Ottoman illumination

Turkish or Ottoman illumination refers to non-figurative painted or drawn decorative art found in manuscripts or on sheets in muraqqa.

[6] Kufic manuscripts of this period began to incorporate more elaborate geometric decoration as both an act of religious devotion and a tool for facilitating the text's legibility.

[11] Prominent artist Baba Naqqash led an ornamentation workshop established by Sultan Mehmed the Conqueror at Topkapi Palace, producing masterpieces while training new students in the art of illumination.

[11] Beginning in the 15th century, refined techniques in papermaking and page dyeing allowed for the incorporation of more varied colors in paper manuscripts.

Illumination was used to decorate royal edicts and insignias, book covers, heads of Qur'anic chapters, and end pages.

[8] Ottoman artists Shah Kulu of Baghdad and his student, Karamemi, pioneered the naturalistic "Sazyolu" (reed) style, characterized by its vegetal forms.

[14] Karamemi later introduced the "Halic work" style to Ottoman illumination tradition while serving as chief illuminist at the ornamentation workshop in the palace of Sultan Suleiman the Magnificent.

[6] The Tulip Period of illumination (1718–1730) was characterized by the incorporation of large flowers and bouquets into decoration, influenced by the styles of the French Rococo.

[citation needed] The 20th century, however, witnessed a revival of the art form thanks to champions like Süheyl Ünver [tr], Rikkat Kunt, Muhsin Demironat, Ismail Hakki Altunbezer, and Feyzullah Dayigil.

[17] Today there are many artists in the field of illumination, such as Çiçek Derman, Gülnur Duran, Şahin İnalöz, Cahide Keskiner, Ülker Erke, Melek Anter and Münevver Üçer (all of whom are women).

[18][citation needed] Geometric patterns gained popularity during the 13th century under the Seljuk Dynasty and Ilkhanate, with their usage continuing through the Early Ottoman period.

Rumi emerged through the stylization of animal wings, legs, and trunks, but in the 13th century, Ottoman illuminators adopted the motif, varying its forms.

[6] Vegetal forms, including stylized leaves, stems and buds (such as the gonca, or unopened flower), were a common element of the khatai style of illumination.