Gülsen Tezcan Kaya
Sakarya University, Sanat Tarihi, Faculty Member
As one of the important characters of medieval Islamic art, Zahhâk has been the subject of various works for centuries. Associated with evil, Zahhâk was transformed into a cruel man by the Satan, and this was used as a symbol to describe... more
As one of the important characters of medieval Islamic art, Zahhâk has
been the subject of various works for centuries. Associated with evil, Zahhâk was transformed into a cruel man by the Satan, and this was used as a symbol to describe the ruthless rulers. In classical Iranian narrations, he was recognized as a very powerful giant created with three mouths, three heads and six eyes as well as a ruler who dethroned Jamshid. This character, who took place in religious texts such as the Avesta and the Old Testament, in historical texts such as the History of Tabari and in mythological narratives, was depicted in medieval Islamic art on metals, ceramics and frescoes without much connection with the texts. Besides, Firdawsi’s Shahnama is among the most referenced sources within the literary texts. The aim of this study is to identify some of the most repeated scenes among the copies of Firdawsi Shahnamahs illustrated
from the 14th century and make an evaluation on the depictions of Zahhâk by ordering them chronologically according to their subjects. In the examples examined, these illustrated copies, which were prepared by rulers and administrators such as Abu Said, Iskender Sultan, Baysungur, Muhammad Juki, Ibrahim Sultan, Pir Budak bin Shah Jahan, Sultan Ali Mirza, Shah Tahmasp, Shah Ismail II, Shah Abbas and Sultan Murad II during the Mongol, Timurid, Safavid, Turkmen and Ottoman periods, were illustrated by Mir Musavvir, Sultan Muhammad, Mir Zeynalabidin, Nakdi and many anonymous painters. In these paintings, which were prepared between the 14th and 18th centuries in important illustrated manuscript production centers such as Herat, Tabriz, Shiraz, Mazenderan, Qazvin, Isfahan and Istanbul, the subject of "nailing Zahhâk to Mount Demâvend" stands out the most whereas the least illustrated subject is the scene of "Zahhâk's murder of his father, Mirdas". The defeat of the cruel ruler Zahhâk, with serpents on his shoulders, supports an understanding in Islamic literature that emphasizes good will always win over evil. Similarly, Islamic painting, just like other decorative arts, has served this idea, as well.
been the subject of various works for centuries. Associated with evil, Zahhâk was transformed into a cruel man by the Satan, and this was used as a symbol to describe the ruthless rulers. In classical Iranian narrations, he was recognized as a very powerful giant created with three mouths, three heads and six eyes as well as a ruler who dethroned Jamshid. This character, who took place in religious texts such as the Avesta and the Old Testament, in historical texts such as the History of Tabari and in mythological narratives, was depicted in medieval Islamic art on metals, ceramics and frescoes without much connection with the texts. Besides, Firdawsi’s Shahnama is among the most referenced sources within the literary texts. The aim of this study is to identify some of the most repeated scenes among the copies of Firdawsi Shahnamahs illustrated
from the 14th century and make an evaluation on the depictions of Zahhâk by ordering them chronologically according to their subjects. In the examples examined, these illustrated copies, which were prepared by rulers and administrators such as Abu Said, Iskender Sultan, Baysungur, Muhammad Juki, Ibrahim Sultan, Pir Budak bin Shah Jahan, Sultan Ali Mirza, Shah Tahmasp, Shah Ismail II, Shah Abbas and Sultan Murad II during the Mongol, Timurid, Safavid, Turkmen and Ottoman periods, were illustrated by Mir Musavvir, Sultan Muhammad, Mir Zeynalabidin, Nakdi and many anonymous painters. In these paintings, which were prepared between the 14th and 18th centuries in important illustrated manuscript production centers such as Herat, Tabriz, Shiraz, Mazenderan, Qazvin, Isfahan and Istanbul, the subject of "nailing Zahhâk to Mount Demâvend" stands out the most whereas the least illustrated subject is the scene of "Zahhâk's murder of his father, Mirdas". The defeat of the cruel ruler Zahhâk, with serpents on his shoulders, supports an understanding in Islamic literature that emphasizes good will always win over evil. Similarly, Islamic painting, just like other decorative arts, has served this idea, as well.
