Editing Ottoman Empire (section)

=== Decorative arts ===
{{further|Ottoman illumination|Ottoman miniature}}

[[File:Topkapi_Sarayi_in_time_of_Selim_I_-_left.jpg|thumb|[[Ottoman miniature]] lost its function with the Westernization of Ottoman culture.|upright]]

The tradition of [[Ottoman miniature]]s, painted to illustrate manuscripts or used in dedicated albums, was heavily influenced by the [[Persian miniature|Persian]] art form, though it also included elements of the [[Byzantine art|Byzantine]] tradition of [[Illuminated manuscript|illumination]] and painting.<ref>{{Cite journal |last=Atil |first=Esin |date=1973 |title=Ottoman Miniature Painting under Sultan Mehmed II |url=https://www.jstor.org/stable/4629273 |journal=Ars Orientalis |volume=9 |pages=103–120 |jstor=4629273 |issn=0571-1371 |access-date=12 August 2022 |archive-date=1 November 2022 |archive-url=https://web.archive.org/web/20221101140443/https://www.jstor.org/stable/4629273 |url-status=live }}</ref> A Greek academy of painters, the ''Nakkashane-i-Rum'', was established in the [[Topkapı Palace|Topkapi Palace]] in the 15th century, while early in the following century a similar Persian academy, the ''Nakkashane-i-Irani'', was added. [[Surname-i Hümayun]] (Imperial Festival Books) were albums that commemorated celebrations in the Ottoman Empire in pictorial and textual detail.

[[Ottoman illumination]] covers non-figurative painted or drawn decorative art in books or on sheets in ''[[muraqqa]]'' or albums, as opposed to the figurative images of the [[Ottoman miniature]]. It was a part of the Ottoman Book Arts together with the Ottoman miniature (''taswir''), calligraphy (''hat''), [[Islamic calligraphy]], bookbinding (''cilt'') and [[paper marbling]] (''ebru''). In the Ottoman Empire, [[Illuminated manuscript|illuminated and illustrated manuscripts]] were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in ''Nakkashane'', the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also, sheets for albums ''levha'' consisted of illuminated calligraphy (''hat'') of ''[[tughra]]'', religious texts, verses from poems or proverbs, and purely decorative drawings.

The art of carpet [[weaving]] was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism and as a practical consideration, as it was customary to remove one's shoes in living quarters.<ref name="foroqhi">{{Cite book |last=Faroqhi |first=Suraiya |title=Subjects of the Sultan: culture and daily life in the Ottoman Empire |publisher=I.B. Tauris |date=2005 |isbn=978-1-85043-760-4 |edition=New |location=London |page=152}}</ref> The weaving of such carpets originated in the [[nomad]]ic cultures of central Asia (carpets being an easily transportable form of furnishing), and eventually spread to the settled societies of Anatolia. Turks used carpets, rugs, and [[kilim]]s not just on the floors of a room but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.<ref name="foroqhip153">{{Cite book |last=Faroqhi |first=Suraiya |title=Subjects of the Sultan: culture and daily life in the Ottoman Empire |publisher=I.B. Tauris |date=2005 |isbn=978-1-85043-760-4 |edition=New |location=London |page=153}}</ref>