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Turkish or Ottoman illumination refers to non-figurative painted or drawn decorative art found in manuscripts or on sheets in muraqqa. [1] In Turkish it is called “tezhip”, [2] meaning “ornamenting with gold”. The Classical Islamic style of manuscript illumination combines techniques from Turkish, Persian, and Arabic traditions.
Ottoman incense burners, city gas lamps, stoves; chandeliers, oil lamps, spirit lamps, acetylene lamps, Byzantine and Roman oil lamps, lanterns from different eras and places, and; hundreds of amazing items for illumination and heating. All are displayed in historical sequence, starting from the discovery of fire one million years ago.
As in the art history of Europe, "miniature" is generally reserved for images including people, with abstract or geometrical decorative schemes on the pages of books called "illumination". These are much more common, and less sensitive, often found in grand copies of the Quran, as for example in Ottoman illumination.
Ottoman miniature and Ottoman illumination cover the figurative and non-figurative elements of the decoration of manuscripts, which tend to be treated as distinct genres, though often united in the same manuscript and page. [11] The reign of the Ottomans in the 16th and early 17th centuries introduced the Turkish form of Islamic calligraphy.
The illumination process was first developed in Iran in the early fifteenth century during the Timurid Period. By the end of the fifteenth century, the Ottomans had embraced the classical style. They employed decorative depictions of animals and plants to produce a classical ornamental style distinguished by its flat surfaces and vivid color ...
Very elaborate decorated versions were created for important documents that were also works of art in the tradition of Ottoman illumination, such as the example of Suleiman the Magnificent in the gallery below. The tughra was designed at the beginning of the sultan's reign and drawn by the court calligrapher or nişancı on written documents ...
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The Ottomans also did not continue the Seljuk tradition of constructing monumental stone portals covered in ornamentation. [118] Lastly, as the classical Ottoman style took form, large solid walls that were common in more traditional structures were superseded by highly articulated structures with many elements joined as part of a more complex ...