One of the most significant branches of book arts, illustration means ‘’to gold’’. The ones practising on this art are called ”müzehhib”( illuminated manuscripter). The motifs that are used in this art are smaller and more simple when compared to other decorative arts. During designing motifs, ”müzehhib”( illuminated manuscripter) draws according how he imagines by preserving main lines and patterns of chosen model. In this way the real aspect of model acquires a feature motif by adding comments how the artist imagines. Illustration made by this way is called ‘’ stylization’’. It is called “hatâyî group” which being plant-based motifs drawn by stylising their appearance in nature. A leaf motif, ‘’Hatayi’’ and rosebud which obtained by drawing the vertical section of less developed and developed flowers into the style drawn by stylizing the bird's eye view of flowers( penç) belong to this group. Carnation, tulip, rose, cyclamen and violet are the other important motifs in this art being less stylized. In the middle of XVI. Century, student of Şahkulu and master of his period,Kara Memi started a new style that been known by his name, by putting these motifs into illumination patterns with his own speciality. Partly stylized cypresses, spring blooming or fruit yielding trees are the continuation of this style as well. From XVIII. Century’s first quarter, flowers losing its motif speciality while gaining a miniature speciality called “şükûfe” are widely used in Turkish decorating art. The motifs with animal origin in Ottoman book arts, especially in religious manuscripts, plate decorations with verses and hadiths are not included, further, seen in miniatures or unwritten bulletin board shaped as ‘’halkari’’and ‘’rugani’’ patterns. The ruling techniques used in illumination are ‘’floor painted classical illumination, zerenderzer, halkârî, çift tahrir, zerefşan. ”Müzehhib”( illuminated manuscripter) who started this art as classical stylization can add their comments with free compositions as they become versed.