Ottoman Miniature Art - Master of Arts in Design

Transcription

Master Thesis FS 2014
Lucerne University Master of Arts in Design – Illustration
Ottoman Miniature Art
The Development Process and Contemporary Implementations
of Ottoman miniature style
Duygu Celebi
Mentors: Jan Eckert and Franziska Trefzer
Ottoman Miniature Art | Duygu Celebi | Illustration | Master Thesis FS 2014
Content
Affidavit
Abstract
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II
1. INTRODUCTION
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2. ANALYSES
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2.1. Traditional Ottoman Miniature Features
Motives
Pictorial Space
Compositions
Motion in Static
Application Technics
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2.2. Contemporary Ottoman Miniature Style
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2.2.1. Surprising and Fantastic Expression by Nusret Colpan
Motives
Pictorial Space
Compositions
Motion in Static
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2.2.2. The Mix of Centuries by Murat Palta
Motives
Pictorial Space
Compositions
Motion in Static
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3. CONCLUSON
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References
Figures
Bibliograpy
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Affidavit
I hereby declare that I have independently produced the present diploma thesis. The
thoughts which have been directly or indirectly adopted from outside sources have been
disclosed as such.
This thesis has not, either in this, or in any other, similar form, been presented to another examination committee nor has it been published before.
Date: Lucerne, the 26. September 2014
Signature:
I
Abstract
Turkish miniatures are known as traditional paintings to support the texts in old manuscripts in the Ottoman Empire. Over the centuries and with the onset of westernization in the 18th century, the use of this traditional art has changed its place from
documentary book art to subjective artworks. This shift is also reflected in the size,
techniques and materials of miniature art.
This thesis aims to show the development of the features in Ottoman miniatures. It
also analyses the distinguishing components between historical Ottoman and contemporary miniatures. This thesis also includes a brief history of Ottoman miniaturesand
describes the usage, composition and techniques of Ottoman and contemporary miniatures. The research will analyze figurative, indoor and outdoor miniatures referring to
the traditional Ottoman court painter Levni and his selected paintings and the paintings
ofcontemporary miniature artists like Nusret Çolpan and Murat Palta.
The selected miniatures are analysed to explain the typical characteristics of Ottoman
miniature style and the distinguishing elements in contemporary miniatures in the context of this study for practical work.
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1. Inroduction
The realism era has lost its popularity in art, especially with the invention of technological devices like photograph machines and cameras, to demonstrate the concepts and
happenings. Therefore, the artworks and illustration styles started to develop in the
direction of surrealism, decoration, manipulation and abstraction.
In recent years, there has been an increasing interest in the linear drawing style, solid
colour usage on surface, colour gradient and texture in popular illustrations. The visualisations are being simplified, are becoming more graphical and iconic. The conventional
aesthetical values like 3D illusions, perspectives or proportions of the visual components became insignificant. The aim seems to explain the idea or the concept with
minimised visual data according to the artistic individualism. However, the contemporary
illustrations seem to refer to ancient depictions.
This thesis is about Ottoman illuminations, also known as Ottoman miniatures. Miniatures are small-sized paintings which aim to faithfully explain the text contained in
manuscripts (Mahir 2005, p.15). According to Orbay-Grignon (1996), the Ottoman style
miniatures show the apogee of this art form. Çağman`s study (2012) shows that this
art form was used by the Ottomans from 14th to early 18th century. Afterwards it lost its
popularity for around 200 years. This study is focused on the discriminating features of
Ottoman miniatures and their usage from a designer perspective. This thesis tries to
answer the following question:
How did the features of Ottoman miniatures evolve in the course of time and how is
this style still being used today?
This thesis concentrates only on Ottoman miniatures. The focus lies solely on miniatures from the Imperial atelier. Nevertheless, in the Ottoman Empire district, independent
illuminated manuscripts were produced. These manuscript illuminations are excluded.
This paper has been divided into three parts. The first section outlines the style development process of Ottoman miniatures from the origins until the 1960`s by referring to
important miniatures.
The second section begins by outlining the features of Ottoman miniatures according to
motif, pictorial space, composition, motion in static and application technique criteria.
This analysis excludes miniatures displaying nudity and portraits due to the practical
work. The Ottoman features have been analysed by referring to the last traditional court
painter Levni due to his innovative artistic style. Two more contemporary artists are
analysed according to the determination of Ottoman miniature style.
The last section concludes the identifications of Ottoman miniature features, according
to the analysed criteria. The modern miniatures are compared with these foundations
and the distinguishing components are defined.
The outcomes of this thesis can be helpful to people who are concerned with the Ottoman culture, miniature, art, illustration and graphic design fields.
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3. ANALYSES
3.1. Traditional Ottoman Miniature Features
This section is meant to give a more detailed impression of the distinctive features of
Ottoman miniatures and an overview of the style development process. This thesis considers Ottoman miniature works from 14th to early 18th century as traditional, including
the Sürname-i Vehbi manuscript, which was painted by the imperial painter Levni. This
manuscript contains 137 paintings that outshine the previous periods in many respects.
The following analysis concentrates mainly on this manuscript. In addition to these manuscript, paintings from Levni and a few works from other artists will also be analysed in
order to strengthen the theme and distinguish the visual elements.
The Sürname-i Vehbi manuscript has mainly been selected because of Levni`s traditional, but also individual artistic style. His paintings show an innovative and creative for
Ottoman style. Levni`s abundant, figurative, varied compositions with a wide palette of
colours differ from other Imperial atelier painters. It thus represents a first step towards
the inclusion of the newly adopted western concept and away from the classical Ottoman style. The fine perspective practices on architectural elements and slight colour
gradients to create light-shadow-effects are the prominent western features of Levni’s
art. The second reason is the richness of visual elements through the theme of this manuscript. In order to determine Levni`s visual elements and traditional style, a historical
overview about the origin and development process of Ottoman miniature style has to
be taken into account. The following text is giving information about the roots and important style changes in chronological order.
The Ottoman miniatures have strong characteristics due to the influences of ancient
cultures. This unique style fuses elements from the Far East, the Middle East, Mesopotamia, North Africa, Ancient Greece and Rome (TDV İslam Ansiklopedisi 2008).
The assimilation of miniature art dates back to the pre-Islamic period in Turks. The
extant papers, discovered and published in 1923 by the archeologist Albert August von
le Coq show miniatures from the Uigur civilization in 8th and 9th centuries (Palta 2012).
These miniatures depict an Uigur khan assenting to Manichaeism belief (Fig.1, 2). These miniatures have remarkable features that also appear in Ottoman miniatures like big
heads, round faces, short necks and thick eyebrows.
