Islamic monumental art of the sixteenth century made its first appearance on 'Yugoslav territory at the time of the greatest rise and prosperity of the Ottoman Empire a fact which was to considerably influence later development, scope and value of this art in the region. The second half of the century 'was a relatively peaceful period of Turkish rule with a fairly organised economic life and considerable material goods accruing to Turkish provincial functionaries from conntinued warfare in Panonija and in the northwest. At this time the military, political and economic interests of the Turkish Empire demanded that the war ravaged territories should be revived, economically restored to become a peaceful and stable rear guard, indispensible to further expansion. The authorities therefore tried to develop secure town-like settlements. This enabled the swift development of a new Turkish culture, particularly Islamic building and artistic activities. It suited the Turks, in those first decades of their rule, to free the subjects, partially or completely, from “the tax for non Muslim subjects, and thus to stimulate and quicken the expansion of towns that would correspond to the Islamic states whose ruler was at the same time caliph of the whole Islamic world. During this period therefore the ancient Islamic institution of "vakif” took on a most important role in the further development of the existing city settlements and the foundation bf hew ones. Numerous and varied memorial buildings and monuments were built in those settlements on the basis of vakif, some of which later served only the needs of the Moslem population, while others served the needs of anyone Regardless of their religious or national background.
