Aesthetic designs of environmental scenes of birds in Iznik ceramics

Abstract

Abstract

     This research is concerned with studying (the aesthetic designs of environmental scenes of birds in Ottoman ceramics), which is located in four chapters. The first chapter included a presentation of the research problem, which was summarized in the possibility of answering the following questions: On ceramic surfaces, is it purely aesthetic? Or is it intellectually related to what is my life, my livelihood?) Hence the importance and goal of the research: It is represented in (knowing the aesthetics of designing environmental scenes of birds in Ottoman ceramics) and the research is limited to studying the ceramic works completed in the Ottoman era in Turkey in the city of (Iznik) and within the time period within the limits of the research, which extends from the year (1500 AD - 1900 AD.)

       As for the second chapter, it was represented by the theoretical framework, comprising three sections, the first topic (the aesthetic design concept and the elements), the second (environmental scenes in Islamic art), and the third (structural characteristics in Azniki ceramics) and concluded the theoretical framework with a set of indicators.

      As for the third chapter, it dealt with the research procedures, which included defining the research community and selecting the research sample amounting to (5) as a model, then the research tool.

     While the fourth chapter included the results and conclusions of the research, as well as recommendations. Among the findings of the researcher are:

1-The Ottoman potter used the appropriate movement for the conditions of birds and plants in a way that suits the rhythm and rotation of the shape of the ceramic bowl, which gives an indication of the timeliness of the scene, and this appeared in all models of the research sample.

2-The Ottoman potters excelled in using flower decoration designs with great skill, and made them a source of their creativity. Flowers in their various forms added a distinctive character to Ottoman art in general, the most important of which were the god’s flower, carnations, lily, peonies and other flowers derived from its natural environment and this was evident in all sample models.

The most important conclusions reached by the researcher are:

1-The Ottoman potter was interested in the peacock bird and applied it abundantly on the surfaces of his ceramics, because it is a bird of privilege and symbolizes strength, beauty, nobility, brilliance and arrogance, with the symbolism of eternity and eternal life according to their thought, and the peacock has many different symbolic expressions in various cultures and civilizations of the world.

2-The Ottoman potters' use of plant decoration in abundance, especially all kinds of flowers, twigs and plant branches, is to show the aesthetic value of ceramic works in the structure of the general design.

key words

)Aesthetics, scenes, environmental, birds, ceramics, Ottoman era)