Turkish Miniature,Turkish Miniatures,ottoman miniatures,oriental miniatures,Islamic belief.Chinese Han dynasty of Huns and Göktïrks,The Oldest Turkish Illustrated Documents,Turkish, Chinese and Arabic and they belong to a Turkish emir who battled with Moslem ,of Turkish cultural treasures. Von le Coq who has researched Central Asian Turkish culture in Pencikent near Samarkand. Siyer-I Nebi end of the 16th century,Anatolian Seljuk period.,9th century Uygur Turks, Kizilkent. ,Göktïrk Orhun epitaphs.muslem miniatures,islamic miniatures, Moslem Miniatures,The oldest miniatures found in Moslem circles are from the 9th, 10th, 11th centuries and they have been found in Egypt. Seljuk Turks established the first school of miniatures in Baghdad ,Turkestan, Iran, Mesopotamia and Anatolia in the 12th century. The Seven Sleepers", Important characters in history 1583 Islamic culture ,The Chinese in fluence in the 14th century Mongolian miniatures, is felt in the landscapes made with Chinese ink,Kelile and Dimne,15th century, during Tamerlane reign.,Hïsrev and Shirin", "Leyla and Mecnun"poet Sadi. The 16th Century Ottoman Miniatures,The conquest of Istanbul was the first step into a new phase of the Ottoman cultural life.Sheraz school in the beginning of the 15th century, Iran Italian painters called by Mehmet the Conqueror continued their ,of Sinan Bey from Bursa, who was the pupil of Hïsamzade Sunullah and Master Paoli.famous instructor Behzat, esteem in Tabriz in 1512.gates of Istanbul. Sultan Selim Iran and Aleppo to Istanbul after the seizure of Tabriz ,Shah Kulu from Tabriz,Turks "Nakkashanei-i Irani" (The Persian Academy of Painting). "Nakkashane-i Rum" (The Ottoman Academy of Painting, Mehmet the Conqueror and ending with Sultan Selim I, Turkish painting and miniatures. ,Turkish Academy during Sïleyman the Magnificent reign. period were Kinci Mahmut, Kara Memi from Galata, Naksi (his real name Ahmet) from Ahirkapi, Mustafa Dede (called the Shah of Painters), Ibrahim ?elebi, Hasan Kefeli, Matrak_i Nasuh, Nigari (who portrayed Sultan Selim II and whose real name was Haydar. He was a sailor). Turkish Miniatures,Turks had the tradition to illustrate manuscripts during the cultural periods before Islamic belief. Paper that could be rolled started to be made in China with plant fibers in 105 B.C. No written or illustrated document has yet been found from the time of the Chinese Han dynasty, of Huns and Göktïrks.Nevertheless, the large quantities of stone engravings, textiles,ceramics, works of art made of metal, wood, leather which have survived to the present day, prove that the above mentioned cultural circles were quite developed in other fields of art. The oldest examples of Turkish pictures for walls are from the 6th, 7th and 8th centuries. The withering influence of natural conditions have prevented the survival of these first examples. The Oldest Turkish Illustrated Documents,The oldest illustrated documents on paper among Turkish tribes, are from the period succeeding Akhuns. These documents dating from 717-719 are in Turkish, Chinese and Arabic and they belong to a Turkish emir who battled with Moslem armies in Pencikent near Samarkand. This prince was taken prisoner, and his palace was ruined 722. The wall drawing are the most important part of Turkish cultural treasures. Von le Coq who has researched Central Asian Turkish culture writes this: "Turks have scattered all of their written cultural products in the dusty roads of steppes and deserts while migrating to the west." Prophet Mohammed tranquilizes the dragon on the way of the caravan, "Siyer-I Nebi" end of the 16th century. Samarkand was renowned during 6th-8th centuries by its drawing workshops where illustrations on wood, plaster and leather were made. These works influenced greatly the Anatolian Seljuk period. The most important development of the 9th century Uygur Turks in the art of painting, was accomplished by the painters and their school in the town of Kizilkent. Their sense of light in pictures and their search for the influence and impression of shadow and light, served largely for the formation of Seljuk miniature school and canalized it. The Tun-Huang monastery and library of Uygur Turks has a special importance. Among thousands of books in the library there are the oldest Turkish gilded and miniature manuscripts. The oldest wooden print and illustrated book in the world belongs to Uygurs and is in the above library. The date of the book is 868. Another important aspect of this find is that some manuscripts have been written in letters same with the ones on the Göktïrk Orhun epitaphs. Moslem Miniatures,The oldest miniatures found in Moslem circles are from the 9th, 10th, 11th centuries and they have been found in Egypt. Islamic sources of later periods also confirm this fact. Seljuk Turks established the first school of miniatures in Baghdad with in their vast empire covering Turkestan, Iran, Mesopotamia and Anatolia in the 12th century. This school has continued until the end of the 14th century, but the most important works and examples are from the 13th century. "The Seven Sleepers", Important characters in history 1583 Islamic culture