Özet:

Lale, known as its homeland Asia and especially highlighted in the Turkish Islamic geography, has been an important motivation in the understanding of Turkish thesis, and therefore in the Turkish culture, by expressing the love of the flowers by artistic thinking to different surfaces. Despite the fact that we have found nebatat-output decorations in western art from the early ages, the West’s encounter with the lale, thus the reflection of their figures in art only occurred after the 15th century. We see the most effective practices of Lale's motives in Turkish Islamic art. The lale plant used as a decorative motivation by the Anatolian Selchucks since the 12th century, in the 15th and 16th centuries was very interested in the Ottoman art and came out enough to name a period. Lale's motivation, among Turkish crafts, especially in Chinese art, is rose, carnival, symbol, etc. It has been used for many years in compositions made up of various stiffs along with flowers. Lale, with his artisticity in the textures, in architecture, in wood, metal, stone processing, as well as in the surface grids, shows himself with all its beauty, especially in two-dimensional ceramic surfaces. Lale figures are generally depicted in Turkish Chinese art with a semi-stylistic (particularly naturalist) style. Chinese art is lived today with similar styles and methods in the cultural scope and is produced centered on Kütahya and İznik. This important Turkish motivation with historical and cultural value continues to show itself in the aesthetic scope, taking its place in contemporary ceramic art as well. The most important change in the contemporary ceramic art is the three-dimensional imaging of the linen, in addition to being just two-dimensional. In the modern art concept of many ceramic artists, the interpretations of lale add value from different aspects to the lale, which has been recognized as a national figure for centuries as an extension of our cultural heritage.

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