Binding is the general name of the book covers, which both have protectivequalities and give aesthetic pleasure to the eyes with the decoration applied onit. According to the binding fragments found in Chotscho, the Turkish bindingart must have started in Central Asia. These bindings set an example for Turkishbindings produced after it, both technically and in terms of decoration. SeljukTurks, who came to Anatolia from Central Asia, brought this art with them anddeveloped it here. The bookbinders of the period produced many decoratedbookbindings during this period and formed the Seljuk style of binding. Themedallion is generally in circular form and is located at the center point of thecover. From an ornamental point of view, the decoration of the front and backcover in a different way is the main feature that distinguishes Seljuk bindingfrom other period bindings. The preference for different types of decoration inthe border decorations is also one of the distinguishing features of the Seljukbinding style. Seljuk bindings also attract attention in terms of the materialused in the inside of covers and the motif applied. Generally, the inside of thecover is covered with leather. There are full geometric and rūmī patterns on theinside of the cover. The effect of Seljuk binding style on Anatolian Principalities,especially Karamanids, has been determined by various studies. These effectsand reflections continued in Turkish-Islamic bindings until the end of the 15thcentury.The theme of the article is 15th century Ottoman bindings in which thesereflections can be seen. The Çorum Hasan Pasha Manuscript Library, whichhas not been the subject of any study in this regard, has been determined asthe research area. As a result of the researches carried out in this library, fiveexamples from the 15th century were identified. The first of the examples isthe binding of the work with inventory number 3374, with the copying dateof 839/1435. This binding reflects the Seljuk binding style in terms of doublerow border decoration, medallion form, and decoration technique applied withnails. The second example is the binding of the manuscript with inventorynumber 4064 and dated 850/1445. The waqf seal of Sayyid Ahmad Fayzī, themufti of Çorum, is found on various pages of this work. The binding of themanuscript shows the Seljuk influence with different medallion designs onits front and back cover. In addition, the type of decoration of the corner piece is also a reflection of the same style. The third example is the binding of themanuscript dated 842/1438 with inventory number 4117. This binding is oneof the important examples where the Seljuk style on one cover and the Ottomanearly period binding style on the other cover come together in one binding. Thefourth example is the binding of the manuscript with inventory number 4115,which was completed in the month of Muharram of 885/1479. The medallionof this binding is in narrow pointed oval form. This binding reflects theSeljuk style especially in terms of border decorations and technique. The fifthexample is the binding of the manuscript with inventory number 4933. In themanuscript, there is the waqf seal dated 1201 (1786) in the name of SuleymanFeyzi and an ownership record written Muhammed b. Ahmad al-Shāfiī 934(1527). The binding of the manuscript was decorated with Seljuk patternsusing the gold-ink dyeing technique. The border decoration is also the type thatstands out in the Seljuk decoration repertoire. In our article, it was determinedthat the Seljuk binding style continued to show its effect partially after the 15thcentury. Two bindings (4768, 4062) dated the 16th century are also available inthe library. The binding of the manuscript, like 4117, has the characteristic ofdifferent decoration types of the front and back cover, which is the most typicalfeature of the Seljuk binding.As a result, it has been determined that the binding subject to the articlecoincides with the Seljuk bindings in terms of decoration types and productiontechniques and bears the reflections of this style. Reflections have also beencompared with similar examples from the 15th century. According to this; the15th century is a period in which the Seljuk State continued its continuity interms of binding art, even if not in an administrative sense. Previous periodeffects that can be observed in every branch of art were also valid for 15thcentury bookbinders who produced works in Anatolia.