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sa8ueqlJo tequnu e uI pallnsar uollelndod rurlsnl4 eqlJo ârntlnl Iensr^ Ietol aq1 qllm ]r?luor,(peq 'a8ueq:lxê -a:-! -,'eql eluequâ ol dleq osP eêS Ilelg eqi ssorre suol]?lâr I?I]reurtuo] 'lseg elpplhl âr{l pu? rourfü ersY Jo suorSâr âq: --Sutuot êrnllnr Ielreletu âql qll^{ }reluor })errp ur ârem eldoâd ut>Ileg eql 'ârldrug ueruouo snoâuâSorelaq eq} l,: --- .

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ur sell]l?Jd â^IlPlotap âql uI selfuepuâJ â^rle^ouur âruos uo suorJ?^Jâsqo /uI ssâJdxe ol 1u?eu sr ?sodxe luâsâld ê, -

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r.,. .t ...-, -', i,.: : :

tian art fbrms, but the follow-up innovati-ne trends in their decoration in the 16th-17ù centuries, based on Islamic nt.:produced within the frontiers of the Ottoman Empire.

In this paper I shall pay closer attention to the evidence from manriscripts and some liturgical objects. Here pre.. '

monuments are works of South Slavonic writers and craftsmen and they have been created in cultural centers estar ,'on Bulgarian lands.r Therefore, some of my examples will include objects created in regions located outside the p:.-borders of Bulgaria.

In the middle of the 14'r' century the Ottomans invaded the Balkans and settled permanently in the southern :::.the Gallipoli Peninsula. By the middle of the 1370s they conquered the Eastern Thrace, Eastern Rhodope Mountain: -- -

part of the Black Sea coast. Exhausted by armed conflicts betrveen themselves and internal political instability, the E. -

StateSweredir.idedintosmallprincipa1itiesandtheirjointattemptstoresisttoottomanshadbeenlocal1yconSt::and did not develop into organized movement against the invaders. In the beginning of the l5tL century by its pc,---conquest, the Ottoman state established itself as a political, military and social factor in the Balkans. Turnovo (139:Vidin (1396) became part of its realm and thus marked the end of Second Bulgarian State. Bythe end of the 15'r'cenr,-Ottomans conquered Thessaloniki (1430), Constantinople (1a53), Serbia (1459), Morea (1460) Trapezund (1461). :( 1463), Montenegro (1496).1

In spite of the conquest, the Balkan populations remained united by a common religlon and by their inher rt: - ,

Bvzantine culture. They shared a common historical reality and formed a single cultural community, united by the r- -'dox faith. In the period dubbed by the Romanian historian N. Iorga « Byzance après Byzance »s real consolidatic,- '

place betrveen Slar.s and Greeks and their cultural heritage frorn the previous centuries. Deprived of their national,.created tvithin the borders of central part of the « Byzantine Commonwealth » an artistic production, with comn: -. -

thetic principles that also was a self-manifestation of their religion.6

We can divide the set of the ornamental motifs widespread in the decoration of manuscripts during 16'1'- 1 7'r' . r:'. - -

accorcling to their origin into two main groups: 1) modified Byzantine motifs; 2) new Ottomar-r motifs. In this pap.:pay attention to the second group of motifs and to innovated tendancies which made their mark on the illuminat-dition of the Slavs in the Balkans during the 16'h-17d'centuries.

The presence of Ottoman motifs in the decoration of the Slavonic manuscripts has been associated mainlr' r.. .

Ioan Kratovski manuscript heritage (fig. 1, 2, 3).7 In accordance with Byzantine tradition, he left only few remar..,himself in the colophons of his manuscripts. There are nine manuscripts that could be attributed with certainr,, :

all of them have his autograph i.n their colophons, but only eight are richly decorated. Ioan Kratovskit activity ias .. - '

1526 to 1583. The most of his life he lived and u,orked in the tor,r,n of Kratovo (today in the Republic of Macedor.ri.ously, he was a well known scribe whose fame was spread over the Balkans because he copied liturgical books ior ;.-.centers on the Balkans - Mount Athos, Sofia, Remet, Craiova, and has created a school that had a large influenci :'illurnination practices in these Orthodox centers.

(3) Bv "Bulgarian lands" I mean the territories r.hicl-r, cluring the 15ù-17th centuries, identiljed as Bulg:rrian in the literar,v and a.-l::rdocuments of the medieval period.

