Artwork #1: "Dream of Levni"
Dream of Levni is a tribute to women's empowerment during the Ottoman Tulip Era. The piece recreates Levni's "Women in Attire" with enhancements to the background and frame. I added a backdrop of pink blossoms to introduce a touch of spring and a Munhani-style border. I created this work using traditional Tezhip (illumination) methods on a passe-partout paper. Visits to Topkapi Palace inspired my observations of the Ottoman era. Visit anisaozalp.com/istanbul for more.
The Tulip Era was a peaceful period during which the Empire began to orient itself outward. This era saw the elite's burgeoning interest in tulips.
Levni was an illuminator from the Tulip Era and the last great master of miniature art. He was celebrated for his realistic and innovative style.
Munhani is a motif featuring curves that is used in decorative arts.
#ArtisticExpression #OttomanInspiration #DigitalArt #TulipEra
TRADITIONAL PROCESS
DIGITAL SKETCH
In this digital sketch, I used traditional Tezhip and miniature techniques. The piece features "Levni's Woman," a stylized figure clad in traditional Ottoman attire that reflects the fashion of the historical empire. I captured her in a graceful, modest pose, with her gaze demurely cast downwards. Her long dress, adorned with intricate patterns, consists of multiple layers and is cinched at the waist to highlight her silhouette. The long, loose sleeves are characteristic of the era's fashion.
Background: The background showcases pink blossoms, symbolizing spring and renewal. These contrast with her attire and infuse a natural element into the scene.
Border: The artwork's borders are decorated in Munhani style with traditional motifs, lending a formal, manuscript-like quality and infusing vibrant colors and decorative patterns that evoke Ottoman art and contribute to the historical ambiance.
Tulip Era: The piece also references the Ottoman Tulip Era, a vibrant and significant period in the 18th-century Ottoman Empire. It was highlighted by the poet Nedim and visually influenced by Levni, a key figure in the era's art.
Levni and Women: "Levni's Women" occupy a unique position in his work, offering a distinct portrayal compared to traditional Turkish Miniature Art. They are depicted with veiled faces and in their full feminine identity, engaging in various activities. Their features include clear skin and half-smiles, while deep slits and translucent fabrics in their clothing enhance their allure.
#ArtisticExpression #OttomanInspiration #DigitalArt #TulipEra
Incorporation of Real Gold
Did you know that gold leaf is utilized in the Art of Tezhip Illumination to adorn intricate designs? This centuries-old tradition not only adds a layer of symbolic significance but also enhances the visual impact, durability, contrast, and artistic versatility of the artwork. In illumination art, gold is valued for its symbolic depth and stunning visual effects. Its reflective properties elevate the aesthetic appeal of the artwork and create a striking contrast with other colors, emphasizing important details. Additionally, gold's lasting quality aids in the preservation of the art, while its adaptability in forms like leaf or paint allows for diverse artistic expressions.
HISTORY OF MINIATURE ART
Ottoman miniature painting was linked to the Persian miniature tradition and strong Chinese artistic influences. It was part of the Ottoman book arts, which also included illumination (tezhip), calligraphy (hat), marbling paper (ebru), and bookbinding (cilt). The terms "taser" or "rakish" were used to define the art of miniature paintings. The studios where artists worked were called "nakkashanes."
Signature of Levni
Miniatures, often unsigned, were a testament to the collaborative nature of Ottoman miniature painting. The head painter, responsible for designing the scene's composition, worked with his apprentices. These apprentices, known as 'Tahrir, 'drew the contours with black or colored ink and then painted the miniature without creating an illusion of the third dimension. Interestingly, the head painter and, more often, the scribe of the text were named and depicted in some of the manuscripts, adding a personal touch to the collective effort. Normally, Ottoman miniature paintings do not aim to depict human beings and other living or non-living entities realistically.