Research Interests:
Araştırmanın konusu, Bilecik ili, Gölpazarı ilçesinde bulunan Kâsımlar Köyü Camii’nin kalem işi bezemeleredir. Yapı, 2019 yılında Bursa Vakıflar Bölge Müdürlüğü tarafından tamamlanan restorasyon sayesinde koruma altına alınmıştır. Kim... more
Araştırmanın konusu, Bilecik ili, Gölpazarı ilçesinde bulunan Kâsımlar Köyü Camii’nin kalem işi bezemeleredir. Yapı, 2019 yılında Bursa Vakıflar Bölge Müdürlüğü tarafından tamamlanan restorasyon sayesinde koruma altına alınmıştır. Kim tarafından yaptırıldığı bilinmeyen camiin kuzey cephesinde bulunan kitabesinde, “Maşallah” yazısı ile H 1190 / M 1776 inşa tarihi okunur. Dış cephede galeri katında, harimde mihrapta, minberde, alt ve üstteki pencere üstlerinde, duvar aralarında, revzen çevresinde, kadınlar mahfilindeki tavan ve kemer araları ile ahşap göbekli tavanda yer alan kalem işleri, 18. yüzyıl özellikleri yansıtır. Kıble duvarındaki Mekke, kent ve camii tasvirleri minyatür üslubunda yapılmıştır. Kalem işlerinde genellikle, kırmızı, mavi, yeşil ve kızıl kahve renkli kök boyalarla yapılan ve ibrikten çıkan çiçek demetlerinin, ağaç tasvirlerinin, yuvarlak madalyonlar içinde dört halife ve Allah, Muhammed hatlarının, palmet-rumi ve natüralist üslupta yapılan lale, gül sümbül buketl...
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According to the list of items in 2018, there are 69 items in the inventory of Antalya Mevlevihâne Museum and additional 5 items (architectural pieces) in the study collection. 45 of these items, some of which are liturgical works, are... more
According to the list of items in 2018, there are 69 items in the inventory of Antalya Mevlevihâne Museum and additional 5 items (architectural pieces) in the study collection. 45 of these items, some of which are liturgical works, are located inside the Mevlevi House, 20 of the others are located as male and female tombstones in the Zincirkıran Mehmed Bey Cemetery, and the other 4 items are located on the wall of Nigar Hatun Tomb as tombstone fragments, architectural pieces with griffons, sundials with inscriptions and architectural pieces with decorations. When we look at the researches carried out so far, after the museum is given its function, there is no study in which the inventoried works are evaluated collectively depending on the space and culture. This study aims to introduce the exhibited works by evaluating them in the context of Mevlevi culture. In this research, 45 works produced between the 18th and 20th centuries, which were exhibited in the showcases and walls of the interior space of Mevlevihane, were introduced, and the situation of the Mevlevi culture in the process was revealed by focusing on those directly related to Sufism and Mevlevi culture. These works, which are frequently encountered in Ottoman culture and art in the context of Mevlevi culture, have also been included in the paintings of Ottoman painters since the 16th century, ensuring the establishment and continuation of visual memory. In this respect, after the last restoration, the spaces that have special importance in Mevlevi culture, the daily use items and the works consisting of liturgical objects, clothes and musical instruments related to Sufism exhibited in a total of 9 showcases in different rooms, and the plates on which calligraphy is applied on the walls of Semah Hall have been evaluated through the meaning of this culture.
