Studying the aesthetics of the floral motifs of Ottoman ceramics to create contemporary designs for textile printing

Name: Studying the aesthetics of the floral motifs of Ottoman ceramics to create contemporary designs for textile printing
Author: Al-Hadi, Hoda Abdel-Rahman Muhammad, Azzam, Raafat Hassan Morsi, Amara, Abdel-Hamid Ibrahim Ahmed

Title	Studying the aesthetics of the floral motifs of Ottoman ceramics to create contemporary designs for textile printing
Author	Al-Hadi, Hoda Abdel-Rahman Muhammad, Azzam, Raafat Hassan Morsi, Amara, Abdel-Hamid Ibrahim Ahmed
Type	Book
Language	Arabic
Digital	Yes
Manuscript	No
Library:	Royal Danish Library
Library Asset ID	ISSN: 2356-9654
Record ID	cdi_almandumah_primary_1277020
Library Location	Directory of Open Access Journals
Notes	Ottoman art is one of the schools of Islamic art, which benefited from it in the field of decorations and arts during the Abbasid and Umayyad era. It also benefited from the previous cultures of the Byzantines, Armenians, and Greeks, in addition to the influx of Eastern influences from China and Iran, which enriched the Ottoman arts with many elements that were melted in a single Ottoman crucible, forming a unique artistic style that distinguished itself from all the sources from which it developed. The clear character of Ottoman art began to emerge in the tenth century AH after the Ottoman Caliphate reached the height of its greatness and power and the peak of its expansions. Ottoman art was characterized by the use of the geometric style and the Roman style based on decorations modified from plant and animal drawings, which the Europeans called the term arabesque, which is the securitization of plants and animals. In addition to the geometric decorations and the main decorative style, the Ottomans used a realistic style that represented nature. The artists found plants, flowers, and fruits to be a rich source, so they relied on branches and flowers to decorate their artistic works of tiles and ceramic dishes, such as carnations, roses, lala, pomegranates, honey, iris, and artichokes, in addition to the use of color, which carried an ideological connotation that resulted from the Muslim artist’s commitment to his faith, such as white, green, red, blue, black, yellow, and gold. The study dealt with distinct examples of Ottoman ceramics, the elements of which were analyzed artistically, and contemporary printing designs were created that bear the characteristics of the Ottoman artistic identity and were implemented using thermal transfer printing technology. The study recommended that it is necessary for researchers in the field of textile printing design to delve deeply into the study of the philosophy of Ottoman art in general and ceramic decoration in particular because of its distinct Islamic artistic style.
Görüntüle	Majallat al-ʻimārah wa-al-funūn wa-al-ʻulūm al-insānīyah, 2022 (33), p.486-514

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Royal Danish Library

Studying the aesthetics of the floral motifs of Ottoman ceramics to create contemporary designs for textile printing

Author Al-Hadi, Hoda Abdel-Rahman Muhammad, Azzam, Raafat Hassan Morsi, Amara, Abdel-Hamid Ibrahim Ahmed

Type Book

Language Arabic

Digital Yes

Manuscript No

Library Royal Danish Library

Library Asset ID ISSN: 2356-9654

Record ID cdi_almandumah_primary_1277020

Library Location Directory of Open Access Journals

Notes Ottoman art is one of the schools of Islamic art, which benefited from it in the field of decorations and arts during the Abbasid and Umayyad era. It also benefited from the previous cultures of the Byzantines, Armenians, and Greeks, in addition to the influx of Eastern influences from China and Iran, which enriched the Ottoman arts with many elements that were melted in a single Ottoman crucible, forming a unique artistic style that distinguished itself from all the sources from which it developed. The clear character of Ottoman art began to emerge in the tenth century AH after the Ottoman Caliphate reached the height of its greatness and power and the peak of its expansions. Ottoman art was characterized by the use of the geometric style and the Roman style based on decorations modified from plant and animal drawings, which the Europeans called the term arabesque, which is the securitization of plants and animals. In addition to the geometric decorations and the main decorative style, the Ottomans used a realistic style that represented nature. The artists found plants, flowers, and fruits to be a rich source, so they relied on branches and flowers to decorate their artistic works of tiles and ceramic dishes, such as carnations, roses, lala, pomegranates, honey, iris, and artichokes, in addition to the use of color, which carried an ideological connotation that resulted from the Muslim artist’s commitment to his faith, such as white, green, red, blue, black, yellow, and gold. The study dealt with distinct examples of Ottoman ceramics, the elements of which were analyzed artistically, and contemporary printing designs were created that bear the characteristics of the Ottoman artistic identity and were implemented using thermal transfer printing technology. The study recommended that it is necessary for researchers in the field of textile printing design to delve deeply into the study of the philosophy of Ottoman art in general and ceramic decoration in particular because of its distinct Islamic artistic style.

Görüntüle Majallat al-ʻimārah wa-al-funūn wa-al-ʻulūm al-insānīyah, 2022 (33), p.486-514