Abstract
It is noteworthy that Ottoman artists used different designs in 15th century decorative art. Along with different artistic interpretations and innovations, these differences continuedthroughout the 15th century itself in those details introduced by Nakkaş Ali bin İlyas Ali, the designer of the Yeşil Külliye (Green Complex). The style in question continued to be effective throughout the 15th century and even in the first quarter of the 16th century. On examination of the interior designs in the 15th century buildings in Edirne and the tombs of Muradiye complex in Bursa, the presence of a common style among these designs is striking. These similar styles,which exist primarily in Cem Sultan, Şehzade Mahmud, Mükrime Hatun, Şifa Hatun, Gülrûh Hatun tombs can also be seen in the decorations of Konya Mevlana Mauseleum (Kubbe-i Hadrâ), which is understood from its inscription as having been restored during the Bayezid II period. Many motifs that are not found in the Seljuk decorations were pleasinglyused in the designs of this period. One of them is the motif, which is frequently encountered in the structures of that period, and which we define as‘leaf protrusion’ in this study. These rare examples have survived until today, while many other interior designs, which have proven less fortunate in this regard, are present in the abovementioned tombs. These decoration styles, which are used in different areas within general design works, have not been specifically named in our sources and which have been left unrecorded; therefore, these need to be defined and incorporated into the terminology of Turkish decorative art. However, the main purpose of this paper is to introduce these artistic images to the community of art rather than naming them.