Digital interpretations of stop motifs in Mushafs, manuscripts and Hilya-i Sharifs

Traditional Turkish arts, which are included in the decorative arts, started in Central Asian culture and developed with the contribution of artists from different geographies and have come to the present day. Turks have lived in different geographical regions for centuries and both continued their own understanding of art in the geography they lived in and developed a unique art style by blending the arts of their contemporaries. Especially after the adoption of Islam, Turks established states in the geographies they lived in and contributed to the development and change of many art fields, especially the art of illumination. The art of illumination, which is used in the illumination of Mushaf and manuscript book arts, has an important and long history in Turkish-Islamic culture. The patterns of illumination art, which has a rich motif history, were used in the decoration of different pages such as title pages, serlevha (Fatiha and Baqara suras), hatime page, zahrîye page in Mushaf and manuscript works. When the first Mushafs are examined, it is seen that simple drawing decoration was used to indicate the beginning of surahs and the end of verses. In time, signs were needed to indicate the end of verses and the first examples of stops in the form of lines and dots were placed at the end of verses. In the gaps left at the end of the Mushaf verses, stop motifs (ornamental dots) were placed according to the characteristics of the period. These motifs added a different delicacy and elegance to the Mushaf, manuscripts and Hilye-i Şerif works. The stop motifs, which carry the beauty of elegance and delicacy, were used by the artists as stop motif drawings such as hatayi, pençhane, geometric star drawings, spiral, jewel, three-leafed, five-leafed according to the characteristics of the period. In this research; by examining the stop motifs in theses, articles, researches and books containing accessible Mushafs, manuscripts and Hilye-i Şerifs; there are style, color, drawing and period analyzes of the stop motif changes over the centuries in terms of illumination art. By making explanations about the stop motifs found in the sample Mushaf, manuscripts and Hilye-i Şerif works examined, giving information about the art of illumination and its schools in the changing periods from past to present, the stop analysis narratives are combined with digital drawing features and included in the research. Digital drawings were made based on the original durak motifs selected as examples, trying to pay attention to symmetry, and current durak motifs were created by adding digital comments to some durak motifs. The meanings and stories found in religious books related to the selected stop motifs are added to the motif analysis explanations. Keywords: Mushaf, Durak, Digital Design, Analysis, Illumination