Design concept in painter Osman and Levni's miniatures with regards to music instruments and performance arts

Ottoman Miniatures are artworks qualified as the historical documents reflecting the realities of the period. Therefore, the expression and the receiver (audience) has been important for Turkish Miniature Artist trying to convey this text with a visual language. Although the visual language used in the books illustrated with miniatures in connection with the text most of the time are more explanatory and provide the artwork with a dimension exclusive to the artist. The objective of the Miniature Artist is ensure that the audience perceive the meaning in the artwork. The end the artist wants to reach is a good design. First "Wholeness" is designed by Ottoman Miniature Artist, then this "Wholeness" is divided into "internal whole" composed of two pages, and these internal wholes then is divided into "Part wholes". The part wholes established are sequenced in certain rates and order by gathering them in stacks and grouping. Sometimes the narrative is shown as a series of complex events. This way scenes are created as if designed isochronicaUy. When these scenes are examined it is observed that the events taking place in different time and different place, in other words in multiple time dimension is converted into a isochronical dimension on the painting plane. The artist using a time concept and a depth dimension intrinsic to himself makes the miniature multi-dimensional without giving to the scientific perspective and art rules. What is described is not stay limited with an organization and diversity on a plane but turn into an organization and diversity in time. In this study, the miniatures comprising the music instruments and performance arts of the period in the famous poetry works of Painter Osman and Painter Levni are examined for the design concept. It is also observed mat these also have distinguishing characteristics in demonstrating the difference in time and place. Design concepts of both artists are examined from the perspective of wholeness, part wholeness, semantic stacking, multiple time and depth concepts with planal overlap. During the examination, the miniatures were copied schematically on to the transparent papers in line with these concepts, the planes separate the stacks and groups that form the multiple time were identified and arranged in a sequence. This way, it is aimed to determine the multiple time in the isochronical time performance by analysing the design. Key words : Ottoman Miniature, Design Concept, Music instruments of the period, performance arts, time. Xlll