Quran ketabs, which hold a special place in Islamic art, have been meticulously crafted in various Islamic countries for centuries. The Karahisari Quran, unique in its calligraphy, is also the most magnificient work created in Ottoman civilization in terms of its size.

The vibrant expression of spring inspired the 16th century master’s heart and brush to develop a brand new floral style.
The Karamemi style is his unique design. It is particularly applied to the chairs flanking the inscription in the serlevha illuminations, and is a signature feature of his illumination work.

This semse is designed with a 1/4 symmetry, with half motif on the top and bottom of the central axis. The rumis, arranged in the side areas, are a unique system of closed forms emerging from each other on a geometrical scheme.
Rooted in the Islamic tradition where Tezhib or illumination art, is an act of honouring the sacred word, these artworks reflect ishq through their reverence for the Quran and the beauty that surrounds it. In this tradition, ornament becomes devotion, and design becomes a quiet form of remembrance.

Inspired by the 16th-century Karamemi style of the Karahisari Quran, ‘Bahar’ carries the freshness of spring through balanced floral forms, structured in 1/4 symmetry. Abstract leaf-like forms characteristic of Ottoman illumination called rumis unfold in interlocking shapes, while gold-laden details echo the refinement of classical ketabs. As part of a larger body of work, the piece celebrates revelation through disciplined geometry, and an atmosphere of delicate colour and luminous love.