These parallel features strengthen the fact that Ottoman miniatures are influenced by
Timurid and Turkmen miniatures (Çağman 2012). According to Rukanci and Karakas`s
(2008) study, the Persian artists introduced Timurid and Turkmen miniature lines in the
Ottoman Imperial atelier by creating copies of literature. But the Ottoman miniatures
differ from Persian miniatures because of their precise details (especially on maps) and
more limited and vivid colours (Meredith-Owens et al. 1976, p. 223). Another difference
is that the Persians were attached to three-quarter profile whereas Ottoman miniaturists
were painting the figures also in frontal or in profile point of view (ibid 1976, p.223). The
linear 2D scheme attribution of the ornamented architectural motifs created a document
function. The documentary approach made the Ottoman miniatures a reliable historical
source (Germen 2012).
After the conquest of Istanbul in 1453, Sultan Mehmet II invited many artists from Italy.
In spite of the Islamic dogma limiting the use of figural image in paintings, Mehmet II
was the first Sultan who allowed his portrait to be painted. This portrait has a high sig-
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Fig.1 Uigur Prits of Manichaeism belief
Fig.2 Uigur khan assenting to Manichaeism belief
nificance because of its reflection and synthesis of TurkoMongol and naturalist Italian styles. The painting (Fig.3)
shows that the painter Pavli Sinan Bey tried add volume
with shades. Especially on the face, hands and drapes on
clothes the 3D effect is perceivable. Although the human
proportions are not realistic, the facial features are prominent. In short, the painting represents the naturalism
experimentation in traditional outlines.
In the period of Beyazit II (1481- 1512), the son of
Mehmet II, the Ottoman miniature paintings generally
demonstrate Turkmen depicting style together with the effects of European naturalism on the literary manuscripts.
The manuscript Shehname-i Melik-i Ümmi, illustrated by
Muhammed bin Abdullah, is important because if it being
the first historical book about the events under the reign
of Sultan Beyazit II (TDV İslam Ansiklopedisi 2008).
The majority of illuminated manuscripts are produced in
the Kanuni Sultan Süleyman (1520- 1566) period. This
period represents the effect of incoming painters from
the East and Bosnia, Albania, Hungary, Georgia, Moldova,
Austria and Circassia (Palta 2012).
Matrakchi Nasuh is the most famous painter of the period
of Selim II. Apart from his generous figurative, coloured
Fig.3 Painter Pavli Sinan Bey, Portrait of Sultan Mehmet II
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and patterned style of Martakchi Nasuh, he mainly focused on non-figurative, landscape
combined topographical paintings. Nasuh painted cities, ports and castles seen from
above like a map, and combined the architectural elements from different viewpoints in
one picture (And 1978, p.122). Germen (2012) assimilates the Matrakchi Nasuh style
into cubist art because of having multiple viewpoints in one image. The miniature about
the Zigetvar Castle (Fig.4) is painted from a bird’s eye view. It represents a successful
map, which gave the idea to the war field mapping (Rukanci and Karakas 2008).
Fig.4 Painter Matrakchi Nasuh, Zigetvar Castle
The time of Selim II (1566 - 1574) and Murat III (1574 -1595) is defined as the apogee
of miniature art (Meredith-Owens at al. 1976, p. 225). This period is also called the
Classical stage, while the court miniatures look like the distinct Ottoman style. Painter
Osman is the most effective and prolific artist of that period, distinguished by his fine
and lavishly patterned portraits (Fig 5,p.5). The painter Osman`s team member painter
Hasan`s style distinguishes from other painters. Painter Hasan`s figures refer to Uigur
figures with the thick eyebrows, rounded faces and short necks. Nevertheless, thick and
vivid use of colour characterises his paintings (Fig.6,p.5). The style of painter Hasan is
represented in the Siyer-i Nebi manuscript, which is about the life of prophet Mohammed. The depiction of minor details of life and clothing in these works has importance
for art and history (Güney 2001).
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Fig.5 Painter Osman, Portrait of Selim II
Fig.6 Painter Hasan`s figures refer to Uigur figures
Fig.7 Painter Ahmet Nakshi, human faces on elements and the unusual background colours
The 17th century miniaturist Ahmet Nakshi`s style diverges with the big-headed figures,
which refers to Turkmen and Timurid style. Nakshi might be considered the neo-classic
artist of that period. Another remarkable feature of some of Nakshi`s paintings are
the drawn human faces on elements and the unusual flashy colours in the background
(Fig.7).
Abdülcelil Celebi, pen name Levni, is the most prominent and the greatest traditional
manuscript painter at the beginning of the 18th century (Atıl 1999, p.31). The main
characteristic of Levni is a display of a wide colour palette and elegantly posed figures. Although Levni`s style represents the classical features of Ottoman miniature, his
paintings also show an obvious tendency towards western 3D illusions. This tendency is
mostly visible on shadings of textile drapes. The masterpiece of Levni is the Sürname-i
Vehbi, which is about the circumcision feast of the sons of Sultan Ahmet III. These miniatures are demonstrating the last traditional illuminations made in Ottoman Imperial
atelier.
Motifs
The Ottoman miniature motifs concentrate mainly on the palace life with a wide spectrum. Çağman`s study (2012) show that most of the Ottoman illuminated manuscripts
are produced according to the Sultan’s orders. Therefore, Ottoman pictorial art was
fostered frequently by the Sultan`s establishments (Binney, 1973). In the Ottoman
miniatures themes were mostly eastern-western wars, conquests, military expeditions,
festivals, celebrations, circumcision feasts, weddings, Bairams (religious festivity) and
hunting events. In addition, these miniatures depicted also religious tales, medicine,
anthropology, zoology, botany, astrology and daily life.
As mentioned, the earliest Turkish miniatures appear in the 8th century in Uigur Turks
and the motif of the extant papers are about acceptance of Manichaeism belief. Although the Ottoman Empire was an Islamic community, in contrast to Persian miniatures
the Islamic symbols do not appear in Ottoman court miniatures. It seems that it is
consciously avoided. The Ottoman miniature painters were to create pictures faithful to
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the text, they had to abstract the world according to the views of Islamic doctrine (Rukanci and Karakas 2008). There is no definitive decree in the Koran that bans painting.
