An Afterglow of Byzantium in Ottoman Illustrated Manuscripts : The Case of the Pictorial Representation of Architecture
| Authors | |
|---|---|
| Year of publication | 2017 |
| Type | Article in Periodical |
| Magazine / Source | Convivium. Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Mediterranean. Seminarium Kondakovianum Series Nova |
| MU Faculty or unit | |
| Citation | |
| Web | http://hdl.handle.net/11222.digilib/137337 |
| Doi | http://dx.doi.org/10.1484/J.CONVIVIUM.4.2018009 |
| Field | Art, architecture, cultural heritage |
| Keywords | Islamic art; Ottoman book painting; Ottoman illustrated manuscripts; representation of architecture; Byzantine models; marble; mosaics; opus sectile |
| Description | Autonomous Ottoman architectural and visual idioms evolved as they drew inspiration from miscellaneous foreign models which arose predominantly out of the Persianate Timurid-Turkmen and Byzantine traditions. Understanding the form and manner of the appropriation of Byzantine models into Ottoman pictorial representation of architecture contributes significantly to our comprehension of the intricate processes that shaped Ottoman book painting in the periods of its formation and greatest splendor. The Byzantine models appropriated by Ottoman painters were both pictorial and architectural. Mosaics and frescoes were easily accessible in the interiors of several former Byzantine churches converted into mosques. These converted structures, primarily in the region of Kostantiniyye (Istanbul), likewise enabled direct experience of Byzantine architecture and its decoration as they were incorporated into Ottoman actuality. |
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