Ottoman miniature
[1][2] It was a part of the Ottoman book arts, together with illumination (tezhip), calligraphy (hat), marbling paper (ebru), and bookbinding (cilt).
[5] Some scholars believe that this style of painting developed from shadow puppetry, on account of the sharp geometric edges, as well as the intricate architectural designs.
[9] Additionally, the lack of third-dimensional shading and constant use of empty space suggest that shadow theater played a role in the development of Ottoman miniature painting.
[12] This is partially due to Selim I's conquest of Safavid Tabriz in 1514, in which he captured many manuscripts and brought them back to Istanbul, allowing the artists there to expand their iconographical and stylistic influence.
[12] Much of the illustrations in Ottoman manuscripts were constructed by referencing previous depictions of the subject, resulting in a heavy influence from past works.
The artists of these two painting academies formed two different schools of painting: The artists in Nakkashane-i Rum were specialized in documentary books, like the Shehinshahname, showing the public, and to some extent the private, lives of rulers, their portraits and historical events; Shemaili Ali Osman—portraits of rulers; Surname—pictures depicting weddings and especially circumcision festivities; Shecaatname-wars commanded by pashas.
The artists in Nakkashanei-i Irani specialized in traditional Persian poetic works, like the Shahnameh, the Khamsa of Nizami, containing Layla and Majnun and the Iskendername or Romance of Alexander, Humayunname, animal fables, and anthologies.
[15] Massumeh Farhad argues that Mehmed II commissioned works in attempts to achieve immortality as influenced by extensive contact with the Italians.
[11] During the 1520's, the Ottoman miniature style settled, as exemplified by the Selimnâme, which was completed in 1524 and chronicled Sultan Selim 1's life, and contains contemporary costumes and events.
The renowned miniature painters of the period were Nakkaş Osman, Ali Çelebi, Molla Kasım, Hasan Pasha, and Lütfi Abdullah [citation needed].
[16] This style was partly characterized by a focus on everyday life,[16] a relatively limited palette,[1] bright colors,[1] high levels of detail,[1] and minimal use of the 3/4 perspective.
[17] After the Mongols sacked the city it stopped being a center of illustrated book production, but it re-emerged as such in 1590 and there was a greater focus on everyday activities than in other locations.
[15] Because of interactions with Europe (an increasing interest in European art and architecture) in the 18th century, methods and subjects of miniature painting changed.
[15] Because of contact with Italy, the basic elements of Renaissance portraiture, such as portraying the whole body, volume in the torso, and shading of the face begin to be reflected in paintings from Istanbul.
[1][15] Maryam Mesinch refers to the Sürname-i Vehbi as Levni's masterpiece, made to record the "circumcision feast of the sons of Sultan Ahmet III".
Contemporary miniature artists include Ömer Faruk Atabek, Sahin Inaloz, Cahide Keskiner, Gülbün Mesara, Nur Nevin Akyazıcı, Ahmet Yakupoğlu, Nusret Çolpan, Orhan Dağlı, and many others from the new generation.
Also, their works are not illustrating books, as was the case with the original Ottoman miniatures, but are exhibited in fine art galleries [citation needed].
