To understand
Ottoman art, or Islamic art in general, one must be familar with the Islamic
attitude towards art. The Koran strictly prohibits graven images.
Therefore in traditional Islamic art no images 
of
people, animals, etc are supposed to be featured (we will see this prohibition
disregarded in some cases, especially during the late Ottoman period).
Due to the stipulation regarding graven images, Ottoman art in its most
early stages revolved around three different forms: calligraphy, ceramics,
and carpets. For many Islamic artists calligraphy became an outlet
for creative energies. By manipulating the Arabic alphabet, a word
could be made to look like a ship, lion, or any number or otherwise forbidden
graven images. Carpets and cermaics arose from the Ottoman handicraft
tradition. Early carpets and ceramics featured geometric designs.
Later works in these two areas focused on floral designs (like the tile
seen above).
The
Ottomans violated Islamic law when it came to the art of minatures painting.
Most of these miniatures were compiled into manuscripts, although ironically
many were used in decorating Korans. This art form became particularly
popular in the Ottoman Empire during the early part of the sixteenth century.
It was at that time that many Persian miniature artistists were brought
to the Ottoman court, and the the first Ottoman scriptorium was started.
One of the first notable miniature artists was Nigari, who was Suleyman
I's court painter. Nagari contributed the illustrations for the Sulaymannama
(Book of Suleyman) completed in 1558. This illuminated manuscript
covered in detail Suleyman I's actions as sultan. During the reign
of Ahmed III, there was a major shift away from miniatures to Western-styled
painting. Ahmed III's court painter, Levni painted mostly portraits
and nature scenes, all in the prevalent Boroque/Rococo style of the time.
Besides
the art forms mentioned above, Ottoman art was often best illustrated by
its use in Ottoman architecture. (In the picture below we see the
extensive use of exterior tiles on an Ottoman mosque located in Iznik).
Ottoman architecture was heavily influenced by its Arabic and Persian forebearers,
as well as Selcuk architecture. Typical of Islamic cultures, the
best examples of Ottoman architecture can be found by looking at Ottoman
mosques. Initailly, the Ottomans used the two-domed plan for mosques.
This plan was abandoned in favor of a plan calling for one central dome
in the early 1400's. All most all later Ottoman mosques tended to
be more complex variations of this theme.
During
the reigns of Murad II, Mehmed II, Beyezid II, and Selim I, mosque design
became increasingly sophiticated. The solitary central dome was replaced
with a central dome flanked by two or more smaller domes. Ottoman
architecture reached its penicle under Suleyman I and his talented court
architect, Sinan.
Sinan's first major work was the Sehzade Mehmed Mosque in Istanbul.
This mosque was commision by Suleyman I as a memorial to his oldest son,
Mehmed, who died a premature death. Suleyman was pleased with the
mosque and commissioned Sinan to begin construction of his memorial mosque
in 1550. The Suleymaniye complex (pictured below) consisted of a
mosque, medrese, soup-kichen, hostel, hospital, and Suleyman I's tomb. 
Sinan
continued as court architect for Suleyman I's son, Selim II, and grandson,
Murad III. He built mosque complexes on the scale of Suleymaniye
for both Selimiye ( in Edirne) and Muradiye (in Manisa). By the end
of his career, Sinan had built 343 building, among them 81 moques, 55 schools,
50 chapels, 34 palaces, and 33 baths.
Imediately
following his death, Sinan's students continued to his style in theri own
works. Two of his most famous students were Da'ud Agha, architect
of the Yeni Valide Mosque, and Mehmed Agha, architect of The Sultan Ahmed
Mosque Complex. Sinan's students continued the traditional 
Ottoman
style, while other architects began to blend Ottoman style with different
European styles like Boroque, Rococo, and Neo-Classical. One of the
first examples of this unique blending of styles was the Library of Ahmed
III at Topkapi Palace. The building use of curved lines and natural
light is gives it a distinctly European feel. The blending of the
Ottoman and Western styles intensified until the European style came to
predominate in mnay buildings, most notably Dolmabahce Palace (pictured
on the left). Sadly, this led to the decline of Ottoman style throughout
the empire and distinctive Ottoman buildings were built less and less.
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