Ottoman decorative art is a branch of art where elegance and fine craftsmanship come together, evolving and developing over centuries. One of the most important elements of this art is the carnation motif. In Ottoman culture, the carnation was not only admired for its pleasant fragrance and beauty but also became a symbol carrying deep meanings in art and literature. Just as Chief Physician Salih Efendi suggested observing the carnation by holding it in the palm of the hand before smelling it, Ottoman artists carefully incorporated this flower into their works, inspiring many creations throughout history. The carnation has found its place in various fields of Ottoman art, from divan poetry to Iznik ceramics, from fabric motifs to the rococo style, leaving a delicate mark on the history of art.

The Historical Journey of the Carnation in Ottoman Culture

The carnation, cherished for its pleasant fragrance and its various forms, whether double or single-petaled, was cultivated with care, and rare varieties were developed during the Ottoman period. In the 19th century, one of those interested in carnation cultivation, Chief Physician Salih Efendi, used to say that those who immediately smelled the flower upon picking it did not know what a carnation truly was; it should first be held and observed in the palm of the hand. To him, flower cultivation was a labor of love; flowers held an important place not only in daily life but also in art, literature, and folklore. In Ottoman decorative art, the carnation stands out for its aesthetic and symbolic value.

Carnation Motifs in Divan Poetry and Art

In divan poetry, the carnation became one of the indispensable motifs, alongside the tulip and the rose, often likened to the beloved's face or cheek. The carnation motif first appeared in the mid-16th century in illumination and ornamentation. Although stylized and simplified in the marginal decorations of the divan containing the poems of Sultan Suleiman the Magnificent, written under the pen name "Muhibbi," the carnations emerging from the earth retain all their significant features. These stylized carnation motifs reflect the sophisticated taste of Ottoman decorative art.

The Carnation in Ottoman Decorative Art from the 16th to the 19th Century

From the second half of the 16th century onward, carnation motifs became one of the most widely used decorative elements in the designs of textiles, embroidery, tiles, and ceramics produced in the Ottoman palace workshop. During this period, the carnation gained prominence not only in decorative arts but also in the decoration of architectural works. For example, traces of carnation motifs can be found in various sections of the Topkapi Palace in Istanbul.

The carnation motif was chosen not only for its elegance and aesthetic beauty but also for its symbolic meanings in Ottoman society. The colors and shapes of carnations could convey different meanings; a red carnation symbolized love and passion, while a white carnation represented purity and innocence. These motifs continued to be used in Ottoman art until the late 19th century, undergoing various changes and being blended with different styles over time.

By the 19th century, carnation motifs had become more decorative and ornate, particularly influenced by new artistic movements from Europe such as rococo and baroque. This artistic evolution of the carnation not only reflected the changing aesthetic tastes in Ottoman decorative art but also represented the cultural interactions of the period.

From Iznik Ceramics to Fabrics: The Journey of the Carnation Motif in Art

The famous raised coral-red carnations of Iznik ceramics, along with tulips, roses, and hyacinths, became characteristic flowers of classical Ottoman art. With their slender stems, they twist to the right and left, sometimes breaking and bending back in the opposite direction. This style, with little change, found new life in the Kütahya ceramics of the late 19th century. In the late 16th and early 17th centuries, stylized fan-shaped carnation motifs were particularly preferred in velvet fabrics known as çatma, woven for pillow covers and sedir cushions. These motifs were not limited to fabrics but were also applied to metalwork, jewelry, kilims, and embroidery of the same period. Embroideries, which developed in parallel with Ottoman decorative art, show variations according to the taste of the time. Particularly in the 16th and 17th centuries, motifs and compositions on items like pouches, quilts, and pillowcases embroidered with silk thread on linen reflected all the stylistic features of the classical period. The main motifs of the period, such as stylized pomegranates, hatayi flowers, tulips, carnations, and hyacinths, were arranged similarly to those found on fabrics and ceramic panels. In the early 18th century, flower motifs in the naturalist style of the time were preferred in embroidery, where various shades of pastel colors were used to give a sense of three-dimensionality.

From 18th-Century Naturalism to Rococo Style: The Carnation in Ottoman Art

In the illumination of manuscripts, lacquer book covers, and flower collections prepared as şükûfenames, flowers were depicted in a more naturalistic manner from the 17th century onwards. The carnations among the flowers bursting from vases in the still lifes of the 1685 Gazneli Mahmud Manuscript, painted with watercolor and paper-cutting techniques, stand out with their vibrant red color. In the first half of the 18th century, the carnation illustrations with volume, color shading, and curved lines in the works of Ali Üsküdari are among the finest examples in Ottoman art. The carnation continued to appear in rococo-style flower paintings in the second half of the 18th century and the 19th century, either alongside roses and other flowers or on its own.

Following the Path of Art with Timeless Carnation Motifs

The carnation has been a symbol of elegance and fine craftsmanship in Ottoman decorative art for centuries. From divan poetry to Iznik ceramics, from fabric motifs to rococo style, the carnation motif has become an indispensable part of art history with its aesthetic and cultural value. Today, this elegant motif continues to live on in artworks and decorative designs. If you would like to bring this elegant Ottoman aesthetic into your home or workplace, you can explore our carnation motif designs inspired by Ottoman culture here.