Rüstem Paşa in Mosque tiles found claw motifs

This study deals with the formal diversity, superficial distribution, measurement data and in-pattern functions of the claw motifs in the Rüstem Pasha Mosque in Istanbul, one of the most qualified applications of the classical period Ottoman tile art, with a holistic approach. As a result of systematic observation, pattern analysis and area measurement studies carried out on all tiled surfaces of the mosque, a total of 1,556 claw motifs were identified throughout the building. Motifs are not only on the central panels; Tile is spread over almost the entire surface, and it is also included in different pattern groups. Especially small-sized five-leaf claws; It was frequently used in the inner parts of curved branch (rûmî) motifs, in the veins of reed leaves, in the center of the hatâyî belly, in the transition areas of cloud motifs, and in the details of flowers embroidered in a naturalistic style. However, it is important to note that claw motifs are not only located within the motifs, but also above the branch systems; Thus, it has been determined that it functions not only as an ornament, but also as a binding and transitional element that ensures the integrity of the pattern. In addition, all of the flowers in the spring tree compositions in the mosque are based on the stylized penj form. This shows that the motif has found its place in both traditional and naturalistic pattern understanding. This versatile use of penches reveals that motifs are not only repetitive forms in the classical Ottoman tile decoration approach, but also constituent elements that direct the flow of the surface. In the formal analysis, four, six, eight and twelve-leaf pench types were determined, and a total of 34 different pench types, including spring trees, were classified typologically in the mosque. Among these types, there are classical examples with simple five leaves, half-claws placed in the margins, applications integrated with large memory centers, and examples intertwined with rumi or reed path motifs. In the pattern, it has formed structures that open from the center to the periphery in places, and sometimes it has been lined up one after the other and provided integrity along the surface. The claw motifs were applied with cobalt blue, turquoise, coral red and white colors characteristic of classical Iznik tiles. The dimensional distribution of motifs is quite wide. The smallest claw motifs are located inside the transition borders, column capitals and curved branches and are approximately 1–1.2 cm in diameter. The largest penç motif is approximately 42 cm in diameter and is located in two opposite pendentives with the words Allah (c.c) and Hazrat Ali in the transition belt of the dome of the mosque. These large motifs are the most prominent examples of visual center definition. As a result of the surface analyzes made in different parts of the building, the distribution of the claws is as follows: Last Congregation Place and Belts: 130 pieces on a surface of 21.5 m² Harim Walls and Entrance Zone: 187 units on a surface of 36.5 m² Pendentives and Transition Belts: 184 pieces on 14 m² surface Dome Transition Zone: 78 pieces on 6 m² surface Upper and Lower Surfaces of the Mihrab: 41 pieces on a surface of 7 m² Women's Quarters and Girdles: 63 pieces on a surface of 9.5 m² Right and Left Galleries (Bottom/Bottom): 524 on a surface of 44 m² Porticoes and Arch Surfaces: 174 pieces on 16 m² surface Window Pediments and Belts: 96 pieces on 11 m² surface Column Capitals, Trunks and Elephant Feet: 80 pieces on 11 m² surface Door Belts and Inscriptions: 20 pieces on a surface of 2 m² Half Arch Passages: 17 pieces on 2 m² surface In addition, 66 different tile compositions (tiles) were identified throughout the building. These arrangements, each of which contains a different number, size and arrangement of claw motifs; It shows that the decoration system applied in the mosque is not only based on repetition, but also on diversity and structural integrity. As a result, the claw motifs used in the Rüstem Pasha Mosque; It represents one of the highest level examples of classical Ottoman tile art in both aesthetic and technical terms through its numerical richness, formal diversity, versatile positioning in the pattern and structural integrity it establishes with architectural elements.