Islamic art during the Ottoman Empire, which lasted from the 14th to the early 20th century, blended various styles from Persia, Byzantium, and earlier Islamic traditions. This blend created a unique artistic style rich in geometric patterns, vibrant colors, and intricate calligraphy. This style was prominently featured in mosques and palaces. The 16th century, the peak of Ottoman art, was a time of outstanding architectural achievements. Famous architects like Mimar Sinan built stunning structures, such as the Suleymaniye Mosque in Istanbul, which showcased large domes and slender minarets. Ottoman art was not just about architecture; it also excelled in ceramics, like the famous Iznik tiles, textiles, calligraphy, and manuscript illumination, especially in the decoration of the Qur'an. As the Ottoman Empire's power declined in the 19th century, Western influences began to appear in its art. The Ottoman period remains a significant chapter in the history of Islamic art, known for its unique combination of diverse artistic traditions.
TIMELINE
* A broad timeline spanning centuries is used to account for imprecise dates in the Ottoman Empire from multiple sources.
The Topic
A general view of the perspective on Islamic art that was shaped throughout the Ottoman Empire's peak, particularly during Sultan Suleiman's reign. Istanbul, Turkey, became known for its exceptional display of geometric symbolism in Islamic art. I want to explore the important mosques that displayed some of the most extraordinary works of art still known to the Islamic community.
REFERENCES
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Intro
This is Incomplete Design History, The Illustration Files, a podcast that explores overlooked and ignored topics in graphic design history. It is our goal to deepen and expand the knowledge, understanding, and interpretation of design history.
Because history is messy. It’s incomplete.
Thank you for joining us today, I am your host, Sam Washburn.
Intro
The Ottoman Empire began in northwestern Anatolia, which is present-day Turkey. It arose from a beylik, or principality, under tribal leader Osman I in 1299. Subsequent leaders expanded the beylik, conquering or making alliances with parts of southeast Europe, north Africa and western Asia. Absorbing these areas into the empire also meant the spread of Islam as the primary religion under Ottoman rule. Taking Constantinople and making it the capital city established the Ottoman Empire as a major power in the area.
Suleiman I, sometimes called Suleiman the Magnificent, was the sultan ruling during the height of the Empire. His reign was the longest of any of the Ottoman sultans, lasting from 1520 to 1566. This period is considered something of a golden age of Islamic cultural development. Suleiman, himself a poet, was a patron of the arts and attracted artists of all kinds to serve in his court.
The Ottoman Empire was not only a political, religious, and military power, but a cultural power too. For almost 600 years, the empire sat right at the crossroads of interaction between Europe and the Middle East. It meant Islamic art and culture was able to spread far and wide.
Islamic art is unique in that it was developed in strict adherence to the principles outlined in the Quran. Unlike Christian art, which often features visual depictions of Christ and other religious figures, Islamic art is prohibited from featuring images of the Prophet Mohammed or any religious names. The Quran forbids idolatry and the making of images for worship; this meant that artists had to find creative ways to symbolize the spirit of the Quran through abstract patterns, arabesques, and calligraphy. The result was a non-literal art style emphasizing the religion's spiritual and symbolic aspects.
Artistic Exchange of the Ottoman Empire
The Ottoman Empire's strategic location meant having exclusive trade routes connecting Europe and Asia.
As such, the empire became a melting pot of cultures, profoundly influenced by the lands conquered by the Ottomans, neighboring civilizations, and those using the trade routes that passed through Ottoman territory.
This rich cultural diversity, coupled with the empire's economic prosperity, sparked a vibrant era of Islamic art. The fusion of Byzantine mosaics, Persian patterns, and new techniques from tradesmen shaped the depth and richness of Islamic art.
The craftsmanship and detail, particularly in ceramics, carpets and calligraphy, was held in high esteem and the market for these items made them very profitable. Trade and religion came together as Islamic art carries with it the expression of faith. The spread of Islamic art was at the same time a spread of Islamic ideals and beliefs.
Islamic Architecture
Islamic artistic expression extended to architecture. After the 13th century, the Ottoman sultans wanted to build their cities with distinctive architecture that would mark their empire and emphasize their religious belief through palaces and grand mosques. Being the melting pot of cultures that it was, artisans, craftsmen, and tradespeople of the empire were influenced by Persian, Byzantine, and Assyrian art and cultures, becoming known for rich colors and intricate details.
The Ottoman Empire had a significant impact on the neighboring civilizations in Europe. There are notable similarities between cathedrals and mosques built during the Ottoman Empire’s reign, particularly in the dome shape like the one on the Cathedral of Saint Mary of the Assumption in Cordoba, Spain.
Originally a mosque during the Islamic rule of Spain, the structure was later converted into a cathedral, and many Islamic elements were adapted and remained untouched to match the Christian worship practice. However, the central dome still contains strong Islamic features and designs adapted as a Christian aesthetic, such as the similar geometric elements and patterns characteristic of Islamic art during that time.
There were more instances of merging European and Islamic influences across Spain, such as the Alhambra Palace. In the 16th century, the palace's interior was strongly influenced by Islamic architecture from the columns and the intricate details done on the walls, along with the calligraphy on each of the columns and doors inside the palace.