Eventually, some hadiths1 interpreted that live beings are not to be painted because it
contravenes the virtues of monotheism (And 1978, p.101). This way of thinking might
develop the spiritualty and prevent the worship to objects, respectively materialism on
mankind. According to Siegel`s study (2013), either the Sufi communities within the Ottoman Empire or the tradition of Sufi symbolism from Persian artists could not influence
the imperial style of Ottomans. In the book Mathnawi2, the representation of holy people
(like the prophet Mohammed) are drawn without faces and the head is surrounded with
golden flames, in other words with a halo (Fig.8). In the miniatures of Siyer-i Nebi, the
prophet Mohammet is depicted with a similar halo and his face is covered with a veil
(Fig.9). Although the Siyer-i Nebi miniatures are produced in an imperial atelier, the
theme of the miniatures has no context with the Ottoman court. However, the symbols
of Sufism are not seen in Ottoman miniatures. The Sultans were also named Caliphs,
the leaders of the all Islamic world (And 1978, p.8). So, they were representing a religious status in society as well. Although the faces in miniatures were drawn, there are
no facial expressions given on Sultan renders (Rukanci and Karakas, 2008). This could
be interpreted to demonstrate the purification of human emotions in order to position
the Sultan in a holistic, settled and confident way. The Sultan’s face depictions without
expressions could be the light version of symbols in Islamic manuscripts. However, in
Surname-i Vehbi miniatures Sultan Ahmet III has a peaceful, calm, confident and merciful expression. Nevertheless, the sultan has the same expression in every self-portrait.
The painter Levni might put this specific expression to point to the Sultan`s character
and facial features to distinguish him from other court member figures. For instance,
the face of Vizier Ibrahim Pasha is always depicted with the same expression as well
(Fig.10). This shows that the facial expressions are not meant to be depicting emotions,
but they become stereotyped in Levni`s miniatures (And 1978, p. 31).
1. Hadith: meaning a report of the
teachings, deeds and sayings of the
Islamic prophet Muhammad. The hadith literature was compiled from oral
reports that were present in society
around the time of their compilation,
well after the death of Muhammad.
2. Mathnawi: The Mathnawi is a biography of sortsof Persian poet and Sufi
Mevlana Celaleddin Rumi, who came to
Anatolia and, after contact with mystic,
became a Sufi, eventually helping to
create the Mevlani Order of Sufism.
Fig.8 From the book Mathnawi, the
representation of holy people
Fig.9 Detail from Siyer-i Nebi manuscript, the prophet Mohammet with
a halo
Fig.10 Painter Levni, Portrait of Sultan Ahmet III (right) and Vizier Ibrahim Pasha (left)
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According to depicted poses, Levni`s figures seem more alive than those of previous
court painters due to the lack of emotional expression. Witnessing very unusual stirring
scenes, the figures are silent with their mouths closed. Although the mouths are closed,
there is some eye contact between the figures, which strengthens the vitality in Levni`s
figures (Fig. 11). Nevertheless, the proportions of human and animal figures are still not
realistic, but it seems to be taken into account more than ever.
Fig.11 Painter Levni, eye contact between figures
The landscape elements, like mountains, hills, trees, fields are treated as back round
in miniature art. The drawing of the trees and subtle leafs of Levni show remarkable
artistic style. The stylised cypresses show the impressionist approach of Levni (Fig. 12),
on the other hand embroidery flower depictions point to his traditional lines (Fig. 13).
Subsequently, the plain painted sky and sea is also treated as background in Levni`s
paintings same as in previous painters depictions.
Fig.12 Painter Levni, Impressionist approach on cypresses
Fig.13 Painter Levni, Traditional flower depiction
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Pictorial Space
The primary characteristic of Ottoman miniatures is the lack of the perspective. The
common understanding of pictorial perspective is the parallel representation of pictorial
space and the illusion of the human eye vision. In the linear perspective the object gets
distorted by the space. Since the perspective is not a pictorial priority in Ottoman miniatures, the paintings are rendered in two-dimension. In the Ottoman paintings the objects
are not defined by the space, but the space is defined by the objects (Orbay-Grignon
1996).
According to contemporary miniature artist Anmac (2013), the perspective of the
miniatures is hidden in details. In contrast to naturalism, the traditional floral patterns
or repeating elements create an abstract perception about the pictorial space. The
dense pattern usage on surfaces gives an endless continuity feeling to the observer. It
gives the opportunity to complete the scene in the observer`s imagination. This space
perception is also emphasized on outdoor motifs. The repeating patterns appear in the
background elements or on objects. The clothes, carpet, tent patterns and the natural
elements, like the curls on stylised clouds, waves in the sea, the leafs on the trees,
grass or the details on a hill demonstrates the continuity and supports the Ottoman
pictorial perception successfully as in indoor miniatures.
Although Levni`s pictorial perception suits to the court style, the reduction of continuous
patterns on natural elements, like grass, clouds and waves seem in the initiative of the
artist. This absence might depend on figurative crowd scenes (Fig.14). Although painter
Osman`s miniatures from Hünername demonstrates a very crowd figurative composition, but the grass details are depicted (Fig.15). This determination strengthens the
reasoning of artistic approach of Levni in Sürname-i Vehbi miniatures.
Fig.14 Painter Levni, figurative crowd scene
Fig.15 Painter Osman, grass details on figurative
crowd scene
Composition
The miniaturists were required by their patrons to paint the generosity of Sultans. Consequently, a large number of miniatures provide the function of being a historical source
and annals. Therefore, the artists concentrated on the combination of narrated, minor
detailed, subject matter compositions with the will of pictorial realism (And 1978, p.110).
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But the lack of perspective and the instance of pictorial realistic narrative created alternative composition structures in Ottoman miniatures.
The designer painter could remove living beings and objects and turn them into a variety
of decorative elements. The figures are not drawn proportional to the objects around
them. The horses can be blue, sky gliding gold or silver, mountains yellow, grass fields
pink. Eventually, the painted elements were not observed from the painters first hand.
The painters abstracted and treated the elements as embroideries according to their
imagination. The poet Latifi summarises the picture perception of miniature artist, by
mentioning Nakkash Nigari;
„Miniature is a painting of a frozen imagination“ (Tezkiretü’ş-Şuara cited in Çağman 2012)
The original citation in Turkish: „Nakış, donmuş bir hayalin resmidir.“
In addition, the painters were seeking for a reality in their narrative and to transfer their
main thoughts and feelings, but with an independency from the realism. (Rukanci and
Karakas 2008). The miniature artist Özcan (2011) claimed in an interview that the
things thought and imagined are drawn, rather than the things that are visible.
