Considering the fact that the producers of classical Turkish poetry were mostly well-educated members of the scholarly class, members of the madrasa and urban craftsmen, it is observed that the places where this class performed their activities were also centered in the center. In empires like the Ottoman Empire, where political power was concentrated in a single center, this center was the city where the capital was located and more specifically the palace. In this sense, the “palace” is not only a place where daily life is carried out or state affairs are discussed and decided, but also a center that symbolically ensures the continuity of existence and is the reflection of divine power on earth. When evaluated in the context of patronage, the center in question is a place that protects art and artists and ensures the continuity of cultural and artistic activities by supporting them materially and spiritually. Therefore, on the one hand, with the support and patronage of the sovereign, artists had the opportunity to exhibit their talents, and on the other hand, the presence of powerful artists in the sovereign’s palace or around him was a source of pride and prestige for his power and, more broadly, for his state. In this paper, the contribution of art and power relations (patronage) to the existence of art and the artist in classical Turkish poetry and the role of the palace as a venue for artistic and cultural activities will be evaluated.