In Chinese mythology, it is believed that dragons create clouds with their breath, and these clouds are considered harbingers of good fortune. These mystical stories have found their place in many works, from the Tiled Kiosk to İznik tiles, inspiring Ottoman art over time. In this article, we will look at the historical journey of the Chinese cloud motif and its place in art.

The Origins of Stylized Cloud Motifs in Chinese Art

The origin of the stylized cloud motif dates back to Chinese art. In Chinese culture, where agriculture is of vital importance, clouds that bring bountiful rains ensuring the growth of crops and preventing famine also represent good fortune and bring good news. In Chinese mythology, it is believed that dragons can create clouds with their breath or call for rain by blowing the wind. Unlike in European cultures, the dragon in China is not a fire-breathing creature but a symbol of abundance and fortune seen among the clouds. The shape of the clouds resembles the sinuous body of the dragon. Many gods and goddesses are depicted traveling between earth and heaven on clouds that look like magic carpets.

The Introduction of Cloud Motifs into Ottoman Art

The cloud motif, which is not seen in Anatolian Seljuk art, entered Ottoman art through Iran in the last quarter of the 15th century. Cloud bands are common in Timurid and Ak Koyunlu Turkmen art. Various cloud motifs seen in ceramics, metalwork, and carpets in Herat and Shiraz school miniatures were also adopted in Ottoman art. The first applications of Chinese clouds can be found in the gold-gilded patterns of the blue-glazed triangular tiles placed among the hexagonal tiles covering the interior walls of the Tiled Kiosk, built by Mehmed the Conqueror in 1473. The styles established during Mehmed's era developed during the reign of Bayezid II, reaching their most refined forms in the calligraphy of Sheikh Hamdullah and the illumination of Baba Nakkaş. The Chinese clouds can be seen in the chapter head decorations of the 1494 Quran (TİEM 402) thought to have been copied by Sheikh Hamdullah and illuminated in the palace workshop.

Cloud Motifs in İznik Tiles and Ceramics

The most spectacular clouds are found in İznik tiles and ceramics. Unlike clouds in the sky, stylized and dragon-like S-shaped swirling or linear clouds create different arrangements either alone or together with other motifs. In the blue-and-white ceramics dated between 1510-1515 in the Baba Nakkaş style, the S-shaped clouds are not drawn randomly; they are generally in a structural relationship with a central or symmetrical composition. Similar cloud motifs in the ceramic mosque lamps dated to the early 16th century in mosques and tombs commissioned by members of the dynasty are combined with various knots from the "knot master" group. In the process where turquoise was first added to the color scheme and later steps were taken towards polychromy, S-shaped clouds or clouds in different colors emerging from a rosette flower or a small cloud added richness to the pattern, breaking the monotony.

Different Cloud Motifs and Their Applications

Another feature of the cloud motif is its ability to fill spaces. As seen in a lamp dated 1549 (British Museum, 87.5-16.1), the delicate clouds in İznik ceramics made by Musli, who identifies himself as a designer, and the artists around him are independent small motifs filling the interiors of medallions or large motifs on book bindings. In addition to the complex patterns formed by the interlocking clouds, compositions were also created using vegetal motifs such as hatayi, flowers, dagger leaves, and curved branches. In the second half of the 16th century, the cloud motif became widespread, finding its place in all areas from the borders of medallioned or Lotto-type Uşak carpets, willow shields to tombak military equipment, fabrics and embroideries to jewelry works.

A different cloud motif is the piled and hurde clouds, resembling clouds in the sky, with their soft curves emphasized by fine lines. The celestial clouds in the miniatures depicting the Prophet Muhammad's ascension are of this type. Sometimes they thin at one end as if blown by the wind. In İznik ceramics dated to the last quarter of the 16th century, they were used in floating axes within the ground-covering arrangement. Some researchers believe that the cloud motif is a stylized dragon. Whether derived from a mythical creature or inspired by real clouds in the sky, the Chinese cloud is one of the indispensable motifs of classical Ottoman art.

Products with Chinese Cloud Motifs

You can check the following links for products featuring the Chinese cloud motif:

• Vase with Baba Nakkaş Design
• Plate with Haliç and Chinese Cloud Pattern
• Footed Bowl with Phoenix Design

The Enduring Impact of the Chinese Cloud Motif in Art

The profound impact of the Chinese cloud motif in art and culture reflects both the mystical elements of Chinese mythology and the rich aesthetics of Ottoman art. This motif, besides being a symbol of agriculture and abundance, has found a significant place in different geographies and art forms over time. In Ottoman art, especially in İznik tiles and ceramics, these stylized clouds are not just decorative elements but also carriers of historical heritage. The Chinese clouds, as a reflection of dragon mythology in art, are tangible examples of cultural interactions and artistic innovations. This unique motif remains an indispensable part of classical Ottoman art and continues to hold its value today.