Ottoman and Safavid

In the late Islamic period (16th -18th), perhaps even to a greater extent so than in preceding periods, art was an instrument of dynastic panorama in this great age of empires. Spurred by royal patronage, the arts flourished nether the fairys and Safavids. nance art was a vibrant synthesis of Turkish and Persian-Islamic, Byzantine, and Mediterranean culture and styles through conquest, through direct invitation of artisans, or through the migration of peoples.The footrest Turks were renowned for their architecture, as well as for their traditions of c alligraphy and miniature painting. They were likewise renowned for their decorative arts including carpet weaving, jewelry making, paper marbling, and their lineament Iznik ware ceramics. The Ottomans promoted themselves as the defenders of Islam, and this explains why their public art includes a privileged variety of ornamental designs but no human figures. Plant- and flower-based patterns were the well-nigh common.Observing Iz nik ceramics, a superficial abstraction is dominant in the naturalistic plant designs. Besides, some 16th century Ottoman Miniature Art reached its peak. The Miniatures and illuminated manuscripts were created by and large for the emperors, with their focus mostly on the important and powerful figures in their retinues. A unique feature of Ottoman Miniature was that it depicted the actual events realistically, magical spell also keeping the abstract formal expressive touch of the conventional Islamic Art.The Safavid style developed in Iran from 1500, when the country was re-united under the dynasty of this name. unlike their Ottoman neighbors, the Safavids had no qualms about depicting human beings in all forms of art. These figures became an unusually prominent feature of the Safavid style. Depictions of elegant young men and women, a good deal shown in outdoor settings, adorned many objects, from clothing to the bindings of manuscripts. One of the most renowned manuscripts fr om the period is a now-dispersed copy of the Shahnama epic.Also textiles and carpets were manufactured of luxury materials as furnishings for the court. The most famous is a pair known as the Ardabil Carpets, created in 1539-1540. The carpets were nearly identical, perfectly symmetrical and enormous. Every inch of space was fill with flowers, scrolling vines, and medallions. Although the central medallion and the repeating patterns throughout the carpet is similar to Ottoman but the Ardabil carpets have A wide range of colors than Ottomans which is heavily dependent on reds and blues.