Lale Uluc
Bogazici University, History Department, Faculty Member
Research Interests:
Research Interests: Ancient History and Art
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L’A. s’interesse a un groupe de dix manuscrits de Shiraz, produits entre 1515 et 1528, qui ont en commun de comporter dans leur colophon la mention a l’āsitāna de Maulānā Husām al-Dīn Ibrāhīm. En suivant quelques uns des artistes, tels... more
L’A. s’interesse a un groupe de dix manuscrits de Shiraz, produits entre 1515 et 1528, qui ont en commun de comporter dans leur colophon la mention a l’āsitāna de Maulānā Husām al-Dīn Ibrāhīm. En suivant quelques uns des artistes, tels que Qasim et Maḥmūd, et en comparant les illustrations de ces manuscrits, l’A. tente de determiner ce que ces artistes ont en commun. Il note un style original dans la representation d’architecture, reflet de l’architecture sefevide contemporaine, ainsi que l’evocation du milieu de la cour.
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This paper introduces a copy of the Iskandarnāma of Nizami dated 1435 and dedicated to the Timurid prince Ibrahim Sultan, grandson of the eponymous founder of the Timurid dynasty. It discusses the various features of the manuscript... more
This paper introduces a copy of the Iskandarnāma of Nizami dated 1435 and dedicated to the Timurid prince Ibrahim Sultan, grandson of the eponymous founder of the Timurid dynasty. It discusses the various features of the manuscript together with comparable examples from the same period, and also focuses on Abu al-Fath Ibrahim Sultan ibn Shah Rukh and his role as both a military leader and a patron of the arts during his tenure as the governor of the provinces of Fars, Kirman, and Luristan (1414–35). Utilizing the visual data together with the historical context of the period, this essay interprets one of the illustrations of the Iskandarnāma, hoping to fulfill what David Summers called “the most basic task of art history,” which he says “is to explain why works of art look the way they look.” The addition of this Iskandarnāma manuscript to the surviving corpus of works that can be connected to Ibrahim Sultan will provide a further insight into the important patronage of this Timurid...
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This paper publishes all the decorated pages from this luxury shiraz copy of the text that shows the gradual change in Shiraz illustrations in this period.
The inscription “the book from the grand vizier Sinan Paşa – year 999” found on the flyleaf of an illustrated Safavid Shahnama of Firdausi indicates that it was presented to the Ottoman Sultan Mehmed III by the grand vizier of the time,... more
The inscription “the book from the grand vizier Sinan Paşa – year 999” found on the flyleaf of an illustrated Safavid Shahnama of Firdausi indicates that it was presented to the Ottoman Sultan Mehmed III by the grand vizier of the time, Sinan Paşa. A number of Safavid luxury manuscripts presently in the Topkapı Palace Museum Library bear similar notes, showing that they were owned by various individuals before entering the Ottoman Treasury. Persian luxury manuscripts were among the most desirable diplomatic gifts for the Ottoman sultans that could be presented either by Ottoman officials or by Safavid envoys.
The numerous Safavid delegations that were sent to the Ottoman domains in the sixteenth century combined with the desirability of luxury manuscripts at the Ottoman court must have increased the demand for these manuscripts considerably, as a result of which some Shiraz manuscripts may have been completed or transformed into a luxury copy rather in a hurry. Others may have been produced with the Ottoman market in mind.
This paper analyzes two sixteenth century Shiraz manuscripts that were enlarged after they were completed possibly to finally belong to an Ottoman library.
The numerous Safavid delegations that were sent to the Ottoman domains in the sixteenth century combined with the desirability of luxury manuscripts at the Ottoman court must have increased the demand for these manuscripts considerably, as a result of which some Shiraz manuscripts may have been completed or transformed into a luxury copy rather in a hurry. Others may have been produced with the Ottoman market in mind.
This paper analyzes two sixteenth century Shiraz manuscripts that were enlarged after they were completed possibly to finally belong to an Ottoman library.