The foreground is drawn at the bottom and the background is on the top. The themes
are constructed according to the necessity. This necessity order is provided by drawing
the important components bigger and the sub-components smaller. The main happening
is mostly positioned on the bottom or in the middle of the paper. The sub elements
surround the main happening to support the narrative and the composition completes
with the decorative elements on the top (Ünver 2005). This structure from bottom to top
creates a reading sequence on the miniature. The unrealistic scale differences between
the elements and the highly contrastive colouration provide a guideline for the viewer`s
eye to move around the picture (Orbay-Grignon 1996).
The lack of directional light prevents the shading or covering effects between de visual
elements (Germen, 2012). The elements are rendered in universal light. Therefore,
every single element has the same visual quality, in terms of sharpness of details and
saturation (And 1978).
The distribution of the colours is also important for shaping the composition. The plain
application without any change of hue on each object can be perceived as colour stains,
which is catchy for the viewer`s eye. Ottoman miniatures show the mastery by guiding
the viewer`s eye according to the scale and colour of the elements.
Levni`s imaginary artistic perception was combined with the naturalism movement. The
colouration of his paintings was made very close to the realistic world compared to
many other artists. In the crowded scenes, the composition structure and the colour distribution of Ottoman style help to discriminate the hierarchical structure of the narrative.
For instance in Figure 16 the vizier in the middle, the figure who sits on a horse wearing
an olive-drab caftan is the first focused figure. Although the colour red is recognised
quicker than olive-drab for the human eye, the vizier catches the viewer`s eye through
the positioning and bigger scale. Another example of the hierarchic painting principals
can be the less important figure and the son of the Sultan must be approximately in the
same size. There are not many miniatures that demonstrate child figures. This might be
because of the constantly painted motifs like war, hunting and political issues. In this
case, the book Surname from Levni is important to children renderings. Levni enlightens
the scale problematic according to the hierarchical row very well, although the jester
and the Shahzade (son of the Sultan) are more or less in the same size. Levni distinguishes the Shahzades with positioning, costumes and skin colour. Shahzades are mostly
Fig.16 Painter Levni, detail from
Sürname-i Vehbi, Vizier with olive-drab
caftan
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positioned next to the Sultan or important statesmen. The Shahzades are drawn 1/3 or half
smaller than the Sultan or the statesman. Nevertheless, there is no hint about child anatomy. Children are drawn like adults in smaller size. Another supportive thing are the costumes of the Shahzades. They are wearing similar clothes like the Sultan. These elements are
also a visual support to distinguish them from the effulgent dressed statesman (e.g. grand
vizier). In addition, the children have a more luminous skin colour than male adults (Fig.17).
In the miniatures from time to time figures don`t seem like they are touching the ground.
The figures are stereotyped according to attitudes, grouping and limited formal poses (And
1978, p.99). Usually, in figurative crowd scenes, the figures on the foreground are showing
their face to the viewer of a miniature, although they turn their back to the Sultan or to the
center of the event (ibid.). The following paintings of Levni demonstrate this situation (Fig,
17).
Fig.17 Painter Levni, Sultan Ahmet III (sitting on the throne), vizier (on the left of sultan), three sons of sultan (on the right of
sultan)
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In the image analyses, according to the criteria of the component`s size, positioning and
colour, there are several kinds of compositions defined. There are circular, axonometric
and horizontal composition varities determined, but as it is mentioned above the reading structure is stable from bottom to top. The compositions are substantially oriented
to Sultan`s position and direction. Besides of the main composition structures, the
positioning or the direction of the components can create a diagonal order. I would like
to name this diagonal order as sub-composition structure. These sub-compositions can
be reversed or supportive to the main composition, in both ways it creates a remarkable
dynamic in paintings. The composition varities on selected paintings are demonstrated
with a cyan coloured line. The sub-compositions are marked with a red line.
Fig.18 Painter Levni, Circular composition
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Fig.19 Painter Levni, Horizontal composition
Fig.20 Painter Levni, Axonometric composition
The uncommonly used axonometric forms like buildings seem demonstrate the 3D aspect of an object, but according
to And (1978) and Orbay-Grignon (1996), these forms were more likely used in a desire to explain a particular shape. These 2D paintings create a more complex and fragmented movement with combination of multiple viewpoints in
compositions (Orbay-Grignon 1996).
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Motion in Static
The motion effect in Ottoman miniatures is dependent on the motif, pictorial space and
composition. Without doubt, the Ottoman motifs have the strongest influence on the motion effect. As mentioned before, the Ottoman miniatures are demonstrating the court
events. The painted scenes represent the climax of the narrative. The distinct actions
of the figures are shown in several ways. The pictorial space supports the motion effect
with dense continuing patterns by creating a broader perception of the miniature in the
viewer`s imagination. The interaction between figures and objects is defined by the
coherent narrative compositions.
Levni shows the motion effect by a procession scene. In the case of Sürname-i Vehbi miniatures, the continuous effect was given by the figures. The figures are drawn so close
to each other that they create a dense pattern in the whole picture. In Fig.27 the figures
are static with a frozen form, the close human groups, who look into the same direction,
give a slight effect of movement. The positioning of the feet from the human and animal
figures demonstrates the marching action. Nevertheless, some hunting scenes, battles,
army marchings, boats sailing demonstrate round, plane or straight forms of movement
(And 1978, p.99).
Fig.21 Panter Levni, dense pattern through figures
Fig.22 Detail from Osman
The miniatures are framed mostly with a thick golden and a few, thin colourful lines. This
variety in line thickness creates an imaginary window form. On some miniatures, the
elements like a figure, a top of a tent or a tree digresses these lines. According to the
narration, these elements seem to enter into or overflow from a golden window (Fig.22).
This effect adds the paper as a layer into the picture. It strengthens the move perception in the imaginary world and varieties of the pages in aesthetical aspects (Fig. 23).
Application Techniques
The Ottoman miniatures were painted with the tempera technique. In the miniature paintings water based natural dyes were used. The natural dyes like madder root and ochre
were smashed to dust and mixed with Arabic gum and applied on vellum or ivory (And
1978). Therewithal gold and silver were also favourite materials in Ottoman miniatures,
which are applied in the same way as natural dyes. The application of gold and silver
Fig.23 detail from Levni
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differentiates from other dyes in miniatures. Gold and silver are not mixed with other
natural dyes and do not have hues. Although there are samples that skies or seas are
painted with gold and silver, they are mostly used to decorate the miniatures. The transparent effect was made with a thin layer of egg white before any colour application. The
brushes were made of pigeon feathers, kitten or sable fur. The kitten fur was taken from
the less damaged part, the part under the chin (Mahir 2005, pp. 15-16). The reason why
water based dye and soft fine brushes were used was to be able to create the finest
details on small scales.