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The subject of the research is hand-drawn ornaments of Kasımlar Village Mosque in The District of Gölpazari, Bilecik Province. The building was taken under preservation after the restoration completed by Bursa Foundations Regional... more
The subject of the research is hand-drawn ornaments of Kasımlar Village Mosque in The District of Gölpazari, Bilecik Province. The building was taken under preservation after the restoration completed by Bursa
Foundations Regional Directorate in 2019. Along with the writing of Mashallah, it reads H 1190 / M 1776, the date of the building, in the inscription on the northern facade of the mosque which is not known by whom it was ordered. The hand-drawn ornaments on the gallery floor on the exterior, in the altar, in the pulpit, on the lower and upper windows, between the walls, around the revzen, between the ceilings and arches of the women's mahfil, and on the wooden-bellied ceiling reflect the 18th-century features. On the Qibla wall, paintings of Mecca, city views, and a
mosque were made in miniature style. In hand-drawn ornaments, it is often seen that flower bundles in ewers painted with red, blue, green and redwood colored root dyes, tree paintings, four caliphs and Allah Muhammad calligraphy in round medallions, bouquets of tulips, roses and hyacinths made in palmet-rumi and naturalist style, motifs of lanterns, as well as medallions created with C and S folds which are frequently used in Baroque style, are painted. With the motifs that entered with western influence in the 18th century in addition to the paintings seen on the walls and made in miniature technique, the Mosque of Kasımlar Village in Bilecik proves that the decoration program applied in the capital Istanbul was loved and repeated in the provinces.
Foundations Regional Directorate in 2019. Along with the writing of Mashallah, it reads H 1190 / M 1776, the date of the building, in the inscription on the northern facade of the mosque which is not known by whom it was ordered. The hand-drawn ornaments on the gallery floor on the exterior, in the altar, in the pulpit, on the lower and upper windows, between the walls, around the revzen, between the ceilings and arches of the women's mahfil, and on the wooden-bellied ceiling reflect the 18th-century features. On the Qibla wall, paintings of Mecca, city views, and a
mosque were made in miniature style. In hand-drawn ornaments, it is often seen that flower bundles in ewers painted with red, blue, green and redwood colored root dyes, tree paintings, four caliphs and Allah Muhammad calligraphy in round medallions, bouquets of tulips, roses and hyacinths made in palmet-rumi and naturalist style, motifs of lanterns, as well as medallions created with C and S folds which are frequently used in Baroque style, are painted. With the motifs that entered with western influence in the 18th century in addition to the paintings seen on the walls and made in miniature technique, the Mosque of Kasımlar Village in Bilecik proves that the decoration program applied in the capital Istanbul was loved and repeated in the provinces.
Research Interests:
When the tradition of book illustration in the Turkish-Islamic World is considered, it is seen that some literary works stand out more. Among these, Khamseh of Nizami Ganjavi, who guided many poets after him as the founder of the Khamseh... more
When the tradition of book illustration in the Turkish-Islamic World is considered, it is seen that some literary works stand out more. Among these, Khamseh of Nizami Ganjavi, who guided many poets after him as the founder of the Khamseh genre, takes the first place. The fact that the work was loved so much at the time it was written, constantly copied and reproduced, and that its illustrated copies were prepared in almost all palaces from the earliest centuries when the tradition of book illustration began, adds a special importance to this work.
The main subject of this research is the miniatures of the story “Majnun Taken By His Father To The Ka'bah” from Layla and Majnun Masnavi, which is the third masnavi of the Khamsa, written in Persian in less than four months at the request of Shirvanshah Celâlüddevle Ahsitân in 584 (1188). The production of illustrated manuscripts bears the traces of the period in which they were prepared, the patrons who placed the order and the painters who prepared it. In iconographic studies, it is important to reveal the conditions under which the work was prepared and for what purpose in order to establish intercultural connections. In this context, miniature examples within the scope of the study reveal how the same story was constructed by painters in different centers.
The production of illustrated manuscripts under the auspices of important art patrons such as Shahruh, Baysungur, Mohammed Cuki, his wife Ismet al-Dunya, Shah Ismail, Shah Tahmasp, Ebülgazi Bahadir Khan shows how much Khamseh of Nizamî is loved through all over the Islamic geography. The pictures associated with this story in the illustrated manuscripts in important museums and libraries such as Berlin Staatliche Museen, Dublin Chester Beatty Library, Istanbul Topkapi Palace Museum Library, St. Petersburg Hermitage Museum, London British Museum, London Royal Asiatic Society have been identified, and studied chronologically.
