Art turkmene

The expression art turkmene gathers the artistic production which takes place around the Lake Van to XIVe and XVe centuries.

Historical context

The word " Turkmène" appears in XIIIe century to indicate the Turk tribes Oghuz who nomadisent around the Lac of Van, between the Black Sea and the Caspian Sea. There exist two principal tribes: the Aq Qoyunlu (" sheep blancs") and the Qara Qoyunlu (" sheep noirs"). Of confession chamanist, these turkmenes are sédentarisent during XIVe century, in the area of Diyarbakir for Aq Qoyunlu, and in Iraq and Azerbaïdjan for Qara Qoyunlu. These two tribes will play a big role in the installation of the dynasty safavide, although the conquest of Tamerlan weakened them considerably.

Structure

Badly studied, architecture turkmene poses many problems of attribution, connected partly to the nomadism of the tribes. It is noted in particular that the decorative vocabulary timuride (palmettes rumies, ceramics mosaic, etc), and the non-utilization of the Iwan S.

The most important building is without question the blue mosque of Tabriz, gone back to 1465 but extremely ruined today, which belonged to a great complex including/understanding a cistern, a library, a tomb and a Khanqah. The plan is close to that of the mosque of Van (1389-1400), that the specialists allot either to the Qara Qoyunlu, or with the Seldjoukides of Anatolia: a big room under cupola (diameter 15 m) surrounded on three side of a gantry out of U. the decoration, of glaçurée ceramics of six colors different and marble skirting was exceptional. A parallel can be established with the green Mosquée of Bush, where certain craftsmen of Tabriz worked.

Ceramics

In spite of the few tests of attribution carried out by Lane and Soustiel, there remains difficult to say of which production Turkmènes are the authors. One thinks of being able to give them a series of dishes to black decoration (moucheté or painted) under turquoise glaze.

Art of the book

Manuscripts will qara qoyunlu

The large patron of the art of the book of the Qara Qoyunlu is Pir Budaq ibn Jahanshah, which controlled the towns of Shiraz (1452 -53) and Baghdad (1460 - 1466). This amateur of manuscripts brought with him books and painters of Herat, contributing to then synthesize the three styles in vogue: the " style timuride of Shiraz" , the " traditional style timuride of Herat " and the " commercial style turkmène". With died of the governor (1466), many painters exiled themselves at the Mamelouks

A manuscript of Mehr and Mochtari preserved at BNF (Persan supplement 1964) and including/understanding seven paintings was carried out for Pir Budaq with Baghdad in the years 1460-65. Paintings are laid out on pages sanded of droplets of gold and often surmounted of an architectural construction. The richness of the pallets (lapis lazuli lazuli blue deep) indicates the richness of the workshop. One finds trace of the painters in two other manuscripts.

Manuscripts aq qoyunlu

The princely workshops of the Aq Qoyunlu are with Tabriz and Shiraz after the catch of the city in 1467. The latter produces, in addition to books of order, many commercial manuscripts. Several patrons follow one another: Uzun Hassan (death in 1478), her son Khalil (reign in 1478) and the sultan Ya' qub (R. 1478-1490). For him are in particular carried out a Diwan of Amir Khusraw of Delhi currently in Chester Beatty Library (image here) and a Khamsa of Nizami, gone back 1475-81 and preserved at the library to Topkapi (ms. H 762). The characteristics of the style aq qoyunlu, richness, expansion and exubérance of the landscape, naturalism, extent of paintings, heralding the style safavide, are particularly well marked there.

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