Osman Asaf enrolled in the Sanayi-i Nefise Mektebi in his early twenties. He was among the school’s first students and graduated successfully. He is one of the founders of the Osmanlı Ressamlar Cemiyeti, the first artist association in our country. He also assumed responsibility as the managing director of the association’s publication, the Osmanlı Ressamlar Cemiyeti mecmuası. During War, he served as mayor of the Bandırma district in Balıkesir. During Republic, he taught drawing at numerous intermediate and secondary schools, beginning with the Numune-i Terakki Mektebi. He retired from Pertevniyal Lisesi in 1932. In accordance with the surname law enacted shortly before his death, he adopted the surname “Bora”.

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The subject matter of Osman Asaf Bora’s paintings derives primarily from nature. He painted his landscapes not by studying postcards but by observing them outdoors. In this regard, it can be said that he contributed his own distinctive chromatic richness to the historical and rural naturalism characteristic of the generation of Hoca Ali Rıza. The landscapes of Istanbul’s natural surroundings constitute Osman Asaf’s most important works. In these paintings, the artist meticulously depicted Istanbul neighborhoods such as Erenköy, Kızıltoprak, Acıbadem, Dudullu, Kalamış, Fenerbahçe, Maltepe, Kağıthane and Göksu streams. He also included old mansions, tree-lined roads and rocky outcrops in his compositions. Figures are rarely depicted in the narrow streets he commonly painted. Some of his works feature barren seascapes or rural vistas. In rural settings, nature extends into an infinite space, while elements such as trees, vegetation and rock formations reflect the rich texture of the environment. Among the historical structures visible in his works are familiar architectural elements of the community and Islamic religious features such as mosques, tombs, fountains, ruins, bridges, mansions and the Maiden’s Tower.

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In his works, he primarily used yellow tones, as well as blue, purple and brown tones.

In his compositions, he employed light and shadow to reveal the three-dimensional structure of objects. In paintings where atmospheric changes were important, he included elements such as mountains, forests, seas and sails in the background. In his early works, he favored the oil painting technique. Due to health issues, in his later works he turned to gouache and watercolor techniques, which are less pungent than oil paint and are mixed with water. His oil paintings are nearly as finely layered as his watercolor works. He applied colors cleanly, without excessive blending, and emphasized light and shadow effects. Although each of the techniques he employed holds its own distinct value, he demonstrated a unique mastery through his watercolor works. In addition to landscapes, he also produced a number of still lifes and figure studies, though fewer in number. In these works, his ability to evaluate objects is based on line and value contrasts of light and dark.