In Ottoman society, flowers were not only part of gardens but also an integral aspect of everyday life. From palaces to modest homes, it was possible to see small paradises arranged with a sense of aesthetics in every corner. In this article, we will explore the place of flowers in Ottoman life, particularly how they were represented in baskets and vases, and how this understanding is reflected in Iznik tiles.

The Value of Flowers in the Ottoman Empire

Flower cultivation was a beloved activity across all segments of Ottoman society. Travelers and ambassadors who visited the empire often noted this love of flowers. Ambassador Busbecq, credited with bringing tulip bulbs to Europe, describes in admiration the flower fields he saw on his way from Edirne to Istanbul in one of his letters. Evliya Çelebi also recounts how the roses, tulips, hyacinths, daffodils, and lilies placed in vases among the worshippers at Eski Cami and Üç Şerefeli Mosque in Edirne filled the interiors with fragrance.

Presenting Flowers in Vases and Baskets

This elegant approach was not limited to mosques—it was also evident in palaces and mansions. In miniatures and engravings, floral arrangements in vases can be seen in wall niches, on dining tables, and beside pools. Gelibolulu Mustafa Âli, who lived in the 16th century, emphasizes in his book on etiquette that “there should be flowers in vases at wine gatherings, and tables should be adorned with fruits.” When spring and summer ended, floral motifs in painted decorations made up for the absence of nature. Repetitive vases on tile panels called "süpürgelik" are among the finest aesthetic examples of this understanding.

Floral Arrangements in Iznik Tiles

Panels in Topkapı Palace and Edirne Palace

From the mid-16th century to the late 17th century, floral motifs in vases were highly popular in Iznik tile production. Large tile panels featuring vases in the harem quarters of Topkapı Palace and in the royal loge of the Yeni Mosque are prime examples. Tiles thought to have belonged to the Edirne Palace—now scattered in museums around the world—also depict tulips, roses, carnations, lilies, zerrins, and irises rising from ornate bowls, transforming the spaces into paradisiacal gardens.

Reflections of Floral Motifs in Artworks

Arife Throne

The love for flowers extended beyond gardens into daily life objects—from porcelain plates to metalware, many items were decorated with flowers. Especially popular were symmetrical floral compositions spreading from the center of a vase, chosen for their aesthetic balance. In the 17th and 18th centuries, such decorations were common in mother-of-pearl and tortoiseshell craftsmanship.

The Arife Throne, believed to have been designed by Sedefkâr Mehmed Ağa—also the architect of Sultan Ahmed I’s mosque—is a magnificent example of this floral scheme. Tulips, carnations, and roses emerge from broad bowls, adorning the entire surface amidst turquoise, ruby, emerald, and peridot inlays.

Natural Flowers in Kat’ı Art

In classical miniatures, vases often held a single type of flower, while in still-life-inspired flower paintings, mixed bouquets were common. Kat’ı art, which reflects the Ottoman love for flowers, is particularly notable in this regard. Albums created by layering colored paper featured naturalistic flowers in ornate vases.

Decorations in the Fruit Room

In the 18th century, there was a noticeable change in vase shapes and flower arrangements. The painted relief plaster decorations in the small vaulted alcove of Sultan Ahmed III’s library in Topkapı Palace and the floral compositions painted on wood in the Fruit Room are elegant examples from this period.

Ottoman Rococo and the Evolution of the Motif

Laledans, Çesmibülbüller, and European Influence

Over the centuries, artists not only used flowers as motifs but also diversified their physical forms. These flowers were presented in pedestal bowls, jar-shaped vessels, cylindrical cups, wide-mouthed vases, and glass forms referred to as “crystal goblets” or “flower flasks” in pricing registers. Tulips, in particular, were often placed in delicately slender laledans. Çesmibülbüller and other Turkish Rococo vessels, baskets, and bowls decorated with flower arrangements adorned both homes and palace rooms.

European styles were not directly imitated; instead, an original interpretation known as Turkish Rococo was developed. You can explore our blog post here for a detailed look at how this style influenced tile art.

An Aesthetic Legacy that Endures Today

This elegant tradition of floral arrangements from the Ottoman era continues to express not only decoration but also a refined aesthetic. Presenting, carrying, and placing flowers in vases or baskets enriches the spirit of living spaces. Today, traces of this tradition can still be seen in Iznik tiles, historical mosques, miniatures, and traditional crafts.

If you wish to bring this aesthetic into your living spaces, you can explore our collection of flower-themed Iznik tiles here.