was influenced also by antique heritage in the field of miniatures. The books of the antique age were read and translated. These manuscripts were illustrated. Moslems used these original illustrations in the translations; but although the text were not changed in the later translations, the miniatures were made differently. There are even differences of style in these early works. The miniatures of the antique age are disorganised and most of them have descriptive qualities. In Seljuk miniatures, on the contrary, the subject was composedly depicted. The subjects were taken from the antique age, whereas the style was influenced by oriental, Uygur painting. The main characteristics of the Seljuk-Baghdad school were vigour, briskness, power of expression, caricature quality, over ornamentation, lack of scenery and accentuation of figures. Before starting to study the Ottoman miniature, I shall refer to two more schools of miniature related to Turks. This attitude has a main reason, and that is the inevitable necessity to know the contradictory schools in order to comprehend to one under study. The Chinese influence in the 14th century Mongolian miniatures, is felt in the landscapes made with Chinese ink. The dominant characteristics of those pictures were Chinese style clouds, the curved lines and flower outlines. The colours were dull. There were no figures in the early works. Scenery and figures have been united in the Mongolian miniatures after the Chinese influence ended. Realism, portrait Characteristics, light and shadow, perspective were dominant in large figures. The figures got smaller towards the end of the 15th century, during Tamerlane reign. The surfaces were covered with superficial and decorative all over designs. The dominant subjects were romantic stories. The animals in "Kelile and Dimne" fables were pictured within sceneries. Folk stories such as "Hïsrev and Shirin", "Leyla and Mecnun" have been depicted in the poetic atmosphere of poet Sadi. The abstract expression gave the same value to each figure as in the carpet motifs. The 16th Century Ottoman Miniatures,The conquest of Istanbul was the first step into a new phase of the Ottoman cultural life. The characteristics of the period in the field of paintings and miniatures may be summed up as the meeting of the eastern and western painting schools, as the widespread interaction and communication and as the widespread availability of display. While the Hïsrev and Shirin, Sheraz school in the beginning of the 15th century, Iran Italian painters called by Mehmet the Conqueror continued their activities, Turkish artists on the other hand, carried on the domestic traditions. We can see this dual influence in the works of Sinan Bey from Bursa, who was the pupil of Hïsamzade Sunullah and Master Paoli. Meanwhile, upon closure of the Heart academy for painting in the beginning of the 16th century, its famous instructor Behzat was met with a deserved esteem in Tabriz in 1512. His pupils began to produce works in his style. Their works reached the gates of Istanbul. Sultan Selim Iran and Aleppo to Istanbul after the seizure of Tabriz and he ordered his men to create favourable conditions for those artists work. Soon after Shah Kulu from Tabriz was leading these artists in an academy which was called by the Turks "Nakkashanei-i Irani" (The Persian Academy of Painting). "Nakkashane-i Rum" (The Ottoman Academy of Painting) was established upon the reaction of the Ottoman painters. It goes without question that the period beginning with Mehmet the Conqueror and ending with Sultan Selim I, was one of the most interesting and important phases in Turkish painting and miniatures. Various styles and ways of expression were searched, the influences were are guide and syntheses were attained. Now we shall take a look at the Turkish Academy during Sïleyman the Magnificent reign. Turkish miniature lived its golden age during that period, with its own characteristics and authentic qualities. The most renowned artists of the period were Kinci Mahmut, Kara Memi from Galata, Naksi (his real name Ahmet) from Ahirkapi, Mustafa Dede (called the Shah of Painters), Ibrahim ?elebi, Hasan Kefeli, Matrak_i Nasuh, Nigari (who portrayed Sultan Selim II and whose real name was Haydar. He was a sailor). Miniature was again on full force during Murat III's reign. The famous miniature painters of the age were master Osman, Ali ?elebi, Molla Kasim, Hasan Pasa and Lïtfï Abdullah. We should also mention the Persian, Albanian Bogdanian and Hungarian artists who largely contributed to the art of miniature in the cosmopolitan Ottoman society,Iskendername-in ancient Moslem belief Alexander the Great is considered a prophet; Humayunname-epics, heroic deeds and animal fables; literary works and folk stories such as Leyla and Mecnun; Portrait of Murat III. "Important Characters in History, 1583,Artists like Matrak_i Nasuh who depicted the Iraqian campaign of Sïleyman the Magnificent with details of the resting places and the Mediterranean ports, were very few.the 16th century. Turkish-Islamic Art; The Miniatures of the Zubdat-al-Tawarikh.

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