In this study, the earliest examples available have been limited to the ones that date from 1420 to the 17th century. Depicted in Shiraz, Herat, Tabriz, Kazvin, Bukhara styles in the court ateliers and manuscript production centres in Timurids, Safavids, Turkmens, Uzbeks, these paintings give information about how iconography has evolved. The fact that this topic is commonly depicted as a theme highlighting the healing aspect of Islam's holiest place of visitation indicates that beliefs influence the choice of stories. Apart from Khamsa of Nizami, the use of the same subject as a pattern, with some changes in composition, in works such as Falnâmeh, Majalis al-‘Ushshaq, is also of great importance in terms of determining the continuity of the traditional miniature painting.
The main subject of this research is the miniatures of the story “Majnun Taken By His Father To The Ka'bah” from Layla and Majnun Masnavi, which is the third masnavi of the Khamsa, written in Persian in less than four months at the request of Shirvanshah Celâlüddevle Ahsitân in 584 (1188). The production of illustrated manuscripts bears the traces of the period in which they were prepared, the patrons who placed the order and the painters who prepared it. In iconographic studies, it is important to reveal the conditions under which the work was prepared and for what purpose in order to establish intercultural connections. In this context, miniature examples within the scope of the study reveal how the same story was constructed by painters in different centers.
The production of illustrated manuscripts under the auspices of important art patrons such as Shahruh, Baysungur, Mohammed Cuki, his wife Ismet al-Dunya, Shah Ismail, Shah Tahmasp, Ebülgazi Bahadir Khan shows how much Khamseh of Nizamî is loved through all over the Islamic geography. The pictures associated with this story in the illustrated manuscripts in important museums and libraries such as Berlin Staatliche Museen, Dublin Chester Beatty Library, Istanbul Topkapi Palace Museum Library, St. Petersburg Hermitage Museum, London British Museum, London Royal Asiatic Society have been identified, and studied chronologically.
In this study, the earliest examples available have been limited to the ones that date from 1420 to the 17th century. Depicted in Shiraz, Herat, Tabriz, Kazvin, Bukhara styles in the court ateliers and manuscript production centres in Timurids, Safavids, Turkmens, Uzbeks, these paintings give information about how iconography has evolved. The fact that this topic is commonly depicted as a theme highlighting the healing aspect of Islam's holiest place of visitation indicates that beliefs influence the choice of stories. Apart from Khamsa of Nizami, the use of the same subject as a pattern, with some changes in composition, in works such as Falnâmeh, Majalis al-‘Ushshaq, is also of great importance in terms of determining the continuity of the traditional miniature painting.
Research Interests:
With the formation of civilizations, one of the most important tools in the transmission of science, culture and art is undoubtedly writing. For this reason, wherever and however it has been written, generations have not only benefited... more
With the formation of civilizations, one of the most important tools in the transmission of science, culture and art is undoubtedly writing. For this reason, wherever and however it has been written, generations have not only benefited from it by being able to find out about their own culture and history closely, but they have left a heritage for future generations as well. However, the invention of paper, a material that will facilitate the
transfer of this heritage, has accelerated the work considerably. Paper, which is used both in the transfer of information and on which the art itself is embroidered, appears as an indispensable material in both the east and the west. Along with the discovery of paper, the raw materials from which civilizations have obtained it have differed according to geography and century, constantly changing places between the west and the east depending on their types, commercial relations, and ease of use.
In this research, it is aimed to demonstrate the production activities in the court ateliers through the miniatures showing the paper making stages in the book production centers in different centuries in the Islamic geography, by focusing on the historical adventure of paper and its raw materials in general.
Especially at the end of the 15th century, with the appearance of daily life scenes in the paintings in the Timurid period in Herat (1370-1507), the people who prepared the paper for writing and drawing began to be seen in the pictures showing the madrasa in literary works. Moreover, this influence continued in the Safavid (1501-1736) and Uzbek Khanate (1500-1599) period in the sixteenth century, and later, in the Mughal
period (1526-1858), it was seen in pamphlets with pictures in which the court ateliers were portrayed, and as margin painting in albums. Looking at these depictions, the papermaking stages and the tools used in its production as well as its treatment, that is, how it is made suitable for calligraphy, illumination and miniature painting, are reflected in a way that supports the sources of the period.
