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motives were drawn with a perspective notso far from the naturalistic perspective. Thistendancy for stylization, which can be explainedwith the school of art called impressionism,that became widespread in the Westas of the 19th century, is seen very frequentlyin the eastern perspective of arts. Whatneeds to be noticed at this point, though, is thatthe stylized herbal motives on the Iranian originatedminiatures were used on the early periodworks of art created with the Edirnekâri style notas the main element, but as the complementaryelement. Another point to notice regarding theworks of art created during the early period is thefact that the scientific aesthetics method broughtforth by the German aestheticians was applied onthe works of art almost consciously. So much sothat the mathematical proportion of the motivesused gives one the impression that the proportionwas particularly calculated.The colors that are usually dominant in the motivesare the different tones of the colors which belongto the group of hot colors. In addition, theherbal motives used on the works of art were addeda perspective with the use of the different tonesof the same colors, or the colors that are relatedto each other. Contrary to the European arts,this perspective is not very deep in the Edirnekâristyle. In addition to the colors mentioned above, acolor called “the red of Edirne” was also used inthe Edirnekâri style of the early periods. This colorwhich is called the Turkish red or the red of Edirneis derived from the roots of a madder plant whichis mentioned as “rubai tinctorum” in various sources,and is given different names in our culture suchas the paint root, the red root, the paint freckle andthe egg paint. According to the belief among people,this color was first derived from a plant a jewishcitizen planted in his field around Yeni Imaret,and this color was never derived after the death ofthis citizen. At present, natural like, organic, and gouachepaints are used in order to acquire the similarcolor.The oldest samples of book covers decorated in theEdirnekâri style which have reached our day are thosewhich belong to the period of Sultan Murad thethird, and the eastern influence is more apparentthan the works created during the later periods.The writing drawers with the Edirnekari style, acraft still actively crafted in our day, are importantin showing how high levels the Turkish Islamicarts have reached so far. Well-known even today,these writing drawers still attract a lot of attentionwith their elegance and their bright colors.82