{[Islamic Art –] Visual Arts [continued –] The Late Period [continued (6)]}[21st April 1991]

[Redbook9:172-173][19910421:1410vv]{[Islamic Art –] Visual Arts [continued –] The Late Period [continued (6)]}[21st April 1991]

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‘After 1700[ce]* Western influence, mainly French, increasingly affected all Turkish art but especially architecture, and Baroque and later Rococo forms and decoration were favoured. As applied to such buildings as public fountains for drinking water, with taps not sprays, charming effects were achieved; but when this style extended to the Sultan’s palaces on the Bosphorous it became no more than a pastiche of the Western. So with painting the work of Levni (ob. 1732) ** illustrator and portraitist, a certain native vigor of folk origin still informs his costume studies; whereas the flower paintings in the Sunbulnama of 1736 (Topkapi Saray Library, Istanbul), charming as they are, are again pastiches of Western flower books, by Ismail, Ali and Husayn. Hitherto the Turkish school of miniature painting had represented a vigorous off shoot from the Persian school, to which it added fresh genres in extensive treatment of history, and the court ceremonies and processions of the late 16^th century. In these and some astronomical works the Turkish interest in the world as observed lent a vitality to a new sort of historical and topographical art which preceded the Mughal School of India. But this school faded in the early 17^th century.’***

****

*{2048GR~1664}

**(sic)

***{2048GR~1664[ce]}

**** – ibid [Encyclopaedia of Visual Arts 3:] 457

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