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Illumination was central to the traditional arts of the Ottoman Turks, who developed a style of illumination distinct from earlier traditions. [ 3 ] Manuscript illustration, such as the painting of the Ottoman miniature ( taswir ), [ 4 ] was a distinct process from manuscript illumination, and each process was thus carried out by an artist ...
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.
Turkish calligraphy first developed as a separate art form, but subsequently emphasis was placed on embellishing it with tezhip (gold illumination) and ebru (Turkish paper marbling). 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 ...
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.
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.
Miniature of Sinon and the Trojan Horse, from the Vergilius Romanus, a manuscript of Virgil's Aeneid, early 5th century. A miniature (from the Latin verb miniare 'to colour with minium', a red lead [1]) is a small illustration used to decorate an ancient or medieval illuminated manuscript; the simple illustrations of the early codices having been miniated or delineated with that pigment.
A ḥilya by Hâfiz Osman (1642–1698), who established the standard layout used for this type of calligraphic panel. The term ḥilya (Arabic: حلية, plural: ḥilān, or ḥulān; Turkish: hilye, plural: hilyeler) denotes both a visual form in Ottoman art and a religious genre of Ottoman-Arabic literature each dealing with the physical description of Muhammad.
Reconstruction of an Ottoman style library, in the Topkapı Palace museum. As with many Ottoman Turkish art forms, the poetry produced for the Ottoman court circle had a strong influence from classical Persian traditions; [1] a large number of Persian loanwords entered the literary language, and Persian metres and forms (such as those of Ghazal) were used.