232:
252:
374:
17:
339:
217:
272:
305:
389:
359:
320:
32:
287:
125:, there is a great difference between the early and later phases of the saz style. The clarity, spontaneity and almost reckless qualities of earlier drawings gave way to a concern for finish, texture and far more balanced composition. Apart from saz ornament, drawings in saz style used many other motifs, often derived from China, which formed compositions of complex foliage usually intertwined with birds, beasts, and cloud bands. For them, Turkish scholars use the term
49:) and are dated to c. 1530 on stylistic and technical grounds. This close resemblance between the saz style as practiced in album painting and in ceramics could only have been achieved through the close cooperation between ceramicists and court designers (which is attested in the court account books from 1527-28), and "painted panels betray the hand of a master, who may might well have been Şahkulu himself"
88:, or reed pen, that gave this group of works its name. Saz style is represented by two distinct groups of artistic products. The first "consists of album drawings, book illumination, and other works on paper; the second, derived from these paper images, includes virtually all the Ottoman decorative art forms, from bookbinding through textiles, carpets, metalwork, stonecarving, and ceramics"
153:(in Western sources often called angels) are borrowed from Iranian tradition. One of the specific motifs is also "suicidal leaf", which, twisted, pierce itself. Veli Can seems to be primarily interested in figural subjects, and apart from figures of peri, he is associated with many pictures of young men and women.
79:
Saz was a style of vegetal ornament popular in
Ottoman decorative arts of the 16th century, characterized by the use of long, feathery sawtoothed leaves and composite blossoms. At the same time, saz is also used as a name for the art style, in which saz ornament was basic element of the compositions.
231:
178:, resulted in its decline. After 1600 the saz style ceased to be an important, but still, it showed an amazing tenacity. Because it had become virtually synonymous with the glorious days of the Ottoman Empire, it was the subject of self-conscious attempts at revival, for example in tiles of
338:
251:
373:
304:
271:
216:
83:
Contrary to the better known historical style of
Ottoman painting saz style served no direct illustrative purpose, therefore might be described as lyrical. Its works are fantastic and virtuosic displays of technique using the
96:
Saz style "in which mythical creatures derived from
Chinese or Islamic sources move through an enchanted forest made up of oversized composite blossoms and feathery leaves, has parallels in the art of the
319:
358:
20:
This drawing of dragon entangled in swirling foliage under attack from a lion above while assaulting a phoenix is "certainly the greatest masterpiece of the style" and is attributed to
186:
in c. 1663. Countless bookbindings and endpapers kept the tradition alive into the nineteenth century, and its widespread diffusion have left imprints as diverse as decorations of
16:
388:
174:, Cod. Mixt. 313). Murad III was the most important patron of the style and his death in 1595, accompanied by ongoing deterioration of court workshops in time of
121:
from Tabriz, in c. 1520 and 1580 respectively. Şahkulu played a great role in the formation of saz style, and Veli Can took part in its later phase. According to
286:
508:
653:
496:
667:
310:
Iznik dish with an all-over design of composite lotus blossoms and rosettes overlapped in curved serrated leaves, c. 1545-1550.
365:
191:
824:
330:
395:
171:
157:
31:
659:
436:
278:
25:
814:
380:
764:
809:
183:
110:
21:
326:
43:
among feathery saz leaves, lotus palmettes and rosettes they reproduce designs known from albums (
819:
788:
752:
735:
718:
692:
607:
551:
477:
349:
39:
are considered to be one of the earliest examples of the saz style. Featuring birds and
Chinese
663:
504:
223:
769:"From International Timurid to Ottoman: a change of taste in sixteenth-century ceramic tiles"
160:(1520-1566), from whom Şahkulu received many favours, the saz style reached its apogee under
780:
744:
714:
709:
704:
688:
683:
678:
603:
598:
593:
547:
542:
537:
473:
468:
463:
175:
57:
726:
700:
589:
122:
311:
134:
68:
64:
36:
803:
292:
179:
195:
102:
768:
649:
187:
98:
431:
277:
Portrait of a Woman, by Veli Can or another artist of his circle, ca. 1585.
161:
138:
379:
Binding from "The Cream of
Histories" (Zubdat al-tawarikh), c. 1585-1590.