Keywords: Paper, court atelier, manuscript, miniature painting, burnish
transfer of this heritage, has accelerated the work considerably. Paper, which is used both in the transfer of information and on which the art itself is embroidered, appears as an indispensable material in both the east and the west. Along with the discovery of paper, the raw materials from which civilizations have obtained it have differed according to geography and century, constantly changing places between the west and the east depending on their types, commercial relations, and ease of use.
In this research, it is aimed to demonstrate the production activities in the court ateliers through the miniatures showing the paper making stages in the book production centers in different centuries in the Islamic geography, by focusing on the historical adventure of paper and its raw materials in general.
Especially at the end of the 15th century, with the appearance of daily life scenes in the paintings in the Timurid period in Herat (1370-1507), the people who prepared the paper for writing and drawing began to be seen in the pictures showing the madrasa in literary works. Moreover, this influence continued in the Safavid (1501-1736) and Uzbek Khanate (1500-1599) period in the sixteenth century, and later, in the Mughal
period (1526-1858), it was seen in pamphlets with pictures in which the court ateliers were portrayed, and as margin painting in albums. Looking at these depictions, the papermaking stages and the tools used in its production as well as its treatment, that is, how it is made suitable for calligraphy, illumination and miniature painting, are reflected in a way that supports the sources of the period.
Keywords: Paper, court atelier, manuscript, miniature painting, burnish
Research Interests:
Ali Shir Nava’i (d.1501) was a famous statesman, poet and linguist, a political and cultural identity in the Timurid capital, Herat at the end of the 15th century. The subject of this research is the first and only illustrated copy of... more
Ali Shir Nava’i (d.1501) was a famous statesman, poet and linguist,
a political and cultural identity in the Timurid capital, Herat at the end of
the 15th century. The subject of this research is the first and only illustrated copy of Ali Shir Nava’i’s Khamseh, which was produced in the Ottoman Royal Atelier. The colophon on folio 309v of this copy, dating 937/1530-31, shows that the calligrapher, bookbinder and the painter of this Khamseh as Pir Ahmed bin Iskender. This copy includes a total of 16 illustrations, two of which depict scenes from Hayrat-ul-abrar, seven of which depict scenes from Farhad va Shirin, three of which depict scenes from Layli va Majnun, three of which depict scenes from Sab'ai Sayyar and one of which depicts scenes from Sadd-i-Iskandari. This manuscript, which appears to be an original example with both the choice of subject in the paintings and the style of the paintings, is important in terms of pioneering the historical and literary manuscripts prepared in the period of Suleiman the Magnificent and after wards.
Key words: Nava’i, Khamseh, Pir Ahmed bin Iskender, Ottoman
Royal Atelier, Manuscript, Painter.
a political and cultural identity in the Timurid capital, Herat at the end of
the 15th century. The subject of this research is the first and only illustrated copy of Ali Shir Nava’i’s Khamseh, which was produced in the Ottoman Royal Atelier. The colophon on folio 309v of this copy, dating 937/1530-31, shows that the calligrapher, bookbinder and the painter of this Khamseh as Pir Ahmed bin Iskender. This copy includes a total of 16 illustrations, two of which depict scenes from Hayrat-ul-abrar, seven of which depict scenes from Farhad va Shirin, three of which depict scenes from Layli va Majnun, three of which depict scenes from Sab'ai Sayyar and one of which depicts scenes from Sadd-i-Iskandari. This manuscript, which appears to be an original example with both the choice of subject in the paintings and the style of the paintings, is important in terms of pioneering the historical and literary manuscripts prepared in the period of Suleiman the Magnificent and after wards.
Key words: Nava’i, Khamseh, Pir Ahmed bin Iskender, Ottoman
Royal Atelier, Manuscript, Painter.