According to miniaturist Ünver (2005), the Ottoman miniatures had mostly warm colours
in their palette. Common colours were used; oxide red, crimson red, magenta, jade
green, oxide green, oxide yellow, violet, ultramarine blue, lampblack and white in several
hues (And 1978).
Although no literature was found about the progression of the colour application,
contemporary miniature artists who follow the traditional Ottoman style, give a hint.
According to Ünver (2005), the application steps start by sketching out the composition,
the outline of objects is drawn slightly on vellums. After the rough drawing on vellum, the
undercoat is applied on the objects until there is no white spot on the defined painting
area. The details are embroidered and every visual element is outlined with a darker
colour. In the Figure 24 from Levni, the application steps can be followed by the overlapping colours. Eventually, the colouration techniques of Levni seem to match with Ünver`s
description. Besides the traditional colouration, Levni is a painter of the period of
westernization. This period brought some remarkable artistic features to his paintings.
There are perspectives and shade. The Figure 25 represents the perspective probations
by the battleship and the building behind. The shade probations are mostly located on
the ship flag drapes (Fig.25). Nearby Levni`s wide colour choice, his preferred palette
is dominated by vivid warm colours. Figure 26 in page 21, represents a narrowed down
colour palette from Levni`s paintings. Several hues seem to be carved out from the
main colours like lamp black, white, magenta, jade green, ochre, oxide red, ultramarine
blue and gold.
Fig.24 Detail from Levni, application
layers
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Fig.25 detail from Levni
Magenta
Ultramarine Blue
Jade Green
Ochre
Oxid Red
Lamp Black
White
Gold
Fig.26 Color palette of Levni
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2. 2. Contemporary Ottoman miniature style
After the introduction of the printing press technology in the 18th century, there are no
more illuminated picture manuscripts produced in Ottoman imperial atelier. Miniature
painting lost its function. According to Germen`s (2012) study, the end of the Ottoman
miniature art depend on the documentary function of the paintings rather than being
a subjective art form. Nevertheless, the book art miniature transformed to realistic oil
paintings on canvas. But according to Çağman (2012), there were individual artists who
advanced the tradition of miniature art. The artist Süheyl Ünver is one of the pioneers
of the 1960`s. He opens an atelier in 1958 and aside from creating artworks, he also
gives workshops to many people, among them known miniature artists such as Nusret
Çolpan (ibid.).
Although there is no literature found about contemporary miniatures, personal esthetical
concerns seem to be the main driving force for the production of miniatures, rather
than a want to document the history in nowadays world. And`s (1978) study shows that
most of the miniaturists from 18th century preferred to produce single paintings and
gathered in themselves rather than illustrations for books. The album production may
show the increase of the artistic value of miniatures rather than being documentary
depictions. This change affected the motifs, sizes and the approach to miniature art.
The increasing cultural exchange with nations and the growing interest in alien cultures
broadcasting the first-hand experience for certain objects of art (ibid,1978). This rekindles the interest to revitalize disregarded art forms like miniature painting.
There are two Turkish miniature artists selected for this analysis who use the most
similar features of historical Ottoman miniatures. These analyses are made in order to
determine the distinguishing motif, application techniques, artistic styles and the use of
contemporary Ottoman style miniatures. The works of artist are analysed and the focus
lies on the selected works which show the most artistic style rather than conceptual
series of work. The analysed miniatures are shown according to the contextual sub
headings.
2.2.1. Surprising and Fantastic Expression by Nusret Çolpan
According to Çolpan (2012), the miniature art is one of the most difficult traditional
art form because the miniaturists need to have a background in pictorial, graphical,
sociological arts and need to be to be able to create a realistic narrative with abstraction. Çolpan (2012) claimed in an interview that miniature art form has a surprising and
fantastic expression by referring to the facilities in narration according to the freedom of
size, colour and composition structure.
Motifs
In parallel with architectural background the motifs, Çolpan`s miniatures are heavily city
and nature orientated. The monumental buildings are a significant part of a culture to
him (Çolpan 2007). In the city, motifs of human figures are mostly avoided. According to
topographic paintings, there are also historical themes as the Battle of Preveza, the Fall
of Constantinople or religious motifs like Noah›s Ark, Mevlana and Sama ceremonies.
Nearby the historical themed miniatures, Çolpan depicts also modern cities with modern
buildings. According to him, the modern themed paintings are surprising and tempting
the viewer.
Nevertheless, the lack of the seasonal effects in historical Ottoman miniatures are
demonstrated in Çolpan`s paintings. In the Figure 27 on page 23, the winter effect
was tried to be illustrated. Furthermore, the white spots on the dark background are
16
Fig.27 Painter Nusret Colpan, Moskow, snowing weather
Fig.28 Painter Nusret Colpan, New York, the timeline trough the technological
development of ships
to demonstrate a snowy weather moment. Another distinguishing feature is that the
artist preferred to use a dark background colour instead of paper colour in some of his
paintings.
On the New York miniature, a timeline is determined. The sense of the time was tried
to be portrayed by the technological progression on ships. The old sailing ships are
demonstrated around the depicted frame. In the middle area of the picture, there are
modern ships. According to that, the artist may have tried to demonstrate a time line
with the narrative who follows a line from the edges of the paper to the center (Fig.28).
Pictorial Space
The miniatures of Çolpan seem to be considered to contain architectural and natural
elements together. Most of his works contain the element of water in the form of the
sea, a lake or a river.
Although his miniatures are heavily influenced by Matrakchi Nasuh`s topographic paintings (Fig.4, p,10), there are remarkable differences. The natural elements (like sea,
ground) are not painted as solid surfaces. Especially the waves in the element of water
got a circular pattern in Çolpan`s works. This dense pattern creates the continuity affect
as in most historical Ottoman miniatures.
There is also a big whirl determined, especially in Islamic motifs and Turkey related
17
compositions, like Anatolian cities and Istanbul motifs. In addition to historical Ottoman
miniature space perception, this big whirl creates a depth on defined areas only with
hues of the colours. It pushes the object more to foreground with an aesthetical artistic
style (Fig.29).
Fig.29 Painter Colpan, Islam Dünyasi, the recognisable artistic big whirl
Composition
In some of Çolpan`s paintings, the characteristic circular formed waves and clouds reflect
his composition structure. In particular paintings, in spite of the absence of the typical big
circular wave form, the circular move is created according to the positioning of the city and
the monumental elements. The size of the monumental elements is exaggerated compared to other components, to attract attention. This aspect could be linked to historical
miniature features.
