The crochet compositions and analysis on selectedworks of the 16th and 17th Centuries in The Museum of Turkish and Islamic works

Crochets (straight lines that extend out from the edge of the design) which have an essential place in the Art of Illumination applications that increase the artistic value of the Qur'an; are the decoration elements that add richness and splendor to the work, and show the end of the work by preserving the integrity of the work within certain limits by using a floor with or without painting. The main task of the crochet is to "balance the gap between the pattern and the ground". Firstly, at the design stage, the central motif is removed by drawing the crochets, and then smaller crochets are added to fill the gaps. The crochets are differentiated by the place they were made in. In this context, the crochets in Zahriyes and Serlevhas are in the form of arrows extending parallel to each other. The crochets that are used around the round and basil medallions on the tugras resemble the rays of the sun radiating from a single point. In addition, crochets are used at the ends of the roses on the page margins. Sometimes crotchet is used on its own but sometimes there are cypress crochets in between crotchets. While there are crochets that are drawn on a flat ground in the sura and faction roses; zerefşan, needle polish, and negative flowered are also used to fill the crochet intervals. Crochets have variations that have changed over centuries. But in most of them, the motif goes from wide to narrow, gets thinner, and comes to an end. Lines, dots, and small curves are usually used in crochet embellishments. In time, rumi geometrical shapes, clouds, flower motifs, and animal figurines could also be seen.