(4) R. MANTRAN (ed;), Histoire de l'Ë.mpire ottoman, Paris, 1989, p. 15-26; H. MATANOV & R. N'IIHNE\A, Ot Gatipoli do Leptti:: :Evropa i Osntanskoto nashestvie 1351-1571, Solia, 1998.

(5) N. IORGA, Byzance après Byzunce: continuation de I'histoire de la t,ie byzantine, Bucarest, 1935, reprint, 1971. Post-byzantine :-'the Church art in the Barlkar.rs of the Ottoman period, irrcluding also that of the Cretans rvl.ro had not been under Ottoman ru-: :ivI. GARIDIS, La peinture rnurale ddns Le monde orthodoxe après la chute de Byzance (1450-1600) et dans les pays sous donirt,t::: . .

Athènes, 1989,p.3. I.YIANNIAS,«TheByzantineArtisticTraditionunderOttomanRule»,BlzantineStudies,EssaysontheSl;,:.the Eleventh Century, New York, 1992.. p. 97.

(6) I. DUICE\r, « Byzance après Byzance et les Slar.es », Lledievo Bizantino-Slavo, vol. lI, Saggi di Storia Letterariâ, Roma, 1968, p. i : - :(7) S.RADO.IaIC, loc.cit. ln.1l, 1950,p.51-52; ldem,Majstoristcrog.srps,togsllkrir.sfi,a,Beograd, 1955,p.65; A.BOtKO\i«Deloton.:- .

otKrato\.o»,Izkustvo,Soha, 1968,p. 10,23'25; A.DZURO\â, 1000godinibylgarskarykopisnakniga.Ornamentlminiatjura,soi: -i11. 254, 255, 256.)57; \a PANDURSKI, Pantetnici na izkustvoto v Cyrkotnija muzej SoJta, Sofia, 1977, p. 402 403; M. STOJA\O\ " .

byLgarskite sLavjanski rykopisi, Sofia, 1973, p. 139, I49; E. KOCE\A, « Ukrasata na bylgarskite r,vkopisi prezX\r XVIIr.ek »,Tratlie it., :

bylgarskotoizkustvo,Solia, 1976,p.68-80; B. HRISTOVA&J.KR-ATOVSKI,starobylgarskaliterature,enciklopedichenrechnik.\-.I:.:'L. STANKO\â & L. NENKOVSKA, « Tle Manuscripts Heritage of loan Krator.ski )', Europeûn lournal of Science and 'Iheolog; . F. :.: .:.: .\'/1, p. 13-24; L. STANKOVA, lslamic rnotiJs in Bulgttrian ort l5'i' l7'i' centuries /manuscripts and icons from cultural centres on B:,.:tunpuhli.hed Ph D thc.is.

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âlodorlg ruoq srel{dpr8rylur aqt,(q apeu sr luêrudolâ^âp rier{t ot uorlnqrr}uor luergru8rs tsotu eql'sêrrnJrrer aqt 3u.--.sâqlrts uelueuIou 'uerqres '.uerre8lngJo uorlprorep sldursnu?ru eql ul reindod âueleq seddl Ipuorlrsoduor âsâql 's_Ji: -d.rerodrualuor qll^{ suolllsodruor âser{lJo ,.8ur}ep-dn,, eql sl xâpol srr{Jo uorlerorap eq} ur ieur8rro 'sânbseqere }ueld ', :

-IPâu,(q pafuangul sI ]uâIueuro esoqm'porlâd âurluezdg aql ruorJ suorlrsodruof u.^l.or»I sesn Dls^oler) ueol ',(llenlry

,,'('rla 'I I€ 'rD Cug 'srre4 :aldourluelsuo3 ui uo8epo dralseuoru eq] tuor; sldr::: --uelu uoJIrPH âqlrls eql urxâ roJ) puârl ,{rnlual qrÿI e{} roJ ,.uorqseJ,, Jo uorlnqrrlsrp pue uor}elrulssp prd?r âr{1 se}oL : -:,(auarupd punorrns Jeel eterlrnJlq) ânbsaqery {n(lâS er{lJo uor}elsuert {eerg,, Jo âlduexâ ue se /08 'rB 'po:) Jo uo:-. -

-lâP âq] ur sjrloui êql sâurluexâ uoslâN'd Jold il'sue rruIelslJo âluânuui sE sJrloru lueldJo Surpeards âq1 pâlâprsuor : --sldursnuetuo,l\lêr{1 ueâr\}aqluârrreurouLhuelILuISeqloluorlue}t"prcdle}qrng'HJordlsrrgir'rlgz'JgZ'IoJ'€Li i-Cug 'su?d 7 irnlua: q,iI 'sozuetzeg i:o8a:g1o serlrruoH osl" '0gg 'rB 'sHed '/0€ 'rB 'po] (eu?ruorqed 'lqlfl 'erotsrd ur -\, ,