262:
118:
114:
792:
756:
730:
238:
166:
146:
45:
182:
in the 1630s or painted-wood decorations of the kiosk attached to the
345:
296:
199:
130:
106:
784:
748:
109:". It is no coincidence that two named artists associated with it,
242:
142:
40:
30:
15:
150:
222:
Peri with a lute. Unknown artist, c. 1550. From an album in
245:. Unknown artist, from an album in Topkapı Palace Library
364:
Niche - Prayer Carpet, second half of the 16th century.
35:
Tiles covering the Sünnet Odasi (Circumcision Room) in
501:
497:"Illustration VI. c. 1500–c. 1900. D. Ottoman Empire"
133:
manner". Chinese mythological creatures include the
67:and an associated art style from the 16th-century
731:"Dating Ottoman Turkish Works in the Saz Style"
432:"Dragon in foliage with lion and phoenix heads"
491:
489:
487:
352:, mid-sixteenth century. Topkapı Palace Museum
8:
170:) compiled for the future sultan in 1572–3 (
655:The Age of Sultan Süleyman the Magnificent
719:10.1093/gao/9781884446054.article.T088521
693:10.1093/gao/9781884446054.article.T077973
608:10.1093/gao/9781884446054.article.T088521
552:10.1093/gao/9781884446054.article.T077973
478:10.1093/gao/9781884446054.article.T076306
265:. From an album in Topkapı Palace Library
156:Although it started during the reign of
411:
237:Floral composition with suicidal leaf,
212:
164:(1574-1595), for example in an album (
450:
394:Book cover by Ali Üsküdarî, 1747-48.
7:
325:Iznik tiled lunette panel from the
257:Ornamental drawing of a palmette (
14:
632:
623:, p. 105, 111-112, 115, 120.
620:
564:
523:
503:. Oxford University Press. 2009.
418:
202:in the early eighteenth century.
576:
387:
372:
357:
337:
318:
303:
285:
270:
250:
230:
215:
344:Detail from a kemha ceremonial
366:Museum of Applied Arts, Vienna
295:"Peacock Dish", c. 1540-1555.
1:
705:"Veli Can [Valī Jān]"
594:"Veli Can [Valī Jān]"
464:"Saz [Turk.: 'reed']"
192:Museum of Islamic Art, Berlin
567:, p. 104-106, 111-112.
145:, other creatures like the
841:
348:with saz pattern made for
331:Victoria and Albert Museum
396:Arthur M. Sackler Gallery
63:) is a style of vegetal
660:National Gallery of Art
437:Cleveland Museum of Art
26:Cleveland Museum of Art
381:Chester Beatty Library
224:Topkapı Palace Library
50:
28:
34:
19:
279:Sadberk Hanım Museum
825:16th century in art
327:Piyale Pasha Mosque
677:Esin Atil (2003).
536:Esin Atil (2003).
51:
29:
579:, p. 99-102.
510:978-0-19-530991-1
261:), attributed to
172:Österreich. Nbib.
75:Name and identity
832:
796:
765:Necipoğlu, Gülru
760:
727:Denny, Walter B.
722:
710:Grove Art Online
696:
684:Grove Art Online
673:
636:
630:
624:
618:
612:
611:
599:Grove Art Online
586:
580:
574:
568:
562:
556:
555:
543:Grove Art Online
533:
527:
521:
515:
514:
493:
482:
481:
469:Grove Art Online
460:
454:
448:
442:
441:
428:
422:
416:
391:
376:
361:
341:
322:
307:
289:
274:
254:
234:
219:
194:) or patterned "
176:price revolution
840:
839:
835:
834:
833:
831:
830:
829:
800:
799:
785:10.2307/1523126
763:
749:10.2307/1523074
725:
701:Sheila R. Canby
699:
676:
670:
648:
645:
640:
639:
631:
627:
619:
615:
590:Sheila R. Canby
588:
587:
583:
575:
571:
563:
559:
535:
534:
530:
522:
518:
511:
495:
494:
485:
462:
461:
457:
449:
445:
430:
429:
425:
417:
413:
408:
403:
402:
401:
398:
392:
383:
377:
368:
362:
353:
350:Şehzade Bayezid
342:
333:
323:
314:
308:
299:
290:
281:
275:
266:
255:
246:
235:
226:
220:
208:
123:Walter B. Denny
117:, both came to
94:
77:
12:
11:
5:
838:
836:
828:
827:
822:
817:
812:
802:
801:
798:
797:
761:
723:
697:
674:
668:
644:
641:
638:
637:
635:, p. 118.
