Article Images
Content deleted Content added
Line 212: ==Stone carving== [[File:Yesil Cami 7799.jpg|thumb|Stone-carved [[arabesque]] and [[Islamic calligraphy|calligraphy]] at the Green Mosque in Bursa (1412–1424)]] Compared to the Anatolian Seljuk architecture that came before it, Ottoman architecture treated stone carving as a less important decorative medium. Doğan Kuban argues that this may be because the artisans responsible for stone carving under the Seljuks and Beyliks were concentrated in central and eastern Anatolia, as opposed to western Anatolia where early Ottoman architecture developed. The Ottomans also did not continue the Seljuk tradition of constructing monumental, highly ornate stone [[Portal (architecture)|portals]].{{Sfn|Kuban|2010|p=237}} Lastly, as the classical Ottoman style took form, large solid walls that were common in more traditional structures were superseded by highly articulated structures with many elements joined together as part of a more complex whole. This would have made the decoration of large wall surfaces a much less important element of building design.{{Sfn|Kuban|2010|p=447}} [[File:Suleymaniye DSCF3657.jpg|left|thumb|upright|[[Capital (architecture)|Capital]] carved with [[muqarnas]] at the Süleymaniye Mosque (1550–1557)]] In the early Ottoman period, an exception to this dearth of traditional stone carving is the Green Mosque in Bursa, which features skilled carving of marble surfaces into vegetal arabesque and calligraphic motifs.{{Sfn|Kuban|2010|p=447}} This was generally not repeated in subsequent Ottoman monuments, with the partial exception of [[Mihrab|mihrabs]].{{Sfn|Kuban|2010|p=|pp=447, 449}} Nonetheless, stone carving was was still used to enrich the details of building. Until the 18th century, high-quality stonework remained evident in the use of [[muqarnas]] (or "stalactite") carving in entrance portals, [[minaret]] balconies, [[Molding (decorative)|moldings]], and column [[Capital (architecture)|capitals]]. It is also evident in the geometric [[openwork]] in stone balustrades and marble [[Minbar|minbars]].{{Sfn|Kuban|2010|p=447}} Aside from these features, which were characteristic of buildings, Ottoman tombstone are notable for their very rich stone-carved ornamentation. The decoration of tombstones included vegetal and floral motifs, stone tops in the shape of headgear reflecting the social status of the deceased (usually for men), and, most consistently of all, inscriptions in graceful calligraphy. The level of ornamentation increased after the late 17th century and followed the changes in style that took place in architecture.{{Sfn|Kuban|2010|p=449}} [[File:Istanbul, fontana di tophane, 1732, 03,2.jpg|thumb|Floral motifs carved in marble on the [[Tophane Fountain]] in Istanbul (1732), typical of the Tulip Period style]] In the early 18th century, around the Tulip Period, diverse floral motifs were also added to the decorative repertoire of buildings.{{Sfn|Kuban|2010|p=447}} With the advent of the Ottoman Baroque in the 18th century, Ottoman stone carving borrowed motifs directly from the relief ornamentation in French [[Rococo architecture]], including acanthus leaves, shells, baroque moldings, and mixtilinear arch forms.{{Sfn|Kuban|2010|p=517}} This was evident first and foremost in the fountains and sebils that became common in Istanbul from the early 18th century on.{{Sfn|Kuban|2010|p=|pp=517–518}} | |||