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Ottoman is a widthways-ribbed textile with pronounced, raised 'ribs' along its wale and course. Similar to grosgrain , Ottoman is known as a corded fabric, using a thicker yarn in the course rather than the wale to create raised stripes running across the width of the fabric.
Saz was a style of vegetal ornament popular in Ottoman decorative arts of the 16th century CE, characterized by the use of long, feathery sawtoothed leaves and composite blossoms. [4] At the same time, saz is also used as a name for the art style, in which saz ornament was basic element of the compositions.
Ottoman clothing or Ottoman fashion is the style ... highly admired the free nature of women in ... layering different patterns represents a spiritual metaphor of the ...
Tile decoration in the Green Mosque in Bursa (1424). Some of the earliest known tile decoration in Ottoman architecture is found in the Green Mosque in Iznik (late 14th century), whose minaret incorporates glazed tiles forming patterns in the brickwork (although the current tiles are modern restorations).
Ottoman miniature (Turkish: Osmanlı minyatürü) is a style of illustration found in Ottoman manuscripts, often depicting portraits or historic events. Its unique style was developed from multiple cultural influences, such as the Persian Miniature art, as well as Byzantine and Mongol art.
The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century. Geometric patterns occur in a variety of forms in Islamic art and architecture.
In Islamic art, a shamsa (Persian: شمسه shamseh, Arabic: شمسة shums, Ottoman Turkish: شمسه [Turkish: Şemse]) is an intricately decorated rosette or medallion which is used in many contexts, including manuscripts, carpets, ornamental metalwork and architectural decoration such as the underside of domes. [1]
Geometric patterns gained popularity during the 13th century under the Seljuk Dynasty and Ilkhanate, with their usage continuing through the Early Ottoman period. [5] [10] Geometric forms such as squares, circles, triangles, and stars were often combined into a singular motif. The weaving of these forms was believed to signify infinity. [19]
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