistic partnership.
Aoi, the illustrator, graduated from the Department of Design at the Faculty of Fine Arts at Osaka University of Arts. She then joined Universal Studios Japan, where she worked on character design and illustration for various projects. After leaving the company, she contributed illustrations and manga to Takarajimasha Publishing. Today, she continues to apply this experience to her manga work at Shinchosha.
Japanese Text Link: 日本人アーティストの視点からオスマン帝国を描く――桃山あおいインタビュー
Turkish Text Link: Osmanlı’yı Bir Japon Sanatçının Gözünden Çizmek: Momoyama Aoi ile Röportaj
Interview Text
1. How did the idea of creating a manga about the Ottoman Empire first emerge?
2. From a Japanese perspective, what aspects of the Ottoman Empire first attracted you?
3. Did you have any prior connection to Ottoman history or art before starting this project?
4. In your work, you portray the Ottoman Empire through aesthetics and everyday life rather than war and politics. Was this a deliberate choice?
5. How would you like Japanese readers to perceive the Ottoman Empire?
6. Could you explain why you chose an apprentice in a miniature workshop as the central character instead of a sultan?
7. What kind of development or inner journey did you want to portray through the character of Leo?
8. What kind of relationship do you see between Ottoman miniature art and Japanese manga aesthetics?
9. How has your work been received in Japan and internationally? Were there any reader reactions that particularly stood out to you?
10. In your opinion, why can people sometimes understand their own history more deeply through the perspective of others?
About Momoyama Aoi
Works
Awards