IêdsoD rnoCJo sâreldslluorJ âq] ere âldluexê ro;'lsrlâ8ue^e aqlJo e8erur eq] punore Surpea-rds'sJlloru IerolrJo uorusod--r -

-eP e qlns'srêJuêl PIIuI^ord euIluEzdg er{l ul ep?ul (drnluar q,ÿI) stdrrcsnu?ru eui}uezLg;o dnor8 e r{ll^r s}dursnL. --

,sueolJo sêreldslluo{ eqlJo uollezlue8ro uorlrsoduror aq} ur ser}rj?InursJo râqrunu e spug euo '.pueq râqlo eql ucr

r,puarrH ur perdor.d;n1uar L'lÿr ruo,; srâdsos rnoc uerqres roJ r'rrd.& r::::i.'lri,ïiri:::::i,"i:i:i 'Ï:Ï..". 'egos / Lî.îl ul pâtep râpuexâly ue^I Jo rellesd pve leÇIZ 'I'e LÇ.I 'I' LZ96ç. 'ppy ,{rerqr.I qsplrg '.uopuo.I / 9ç€ I ur p: - , -

uopuo'IJo slâdso0 rnoJ eql uI stslleSeueJo suorllrdâp aql '/ p p',(rnluac,IILI ar{}Jo sreâ,( 09'ZgLZ'rros 'urr3 n\olsr}l'leliesd f ruroJ ur P4ecJo eJnlerurur - Jepuexalv ue^IJo uSrar aql qll.4{ palelJosse xepol paleJorap dlqrrr er{} uroJJ sâlêi::-tloJ,l eql are sldrDsnueu uelr?8]ng tuoJJ selduexâ rêrlreg'drnluac q}çI reue dlapr,u p?ârds sâJnlerurur qll,r salerdsrt'- -"

âLI1 'sldlJlsnu€ul :rruorrels uI 'uorllunJ â^rleJlsnllr qllM pâpeol âr? dàql pue lueluele a^rlerofep fruofrue se .relfBreql IEi- -lleq] êsol sâlêIdsItLIor-J êr{} os 'âSerLII eql spuno.rrns leql eureJJ e âurefaq }ueureuro aql 'sâs?r o,\\} lsel ar{} uI 0r'(ZIa':'96'ç.9 I '9€ 'rB uoup] '-trerqrl uprlpog 'pro-Jxo :rI 'lo-] çL 't)'Cug 'sued :6€Z urTSroJ 'po:) Cug 'sr.re4 'duen) gra: -

aSessed eql Surtertsnilr 'uortrsodruor rrqderSouolr ue ro u(.rI9Z 'rg9I t0I I tIZ '1o; 7 ';8'urqr1 'le7':iLgI <ryOI'tÿ9'rI "

ÿL'iJ'iü9, 'srre4) roqtne aqr;o rprtrod e ]rrdêp ot ro "'(r9 'IolÿLZ rD 'po:) soulled :rg0l 'loJ ,L9'qlv'poJ 'xâ ro_I) :,.:.,tdor aql;o ellp aq] ulqlp{ ê1r.rm ol areds -,qd'.ue sâr\Eel eqrns aq} laued I?luârueuro er{t Jo lo}uel aql u1 'peards d1apr,L s.

uorltsodruo:;o puq slql porrad aurluezdq elpplru aql 8u1.rnC '( r q,X'I I z 'qtY 'po3) sâirnluâr q,0I-q,6 âqt Suunp par?ê.-:peq 1l 'uol}lpEr] aulluez,(g eql o]

^tâu Surqlauos lou se.u ernlerurur e qlr,n sa:ardsrluo{ eq} lei{] â}ou 01 â{rI ppo^l i

'uorlrsodurof IBroU e .(q papunorrns uorllEp: --padeqs-puourle ro pàJeâl-rnoJ'punor e olur lstla8u?^E âql ;o Suruorlrsod aql sl sql pue èrntueJ:grcads eroru euo a.-. -

dr,{t'(gçSt uI ua}]lr.t\ auo âql ldarxa) sldrrsnueru srq ur ladso8 qreê roJ a:ardsrluor; e qtns sr êrer11 '.oS'slsr1e8u?^f 1. ,

