x0x Miniatures: An ancient art of expression
Turkish Radio Hour
* In the beginning it was an art of the people; however, it became
very popular with the Ottoman sultans, and after a period of time, it
became an art of the elite
NELLEKE M.v.d. SCHOOR-BASAR
Ankara - Turkish Daily News
Miniatures have played a very important part in following the history of
the Turkish people in their migration from the plateaus of Central Asia to
the Balkans and Anatolia. It is through these miniatures that historians
are able to trace historical Turkish events that took place before and
during the time of the Ottoman empire.
However, to be able to understand the history of the Turkish miniature,
one has to go back in history and find the influences and sources of
inspiration of the miniaturists themselves. Uighur wall paintings
Wall painting was an eclectic style of art that flourished in eastern
Turkistan and throughout Central Asia in the fourth and fifth centuries.
It was during the eighth century, when the Uighur (one of the Turkic
peoples dominant in Mongolia and eastern Turkistan from the eighth to the
12th centuries, now inhabitants of northwestern China) influence in
eastern Turkistan was on the rise, that the development of an important
style of Uighur wall painting began.
Uighur wall paintings are an interesting synthesis of the traces of
ancient Turkish traditions, Manichaean art and at a later stage, Buddhist
art. However, the basic elements of Uighur wall painting were derived from
the Turkish art of Central Asia.
The colors of Uighur wall paintings were typically bright and lively. In
the classical period, reds, blues and greens were used predominantly,
sometimes with the addition of gilding.
Uighur artists not only painted on the walls of caves or temples; they
also painted on silk, wood and paper. Turkish miniatures
The origins of Turkish miniatures can be traced back to Uighur art, which
showed stylistic affinities with wall painting and flourished as a result
of the Manichaean influence. The miniatures were to become a source of
inspiration not only for Central Asian artists in general, but also for
Turkish miniaturists and regional artists after the adoption of Islam.
Miniature painting became widespread during the Selcuk period, when it
came under the influence of Persian and Afghan art. In the beginning it
was an art of the people; however, it became very popular with the Ottoman
Sultans, and after a period of time it became an art of the elite.
Those dealing in this type of art were called "Nakkash" (painter). Some of
the most famous of the nakkash during the Anatolian Selcuk period were
Aynuddevle, Shihabuddin Yavasi, Haci el Mevlevi and Ahmet of Konya. The
most famous manuscripts to feature the miniature handwritten works handed
down from the 12th and 13th centuries are "Kitab-al," "Kitab firmafired et
Hiyal el Hendesiye" and "Yarka and Gulshah" mesnevi (a poem of rhymed
couplets).
The miniatures painted during the Ottoman era give us an insight into the
political, social, economic, cultural, military and technological lives of
the Sultan and his court, and into the lives of ordinary people as well.
The miniature art created during the Ottoman era went through many
different phases, paralleling the growth of the empire. It not only told
the stories of wars and other famous events; it also gave historians a
peek into the daily lives of both the rich and the poor.
As one takes a look at the male and female characters in the miniatures,
one will find that the faces of the males are the same, as are those of
the females, and that they never look in the direction of the viewer. Is
this due to the supposed Islamic ban on the use of objects decorated with
human figures in order to prevent idolatrous practices? Some people
believe that, indeed, this is the case, though others disagree.
However, it was Sultan Mehmet the Conqueror who started the trend of
having his portrait painted by Italian artists like Constanza da Ferrara
(who sculpted bronze medallions bearing a bust of the Sultan in profile),
Matteo di Pasti, Bertoldo di Giovanni and Gentile Bellini (who painted
portraits of the sultan in oils).
Turkish artists were influenced by these foreign artists, and although
their figures were not anatomically perfect, they were realistic in
concept. One local artist of the period, Sinan Bey, painted the famous
portrait of Sultan Mehmet smelling a rose. This portrait differs from the
Western idea of portraiture in its schematic aspects but nonetheless
displays a sensitive and warm realism. This painting is regraded as the
first true portrait by a Turkish painter and resulted in a tradition of
portrait albums known as "Silsilename."
In the 17th century, miniature portrait painting lost its momentum,
reflecting the political and economic decline of the period. However,
Turkish commercial painters continued to produce portrait albums based on
earlier "Semailname," books containing descriptions of famous figures.
Despite the passing of time, Turkish miniatures are still recognizable
throughout the world due to the unique characteristics with which they are
endowed.
Today, miniature art is slowly regaining popularity due mostly to the
interest that tourists have shown in this ancient art. However, this
artistic tradition should be incorporated into the fine arts curricula at
schools of higher education.
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