The Çintemani pattern, frequently encountered in Ottoman artworks from the 15th century onwards, is recognized by its arrangement of three dots in a triangular layout. The term "Çintemani," which was adopted in the early 20th century, originates from Sanskrit and denotes a jewel believed to grant its owner the power to fulfill all desires, resembling a pearl. This term is also linked to a similar fiery jewel called "körkle muncuk" in Uighur art, though its use in Ottoman art is more rooted in the artistic influences of Iran under Seljuk and Mongol rule than in Buddhist iconography.

Cultural and Historical Significance of Çintemani

The wearing of garments made from tiger pelts by epic heroes, rulers sitting upon these pelts, and the presence of tiger or leopard skins under the saddles of successful warriors in battles and hunts illustrate that wearing or using fur symbolized sovereignty, power, and valor. In Ferdowsi's Shahnameh, there are tales of tiger and leopard skins being used like armor. In the Ottoman army, while soldiers wore metal armor, the wild men would wrap themselves in furs, and their horses' heads were also covered with fur.

Çintemani Motif in Artistic Contexts

The spots and wavy lines inspired by animal pelts are particularly favored motifs in fabrics and carpets. Carpets recorded in tax registers as "peleng nakışlı seccade" were inspired by the sultan praying on a tiger pelt and the sending of pelts as gifts of viziership. Fabric names like "Bursa spot" and "shahi spot" are examples of how traditional motifs in Ottoman art were assigned meanings different from Buddhist iconography.

Influence and Reflections of Çintemani

During the Seljuk period, the three-dot motif was used in fabrics in tile and ceramic works made using the lustre technique. As seen in a Seljuk tile displayed in the Sadberk Hanım Museum, a person wearing a caftan with a three-dot motif and kollan tiraz is either a ruler or a noble. The depictions in the Hünername, written by the palace chronicler Seyyid Lokman and illustrated by Nakkaş Osman and his team, show that the dot and peleng motifs were used on the fabrics of caftans, the cushions of the sultan's throne, and horse saddle covers in Ottoman miniatures to perpetuate old traditions. The phrase in Hünername, "the person who hits a tiger with an arrow makes a cap or a caftan from its pelt," gives insight into the tiger-striped caftans portrayed by Nakkaş Nigari in the portraits of Sultan Selim II and Barbaros Hayreddin Pasha.

Modern Era Traces of the Çintemani Motif

Over time, the spots on leopard pelts and the wavy lines on tiger pelts have transformed into an abstract pattern, often used together as a single motif. When used individually, a composition scheme of endlessly repeating shifted axes is preferred. When used together, dots are intriguingly placed in the triangles between two opposing wavy curves. The frequent use of the Çintemani motif by palace painters has been interpreted by some researchers as a type of dynastic emblem, although the motif is not exclusive to sultans and state dignitaries. Various applications of the motif have been found from the second half of the 15th century to the end of the 17th century on silk textiles, embroidered bags and quilt covers made of silk or linen, in carpets, wall tiles, ceramics, stone and metal works, military equipment, and in mother-of-pearl-inlaid wooden artifacts like thrones and cabinet doors in the Topkapı Palace. The occasional crescent decorations inside the spots and the likening of wavy lines to lightning or clouds have led to interpretations linking them to the Nowruz star and cosmic symbols. The motif also found a place among naturalist flower patterns and hatayi motifs in fabrics that were woven to the period's taste, and was replicated in Italian textiles inspired by Ottoman fabrics. However, by the 18th century, when Western artistic influences began to be seen, Çintemani was largely forgotten.

The Çintemani pattern, as one of the most striking and meaningful motifs in Ottoman art, has been used in various forms throughout history. More than just an aesthetic ornament, it has become a symbol of power and protection, reflecting the social and cultural symbols of the era. Today, this impressive motif continues to find a place in both historical heritage and modern designs, establishing an artistic bridge from the Ottoman era to the present. Discover our Çintemani-patterned products at Iznik Mavi Cini to bring this unique art piece into your living spaces.