Besides of the positioning or direction of the sub elements like ships, seagulls, clouds are
supporting the circular composition. Nevertheless, the colour distribution also facilitates
the orientation of the viewer`s eye.
Çolpan`s paintings show that if the standed out component is positioned in the middle,
the circular composition follows an outwards move (Fig.30,31). If it is located near the
edges, the composition has an inwards move (Fig.32,33). The sub-compositions are
defined by the positioning of the objects like ships, architectural structure and natural elements like trees, rivers and clouds. The composition directions are demonstrated below
with a cyan line and the sub-compositions are demonstrated with a red coloured line.
Fig.30 Painter Colpan, outwards move of the big whirl
18
Fig.31 Painter Colpan, outwards move of the big whirl
Fig.32 Painter Colpan, inwards move of the big whirl
Fig.33 Painter Colpan, inwards move of the big whirl
19
Motion in Static
The paintings of Çolpan are in a bird`s eye view. The artworks shift the focus
away from human figures to focuse more on architectural elements. Therefore,
his paintings seem more static, but the action of the human figures is subtly
transferred to the animals, objects and natural elements. Flying birds, sailing
ships, clouds dragged by a wind and snowy weather are the visual components
that give the motion effect to the viewer. Nearby, the circular composition the
elements from pictorial space like small dense waves on the water and the big
whirl strengthens the motion effect in his paintings.
The creation process of Çolpan starts with data collection. Afterwards, the composition is sketched out in small dimensions and in order to set the graphical
balance, the colour trials are made until the result desired is achieved. Some
big composition sketches are made on a computer. The sketch is transferred
slightly to the surface and the composition is coloured manually (Çolpan 2012).
Çolpan`s painting material choice varieties. Although the watercolours is primarily preferred, acrylic and oil colours are also used in his paintings. Right after
natural dyes, synthetical dyes seem to enlarge the traditional colour palette of
miniatures. The colour range of Çolpan is dominated by a vivid blue, green and
yellow in several hues (Fig.40). In addition, cadmium red, orange and grass
green in several hues appearin Çolpan`s artworks. Gold and silver colours are
avoided.
Cadmium Red
Orange
Grass Green
Fig.34 Color palette of Colpan
20
2.2.2. The mix of centuries by Murat Palta
Motifs
As a new miniature artist, Palta`s motifs are primarily about movie scenes. Famous
Hollywood movies are interpreted according to traditional Ottoman style miniatures.
The published scenes from Star Wars, God Father, Kill Bill, Shining and Inception seem
to draw interest to miniature art in the cyber world. In addition, the concept of famous
Hollywood films in miniature style aims to reach out to movie lovers by introducing the
traditional language of miniature (Palta 2014). The Palta miniatures create association through famous scenes. Therefore, the miniatures are not regarded as alien culture
by other cultures. The colourful, oriental 2D style transforms the movie scenes into
atractive renderings. It creates a fusion between oriental, European and American
cultures. It brings together the historical Ottoman style and present day. Besides of
Hollywood scenes, Palta is on track by producing movie scenes for Turkish cinema.
Palta is usually more focused on movie scene depictions. Figure 35 shows a motif
from a political demonstration in Brasil, which is an exception.
Fig.35 Piaui magazin cover
The poses of the figures, especially the female, have a strong influence from Levni.
A lack of expression if apparent, but characteristic features are also stereotyped and
become recognizable. The main figure is bigger than the other figures and positioned
in the middle, bottom or on the top of the depicted area. So, the main figure serves
the function of being iconic and center of happening through the size and position.
Nevertheless, on the adaptation of costumes are late Ottoman fashion influences
(Palta 2014).
21
Technological devices are adapted and drawn according to historical Ottoman features. The details of these elements are reduced and stylised. They are drawn from
above or sideways in 2D. The rifles in Figure 36, the dream machine and skidoo in
Figure 37,38 are visual representatives for technological devices that didn`t exist in
historical miniatures.
Fig.36 Rifle
Fig.37 Deram machine
Fig.38 Skidoo
The scenes seem to be chosen according to the climax of the movies. Although the
background elements like nature or embroidery patterns are referring to Ottoman miniatures, the link to the movie scene was tried to be given by the dominated colour of the
movie setting.
Murat Palta`s works seem to be a mix of different periods, like a summary in one picture. There are assorted elements of Ottoman court miniatures from different periods
and elements referring to the present (Fig,39).
a
d
Fig.39a Painter Osman, page from Hünername
Fig.39b Pavili Sinan, Portrait od Sultan Mehmet
b
c
Fig.39c Palta, Starwars
Fig.39c Levni, Persian dancer
22
Pictorial Space
The pictorial space seems to primarily reference to the historical miniatures. The dense
pattern usage in outdoor and indoor backgrounds is giving the continuous affect.
Palta`s compositions are in a strict frame. There are no visual elements who enter the
frame or digress as in Levni`s or Çolpan`s miniatures. But the wear out effect on some
images seem that paper is entering into the composition as a background element.
Besides of that there are marbling paper textures and traditional ceramic motifs which
serve to distinguish the artistic style in pictorial space.
Composition
The especially selected movies seem to contain a hierarchical structure as in historical
miniatures. Some of Palta`s compositions are in a fixed area on the paper which is
given by a linear frame. The elements don’t cross over the lines. On the other works, a
linear frame is avoided and the paper edges become the frame of the depicted area.
There are several composition structures used in Palta`s works. In some works, there
are circular, vertical, horizontal and axonometric compositions determined. According to
figure positioning, occasionally his artworks show different angled sub-compositions.
The main compositions are with a cyan line and sub-compositions are demonstrated
with a red line.
Fig.40 circular composition
23
Fig.41 Vertical composition
Fig.42 Axonometric composition
Motion in static
Palta`s artworks contain human figures, but the interaction between figures seem to
be reduced according to the selected scene. In the Kill Bill movie scene (Fig43), the
climax has already passed and there is no movement. The antagonists are lying on the
floor and the protagonist is posing. The image is static, but through the narrative and
background information the viewer perceives the motion that just took place. There are
exceptional scenes like in Fig inception, the falling men and a coach, in Fig scarface
the firing rifle and a shot man falling are demonstrating the motion affect in pictorial
narratives.
Application Techniques
The original depictions are in digital format. The compositions are completed with mixed
media (Palta 2014). The artworks contain digital and manual colouration techniques.
