Salom (Aydinlilar) Synagogue

Paint on Izmir

One of the foremost vital changes in Ottoman art within the eighteenth and nineteenth centuries is murals that are supplementary to subject decorations. Murals, that began in metropolis and quickly unfold to most of the structures in Anatolia and different regions at intervals the borders of the Turkish Empire, square measure the indication of a replacement type of decoration. Izmir’s doctrine structure was a very important think about the shaping of the city’s cultural and art life. distinctive murals and paintings were created within the cosmopolitan population of city including Muslims, Armenians, Greeks, Jews, Levantines and different Europeans.

Usually painted in ceilings
The murals painted on the structures of city don’t seem to be therefore alike in terms of faith or quality. Paintings, that were applied to mosques, synagogues, inns and hotels largely initiate to the tip of the nineteenth century or starting of the twentieth century and most of them square measure in homes. Most of the examples that have survived to the current date were employed in interior decoration. The examples we all know these days were largely applied on ceilings and a few were applied on niches on walls next to the way. Dreamy panoramas of unknown locations square measure the foremost painted things on murals on the structures in city.
One of the panoramas within the Kapani Mansion in Namazgah and therefore the panoramas that fit the rounded passageway of Şadırvanaltı house of God square measure completely different from others since they most likely depict city and its section.

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