Salvato in:
| Autori principali: | , |
|---|---|
| Natura: | Recurso digital |
| Lingua: | turco |
| Pubblicazione: |
Zenodo
2026
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| Accesso online: | https://doi.org/10.5281/zenodo.20127501 |
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Sommario:
- <p class="IJHAR-zetMetni">This extended abstract presents a comparative analysis of Safavid and Ottoman silk textiles produced during the sixteenth and seventeenth centuries, focusing on figurative motifs as structural components of visual narration rather than merely decorative elements within the broader context of early modern Islamic textile production traditions and artistic exchanges globally. Adopting a qualitative art-historical methodology, the study integrates literature review, comparative visual analysis, and iconographic interpretation to evaluate how human and animal figures are positioned within textile compositions and how these figures interact with vegetal ornament systems and miniature painting conventions across different historical and cultural production environments and workshops. The primary materials of the study consist of Safavid and Ottoman silk textiles, including selected Safavid velvets and lampas fabrics as well as Ottoman kemha and serenk examples, allowing the research to examine surface organization, repetition systems, color contrasts, and stylistic transformations that reveal artistic priorities shaped by courtly patronage, economic networks, and the circulation of artisans between imperial centers during the period.</p> <p class="IJHAR-zetMetni">Findings demonstrate that Safavid silk textiles frequently employ dynamic figural scenes derived from literary narratives, such as Khamsa cycles or royal hunting imagery, in which figures serve as narrative anchors, supported by secondary vegetal motifs that stabilize the composition while preserving a sense of movement and storytelling across the woven surface. In contrast, Ottoman silk production tends to minimize direct figurative representation. Instead, it incorporates animal references through stylized motifs such as rumi scrolls or tiger-stripe patterns, creating a controlled ornamental rhythm that prioritizes symmetry and surface continuity over explicit narrative depiction or dramatic figural action within the textile field. The analysis also considers how religious discourse, aesthetic preference, and workshop practice influenced the transformation of figural imagery into ornamental vocabulary, demonstrating that differences between Safavid and Ottoman traditions emerge not from a simple prohibition of imagery but from divergent approaches to the production of visual meaning and to courtly representation strategies overall. By examining composition logic alongside iconography, the study proposes that narrativity and stylization should be treated as complementary analytical categories that reveal how textile surfaces functioned as communicative media within ceremonial exchange systems, diplomatic gift cultures, and elite identity construction throughout the early modern Islamic world and beyond regional borders.</p> <p class="IJHAR-zetMetni">Comparative evaluation further indicates a chronological shift within Safavid textiles, where the animated storytelling of sixteenth-century examples gradually gives way to more static, decorative figure arrangements during the seventeenth century, reflecting broader aesthetic transitions connected to changing patronage structures and evolving workshop production priorities over time and geography. Meanwhile, Ottoman textiles display increasing abstraction as figural references dissolve into highly systematized ornamental networks, reinforcing the argument that surface organization rather than figurative absence defines the visual identity of Ottoman silk design and demonstrates a preference for rhythmic continuity supported by limited color palettes and disciplined compositional balance principles. Ultimately, the study concludes that Safavid and Ottoman silk textiles should be interpreted through the lens of visual function, where figurative motifs operate as narrative engines or ornamental structures, depending on cultural context, offering a revised framework for future interdisciplinary research combining textile analysis, miniature studies, and digital visualization methods.</p>