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| Turkish Calligraphy (In the Name of God) |
Islamic Art varies substantially from Western Art primarily due to the restrictions in Koran on the depictation of the human form. Rather than being representational of the profane world, the perfection of Ottoman art lies in the pure balance of color, line and rhythm in geometric patterns and designs. Of the Ottoman arts, calligraphy was the most important. Such mundane items as tax reports, property deeds and imperial edicts became exquisite works of art. This aptly reflects the bureaucratic nature of the empire, with its stress on writing and registering. Turkish calligraphers contributed to the development of new and more ornate styles of calligraphy.
 An Ottoman Tugra |
Each of the sultans had their own monogram in stylized script, called a tugra. Sultan Ahmet III and Sultan Bayezit II were skilled calligraphers.In 1928 Ataturk introduced the Latin alphabet, which caused a decline in the art of Arabic calligraphy in Turkey. Many of the greatest |
works were preserved in the extensive Ottoman archives and can be seen at Topkapi Palace, Ibrahim Pasha Museum and the Museum of Turkish and Islamic Arts.
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| Ebru Marbled Paper |
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Istanbul Marbled paper or "ebru" is an art form that developed in Turkey in the fifteenth century. Mineral and vegetable dyes are sprinkled on water mixed with gum and the gall fluid of cattle, over which a sheet of paper is laid, creating unique and unrepeatable patterns. Traditionally, this paper was used for borders on Ottoman panels and miniatures, and for the inside covers and flyleaves of books. Today, mass-produced marbled paper is used for such purposes, though the art of marbling continues. |
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