âI{t Jo euo Jo uorleluâsârd arnlurunu € sepnlfur qrrq,4\ uorusoduor;o puDI Jelntrued e uo salrroqplà rys^o}el) ueol

'Fos aql,Io uolle^ps pue âJ11 leu]ele sasrtuord qlrq.&r 'ereds per:, .

tâqloue ol ss?d ol râp?êr àrll sâ11^ul puu lxal âr{l sernporlur 1r 'a1dural aql;o sa1e3.(J}uâ eql ol relrrurs :asrpered o1 ,(e,t a:.:e se peluâsârd sl ll * ]xa1 luelrodrul ue Jo SuruurBaq àLIl }e luâIuêlâ srr{l Jo Suruearu lrlueuas âq} 's}dufsnu?ru Jo L,:--s,(s arrrlero:ap âq] q 'sacardstluor; eqlJo uorlrsodruor aql surâruol sldulsnueu srq ur dcuapuâl â^rle^ouur lsrg âr{l

6Ç./.

; . a i .1 .i i.a J:':1i

and 16'h-17th Adjar culturai centers.16 The deviations from the protot)?e of Ioan Kratovski are recorded in the modific..of the decorative motifs. They were transformed into unrecognized floral motifs or into interlaced ones.

The second innovative tendency in this group of manuscripts concerns the set of ornamental motifs. The new motifi are . . .resented by rwo main sÿlistic trends of the ottoman court sÿle from the middle of 16,r, century. According to prol N. ,r,.,,the classical ottoman decorative sÿle is based on the International Timurid Sryle, widespread in the 15,h century and €ûir-,:in the 16ù century with ornaments from the art of Safavides, coupled with the innovations associated with the art of Kara -\ l.artists and Nakkash osman in the palace s tudio I nakkaçhane I inlstanbul.lT It developed fully during the time of the Sultan S _ ,man the Magnilicent (1520-1566). The sÿlistic trend, called R ûmi-Hatai isa combination of the arabesque scrolls (Ritmi n. . .with lotus and peony flowers (Hutai motifs). one traces its origins to the ottoman courtiers'workshops during the reisn . .

Sultan Mehmet II as a variation of the popular "International Timurid srylei' prof. N. Atasoy considered that this inntr.. =.was due to the work of calligrapher with a central Asian or uzbek origin Baba Nakkash.r8 This earÿ stylistic trend is also :, -"FatihlreAfter the 15th century, under the influence of the ornamental school from Herat, small five-leaved fiontal-posr:- -,flowers were added to them.2. This amalgam of ornamental traditions was widespread in the iands of Asia Minor and the B-.-throughout the development of ottoman art and it was mainly used in the decoration of metalwork, ceramics and manu::: :

ThedecorationoftheFourGospelBookfroml558consistsofalargerectangularfrontispieceatthebeginningo:..Gospel' They are filled with knitting-floral motifs colored in gold, blue, red and green. The stylization of the motr:, ,147a shows an influence of the Ritmi-Hatai style. This ornament consists of a twisted vine tendril turning into a lea- . -motif and a small lotus palmett e Hatai motif.2t rhe large-format frontispieces in the beginning of the Gospels in r: ; ,three Four Gospels Books - HACI n' 34, HACI n' 250 and zograf.r.v.2and those of the Lectlonary RMNR l/23 shcr-,, -stylistic fèatures (frg.2,3,4, 5). What could be seen in these 4 manuscripts is the substitution of the known motifi r,,.-new one spicai of the Rumi-Hafal Stylistic trend.

one may finds parallels between the ottoman motrfs Rûmi-Hatai and,the decoration of manuscripts of the Io.- :tovski in the ornament and of leather bindings from the Qurân from the 14th-l5tr, centuries, as well as that of ceran:,_. ,domestic pottery (Baba Nakkaç style) from the end of the 15'h century;,2 also in the gold-work from workshops in I. . .from the 15th-16th centuries and those ofthe Baikan art artisans, influenced by the art ofthe capital.23

Interesting example of co-existing of Islamic and Slavo-byzantine elements is in the manuscript decoration of the Fc,*-pel ofKaranovo from Bela carkva dated in 1608 and published by Z. lanc.2a rhe richly decorated frontispieces in front o: - . .of the each gospel are composed of two elements: a frontispiece with a miniature of an evangelist, surrounded by ano--: .:filled with a refined executed ornament Rûmi-Hatai,typical of the manuscripts illumination of the Islamic eurâns fio::r , -Also' one finds simiiar motifs in frontispieces of the Greek manuscripts from 16,h c., copied in the monasteries of Metec:.