Besides of the determination of digital colouration, some of the background colours are
prepared on a paper with watercolour technique. There are several colour and texture
layers defined. Figures are drawn by hand, scanned and outlined in Adobe Illustrator
24
Fig.43 Kill Bill scene
software with pen tool. In contra to Ottoman style, the outlines are drawn with
black colour. The traditional patterns are created by making a copy of one specimen which is subquently multiplied in a digital environment.
Fig.44 Creation process of Palta
The digital colours provide a very bright colour range in Palta`s artworks. His
colour palette is dominated by warm colours, like red, yellow, orange, green in
several hues. Although the artworks are prepared in digital platforms, Palta seem
to imitate traditional natural dyes like jade green, crimson red, ochre, ultramarine blue. Gold and silver might be avoided because of the handicap of the digital
platform. Unfortunately, gold and silver do not provide a realistic appearance of
the material itself in digital colouration.
Crimson Red
Ochre
Jade Green
Ultramarine Blue
Fig.45 Palta`s Color palette
25
3. CONCLUSION
This thesis concludes that Ottoman miniatures have an exclusive place in book art
history. Their unique style provides about historical, traditional, administrative, sociological and scientific motifs. However, for many Islamic art historians, the miniatures have a
documentary function, there are no miniatures found about defeat themes. According to
that, Ottoman miniatures might give an idea about cultural events, clothing or lifestyle,
but the documentary approach seems subjective. Therefore, the themes were not selected objectively, probably cause of the patron’s (like Sultans) orders.
The use of miniatures has changed over from books, separated accordingly from the text
and treated as subjective art form in the contemporary world. Nevertheless, they lost
their documentary function and focused more on artist`s personal ideology. Therefore,
the motifs, sizes, application techniques, materials, publication fields and targeted
audiences are much more varied.
According to the analysis of contemporary works, the Marrakchi Nasuhs`s topographic
painting style seems to be developed and elaborated by the artist Çolpan. The stifled
Sufi symbols in Ottoman miniatures are obviously not an issue in Çolpan`s paintings.
Besides of spiritual motifs, the whirl shaped sea might be interpreted as the Dervish
worshipping ritual. Although there is no clear information to be found, after all it is the
most remarkable artistic element providing depth in miniatures. Eventually, Çolpan
certifies his strong artistic and innovative style in his artworks. According to his topographical and non-figurative miniatures, the artist aims to show his personal point of view
with a documentary approach. The combination of monumental, natural and architectural components are narrated and depicted in a decorative way. The works of him build
an ideological bridge between old, new and East-West cultures.
Conversely to the frozen moment of historical Ottoman miniatures, the motif of New York
from Çolpan shows that the time factor can be added into miniatures. The time narrative
is provided by the technological improvement in vehicles.
Other remarkable innovations of Çolpan are the dark background and the slight transition from composition to the paper. This change creates a new look in miniature paintings. The background colour carries the whole composition to the back or front depending on keen-edged or degraded paintings. Accordingly, the clear-framed compositions
seem to pop up and slightly ending compositions seem to go back on paper ground for
human eye.
Çolpan proves that miniatures can be depicted in variety surfaces in big dimensions, like
modern paper, canvas, wall and ceramic. Besides of exhibitions, the artworks of Çolpan
are to see in city furniture. His paintings are decorating the walls of metro stations and
buildings in Istanbul and in many other countries.
In contrast to Çolpan, the miniatures of Palta dispay figurative narrations. Palta`s miniatures narrate movie scenes or actual themes in a joyful, fantastic, naive way, even if his
miniatures require some background information or text to be understood. Nevertheless, the combination of East and West, idealism and realism, the past and the moment,
fantasy and observation are also observed in Palta`s works.
Palta shows that the main happening can be positioned on top of the composition. Yet, it
has to be distinguished by the size of the element as in Ottoman miniatures. This determines the reading structure of miniatures, which can also be read from the top to bottom.
26
Another remarkable artistic feature of Palta is the black outlines. Although the black
outlines give a comic effect to his miniatures, it is a distinguishing element that adds to
his artistic style. In addition, the sepia coloured paper and the timeworn effect increases the value of his miniatures by referencing to historical artifacts and it distinguishes
his miniatures from the caricature characteristics.
Palta`s miniatures have big potential, owing to their wide range of use. According to his
depicted themes, the miniatures could be used in digital or printed surfaces, like social
media, magazines, book covers, posters, souvenir, etc.
According to the analyses of historical and contemporary miniatures I gained the following information and drew the following conclusions for my practical work:
The dense repetitive elements can be perceived as patterns. This perception creates a
wider imaginary space to the viewer than the edges of the paper. The same direction of
the grouped figures can provide the motion effect. This motion effect could be reinforced
by over lapping the figures or objects from defined pictorial frames and by the drawn
poses of the human and animal figures.
In the composition settings, the positioning and the directions of the components are
as crucial as the colour and contrast distribution. Next to the circular, axonometric and
horizontal compositions, the diagonally positioned elements bring dynamic into the
artworks.
The indicated colour palettes of Levni, Çolpan and Palta show differences according to
the used colour material. Levni`s tempera colours from natural dyes provide many earth
hues in his paintings. Çolpan`s synthetic colours like acrylic or oil colours enlarge the
colour range of miniature art and add more brightness. Palta`s digital colouration gives
the opportunity to imitate natural dyes and the brightness of synthetic colours in digital
platform. Eventually, the natural dyes sink under the brightness and range of synthetic
or digital colours. But natural dyes proved their value over hundreds of years. Nevertheless, the clear outlines, vivid colours, 2D features and composition structures keep the
traditional Ottoman miniature style still recognizable, attractive and in use.
Stereotyped figures or other components in miniatures seem to be graphical elements
that transfer particular information to the viewer. These elements are gathered in a
specific row in order to create narratives. Although there is more research required, the
composition structures and the dealing with elements of Ottoman miniatures seem to
carry narrated infographical function.
The Ottoman miniature style provides embroidered, colourful, clear narratives. The clear
hierarchical structure and vivid pictorial language attracts much attention. Ottoman
miniature style could be used also in children`s book, although no studies dedicated to
this subject could be found. These books could be used in order to create narratives by
informing the child about historical, sociological, scientific or current topics in a joyful way.
Thanks to the contemporary miniature artists, with hundreds of years of historical
background, the Ottoman miniature style is still in use and inspires many people with
colourful, patterned and vivid narrated 2D depictions.