Research Interests:
Research Interests:
THE SYMBOLS OF GOOD AND EVIL IN THE CELESTIAL WORLD: ANGEL AND SATAN IN ISLAMIC MINIATURE PAINTING Angel and Satan, one of the universal subjects frequently encountered in world cultures and myths, are spiritual beings who have fought... more
THE SYMBOLS OF GOOD AND EVIL IN THE CELESTIAL WORLD:
ANGEL AND SATAN IN ISLAMIC MINIATURE PAINTING
Angel and Satan, one of the universal subjects frequently encountered in world cultures and myths, are spiritual beings who have fought against the good or evil of humanity since the first day of creation as a balancing power. Especially through sacred Scriptures, religious legends and myths, as a result of not being seen, heard, but believed in their existence, they have come to life in many stories created by mankind and have been placed in the leaves of manuscripts in different forms in different beliefs and cultures for thousands of years. Angels are messengers that God sent for people. Some supervise the actions of people, some establish the relationship between people and the celestial world, some worship, some evaluate the wishes of people.
Satan, on the other hand, strives for the evil of humanity with all his might until the Day of Judgment. He deflects them from the right path and leads them into darkness. While the images of Angel and Satan are shaped according to the story in the work they are in, they are sometimes interpreted differently based on the hadiths, religious myths and folk tales, regardless of the text they are in.
In this context, angel images, the universal symbol of goodness and beauty, are both shaped in connection with the text and used for decoration regardless of the text. Images of Satan, on the other hand, depended on the text, and were depicted preserving their anthropomorphic and zoomorphic features in paradise and after the expulsion from heaven.
Keywords: Angel, Satan, Islamic iconography, Manuscripts
ANGEL AND SATAN IN ISLAMIC MINIATURE PAINTING
Angel and Satan, one of the universal subjects frequently encountered in world cultures and myths, are spiritual beings who have fought against the good or evil of humanity since the first day of creation as a balancing power. Especially through sacred Scriptures, religious legends and myths, as a result of not being seen, heard, but believed in their existence, they have come to life in many stories created by mankind and have been placed in the leaves of manuscripts in different forms in different beliefs and cultures for thousands of years. Angels are messengers that God sent for people. Some supervise the actions of people, some establish the relationship between people and the celestial world, some worship, some evaluate the wishes of people.
Satan, on the other hand, strives for the evil of humanity with all his might until the Day of Judgment. He deflects them from the right path and leads them into darkness. While the images of Angel and Satan are shaped according to the story in the work they are in, they are sometimes interpreted differently based on the hadiths, religious myths and folk tales, regardless of the text they are in.
In this context, angel images, the universal symbol of goodness and beauty, are both shaped in connection with the text and used for decoration regardless of the text. Images of Satan, on the other hand, depended on the text, and were depicted preserving their anthropomorphic and zoomorphic features in paradise and after the expulsion from heaven.
Keywords: Angel, Satan, Islamic iconography, Manuscripts
Research Interests:
Ali Şir Nevâyî (1441-1501), Timurlu başkenti Herat’ta siyasi ve kültürel kimliği ile büyük ün yapmış şair, devlet adamı ve dilcidir. Doğduğu coğrafyada, Timurlu Sultanları bölgeyi hem siyasi amaçlarına uygun, hem de bilim ve sanat... more
Ali Şir Nevâyî (1441-1501), Timurlu başkenti Herat’ta siyasi ve kültürel kimliği ile büyük ün yapmış şair, devlet adamı ve dilcidir. Doğduğu coğrafyada, Timurlu Sultanları bölgeyi hem siyasi amaçlarına uygun, hem de bilim ve sanat koruyuculuklarını ön plana çıkararak yönettiklerinden Nevâyî, yüksek bir kültür ortamında eserlerini yazar. Dil ve edebiyat eserleri, dini ve ahlaki eserler, tarihi eserler, biyografik eserler ve vakfiyeler kaleme alan şair, Çağatayca yazarak Orta Asya Türk dilinin ve edebiyatının gelişmesinde büyük rol oynar. Türk-İslam coğrafyasında beğenilerek okunan şairin eserlerinin kopyaları, bugün dünya müze, kütüphane ve özel koleksiyonlarında bulunur.
