Page 263 - The Age of Sultan Suleyman the Magnificent

The majority of the four-color ware with purple are plates
which depict in their central medallions sprays of hatayis and
naturalistic flowers growing from a clearly defined source, en-
circled by rims decorated with diverse motifs. On the rim of
one of these plates is a highly abstracted version of the wave
pattern (185). The central medallion has branches that bear
large hatayis overlaid by cloud bands and flanked by hy-
acinths, bell-shaped flowers (perhaps fuchsias), and tulips.
The flora springs from a lobed turquoise crescent surrounded
by two cloud bands; similar lobed crescents embellish some
of the branches. A serrate-petaled blossom (possibly a forget-
me-not) growing on the left provides an unexpected asym-
metry to the composition. The motifs are freely drawn and
show variation in size and placement, further disrupting sym-
metry. The exterior contains pairs of blue tulips alternating
with single blossoms.
The combination of stylized and naturalistic motifs appears
on almost all four-color plates with purple, each in a different
configuration. In some examples the division between rim
and cavetto was disregarded, 108 as seen in the Louvre plate;
in others the rims were decorated with abstract wave pat-
terns, bunches of flowers, or a series of blossoms. Among the
more popular designs are large central hatayis flanked by
185. Plate with floral spray, mid-sixteenth century (London, The British
Museum, G. 1983.21) sprays of hyacinths and leaves, encircled by wave-patterned
rims. This composition is found on several four-color plates
with purple as well as on those painted with red (see 189).
There are also examples that employ as their main theme
the pinecone/artichoke, including the plate in the British Mu-
a cluster of leaves placed at the lower edge held together by a seum (186) that has a dense and intricate composition filled
turquoise crescent. Growing from the center of the cluster is a with an unusually rich variety of naturalistic and stylized
trunk with a large pinecone or artichoke, sprouting buds and flora. The source here is clusters of leaves, which knot to-
a curving branch; flanking it are two other branches bearing gether and sprout branches. The central branches bear two
a variety of hybrid hatayis, peonies, blossoms, pods, buds, round pinecones, one painted blue and the other green with
and small and large leaves that revolve around the plate, contrasting details. They are flanked by branches with large
overlapping and intersecting one another. Another branch blossoms, small buds or pods, and leaves that join at the top
winds up the trunk of the tree, its blossom overlaying the pine- and create an ogival arch. Other branches loop around them,
cone; shorter branches with tulips and possible jasmines grow their long feathery leaves overlapping the blossoms. Between
around the base. The elements along the edge are cut off by the pinecones are cloud bands, from which sprays of blos-
the rim and include several bisected cloud bands. Striding soms spring.
calmly in this exuberant flora is a pale-blue peacock, ren- The composition creates an overall effect of streams of
dered in profile with its head turned back. The curvature of branches that burst from the central source and curve, twist,
its neck, body, and tail echoes the rhythm of the saz leaves. overlap, and intersect one another, producing an energetic
The exterior, similar to the previous plate with the saz movement. The flowers resemble roses and rosebuds, fruit-
scroll, follows the formulaic scheme: bunches of blue tulips tree blossoms, and stylized peonies. Once again, the symme-
alternate with turquoise and green blossoms. try of the composition is intentionally opposed by the rose
The combination of saz elements with a peacock recalls the and two rosebuds growing at the base. The lobed blue rim
tile panels of the Sünnet Odasi, in which various birds appear contains blossoms alternating with tulips flanked by cloud
on branches. Luxuriant gardens with fabulous creatures re- bands. The exterior shows pairs of tulips interspersed with
flect the impact of saz drawings on ceramics, recreating simi- cloud bands encircling small blossoms.
lar enchanted settings with imaginary vegetation and inhabi- The decorative repertoire of four-color ware with purple
tants. Peacocks and other birds were also depicted on four- was diversified, frequently combining traditional, saz, and na-
color ware with the brilliant red, showing vestiges of the saz turalistic elements on the same piece. 109 There are also exam-
tradition (see 192 and 199). ples that employ only saz scrolls or naturalistic flowers. The

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