27
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Figures
Figure 1 , Unknown Artist, 2006, Unknown Title, Viewed 20 July 2014, Available at:http://
commons.wikimedia.org/wiki/file:manicheans.jpg
Figure2 , Unknown Artist, 2006, Unknown Title, Viewed 20 July 2014, Available at:http://
www.forumacili.org/el-sanatlari-arsivi/1027-uygur-sanati.html
Figure 3 Painter Pavli Sinan Bey, Portrait Of Sultan Mehmet Ii, Viewed 29 July 2014,
Available at: http://tr.wikipedia.org/wiki/nakka%c5%9f_sinan_bey#mediaviewer/
dosya:sarayi_album_10a.jpg
Figure 4, Painter Matrakci Nasuh, Zigetvar Castle, Viewed 2. August 2014, Available at:
http://www.totalwar-turkiye.com/twforum/index.php?topic=95343.70
Figure 5, Painter Osman, Portrait Of Sultan Selim I, Viewed 7. August 2014, Available at:
http://www.unutulmussanatlar.com/2012/12/nakkas-kimlere-denilir.html
Figure 6 Painter Hasan, Prophet Muhammad Appearing At The Ka›ba To Rid The Populace
Of An Unwanted Dragon Siyer-I Nebi- The Life Of The Prophet., viewed 1. August 2014,
Available at: http://kilyos.ee.bilkent.edu.tr/~history/pictures2/ul165.jpg
Figure 7, Painter Nakshi (ca. ), Sultan II. Murad Han (1421- 1444) Dönemi Ulemasından,
Molla Ahmed B. İsmail GüRani, viewed 6. April 2014, Available at: http://acikerisim.fsm.
edu.tr:8080/xmlui/handle/11352/156
Figure 8 Unknown Artist (ca.1530) Israfil`s Favorites, viewed 22. Juli 2014, Available at: https://www.flickr.com/photos/israphil/3836036625/sizes/o/in/set72157622774550520/
Figure 9, Painter Hasan (ca. 1595), The Prophet Mohammed (figure without face) at the
Kaaba in Mecca. Ottoman miniature painting from the Siyer-i Nebi, kept at the Topkapı
Sarayı Müzesi, Istanbul (Hazine 1222, folio 151b), viewed 6. August 2014, Available at:
http://commons.wikimedia.org/wiki/File:Siyer-i_Nebi_151b_detail.png
Figure 10 Painter Levni (ca. 1720), Painting from Sürname-i Vehbi Manuscript
Figure 15, Painter Osman (1584), Mohaç Savaşı. Hünername’den. Ressamı Nakkaş Osman, viewed 7. August 2014, Available at: http://www.dunyabulteni.net/servisler/haberyazdir/246338/haber
29
Figure 22, Painter Osman (1584), Mohaç Savaşı. Hünername’den. Ressamı Nakkaş
Osman, viewed 7. August 2014, Available at: http://www.Dunyabulteni.Net/Servisler/Haberyazdir/246338/Haber
Figure 26 Celebi, Duygu, Painter Levni`s color palette, Master Thesis, Luzern University,
Luzern, Switzerland,
Figure 27 Çolpan, Nusret (ca.1999), Moskova, viewed 29. April 2014, Available at: http://
www.nusretcolpan.com.tr/dunya-sehirleri.html
Figure 28 Çolpan, Nusret (ca.1999), New York, viewed 29. April 2014, Available at: http://
Figure 29 Çolpan, Nusret (ca.1999), Islam Dünyasi, viewed 29. April 2014, Available
at: http://islamic-arts.org/2012/around-the-world-with-nusret-colpan/?fb_action_
ids=740013292677951&fb_action_types=og.likes&fb_source=other_multiline&action_
object_map=[10150736541363881]&action_type_map=[%22og.likes%22]&action_ref_
map=[]
Figure 30 Çolpan, Nusret (ca.1999), Kiz Kulesi, viewed 29. April 2014, Available at:
http://www.nusretcolpan.com.tr/dunya-sehirleri.html
Figure 31 Çolpan, Nusret (ca.1999), Mostar, viewed 29. April 2014, Available at: http://
Figure 32 Çolpan, Nusret (ca.1999), Venedig, viewed 29. April 2014, Available at: http://
Figure 33 Çolpan, Nusret (ca.1999), New York, viewed 29. April 2014, Available at: http://
Figure 34 Celebi, Duygu, Color palette of Colpan, Master Thesis, Luzern University, Luzern,
Switzerland
Figure 35 Palta, Murat (2012), Cover of Piaui Magazine, viewed 6. August 2014, Available
at: http://ulkedehaber.com/haber/ntv-tarih-ve-piaui-benzer-kapak-farkli-son-13526.html
Figure 36 Palta, Murat (2012), Yarali Yüz, viewed 6. August 2014, Available at: https://
www.behance.net/gallery/Classic-Movies-in-Miniature-Style/4455311
Figure 37, 38 Palta, Murat (2012), Baslangic, viewed 6. August 2014, Available at: https://www.behance.net/gallery/Classic-Movies-in-Miniature-Style/4455311
30
Figure 39a Painter Osman (1584), Sultan Murad II at Archery Practice from Huner-nama
(‹Book of Skills›), Available at: http://kilyos.ee.bilkent.edu.tr/~history/Pictures1/im40.jpg
Figure 39b Painter Pavli Sinan Bey, Portrait Of Sultan Mehmet Ii, Viewed 29 July 2014,
Available at: http://tr.wikipedia.org/wiki/nakka%c5%9f_sinan_bey#mediaviewer/
dosya:sarayi_album_10a.jpg
Figure 39c Palta, Murat (2012), Star Wars, viewed 6. August 2014, Available at: https://
Figure 39d Painter Levni (ca. 1730), Pers çengi, Available at: http://www.tarihnotlari.com/
levni/levnipers-cengi/
Figure 40 Palta, Murat (2012), Kill Bill, viewed 6. August 2014, Available at: https://www.
behance.net/gallery/Classic-Movies-in-Miniature-Style/4455311
Figure 41 Palta, Murat (2012), Baslangic, viewed 6. August 2014, Available at: https://
Figure 42 Palta, Murat (2012), Yarali Yüz, viewed 6. August 2014, Available at: https://
Figure 43 Palta, Murat (2012), Kill Bill, viewed 6. August 2014, Available at: https://www.
behance.net/gallery/Classic-Movies-in-Miniature-Style/4455311
Figure 44 Palta, Murat (2012), Unknown Title, viewed 9. June 2014, Available at: http://
www.tasarimyarismalari.com/geleneksel-sanati-dijitalle-birlestiren-genc-bir-illustrator-muratpalta/
Figure 45 Celebi, Duygu, Palta`s color palette, Master Thesis, Luzern University, Luzern,
Switzerland
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Ottoman Miniature Art - Master of Arts in Design

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