625:
613:
581:
569:
557:
528:
526:, p. 103.
516:
509:
483:
455:
453:, p. 151.
443:
423:
421:, p. 110.
410:
409:
407:
404:
400:
399:
393:
386:
384:
378:
371:
369:
363:
356:
354:
343:
336:
334:
329:, c. 1570-75.
324:
317:
315:
312:British Museum
309:
302:
300:
291:
284:
282:
276:
269:
267:
256:
249:
247:
236:
229:
227:
221:
214:
211:
210:
209:
207:
204:
93:
90:
76:
73:
69:Ottoman Empire
37:Topkapi Palace
13:
10:
9:
6:
4:
3:
2:
837:
826:
823:
821:
818:
816:
815:Art movements
813:
811:
808:
807:
805:
794:
790:
786:
782:
778:
774:
770:
766:
762:
758:
754:
750:
746:
742:
738:
737:
732:
728:
724:
720:
716:
712:
711:
706:
702:
698:
694:
690:
686:
685:
680:
675:
671:
669:0-89468-098-6
665:
661:
657:
656:
651:
647:
646:
642:
634:
629:
626:
622:
617:
614:
609:
605:
601:
600:
595:
591:
585:
582:
578:
573:
570:
566:
561:
558:
553:
549:
545:
544:
539:
532:
529:
525:
520:
517:
512:
506:
502:
498:
492:
490:
488:
484:
479:
475:
471:
470:
465:
459:
456:
452:
447:
444:
439:
438:
433:
427:
424:
420:
415:
412:
405:
397:
390:
385:
382:
375:
370:
367:
360:
355:
351:
347:
340:
335:
332:
328:
321:
316:
313:
306:
301:
298:
294:
288:
283:
280:
273:
268:
264:
260:
253:
248:
244:
240:
233:
228:
225:
218:
213:
205:
203:
201:
197:
196:bizarre silks
193:
189:
185:
184:Valide Mosque
181:
180:Baghdad Kiosk
177:
173:
169:
168:
163:
159:
154:
152:
148:
144:
140:
136:
132:
129:, or "in the
128:
124:
120:
116:
112:
108:
104:
100:
91:
89:
87:
81:
74:
72:
70:
66:
62:
59:
55:
48:
47:
42:
38:
33:
27:
23:
18:
776:
772:
740:
734:
708:
682:
654:
643:Bibliography
628:
616:
597:
584:
572:
560:
541:
531:
519:
500:
467:
458:
446:
435:
426:
414:
258:
165:
155:
126:
95:
85:
82:
78:
60:
53:
52:
44:
810:Ottoman art
779:: 136–170.
743:: 103–121.
198:" woven in
188:Aleppo Room
804:Categories
679:"Shahquli"
650:Atil, Esin
538:"Shahquli"
406:References
105:courts at
86:saz qalami
820:Ornaments
451:Necipoğlu
162:Murad III
99:Aqqoyunlu
54:Saz style
773:Muqarnas
767:(1990).
736:Muqarnas
729:(1983).
703:(2003).
652:(1987).
592:(2003).
472:. 2003.
263:Veli Can
158:Suleiman
131:Cathayan
119:Istanbul
115:Veli Can
65:ornament
61:saz yolu
793:1523126
757:1523074
239:Simurgh
206:Gallery
167:muraqqa
147:simurgh
139:phoenix
111:Şahkulu
103:Safavid
92:History
46:muraqqa
22:Şahkulu
791:
755:
666:
507:
346:kaftan
297:Louvre
259:hatayi
200:France
135:dragon
127:hatayi
107:Tabriz
41:qilins
789:JSTOR
753:JSTOR
633:Denny
621:Denny
565:Denny
524:Denny
419:Denny
293:Iznik
243:Qilin
143:Qilin
58:Turk.
664:ISBN
577:Atil
505:ISBN
241:and
190:(in
151:peri
141:and
113:and
101:and
781:doi
745:doi
715:doi
689:doi
604:doi
548:doi
474:doi
149:or
806::
787:.
775:.
771:.
751:.
739:.
733:.
713:.
707:.
687:.
681:.
662:.
658:.
602:.
596:.
546:.
540:.
499:.
486:^
466:.
434:.
137:,
71:.
24:.
795:.
783::
777:7
759:.
747::
741:1
721:.
717::
695:.
691::
672:.
610:.
606::
554:.
550::
513:.
480:.
476::
440:.
56:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
