From the early periods of Ottoman art, its most defining feature was the unity of style and motifs ensured through the designs created by the trained court artisans of the Ehl-i Hiref, which were applied consistently across all artworks. This stylistic unity extended from illumination to textiles, ceramics to carpets.
In design, composition schemes were created according to the characteristic principles of infinity and symmetry in Turkish-Islamic art. Motifs either radiated from a central point, were arranged along vertically extending curved branches, or were placed within medallions.
The Principle of Infinity and Iznik Tile Art
One of the primary fields where the composition schemes designed by court artists were applied was tilework. Since the Seljuk period, religious structures such as mosques, mausoleums, and madrasas were decorated with glazed bricks and mosaic tiles. On tile panels, each piece displayed an independent motif, while in mosaic and later polychrome glazed techniques, tiles were designed to cover all surfaces as panels and borders.
In early Ottoman architecture, the use of tiles covering entire wall surfaces marked the revival of an ancient tradition. The finest examples of this can be seen in the Green Mosque and Mausoleum in Bursa (1419–1424) and Muradiye Mosque in Edirne (1436). However, the integration of tile decoration into the architectural structure with carefully planned designs began under Mimar Sinan.
Golden Age Motifs in Iznik Tilemaking
During the golden age of Iznik tiles, colorful underglaze tiles produced for Mimar Sinan’s monumental buildings resembled wall-mounted artworks. The tile and textile motifs of this era were adorned with a unique naturalistic style.
Natural Flower Motifs of the Era
The main floral elements used in tile and fabric designs:
- The Classic Four: Tulip, hyacinth, carnation, rose/rosebud
- Other Varieties: Iris, daffodil, grape clusters, vine leaves, blossoming branches
- Additional Motifs: Hatayi motifs, dagger-shaped leaves, pomegranate, pinecone, plane tree leaf, and Çintemani
Ottoman Silks and Embroideries
Ottoman silk textiles reached their highest technical and artistic level in the 16th and 17th centuries. Although the motif repertoire was rich, composition arrangements adhered to specific patterns. In kemha (brocaded silks) or çatma velvets woven with silk thread and gilt thread, motifs were arranged in endless repeats on shifting axes or designed in spiral layouts.
Another group of works created as more affordable counterparts of these luxury textiles were embroidered objects such as quilt covers, barber aprons, and wrapping cloths. Linen fabrics with colorful silk thread embroidery on off-white backgrounds from the 17th century create an effect similar to Iznik tiles.
The End of the Classical Style and Its Rebirth Today
With increasing Western influence in the arts, classical composition principles and motifs were gradually abandoned. The decline of Iznik tile production and the inability of hand-woven textiles to compete with industrial fabrics also fueled this change.
Today, however, the traditional art of Iznik tiles is undergoing a revival. At Iznik Mavi Çini, the classical Ottoman understanding of motif unity continues to live on—reinterpreted through modern design. Traces of the Ehl-i Hiref tradition remain visible in every tulip motif, in every hatayi pattern. Designed with the principles of infinity and symmetry, these exquisite motifs continue to enrich modern interiors with elegance and cultural depth.
To discover the unique motifs of Ottoman art and bring the grandeur of history into your living spaces, explore our collection.