However' apart from the refined group of manuscripts decorated by Ioan Kratovski \^/e cannot discuss the prer.a-. - ,motifs Rîtmi-Hatai inpure form, but rather about their interpretations. In book production from the l7ûcentu^, the .. .: -.

(17)

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B RAIKO\" « Etropolskata kaligrafsko-hudojestventi shkola prez XVI xvII ve k », Izvestija na Narodna biblioteka ,, Kiril I Metodii,', \.,p. le 39.N ATASOY' w B DENNY, L W MACKIE, H TEZCAN, lpek. Imperial ottoman Silks and ÿelvefs, London, 200t, p. 232;\\i B. D:ceramicsoJtheRüstemPashaand.theEnvirownentoJchange,Nervyork, 1977,p. 147-lg1; s.BAGCIaz.rerrriN"I,,LrtoftheL)ri,:::»' Turks A lourney of a Thousand Years, 600-1600, ô. noieuncu (ed.), Lonâon-New york, 2005,p.262-375; N. ATASOy & r. R\B :Pottery of ottoman'[urkey' London, 1989, p. 74-89; G. NECIPOGLU, ., From Internatirrnl ti-r.id to ottoman: A change of Tasre rr -:Ceramic Til". r, ,24. XI. 2008, p. 138.S._ûNVER, Fdrrà Devri Saray Nakrshonrri i, noiiNokill(,oltsmalarr,Istanbul, I958.J RABY & z TANINDI, Turkish Bookbinding in the llh'century, rlrc rrunaotirn j ,., oro*o, court style,London, 1993, p. 47-is.A AIG.R & c. KESKINER, ornament and design in Turkkh Decoratiÿe Arts,IstanÉul, 197s, p.r2.L STANKOVA&L NENKovsK«TheManuscriptsHeritageofloanKratovski»,Europ"orlournoLEscienceant).TfteologT,Bucarest,r,i ,http://ww\,ÿ.ejst.tuiasi.rolFiles/ 1 7/ I 3 -24Stankor.a&Nenkovika.pdf.J. RABY & Z. TANINDI, op. cit. fn. i9l, p. 183, cat. n" 33.Yu MILLER' Isskustvo Trrcll, Moskva Leningrad, 1965, ilt. )|t_!lr:,_. Turerski serebryani kubshinik xvl v. », soobshcheruyn G.,.;,.; :Ermitazha' vol 15, i959, p. 52-54; Radojkoviè, B. RADolKov^Ie,-L_e travril artisticlue des métaux des peuples yougoslaves au t,...-(Belgrade déc'1956-fév.1952), Beograd, 1957, tlt. as, 69; y. pETsopoulos.'l'ulips, Arabesques d. Turbans, Decoratiÿe Arts .lroti. : .Erapire, New York, 1982, p. 18,21, ill. 7c; D. ROXBURGH (ed.), op. cit. ln. rZ1, U. âZi.

t)cLulsLtvc

Z. IANC, loc. cit. ln. tl, p. 159,170.Varlaam'cod'1'19,ill i77, 178; Varlaam, cod.222,i11.264,265,266, Inrogtovooa., l«Àoprrpqof.ToErxovlpoglf*voxërpolir.i!:: -ttor Meteoptov ttog A,8A01voH 2007.

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sv 'luâ{ueuro pârelrâl*. '{'race'r1 e o}ul pêurnl pup pazlrrâ.,oa8 a:a.rn sruâru,uro Ierou - pazr/rs ,(p3rq ara,r,r lajoH-r,i. :

Special features are the examples of the so-called'tioud pattern" in FIACI n" 34 from 1562 (frg.10). According to pr :Keskiner this ancient chinese motif of a stylized dragon, reminiscent of a croud or a cloud flash appeared in ottoman art :the 15'r'century' but it lost its symbolic meaning of an image representing two opposing forces. In ornamental compositi . -the 'tloud" is most often depicted in combination with leaves and ,,Hatai,' motifs.rr