Nevâyî henüz hayattayken, eserlerinin resimli nüshaları saray atölyesinde hükümdar, şehzade ve devlet adamları için hazırlanmaya başlanır. Çeşitli kültürel ve siyasî ilişkiler sonucu, ünü Herat çevresi dışına çıkan şair, İslam ve Türk edebiyatında kalıcı izler bırakır. Nitekim Nevâyî’nin eserlerinin resimli kopyaları sadece Timurlu coğrafyasında üretilmekle kalmamış, bu örnekler içerik ve tarzlarıyla Anadolu ve Orta Asya başta olmak üzere birçok üretim merkezini hem üslupsal hem de ikonografik açılardan etkilemiştir. Önce Timurlular için, ardından siyasî ve kültürel etkileşim sonucunda yayılarak üretimi devam eden resimli Alî Şîr Nevâyî kopyaları Akkoyunlular, Safevîler, Osmanlılar, Özbekler, Babürlüler için Herat, Şiraz, Tebriz, İstanbul, Şahruhiya, Kazvin ve Buhara gibi merkezlerde hazırlanmaya devam etmiştir. Aralarında Sultan Yakub, Sultan Hüseyin Baykara, Abdülaziz Bahadır Han, Kanuni Sultan Süleyman , Şah İsmail, Şah Tahmasp’ın da bulunduğu sultanların nakkaşhanelerinde hazırlanan bu resimli el yazmaları, Türk dünyasında ortak bir kültürel mirasın büyük bir saygı ve beğeniyle devam ettirildiğini gösteren önemli bir örnektir.
Nevâyî henüz hayattayken, eserlerinin resimli nüshaları saray atölyesinde hükümdar, şehzade ve devlet adamları için hazırlanmaya başlanır. Çeşitli kültürel ve siyasî ilişkiler sonucu, ünü Herat çevresi dışına çıkan şair, İslam ve Türk edebiyatında kalıcı izler bırakır. Nitekim Nevâyî’nin eserlerinin resimli kopyaları sadece Timurlu coğrafyasında üretilmekle kalmamış, bu örnekler içerik ve tarzlarıyla Anadolu ve Orta Asya başta olmak üzere birçok üretim merkezini hem üslupsal hem de ikonografik açılardan etkilemiştir. Önce Timurlular için, ardından siyasî ve kültürel etkileşim sonucunda yayılarak üretimi devam eden resimli Alî Şîr Nevâyî kopyaları Akkoyunlular, Safevîler, Osmanlılar, Özbekler, Babürlüler için Herat, Şiraz, Tebriz, İstanbul, Şahruhiya, Kazvin ve Buhara gibi merkezlerde hazırlanmaya devam etmiştir. Aralarında Sultan Yakub, Sultan Hüseyin Baykara, Abdülaziz Bahadır Han, Kanuni Sultan Süleyman , Şah İsmail, Şah Tahmasp’ın da bulunduğu sultanların nakkaşhanelerinde hazırlanan bu resimli el yazmaları, Türk dünyasında ortak bir kültürel mirasın büyük bir saygı ve beğeniyle devam ettirildiğini gösteren önemli bir örnektir.
Research Interests:
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İslam kitap resimlemeciliğinde araştırmacılar uzun yıllar İslam tasvir sanatına dekoratif bir sanat gözüyle bakmışlardır. Dolayısıyla araştırma-lar da genellikle tasvirlerin tanıtılması üzerinde yoğunlaşmıştır. Ancak sanat tarihçisi Erwin... more
İslam kitap resimlemeciliğinde araştırmacılar uzun yıllar İslam tasvir sanatına dekoratif bir sanat gözüyle bakmışlardır. Dolayısıyla araştırma-lar da genellikle tasvirlerin tanıtılması üzerinde yoğunlaşmıştır. Ancak sanat tarihçisi Erwin Panofsky'nin ikonografik yaklaşım ve yöntemlerin önemini vurgulayan Studies In Iconology (1939) adlı eserinden sonra, sa-nat tarihi bağlamında daha açıklayıcı bilgiler verilmeye başlanmıştır. Bu bağlamda üslup ve ikonografi ile ilgili yayınlar taranarak, çözümleme tek-nikleri üzerinde durulmuştur. Islamic Art In The Iconographic Analysis Tasvir The researchers has considered the Islamic book art as a decorative art in the illustrated of Islamic book for many years. So generally the description of miniatures were concentrated on the studies. However, The Studies In Iconology (1939) written by art historian Erwin Panofsky which emphasized importance of iconographic approaches and methods and after that the more explaning knowledge is started representing in Art History. It's emphasized on, the analysis techniques by scanning the publication with style and iconography.
