User:Snazzyricotta/Ottoman illumination/Bibliography
Sims - "The Art of Illumination in Islamic Manuscripts"
- manuscript illustration and manuscript decoration or illumination were two distinct practices, carried out by different artists, as evidenced by the differing titles for those who illustrated manuscripts vs. decorated/illuminated them (muzahhib: Arabic term for 'the gilder')[1]
- characteristics of Ottoman illuminated manuscripts include pages or panels of non-figural decorative patterns, often geometric or vegetal[1]
- Manuscripts influenced by the artistic styles of the Jalayirid Dynasty often feature sparse calligraphy in Kufic script. Compositions often feature larger and more repetitive curvilinear forms.[1]
Tanindi - "The Art of Illumination in the Ottomans"
- Manuscripts of the Qur'an as well as literary and historical works were illuminated in palace workshops and private artists' workshops in cities in the Middle Ages and afterwards - illuminated manuscripts were generally only accessible to sultans and rich people because of the high cost of their materials[2]
- the design of illumination is influenced by the text; copies of the Qur'an from the Ottoman period in the 14th and 16th centuries feature fully decorated/illuminated opening pages, with illumination surrounding the text block like a frame on subsequent pages[2]
- levha (plate) illumination: term for the full ornamentation of a manuscript's opening pages
- koltuk: term for the addition of a rectangular illumination added on both sides of the text of two suras
Onat - "Islamic Art of Illumination" [3]
- Classical Islamic art of illumination combines knowledge and techniques from Turkish, Persian, and Arabic traditions. It was central to the traditional arts of the Ottoman Turks, who developed a style of illumination distinct from other traditions
- Tazhib: 'gilding'; Arabic term referring to the decoration of a work by using gold and earth-based paints
- illumination techniques were used to decorate manuscripts of the Qur'an as well as decorative papers, book covers, carpets, textiles, ceramics, glass and wood panels, metal works, and architectural surfaces
- Classical Turkish Tazhib:
- During time of Seljuk Turks (13th and 14th centuries), illumination featured geometric designs. Many illuminated manuscripts were produced in adornment workshops
- 16th century: appearance of Classical Turkish illumination - illumination also started to be used in mediums other than manuscripts, such as weaving and ceramics
- age of Sultan Suleyman the Magnificent (1520-1566): 'golden age' for the art of illumination
- Schools of illumination art
- Halkar (gilding) style
- Sazyolu (reed) style
- Turkish Rococo
- Classic illumination
- common motifs and figures
- leaves
- stems
- gonca (bud)
- Khatai (floral motif)
- Panch (five-pointed foliation)
- spirals
- Bulut (cloud) motifs
- Rumi
- geometric motifs
- Munhani (curved) motifs
- Shukufa (naturalist flower) motifs
- Zarafshan (scattering gold)
- Tigh (needle-pointed) motif
- Karamemi
- Common forms used in illumination
- Shamsa
- Hilya
- Kit'a
- Ottoman Ferman (edict)
- Sultan's Tughra (insignia)
- ^ a b c Sims, Eleanor (2001). "The Art of Illumination in Islamic Manuscripts in the Gulbenkian Museum, Lisbon". HALI, The International Journal of Oriental Carpets and Textiles (114): 96–99.
- ^ a b Tanindi, Zeren (2000). "The Art of Illumination in the Ottomans". The Great Ottoman-Turkish Civilisation. 4: 669–674.
- ^ Onat, Sema (2015). Islamic Art of Illumination: Classical Tazhib From Ottoman to Contemporary Times. Clifton, NJ: Blue Dome Press. ISBN 978-1-935295-82-2.