The usage of the Rûmi-Hafal motifs in the decoration of the metalwork made in the Balkans during the l6tr,-17,h cenr_ry is of particular interest to us' Because this is an early stage of the study I will just mention that the presence of the e, _and silver mines in Novo Brdo, srebrenica, Rudnik, Smederevo, Kratovo and others is attested in the ottoman docume:..some workshops are known: Kosovo-Metohija, zrenjanin-Beckerek, smederevo, chipror,tsi, as weil as the name of sc,:: _artisans: Petar Smederevac, Kondo vuk, Nikola and Pala. The christian craftsmen continued to produce the Iiturgical , --.jects (crosses' metal repoussé cover of the Gospels, chalice cups) in the Byzantine manner, but quite olten their ornami:.are enriched with the c)ttoman decorative motifs. In the decoration we can see Rûmi-Hataimotif-s combined with hsu:-Christian iconic images (for ex. Gospel from Chipror,.tsi, 1660).3,

Also' an interesting example of goldsmith work (fig. 1 1) is the engraving on gold backgrounds around the central in-..,of the icon I for ex. icon of St. /ean Baptiste, second half of 17,t, centur1., plovdiv region, ,.^.r.r,r, o., ;;;;;;.-. -in 1617 ' National Gallery, no 65-x /.33 This kind of "patterned" ornam.rt 1ul,,,orrd-shaped medaliion with floral moti:tlpical of the decoration of ottoman and venetian textile. The incised backgrounds with ,.patterned,, ornaments ca: : ,explained by the desire for the imitation in iess expensive material of the costry gold and silver revetments from rco::the Middle and Late-Byzantine periods.

In a conclusion' the decorative motifs from the ottoman court style penetrate in the orthodox ornament more strc'- .during the 16th century and maintain their spreading up to the middle olthe 17,h century. rh.r, p.;;;;.;;;;;;; ,the emergence ofa new decorative style, but enriched the repertoire ofthe patterns used before.

It shouid also be noted that the presence of the ottoman motifs is associated with the drawn from the cultural ce:- -,that are at the same time rich mining settlements, trade and craft centers, and in the most of the cases the population :sisted of mlxed confessional alËliations. This fact is a relevant one and helps us to analyze the possible sources for the a_mentioned penetration in the decoration practices.

one reason for the rapid and free transfer of motifs from the ottoman in the post-Byzantine and western art co;. : ,argued was due to the pure aesthetic effect that artistic works created in the ottoman Empire had on the latter. un',.: - ,special orders for the representatives of the court (deluxe manuscripts and objects, ceramic decoration with quranic , _tations)' the majority of artistic production, executed in ottoman decorative style, was a series production and was su-.: ,for use in diverse social, ethnic or religious environments. Pottery for everyday use \ /as devoid of any symboiism, rc:: _any inscriptions with Quranic quotations that indicate a beronging to .,foreign, culture; at the same time it become. . ,_attractive objects for both the Muslim and non-Muslim population. In the Renaissance western Europe a strong ii..:-was born into ottoman ceramics, which was provoked by its visual aesthetic of decorative motifs. The popularin- , -toman silk for making liturgical garments is attested by the large number of preserved dalmatics and phelons in E;, . . -and central Europe'3a Despite of the fact mostly negative assessments concerning the impact of the ottoman rule 01 .r .- :economic and cultural development in the Balkans have dominated the Bulgarian historiography, it should be note : - ,the legacy of the ottoman Empire aimed to keep the diversity of the Balkan culture. It had his crucial role as a me; .between the cultures of the people with different ethnic belongings in a large region of the eastern Mediterranean c-.a long period of time' Free moving of people and artworks heipedto carry out the extensive .orr..;;;;;;;;;.,._ ,tures within the empire and beyond.

(31) M STAINO\A' osmanskite izkustva na Balkanite xÿ-xyIll vek,Solia, 1995, p. 8 r, D. BIROL & A. INCI, Morÿi irt Turkish Decoratiye .\r: :1995, p. 156, H. INALCIK & G. RINDA, Ottoman Civilization,Istanbul, ZOriS, rli :Zr.(32) I sorIRoY' ciprovska zlatarska shkola, ot sredata na xvl do kraja na wlll vek, soha, 2001, cat. 34.(33) K. PASKALEVA-KABADIEVA, Ikoni ot Bylgarija, Soûa, t9tt1, p. 73.(3a) The ornament on làbrics fbr the orthodâ,"cÉ,r..rr is a ligural representation of saints among the floral motifs. This obse^.arroir ::.:existence of specialized production of ottoman textiles ànci ".ouli.t-r'n.ri oi,i".tn. relatànships b"t*=..,-.o-. \r,ear.ins ici:.:.-representati\.es of the clergy of the Constantinople patriârchate in Istanbul.

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