Author
ÇAKMAK, Yasin
Type
Book
Language
ara,eng
Digital
Yes
Manuscript
No
Library
Royal Danish Library
Library Asset ID
ISSN: 2757-752X, EISSN: 2791-707X, DOI: 10.47425/marifetname.vi.975837
Record ID
cdi_doaj_primary_oai_doaj_org_article_7d05eae9359e46ffa4933e4869a906f4
Library Location
DOAJ Directory of Open Access Journals
Notes
As a result of the emergence of Islam on the stage of history and the subsequent conquests, new decorative elements entered Islamic art. After the invention of paper, book production increased and was decorated with different techniques and methods throughout history. The Turks' encounter with Islam led to the transfer of Central Asian knowledge to the Arab geography and affected the subsequent works of art aesthetically. Turkish bookbinding art, which started with the Uyghur Turks, has always been dazzlingly beautiful, influencing the creation of valuable works in the Arab and Iranian geographies. The bindings produced from the 9th century to the mid-13th century were mostly made with geometric or Rumi decorations, followed by a transition towards floral patterns. After the Anatolian Seljuks, the Mamluk State and the Karamanoğulları Principality continued the accumulation of Turkish bookbinding art, and only after the conquest of Istanbul, Ottoman bookbinding was able to create its own style. The flower motifs stylized by Baba Nakkaş, a powerful artist who lived in the Era of Mehmed the Conqueror, influenced the understanding of decoration of the period and became the most preferred decorative element in book arts. Just as the motifs of the bindings produced in the 15th century were different compared to previous periods, the design schemes, sunburst shapes and leather colors were also heralds of new searches. In bookbinding art research, works belonging to the 16th century or later periods are mainly considered, and it has been observed that academic and artistic works from previous periods are rare. In order to contribute to the studies in this field, research was conducted in libraries and 3286 manuscripts in the Vahid Pasha Manuscript Library were examined in detail and six volumes belonging to the Fatih Era were identified. Volumes; It was evaluated in terms of pattern, composition and technique and compared with examples in other museums and libraries. As a result of the emergence of Islam on the stage of history and the subsequent conquests, new ornamental elements have entered the Islamic art. Turkish bookbinding art, which started with the Uyghur Turks, has always had a dazzling beauty by affecting the emergence of precious works in Arab and Iranian geographies. The bindings produced from the 9th to the middle of the 13th century were mostly made with geometric or rumi decorations and then there was a transition towards floral patterns. After the Anatolian Seljuks, the Mamluk State and the Karamanid Principality continued the accumulation of Turkish bookbinding art and only after the conquest of Istanbul, the Ottoman binding could create its own style. Floral motifs stylized by Baba Nakkaş a mighty artist who lived in the Fatih Era influenced the decoration understanding of the period and became a highly preferred decoration element in book arts. The motifs of the bindings produced in the 15th century were different from the previous periods as well as the design schemes shemse shapes and leather colors heralded new searches. Bookbinding studies mainly focus on works from the 16th century or later, and it has been observed that academic and artistic works from previous periods are rare. In order to contribute to the studies in this field, researches were carried out in libraries and 3286 manuscripts in the Vahid Pasha Manuscript Library were examined in detail and six bookbindings belonging to the Fatih Period were identified. Bookbindings design was evaluated in terms of composition and technique and compared with the examples in other museums and libraries.
Görüntüle
Marifetname, 2021-12, Vol.8 (2), p.473-501
