Early Ottoman Art: The Legacy of the Emirates
Gönül Öney, Lale Bulut, Şakir Çakmak, Ertan Daş, Aydoğan Demir, Yekta Demiralp, İnci Kuyulu, Rahmi H. Ünal
Museum With No Frontiers, MWNF (Museum Ohne Grenzen), 1 июн. 2013 г.
The apogee of Soliman’s reign has for a long time obscured the various seminal disruptions brought into Anatolia by the precursors of the empire. Amongst these were the first Turkish emirates who took advantage of an ebbing Byzantine empire in order to establish themselves in the peninsula. The Ottoman dynasty would of course have the most celebrated destiny, but the architectural, artistic, intellectual, social and economic supremacy which, together with territorial expansion, would take the empire to its zenith, has also resulted in the radical initiatives undertaken by the emirates to reach the highest levels of sophistication in art and architecture. Having inherited a Seljuq Anatolia, itself heiress of Persian, Syrian and Iraqi influences and trustee of the major Christian builders in the Near-East, the emirates deliberately imprinted their seal in every region which had not yet been in contact with Turkish-Islamic culture, through continuous attempts at artistic, cultural and social innovations. This methodical enterprise that was undertaken over the 14th and 15th centuries resulted in a true cohesion<br> which contributed to the empire apogee of the 16th century. <br>This MWNF Exhibition Trail, therefore, aims to highlight the<br> immeasurable technical prowess which, applied in practice <br>on Anatolian soil, would lead to the culmination of the varied <br>typology of mosque designs: the ‘monumental unified <br>mosque’, for example with its central cupola; the architectural<br> style known to have become the glory of the Ottoman empire. <br>The effervescent inventiveness seen in the cultural and <br>political centres Milas, Selçuk, Birgi, Manisa, Bursa, Iznik, <br>Çanakkale and Edirne, is revealed in the <i>madrasa</i>s, and<br> monumental tombs and the secular buildings, <br><i>hammam</i>s or <i>caravanserai</i>s, where a melting pot<br> teeming with cross-influences yields, finally, a coherent and <br>totally authentic creative style and a basis for the later art of <br>the Ottoman empire.
Отзывы - Написать отзыв
Не удалось найти ни одного отзыва.
Другие издания - Просмотреть все
15th century Ahmet Gazi Anatolia Anatolian Seljuq Ankara architecture Aydın Balat Bayezid II Beçin bedestens Birgi building built Bursa Byzantine Çanakkale central centre ceramics colours constructed courtyard covered cultural darüşşifa decorated dershane dervishes dome Early Ottoman periods east Edirne Emirates and Early entrance Evliya Çelebi examples facade fortress Gelibolu glaze gravestones Hacı hammam İlyas Bey imaret important inscription İshak Islamic Arts Istanbul itineraries iwan İzmir İznik known located madrasa Manisa marble Mehmed Bey Mehmed II Menteşe mihrab Milas minaret minbar monumental mosque complex Mosque’s motifs Murad II Muradiye Mosque Muslim Nilüfer Hatun Öney Orhan Gazi ornamentation Osman Gazi Ottoman Sultan Pasha portal portico prayer hall religious Saruhan Selçuk Seljuq Seljuq period side sıcaklık soyunmalık stone structure Süleyman Sultan Bayezid Sultan Mehmed Sultan Murad tabhanes tiles Topkapı Palace türbe Turkish and Islamic Üç Şerefeli Mosque walls waqf waqf charter West Anatolia Yavukluoğlu Yeşil Mosque Yıldırım zawiyas