Inside the borders of the Ottoman Empire, The Topkapi Palace, built in Istanbul during the time of Sultan Mehmed II, is known for its intricate and highly detailed tile work, as well as its collection of Islamic calligraphy, art, and artifacts. The palace was a sort of administration building while also serving as the home of the sultans. Suleiman I expanded the palace during his reign as the Empire was growing and he wanted the palace to reflect that growth.
As one of the largest and oldest covered markets, The Grand Bazaar is perhaps not surprisingly one of the most renowned markets in the world. Also built during the reign of Mehmed II, the Bazaar was filled with craftsmen and artists selling products like jewelry, textiles, and ceramics. It was a hub of activity for Islamic art that is still in use as a market today, housing some 4,000 shops.
The Suleymaniye Mosque was constructed under the reign of Sultan Suleiman the Great. This mosque was designed by architect Mimar Sinan, the Ottoman Empire's head of architecture and engineering. Through his military service Sinan saw the architecture of Persia, Damascus, Egypt, and Baghdad and proved himself a capable architect and engineer. After being appointed chief architect, Sinan designed The Suleymaniye Mosque as a unique expression of Islamic art, reflecting the power of the Ottoman Empire and surpassing the mosques constructed by his predecessors. The elegant and exquisite tile work was something never seen before at that time, while the dome, minarets, artwork and ornamentation symbolize Islamic ideas and belief. The mosque is considered one of Sinan’s crowning achievements.
Schools of Islamic Calligraphy
The Empire's demand for Islamic arts, illustrations, and calligraphy led to the formation of a highly talented community specializing in these skills. They crafted intricate designs and elements for mosques, homes, and other structures, thereby contributing to the establishment of the Ottoman Empire's elite class. Their work covered a range of artistic fields within Islamic culture, including interior tile work, Islamic illustrations, and architecture, leaving an indelible mark on the Empire's visual landscape.
Among all types of Islamic art, calligraphy stands out as a remarkable skill and an expression of devotion to the religion, mainly when rewriting the verses of the Quran or representing a specific verse from it. There were so many artistic expressions, tiles, masks, and ornaments; however, calligraphy is different because it takes beautiful passages from scripture and renders them in visually stunning typographic compositions.
Under the umbrella of Islamic calligraphy, there are three types of scripts: Kufic which is bold and structured, Naskh which is clear and legible, and Thuluth which is flowing and elegant.
Calligraphy became such an in-demand skill that schools were established to teach calligraphy. Many renowned sheikhs, or community leaders that usually were the head of a mosque, would spend their life teaching this script style calligraphy to middle to upper-class children.
Sheikh Hamdullah (1436–1520) and Hâfız Osman (1642–1698) played pivotal roles in making calligraphy a skill that many young men aspired to master. The ability to illustrate and do calligraphy was not just a skill but a gateway to trade and a higher status and social standing.
Since calligraphy was often used to decorate holy places and other cultural elements within the empire, the precision and beauty of calligraphy required extensive training from mentors and in schools.
Students spent a great deal of time transcribing verses from the Quran into different types of scripts, which were often part of different manuscripts that can still be seen today.
Outro: Decline and Legacy of the Ottoman Empire
The Ottoman Empire's decline came during the late 19th century, and it completely disintegrated during the 20th century. Though it might be absurdly reductive to say so, the 19th and 20th centuries was a period of monumental shift in the world. The Ottoman Empire struggled to keep up while trying to maintain its hold onto their power amidst rebellions, uprisings and shifts in the population’s demographics.
The Young Turk Revolution was the beginning of the end of the empire. By restoring the Ottoman Empire’s constitution, the movement hoped to rekindle its strength and defend itself against neighboring world powers.
The empire entered WWI with the Central Powers and after its defeat, was partitioned among British, French, Italian, and Greek occupying forces.
Despite the messiness of its final years, the Ottoman Empire is directly responsible for the flourishing of Islamic art in the golden era of Suleiman I’s reign as sultan. It was a time when the artistic expressions of many different cultures freely mixed, influenced, and inspired one another, resulting in the stunning geometric patterns, architecture, and calligraphy still in use today.
What is so striking about the typographic compositions and geometric patterns that came out of the Ottoman Empire, is not only how beautiful they are, but how one restriction that required abstraction rather than representation, pushed Islamic calligraphers and artists to innovate. They found a way to express their faith symbolically in a way that complied with their doctrine.
While artists, illustrators and designers can still look to Islamic art from the Ottoman Empire for inspiration, it’s important to realize the other lesson these examples teach us: that words and patterns can have beauty and meaning all on their own.
Credits:
This episode was produced with the aid of a grant from the University of Central Oklahoma
Research & Writing credits for this episode are from – Youser Kassim
With additional research assistance provided by – XXXXX
Story editing provided by Spencer Gee
Sound design/engineering – By the University of Central Oklahoma’s Center for eLearning and
Connected Environments
Music by Christina Giacona and Patrick Conlon of Onyx Lane
Contact:
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