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The unceasing rivalry and cultural-artistic interaction between the East and the West is existent throughout the history. While the researchers have focussed for years on the subjects studying the East with a Western point of view,... more
The unceasing rivalry and cultural-artistic interaction between the East and the West is existent
throughout the history. While the researchers have focussed for years on the subjects studying the East
with a Western point of view, studies analysing the West from the Eastern perspective are recently on
the rise. Mughal Shahs, who ruled between 1526 and 1858 as descendants of Timur, had illustrated
manuscripts produced under their patronage which illustrates their interaction with the Europeans.
The influence of European art became evident for the first time during the third Mughal ruler, Akbar
Shah’s (1556-1605) reign. After the Portuguese claimed Goa, they captured Gujarat and Akbar Shah
employed an ambassador there. On his return (1578), he took the artefacts which the Europeans
brought together back to the court thereby accelerating the interaction. Various resources also mention
some craftsmen who were sent to Gujaratin order to learn about the European techniques and styles.
Following this, Akbar Shah invited three Jesuits from Goa to Fatehpur Sikri to join his religious
discussions. Thus, he regarded Christians and Christianity as an inspirational source for his eclectic
thought. It was the Bible that the Jesuits brought along, Christian paintings, and the paintings of
the Virgin and Child some of which were copied from the Early Roman icons by Manuel Godinho,
Portuguese Jesuit painter. The third Jesuit mission who stayed in Mughal court between 1595 and 1615
would be of primary influence on both the illustrated manuscripts and the style of their painters. The
painters that worked in the court atelier during Akbar Shah and Jahangir Shah period interpreted these
European subjects, figures, clothes, furniture and motives with an Occidentalist approach by integrating
their existent traditions with the European techniques. Therefore, they could produce entirely original
works of art.
Key words: Mughal painting, Occidentalism, Akbar Shah, Manuscripts, Mughal Court atelier
throughout the history. While the researchers have focussed for years on the subjects studying the East
with a Western point of view, studies analysing the West from the Eastern perspective are recently on
the rise. Mughal Shahs, who ruled between 1526 and 1858 as descendants of Timur, had illustrated
manuscripts produced under their patronage which illustrates their interaction with the Europeans.
The influence of European art became evident for the first time during the third Mughal ruler, Akbar
Shah’s (1556-1605) reign. After the Portuguese claimed Goa, they captured Gujarat and Akbar Shah
employed an ambassador there. On his return (1578), he took the artefacts which the Europeans
brought together back to the court thereby accelerating the interaction. Various resources also mention
some craftsmen who were sent to Gujaratin order to learn about the European techniques and styles.
Following this, Akbar Shah invited three Jesuits from Goa to Fatehpur Sikri to join his religious
discussions. Thus, he regarded Christians and Christianity as an inspirational source for his eclectic
thought. It was the Bible that the Jesuits brought along, Christian paintings, and the paintings of
the Virgin and Child some of which were copied from the Early Roman icons by Manuel Godinho,
Portuguese Jesuit painter. The third Jesuit mission who stayed in Mughal court between 1595 and 1615
would be of primary influence on both the illustrated manuscripts and the style of their painters. The
painters that worked in the court atelier during Akbar Shah and Jahangir Shah period interpreted these
European subjects, figures, clothes, furniture and motives with an Occidentalist approach by integrating
their existent traditions with the European techniques. Therefore, they could produce entirely original
works of art.
Key words: Mughal painting, Occidentalism, Akbar Shah, Manuscripts, Mughal Court atelier